#none of the psychological horror themes of the film but just the idea of her being famous and how it started to destroy her

[usermoon]

character/story/oc inspiration tag

rules: write up a blurb or make a visual collage of the people or characters (from books, TV shows, movies, etc.) that inspired your story and/or OC, either visually, personality wise, or just a general vibe

i just had to do it again for my girl terri

[kayla-broukhims-blog]

“Beloved”

Based on the novel by Toni Morrison, the real story behind "Beloved" has certainly brought a thrilling and awakening story responsible for exemplifying a repulsive legacy formed by slavery. The novel really touches deeply into tragedy and resilience meshed with the supernatural aspect that is meshed with psychological depth, stretching that thin line of horror to something more than what we are accustomed to. One aspect I really appreciated about "Beloved" was the very blunt nature through which it laid down the trail of psychological scars that were left by slavery.

The character of Sethe, personified by none other than Oprah Winfrey in a very outstanding manner, is a living personification of the never-ending anguish and fight for freedom that quite a number of African Americans had post-slavery. The desperation to protect her children from any possible harm, in this case making the tragic decision to kill her very own daughter instead of her falling into the hands of slavers, was quite a moving example of how a mother's love can become twisted in the desperate horrors of slavery. This was a very hard act to understand if at all one was to understand and showed the levels to which these enslaved persons had prepared to go to exercise their will and protect their children from the unspeakable horrors they had to go through. However, the film does not shy away from exploring the complexity of healing and redemption.

The arrival of the mysterious young woman, Beloved, serves as a catalyst for confronting unresolved traumas. The supernatural element felt a bit out of place at first but really does the work of conveying the haunting part of past horrors, which continued to bring trauma to the descendants of slavery. This, perhaps, represents what would distinguish such an approach to black horror; it is a genre used not just in its own right but as a tactic towards the deep, historical wounds. "Beloved" amounts to potent commentary on the way the legacy of slavery resonates with African American identity and psyche. One could, of course, throw that at the film as a possible criticism: its dense narrative structure and the challenging, rather indigestible nature of the themes.

The non-linear narration and complex relationships between the characters require some sort of active participation and contemplation, something that might, in general, bore a certain amount of viewers. Still, a too ambitious movie to show such a diversified and painful theme. "Beloved" does bring a surprise with it: how it does manage to combine its background as a horror film with African-American history and, second, how seriously heavy stuff can be approached in the genre. The film really went much further in this idea of Black Horror beyond something that's just purely entertaining, and really made it a vehicle to delve into and reflect on the trauma of slavery and how it's affected generations.

The message in "Beloved" seems to be a call for recognition and reckoning with the past. This would imply that healing from trauma is getting to face and acknowledge the same at both an individual level and a collective level. Indeed, the images remind one of the fortitude that meets in the face of such adversity. At the same time, it brings to bear the import of memories and stories in how they bear in the healing process. "Beloved" brought me right back to the stories told within my family of adversity and the kind of strength that one can find from the memory of those who had struggled before us.

Though these were themes that did not directly manifest in the aspect of horrors or slavery, the themes of resilience, memory, and the complexity of the family bonds still remain pertinent. This goes to affirm how it's always important to confront past pains with the aim of fostering healing and growth. In conclusion, "Beloved" is a compelling exploration of the African American experience, trauma, and resilience. It is quite ingenious in the way it tends to deal with the legacy of slavery through black horror, offering a lot of insight into the human condition. The film not only faces off with the truths that the viewers have to face at times but also lauds the indomitable spirit of the people who have to deal with such terrible horrors in life.

[devilsskettle]

can i ask u to elaborate on ur feelings/notes about swallow? i rly liked it and i would love to hear another person’s thoughts!!

yes! i’m so glad you asked, i was just writing about it actually! 

the main two things i think this movie has going for it are the visual appeal and the strength of the acting. every shot in this movie seemed intentional and considered thoroughly, none of them seemed unnecessary or even boring to look at. everything from the set and costume design to the camera work was well done. i think that’s really impressive! most films don’t have that kind of intentionality. it felt kind of like “wes anderson does a psychological thriller” lol but not in a way that felt distracting to me. also the actress who plays hunter, haley bennett, did such a good job of conveying her as a character, and with so much nuance to her emotions. i also think it’s thematically interesting, the way it explores ideas about health, bodily autonomy, financial inequality (this is another “rich people suck” movie), gender, i could go on but you get the idea. it’s very gothic in a lot of ways, discussing the confinement of and violence towards women in the domestic sphere, especially the entitlement to their bodies and ideas about motherhood. i’ve also rarely seen stories about pika but i think here it’s framed in a sympathetic and respectful light that points out its seriousness but doesn’t place the blame on the person who struggles with it, which is a good way to handle any mental health issue in stories imo. i also think it’s rare to have abortion portrayed as a neutral choice that is right in certain circumstances so i think it did that well enough (there have been several movies/tv series in recent years that also discuss abortion without bias so it’s hardly revolutionary but i still like the way they went about it). however, i didn’t love the direction the movie went, i was hoping for more horror than that, in fact the only reason i think it’s labeled a psychological thriller is because people aren’t used to seeing pika portrayed and while it’s a scary problem to have, i don’t think the movie as a whole feels like a thriller. it feels more like a drama about marriage and mental health, if maybe a little bit more intense for that genre. like you can tell it’s intended to be a thriller based on the tone and everything, but the story itself doesn’t back that up. also it only really gets at surface level issues, and gives you a clear reason and solution for her problem (reason: guilt about the method of her conception + problems with her home life + pregnancy. result: pika. solution: confront father + leave husband + abortion. i wish it hadn’t been that simple)

which brings me to: the things i would’ve changed about it or liked to see more:

1. they opened the movie with several close up shots of food and i thought that would be a motif that they carried through the movie, which it was with the items that hunter ate, but not with actual food. like i thought in the birthday party scene, they would have a close up shot of the tray of sandwiches she was carrying, for example. i would’ve liked to see that and how by treating both the food and the objects the same way visually it would blur the line between the two, also i just think it would be visually appealing 

2. i’m uncomfortable with the way they portrayed getting mental health help, with the therapist breaking confidentiality and the family of her husband coercing her into checking into an inpatient facility, even though imo that’s exactly where she needed to be (she almost died! she should’ve been in more intensive treatment). i don’t mind the therapist thing as much because it shows how money can open any door and how alone hunter was, but there’s nothing wrong with having to go to a psych ward even if it feels like an extreme step so it kind of felt bad to me but maybe i’m just hypersensitive about that kind of thing 

3. again, i wanted it to go darker. i wanted for her to snap at the end and do something fucked up to her husband or his family. honestly i didn’t mind the ending, i thought the bathroom scene under the credits was a very strong final shot, but the narrative after she leaves the hotel feels like it diverts into soap opera melodrama territory. in some ways i like the ending but i wished it had something else to it

4. i wish we got to see more of hunter’s real personality but i think that’s difficult when she’s so isolated. maybe in some of the therapy scenes she could open up more and we’d see more past the facade (besides when she’s having a breakdown, which is also not indicative of her “real” personality) 

5. the fact that we get to hear from her father and very little from her mother - none of which is positive - is a little bit questionable to me given that he raped her and we see him humanized and her - maybe not dehumanized, but she’s framed as not being a very good mother, at least to hunter, despite what she says about it. but it’s also surprising and moving in unexpected ways to see her confront the real person face to face instead of literally carrying around the image that she has of him and never really dealing with it, and it also shows that what he did and who he was when he did it was truly pathetic and entitled and massively harmful to both hunter and her mother and potentially to the family he has now, and also there’s not some magical line that separates “normal” people from people who do terrible things to other people, they’re also just people, which isn’t to say “we should forgive them and give them another chance! they’re only human,” more like “you are a person who is capable of hurting others so think about your actions and hold yourself accountable for them.” so i don’t know if it works or if it doesn’t work for me, i maybe have to sit with that one a little longer

6. while i think this movie is better, it does feel like it’s potentially getting into promising young women territory with the pastel aesthetic, focus on women, and shallowness of the storytelling (everything in either of these movies stays very surface level imo). i think it’s a much better movie but still there were parts that felt pretty meh in the same ways

that having been said, it’s a movie i think is going to stick with me and i definitely think it’s worth a watch for anyone curious, but if you’re not already curious, i don’t think you’re missing out so terribly much if you skip it

if you enjoyed this movie (or even were just interested in its themes) here’s some things i would recommend checking out: the yellow wallpaper by charlotte perkins gilman (a woman experiences a mental breakdown after being shut away in her room to recover from “hysteria” while suffering from postpartum depression), white is for witching by helen oyeyemi (also deals with pika as well as horror in domestic spaces), the invisible man 2020 (i feel like these movies have a lot of overlap - isolated glass houses on a cliffside, abusive/possessive men that they have to escape both of whom threaten to - or actually do - hunt them down, a woman experiencing a serious problem that no one takes seriously and is threatened with - or actually experience - institutionalization, commentary on wealth and autonomy), wide sargasso sea by jean rhys (after reading jane eyre of course! follows the character of bertha from jane eyre during her childhood, the early days of her relationship with rochester, and the breakdown of that relationship - similar in relationship with her husband, etc)

anyway yeah that’s all i have to say about it for now but i’d love to hear what you think about it!

[letterboxd]

Best of SXSW 2021.

From properly good Covid comedies to an epic folk-horror doc and an Indigenous feminist Western, the Letterboxd Festiville team reveals their ten best of SXSW Online.

We dug out old lanyards to wear around the house, and imagined ourselves queuing up the block from The Ritz (RIP). We dialled into screenings and panels, and did our level best to channel that manic “South By” energy from our living rooms.

The SXSW festival atmosphere was muted, and that’s to be expected. But the films themselves? Gems, so many gems, whether shot in a fortnight on the smell of an oily stimulus check, or painstakingly rotoscoped over seven years.

When we asked SXSW Film director Janet Pierson what she and her team were looking for this year, she told us: “We’re always looking for films that do a lot with little, that are ingenious, and pure talent, and discovery, and being surprised. We’re just looking for really good stories with good emotional resonance.” If there was one common denominator we noticed across this year’s SXSW picks, it was a smart, tender injection of comedy into stories about trauma, grief, unwanted pregnancy, chronic health conditions, homelessness, homophobia and, yes, Covid.

It’s hard to pick favorites, but here are the ten SXSW features and two short films we haven’t stopped thinking about, in no particular order.

Recovery Directed by Mallory Everton and Stephen Meek, written by Everton and Whitney Call

“Covid 19 is in charge now” might be the most hauntingly funny line in a SXSW film. In Recovery, two sisters set out on a haywire road trip to rescue their grandmother from her nursing home in the wake of a severe Covid 19 outbreak. There’s no random villain or threat, because isn’t being forced to exist during a pandemic enough of a threat in itself? If ever we were worried about “Covid comedies”, SXSW managed to flush out the good ones. (Read about the Festiville team’s other favorite Covid-inflected comedies, including an interview with the directors of I’m Fine (Thanks for Asking).)

Alex Marzona praises the “off-the-charts chemistry” between leads Mallory Everton and Whitney Call. Best friends since they were nine, the pair also wrote the film, with Everton co-directing with Stephen Meek. Every laugh comes from your gut and feels like something only the cast and crew would usually be privy to. “You can tell a lot of the content is improvised, which just attests to their talent,” writes Emma. Recovery doesn’t make you laugh awkwardly about how awful the last year has been—rather, it reminds you that even in such times there are still laughs to be had, trips to be taken, family worth uprooting everything for. Just make sure you’ve packed enough wet wipes for the road, and think long and hard about who should babysit your mice. —EK

The Spine of Night Written and directed by Morgan Galen King and Philip Gelatt

Don’t get too attached to any characters from its star-studded cast—nobody is safe (or fully-clothed) in The Spine of Night’s raw, ultra-violent and cynical world. Conjured over the last seven years, directors Philip Gelatt and Morgan Galen King’s rotoscoped epic recaptures the dazzling imagination and scope of their influences Ralph Bakshi and Heavy Metal. Approaching an anthology-style structure to explore how ‘absolute power corrupts absolutely’—a proverb more potent now than when Gelatt and King began their project—the film packs a franchise’s worth of ideas in its 90-minute runtime. Though the storytelling justifiably proves itself overly dense for some, it will find the audience it’s after, as other Letterboxd members have declared it “a rare treat” and “a breath of fresh air in the feature-length animation scene”. For sure, The Spine of Night can join Sundance premieres Flee and Cryptozoo in what’s already a compelling year for unique two-dimensional animation. —JM

Kambole Campbell caught up with Gelatt and King (who are also Letterboxd members!) during SXSW to talk about animation inspirations and rotoscoping techniques.

The Drover’s Wife: The Legend of Molly Johnson Written and directed by Leah Purcell

Snakes, steers and scoundrels beware! Writer-director-star Leah Purcell ably repurposes the Western genre for Aboriginal and female voices in The Drover’s Wife. Molly Johnson is a crack-shot anti-heroine for the ages, in this decolonized reimagining of a classic 1892 short story by Henry Lawson. And by reimagining, we mean a seismic shift in the narrative: Purcell has fleshed out a full story of a mother-of-four, pregnant with her fifth, a missing husband, predatory neighbors, a mysterious runaway and a young English couple on different paths to progress in this remote Southern land. Purcell first adapted this story for the stage, then as published fiction; she rightly takes the leading role in the screen version, too.

As a debut feature director, Purcell (Goa-Gunggari-Wakka Wakka Murri) already has a firm grip on the macabre and the menacing, not shying away from violence, but making very careful decisions about what needs to be depicted, given all that Molly Johnson and her family are subjected to. She also sneaks in mystic touches, and a hint of romance (local heartthrob Rob Collins can take us on a walk to where the Snowy widens to see blooming wildflowers anytime). Judging by early Letterboxd reviews, it’s not for everyone, but this is Australian colonization through an Indigenous feminist’s eyes, with a fierce, intersectional pay-off. “Extremely similar to a vast majority of the issues and themes explored in The Nightingale,” writes Claira. “I’m slowly realizing that my favorite type of Westerns are Australian.” —LK, GG

Swan Song Written and directed by Todd Stephens

Udo Kier is often the bridesmaid, rarely the bride. Now, after a lifetime of supporting roles ranging from vampires and villains to art-house muse, he finally gets to shine center-stage in Swan Song. Kier dazzles as a coiffure soothsayer in this lyrical pageant to the passage of queer times in backwater Sandusky, Ohio. “He is absolutely wonderful here,” writes Adrianna, “digging deep and pulling out a mesmerizing, deeply affecting and emotionally textured performance, proving that he’s an actor with much more range than people give him credit for.”

A strong supporting cast all have melancholy moments to shine, with Linda Evans (Dynasty), Michael Urie (Ugly Betty) and Jennifer Coolidge (Legally Blonde) along for the stroll. Surreal camp touches add joy (that chandelier, the needle drop!) but by the end, the tears roll (both of joy and sadness). Writer-director Todd Stephens ties up his Sandusky trilogy in this hometown homage, a career peak for both him and Kier. Robert Daniels puts it well, writing that Swan Song is “campy as hell, but it’s also a heartfelt LGBTQ story about lost lovers and friends, vibrant memories and the final passage of a colorful life.” —LK

Leo Koziol spoke with Todd Stephens and Udo Kier during SXSW about Grace Jones, David Bowie and dancing with yourself.

Islands Written and directed by Martin Edralin

Islands is a Mike Leigh-esque story that presents a Canadian Filipino immigrant family full of quirk and character, centered around Joshua, a reticent 50-year-old homebody son. The story drifts in and out of a deep well of sadness. Moments of lightness and familial love make the journey worthwhile. “A film so Filipino a main plot device is line-dancing,” writes Karl. “Islands is an incredibly empathetic film about what it’s like to feel unmoored from comfort. It’s distinctly Filipino and deals with the psychology of Asian culture in a way that feels both profound and oddly comforting.” In a year in which we’ve all been forced to physically slow down, Islands “shows us how slow life can be,” writes Justin, “and how important it is to be okay with that.” Rogelio Balagtas’s performance as Joshua—a first-time leading role—won him the SXSW Grand Jury Award for Breakthrough Performance. —LK

Ninjababy Directed by Yngvild Sve Flikke, written by Flikke with Johan Fasting and Inga H. Sætre

Ninjababy is as ridiculous as its title. When 23-year-old Rakel finds herself accidentally pregnant, scheduling an abortion is a no-brainer. But she’s way too far along, she’s informed, so she’s going to have to have the baby. The ensuing meltdown might have been heartbreaking if the film wasn’t so damn funny. Ninjababy draws on the comforting and familiar (“Lizzie McGuire if she was a pregnant young adult,” writes Nick), while mixing shock with originality (Erica Richards notices “a few aggressive and vulgar moments [but] somehow none of it seemed misplaced”).

An animated fetus in the style of Rakel’s own drawings appears to beg and shame Rakel into motherhood while she fights to hold onto her confidence that not wanting to be a mother doesn’t make her a bad person. Ninjababy’s greatest feat is its willingness to delve into that complication: yes, it’s righteous and feminist and 21st-century to claim your own body and life, but that doesn’t mean it’s easy to turn away from something growing inside of you. It’s a comedy about shame, art, finding care in unlikely places—and there’s something in it for the gents, too. The titular ninjababy wouldn’t leave Rakel alone, and it’s unlikely to leave you either. Winner of the SXSW Global Audience Award. —SH

The Fallout Written and directed by Megan Park

Canadian actress Megan Park brought the youthful wisdom of her days on the teen drama series The Secret Life of the American Teenager to her first project behind the camera, and it paid off. Following the scattered after-effects of a school shooting, The Fallout may be the most acute, empathetic depiction of childhood trauma on screen in recent memory. “It sneaks up on you with its honesty and how it spends time with its lead, carried so beautifully by Jenna Ortega. Even the more conventional moments are poignant because of context,” writes Kevin L. Lee. Much of that “sneaky” honesty emerges as humor—despite the heavy premise, moments of hilarity hang on the edges of almost every scene. And Ortega’s portrayal of sweet-but-angsty Vada brings self-awareness to that humor, like when Vada’s avoidant, inappropriate jokes with her therapist reveal her desperation, but they garner genuine laughs nonetheless.

In this debut, Park shows an unmatched understanding of non-linear ways that young people process their pain. Sometimes kids try drugs! Sometimes they scream at their parents! But more often than not, they really do know what they want, who loves them, and how much time they need to grieve (see also: Jessie Barr’s Sophie Jones, starring her cousin Jessica Barr, out now on VOD and in theaters). The Fallout forsakes melodrama to embrace confusion, ambiguity and joy. Winner of both the SXSW Grand Jury and Audience Narrative Feature Awards, and the Brightcove Illumination Award. —SH

Ludi Directed by Edson Jean, written by Jean and Joshua Jean-Baptiste

When Ludi begins, it’s quiet and dreamy. The film’s opening moments conjure the simple pleasures of the titular character’s Haitian heritage: the music, the colors, the people. Ludi (Shein Monpremier) smiles to herself as she starts her morning with a tape recording her cousin mailed from Haiti to Miami, and listens as her family members laugh through their troubles before recording an upbeat tape of her own. But that’s where the dreaminess ends—Ludi is an overworked, underpaid nurse picking up every shift she possibly can in order to send money home. Writer-director Edson Jean fixates on the pains and consequences of Ludi’s relentless determination, which comes to a head when she moonlights as a private nurse for an old man who doesn’t want her there.

