#or genre conventions in film in general

[luvelii]

I've been watching heavenly delusions and frieren reactions with like actual discussions etc and it's so interesting how wildly different people interpret things.

Things I thought were clearly laid out are just ignored by the discussion

They often speculate or ask things which have already been answered in the text but they missed it

And that part is super frustrating bc the people seem confused by things which are pretty clearly laid out

The frustrating part comes when they then wildly misinterpret what is happening

[avelera]

Sometimes in genre fiction stories, you’ve got magical characters talking about their magical lives in public or wearing their superhero costumes out in the regular world.

Often times, the magical characters feel they need to hide or whisper about things like magic or immortality or fighting demons or like pretend they’re going to a convention to explain their superhero costume.

These are often lovely and charming scenes but let me be clear:

Nobody in a major city would give a fuck.

Just as one example of many, I was literally in line for a book signing in NYC and a man walked by stark ass naked wearing only body paint and basically after the initial surprise, no one did or said anything about it.

The amount of crazy you encounter on any given day walking around a major city makes you basically immune to surprise or taking any kind of action about weird shit happening around you.

If I heard someone talking about their magical powers next to me at a cafe back when I lived in NYC, I’d assume either 1) they’re rehearsing for a play, 2) playing/discussing D&D, and/or most importantly 3) it’s none of my fucking business.

I’m always curious what exactly people think would actually happen in the real world if a supernatural or magical character was overheard by someone who wasn’t actively hunting them or who wished them harm.

If you overheard a time traveler or an immortal or magical person in general candidly speaking about their life at the table next to you, what would you actually do about it?

Would you call the police?

Tell the whole world you just sat next to a real magical person and your evidence is that you overheard their conversation?

Report them to their nemesis? How would you even find them??

Seriously, besides telling your friends about the weird conversation you overheard at lunch or the strange looking person you saw, what exactly would a normal person do even if they really did overhear someone like a time traveler speaking candidly about their travels for anyone to hear?

I ask because I see so many stories set in a superhero or urban fantasy setting worrying about being NOTICED. Noticed by WHO? With what result?? What do you actually worry is going to happen? What would any average person actually do besides shrug and go back to whatever they were doing?

I’d accept that maybe in a smaller town you could become a topic of conversation and even widespread notice.

But let me assure you, friends, in any major city, no one would fucking notice much less say anything about any level of weird shit they saw. The whole point of a big city is that everyone basically ignores the weird shit happening around them at any given point.

So let the fairies and ghosts and time travelers of your fantasy story relax. If they’re in a big city, they could literally fly around downtown with rainbows shooting out their ass and the only comment they’d probably get is from people wondering what movie is being filmed nearby.

[cerusee]

I've never watched any Chinese dramas but I really enjoy your posts/gifs about them and it's got me interested in trying some! Do you have any recommendations for somebody who's totally new to them? Any tropes/background context I should be aware of? The historical/fantastical ones seem the most appealing to me.

Oooooh! My first thought on reading this ask was, “oh, I’m hardly qualified”; I’m only on my *stops to count on fingers* eighth cdrama, not counting the one episode I watched of the Wang Zhuocheng xianxia where he falls in love with a rock. (Long story.) There’s a lot of cdramas out there, and I myself have not even scratched the surface of what’s out there! That said, if you’re interested in historical/fantastical dramas, those ARE the ones I’ve been watching, so I still have some opinions despite being a total noob myself.

Do not start with The Untamed/Chen Qing Ling. Twas my first cdrama, like a lot of western fans, who were drawn to it in part because of the big censored-but-still-very-evident gay love story between the male leads, but honestly, as much fun as it is for the slash fans, it’s not a great jumping off point for either Chinese television in general, or even for its own wuxia-inspired genre setting. I say this as some who is still deep in the fandom four years later, and has immense love for the show: the first two episodes are flat-out bad, the overall pacing is bad (episodes frequently stop MIDSCENE), the worldbuilding is thin (a carryover from the novel it was based on), and without a larger context for why it’s made the way it’s made (stylistic choices, industry conventions, government censorship, genre conventions) a lot about it is confusing as hell to cdrama newbies, which is…so evident…a lot…in fandom wank I mean in the discourse about what story this story is trying to tell. Like, if you came to me and asked specifically, “I’m thinking of watching CQL. Should I watch CQL?” I would say yes, absolutely! It’s so much fun! I’m obsessed with the characters! I’ve written a lot of fanfic about the purple guy! But it’s not a good first cdrama, nor it is the best example of what the Chinese TV industry has to offer.

A MUCH better first cdrama especially if you like the historical/fantastical: The Legend of the Condor Heroes (2017), which not coincidentally was my second cdrama. It’s one of about a dozen television adaptations of the classic 1957 Chinese novel of the same name by Jin Yong, generally considered to be the inventor of the genre known as wuxia, which is a blend of history, fantasy, and martial arts. (One of the most well-known examples of wuxia in the west is Ang Lee’s Oscar-winning 2000 film Crouching Tiger, Hidden Dragon, which you have probably at least heard of.)

Legend of the Condor Heroes (hereafter known as LOCH) has it all: romance, revenge, evil plots and daring deeds, people jumping off a burning mountain and being rescued by the worst CGIed eagles known to television or cinema, boat adventures, mountain adventures, grasslands adventures, a weird cult leader who lives on a spooky flower island (there will be math), murder, baby kidnapping, more murder, one guy inadvertently racking up a ridiculous number of martial arts teachers, sworn brotherhoods which invariably end with one guy stabbing the other, lots of VERY good martial arts fights, and, of course, Genghis Khan. Technically there are no magic/supernatural elements in this show—no ghosts, ghouls, magic, angels, devils, gods, etc—although the martial artists do have l33t skillz that might qualify as superhuman depending on how you slice your genre conventions, and are awfully fun to watch.

I’ve actually seen two LOCH adaptations (there was one in 2024 I liked a lot, with my favorite Guo Jing so far), but 2017 is a much better adaptation for newcomers as it tells a fuller version of the story and doesn’t skimp on or rush through or rewrite as many elements of the plot as other versions do; it’s meant to be a LOCH for people who haven’t seen half a dozen versions of LOCH already. It has a WONDERFUL cast, including my one of my favorite cdrama leading men, Chen Xingxu,* as the lead antagonist, Yang Kang, who is a trash fire of a person you just can’t root for, but he also can’t help it because he was raised by Wanyin Honglie. You can catch it on YouTube (I recall that there are couple of missing episodes from that playlist, but you can search on YT for those when you get there, to find them subtitled from other channels.)