Ashton Kinley notes how the film “doesn’t overly dramatize or pull at false emotional strings to make its weight felt. The second half of the feature really allows all of that to shine, as the film becomes a tender and empathetic two-hander.” George’s (Alan Myles Heyman) resentment of his own aging body steps in as Ludi’s antagonist. Jean throws together jarring contrasts: George throwing Ludi out of the bathroom, followed by Ludi’s memories of home, followed by another lashing out, followed by a shared prayer. The tension is unsustainable. By interspersing the back-breaking predicament of a working-class immigrant with the sights and sounds of the Caribbean, Ludi elegantly, painfully reveals what the cost of a dream can be. —SH

Woodlands Dark and Days Bewitched: A History of Folk Horror Written and directed by Kier-La Janisse

Building on the folk horror resurgence of films like The Witch and Midsommar, Kier-La Janisse’s 193-minute documentary Woodlands Dark and Days Bewitched is a colossal, staggering undertaking that should school even the most seasoned of horror buffs. “Thorough is an understatement,” says Claira.

Combining a historian’s studied, holistic patience with a cinephile’s rabid, insatiable thirst, the film, through the course of six chapters, broadens textbook British definitions, draws trenchant socio-political and thematic connections, debunks myths and transports viewers to far-flung parts of the globe in a way that almost feels anthropological. As Jordan writes, “Three hours later and my mind is racing between philosophical questions about the state of hauntology we generationally entrap ourselves in, wanting to buy every single one of the 100+ films referenced here, and being just a bit in awe of Janisse’s truly breathless work.” An encyclopedic forest worth losing yourself in—get ready for those watchlists to balloon. Winner of the SXSW Midnighters Audience Award. —AY

Introducing, Selma Blair Directed by Rachel Fleit

There’ll likely be some level of hype when this intimate collaboration between actress Selma Blair and filmmaker Rachel Fleit comes out later in the year on Discovery+, and that’s okay, because that is Blair’s intention in sharing the details of her stem-cell transplant for multiple sclerosis. There’d be little point in going there if you are not prepared to really go there, and Introducing, Selma Blair is a tics-and-all journey not just into what life is like with a chronic condition, a young son, and a career that relies on one’s ability to keep a straight face. It’s also an examination of the scar tissue of childhood, the things we are told by our parents, the ideas we come to believe about ourselves. “I almost felt like I shouldn’t have such intimate access to some of the footage in this documentary,” writes Andy Yen. “Bravo to Selma for allowing the filmmakers to show some truly raw and soul-bearing videos about her battle with multiple sclerosis that make us feel as if we are as close to her as family.” —GG

Femme Directed by Sam H. Freeman and Ng Choon Ping

I May Destroy You fans, rejoice: Paapa Essiedu, who played Arabella’s fascinating best friend Kwame, takes center stage in Sam H. Freeman and Ng Choon Ping’s intoxicating short film Femme. It’s a simple premise—Jordan, a femme gay man, follows his drug dealer (Harris Dickinson, mastering the sexually repressed brusque young man like no one else) home to pick up some goods on a night out. Except, of course, it’s not that simple. The co-directors build a world of danger, tension and electricity, with lusciously lensed scenes that lose focus as the threat rises. Frankie calls it “hypnotizing and brutal and gorgeous” and we couldn’t agree more. A crime thriller wrestling with hyper-masculinity seen through the eyes of an LGBTQ+ character, with a sucker-punch ending to boot, the world needs more than twenty minutes of this story. —EK

Play It Safe Directed by Mitch Kalisa

If you (unwisely) thought that the vulnerable, progressive environment of drama school would be a safe space for Black students, Play It Safe confirms that even a liberal bunch of actors (and their teacher) are capable of being blind to their own egregiously racist microagressions. Mitch Kalisa’s excellent short film explores structural prejudice head-on, in an electric acting exercise that rests on where the kinetic, gritty 16mm camera is pointing at every pivotal turn. At first, we’re with Black drama student Jonathan Ajayi as he receives the assignment; then we are with the rest of the class, exactly where we need to be. “Literally in your face and absolutely breathtaking,” writes Nia. A deserving winner of the SXSW Grand Jury and Audience narrative shorts prizes. —GG

Follow the Festiville team on Letterboxd

[theparanormalperiodical]

Halloween (1978) - Based On A True Story

It’s the tagline that haunts the horror film industry: Based on a True Story.

Typically, it roughly translates to “a door moved several feet so shit this is a haunted hizzle ma dudes”. Or, it represents some of the most iconic moments in paranormal phenomena.

It was Halloween (1978) that surprisingly slotted itself into the second category of films.

Halloween is famous for several reasons, indeed, it’s one of the most celebrated horror films to have graced your not-so-legal streaming site. 

It’s a cult movie for slasher fans, and it’s name has centred it as a must-watch during this season. And it’s all because it echoes out those eerie vibes of urban legends, but snaps us back to the chilling reality of pyscho-killers when we need it most.

It even started the slasher film craze that would tumble one corpse-domino into the following decades.

And it’s based on a true story.

Which, ya know, that’s fine, this is so fine, this is great.

So, it got me thinking: what was this true story? And are there any other similar stories that we need to know about come Halloween night?

Unfortunately, there are.

There are so many.

Today’s post is going to take us back to the story that inspired the Halloween series, the similar stories that bulked up the shocking reality of the 11-film saga, and the urban legends that still echo out these themes.

So, whether you’re carving a pumpkin, or piecing together your costume with a hot glue gun, settle in.

Let’s get spooky!

First, let’s recap the Halloween saga.

And lord, she’s a saga.

Across 11 movies we witness one plotline: this bloke, Michael Myres, stalks Laurie Strode.

No, he is not the lovable voice behind shrek.

And no, ‘shaggable’ is not used as a comical easter egg mid-murder in these movies.

But despite this basic plotline, normally a dash of back story is chucked into the occasional prequel-sequel-who’s-a-what’s-now to shake things up and drag it across 11 films.

Take the backstory of Laurie Strode - she’s his estranged sister, a connection which is dragged down to her daughter, Jamie. This is the central line that the series dances around.

It’s a bit like American Horror Story - you know when every season has a different setting?

There’s been a college massacre; there’s been a hospital of horrors. There’s been more reboots then Britney Spear’s career!

But pushing aside the mess of writers chipping in a line for each screenplay, and wiping off the fake blood coating the legacy of films, one thing is for sure:

We centre on a psycho-killer who defies all psychological analysis.

Michael Myers is pure evil.

That’s the point. 

It’s the true fear that I think we all have - it’s this unrelenting force that’s out to get you and will not stop, will not sympathise, will not suffer nor scar.

And so we arrive at the true story behind this phenomenon of a franchise.

Unless you’ve been stuck under a rock for, what, 40 years - no seriously, I did maths and everything - then you will be oblivious to the Halloween saga.

But for everyone else, there is only one image that pops into the head when it comes to these films - and it’s Michael Myers in his white mask, and cloaked in a blue jumpsuit.

#OOTD

And he is based on a true story.

The OG director and co-writer of the OG film - John Carpenter - was approached with the premise of a film many moons ago.

And let’s be honest: it’s more basic than I am.

The whole idea was that this psycho-killer slits bitches up on All Hallows’ Eve. Simple, right?

Well it was Carpenter that added the twist on Myers that sent this flick head-first into film history.

Carpenter was reminded of an encounter he had at University whilst visiting a mental institution. He came across a boy, maybe 12 or 13 years old.

And he had this look.

He had this look that he could only describe as emotionless, as pure evil - and this probably inspired this quote from the film from Myers’ psychoanalyst:

"This blank, pale emotionless face. Blackest eyes. The devil’s eyes. I spent eight years trying to reach him and then another seven trying to keep him locked up, because I realized what was living behind that boys’ eyes was purely and simply evil."

Oh, you thought it stopped there?

Oh, my little ghoul.

No, it continues.

Myers is believed to be complete and utter evil. And this is based on the historical root of Halloween.

Samhain is the celtic celebration behind the best day of the whole entire year. And in basic terms, it is the conflict between summer and winter, or, between good and evil.

Sound familiar?

Okay fine, every horror film - no, scratch that - every goddamn film is about the fight between good and evil.

But it’s Halloween that brings this up. Halloween drags it up from the depths of hell and puts a white face mask on it.

However, legend has it that there is another real life story that directly influenced it: and that’s the murders committed by Stanley Steirs.

Take yourself back to 1920. 

On Halloween night, Stiers went on a killing spree, going so far as to murder his own family.

Carpenter - nor, anyone affiliated with this cult series - makes mention of Stiers. But it’s safe to say that the sheer volume of murders that happen to fall (or purposefully striking) on Halloween is nothing short of inspiration.

The film might stick to the big screen, but the reality is never too far from the cinema doors.

It’s here that we turn to these real life events.

I’ve found five major events of murders, assaults and kidnapping that have collided with Halloween, mirroring the images on the big screen.

(Yeah, it wasn’t a positive google search experience.)

And none of them fall short of the actual movie inspiring this post.

We start in 1975, a mere 3 years before the original film hit the cinemas.

It was the morning of Halloween when Martha Moxeley was found beneath a tree in her backyard. She was dead, murdered via a beating with a golf club. 

It was 25 years later that Michael Skakel - then, a 15 year old body - was arrested and convicted for her murder. This story gained attention not for the gruesome circumstances of Martha’s death, but because of the sheltered, and famous life he had lived.

He was the nephew of Robert F Kennedy’s widow, and had spent him life swanning around the elite circles.

His alibi? Well, it’s just as disturbing as her death. 

He claims that the reason his DNA was on her body was because he was masturbating underneath the tree she was found under on the same day.

These themes aren’t so unheard of in Halloween - indeed, the opening scene features the uncomfortable sex scene of Michael’s sister and her boyfriend before he stabs her to death, completing his first kill.

We then jump forward a few decades, and dive headfirst into arguably the decade of the most Halloween related murders. Indeed, given the stretch of slasher films before this decades that were spiked by the movie inspiring this post, the film itself could have figured as an ambition for these murders.

And it starts in 2002.

Chris Jenkins - a student at the University of Minnesota - was last seen alive at a bar on Halloween night. Four months later, his body - still clad in appropriate Halloween get-up - was found in the Mississippi River.

This is not the first halloween-related catastrophe to be witnessed in this river. 

Obviously someone falling into a river on a infamous night of parties and revelry can be seen as either an accident, or a suicide. But it was 4 years later that the death was reclassified as a homicide.

Even though someone did confess to the police that they witnessed a murder, it is still shrouded in a mystery fit for an urban legend.

Particularly as it is rumoured to be a victim of the Smiley Face Murders.

Basically, 40 male college students in the US died of drowning around the same time, and graffiti of smiley faces was found around the sites of the murder.

The murderer was never found.

Next, we turn to a similarly urban-legend like story: the murder of Leslie Mazzara and Adriane Insogna.

It was 31st October 2004, and three roommates - including those that were murdered - were enjoying Halloween night. Having handed out Halloween candy all evening, Lauren Meanza awoke to the sounds of a scuffle at 1am.

She fled the house in fear, and turned around to see someone climb out of one of their windows.

She ran back inside, only to be greeted by the corpses of her roommates.

Nearly 1500 people became persons of interest, but it was when Eric Copple - who was apart of this pool - refused to cooperate by handing over DNA, suspicions were roused.

A year later, he confessed to the murders.

No motive was given, but he was engaged to a friend of one of the victims, creating a peculiar link that must’ve inspired the events of that fateful night.

6 years later, an Ohio teen encountered a similar situation.

He returned from a church service to the bodies of his murdered family, including his new stepfather, William Liske.

The killer behind the murders was found to be Liske’s son from a previous marriage who had a history of violence and schizophrenia.

2009 too witnessed a grotesque event.

3 teenage girls were held at gunpoint and abducted following an evening of trick-o-treating, and were sexually assaulted in a wood. Luckily, one of the girls was able to use her phone to call for help, causing the kidnapper to flee.

When he was eventually arrested in 2012, it followed a string of previous sexual assaults that have occurred since the late 90s.

Our final murder takes us to Halloween night, 2011.

Taylor Van Diest was believed to have just left a Halloween party when she was beaten to death near railway tracks.

The story only gets ever-more terrifying considering she texted her boyfriend shortly before the attack to tell him that that someone was following her.

The police eventually found DNA of the killer underneath her fingernails, leading them to the culprit.

Traumatised? Me too.

But these tales don’t end with finished cases, and they certainly don’t end with the credits of the films they inspire.

They come back to haunt us in the urban legends set on Halloween.

Clearly, halloween-inspired murders make the most iconic urban legend concept. It’s the scariest time of year, and what’s scarier than, well, murder?

One of these legends sticks to this theme, closely mirroring the film in question.

It’s affectionately known as the 1962 Idaho Massacre. The story goes a man in a black mask attended a Halloween party in - you guessed it - Idaho.

He proceeded to lock all the doors, and then murder each and every attendee of the party. Well, he is believed to have killed 7 before escaping.

He was never found. But it is still claimed that his mask was found by the FBI in 1969.

The murder train continues with the most noughties urban legend ever.

In 2008, an email chain warned people that a gang was to hold an initiation on Halloween night.

And the task that needed to be completed?

The murder of 31 women, each death a day of the month.

And in true urban legend fashion, 140 women were to be killed in another version of the email, and so the list of variants continues.

Our next tale of terror sticks to a more classic halloween story - that of the haunted house:

Well, this house either exists in Pennsylvania, Detroit, or Chicago; regardless, this is a typical and twisted tale often encountered with urban legends.

The story goes that a haunted house with 13 floors exists. I mean, fuck that’s a tall house, how did they get that signed off?

But the legal repercussions are not the frightening feature of the story.

The challenge is to make it to the top floor alive. If they do, they win some cash. If they don’t… well they're dead, so there's that.

Legend has it that no one ever made it to the top floor.

It also doesn’t exist, but anyway.

What about the campus massacres of halloween night?

Every year, from 1960 to 1998, psychics would make the same prediction for Halloween night. No points for guessing what the prediction was…

Next is the rumoured threat to animals.

Satanists have always been supposedly murdering black cats on Halloween for decades. Or maybe it’s witches capturing them for ceremonies? Or maybe its National Kill a Pit Bull Day, the all-American hoax that cropped up in 2012?

Either way: no one is safe. Not even ya doggo.

Our final urban legends prey on children, and infer that they will either be drugged, poisoned, or stabbed on some sort of sharp implement.

Happy Halloween, everyone!

These are the most prevalent legends, especially since trick-o-treating and dressing up are children’s activities, even if we all like to partake - child or not.

Some real life cases have even informed the fears that candy has been spiked with poisons, such as the case of the poisoned Pixy Stix.

It was Ronald O’Bryan who spiked his son’s candy with cyanide with the ambition of receiving a hefty insurance cash payment.

There have even been rumours of temporary tattoos being laced with LSD!

The original icon for this was a blue star, but this eventually included other unsuspecting images such as Mickey Mouse.

Cause nothin’ says drugs like Disney.

Now we turn to pointy things.

Commonly needles and razors blades are rumoured to be concealed among halloween treats handed out to kids. This was even proven in 2000, when a man was charged with concealing needles in chocolate bars.

Not convinced by razor blades? What about drugs being smuggled across borders, or handed out to children?

Fact is, these urban legends could go on forever.

They twist, they turn, they come back around full circle, and they pack up shop to move to different parts of the world.

And when we finally think we are safe from the myths and legends that haunt halloween…

Tragedy strikes.

Fact is, Halloween isn’t just based on the demeanor of one psychotic teen. 

It’s based on stories that happen year upon year, reminding us that urban legends are never too far from the truth. 

[onedirectionfanfics]

Stall by @MysteryMixtapes 

This month’s featured story is our first one from Wattpad! Stall by MysteryMixtapes piqued every Harry stan’s interest over the summer. With over 3.5 million reads, it is one of the beautiful, funniest and most-heartbreaking fanfic on Wattpad. Prepare for your heart to melt as Abby, shy as a mouse, cracks Harry’s tough cocoon in this dangerous fic involving high-end clubs, sketchy people, and—of course—a bathroom stall. Check our interview with the author below!

"You wanna try and be my medicine Abby?" he asks with a deep testing tone, keeping his voice quiet.

"I can try," I breathe out as I gulp when his grip tightens "Try me."

His hand slides up my throat, his long fingers wrapping tight around my jaw "That's what you really want?"

I nod, as I sigh out a shallow yes, and I see every muscle in his body tense, as he wets his lips; hoarsely murmuring his next sentence like its his last try at making me change my mind.

"I'm dangerous Abby, this is your last chance, tried to warn you."

My stomach twists and knots, as I use every ounce of bravery I have.

"Prove it then."

How long have you been writing for?

I’ve been writing since December 2018. So about 9 / 10 months give or take. I only started writing when I made my wattpad account, never had any inclination to do it before a day in my life. I’m surprised I can spell, honestly. Stall was the first story I’d ever written.

Do you have certain habits or rituals you have to do while writing?

The only habit I really have is listening to music. I can’t write without it (or at least hate writing without it), but other than that, not really. I just whack on some tunes and verbally vomit from my brain.

The ever famous question: how did you come up with this idea?

This is a hard question for Stall, because there’s like a clusterf*ck of answers that all kinda got mashed together. I wanted to write a cliche bad boy / good girl, with the stereotypes and see if I could make it interesting. Put my own twist on it, give it substance or good reasoning, and honestly the start of the story is kind of poking fun at bad boy characters. It was all on purpose. I like things that aren’t what they seem, and I like breaking stereotypes so for me, using that cliche was fun to play with and break down. I like paradoxes and enigmas too. I wanted to write a character that should be, by all accounts technically unlovable and essentially a villian; then see if I could make him loveable and have that as a romantic lead. I wanted to see if I could make a character like his, someone people would empathise with and feel compassion for. Plus it was an opportunity for me to mash all these genres together (romance / mystery /thriller / horror / comedy / erotic) into one big mess, that happens to be my book. I also wanted to write a shy female lead, that was super kind but not weak. Kindness is a strength. I wanted to show that. I dunno, I have a dark sense of humour and like horror movies, and cult 90’s films so that influenced it a lot as well.

When does a story go from an idea in your mind to paper? Is there a process you go through before writing it out, or do you just get straight in it?