*If you, like me, come away from LOCH 2017 with your mouth slightly ajar at how great CXX is, I have wonderful news for you! He’s been a lead in at least two other very good cdramas: the 2023 xianxia** The Starry Love, where he gets to play, like, five different characters (huge acting flex, and he’s great, although I would rush to stress I loved a ton of things about this show besides CXX himself), and the 2019 semi-historical drama Goodbye My Princess, which might actually be my favorite cdrama I have seen to date, and arguably THEE best well-made on a technical level, with phenomenal acting, a great script, and editing and directing I am constantly swooning over, but I am not entirely sure I can recommend to you unless you are a Tragedy Enjoyer.

(If you are a Tragedy Enjoyer, please stop whatever you’re doing and just start watching Goodbye My Princess right now, it is phenomenal. It is also available on YouTube. Watch the Director’s Cut, not the regular one! This is important. In its haste to get the main leads on screen together ASAP, the regular version does a Reader’s Digest version of stuff the Director’s Cut spends like five episodes carefully setting up, and it doesn’t make a lot of sense, nor does it flow well.)

**Speaking of xianxia! Xianxia is the high fantasy genre, full of magic and gods and demons and people dying and living multiple lives and whatnot. Important to note: xianxias are soap operas (complimentary). They tend to feature female protagonists, sweeping, epic romances, and put enormous emphasis on exploring the nuances of relationships and emotions. I have watched three that I loved (Love Between Fairy and Devil, The Starry Love, and Eternal Love: Ten Miles of Peach Blossoms), and while technically I could recommend all three, if you were going to watch just one, especially as a cdrama intro, I have to recommend Eternal Love, which really is the quintessential xianxia, the one all other xianxias are kind of shaping themselves around. I have watched it 1.5 times and I can say that it does not properly take off until like, episode 10, or whenever it is that the main couple finally, properly meet. IT IS WORTH THE INVESTMENT. This show made me want to spit blood. I cried multiple times watching it. It made me feel things. It has a wonderful immersive quality that’s hard to describe except to say that the entire show sort of vibrates on its own frequency. The casting is just kind of…perfect? Props to Maggie Huang for portraying the most perfectly hatable xianxia villainess of all time. Absolutely no one is doing it like Su Jin. No one should try. I believe this is available on YouTube, but after an abortive start, I realized it was on US Netflix, and watched it there.

As for tropes and background context: ehhhhhh. I mean, it’s an entire industry? I know substantially less about how it functions than I do about, like, American TV and film. I know government censorship is a not-inconsiderable factor, but I don’t know much of the nuance of how that plays out in terms of filming and airing. Tropes will vary according to subject. Idol dramas (shows built to showcase media personalities regardless of their ability to act) are a thing. Most cdrama audio is still dubbed (this one surprised me!), usually by professional voice actors and not by the original cast, for a confluence of reasons, some of which historically make sense (noisy filming lots rendering original audio useless), and some of which are really stupid (fans throwing hissy fits if lead actors don’t have the “right” kinds of voices for their characters).

Anyway! My recommendations are this: try The Legend of the Condor Heroes (2017) to start with, UNLESS you would prefer having your heart ripped out of your chest, in which case watch Goodbye My Princess (Director’s Cut, 2019), or UNLESS you love soap operas as much as I do, in which case watch Eternal Love: Ten Miles of Peach Blossoms (2017). All three are great shows, but they all hit differently/scratch a different itch.

Oh! Lastly! @dangermousie is a great source of cdrama recs. I should note she prefers dramas and tragedies and mostly does not vibe with xianxias. But she watches like eight million hours of dramas a week and reports her findings to us because she is a river to her people.

[artbyblastweave]

So I want to draw out some of the grousings I put in the tags of @phaeton-flier's recent post on Waller's characterization in My Adventures with Superman.

I think the problem you're gonna run into with adapting Waller in 2024 is that they basically nailed her completely twenty years ago in the DCAU Justice League continuity, they already captured the perfect balance of good intentions and ruthless utilitarian amorality. In the DCAU, Waller's arrival on the scene was contextualized by more than a decade of superheroic precedent- she lives in a world where Superman specifically got brainwashed into attacking earth, she lives in a world where Kryptonian war criminals took a shot at Earth, she lives in a world where an alternate-universe totalitarian Superman crossed dimensional boundaries to take a shot at earth. She lives in a world where Superman helped disarm the world's nuclear arsenal at the behest of a guy who turned out to be the fifth column for an extraterrestrial invasion. She lives in a world where the Justice League formed specifically to stop something similar happening again and then tripped over their own dicks when one of their founding members turned out to be a partisan mole for an extraterrestrial empire. She lives in a world where these city-leveling clowns have consolidated sixty or seventy other city-leveling clowns in an orbiting circus that's armed with a city-leveling orbital laser canon. This is just the stuff that would have made the in-universe news, there's even more I'm not mentioning here. In other words, she lives in a world where it's completely reasonable not to trust the superheroes and to want to have contingencies against them.

She does horrible things in pursuit of those contingencies, but they're targeted, goal oriented horrible things. Aside from her usual suicide squad routine she clones and basically enslaves dozens of super-soldiers, which is of course terrible on the face of it, but comparatively easy to justify from the realpolitik cold-equation way in which she approaches things. When her bullshit generates externalities for civilians, it's not because she sics those super soldiers on them. She doesn't declare martial law. That's not what she's after! She just keeps losing control of the bastards, and then she shrugs, and she signs off on additional bastards from scientists and magicians who've proven time and time again that they do not have their shit buttoned down- but what else is she going to do? Roll over? Let the capes treat the world like their playground?

Crucially, the DCAU version is also capable of realizing when she's prioritized the wrong threat- she's capable of re-evaluating and de-escalating. She's got a foil on that show, a guy who starts from the same place of concern as her but isn't capable of course-correcting because he's too much of a belligerent paranoid maniac. That guy is General Wade Eiling. And in a version of MAWS that doesn't need to set Sam Lane up for a redemption arc, I would have Waller as the one in Sam's position, as the well-meaning extremist who loses control of the monster she created and gets frozen out in favor of a significantly less principled hardliner in the form of Eiling. Alas.

The fundamental thing about Waller, at least to me, is that she's uninteresting as a ground-floor antagonist. While I've yet to get around to the original Suicide Squad run where Waller originated, I'm confident in my understanding that it was a postmodern project from the word go, exploiting years of ossified genre convention and rogue's gallery bloat to make the points that it was trying to make. This is part of why I think the first Suicide Squad film went over like a lead balloon- it tried to wish that built-up continuity into existence out of nowhere, whereas the second movie was simply a lot more naturalistic about faking that larger context. This show feels like it's doing something similar on a meta-level- exploiting decades of audience familiarity with Waller and how plots involving her tend to go, in a way that papers over how weirdly early in the progression of this continuity they've brought her into the fray. She usually isn't the joyless jackboot on the frontline trying to snuff out the incipient heroic age- she's the beleaguered repairmen brought in years after the novelty has worn off, after the superheroes have had their goddamn chance, with all the ups and downs and near-misses that entails, so that she can make entirely novel mistakes in reaction to that context. As it stands, she's kind of 0 to 100 in this, and something about it feels off.

[gcballet]

Just saw someone complaining about the Newhart ending from 0611 being mockery of people who ship Nandermo and frankly I can only imagine that account is someone who's under 20 bc that is not what mockery/rejection of queer ship fans looks like. You were in preschool when BBC's Merlin came out, you don't know. S6 and finale spoilers below.

The point of the Newhart parody ending was to provide an ending for fans who just wanted WWDITS to stay a goofy status quo sitcom. It's answering the black and white footage of the vampires in the 1950s. The sitcom status quo is a famously really hard trope to work with. The Simpsons is literally still struggling with it - decades of skilled comedy writers have never defeated it. It's a commentary on being satisified by the media we consume. The vampire can never fully be satisfied, no matter how many lives she consumes. The status quo can never be broken no matter how many episodes it attempts.

The 1980s trope of 'it was all a dream' happens in The Bob Newhart Show, it happens in St. Elsewhere, it happens in Dallas. They aren't mocking a queer ship, they're mocking sitcoms and how they've been hamstrung by format in terms of the story they can tell. Assume they did pursue Nandermo unambiguously, onscreen. It would be legitimately too dark for a sitcom. Or conversely, too hopeful for a documentary.

The other generic format choice restricting them is the documentary, because everything the characters do in the show is them being watched by a group of strangers with film equipment. None of their behaviour is wholly real. The entirety of the finale is Guillermo realising his behaviour will change when the crew leave. His behaviour has been influenced by the presence of cameras, and it will happen again. For the first time in six years, he's going to experience actual privacy, and there will be scope for him to express things he has deliberately suppressed with the cameras on. In the first episodes of S5, we saw him get increasingly frustrated with the crew, calling them vultures, as they tried to get the story on what happened with Derek. He's ready for his privacy back, and space to change, but the vampires live by sitcom rules. They aren't prepared to change, or at least, he isn't confident about it.

What We Do In The Shadows (2019-2024) is restricted by two specific genres and their conventions, and the first two 'endings' - the dream sequence and the switching off the cameras - represent exiting both of those genres before any significant radical moves can be implied for Nandermo.

It's a sitcom, therefore the central couple must be in perpetual will-they-won't-they (Friends), the gays must be physically chaste (Modern Family), and the status quo must be maintained (The Simpsons). Once the sitcom is ended via the Newhart ending (which positions Guillermo and Nandor as a married couple, that's not a small thing at all), the documentary tropes can close out.

Documentary tropes are a little harder to pin down, but generally the story should end with Guillermo truly moving on and leaving in a poignant and somewhat tragic way.

Guillermo's narrative thread throughout the documentary version of the show is about his identity and relationship with Nandor. He gives the cameras a big show of finally saying goodbye to Nandor, going on to be a new version of himself, and waits until the crew begin to derig before acknowledging again that a documentary is performative, and he intends to continue their relationship. The documentary format means intimate moments must be captured. When the documentary ends, the intimacy may be private. That's why we don't get a Nandermo kiss. It's allowed to be private now.

Guillermo is sad throughout the finale, yes, but I would argue he's actually mostly stressed, because on one level he understands that the show must commit to one of two trope endings. The sitcom, the repeating lives of the vampires where nothing matters and you can be hypnotised to believe there was nothing deep about it. Or the documentary, where he is forced to tragically leave forever, having learnt a valuable 16 year lesson, perhaps meeting again for a 'where are they now?' Twenty years later.

He thinks he has to choose in under an hour, between the endless sitcom cycle the vampires find natural, or walking away with the humans who made the documentary to capture something ephemeral and temporary.

They do both, and then Nandor and Guillermo get what is clearly the ultimate ending. It's not formatted in such a way that you choose between endings. They're not alternate endings, they're subsequent endings. It doesn't have multiple endings like Clue, it has multiple endings like The Return of the King.

And maybe Guillermo and Nandor don't kiss on the mouth and declare their love for one another, but the camera crew is still leaving the room. What they do do is agree to stay together and work together on something to make themselves and/or the world better. Then Nandor invites Guillermo to share his pseudo-bed and disappear into a private space he has created in secret for the two of them. Even phrased matter of factly that's romantic. Someone flippantly called it 'the gays getting sent to super hell' and wow way to deliberately miss the point. Nandor never follows through on big projects, but he built a miles deep tunnel under the earth so he and Guillermo could at last be alone away from a huge documentary crew and roommates with super hearing. That's beautiful. They don't owe you an onscreen kiss to prove they're in love. They (Nandermo and the show producers) don't even owe you representation, and if you think otherwise, you've not bought into the premise of the show. You are the voyeur watching the documentary, the fan watching the Ross and Rachel (Nandor and Guillermo have been compared to them by the cast).

The whole point of the endings is that they moved Nandermo outside the unreality of TV genres. Not a sitcom will-they-wont-they, not a tragedy within a documentary, just two weird guys in a coffin in a hole in the ground, doing whatever they want because nobody is watching and judging.

They didn't make Nandermo canon, they made Nandermo real.

[vintagerpg]

I love a kid adventure. The sub-genre, codified in film for the most part by Amblin Entertainment in the ’80s (but drawing on all sorts of sources, from Huck Finn to Lassie to Hardy Boys to Scooby-Doo), uses a straightforward formula: take some kids and stick them in a dangerous situation that only they can handle, because adults either don’t believe or aren’t around.

The problem with most kid adventure stories is that they are written by adults, and at least partially for adults, and because of that, they generally adhere to an adult sense of logic. This is true of kid adventure RPGs like Kids of Bikes and Tales from the Loop, for sure. You can hear an echo of Richard Dreyfuss’ Stand By Me narration in both those games. No so for Don’t Tell Mom & Dad (2022), which delights in its own kid logic.

You’re a kid. You live in a town (a big part of DTM&D is collaboratively creating that town using the included tiles, something I unabashedly love). There’s something weird going on (possibly many somethings) and you need to get to the bottom of it by the end of summer vacation. There are a bunch of cool mechanics to manage — dinner time, curfew, zzz (countered by the use of sugar), the scared-o-meter and cool points (there are also “good kid” skills and “bad kid” skills). There are summer jobs, of course, and chores. But there’s also cool stuff to buy at the corner store and endless equipment to improvise through crafting and the powers of kid imagination — they can bend reality with a successful roll.