Okay, so first of all I would like to start off with I am THE MOST disorganised person, ever. I suck at planning and for the most part, my stories are just in my head and I wing it as I go with a general idea / goal / outcome / theme in mind. I really don’t have some fantastic answer, it’s literally just “That sounds kinda cool, I wanna tell that story” and hope I don’t f*ck it up. They go from an idea to paper, when I literally can’t get the damn idea out of my head and it’s going to drive me up the wall until I get it out.

You have a well-developed and complex plot, spanning over a hundred chapters. Was this something that took you a long time to build? Do you ever make stuff up as you go?

I think it’s really lovely, that you think I have a well developed plot - because I didn’t think that haha. I was shocked the first time someone said that to me, and didn’t even realise I was following a ‘plot’. I know nothing about writing, I didn’t even know I was doing character development. I just wrote what made sense to me, and followed that to be able to tell the story. So I was LITERALLY just making it up as I went. My plan is that I had no plan at all, except for a vague idea. I wrote the entire thing in 5 months.

Did you ever find it hard to keep up with the plot or the twists and turns? 

I mean, it was a headache. But it wasn’t hard to keep up with because I only wrote what made sense to me and I wasn’t trying to shock anyone, or throw in twists for the sake of it. They all had a good reason or purpose so they weren’t hard to keep up with, for me personally.

Harry’s extreme fear of water, while unusual, was written well enough to make all of us scared of it for him. Do you have any strange phobias, you can never get over (or one you did get over?)

I have a huge phobia of spiders (which is unfortunate considering I live in Australia and we have giant ones that just hang out on your wall like they pay rent) and I’m not overly fond of heights, but I wouldn’t call it a phobia. But in saying that, I’d rather get in a bathtub of spiders than ever do something like public speaking.

There are a lot of dark themes involved in this story, from domestic abuse to torture and PTSD, do you enjoy working with these themes? Are they challenging in any way?

There are a lot of darker themes in that book, and I tend to have an easier time writing them. I usually only write about what I understand, or what I’m interested in. I’m really interested in human psychology, and the ‘why’ in understanding the reason people act the way they do. The cause and effect of things. I also like writing things with lots of emotion. It can get really difficult to write, there’s been a fair few times it took a really heavy toll on me mentally and emotionally writing some of the scenes in that story, and took me a few days to even feel normal again. I guess being a writer is just hurting your own feelings with fake scenarios, hey? But I also think writing is where you can be the most honest, and there is a lot of honesty in emotion.

How do you find such perfect gifs for the end of every chapter?

If you’ve read Stall, you’re gonna know why this is blasphemy. But I get them from Google (heinous, I know, shame on me). Another thing wattpad has taught me, is apparently I’ve got a knack for reaction gifs. hah.

Not to make Abby sound like a Mary Sue, but you often write her exact thoughts in response to things she can’t voice out loud. Is this your way of subtly inserting your own thoughts sometimes?

I put a lot of my own thoughts in the story in different ways, and Abby’s inner monologue is a funny way to do that sometimes. But I do it with Harry too. Abby thinking her responses was all part of her character, for her to get to a point where she could actually say what she was thinking at some point aloud. It was something for her to grow with.

Other than meeting once three years prior to the events in the story, Abby and Harry’s lives are more connected than we thought. Would you consider them to be soulmates with entwined fates or is there a possibility that they could have never met and none of this would happen?

I don’t consider them soulmates, I’m a bit pessimistic in regards to the notion of soulmates but I believe in variations of them. I do think, most things happen for a reason and inexplicable coincidences happen in life and that’s what I'd boil it down to. Honestly, there’s several times where things could have went ass backwards with those two, and they never would have seen each other again, but as luck would have it - they met again. (It's me, I am luck.)

Anything you’d like to say to anyone who read your fic?

Ah man, that’s a hard one. I wrote half the story drunk, and have the typos and random grammatical dumpster fire parts to prove it because it’s all a first draft and totally unedited, so I’ve never exactly been out here thinking anyone would read it and I’m still f*cking gobsmacked anyone did, let alone liked it. But, if you’ve read my word salad and liked it, I appreciate you and you’re the ranch dressing that made it special.

***

Thank you so much to the author for being so lovely! Check out more of her work here! If you want to submit a fic you think should be featured next month do it here!

[ladylilithprime]

Sastiel Creations Challenge | @ladylilithprime

↳ Theme: One More | Prompt: Day

Fluff Bingo Square: Movie Night

=I Did Not Live Until Today=

Read on AO3

MOVIE NIGHT IN the Bunker had been originally instituted by Dean, and the insistence of Sam that everyone in the Bunker, especially a stressed out and overworked teenaged Prophet of the Lord, needed to take regular breaks to relax and unwind before the constant "go, go, go" made them all go crazy. Hunts would occasionally interrupt the ritual, postpone it for a couple of days, but none of them were allowed more than ten days without a mandatory Movie Night. Dean had insisted that Castiel join these movie nights whenever he was around, intent on "educating" the Angel in what he termed the "classics" of cinema. Castiel had confided privately to Sam that, upon viewing these so-called classics, he was gaining more of an understanding of Dean than he was of why the movies were classical, which Sam had assured him was normal.

Movie Night had been weird after the Trials, because Sam would start out watching the movie with Dean and whoever else was there, but suddenly it would be hours later and he wouldn't remember actually watching any of it despite not having moved. In the wake of Crowley showing up in Sam's head with the brothers' code word tripping off his tongue to warn him that he had an angelic passenger who had taken over the driver's seat, Sam figured he knew what had happened and maybe he felt a little tiny flicker of gratitude for Gadreel sparing him having to watch the monkey movies again, but that was drowned out by the overall feelings of shock and betrayal and rage because how could Dean do this to him?!

It was Sam's decision to continue Movie Night even though it was just him and Castiel in the Bunker now. The original purpose of enforcing a break on overworked humans was still valid, even though now the overworked human was only Sam, and the secondary purpose of introducing Castiel to human entertainment was also still in effect, perhaps even more so after Metatron had downloaded a huge selection of American pop culture into Castiel's head without much in the way of context. Without Dean to steer the selection towards action films and neither of them particularly interested in watching mindless violence and gore, plus Sam's increased aversion to psychological horror films, the movies they watched tended to veer more towards musicals. If Castiel suspected that this, too, might be a bit of Sam's rebellion against Dean's stubborn adherence to mullet rock as the only valid music to listen to, well, he didn't call Sam on it and Sam didn't choose to admit anything.

Tonight was another designated Movie Night, not because it had been too long since the last, but because Sam knew that after the failure of the tracking spell with Gadreel's extracted Grace he, at least, needed something where the fate of the world was less dependant on the outcome. In hindsight, queueing up Les Miserábles was probably not the best idea given the overall setting of the movie and the themes of melancholy and grief that pervaded it, but he suspected Castiel would appreciate the other themes of faith and sacrifice and second chances.

He probably should have expected Castiel's analysis of the story's themes to extend to their lives, but somehow it didn't even occur to him until Castiel blindsided him with an abrupt declaration that Jean Valjean reminded him of Sam.

"I'm sorry?" Sam blurted, not sure he had heard the Angel correctly.

"He is a good man who committed criminal acts for a good cause and was harshly punished for it even after his incarceration ended," Castiel explained, gesturing to the screen where Valjean's pay was docked in front of the other workers, who were openly hostile. "It does not matter to these people that his intentions were noble - to feed his family - or that the crime was relatively minor, all they see is the criminal record and discount the good heart of the man who committed it and is stained by that record in the eyes of the society he serves."

"Cas, that's not... I started the Apocalypse!" Sam said, shaking his head. "That's a good bit worse than stealing a loaf of bread and running."

"You killed a demon," Castiel disagreed. "A demon you had been told by everyone around you was responsible for breaking Seals and that killing her would stop things. You were deliberately not told that she was the final Seal and that killing her would release Lucifer because enough angels, myself included, believed that if you knew the truth then you would not have killed her. Yet you do not blame me for lying to you, or for changing my mind and breaking through my conditioning too late to send Dean in time to stop you. Nor do you blame Dean for breaking under Alistair and being the one to break the first Seal which set things in motion. Instead, you continue to allow people, including Dean who should really know better, to cast the blame for things beyond your control onto your shoulders and even take on blame and responsibility where there should be none, forgetting that any penance required for playing a part long ago set out for you has been more than served."

Sam looked away from Castiel's placid, deeply knowing expression, but found he couldn't focus on the screen until a flash of silver catching light drew his attention. "Look, I don't... whatever redemption I might have earned with jumping has to be cancelled out by the things I did after getting out again, especially all the crap I pulled without my soul--"

"Do you think yourself responsible for your soulless self's actions, even though your soul was still in the Cage being subjected to Michael and Lucifer's torments?" Sam frowned a little at the low notes of guilt and sorrow in the Angel's voice and looked over, but Castiel wouldn't meet his eyes, staring instead at the screen as the old priest backed up Valjean's lie of gifted silver and gave over the candlesticks as well. "Hm. Heaven has not treated you nearly so kindly as this priest does..."

"Castiel," Sam started to reach out, but found his courage falter and lowered his hand with a sigh. "I know you didn't leave my soul behind on purpose. I knew it then, too, even with you keeping secrets and never having mentioned it before that moment... sorry, too, about the holy fire."

"There is no apology necessary," Castiel refuted, though Sam thought he looked moderately grateful for it anyway. "You were right to be suspicious of my actions and motives at the time, if not for that specific reason."

"Still..."

"Sam, I assure you, I hold no ill will over your suspicion of me, nor for your actions to try and stop me. If anything, I am deeply grateful for your continued faith in me even after I had gone off the reservation and done you considerable harm." Castiel shook his head. "We are getting away from the main subject, which is that you are not responsible for the actions your body committed without your soul present."

"It was still my body," Sam argued. "My... impulses or whatever, stripped of my inhibitions--"

"Not true," Castiel interrupted. "Stripped of your higher empathic functions and natural moral compass that is your soul, your body behaved with logical precision not unlike how most Angels would act. While that behavior likely seemed heartless or 'dickish' at times, this was in part because of the contrast to your usual compassion and kindness, but you weren't actively malicious or uncontrolled. Everything, including the decision to go to Dean with the suspicion that something was wrong and to ask him to be your moral compass, was meticulously and logically thought out and reasoned for the most optimal outcome. Recall that your soulless self felt that it was for the best that your soul be retrieved and rejoined with your body, and only rejected the plan when the possibility that doing so would kill you was presented."

"Whereupon I promptly tried to kill Bobby! Cas--"

"Sam," Castiel turned fully to face him and glared at him in a way that reminded Sam forcefully of the fact that this was an Angel of the Lord. "You. Are. Not. To. Blame. Your soulless self attempted to kill a man who showed every sign of being ready to kill you by forcefully reuniting your damaged soul with your body. A soul, I must add, which did not deserve the torment inflicted upon it and to which we owed the continued existence of the human race."

"I was just--"

"Cleaning up your mess, so you've said." Castiel was beginning to look frustrated. "But the Apocalypse was not just your mess. It was Dean's, and mine, and Lucifer's, and Michael's, and every angel and demon and human servant of either side who worked towards setting it off earlier than my Father planned. I would even venture to say that it was my Father's fault for refusing to step in when, despite Raphael's delusions, we had very clear evidence from Joshua that He is still alive and close enough to be aware of the situation." The Angel reached forward then and covered the shell-shocked human's nearest hand with his own. "Your soulless self recognized that, and recognized the unfair imbalance, and quite rightly called us out on our lack of respect for you and your sacrifices. Since regaining your soul, Dean's insistence on leaving past transgressions in the past except when it suits him to drag them out as evidence of culpability and questionable judgement has driven your self-confidence down to the point where you have even allowed Dean to make you believe yourself at fault for not looking for a brother and non-human friend whom you had every reason to believe were dead and at peace.

"No more," Castiel said with a fire in his vessel's blue eyes that had nothing to do with his borrowed Grace. "Sam Winchester, you will listen to me and believe this if nothing else: You. Deserve. Respect. And for my part in allowing others to be negligent in giving you that respect, you have my apologies."

For a long moment, Sam could do nothing more than stare at Castiel, stunned speechless and feeling more than a few echoes of the old awe and wonder with which he had first viewed this Angel of the Lord who had saved his big brother from Hell. It seemed impossible to believe, even with Castiel staring into him and all but demanding that he do so. For all he knew, he had fallen asleep on the couch next to Castiel and all of this was somehow some sort of incredibly vivid dream like the ones he tried to pretend he didn't have about the Angel, because if anything stood a chance at making their current arrangement far more awkward than it ever needed to be....

Castiel must have seen something of his thoughts in his expression, because the intensity faded into sadness and then, before Sam could gather his wits enough to try and reassure him, turned to resolve. "I will remind you of this conversation later, so as to establish better credibility."

"Um..." Sam blinked. That was unexpected. "Okay? Thanks? I'll... work on believing you, Cas, I will, I just...."

"Have several years of conditioning for expecting the worst to work around, as well as the more recent problems with maintained perception of reality," Castiel nodded. "I will remind you as often as is necessary of your worth and worthiness."

Sam nodded, more for the lack of any other way to acknowledge Castiel's words than out of agreement or understanding, jumping a little when the music from the television screen picked up in volume. He turned back to the movie, flushing darkly when he realized that they'd completely missed Fantine's entire arc and Valjean's crisis of conscience, and reached for the remote. "Oh, hey, let me--"

"No, it's--" Castiel's grip on Sam's hand tightened, then released with enough abruptness that Sam found himself stopping anyway, turning questioning eyes on Castiel. "I confess that I have been, ah, 'cheating' with this film, as it is one of the stories that Metatron saw fit to share, though not this particular version."

"Should we put on something else?"

"If that is what you prefer. I am enjoying watching it with you regardless."

It was on the tip of his tongue to ask if that was because of Castiel's bizarre comparisons between Sam and Valjean, but he swallowed it back and instead forced himself to settle back into the couch beside Castiel to watch the introduction to the Thénardier family and Cosette. The silence stretched between them as the music played, until--

"Sam? Why is Thénardier's wife making that gesture when she sings that there is 'not much there'?"

Sam swallowed down the urge to choke or laugh, because of course Castiel would ask about that. He cut a sharp glance in the Angel's direction to check if he was being trolled, but Castiel's expression showed only genuine puzzlement. "Uh... Well, I mean, uh... some guys get kinda hung up on penis size, uh, taking the whole 'bigger is better' idea way too seriously and, uh, thinking that bigger size makes them better able to please their partners, which, uh, really isn't true across the board. And, uh, there are a lot of guys who think that having those, um, extra inches is all they need for it to be good for their partner, which also isn't true." He found himself looking at the screen in a gambit to not have to meet Castiel's eyes, and moments later he pointed. "See, she's saying the line again without the gesture. So, uh, the implication is Thénardier falls doubly short of the mark."

"I see," Castiel said, his tone meditative. With his eyes averted, Sam couldn't see the speculative look the Angel sent in his direction, though he definitely heard the pointedly dry tone when Castiel added, "Mrs Thénardier would do better to find a more skilled pizza man."

Sam jerked his head around to stare at Castiel again, but this time the Angel's expression was the same sort of bland that he used when trolling Dean, and so Sam managed to force out a chuckle for the joke before settling in to watch the dynamics between the Thénardiers and Cosette with its very Cinderella vibe. Castiel muttered something about "punching John Winchester again" that made no sense and Sam wasn't sure he wanted to know about anyway, and then made a brief comment about Cosette's dream being similar to many human interpretations of Heaven, but otherwise said nothing until Valjean told Cosette that he was now her father.

"Another parallel," he said. Sam, who had hoped Castiel had forgotten about his weird fixation by this point, blinked in confusion.

"Uh, Cas, I'm pretty sure I haven't gone and adopted any random kids," he pointed out. Really, that seemed more like something Dean would do than him, Dean actually really liked kids and liked the idea of being a dad while Sam... not so much.

"Random, no," Castiel agreed. "You are, however, extraordinarily compassionate. I suspect that, if presented with an orphaned child whose situation required more specialized guardianship than a more normal human fosterage system could provide, you would be an excellent parental figure." He was silent for a moment, pensive and troubled, and then said, softly, "I had never had Nephilim of my own, nor am I likely to do so in the future, but if I did and was unable to care for the child myself, I would ask you."

"Me?" Sam gaped at him. "I mean, why me? Why not Dean?"

"Dean has an unfortunate history of being less than tolerant of supernatural occurrences, of children with powers beyond most human capabilities," Castiel said, shooting an apologetic glance at Sam even before Sam was aware of wincing. "A Nephil would inevitably have powers, and I am a Seraph. Only an Archangel could overpower and suppress the Grace of a Nephil sired by me, and there are no more Archangels available to do so. You have powers of your own and training in using them, albeit with an enhancement method that I would not recommend using with a Nephil, and would be well suited to teaching."

"Cas, my powers--"

"Are yours and yours alone. Azazel may have forcefully activated them on his own schedule and attempted to corrupt them and, through them, you, but he - and Ruby - failed. Your soul is far too pure and good for their hooks to find permanent anchor."

"But... I mean, you... angels... you always warned me against using them...."

"Only because the method with which you were amplifying them - that is, drinking demon blood - was so dangerous to you and the people around you, and training them to full strength properly after first tearing down Azazel's blocks would have taken considerably more time and effort... and, I suspect, those of my superiors actively assisting in bringing about the Apocalypse did not want you learning to use your powers without the addictive crutch of demon blood that could be used to prime your rage and point you at Lilith when the time came."

"So why are you just now telling me this?"

"Well," Castiel glanced away, looking somewhat sheepish. "To be honest, I did not realize that you were unaware that your powers were innate and not actually demonic in origin until I overheard you speaking of them in past tense as if they no longer existed because you were no longer drinking demon blood rather than you simply not using them. Given my clumsy understanding of social nuances and the complex mix of negative emotions you associate with your powers, I erred on the side of caution and did not mention it until our current conversation provided an opening."

Well. That was fair. Even so, Sam couldn't help but stare at Castiel as he attempted to process everything he had learned in such a short amount of time. The fact that the majority of Angels hated him was not new, but the fact that Heaven had actively sabotaged his efforts to be better than the demon blood that tainted him was... also not new, exactly, but Sam had never expected to hear it put so bluntly in conjunction with reassurance that his powers - and, by extension, Sam himself - did not come from a source of evil.

Even more bewildering was the hypothetical child Castiel spoke of and his assertion that Sam, not Dean who had always longed to be a parent, but Sam who had barely ever had anything to do with children even when he had been one, was to be given custody of the hypothetical Nephil if Castiel was incapacitated. The way Castiel had talked about the subject made it clear that he had never had Nephilim himself, and Sam knew that the creation of Nephilim was outlawed, and yet the Angel was sitting there, calm as you please, declaring that if he did ever have a child with a human and needed another parent besides himself and, presumably, the mother, that he would pick Sam. Sam, who was uncomfortable around kids at the best of times, even if he could fake passable competence in an emergency. Sam, who wouldn't trust himself to look after a completely human baby, never mind one that had "phenomenal cosmic powers" at its disposal. Sam who, until earlier when Castiel had declared that "nothing is worth losing you", had thought that Castiel might possibly consider him a friend at best and tolerated him as a reasonably useful asset at worst. Mind-boggling just didn't cover it.