There’s such an appeal to how these (light!) mechanics hang together to simulate the improbable twists and turns of childhood imagination. They’re poised to create off-the-wall adventures that are more dangerous than you’d expect and probably don’t make conventional sense, but that’s not the point, now, is it? Rather, the point is running around on a summer evening with your friends, having a blast (or, you know around a table, because you’re old in body, but young at heart).

[bl-bracket]

Anyways I was going to make a post about the process of picking bracket topics and whatnot and was trying to come up with some examples of types of topics that would or wouldn't work and for whatever reason I thought of the concept of a "best murderer bracket" and I can't stop thinking about it lmao

it's just like such a funny concept? the idea of fictional murderers battling it out, especially ones from bls (which like I don't think is most people who are not super familiar with the genre as having a lot of characters who have killed people) is just funny in like an absurd way. like abstracting yourself from tumblr and tournament blogs, the idea of telling someone else that there's a tournament going for fictional murderers from east asian mlm tv shows, a genre that for several years was primarily shows about high school and uni students.

anyways that devolved into thinking about it more seriously, and then deciding a more practical way of doing it would to make some kind of directory of bl murderers. which would then lead to a lot of interesting statistical analysis, like characters with highest on screen kill counts, which countries have the highest proportion of fictional killers, etc. you can then make a separate category for characters with implied kills that aren't explicitly shown on screen or vague. and you could track how the number increases over time, which I assume exponentially goes up as more bls are exploring darker and more serious genres.

anyways back to the country stats, I started thinking about what the breakdown would look like so here's my guess based on zero research and just my general knowledge of shows

China. While having very few bls (censored or otherwise), they have a very unfair advantage and that is genre conventions. The 3 biggest Chinese bls I can think of are: The Untamed, Word of Honor, and Guardian. With The Untamed and Word of Honor, the conventions of xianxia and wuxia genres means that there are a lot of characters and almost all of them have killed before (usually nameless canon fodder but still). And then with Guardian, it's a supernatural detective mystery show with murder plots in it and a lot of characters, which again leads to a pretty high kill count. So even only counting these 3 shows, China will probably have the most killers in bl, or at the very least most kills done.

Thailand. It's a numbers game on this one. There's just so many Thai bls and an increasing number of like detective or mafia ones. A show like Kinnporsche has a lot of killers and deaths. Then there's other shows that include a few murderers (but less than Kinnporsche) like The Sign, Manner of Death, 4 Minutes, 3 Will Be Free, Never Let Me Go (Palm did shoot a couple guys dead elt's nto forget), Dead Friend Forever, etc. However the numbers also hurt Thailand in terms of proportions, since there's a lot more Thai bls that don't have murder, so it actually might be 3rd.

Japan. You're not getting much murder from your Cherry Magics and Old Fashion Cupcakes, which is what a significant portion of bl fan's primary exposure to Japanese bl is, but let's not forget that there's a lot of dark Japanese bls where murder is definitely on the table. Now I don't actually have a good gauge of what the numbers on this is, cause I haven't really delved that deep into this corner of the bl market, so I can't make a good estimation but I bet there's more than I'm aware of.

Taiwan. They've got a couple of mafia shows like HIStory 3: Trapped and Kiseki: Dear to Me, both of which have some implied and explicit murder (though less then you would expect if we're honest). That'll give them a few kills and they also have a relatively smaller pool of shows to pull from, meaning percentage wise it's a bit higher.

South Korea. Ok I am far from an expert of bls from South Korea, but unless there's like obscure short films I'm not aware of, the only drama I can think of from here with kills is Long Time No See? or I guess The Director Who Buys Me Dinner has like 1.5 murders? anyways Korea also has a not insignificant amount of bls to their name so proportionally it will be quite low.

The Philippines. Out of all the countries on this list, I am least familiar with the bls from here, but from what I've gathered during my routine mdl searches, basically all of them seem to be murder-free (unless of course there's some shocking plot twists in them)

anyways I'll probably never do this project just cause it would require a lot of time and collaborative effort and I've got a lot irl going on right now (hence why the submission period for most whipped is so long lol) and also have some other projects I'm already planning on doing so I don't really have time to do it. but I wanted to tell y'all about my thoughts on the matter.

also sorry if this is the weirdest thing I've ever posted. kinda had a major stress breakdown today but then resolved it relatively quickly cause I realized I could just reschedule the life altering appointment that was causing the breakdown lmao so I'm in a strange frame of mind lol

[cantsayidont]

August 1984. This won't change anyone's feelings about cult movie perennial THE ADVENTURES OF BUCKAROO BANZAI: ACROSS THE EIGHTH DIMENSION one way or the other, but if you're wondering what the hell the deal is supposed to be with Buckaroo Banzai and his team, the answer is, "It's an obvious pastiche of the pulp hero Doc Savage."

Launched in 1933, Doc Savage was one of the leading adventure heroes of the pulp magazines. Doc (whose full name was Clark Savage Jr.) was scientifically trained from childhood to the peak of human perfection, singularly adept in everything from mechanical engineering to medicine to martial arts. He had a secret headquarters called the Fortress of Solitude and a whole array of specially designed vehicles and equipment, but he was also a public figure, with offices in the Empire State Building. Doc had a team of eccentric, highly specialized aides — Monk Mayfair, Ham Brooks, Renny Renwick, Long Tom Roberts, and Johnny Littlejohn — who each had a particular skill and a couple of distinctive personality traits (for instance, Monk was a skilled industrial chemist, but also an "ape-like" brute with a ferocious temper). They were sometimes aided by Doc's cousin, Pat Savage, who was almost as capable as Doc, although he tried to keep her out of the fray because she was (gasp) a girl.

This was a fairly common pattern for pulp heroes. For instance, the pulp version of the Shadow (who was distinctly different from the radio incarnation) relied on a whole network of agents, some appearing only once or twice, some recurring across many of his published adventures. From a narrative standpoint, the agents and assistants had two principal purposes: The first was to offset the rather overpowered heroes — pulp heroes didn't necessarily have superhuman powers, but even those who didn't tended to be preternaturally skilled at nearly everything, so it was convenient to limit their direct involvement in an adventure to crucial moments, and let the assistants (who could be much more fallible) do much of the legwork. The second object was to beef up the characterization. Doc Savage was morally irreproachable as well as absurdly multi-talented, so there wasn't a lot to be done with him character-wise, while maintaining the mystique of a character like the Shadow required him to remain a fairly closed book.

Although the pulp heroes were a huge influence on early comic book superheroes like Superman and Batman, some of these conventions didn't translate well to other media: In a 13-page comic book story or half-hour radio episode, having too many characters was cumbersome (and expensive, where it meant hiring extra actors), and comic book readers normally expected to follow their four-color heroes quite closely, even before the breathless internal monologue became a genre staple. So, Superman inherited Doc Savage's Fortress of Solitude, but not his "Fabulous Five" assistants, while heroes like Batman and Captain America generally stuck with a single sidekick rather than a team of aides. Even the late Doc Savage pulp adventures (which ended in 1949) de-emphasized the assistants to keep the focus more on Doc himself. Ultimately, the pulp heroes didn't really have the right narrative center of gravity for visual media, which is why they've become relatively obscure, despite repeated revival attempts. The 1975 Doc Savage movie with Ron Ely, for instance, was a notorious commercial flop, and elements like Doc's childishly bickering assistants seemed odd and dated, even taking into account the film's nostalgia-bait '30s period setting.

What BUCKAROO BANZAI tried to do was to bring that old pulp hero formula into the modern era with a big infusion of '80s style and humor. Like Doc Savage, Buckaroo is a wildly gifted polymath (in the opening scenes, he rushes from performing brain surgery to test-driving his Jet Car through a mountain), so famous and important a personage that he puts the president of the United States on hold, and he surrounds himself with an array of brilliant, eccentric aides with silly nicknames who play in his rock band when they're not fighting crime or doing advanced scientific experiments.

Alas, judging by the poor box office returns, general audiences were no more amenable to the '80s version of this formula than they had been to DOC SAVAGE: MAN OF BRONZE nine years earlier, even with the 1984 film's extraordinary cast and memorably witty dialogue. Granted, even many of the movie's most diehard fans are baffled by the convoluted plot — a crucial expository scene where the leader of the Black Lectroids (Rosalind Cash) explains much of what's going on is nigh-incomprehensible without subtitles or closed captioning — but beyond that, THE ADVENTURES OF BUCKAROO BANZAI is essentially an extended riff on a particular slice of pop culture that had long since dropped out of the public consciousness, which is both part of its charm and also its commercial undoing, at least as mainstream entertainment.

(Also, if you're wondering, yes, the TOM STRONG series by Alan Moore and Chris Sprouse is also an obvious Doc Savage pastiche, although at least some of its plot and character concepts were probably retoolings of unused ideas from Moore's earlier Maximum Press/Awesome Comics SUPREME series, which was an extended pastiche of the pre-Crisis Superman.)

[cryptgrrrl]

Peter Murphy is nothing short of a gothic icon a figure whose shadow looms large over the genre he helped define. As the frontman of Bauhaus, he became the beating black heart of goth culture, his haunting vocals and brooding presence embodying the essence of the movement. Emerging in the late 1970s and early 1980s, goth rock was sculpted by Bauhaus' otherworldly sound, darkly poetic lyrics, and striking visual aesthetic, with Murphy standing at its very core. Draped in dark clothing, his ethereal presence and dramatic flair made him the living symbol of a subculture that thrives on introspection, rebellion, and a deliciously melancholic worldview.

A significant part of Bauhaus' allure came from their fascination with horror cinema, particularly their unforgettable nod to The Hunger (1983). The band’s appearance in the film’s opening scene, performing their iconic track “Bela Lugosi’s Dead,” cemented their status as goth royalty. The scene, dripping with shadowy decadence and vampiric allure, perfectly captured the aesthetic and ethos of the gothic movement. This interplay between their music and the macabre world of horror gave Bauhaus a cinematic edge that has become a cornerstone of their legacy.

But Peter Murphy didn’t just help build goth culture—he gave it its soundtrack. Whether fronting Bauhaus or striking out on his solo ventures, his unmistakable voice and darkly alluring themes have inspired generations of goths to embrace the shadows and revel in their difference. His work wasn’t just music; it was the genesis of an entire cultural movement, one that challenged mainstream conventions and carved out a space for the beautifully strange.

To this day, Peter Murphy remains a gothic trailblazer, a timeless icon whose influence continues to pulse through the veins of goth culture. His legacy isn’t just about songs or style; it’s about an enduring invitation to embrace the dark, the different, and the deeply human.

[robinswrites]

About Me

Hi! My name's Robin, and after years of writing and posting fanfic (on a different account, which I will be continuing with), I've decided to start trying to get my original fiction published. I am A Trans who doesn't much care what pronouns/gendered terms you use for me as long as you're not being deliberately insulting. The various stories I'm writing or want to write vary in genre from fantasy to science fiction and horror, but they're all queer (in different ways, because queerness isn't necessarily approached in SF/F cultures in the same way as in our own, and they don't necessarily fit the often very romance-focussed conventional ideas of what queer rep looks like, but it is present in everything I write).

I am an adult, and my writing is aimed at adults (I've noticed a few people getting their stories labelled as YA when they're really not aimed at that audience at all, so I thought I'd make that clear right from the start), but I'm not writing anything so explicit that I'd object to someone under 18 following me if they're interested in my stories. I will use tags and TWs on my posts--feel free to let me know if I forget.

WIPs

My three main WIPs are novels that I intend to publish (I'm an incurable WIP-hopper and have been alternating between writing bits of each of these for years...), so I'm not going to be posting the stories themselves online, but I will be sharing character and setting info, discussing progress, taking part in the usual writeblr ask events, etc. One is a deliberately over-the-top space opera sci-fi, one is a modern-day fantasy, and the other a mediaeval fantasy. At some point, they might even have titles. Wouldn't that be wonderful?

I'm also sometimes going to be writing short stories and submitting to anthologies and magazines--I'll post updates on where to find any that get accepted.

And at some point soon, a free short story will be going up here as a taster of my work!

I'm also currently doing a major rewrite of the plot outline for a webcomic I initially plotted out as a teenager--once I've got the story to make sense, I'm hoping to start drawing and posting some stuff for that.

What else?

I'm hoping to use this account to follow and get to know other authors, to follow and interact with publishers, take part in any writing events that look interesting--and also to some extent for general blogging.

You'll probably see some reblogs of gifs of films I like, and other mostly-on-topic reblogs (I'm not going to use this account for random memes).

I might share music I've been listening to, or sometimes post about anything interesting I've been doing/places I've been going. I do aim to stick to interesting stuff--I'm not going to be blogging about what I ate for breakfast, but if there's something that I think really would interest SF/F fans and writers, I might do a blog post, especially if I got some cool photos, instead of getting home and thinking too late "I really should have taken some photos of that [supposedly haunted secondhand bookshop / sword I was tempted to buy in an antique shop / whatever]".

Fandom stuff and other "general nonsense" posts and reblogs will stay on my other account.

Looking forward to sharing what I do here on writeblr and getting to know more original fiction writers in this community!