And that wasn't even touching the whole thing with Castiel sounding like he was defending the actions of his soulless self. The subject of Sam's time topside without his soul was something Dean had never hesitated shut down hard, but Castiel had sounded almost... complimentary. Which made no sense, Sam knew, because without his soul he had been a tactless jerk, not--

"Your soulless self recognized that... and quite rightly called us out on our lack of respect for you and your sacrifices."

Sam swallowed against the lump forming in his throat, and again when it refused to be dislodged. Everything he did to help people, to try and make up for the damage he had caused, it never felt like enough. All the centuries spent in the Cage with Michael and Lucifer systematically taking out their rage on him amounted to only a year and a half on Earth, and the tortures blurred together to the point where Sam had long since lost count of how many centuries it had really been, shoving it down and shoving it down, his shaky forays into meditation and reshuffling his mind only managing to build the flimsiest of fences between his conscious mind and that echoing chasm of memory and pain, bits and pieces escaping here and there to scratch along his dreams. Little reminders that he may be out, maybe, but he would never be truly free. It was a truth, cold and logical and inexorable, that Dean refused to acknowledge in either of them, touched by Hell as they both were in different ways, and neither of them coping nearly as well as they wanted the other to believe.

"Stripped of your higher empathic functions and natural moral compass that is your soul, your body behaved with logical precision not unlike how most Angels would act."

The irony of an Angel of the Lord comparing his soulless self to other Angels was not lost on Sam, nor was the way that comparison gave him mixed feelings. All the years of praying, of believing in God and His Angels, having faith that some higher power was watching out for Dean and his Dad when he couldn't, that there was real good in the world to counterbalance all the evil being shoved at him from all sides...

"Sam Winchester, the boy with the demon blood."

...no....

"Nothing is worth losing you."

...but why....

"Sam? Sam, did you hear me?"

"Hm?" Jolted from his contemplating, Sam shot a guilty look first at the screen - how had he missed that much of the movie?! - and then gave Castiel a sheepish smile. "Sorry, Cas. What were you saying?"

"I was asking about Marius's assertion that he is in love with Cosette, when he has only just met her and barely interacted with her at all," Castiel repeated himself after a moment of scrutiny for his friend. "It seems disingenuous, more like the 'love' of the pizza man and the babysitter."

"It's supposed to be love at first sight, Cas," Sam explained, scrubbing a hand down his face. "It's like... when two people who've never interacted before meet, and there's this... connection that forms between them, like they click on a level that is deeper than physical or emotional. A look, a touch of hands... you just know, looking at that person, that this is it. This is the one." He shrugged. "It's talked about in books and movies and stories and songs all the time as this big romantic ideal, a lot like soulmates... uh, cupid-type soulmates, not me and Dean type soulmates."

"Do you not believe in love at first sight?" Castiel asked, tilting his head to the side with that puzzled curiosity that Sam found endearingly familiar.

"I don't disbelieve in it," Sam said, choosing his words carefully. "I mean, being a hunter has taught me that every story has some root in a truth. I just don't necessarily think that it always happens the way the stories make it sound. Like maybe sometimes it's one-sided, or something gets in the way like they live too far apart or one is already married or..." Sam bit his lip before he could continue the thought with mention of angels and humans, because he knew from Castiel that most instances of humans and angels coupling were less about romance and love and more about lust and awkward power imbalances, and the last thing he wanted to bring up right now was the hypothetical Nephil again. "Besides, just because love usually happens more slowly than a couple of seconds doesn't make it any less deep or meaningful or special."

"I see," Castiel hummed, and then, "Sam? How do you know when you're in love?"

...Shit.

"Uh," Sam reached up to rub the back of his neck, only to force his hand back down again when he realised what he was doing. "It's different for everyone, Cas...."

"I am aware," and there was a definite note of impatience in the gravelled voice. "I am asking how you know when you are in love."

"Oh," Sam mumbled. He could feel his face heating up and very nearly prayed that the heat wasn't a visibly obvious blush before he stopped himself; Castiel would probably hear it if he did. "Uh, well... not to sound like a broken record, but it was different for everyone I was... I mean, I felt differently about different people, even though it's all still love."

Castiel made an encouraging noise, and when Sam chanced a look in his direction, the Angel was turned more towards him than the screen, clearly interested and wanting to hear more. Well, okay then. Sam leaned back into the couch and closed his eyes, reaching back into the depths of his memory for the times he was in love or thought he was, shying away from some of the memories like Madison or Sarah or Amelia, and focusing on the deeper ones, the ones that got under his skin and stayed there across the years, even just as scars. There was a pattern there, a set of feelings that overlapped each instance.

"Happiness," he began, because that was the obvious place to start. "When you see the person, you feel happy. Being around them, sitting next to them, holding hands, hugging... full of happiness and joy and peace. You feel happy when they're happy, sad when they're sad, hurt when they're in pain... You want to protect them, even when you know they can protect themselves. You would fight, kill, even die for them, not because they would ever ask it of you, but because losing them is... unthinkable. It's agony. And all the pain is worth it, because seeing them smile is... it's better than Heaven."

"Oh," Castiel breathed. "Yes, that... that makes so much sense now."

There was a shuffling sound, and the couch cushions dipped beneath shifting weight, and then Sam felt one of his hands being enfolded in Castiel's, the skitter of that unfamiliar Grace held tightly leashed beneath his skin tingling just at the edge of Sam's awareness. He opened his eyes and looked at Castiel, who was beaming at him now from much closer than he had been. "Cas...?"

"Sam," Castiel was still smiling, but it was warmer, softer than the brilliant joy of before, more comfortable and... "Thank you for sharing your feelings with me. I was never able to explain myself adequately to my brothers, and so they frequently drew incorrect conclusions that I lacked the necessary frame of reference to refute or correct. Perhaps now I can make them understand."

"Understand?"

"That I am in love with you, Sam Winchester," Castiel squeezed Sam's hand gently. "My world started the day I took your hand. And I would not have it any other way."

"Cas... I...." He couldn't say it. He wanted to, God, did he ever want to say it back, but the words caught in his throat, too used to being choked back after so many years. "Cas...."

"I know. Sam? Will you hold me again? I enjoyed that quite a lot."

"Sure, Cas," Sam shifted, shoving the whirling of his thoughts back and away, and opened his arms. Castiel released his hand and moved closer, pressing the length of his body against Sam's. He let out a soft sigh as Sam brought his arms up to curl around Castiel, settling in a loose embrace that still managed to fully encompass the Angel's smaller physical frame. Together, they turned to watch the movie, wrapped up in each other and the mutual assurance that their feelings, spoken or not, were returned.

"Tomorrow we'll discover what our God in Heaven has in store...."

=End=

[eclectia]

Silent Hill 2: As A Disabled Woman

Please be warned this piece discusses ableism and abuse, including murder, and contains a minor mention [just a passing plot-point, not elaborated upon] of childhood sexual abuse.

The Ancient Land is in its final stages- I'm finishing up the coding and there'll be a demo very very soon; so in my downtime I've been working out other concepts and brainstorming a lot of various things for what may or may not become my next project. There'll be more on those in the coming weeks, but I wanted to post something slightly different in the meantime to make up for the fact that I can't really keep posting “yep, still coding, still bad at it”.

One of the ideas I had revolves around a horror game, and in working out concepts for it I've been revisiting some of my favourite horror franchises – films, video games, and novels, to try and work out what makes me tick, what makes horror tick, and how I can make my game tick. In doing so, I replayed one of my perennial favourites in Silent Hill 2. As well as being one of my favourite games, it is widely held as one of the best horror video games to date, held up alongside Resident Evil, Clocktower and Alone in the Dark as a foundation of Survival Horror.

It had been some time since I last played it, and when I was a newly-diagnosed diabetic it resonated with me because of its portrayal of chronic illness, more specifically, that a character within the game had one. There weren't any games that dealt with that subject matter in such a visceral manner. At a young age, 11, I was processing my diagnosis and trying to understand how it would effect my whole life, a process which I am still trying to come to terms with and this was isolating to say the least. I was traversing my own fog.

Silent Hill 2 is not my favourite Silent Hill, that honour goes to 3 – teenage girls in horror!-, but it holds a special place in my heart, important during a time of my life where I was processing the lifelong grief of my new diagnoses. And, as I grew and co-morbidity –the tendency for multiple conditions to cluster around a primary condition - meant I had a great many other diagnoses, I found myself revisiting those claustrophobic streets as a source of comfort. It seems oxymoronic to play a horror game for comfort, but horror as a whole is a genre I have often retreated to during my darkest periods. There's safety in monsters too fantastical to exist. Yet, the real horror of Silent Hill 2 for me isn't in its psychological monsters but in the real fears of ableism and sickness.

I realised as I grew that Silent Hill's handling of and representation of illness was the reason for my constant revisits. It comforted, repulsed, terrified and saddened me and helped me process the guilt of being sick. As my relationship with myself and my disabilities [they're multiplying!] has evolved so has my reading and relationship with Silent Hill 2. There will be spoilers if you've not played it, so if you don't want it spoiled don't read any further.

I am in two minds about it on many fronts, mostly for how it handles and represents disability conceptually and literally. On the one hand, stories about how disabled people are burdensome and which usually end with their dying are a constant staple. We are a tragic love story, and in many ways Silent Hill 2 reinforces this- indeed, this is the crux of the story. The narrative of Silent Hill 2 is driven by its unreliable protagonist James Sunderland; his actions are frequently cast into doubt and Mary's right to live is what drives the main conflict within James' psyche, manifesting as the horrors of the game. Her slow death, James' desire to prolong and shorten her life, and how this conflicts with both of their wishes all form important narrative milestones. James and Mary both are cast in sympathetic lights, and many players come to understand through the naturally presented narrative that James was in the wrong. At least I hope so.

This journey of guilt mirrors the traumas of the cast of supporting characters, all of whom are dealing with guilt stemming from murder – Angela kills her sexually abusive father [which frankly I cannot criticise]; Eddie, bullied, snaps and kills a dog and perhaps a person although this is left ambiguous. Between Angela's self defence, Eddie's snapping and James' sympathy-killing of his wife, there are many facets and stages of guilt portrayed within this game. And in this world, moral greyness, like fog, presides. Yet I don't think I can agree with how yet again a disabled character is killed off to forward the plot of an abled protagonist and often we feel sorry and empathise with him by vice of his being the player character. We view the game through his perspective, and in controlling him the default perspective and empathy lies with him. This could be a problem if twinned with a player who's view and experience of disability is informed solely through media or second-hand experience. Being asked to sympathise with a character, especially one who killed a disabled woman, might lead to your average abled person simply thinking he is in the right because, concerningly, it is something they would consider. Within the context of real life this sad story -of a carer or lover who kills a sick partner, thinking it's the best thing for them- happens all too often. A very real horror for me.

Just a few years ago, in Japan nonetheless, an able bodied man slaughtered 16 disabled people because he felt they were better off dead. I am not inherently against assisted suicide, but this is not that. It is important to note there is a form of ableist abuse wherein abled people coerce disabled people that they're not worth anything, and would be better off dead. I want to make it clear that these two things are entirely different. This is not, explicitly, the situation in Silent Hill 2. There is an ending where Mary thanks and forgives James but it is also shown Mary does struggle with feelings of self-loathing during the course of her illness; not brought on by James in any way, at least not actively, and definitely something I as a disabled woman have dealt with, but worth considering. And, I think, abled people want to feel justified in their views on the worth of disabled lives, so perhaps the apology is there as a form of catharsis for abled people more than it is anything else. It is OK to sympathise with James, we'd all do the same in his situation, disabled people all secretly want to be put out of their misery. This is the unpleasant streak that runs through the game, the crux of where our sympathies stem from.

Having mentioned this, his actions are never actively condoned by the game. It is simply a harsh reality of ableism that often, abled people think they are putting us out of our misery or that our existence is inherently twinned with suffering. I don't think the writers of the game were aware of this when they wrote this in, they simply wanted a psychological angle to take so this accidental aesop is perhaps, a fluke. Many aspects of the game were planned and researched meticulously, but as far as I know none of the development team had any personal experience with illness, so the game comes from their wholly abled perspective.

As I have grown as a person, I have come into my own internal conflict with the themes and presentation therein of the game. When I was newly diagnosed with a condition that, at the time I was told would carve years off my life and which needed lifelong medication simply to function, I found solace in Silent Hill. James' struggle to understand and cope with the death of his wife was similar to how I was struggling to cope and fathom the life-changing diagnosis I had had. I think, perhaps, that when I ran through the streets again and again I was searching within the game, for some ways of processing the diagnoses I found myself saddled with. James mourned his wife of 3 years [3 days] dead, I mourned for a life drastically changed in a matter of days. James, struggling to understand his wifes' illness, was just like me struggling with mine. I was lost in my own fog, in the streets of my own head trying to come to terms with myself.

Bearing this in mind, as I have grown up and come to terms with my conditions my attitudes towards the narrative of Silent Hill 2 have changed. In it, illness is this fearful beast – it could be you! You could be sick!-, except I was; and I didn't want scares, nor did I find the implicit implications of illness scary in the same way an abled person might. What might be horrifying to an abled person was just a daily experience for me. I knew how scary illness could be. I wanted to feel normal.

Looking for normality in a horror game might feel extraneous except for when we take into consideration that many monsters in horror are stand-ins for minorities within society; the queers in the vampire, the proverbial “other”, the rejection of Frankenstein's Monster. Like them, the monsters in Silent Hill 2 all represent something, illness and the multiple perspectives of illness that James has, and I found it less comforting and more... melodramatic. Illness is a daily fact of life for me, and using my existence as a threat to abled people – you could be sick and burdensome just like Mary- just felt insulting. In Silent Hill, illness and sick people are as much the monster as James. Mary looms like Orlok's shadow.

As a character Mary is shown to be multi-faceted; James' manifestations of his guilt and feelings about Mary show her to be venomous, angry bitter, a monster spitting acid but her final letter to him reveals that she admits to this, but more than that: she is a guilt-ridden wife who knows her illness is effecting her spouse. It is heart-wrenching, and beautifully written, and as an ending monologue is poignant and reflected many of the feelings I have felt as a disabled woman. There have been times I have lashed out to people I love because of a particularly bad month of illness, and then the guilt comes because I am only human. Anger, pain and this endless cycle is an intrinsic part of Mary's character throughout the game, and despite it all, Mary is shown to be all that James wants. This is not a narrative fault, but a character flaw within James that he readily recognises and criticises repeatedly, and again, desire and the nature of it is wholly human.

Mary's portrayal within the game is both progressive and sympathetic, and concerningly backward. Mary is humanised in a way that very little media about sickness has ever done, and shown as a multifaceted and complex character just as James' own motivations and desires are shown to be both good, and bad. My readings of Silent Hill are in no way the only way to read it, and in no way lessen the story Silent Hill 2 is telling; it is an amazing, visceral game with a humanising and terrifying portrayal of how illness can take over lives.  

Silent Hill 2 holds a special place in my heart. At a time in my life where I was processing the first of many illnesses to grip me it allowed me to process and deconstruct my own feelings towards my mortality, dwindling health and illnesses. Experiencing and living with illnesses is isolating and lonely to say the least, not least because of how abled people treat us and I think Silent Hill almost nails that on the head accidentally.

This is not to say that people living with spouses who deal with illness should feel wrong, or guilty, for feeling bad about illness and I am not silly enough to suggest that illness does not have an effect on those around me; it does, but the way Silent Hill missteps is in showing illness as a singularly burdensome, corrupting thing, and offering justification for James' actions. It is left up to the player, ultimately, but I do worry for how abled gamers might perceive and justify James within the wider context of society.

There isn't much point to this post. Its just a ramble, and an internal struggle, I've dealt with for a little while and decided to finally try and hash out.

[thesilverdragoon]

REALLY LONG CHARACTER SURVEY.

I’m not subjecting anyone to this horror. Stolen from @crimsonfluidessence​

BASICS.

FULL NAME: Vesevont Nevelaux

NICKNAME: Ves, “Cap”

AGE: 49

BIRTHDAY: 15th Sun of the Second Astral Moon (March 15)

ETHNIC GROUP: Ishgardian Elezen

NATIONALITY: Ishgardian

LANGUAGE(S): Common Eorzean

SEXUAL ORIENTATION: Bisexual

ROMANTIC ORIENTATION: Biromantic

RELATIONSHIP STATUS: Single

CLASS: Dragoon (OOC only, IC a mere knight)

HOMETOWN / AREA: Coerthas

CURRENT HOME: The Mist

PROFESSION: Ex-knight of Ishgard's House Durendaire. Currently: none

PHYSICAL.

HAIR: Blond

EYES: Amber

NOSE: He has one(1) nose.

FACE: Scarred, eye bags, wrinkly, crow’s feet, a little gaunt, aged

LIPS: Probably dry to be fair.

COMPLEXION: Light or, probably just pale

BLEMISHES: We all have ‘em

SCARS: One over the right eye, one across the left cheek and nose. And others.

TATTOOS: None

HEIGHT: 6′6″

WEIGHT: Average for his height

BUILD: Lean, fit

FEATURES: He’s got pretty big ears?

ALLERGIES: Bananas.

USUAL HAIRSTYLE: Short, blond, shaved on the sides.

USUAL FACE LOOK: Resting bitch face

USUAL CLOTHING: Old knight-attire with green cloak, or his blue outfit later in SB

PSYCHOLOGY.

FEAR(S): Abandonment, his kids or friends getting hurt, Carbuncles, Voidsent

ASPIRATION(S): Being able to settle down with someone

POSITIVE TRAITS: Tenacious, Loyal, Polite, Caring, Merciful

NEGATIVE TRAITS: Reckless, Stubborn, Confrontational, Harsh, Impulsive

ZODIAC: Ironically a Pisces (Thaliak on the Eorzean calender)

TEMPERAMENT: Guarded but usually optimistic

SOUL TYPE(S): He has a soul or he wouldn’t be alive.

ANIMALS: He’d want to be a shark

VICE HABIT(S): Stress-eating, boredom eating, eating

FAITH: Unknown

GHOSTS?: Reluctantly yes

AFTERLIFE?: He hopes so

REINCARNATION?: Maybe

ALIENS?: "Who?”

POLITICAL ALIGNMENT: Probably really liberal

ECONOMIC PREFERENCE: Don’t ask him things like this he doesn’t know.

SOCIO POLITICAL POSITION: Refer to the above

EDUCATION LEVEL: Life experience. (He was a knight. Cannon fodder.)

FAMILY.

FATHER: Yes; Dead

MOTHER: Yes; Dead

SIBLINGS: No

EXTENDED FAMILY: Probably

NAME MEANING(S): Vesevont is the made up version to his OC actual name, Vsevolod, which hilariously means ‘lord of everything/everybody’. It’s also a name that hasn’t been used in centuries so anyone with that name is looked at very weirdly irl.