[thetinygnome]

To preface, this is post is inspired by my experience watching arcane s2. I both enjoyed and disliked a lot about it, but this is not intended to be an analysis or review and will only contain the absolute vaugest of spoilers.

'That was not the story I wanted it to be' and 'That was not the story i thought it was going to be' are fair but subjective statements, and at the end of the day the story wasn't made with the goal of pleasing my specific tastes.

I generally agree with this sentiment, but something about it bugs me. Surely these expectations don't exist in a vaccum. They come from the primordial soup of me, the media in question, and everything I've ever heard about said media in question. Half the art of storytelling is manipulating, guiding, and playing with what your audience expects. So while the problem may well lie in my own tastes and biases, it could also just be a symptom of genuine lacking in or around the story.

I tried making some checklists to identify what was bugging me about it. (Bit of a longass ramble incoming)

Things outside the text itself that may have affected my expectations of the story:

If this work is in direct conversation with other media eg adaptations, continuations, sequels, prequels, same cinematic universe etc. Especially if I am very familiar with said media. Does it state its relationship to these media properties accurately?

The way the story marketed itself. Are the trailers and blurbs accurate to the tone, themes and genre of the show itself? Does it feel like its striving to be high art or something to watch over dinner?

Related to this is fandom and internet reputation of the story. Are the topics of conversation pushed to the forefront online reflective of their prominence in the story itself?

Do I have a bias regarding the persons or companies creating or distributing this work?

Do I have or lack life experiences that would make the story ressonate more / am I the target audience?

How familiar am I with the tropes and conventions of the relevant medium and genre?

Did I miss key details of storytelling due to outside factors (talking, noise, distraction, zoning out etc)

Things within the text that may have affected expectations:

Foreshadowing. Were things seemingly forshadowed only to not be followed up on? Did huge changes come seemingly out of nowhere? Is it artfully subtle or underwritten?

Exposition. Are they actually telling me (explicitly or otherwise) what I need to know in order to understand what is going on?

Consistency. Particularly with character writing. Are motivations, relationships, personality, morals etc established firmly? If so, than are changes and challenges to these given the time and reasoning required to be convincing?

Pacing. Were we given enough time to take stuff in before moving on? Was a lot of time spent on details and plotlines that ultimately ended up irrelevant while key parts of settup where restricted to a single blink-and-youll-miss-it moment? Do I find myself going "well I mean I don't exactly dissagree that we could end up here but I feel we missed a few steps along the way"?

Themes and genre. Does it follow through with and/or intentionally subvert tropes of the stories it is similar to? Does it have multiple themes and are they of equal importance? Do the pacing and foreshadowing correspondingly reflect that?

Clarity. Related to many of the above, but how many plates are spinning at once, and how many of them are we supossed to care about? On a less abstract level, can I see/hear/read what I need to in order to understand what is going on. In film ig it would be camera angles/lighting/blocking/sound design etc. Definitely elements of skill issue here but worth noting.

Im sure theres many more but

Sigh

Ig I gotta rewatch arcane to see how much of it was a skill issue on my end. Maybe this is the death of media literacy and my brainrotted ass needing to be spoonfed. Or maybe it was actually rushed, dropped key plotlines from the first season, and fastfowarded through character arcs at light speed.

[fantastic0fairy]

From Cherry Blossoms to Giant Robots: How Anime and Japanese Culture Captivate the World

Imagine a world where cherry blossoms float through the air, where samurai honor codes meet futuristic technology, and where everyone, from a teenager in New York to a retiree in Paris, can find joy in animated tales of adventure, romance, and heroism. Welcome to the realm of anime and Japanese culture, a vibrant, dynamic force that has crossed borders and generations, leaving an indelible mark on global society.

The importance and growth of anime.

Anime, Japan's unique style of animation, isn't just cartoons it's a cultural phenomenon. From classics like "Astro Boy" and "Dragon Ball" to modern hits like "Attack on Titan" and "My Hero Academia," anime has a diverse range of genres that appeal to all ages. What makes anime so special? It's the blend of intricate storytelling, complex characters, and stunning visuals. These aren't just shows; they're experiences that pull you into their world.

Anime is a gateway to Japanese culture. Through anime, viewers learn about traditional customs, festivals, and even cuisine. Think of "Spirited Away," where the protagonist, Chihiro, navigates a magical bathhouse filled with spirits a nod to Japan's rich folklore and Shinto beliefs. Or "Your Name," which beautifully portrays the rural-urban divide and the traditional practice of "musubi" (tying threads as a symbol of connection).

Global influence by connecting generations

Anime's influence stretches far beyond entertainment. It's a style, a vibe, a community. Fashion brands like Uniqlo and Gucci have launched anime-themed collections, while sports stars like Naomi Osaka openly express their love for anime characters. Moreover, the principles and aesthetics of anime have seeped into global pop culture, inspiring everything from Hollywood films to video games.

One of the most magical aspects of anime is its ability to bridge generational gaps. Parents and children can bond over shared favorites like "Pokémon" or "Studio Ghibli" films. For the older generation, anime offers a nostalgic trip back to their childhood while providing fresh stories that resonate with today's themes and issues.

Anime has created a global community of fans who gather at conventions, participate in cosplay, and engage in online discussions. Events like Anime Expo in Los Angeles or Comiket in Tokyo draw fans from all over the world, celebrating their love for this unique art form.

Fun Fact: The Origins of Cosplay

Did you know that cosplay (dressing up as characters from anime, manga, and video games) originated in Japan? The term "cosplay" comes from "costume play," and it has become a worldwide phenomenon. From local conventions to international events, cosplay is a testament to the creativity and dedication of anime fans.

Anime and Japanese culture are more than just entertainment they are a window into a different way of life, filled with beauty, tradition, and endless creativity. They remind us that, no matter where we are in the world, we can find common ground in the stories we love and the values they teach us. So, whether you're a seasoned otaku or a curious newcomer, dive into the world of anime. You might just find a new favorite story or even a new perspective on life.

Ready to start your anime journey? Check out classics like "Naruto" or "Sailor Moon," or dive into newer hits like "Demon Slayer" or "Jujutsu Kaisen." And if you're already a fan, share your favorite anime moments with someone new you never know whose life you might brighten with a little bit of anime magic.

Happy watching, and may your adventures be as epic as your favorite anime!

References.

Cavallaro, D. (2010). Anime and the visual novel: Narrative structure, design and play at the crossroads of animation and computer games. McFarland.

Condry, I. (2013). The soul of anime: Collaborative creativity and Japan's media success story. Duke University Press.

Napier, S. J. (2005). Anime from Akira to Howl's Moving Castle: Experiencing contemporary Japanese animation. Palgrave Macmillan.