HISTORICAL CONNECTION?: No.

FAVORITES.

BOOK: Particular towards fiction, because he likes happy endings.

MOVIE: If there were movies, rom-coms.

5 SONGS: He doesn’t really listen to music anymore

DEITY: Not currently

HOLIDAY: Maybe Starlight

MONTH: Doesn’t matter

SEASON: Spring

PLACE: The Ruby Sea

WEATHER: Warm and sunny

SOUND: The ocean, the breaking-the-sound-barrier sound Sihl makes when flying

SCENT(S): Fresh cut flowers

TASTE(S): Savory, spicy, chocolatey

FEEL(S): Warm hands on his icicle hands.

ANIMAL(S): Again, sharks

NUMBER: 13. A baker’s dozen

COLORS: Yellow

EXTRA.

TALENTS: Destroying property, taste-testing, withstanding harsh environments

BAD AT: Acting normal and well integrated into society, social anything

TURN ONS: Intelligence, Kindness, Snappy Wits and Sarcasm, Prim and Proper

TURN OFFS: Cruelty, Unforgiving..ness, All Out Bad

HOBBIES: Flying with Sihl and exploring, sometimes people-watching

TROPES: Anime-Reactions, Dopey Dad, Seems to Survive Everything

AESTHETIC TAGS: Birds, the sky, flying, the sun, dragons happy, uplifting and airy

GPOY  QUOTES: "Uh oh.”

FC INFO. (I dont know what ANY of this means.)

MAIN FC(S): 

ALT FC(S): 

OLDER FC(S):

YOUNGER FC(S): 

VOICE CLAIM(S): WS!Cap definitely was lip-syncing Ronan Harris’ voice due to the sheer multitude of VNV songs that were part of his character. But Ves specifically?? I imagine something probably deeper and more rough but I haven’t heard anything I liked in particular yet.

GENDERBENT FC(S): 

MUN QUESTIONS.

Q1: IF YOU COULD WRITE YOUR CHARACTER YOUR WAY IN THEIR OWN MOVIE, WHAT WOULD IT BE CALLED, WHAT STYLE WOULD IT BE FILMED IN, AND WHAT WOULD IT BE ABOUT?:

If it were up to me, the movie would be emulating a war movie in style, with muted and often cold colors and much darker themes and tones. Occasionally there’d be bursts of color or uplifting scenes to remind everyone that people are still human and contrast all the darker stuff, so a balance between the two. 

That’d be the most important part of it for me personally. Many references to all sorts of symbolism, though not too heavy-handed with it, allegories, metaphors, etc. To explore the spectrum of the ...for lack of better term, human condition.

Q2: WHAT WOULD THEIR SOUNDTRACK / SCORE SOUND LIKE?:

Completely orchestrated, done in a romantic style so that, in case someone weren’t watching the movie itself, they could simply listen to the music and imagine their own scene to it as the composition of said songs would ...in a perfect world, be very specifically tailored to fit certain sequences of emotion and whatnot.

And of course some violin/piano duet pieces sprinkled here and there.

Q3: WHY DID YOU START WRITING THIS CHARACTER?:

Ves is just one version of an old OC I’ve had for a long, long time. Maybe eight or so years. Give or take. He’s got several different iterations thus far.

Q4: WHAT FIRST ATTRACTED YOU TO THIS CHARACTER?:

My love for war movies and such to be honest. Along with my insane fascination and interest in historical narratives and European warfare and the like. Typically, Ves’ character is usually pulling all sorts of things from WW1 from fashion to mannerisms, and his whole world is constructed to emulate that as well (though, not set on Earth.) Not the FFXIV version of course because Ishgard is there, but other versions of him such as WS and his original counterpart.

Q5: DESCRIBE THE BIGGEST THING YOU DISLIKE ABOUT YOUR MUSE:

If I had to pick the largest thing I have against him (and I mean this character in general, not specifically FFXIV,) it’s the need for historical accuracy in most cases. I’m a die-hard for things like that and spend a lot of time doing research (usually just for fun but I get carried away easily.) Considering reference material isn’t always the easiest to find for really specific things from a time period that old, it becomes frustrating VERY quickly when I don’t feel I’m portraying him ‘authentically’ enough.

Elsewise, as far as his personality goes, he’s just like any dad. The need to always be right drives me absolutely insane. The good thing about him though is that he’s fictional and I can make him change and grow and learn. >:) Now that’s what I call sexy.

Q6: WHAT DO YOU HAVE IN COMMON WITH YOUR MUSE?:

We both love to eat and eat way too much too often and yet are like twigs. And we’re too particular about certain things.

I dunno, your characters technically are just facets of you.

Q7: HOW DOES YOUR MUSE FEEL ABOUT YOU?:

He’d be extremely annoyed but I don’t think he’d do anything about it. I am but a CHILDE.

Q8: WHAT CHARACTERS DOES YOUR MUSE HAVE INTERESTING INTERACTIONS WITH?

Thus far? There’s Lowrey who won’t leave him alone and is always trying to wrangle Ves in like a bucking horse, and they’re VERY entertaining to watch with their weird and aggressive banter (on Ves’ part anyway, he can’t stand the guy. Lowrey just rolls with the punches with a big grin and keeps on pushing. Ves is gonna clobber him one of these days for real this time. For REAL this time.)

And then there’s Ves and Caudecus’ very polarizing and almost jarring but still extremely funny interactions with one another. They’re roommates right now so, typical roommate shenanigans, laugh track plays here. There’s something sinister hidden underneath it all and I think Caud may just get a laugh out of stabbing Ves verbally, which is also something I enjoy laying witness to.

And of course, Mei and Ves. He has NO idea who she is, he just kind of met her out there in the wilderness I suspect and thought she was weird, but she’s very fun and loves to go exploring and flying too and that’s something he can relate to. Plus Mei displays a very clear sense of justice and that is something he appreciates VERY much. She’s just whacky and weird and a mystery but he likes it and doesn’t know why. It’s probably all the pink.

Q9: WHAT GIVES YOU INSPIRATION TO WRITE YOUR MUSE?:

Anime stuff probably, war stuff. I dunno, depends on my mood for the day. I don’t need inspiration, my characters are just on a roulette wheel. Which one do I feel like using today.

Q10: HOW LONG DID THIS TAKE YOU TO COMPLETE?:

About an hour, but I had to constantly rephrase things that didn’t make sense.

[justtheendoftheday]

鬼婆  [Onibaba] (1964)

“What do you do for food? You don’t seem to grow anything. What do you do? ...you steal?”

It’s 14th century Japan during a time of civil war and scarcity called the Nanboku-chō Period.

After her son was conscripted to fight in the war, an older woman and her daughter-in-law have been forced to become murderers and thieves in order to survive. However, when their former neighbor returns after having escaped the war he creates a fracture between the two women. As the pressure between the three of them increases the mother decides to take exceedingly extreme measures to try and keep her family together.

Fright: 1/5  -  Sketchy friends of your kid

There’s a level of spooky campfire-story style creepiness at play throughout. It is a black and white movie from the 60s though, so the creepiness is muted by time. Although if you live near some tall grass or a corn field or something, it might hit home a bit harder.

Gore: 1.2/5  -  Raptor-style Assassinations

Some people are murdered, but the film doesn’t really have any real interest in gore. There’s some stabbings and you see a character with a heavily scarred face, but that’s about it.

Jump Scares: Almost none

There are a handful of small startle moments, but nothing so extreme as a real jump scare.

Thoughts:

In Japanese an “Oni” [鬼]  is a type of supernatural creature that are kind of similar to trolls or ogres. While “Baba” [婆] is a term for an old woman or sometimes more insultingly as a “hag.” So the title of Onibaba is sometimes translated rather literally as “Demon Hag,” which in English is rather harsh and slightly misleading. In Japanese the term “onibaba” has more of a connotation with a cruel or spiteful old woman than a real demon. But seeing as that the film actually does talk a little about oni, I would guess that the title is having a bit of fun with wordplay by sharing both ideas.

Which just goes to show that foreign works can never fully be translated, because the context behind a concept can only be approximated.

Aren’t foreign films fun!

I debated a lot on whether or not this film actually counts as a spooky movie or if it was just an eerie sort of psychological noir drama. And while it doesn’t go in for a lot of the traditional elements of Horror, overall it has this wonderful campfire-story style of creepiness to it that I just can’t ignore.

The story is based on an old Buddhist parable about a mother who tried to use an oni mask to scare her daughter from going to the temple to pray and in turn was punished by Buddha. However, from that premise it is able to create something so much deeper. And you know what? It’s really well done.

The most striking thing about the film for me was that it doesn’t focus on the mask at all. It’s a story about women and (like most horror movies) about survival. And the choice to make the whole thing be about a woman and her daughter-in-law is such an interesting one. The two characters are bound together not by blood or friendship, but through the son Kishi and through time. And when they learn that Kishi is probably dead they have to reevaluate what’s really keeping them together.

If the only reason they stay together is because it takes at least two people to properly rob their victims, then isn’t Hachi just as useful as the mother? Plus he can serve as a romantic partner as well...I mean, you’d have to be awfully thirsty to even consider that option, because he is super gross, but the potential is certainly there.

Although it struck me as terribly odd that the daughter-in-law is so willing to contemplate ditching her mother-in-law in spite of the fact that those two had been surviving together—by themselves—for years. At no point is there ever a real bond or friendship depicted between the two women. Because of this when their relationship begins to fall apart, the mother never appeals to their own personal bond. Which is kind of odd isn’t it? You’d think some sort of relationship or familial love would have been created between them. Since the movie was written/directed by a man in the 1960s I have to wonder if some of this isn’t necessarily thematic, but just a result of a male POV.

And more to that point, I also found it interesting that only the male characters in the film are named. The son is Kishi, the neighbor is Hachi, even the swindling blackmarket operator is named Ushi. But the two women—the two main characters of the movie—are both unnamed. And while it certainly could be an intentional move, I could also see it simply being because the writer/director didn’t consider giving them a specific identity important. After all, Hachi is given more depth of character and backstory than the two women are.

Or maybe it’s all a thematic element attempting to show how women are so often overlooked while simultaneously depicting the hardships they had to go through because the entire nation didn’t care what happened to them…although the lack of relationship between the mother and daughter-in-law seems to be a hard point against that theory…

But what about the corpse hole? The movie opens and ends with the image of this hole that the women use to dispose of their victims corpses. Is that a yonic symbol in the movie? The women are not afraid of it and use it to their advantage, but it is always a dangerous presence to the men in the movie. Hachi himself is shown to be wary of it, because he’s afraid of overlooking it and falling to his death...just like how all these samurai who overlooked these women and met their demise. Talk about some imagery rife for writing a research paper about, amiright?

But who can say? And when it comes down to it, isn’t that half the fun of analyzing fiction?

What can’t be argued is that here is a film where some badass ladies have been outsmarting friggin’ samurai for years! They are super competent and by working together they are able to outplay all the men who are always trying to either fuck them or fuck them over.

There’s a part when Hachi first shows up and he’s bragging about killing some dude and how hard it is and it’s like, Hachi...you complete bag of rocks. Do you not realize who you are talking to? These ladies are twice the killers you could ever hope to be, you doofus. Are you seriously mansplaining murder to them?

The cinematography of the film is really quite interesting and has some shot compositions that I really loved. It’s a really well made film that’s full of interesting themes and ideas. While certainly a slow-paced movie that is unlikely to keep you up at night, it still has a great air of subtle creepiness to it. So while it might not be a great movie to fear-cuddle up with a cutie to, it is a great movie to watch and have a fun intellectual discussion with a cutie about. So cheers to that!

—————————————

Directed by: Kaneto Shindo

Written by: Kaneto Shindo

County of Origin: Japan

Language: Japanese

Setting: Not explicitly stated. [but they filmed in in Japan’s Chiba prefecture]

—————————————

—————————————

Content Warnings: A dog is killed and eaten. In their defense it was a wild dog and food was scarce. But still!

After-credits Scene?: None

—————————————

Context Corner:

The film takes place in 14th century Japan during a time of civil war called the Nanboku-chō Period [The Northern and Southern Courts period] that spanned from 1336 to 1392. And like most civil wars it was more of power battle between bigwigs than it was something a poor farmer gave any shits about. Very long story made somewhat short: the Southern court was where the emperor was based, but the Shogunate (basically the organization of the samurai that was led by the shogun) was based up in the North. So in a power play the Shogunate establishes their own emperor in the North and this leads to war. In the end the North won (thanks military power!), but the Southern emperor got to keep his title. Although now he was really more of an “emperor” because the shogun had all the real power (which is why only 75 years after this war ended, another war [the Onin War] started over who the next shogun would be).

—————————————

“If my son’s dead, she’s all I’ve got! I can’t get along alone. I couldn’t even kill! Take her and I’ll starve!”

[takeeachdayonebookatatime]

(Laura8759

Write a little bit about you like what genre of books you write  and what your up to .

(Connor)

I love horror! Everything from slasher to psychological to monsters to existential Lovecraftian subgenres. I’ve always loved being scared and scaring others and think that horror is an important genre when learning to face our fears. Currently, I’m working on two novels and a collection of short stories that I’m looking at publishing in the coming months. 

(Laura8759)

Congrats on the book now to the questions

(Questions) 

(Laura8759)

Is there a special reason behind the title of your book/series? 

(Connor)

Looney Lynda Darcey was really the result of me just trying to name my slasher and finding some fitting alliteration. She had a couple different names in earlier drafts, but I finally landed on Lynda and Looney Lynda just seemed to fit into the urban legend theme of her story. 

(Laura8759)

Was there any inspiration behind your story/series? 

(Connor)

Lots. The basic premise was to take a slasher much like Jason Voorhees from Friday the 13th and put a new twist on it. I’ve always loved monsters and the kind of extra-dimensional mysteries akin to things like Stranger Things and even a lot of Stephen King books like It, so the inspiration basically became “How can I craft a story that blends Friday the 13th with Stranger Things?” 

(Laura8759)

What made you want to write? 

(Connor)

When I was a kid I used to write screenplays that me and the other kids around the neighborhood would put on for our parents. I can’t say any of them were good, but that the earliest memory I have of writing and I haven’t really stopped doing it since. I grew up a massive fan of film and knew I always wanted to be a storyteller of some capacity. I even went to school for Creative Writing and later for Film Production. I think I would always just watch a movie or read a book and get so inspired to run with any ideas I would get from those and try to make my own story just as special and inspiring as what I was watching or reading.

(Laura8759)

For people who have not read your books or series, what are they about? 

(Connor)

Well, as of the time I’m writing these answers, none of my books have been published yet, so no one’s read them outside of a few beta readers. But Looney Lynda Darcey is the story of a group of kids who encounter supernatural slasher, and local legend, Looney Lynda, while on a school field trip. They must fight to survive while also solving the mysteries of Lynda’s past and her strange abilities. I’ve also got another horror book in the works about the trauma of gay conversion therapy and a collection of short stories featuring monsters, ghosts, and everything in between. 

(Laura8759)

Do you have any pets so what are their names? 

(Connor)

I had a dog name River who sadly passed away last year. He was a good boy and he is dearly missed. 

(Laura8759)

What are your other hobbies when not writing? 

(Connor)

I’m a gamer. I play a lot of video and tabletop games. I’m the dungeon master of my DND group. We’ve been playing together for almost 4 years now and are just getting ready to finish up our second campaign. 

(Laura8759)

What is your favorite part of your book or series? 

(Connor)

The characters. I genuinely enjoy being able to craft such unique individuals for a story like this. As a homosexual man, I jump at any chance to secure more representation for the LGBTQ+ community, so getting to write protagonists from that community in any capacity is always a joy. Lynda is also a character that I’m quite proud of. Giving humanity to a supernatural serial killer is a treat that I hope people enjoy when the book finally comes out. 

(Laura8759)

Do you have a favorite book or series from when you were a child? 

(Connor)

I discovered H.P. Lovecraft way too soon and fell in love with his creatures and worlds. Though the man is a problematic mess and his writings contain troubling themes especially by today’s standards, you have to respect the impact he’s had on modern horror and science fiction. Call of Cthulhu is still among some of my favorite stories, but I think my favorite of his has to be At the Mountains of Madness. 

(Laura8759)

Favorite  cd  or artist to listen to while writing? 

(Connor)

I don’t often listen to music when I write because I tend to find it distracting, especially if the music has words. If I do listen to music I find some eerie, creepy, haunting ambiance on YouTube and let that play in the background to help me get in the mood to write a spooky scene. 

(Laura8759)

What is one of the most important things your readers should take away from your books? 

(Connor)

There is, I think, an underplayed theme of family and friends in the book. I’m a big believer in the idea that there are two families that everyone has in their lifetimes: the family they’re born with and the family they make. Lynda’s family locked her away for her deformities and so she was never able to make a family of her own. The protagonist of the book, Simon, is also rejected by his father because of his sexuality and thus finds a new family in his friends who in turn help him through both the battle of self-discover and the battle for his life with Lynda. So if there’s any take away, perhaps its that sometimes the family you’re born with sucks and it doesn’t hurt to rely a little more on the family you choose for yourself, your friends. 

(Laura8759)

If you could, would you make any changes to your book or series? 

(Connor)

I could and I definitely will before it is finally published. There are certainly some improvements to be made to the pacing and overall conciseness in my mind. It’s still a while away from being ready for publication, but I am still proud of where it is now. 

(Laura8759)

If your book got turned into a movie, who would you want to star in it?

(Connor)

I think I’d prefer of unknown actors were in it. I like the idea of newbies being discovered and getting to really show their chops on an original property rather than millionaire actors who’ve already been in the spotlight getting it again. So if there was a movie of Loony Lynda, it would probably star someone no one has ever heard of. 

(Laura8759)

What is your thought on outlines for stories/books?

(Connor)

I don’t really use outlines. I’m a much more go-with-the-flow style writer. I find that when I use an outline I get far too caught up in the outline that I can’t ever really get to the story and the book never gets written. I get too caught up in the way things are supposed to be according to the outline that it almost feels like I’m limiting or restricting myself when I use an outline. Of course, the drawback to not using an outline is that sometimes it take a few extra drafts to get everything right. When I write its almost like improv that I then have to pay for by going back and fixing all the fumbles and mistakes I made as I was going. For me that really helps get the first and most important draft done, but I usually spend ages on subsequent drafts to get the story just right. 

(Laura8759)

Paper, computer or typewriter what do you write your story on?

(Connor)

Computer. I do all my writing in Microsoft Word. Makes things easier to organize, maintain, and send out when it’s ready.

(Laura8759)

What was the last book you read?

(Connor)

I recently read Stolen Tongues by Felix Blackwell and really enjoyed it. A fun, creepy read that definitely managed to keep me turning pages. Another I highly suggest is A Cosmology of Monsters by Shaun Hamill.

(Finale question) 

(Laura8759)

Current book you're reading?

(Connor)

I’m currently reading Dune for the first time. It’s a beast of a book and I’ve been enjoying it so far, though it isn’t my absolute favorite. I’m looking forward to seeing the new movie though. 

(Laura)

Any social media pages our very few readers can find you at and were they can buy your books 

(Connor)

Well, you can’t buy my books yet, but you can follow me on Twitter @heumillerc.

[surveys-at-your-service]

Survey #470

“how can you choose to let the blind see better than you?”

What was the main character called in the last film you watched? Dewey. What would you name your pet snake if you had one? It would depend on its appearance. The snake I have now is named Venus because of her coloration. Do you like peanuts? Only if they're covered in chocolate or in granola bars in small portions. Have you ever gambled? What was your biggest loss/win? No. What was the last movie you watched? Who did you watch it with? Girt and I watched School of Rock together. What do you eat for breakfast? Excluding the rare occasions my mom cooks something, usually cereal or a sandwich. Do you have a Flickr? I do, but it's abandoned. Anything exciting happening in the month of September? No. When was the last time you had an ice cream sandwich? Oh man, it's been too long. I really want one now. Do you eat breakfast daily? Yeah. What was the last thing to scare you? "Scare" is a strong word, but I was very, very nervous to hear what weight I'd gained since my last doctor's appointment. Do you like mustard? Yeah, I do. Do you have a desktop computer or laptop? A laptop. Do you like to play Jenga? I guess? I don't really have an opinion on it. Do you like Fresca? Not very, but I'll drink it if I really want a soda and it's the only option. How many towels do you use after a shower? Just one. Would you ever flash a cop if you knew you'd get out of a ticket? Um, no thank you. What is your favorite thrill ride ever? I don't like those. I'm afraid of puking or fainting. Biggest irrational fear? Truly irrational, probably whale sharks. Favorite movie sequel? Hm. If you had endless funds, where would you buy most of your clothes? Cloak and Rebel's Market. How many jobs have you had? Three, technically. What is your favorite thing to do in your city? Oh hun, fun doesn't exist here. This place sucks. Have you ever gone strawberry picking? Ha ha, yes... but I was a little kid that absolutely gorged on the strawberries instead of putting them in my basket. The person that worked there didn't make my mom pay for what I did or anything, but they made a joke about weighing me to check the damage I did, ha ha. My face was COVERED in strawberry juice. I wish I could actually remember the occasion, but I was too young. How many times have you seen a doctor this month? It feels like a lot. >_< I had to get blood drawn for two different things on separate appointments, I had a follow-up appointment with my primary physician about my weight, I recently spoke to my therapist and psychiatrist... Could you pull off orange hair? I've actually considered like, a light creamsicle orange. I actually edited a photo of me with my current hair style trying different colors, and that tint looked pretty cute. Do you shave your legs? It sounds dumb, but yes, now that I'm in a relationship. I feel obligated to at least try and be attractive by societal standards. I know it seriously doesn't matter, but I would be so inexplicably mortified if he saw my unshaven legs kalsdj;flkasdjwe What type of weather is your favorite? Snowy! Coolest place you've ever been? Disney World, probs. Do you like corn on the cob? Yeah, man. Have you ever waited tables? No. Build your favorite pizza. Soft pan crust, your average amount of sauce and a good amount of cheese with various meats on it. What did you last get fancy for? I wouldn't say I got like, super fancy, but I wore a nice shirt and a necklace when Girt came over for the first time as a couple. I thought we were actually leaving the house to go out to dinner, but the plan was actually to have Buffalo Wild Wings delivered. It was totally fine by me, I'd just misunderstood. Dream pet? A female Brazilian Black tarantula named Black Betty. :') Do you tend to get clingy in relationships? I know I do. What is the last horror movie you watched? It's sad that I don't know. :( Would you be grossed out if your best friend mooned you? No, I'd just be extremely confused lmao. What is the last thing that you drank? Milk. Currently popular song that you can't stand? I have zero idea what songs are popular right now. What is the weather like right now? Too fuckin' hot to be mid-September. Do you have favorite type/brand of pen? I mean, I like the feel of gel pens. I don't know about brands. What is your go-to snack at the convenience store? Some form of Reese's. Popular drink that you dislike? Coffee shocks the most people. What TV show are you waiting on to return/create a new season? None. What is something you currently want but cannot afford? Oh, dear. -_- Do you have sensitive skin? Very. How many toilets are in your house? Two. Do you have an older sister? Three that I know, one that I don't really count because I know nothing about her and have never spoken to her. What color is your mum’s car? White. Do you live in an apartment? No. Cats are usually cuter than dogs right? Kittens are generally cuter than puppies, imo. Where do you keep your kitty litter box? It has to stay in my bedroom, which I hate. Mom insists on in being in here so I don't forget to clean it. My memory is awful, but I'm preeeetty sure I'd remember to give my cat a clean place to use the bathroom if it was kept in the spare room by the door... Are you rude to little children? No; even if I don't really like kids, that is something I definitely avoid. Kids should never lose their hope in or love for humanity, and I would absolutely hate to be one of those people that makes the human race appear unpleasant. Are you a lighter complexion than your father? BY FAR. He's a mailman so is out in the sun nearly every day, so he's pretty damn dark to be Caucasian. I wouldn't be surprised if by his complexion he's ever been mistaken for being Hispanic, because the color definitely fits. Do you like apricots? No. Are banana chips delicious? Ew, that sounds gross. Do you like kinky sex? I wouldn't know, my dude. I've never really explored outside of pretty vanilla stuff. What is one thing you will never do again? Rely solely on another person for happiness. Would you rather be twice as smart or twice as happy? Twice as happy. That's not even a competition. What would your parents be surprised to learn about you? I very legitimately wonder if I would be disowned for how fucked up some of the shit I write is, ha ha. Mom would probably cry if she saw some of even the milder stuff and force the topic to come up in therapy. If you could have been a child prodigy what would you have wanted to be skilled at? Maybe painting? If earth could only have one condiment for the rest of time, what would you pick to keep around? Hmmm... I suppose ketchup. Do you think it’s important to stay up to date with the news? I think it is, but I don't. .-. What is the best present you could ever receive? An all-expenses-paid trip to South Africa to visit and tour with the Kalahari Meerkat Project to meet and photograph the meerkats. :''''''''''') Would you give up one of your fingers if it meant you’d have free WiFi wherever you go, for the rest of your life? Nah. That's what data is for, lol. If someone told you you could give one person a present and your budget was unlimited–what present would you get and for whom? A new car for Mom. Giant house in a subdivision or tiny house somewhere with a view? Oh, that is SO easy. Give me the view. Well wait, HOW tiny is the house? My answer would change if it was one of those truly mini houses that would make me feel claustrophobic as shit. What was your favorite Disney movie as a kid? The Lion King. Still is. Do you brush your teeth in the bathroom, or do you get bored & roam around? I roam around. Does your city/town have a little festival/carnival every year? Yes. I never really pay attention tho 'cuz I never go. Have you ever been to an apple orchard? No, but I would love to go. Were there any cartoons your parents didn’t let you watch as a kid? Except "adult" cartoons obviously, no. Could you handle motherhood? No fucking way. Being entirely serious, I think I'd either end up dead or horribly depressed, and the kid psychologically damaged to some extent from having an unstable mother. Like do not get me wrong, I'd try very hard, but I know I couldn't stay sane and happy as a mom. Have you ever touched a squirrel? No. What's better, candles or incense? Incense. What movie did you see the most in theaters? I don't watch movies in theaters twice. It's expensive to go even once. Who played the best Batman? Idk. I didn't watch all the movies. Who’s the best American Idol thus far? *shrug* What’s likely to happen next in your family - wedding, funeral, or birth? Uh, I suppose a wedding? None seem likely any time soon. Do you like hot, cold, or lukewarm showers? Hot. Have you ever taken part in a threesome? No, not my jam. Do you plan on having both your parents at your wedding? Yep. Which movie’s musical score is truly memorable? Tarzan came to mind very quickly. What’s your favorite scene from the movie Titanic? Idk, I've only seen it once. Which TV show theme music do you remember most? That '70s Show. Have you ever bounced any checks? ... I don't even know what that means. :x Have you ever been snipe hunting? I will never in my life hunt in any way, shape, or form. Do you try to be politically correct? For the most part, but I do believe it's gone too far. Generally though, I try to conform to the "rules" to avoid offending someone. What’s your favorite kind of sea critter? Bottlenose dolphins, various types of whales, sea turtles... I don't think I could pick one. Have you ever tasted locally-made honey before? Does it count if it's from a honeysuckle flower? Do you like to wear toe socks? No, they're mad uncomfortable imo. Have you ever worn bright red lipstick? Yes. Do you think raccoons are adorable, like I do? BABIES!!!!!!!!!!!

[trackmag]

Colour And Narrative

The Human Eye has the capacity to recognize, and tell apart over a million different colours, yet language has failed to capture more than a handful in comparison. In Film, one was so desperate to include colour from the start of its creation, that there were numerous filmmakers around 1895 and 1950 that hand coloured each individual frame, as seen in the famous example by the Lumière Brothers and their Serpentine Dance from 1899. There was also a technique called ‘tinting’ which would allow filmmakers to tint the entire roll of Film, or larger sections of it in a colour of their choosing to deliberately shift or exaggerate the narrative of their stories. 

With Digital Film a new world of opportunity opened for us as filmmakers and consumers. Every hue, luminance and saturation became available to us.

Directors like the Lumière Brothers were, or Wes Anderson is, have been fully aware of the fact that colour always produces a psychological reaction in us viewers. Historically we have gained knowledge of different associations to colour which, depending on the cultural background can vary, the sentimental knowledge however seems to be fairly accurate throughout all human beings. 

Red for instance is globally associated with Fire and Blood. Therefore, also a symbol of warmth, passion and love but also aggression and destruction. These associations can be a striking tool to further elevate, or shape the narrative of a film. 

Another great aspect or talent of colour and colour schemes is, that when used correctly, it results in cohesiveness. This is something we could all witness with the release of Lykke Li`s latest full length album called ‘So Sad So Sexy’. All three of the so far released Music Videos share a very similar colour scheme. This analysis deals with how the colours have been utilized in Lykke`s new releases, especially in the video for ‘Hard Rain’. 

What we have established before, is that certain colours are chosen to be read and understood in certain ways. However, these previously mentioned associations (red = fire, blood, love) are not to be read as a clear set of rules to follow. It is less important to think of these colours as fixed expressions synonymous to certain adjectives but nonetheless important to pay attention to them, in order to find their specific place and meaning in a film. There have been decisions made on why, and where what colour appears. This is reason enough for us as viewers to stay alert and find the subjects which are connected to the colours. If they are actual protagonists which keep and hold a certain colour, or maybe a feeling which is visually expressed through colour.

Hard Rain 

Hard Rain has many visually compelling tools. What I find impressive about this project SoSadSoSexy by Lykke Li, is the cohesiveness in the Sound AND Look of the Album. The Colours in all three in the following order released Music Videos: Utopia, Deep End and Hard Rain, are reoccurring in every single one. In the Case of Deep End, there were even previews of certain settings, and locations for Hard Rain. These seemingly small details connect all three Videos beautifully, without it feeling forced or contrived. 

What Hard Rain in particular works with, is the complementary colour scheme. Where you use two colours which are in direct opposition to their counterpart on the complementary scale. None of the pairs within complementary colours dominate the other. If mixed they would end up being a light to dark grey. They cancel each other out so to speak. 

By taking these opposites we already have a platform for narrative. We know these are two polar opposites, we know that none is stronger than the other. Naturally when Lykke is placed in the middle, in between two colours, we expect a border, or the fading of. 

The Video starts out with Lykke and her Lover kissing in a shower, a clear shower curtain between them, keeping them mechanically and synthetically apart. There is a strong red light projected onto Lykke’s back, whereas her lover on the other side of the curtain is lit in green. These two colours are complementary to each other. Therefore, the border between the two is hereby the shower curtain. We know that these colours are vibrant on their own, but fail to mix and blend to produce another vibrant colour. So, there is a sense of danger which feeds into the Idea of both of them (LykkeRed and LoverGreen) touching or engaging with one another, as this may result in them losing themselves without gaining a new. Before we move onto the next shot, which is the title screen of the video for hard rain, also completely drenched in red, we witness the Lover`s hand slide under the curtain and grab onto Lykke`s shoulder blade. A trespassing, musically underlined like we`re used to in horror films. The story has begun.

Her Lover now walks down a hall which again is lit in red. He is now moving freely in her space. Lykke in her red jumper moves in the opposite direction. The red getting paler with each step, halting in a still vibrant pink. We see pond lilies from above, a pair of frogs walking on them. Both in a similar direction, sharing the pool like Lykke and her Lover. Here we see again the red and green imagery. Above water is red whereas everything beneath the waterline is green. And again, as a result to these opposites we have a clear accentuated border (here the waterline) cutting the image in half. 

Still in the theme of water, we now arrive at a fish store with the couple. A sad trend in the pet-industry is to manipulate the lighting of fish tanks in order to let mainly tropical freshwater fish appear in a more toxic vibrant neon colour scheme, similar to the flashy colours of reef fish, rather than showing their natural colouration. This ‘fake’ light is flooding the entire room. Tinting the couple in their seemingly happy relaxed state. We see Lykke back in the pool alone, in a bright red dress creating gorgeous lavish shapes, followed by a ‘Match Cut’ through the Image of a red betta fish and it`s flowy fins, mimicking the dress we`ve just seen. Aligning these two images to one another, let’s us overlap Lykke`s and the fish’s experience in an elegant and obvious way. Her lover bought her the fish, trapped in a plastic bag. This could be read as an Omen to where Lykke is heading in the storyline, feeling trapped. 

After clinical and playful neon lights and a quick flickering of images, one of which is the couple sharing a bed, the covers being green while bedsheets and pillows are dark red, we arrive in the heart, and seemingly most authentic raw part of the video. A short break, natural lighting, a sunset in the background, the couple`s touching foreheads, mimicking each other’s movements. What potentially could have been an awkward moment in a music video, is a refreshing and genuine halt within the story, Lovers being oblivious to the rest of the world, only perceiving each other. 

This Lyric is very well applicable to the usage of the complementary colour scheme within the video. It focuses on the opposites between the two, sharing the same space yet always divided, if through curtain or waterline or just natural occurring border where one colour ends and the other starts. It also, of course, is heart of the song itself and where the couple in their relationship are heading towards. 

From here on the gap, or wall between the couple seems to manifest itself in growing impatience and frustration in Lykke. The colours mainly remain red and green or shift to orange and blue, which again are complementary. What is interesting when looking at the following Image, is the compositional aspect in addition to the colours. Whereas the blue on Lykke’s side claims more space than the orange, her lover does the same by occupying more space in the frame than her. The colours alone seem unbalanced, but once we add the associated bodies, it appears perfectly balanced. 

We arrive at an image reminiscent of the opening scene. Lykke and her love interacting through a physical and transparent separation. Contrary to the opening scene this divider isn’t flexible, nor is it as clear for her to see through, as the shower curtain. It appears decisions have been made on her side which have set, like the glass dividing the two. She no longer interacts or even looks at her former love interest, who is still trying to reach out through the wall.

Interestingly we see three dominant colours this time around. Lykke occupying the left corner in her red jumper, stands near green, whilst her Lover on the other side of the barrier occupies the larger portion of the image in a peachy orange. Is the addition of a third colour introducing something new to the story? A dynamic implementing where the story is headed, or simply suggesting that the conflict might be resolved here? Lykke leaving him in this orange space while she leaves the green empty, maybe for someone else to fill? 

Whichever way we choose to interpret these colours, there is an underlying theme and association with our subjects throughout the video which is undeniable. Let`s choose to see these colours and try to use language to expand on what we perceive as narrative. Colours can be a very reliable, unassuming and elegant way to further transport a story, as well as generate a sense of cohesiveness throughout a project, which relies on colour schemes, as a kind of by product.

Watch HARD RAIN

[pastlechips]

Chips List of Horror

Hi I’m Chips and I adore horror, so this is going to be a huge and I do mean huge, list of my favourite horror manga, anime and Asian horror movies. If you enjoy the genre but could do with something more to read/watch then look to  this list as it include lesser known series.  Right at the end I’ll add in all the popular/well known ones without detailing, just assume I think they’re decent series since I’ve added them in. I will be doing a western version of this: TV series, comics and movies etc in the future. Disclaimer: These are my personal opinions on this, so don’t get stroppy because I like something if you found it to be bad.

Manga:

Anything by Itou Junji-

He’s well know in the horror sector, a lot of short story collections and they’re always fantastic. I don’t want to ruin anything so just go and check him out, his most well know works include Tomie, Yami no Koe and Uzumaki. A lot of his stuff is really surreal or contains body horror, you’ve probably seen a couple of his horror panels floating around tumblr from time to time.

I am Hero- It’s brilliant, yes it’s about zombies however goes down a slightly different route and has some genuinely interesting characterisation. Ousama Game (Renda Hitori)- Not to be mistaken for the other manga with the same name...I love this one and it will be appearing later in another section, it’s got a lot of gore and some mystery thrown in. It’s a survival horror than involves and classroom of students that need to follow the kings orders and play his games, or death. Gantz- Honestly I adore this, it’s so different and the plot...oh boy be prepared to be taken on a ride. Fair amount of gore but reasonably used and has a nice cast of characters... I’d describe it as Sci-fi horror but very unique.

American Ghost Jack- It has horror, supernatural elements and even a little bit of romance. It was very intriguing, I quite liked it actually and it’s an easy read. I’m sure I read that there was going to be a sequel but don’t quote me on that. Real Account/Real Account 2: They’re parallel stories, gosh darn I enjoyed this one. I just really love survival horror type scenarios, it’s kind of crazy with lots of gore and I really like the main cast.

Apocalypse no Toride- It starts off in a prison and then everything goes to shit, it’s got zombie elements and sci-fi elements (think hive minds)  and honestly it’s fantastic. I adore all the characters and to be honest I keep praying this will one day be made into an anime.

Online-The Comic- Another one that’s interesting, to do with video games but with horror/gore and mystery thrown in. It’s actually really good, let’s just say I’d hate to be thrown in to this kind of scenario. Wouldn’t you hate a game that could kill you?

Bio Meat- So basically the usual, humanity is stupid. They use science to make creatures that eat rubbish and then is killed off for meat. Let’s just say it’s a terrible idea and most of the blood on the pages is from humans.

Tenkuu Shinpan- This has gone under the radar and it really shouldn’t of, it’s brilliant. Skyscrapers, murders in masks and a person deemed ‘god’ of that world. It’s fantastic with some awesome characters and gore. 

Hakaijuu- Oh look another one about creatures trying to kill humanity with lots of gore in, is it the end of the world? Maybe... What can I say I’m a sucker for apocalyptic/post-apocalyptic horror. Torikago no Tsugai- A group of people trapped in a place, solve puzzles or die. They’ve got to solve the mystery of the birdcage or die trying to get out, very simple but nicely delivered.