Noppe, N. (2013). Fanning the flames of fandom: The commercialization and transformation of fan activities in the age of media mix. In M. Ito, D. Okabe, & I. Tsuji (Eds.), Fandom unbound: Otaku culture in a connected world (pp. 104-127). Yale University Press.

Steinberg, M. (2012). Anime's media mix: Franchising toys and characters in Japan. University of Minnesota Press.

[justforbooks]

Karla’s Choice: A John le Carré Novel by Nick Harkaway

John le Carré’s son does him proud in an excellent spy thriller about a Soviet agent that faithfully bridges two of his father’s classic tales

Autumn now seems officially to be John le Carré season, given that this is the fourth year running since the author’s death in 2020 we’ve had a new book by or about him: first came the posthumously published novel Silverview, then an edition of his letters, as well as a memoir by his lover Sue “Suleika” Dawson (The Secret Heart), before last year’s follow-up exposé by his biographer Adam Sisman, The Secret Life of John le Carré, documenting other lovers the espionage writer hadn’t wanted mentioned in his lifetime.

Considering the drift of those books, it’s maybe unsurprising if we’ve lost sight of le Carré’s achievements as a novelist, especially in his early years. His first big hit, The Spy Who Came in from the Cold (1963), which mapped a thwarted romance on to geopolitical intrigue in divided Berlin, accelerated the spy genre’s 20th-century breakaway from jingoistic tub-thumping and gung-ho adventure. By the time of Tinker Tailor Soldier Spy (1974), an ensemble psychodrama in which the British plot against one another as much as against the Soviets, le Carré’s narrative energy is generated more by gnarly workplace tensions rather than conventional derring-do, which is nonetheless tinglingly present in the book’s shattering finale.

Karla’s Choice, perhaps the most intriguing of the le Carré-related publications to have appeared since his death, puts these achievements front and centre. Set after The Spy Who Came in from the Cold but before Tinker Tailor Soldier Spy, it’s a new mission for the spymaster George Smiley, from the pen of le Carré’s son, novelist Nick Harkaway, who makes clear that while this might have been a book he was born to write, it was far from easy. He describes sending the manuscript to the author Joe Hill, Stephen King’s son, “one of the few people on Earth who can claim to understand the scale of my fear around this book”, and the extent to which it’s a family affair supplies an off-page frisson that he doesn’t shy away from in a winning foreword. (Will the book succeed? “We’re about to find out.”)

Set in 1963, it centres on a vanished Hungarian émigré, Bánáti, a Soviet spy whose cover as a London literary agent has been blown after a failed attempt on his life by a Moscow assassin. When the incident rings alarm bells at the Circus – le Carré’s fictionalised MI6 – it drags Smiley out of retirement (not for the first time, as we know) in an effort to turn Bánáti into a British asset. The attempt – unsurprisingly unsmooth – involves a German double agent previously seen orchestrating a climactic double murder in The Spy Who Came in from the Cold, as well as – no spoiler this, given the title – Karla, the codenamed Russian infiltrator first seen in Tinker Tailor Soldier Spy.

In true le Carré style, though, Karla only appears here two-thirds of the way in; Harkaway faithfully reproduces his father’s rhythms at the level of sentence and plot alike, with slow-burn tension giving way to agonising jeopardy as cat-and-mouse games explode into crunching hand-to-hand combat or street gun battles. There’s a grippingly cinematic escape scene set in Budapest, as well as a lapel-grabbing speech about “the English mistake” (geopolitical ignorance, essentially). And of course there’s the jargon of the spy trade – “handwriting”, “babysitters”, “product” – and lessons in what it takes to succeed: someone mentions training in a dormitory with “a hundred different kinds of lavatory” (“nothing... more likely to blow your cover than an inability to contend with bathroom facilities you supposedly had been using from birth”). Dry comedy ripples throughout: one Soviet spy, asked his price for defecting, says he wants to star in a film with Peter Sellers.

There’s clearly an attempt to broaden the horizons of the original books – in any case, hardly so exclusively masculine as sometimes portrayed – but Harkaway misses no chance to bring the women of the Circus closer to the spotlight. Much of the action involves Bánáti’s employee, Susanna, another Hungarian, who is his assistant at the literary agency, left to pick up the pieces after his disappearance. As Smiley draws her into the plot to turn her former boss, she learns the ropes of spycraft – a neat way to avoid clunky exposition for the reader coming to le Carré’s world for the first time. Nor is Harkaway quite so reliant on delivering plot twists via Conradian nested monologues involving recollected interrogations or minutes and reports, a staple of the original Smiley novels. (Don’t fret, though, those are still here – expertly negotiated – to say nothing of le Carré’s occasionally reader-foxing tic of referring to the same character by both name and surname, seemingly at random.)

For fans, there’s much to enjoy. The collegiality witnessed here among the Circus crew – Toby Esterhase, Jim Prideaux, Bill Haydon and co – oozes pathos in view of the in-fighting and paranoia to come in Tinker Tailor Soldier Spy; ditto the agonising scene in which Smiley tries to make amends for missing a holiday with his wife by surprising her in Vienna, only to be told by the concierge at her hotel that she’s busy with her husband – a sign of further torment ahead. You needn’t be a le Carré nut to enjoy it, though, and while we’re undoubtedly in something of a glut of sequels and reboots, it’s far from unimaginative fan service. A loving tribute to a complicated father (as Harkaway’s dedication seems to acknowledge) as well as an excellent novel in its own right, and only the first of a new series, at least to judge from a broad hint dropped in the end matter. I can’t wait.

Daily inspiration. Discover more photos at Just for Books…?

[gaslightwestern]

Happy (a little late) STS!! What draws you to the western genre? How do you like to engage with the genre conventions in your writing?

Thank you so much for this wonderful question! <3

What draws me to the western genre? Honestly, it started with frustration with not just the lack of compelling female protagonists but women in general. Growing up I associated the genre with films from the 1930-50s my grandpa watched where women, if they existed, were always sidelined and/or treated like shit. I hated those movies and never thought I'd be a western fan.

Well around the time I realized I wanted to write a novel (2016), a vivid scene of a redhead wearing 19th century widow's weeds shooting her way through a graveyard came to me. It screamed "western" so I did a deep dive into the genre…and haven't come up for air since.

I love the way westerns tackle themes like revenge, freedom, justice, resilience, tradition vs change, etc. I love exploring moral ambiguity and the thin line between protagonists and antagonists. None of this is unique to westerns, but the genre’s archetypes and tropes make them satisfying to work with and remix. I love blending western elements with other genres and creating space for non-traditional characters and perspectives that have been largely ignored. Also as someone who loves action scenes, it's just a fun genre to write in.