Dolly Kill Kill- Alien insects, dolls....murder of a large amount of the human race...people getting abilities and a fight for the survival of the human race. It’s very interesting, very gory and very fun to read. Nemuri No Fuchi- It’s surreal and supernatural, it’s very good with a very different plot. It involves and labyrinth, a little girl and some people looking for answers.

Green Worldz- What if the apocalypse was actually plants? Not seriously, this sounds stupid but is actually fantastic...The creatures, the plant structures are incredible, the gore is on point and the plot is fairly good This is a really nice read. Dolls Code- Guy wakes up, memories gone in a school of criminals, six other boys have each had a body part taken. They have to figure out who the puppet is to get them back and graduate. It’s really short and sweet but good none the less.

Mouryou no Yurikago- What’s worse than zombies? Being stuck on a slowly sinking cruise ship and zombies. Oh yeah this ones a ride, some ecchi in it but over all a good read with some decent characters.

Kichikujima- They land on a island where there are some very horrific things going on, a messed up family and a lot of gore. They people...will they survive? I suggest anyone who’s not into the darker side of things not to read. Hideout- I don’t even know how to describe this one, let’s say it’s a captive horror with some mystery. It managed to unsettle me but  that’s a good thing. A bit of gore, a fair amount of horror and it’s worth checking out. Kyochuu Rettou- So it’s an island full of giant insects that view humans as prey and an airplane full of students who have crash landed there. It’s survival horror with some ecchi thrown in, if you can look over a lot of nudity/perverted shots then it’s a good read. I honestly don’t mind some ecchi as long as the plot is good. Gyo- I’m sure a lot of people have heard of this, the one with  fish in it. You know, fish taking over...fish with scuttling little legs.... No? Read it...I don’t think there’s anything worse than a land shark.

Kangoku Jikken- You want dark? This is for you, take someone of your  choice captive and do anything bar killing them that you want in a month. However if they guess your name, they win and will get the 10 million yen at the end of the month. This is a psychological gore fest with some very dark themes and it’s gone going, pretty good stuff.

Some quick fire horror collections:  2001 + 5 , Hyaku Monogatari, 8.1 Yamada Yuusuke Gekijou and  Kouishou Rajio 

Anime:

Kabaneri of the Iron Fortress- I freaking love this so much, it has a flesh eating virus and a badass protagonist who is far too lovable. I won’t say too much as honestly it’s just worth watching.

King of Thorn- This is an anime movie adaptation of manga but it’s perfect, they couldn’t of done better and flows the manga so closely. I’d say watch this, then read the manga. They’re both amazing, anyway it’s about medusa virus which causes people to turn to stone and  people ‘frozen in sleep’ to try and save humanity but they wake up when they’re not supposed to, it follows the story of a twin.

Shiki- A deadly disease that eventually kills sweeps a small village but the real lesson in this anime is that the real horror lies in humans. It revolves mainly around a group of teenagers.

Mayoiga- A village that can’t be found where you can live a perfect life and a bus full of people looking for it but when they get there, is this urban legend true or was the reason it couldn’t be found more sinister? It’s alright, a great lead up and ends up a little under whelming but a good casual watch.

Kowabon- It’s got ghosts and techonology, so there’s no escape from the horror and I think that’s the true terror. It’s got some nail biting moments and is a short enough series to binge.  (There aren’t many anime series that are really decent in the horror section aside from the more well known series which a will be putting at the end of these lists.)

Movies/TV Series (Live action not animated unless stated otherwise):

Anything by Takashi Miike- He’s been named a master of horror and for a good reason, his movies are disturbing, interesting and strange. Usually full to the brim with unique characters, the tales he weave are horrific but you won’t want to look away. My favourites include Ichi the Killer and Imprint. Though here are some more special mentions:

As the Gods will- If you don’t want to read the Ousama manga then the live action is fantastic, it’s nothing special plot or special effects wise but it’s very good for a watch and I hope there will be sequel to follow the manga plot further. It’s got gore and it’s got bizarre

Terra Formarz- It’s actually both a manga and anime series but honestly I didn’t like either, however watching Miike’s live action of it was enjoyable. A bit zaney but good none the less, an easy and interesting watch

Others- Audition, Three Extremes(The Box), Visitor Q, Gozu, One Missed Call and Over my Dead Body 

Train to Busan- I’m adding it in because it’s one of the best zombie based movies I’ve watched in a long time along with a protagonist you really route for, these movie has become fairly well known.

Old Boy- This is a classic and fairly well known but how could I not put it here, it’s got everything. Beautiful cinematography, a really intriguing plot and really is a thriller that glues me to the screen every time with some nice plot twists. Hansel and Gretel- A surreal but disturbing psychological horror with fantasy thrown in surround a man who crashes his car and stumbles upon a cottage with 3 children. A very unique take on the Grim’s tale and it kept me invested till the end.

Kuchisake-Onna- I’m sure a few of you will know of the slit mouth woman who carries around huge scissors. A live action movies about this legend and it’s pretty good, they sure made her look eerie. Suicide Club- Also a manga, it’s a good watch. Quite disturbing for some pepole with obviously dark themes/tones. Just... watch it if you wish. Guinea Pig Series- Watch at your own risk. Highly disturbing when they first aired, to the point where people thought there were actual snuff films. Obviously they’ve ages quite a bit but other the watch for any gore lovers.

Grotesque- Another one to watch at your own risk, this is what some people would describe as torture porn. A couple get kidnapped and tortured by a doctor to see how much pain they can for through for the sake of love. Nothing to spoil, just some outrageous gore... the ending ruined it a bit though. Noiroi- The Curse- Very bizarre and the old style of filming as a ‘documentary’ was so effective in delivering that creepy tone. This is one meant to make your skin crawl. Dumplings- I really can’t say much about this movie without spoiling it, it’s about dumplings that are said to keep you youthful but obviously there’s a lot more to it. Some disturbing themes.

More popular Asian horror to see(This includes a mix of all three media forms):

There are well known or popular, be aware that some of them may  just have horror  some themes or gore in them and won’t be purely linked to that genre alone. This will also be a mixture of movies, manga and anime in no order.

Akira, Beserk, Battle Royal, Ju-On, D.Gray Man, Another, Hellsing, Corpse Party, Gakkougurashi!, Elven Lied, Ajin, Ringu, Tokyo Ghoul, Highschool of the Dead, The Chasing World, Deadman Wonderland, Death Note Vampire Hunter D, Shinsekai Yori, Kukurenbo, Attack on Titan, Cello, The Tale of Two Sisters, 3x3 Eyes, Jojos Bizarre Adventure, Whispering Corridors, I Saw the Devil, Boogiepop Phantom, Violence Jack, Cindrella, The Wig and many more, please ask me if you need any suggestions for horror to watch.

[aion-rsa]

AFI Fest 2020 Features Some of the Year’s Best Films

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This year, like just about every other film festival that managed to put on some kind of show in 2020, the 34th annual AFI Fest went nearly all-virtual. The yearly American Film Institute event, which usually combines major studio and independent releases, bypassed its usual eight-day blitz at the famous TCL Chinese Theatre complex in Hollywood for an online simulacrum that did not perhaps offer up the same glittering premieres and major studio contenders as in past years, but still managed to offer up a number of superb offerings.

“Attending” a film festival from one’s desk or couch can be a tricky proposition, so it remains to be seen how successful AFI Fest was overall with paying audiences (screenings were ticketed for the public). But as with other such events we’ve experienced this year, like Fantasia, the technical aspects were flawless and the ease of use and screening windows made the event largely stress-free. And we saw some truly extraordinary films, some premiering for the first time, and others coming from other festivals we missed. Check them all out below.

Anthony Hopkins and Riz Ahmed Lead Parade of Talent at AFI Fest

The Father

The best film we saw at AFI Fest was The Father, director and screenwriter Florian Zeller’s adaptation of his own stage play. Anthony Hopkins stars as Anthony, an elderly English man who is suffering from the onset of dementia. Olivia Colman is his daughter Anne, who is planning a move to Paris to live with her partner and is desperately trying to find a new caregiver for her father after he scared off the last one.

But as the film goes on, the viewer begins to wonder what is actually happening? People drift in and out of the narrative under different names, Anthony’s spacious apartment seems to change around him, and time itself seems to bend. Then we realize: we are seeing almost all the events from his point-of-view, which means that none of what we see can truly be trusted–making what could have been a conventional drama about illness and memory into something brilliant.

That realization, coupled with absolutely heartbreaking work from Hopkins and Colman, makes The Father a devastating look at a slow-motion nightmare from which there is no escape. Anthony (the character) is at once recognizable as a certain kind of man (and as such is both charming and mean-spirited), and the legendary actor (we swear we saw a flash of Hannibal Lecter in there at one point), makes his long, slow descent into an unmoored new reality even more profound. A nearly perfect film. (5 Stars)

Sound of Metal

Just as The Father brings us inside the world of someone in the grip of dementia, Sound of Metal gives us an up close look at what it feels like to suddenly go deaf. Riz Ahmed is excellent as Ruben, a recovering drug addict who drums in a heavy metal duo alongside his girlfriend, singer/guitarist Lou (Olivia Cooke). The two tour the indie rock circuit in a beat-up but cozy RV that also serves as their home. However, their gypsy lifestyle is upended when Ruben abruptly loses his hearing.

Director Darius Marder (who co-wrote the script with Abraham Marder) does not give into sentimentality, even as Ruben moves through grief, loss, denial, anger and self-pity, all the while clinging to the possibility that he may find a surgical way to restore his hearing. His journey also takes him to a home for deaf people in recovery (headed up by the marvelous Paul Raci, whose own life story involving deafness is remarkable), and eventually opens his heart and mind–at least a little–to the understanding that he can still live a fulfilling life. The excellent sound design is the final touch on a captivating and highly original story. (4 Stars)

Nine Days

Winston Duke (Black Panther), Zazie Beetz (Deadpool 2), and Benedict Wong (Doctor Strange) star in this striking directorial debut from Edson Oda, who also wrote the script. Duke, one of our favorite up-and-coming actors, plays Will, an enigmatic being who once lived on Earth as a human and now decides which souls get their chance to proceed to do the same.  When a slot becomes available due to an unexpected death, Will and his colleague Kyo (Wong) welcome five new applicants to their way station, one of whom (Beetz) challenges Will’s method of selecting a new soul.

Based on the concept alone, Nine Days would make an interesting double feature with Pixar’s upcoming Soul. The film touches on a number of sophisticated ideas about what defines humanity and what it means to live, doing so in a compelling and deeply moving way. Duke, Wong and Beetz are all excellent, as are Tony Hale (Veep), Bill Skarsgard (It), and Erika Vasquez as fellow applicants. This is a surreal fantasy that strikes at some truths about how we live. (4 Stars)

New Order (Nuevo Orden)

The sixth film from Mexican writer-director Michel Franco is less than 90 minutes long but will leave you battered and devastated. As a wealthy “white” family celebrates the marriage of their daughter with other upper class guests at their posh estate, trouble is brewing in the streets of Mexico City. The “brown” workers, including people toiling away at the wedding itself, erupt into a furious revolution in which almost no one is spared. But the forces behind the seemingly spontaneous uprising may not be what they seem.

Franco spares no one in this harrowing and absolutely relevant descent into societal breakdown, as the screen fills with the screams of the tortured, the murder of women and children, and the flames of burning bodies. He may cut away at the last minute in key instances, but you are fully aware of what’s happening nonetheless. The film’s hard-nosed approach extends to the motivations behind the chaos, which are more opaque and not as straightforward as one might expect. New Order will leave you shaken and disturbed–as it should. This may not be science fiction. (4 Stars)

Belushi

The first major documentary on the life and career of late comedian and Saturday Night Live alumnus John Belushi touches as expected on all the personal history, creative development, and psychological complexity of a man who many consider one of the great comic geniuses of his time. With many of the interviews with key people done as audio only (for an oral history project), director R.J. Cutler fills in the visual blanks with animation, excerpts from private letters, and various film and video clips, creating a shaggy, kaleidoscopic vision of a too-brief and just as frenetic life.

Since Belushi’s career is well-documented (although it’s weird to realize he only starred in seven films), and the circumstances of his death sadly all too predictable, what stands out most about the film is the central relationship with his wife Judy, who provided an anchor even when Belushi self-destructively pushed her away. Belushi the movie doesn’t offer many surprises beyond that, but does make us wonder what he might have done had he stuck around. (3.5 Stars)

I’m Your Woman

Rachel Brosnahan (The Marvelous Mrs. Maisel) stars in this new melodrama from Fast Color helmer Julia Hart, who weaves themes of motherhood, loyalty, love, and family into a 1970s crime thriller with a decidedly feminist bent. Brosnahan plays Jean, whose sheltered life as the wife of professional thief Eddie (Bill Heck) is upended by his gifting her with a baby (not hers) and then disappearing shortly thereafter. Jean learns that Eddie has betrayed his boss and that she and the baby must go on the run, with help coming from a surprising source.

I’m Your Woman kicks off in bracing fashion, laying out the contours of Jean’s dreamlike, aimless life, then ripping it all out from under her in a gritty, fast-paced first half. But the movie nearly grinds to a halt in its second hour, with a lot of exposition and some confusing narrative strands slowly letting the air out of the proceedings. Brosnahan is great in as a woman who must finally fill in the blanks of her own life, with excellent work as well from Marsha Stephanie Blake and Arinzè Kene as unexpected allies, but the movie doesn’t achieve the triumphant moment it’s striving for. (3 Stars)

Apples

This Greek dystopian fable could serve in some ways as a more metaphorical companion piece to The Father. A product of Greece’s recent wave of “weird” filmmaking (led by Yorgos Lanthimos of Dogtooth and The Favourite fame), this debut from director and co-writer Christos Nikou is set in an Athens where a strange virus is causing people to experience abrupt and almost total memory loss. There’s no cure and no one recovers, and while some amnesiacs are claimed by their families, others become part of a program to give the afflicted a chance at starting a new life.

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Movies

Toronto International Film Festival 2020 Movie Round-Up

By David Crow

Movies

New Horror and Sci-Fi Movies Break Out at Fantasia Fest

By Don Kaye

Two of those in the latter category are Aris (Aris Servetalis) and Anna (Sofia Georgovassili), who try to recall the past while attempting to build a new future. He’s as melancholy as she is cheerful, and their different approaches are indicative of the ways all of us might face having our entire existence rebooted. Apples takes turns being absurd, sweet, and poignant, and while it’s a bit too self-consciously strange, it’s a touching twist on classics like Eternal Sunshine of the Spotless Mind. (3.5 Stars)

Uncle Frank

Six Feet Under and True Blood creator Alan Ball has written and directed this intimate look at a New York University professor (Paul Bettany of WandaVision) who finally comes out to his semi-estranged South Carolina family when he returns home for the funeral of his father. Frank is aided in his efforts by his niece Beth (Sophia Lillis of It), who has always admired her worldly uncle, but didn’t even know his secret herself until attending NYU as well.

Bettany is fantastic, and supported by strong work from Lillis and Peter Macdissi as his longtime partner Walid. But there’s something that feels pre-programmed about the way the plot proceeds, and the film’s last half-hour goes off the rails in overwrought fashion. The engaging cast, led by Bettany’s dignity and humanity, steer it back however. (3.5 Stars)

One Night in Miami…

You can read a much more comprehensive review of Watchmen star Regina King’s directorial debut here, where movies section editor David Crow liked the movie a bit more than us. But after a slow start, there’s no denying that One Night in Miami… (adapted by Soul co-writer Kemp Powers from his play) builds to a powerful and inspiring finish.

Powers’ scenario envisions what happened on the night that Cassius Clay (El Goree), Malcolm X (Kingsley Ben-Adir), Sam Cooke (Leslie Odom Jr.), and football star Jim Brown (Aldis Hodge) all assembled in a motel room after Clay defeated Sonny Liston for the heavyweight championship. King can’t quite escape the movie’s origins as a play, but she projects confidence behind the camera and gets distinctive performances out of her four stars. Goree and Hodge are the strongest, but Ben-Adir’s doomed civil rights leader and Odom Jr.’s introverted singer are the heart of this timely story. (3.5 Stars)

The Intruder

A voiceover actress named Ines (Erica Rivas) has her vacation cut short by a tragic occurrence and comes home to find that the incident may have lasting supernatural repercussions in this low-energy chiller from Argentinian director Natalia Meta. The brooding atmosphere and sound studio setting seem almost like a deliberate nod to Peter Strickland’s eerie Berberian Sound Studio (2012), but Meta’s script can’t navigate the blurring lines between fantasy and reality as successfully.

The result is a movie that badly wants to be socially relevant enhanced horror but ends up being a sleepy letdown. Meta and the great Cecilia Roth as her mother both do their best, but there’s not enough substance to the story or Meta’s premise, and the scare tactics are predictable. (2 Stars)

Wander Darkly

We are mystified at the praise that this film has received since premiering at the Sundance Film Festival earlier this year, as we found it to be a confusing, pretentious mess. Sienna Miller and Diego Luna star as a young couple, with a house, a baby, not a lot of money, a growing distrust of each other, and all the pressure that brings to bear. Then their lives are changed in a horrific car accident from which Miller wakes up and begins a surreal journey through the couple’s past, with Luna as her guide.

Is Miller dead? Is she dreaming? The movie keeps the truth hidden but director/writer Tara Miele’s experimental non-linear narrative doesn’t pay off. The hopping through time and space is incoherent, even within its own rules (which are not clear either), and as a result the movie doesn’t build to anything emotionally true. The horror movie subplot and big “twist” at the end are also weak. Miller and Luna are both spellbinding, and have real chemistry, but they can’t save the film. (2 Stars)

The Boy Behind the Door

Two 12-year-old boys (Lonnie Chavis and Ezra Dewey) are kidnapped by a pair of what appear to be human sex traffickers in the tense opening moments of first-time directors David Charbonier and Justin Powell’s dark, dark thriller. Kevin (Dewey) is chained up inside the pair’s sinister house, which sits adjacent to an oil field; Bobby (Chavis) manages to escape from the trunk of their car, but valiantly enters the house to save his friend, knowing that at least one of their kidnappers is still inside.

After that gripping start, The Boy Behind the Door plunges further into inanity. The two boys are marvelous, but their characters are barely developed and the villains even less so. Stupid actions and implausible plot developments drain any believability out of what could have been a riveting tale, turning it into a subpar slasher movie that doesn’t even seem to know when it’s set: the boys don’t have mobile devices, yet Bobby treats an old rotary phone that he discovers like a find from an archaeological dig. Good cinematography and atmosphere can’t save this one from slamming shut on itself. (2 Stars)

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[sleepyskunk]

Deconstructing the 2017 Movie Trailer Mashup

Why deconstructing a mashup? Because these videos are often perceived as a random mess of pretty images from movie trailers. While that’s absolutely true, there’s an opportunity to explore themes and also pay a few obscure tributes to elements that don’t belong in the video itself but that are generally widespread within pop culture. These montages have been going on for a few years now, and it’s hard to edit the footage in a way that won’t feel reminiscent of one of the many great retrospectives put out by other talented editors in years past. I have to say that trying to build a narrative with all that footage has now become more enticing to me than to highlight the moments that made the year in cinema within their proper context. Let’s get right into it, shall we?

Someone on Reddit commented: “starting off with GEOSTORM, that’s a bold move!” and it didn’t even cross my mind. The shot was exactly where I wanted to go right off the bat - a blend of childlike wonder and eerie caution reminiscent of earlier Tim Burton films. The track was composed for a television spot called “A Wonderful Day” from IT and it showcases major Danny Elfman influences. Thus, this was my small tribute to the Burton/Elfman collabs happening under snowfalls like EDWARD SCISSORHANDS or BATMAN RETURNS. I loved the contrast in dialogue from PERSONAL SHOPPER which was such an under-appreciated indie film this year. Every mashup has its horror section, but I am gently sneaking you in by the supernatural door this time around. It’s just innocent enough to deceive those who hate horror.

Childlike wonder flawlessly captured in one shot, from the lens of Matt Reeves. I can’t say I connect emotionally with his APES movies, but the quality control on every frame, CGI or otherwise, it pretty much above and beyond all industry standards. That facial expression is exactly what I needed, you can tell she’s not too sure whether she’s safe or not but without feeling properly scared either. This is like the part in the original POLTERGEIST where kitchen chairs are moving on their own and the family still thinks it’s kind of fun. Kind of.

KING ARTHUR is the best type of release when it comes to trailer mashups because 1) it had a fantasy undertone 2) it was tracking poorly and 3) it went way over budget. Big studios know months in advance if they have a major bomb on their hands, and they have two choices at that point: either stop spending a penny on it and dump it for a quick theatre run and VOD release (more common if the movie didn’t cost that much) or, like in this case, spend extra millions of dollars to sell the shit out of that movie on opening week-end before everyone realizes it’s bad. Those extra millions go towards CGI money shots like the one above, which is really meant to make the marketing more attractive and oh dear lord, did KING ARTHUR have some last minute money shots to offer or what? It was a joy to pick and choose from its nine trailers.

This is where I put my cards on the table, whimsy never happened and I am taking you all to creepytown. That shot from ANNABELLE: CREATION is one of the many that upstages the featured evil doll in that wonderful movie and the film’s cinematographer Maxime Alexandre reached out because he was happy so much of his work was featured. You never know in front of who your videos can end up and industry people are keen on celebrating the year in film, especially if their own works are included. This is just a top notch unsettling shot clearly inspired by THE SHINING (the girl’s dress and the way her arms look lifeless.) On a side note, I always manually add all sounds including that floor cracking. If anyone reading this is starting off editing mashups, I promise you one thing: using professional, isolated, studio-recorded sound effect packages such as BOOM library is much superior to the original trailer track (unless you get a clean sound within the trailer.)

Another random insight (if you’re interested in making your own movie mashups) is to try as much as possible to avoid that one marketing shot everyone recognizes. You can revisit a memorable moment but going straight to the most oversold shot of a film hurts you. While you’re eager to make everyone relive the most epic imagery of the year, some value gets lost when a studio bombarded the same shot over and over and you go for it. Two quick examples: Giant hologram JOI pointing at Ryan Gosling in BLADE RUNNER 2049. I wanted that moment, but the original side-scroller shot was so overused that I went with her from a closer angle (see video thumbnail). Another example is that uncomfortable sniffle from Daniel Kaluuya in GET OUT which I favored over the super overplayed mouth open crying paralyzed shot from every marketing piece. In both cases, I assume you know which shots I am referring to without having to show them. Trying the alternative makes us relive the moment without its obviousness. It gives that other shot they didn’t choose its moment to shine (and more often than not, it’s just as effective.)

Someone’s not getting much sleep. A CURE FOR WELLNESS is a gorgeous-looking film no matter what you think of its bizarre plot points. I spend much of the first segment flirting with the creative key points from IT. One I tried to play around with is the idea of Pennywise as a half-real/half-fiction monster, and how similar to Wes Craven’s A NIGHTMARE ON ELM STREET his realm of terror extends. A few winning concepts in both films: 1) He isn’t real but he can really hurt you so you have to stay on your guard at all times and 2) Only a select few have been cursed with having to deal with him, adding a psychological layer to an already spooky premise. Dane Dehaan looks like a kid from Derry, or Elm street if you prefer, whose mental focus seems affected by the fact that he saw something, and his friend saw him too. Meanwhile, I throw in a completely out of context quote from Vanessa Redgrave which ties in that mysterious “sickness” from Verbinski’s film.

A shot from PROFESSOR MARSTON AND THE WONDER WOMEN from a trailer edited by Kees van Dijkhuizen Jr. for Annapurna Pictures where he works as an in-house editor now. In 2015, I talked about Gen Ip’s storytelling approach and last year I praised Matt Shapiro’s famously epic crescendos, so this year, let’s talk about Kees a little bit because I find all their influences fascinating. My first observation is how far his much-adored Cinema series has taken him, and that one of the top production houses in the business (if not the top, sorry A24 and Fox Searchlight) hired him so he could bring his own distinct style onto their major features. The whole trailer mashup craze started off only a few years back and so many editors were recruited right off YouTube to turn their passion into a livelihood down in Los Angeles. I can think of at least six editors whose names you’d recognize and who are now living the dream, and I consider this to be really inspiring because none of them initially got into it thinking something like that was ever possible. (side note: I also moved to L.A. and was poached by a trailer house but prefer to keep things on the low-end until it’s been long enough. I wouldn’t want to jinx it.)

The second observation about Kees is how much influence he’s had on every mashup that gets uploaded on a daily basis every December (me included) - I will link his Cinema series below. Instead of pairing clips into a horror bit, an action bit, a laughing and dancing bit, a kissing and crying bit, Kees was always out to create new feelings and nothing ever seemed more important than proper flow. Many shots would pop-up that you would never expect thematically, images of moving objects like a breaking glass transitioned with a girl’s hair waving through the wind (also see the lie detector in the previous shot.) He would connect nature documentaries right along with major superhero blockbusters and the movements flowed so perfectly that nothing ever felt out of place, quite the contrary. He was the best shot curator we’ve ever seen, and the order in which he put them together was beyond logic and predictability. Imagine “One Perfect Shot” but with 275 perfect shots back-to-back. If you want a prime example of what I’m referring to (random objects and flow), check out 2:49 - 2:52 from his Cinema 2011 (links below). Kees set the bar so high that attempting an end-of-year mashup certainly felt foolish at times, but hoping to improve made the editing process all the more inspiring.

CINEMA 2008 | CINEMA 2009 | CINEMA 2010 | CINEMA 2011 | CINEMA 2012 

So apparently, they have the internet and flat-screen TV’s in RINGS but landline phones are still a thing. Quite frankly, I haven’t seen RINGS and I bet it’s aggressively ordinary, but how retro horror is that shot? Paired up with the voice of THE SNOWMAN saying “Mister Policeman” it’s a throwback to Nancy being terrorized by Freddy in the original Nightmare of Elm Street (minus the tongue.) I was also pleased with the aesthetic of HAPPY DEATH DAY, clearly the product of horror fans who grew up during the low-budget slasher craze of the early ‘80s. It’s got MY BLOODY VALENTINE written all over it (meanwhile their poster was paying homage to APRIL FOOL’S DAY.) Retro horror, in all its disturbing practical gore glory! Rick Baker, Tom Savini, how much we missed you in our modern times where only a few major productions have enough VFX money to escape the uncanny valley (and even then... *cough* JUSTICE LEAGUE.)

I always tend to edit right on tempo, which means switching shots at the exact moment the music beat tells you to. But over here, I thought this elevator drop from FLATLINERS looked so frenetic and out of control that I started it half a second before as if the beat couldn’t keep up! Like in cartoons when the car accelerates so fast that it takes off but their eyeballs are standing still for a little fraction. This whole mashup sequence is meant to be a little cartoony and tongue-in-cheek. To anyone who found this to be disturbing (and yes, I heard from a few viewers who said it was too much) I must admit that it wasn’t my intention. I won’t apologize for my work, people choose to watch if they want to or not. But if I really tried my best to scare the crap out of you, I can assure you THE LEGO NINJAGO MOVIE wouldn’t have made the cut.

Now channeling a CHILD’S PLAY vibe thanks to this retro television shot from the highly underrated BRIGSBY BEAR. A kids program works well as an element of fear because it’s supposed to be a safely protected zone of positivity and care, just like a doll or a clown for that matter. Once that turns on its head and begins to attack, you basically have nowhere else to hide. It also makes for great contrast, and Andy Muschietti must have had an absolute blast this year incorporating this component into his remake of IT. The bear costume was one of the many shots that wasn’t from a horror movie and yet I used to great effect in this section. I know there was a new CHILD’S PLAY movie this year but sadly, it didn’t hold a candle to the Hitchcockian original.

“At the end of the day, people are out for themselves.” That’s not true, and only people who are out for themselves could believe that. Because if you’re weighing low on the morality scale at some point in life, you still wanna go to bed thinking you’re a good person. So if you can’t justify what you did, the best logical next step is to convince yourself that human nature is to blame, that everyone else would have done the same as you. Ask people who were charged with insider trading on the stock market, they’ll always say “everybody was doing it.” I could refer to a certain World War to keep hammering that point but instead, I’d like to point out the interesting contrast between this and Part 3. I try to disprove that very statement by showing in the finale that everything we do that matters is for others, and others are the only thing that matters once everything else has come and gone.

The KING ARTHUR studio spending extra millions of dollars to sell the shit out of that movie on opening week-end before everyone realizes it’s bad money shot festival continues. EPIC! In fact, that shot is so gorgeous, you could place it anywhere in any mashup ever and it would probably work.

Having a bit of fun giving a more literal visual cue to IT’s “We all float down here” with Guillermo Del Toro’s hypnotically beautiful THE SHAPE OF WATER. However, it’s not the tudum tssshh, get it? movie connection that works here. It’s the underwater sound effect and the incredible sound mixing by trailer house Buddha Jones so that Georgie’s voice seems to come from the bottom of the ocean. This is likely the best sound work you’ll hear in the entire mashup, and I didn’t mix it, the editors behind that teaser trailer did. In fact, their work was so effective at scaring people that it earned twice the amount of views on YouTube than what Avengers: Infinity War received. A fact Kevin Feige will likely never admit.

That moment when you realize your manic pixie dream girl wears white socks! NOOOOOOOOOOOOOOOOOOO

I've used vulgarity in the past but not every year, depends whether it brings value. Some of you may remember “Game on, c***suckers” from KICK-ASS 2 in 2013 or “Nap time, motherf***ers” from COOTIES in 2015. Perhaps there’s another guilty pleasure at play here, however, which is that feeling of pure creative freedom. As mentioned earlier, not everyone digged the horror undertone of this year’s Part 1 and that’s okay because it went exactly where I wanted to go and no compromise was made. No client notes. No studio revisions. No censor beeper (which makes it worse because we seek to find out what the word was.) If you get into professional careers that are creative in nature, you’ll find that teamwork, compromise, and not taking anything personally are all essential components for success. But when the movie trailer mashup comes around, I report to no one. And that moment from THREE BILLBOARDS OUTSIDE EBBING MISSOURI is one I wanted included as soon as the red band trailer came out.

This shot comes from a small movie you should seek out called MY NAME IS EMILY starring Evanna Lynch (aka Luna Lovegood in the Harry Potter movies.) The film was directed by Simon Fitzmaurice who was diagnosed with Motor Neuron Disease (ALS) a few years ago, the debilitating disease for which the viral ice-bucket challenge was based on. He wrote the screenplay for this movie while his body was entirely paralyzed, and the only way he could communicate with the cast and crew while shooting the film was through eye gaze technology. There was a documentary following his brave journey that played Sundance called IT’S NOT YET DARK. Check it out if you need some real work ethic motivation and want to feel truly inspired about overcoming challenges. Much better than THE DISASTER ARTIST which is a spoof about a millionaire with no talent who mistreated the people who worked on his film. Okay, it’s still very entertaining and James Franco is hilarious but I don’t get a ‘never give up’ vibe from it, more like ‘maybe this isn’t for you.’

With the second segment, I was going for a British Gangster film vibe, hence the music cue Main Offender by The Hives. No movie captured that feeling better than Ben Wheatley’s FREE FIRE this year. I find the criminals in British movies are equally as clever in their quips as they are dangerous and often have the appearance of fair, well-behaved citizens until they have a reason to go mad. Jon Hamm’s performance in BABY DRIVER was also a textbook definition of that archetype, because all the build-up scenes where he acts friendly and discusses music with the titular character only bring an element of surprise at the end of his arc (spoilers: he’s not that nice in the end) I am aware that BABY DRIVER takes place in America but it’s directed by a Brit so it counts!

If Kubrick only knew his famous jump cut from 2001: A SPACE ODYSSEY that connects a flying bone to a space shuttle would lead to this fifty years later. What a shit show jump cuts have become! But they’re fun, and let’s be honest here: 7 minutes of serious quotes about life would get a little heavy. The way you edit jump cuts is the same way to solve a puzzle with over a thousand pieces. Extract dozens of short action clips onto your timeline and try to make them fit with one another over and over until you’re entertained. I mean, the music stays the same in the background, all I am doing here is deciding which projectile this pair of underpants from CAPTAIN UNDERPANTS will become. The answer was a tranquilizer from the underground mall chase sequence in Bong Joon-ho’s excellent OKJA. Maybe we should try one really long domino of jump cuts one day. Should take forever to edit, but how much fun would it be?

Did you know that Academy Award winner Alicia Vikander was a professional ballet dancer before she started acting? Work ethic applies in everything you do. When you hear about successful actors, you often discover people who are world-class at delivering under pressure and dedicating themselves to their craft with an insane amount of work. Acting is hard and yet so many people think they can do it, which makes it even harder. At least ballet puts constraints right off the bat, you need flexibility and a specific body frame. Part 3 is about finding your passion AND putting in the work. Just finding your passion is hard! It’s not always the bottomless pit one could hope for, especially when it becomes a real job with hours upon hours of work. Many people don’t even know what their passion is, they know what they’re good at but don’t love it. “Without your passion, it’s very hard to find our place in the world.” I don’t think you need your income to come from your passion in order to find said place, but I wish everyone that many of the limited hours they have each day goes towards their passion, and not towards something that feels like a waste of time. Wanting to wake up has everything to do with what happens after your first cup of coffee. Put your time towards something meaningful to you, even if it’s only on evenings and week-ends and you’ll never make a penny from it. If you love animals, volunteer at a shelter. If you love to travel, just GO!

But what happens when your family conflicts with your passion? Would you leave them behind to pursue your dreams? We all remember the tragic scene from DEAD POETS SOCIETY where a young scholar gets forced by his father to become a doctor instead of his passion and commits suicide. And then we have this year’s COCO, Pixar’s big comeback, where music is prohibited in Miguel’s family but it’s all he dreams about. But that conundrum doesn’t even have to be confrontational in nature. What if you wanted to work in a low-paying field like online journalism because it’s what you love but your single parent (who always took care of you) became sick and needed you to take care of their treatment. What happens then? What comes first? I humbly try to answer that later in the segment, of course.

We always told you Daniel Radcliffe... you’re special. That’s why you have a scar on your forehead that looks like a bolt... Just kidding, poor guy. I look at Mark Hamill in THE LAST JEDI and keep thinking that if studios are still a private enterprise in 40 years, some new Harry Potter movie will come out in which an old bearded Radcliffe will be teaching at Hogwarts. (PS: he keeps making bold choices, so much so that I am willing to watch anything he’s in.)

A man’s reach... (or woman, btw) should exceed his/her grasp. Words from a poem by Robert Browning, suggesting that, to achieve anything worthwhile, a person should attempt even those things that may turn out to be impossible. The downside with attempting the impossible is two-fold, however. 1) You may spend your life trying and never succeed. 2) If you do get there after so much sacrifice and effort, the world will expect you to do it again, or to keep doing it at the same level or better. If you won a Gold medal at the last Olympics, what are the expectations for the upcoming Olympics? That’s where passions and dreams enter a darker road, one many people choose to avoid altogether. But whatever happens, it’s worth the risk as long as you have the one thing along the way that’s a hundred times more important. And that thing is...

...people who love each other! Look at this guy, he just figured it out!

Kate Mara in MEGAN LEAVEY really seems to be the one thinking out loud in this shot while we hear a quote from THEIR FINEST. I had a blast with the Freddy Krueger references earlier but this is my favorite part. Audiomachine make the best tracks to bring that crescendo to its proper peak. You can say this part of the mashup is more in my comfort zone. And the influences from Kees that I discussed earlier can be felt here. Some shots of objects and landscapes that aren’t thematically connected but keep a nice flow. I also handpicked the best cinematography of the year all at once here. MURDER ON THE ORIENT EXPRESS was a damn pretty movie, then SHAPE OF WATER, then THE MAN WHO INVENTED CHRISTMAS, then OKJA. Every shot looks like a million bucks. Notice the use of paper, letters and ink. I want to see you again, a character from EVERYTHING EVERYTHING writes on a sheet.

Family comes first is nice, but along with family comes conflict and distance at times. Things we said that we regret. Times we let each other down, or weren’t there when we needed to. All the papers dropping from the bridge, all the shots that refer to letter writing, that’s where I was going with that. Not always obvious because it moves so damn fast which is why I do this deconstruction blog post every year!

The final big lift from Disney’s BEAUTY AND THE BEAST! Also, the first frame I added onto my AVID timeline. This is how I organize my work basically. I pick the right songs, then I identify the exact moments in that song where a big moment should happen - if you use trailer music, it will be crystal clear what those are. And then I try money shots in each of these spots over and over until one really, really fits. Then, I ask myself how did we get here, how can I get to that point? And build around these big moments. The second shot I added into the mashup was the little girl in Part 1 under the bed who points to another version of herself sleeping in her bed and says “Shhh! That’s not me.” I put that in right when the music stopped, it became a big moment, and then I built around it in order to get there. Every editor works differently, but I am just sharing how I personally prefer to do it. Back in 2012, the first clip I added onto the timeline was “I have an army. We have a Hulk.” from THE AVENGERS which means I’ve been editing this way for five straight years.

Those letters of reaching out to people you care about. Apologies or wondering how they’re doing. Flying everywhere around Winston Churchill (that’s my dog’s name, he’s a Pembroke Welsh Corgi!) I guess you should always be the one to reach out in difficult situations with important people. The mistake is to not reach out, or convince yourself that they were dragging you down and you’re better off without them. That’s rarely the case, and you’ll never get over them when you know that’s not the case. Maybe they will reply someday, maybe they never will. But you swallowed your ego and you decided to give it one more shot. That’s the bravest thing we can do in this life, and I hope you’ll see it that way if the time comes. Happy New Year! Achieve your passions, take care of the ones you love and make it a wonderful day! (Halle Berry: “Aaaarrh!")

- Sleepy Skunk