For me, being a fan of the western genre means embracing its potential while staying critical (and mindful) of its shortcomings.

Fun Fact: Yes, the redhead is Charlotte and the graveyard shoot out became the climax of When Sins Haunt.

[dynared]

The Voltron movie is finally moving forward with filming dates confirmed, sets being built, and a cast being rounded out, with a mostly unknown newcomer and Henry Cavill, fresh off of bashing his head into a glass ceiling trying to get a Warhammer 40k series going at Amazon. (I would not be surprised if that project stalled out and he was offered a lead role in Voltron as a compensation prize so he can earn some money).

And for reasons I'll never fully comprehend, I'm back on the Hopium that this will be a standout example of a Western-made mecha property, combining Japanese-style super robots with Hollywood budgets to create a billion-dollar hit at the box office.

This is after the West's near endless stream of failures at the genre, usually doomed by writers up their own asses who view anything with robots more complicated than a refrigerator with two legs and some guns as a glorified toy commercial and therefore immoral and needing to be changed. Take for instance Legendary Defender's writers admitting in interviews they fought to use Voltron less, hence the show bombing and WEP happy to erase it from the collective internet (as it deserves). Or gen:Lock writing in the first page of its artbook and inscribing in a plaque above the head writer's office "This show is about the characters". Its production company, Rooster Teeth, ceased operations in May, and while its sister show RWBY was sold to Viz Media for future use, gen:Lock is still for sale from Warner Bros, although I don't see anyone coming out to buy it.

So far, Amazon MGM and WEP, Inc are doing all the right things for this movie, whether purposefully or coincidentally. They're letting the rights to Legendary Defender on Netflix expire two years before the movie's targeted release date of 2026 so the show vanishes from the internet and none of the actors, directors, or crew have to hear the phrases "Klance", "Sheith", "fiction affects reality", or "Gays In Space." They're hiring Henry Cavill, a guy who still has a fair amount of sympathy from the general public for his ill-fated roles as Superman (being caught square in the Snyder drama) and Geralt of Rivera (where the longtime fan of The Witcher books and games objected to the considerable liberties taken by the show's writers and was shown the door), which as a bonus for Bob Koplar, will probably attract the Snyderbros to the super robot movie and provide a very different tenor to the fandom than VLD had, chasing that rapidly dwindling fandom out the door. Bob Koplar has spoken repeatedly at VoltCon conventions about wanting to capture the spirit of the original 80s series while repeatedly expressing distaste for Legendary Defender.

The main issues at this point are "What is the plot?" and "How big is the budget?" The rumor as per those same VoltCon panels where Koplar flat out said Dreamworks "did not get Voltron" is that we will be getting five new characters, rather than the usual crew of Keith, Lance, Pidge, Hunk, Allura, and Sven/Shiro. I'm all in favor of this because it means one less connection to Legendary Defender, but it also probably means the movie will be about an alien invasion of Earth with our super robot the only thing able to repel the invaders. As for the budget, we don't know that either, but given that the rights started a bidding war between Amazon MGM as well as other big companies like Warner Bros, Paramount, and Universal (Netflix was reportedly uninterested because of how badly VLD went) as well as reports from Australia citing shortages of set builders because of the high demand for them at the Voltron set, we could potentially be looking at a blockbuster with a blockbuster budget.

I'll guess we'll know soon. Filming is scheduled, as per Production List to begin at the end of December, which means over the next two months we'll probably see the rest of the cast rounded out and get a hard number for the budget. But there might be a reason to hope that the series is a super robot movie that the West deserves, and not another VLD or gen:Lock styled trainwreck from writers who don't get it.

[rollercoasterwords]

I haven't seen many horror films and would like some recommendations. What are some must-watch horror movies for someone new to the genre?

oooh this is such a fun question but so hard 2 answer bc horror is like. such a versatile genre & where u should start depends a lot on like what type of movies u enjoy/what ur looking for….

like if u want sci-fi/alien horror then the obvious place 2 start is w alien (1979) and aliens (1986) (there are other sequels as well but the first 2 are the best) & then also the thing (1982) and its prequel film that came out in 2011 (also titled the thing). AND of course the fly (1986) is a must-see...and if u want something more recent nope (2022) or no one will save you (2023)...both a little more artsy and slow-moving than the 80s recs on this list but very very good <3

if ur interested in slashers then again start w the classics scream (1996) is SO fun it deserves its spot in the horror hall of fame...i know what you did last summer (1997) is also a fun & slightly older slasher; cabin in the woods (2011) is great if u want some meta-slasher-horror; ready or not (2019) isn't necessarily a conventional slasher but i'd still include it in this category & it's one of my faves

if found footage is ur jam PLEASE start w creep (2014) probably my fave found footage horror film ever...but also i'm not a huge found footage fan generally speaking lol. that being said the blair witch project (1999) is of course the classic here but it's not my personal fave; other good options if u want something genuinely freaky/scary are the bay (2012) hell house llc (2015) and gonjiam: haunted asylum (2018)

if u want like possessions & demons etc then. start with jennifer's body (2009) if u want horror-comedy it is SO fun & a staple of the genre atp but if u want something scarier then it follows (2014) is a popular one. there have also been a lot of good possesion movies coming out recently i thought smile (2022) talk to me (2022) and when evil lurks (2023) (<- literally JUST watched this one today lol) were all quite spooky

& sort of possession-adjacent but if ur more into hauntings, ghosts, etc then start w the babadook (2014) or his house (2020) both SO good. also the shining (1980) is a classic & la llorona (2019) is a personal fave of mine (NOT. the u.s. 'curse of la llorona' movie. the guatemalan one.)

if u want witches then start w the craft (1996) another sort of fun one <3 or if u want a classic then hungry wives (1972). the love witch (2016) if u want a visually beautiful & less scary one; the witch (2015) if u want a scarier one.

if u want eerie fantasy-horror then the company of wolves (1984) or tale of tales (2015). if u want a creature feature then blood red sky (2021) for vampires, ginger snaps (2000) for werewolves, and a quiet place (2018) for like post-apocalyptic creature invasion horror.

& SPEAKING of post-apocalyptic. if u want zombies i could make a whole separate post but. START w train to busan (2016) & seoul station (2016) the dynamic duo <3 & then if u want some classics from the genre of course night of the living dead (1968), dawn of the dead (2004...i haven't seen the original one u could watch that one too tho...), and 28 days later (2002). raw (2016) if u want an artsier one, the girl with all the gifts (2016) if u want a fun spin on zombie apocalypse, cargo (2017) if u want 2 cry. & if u want something funny then PLEASE watch zombie for sale (2019) or anna and the apocalypse (2017) or one cut of the dead (2017)

if u want kind of a slower-build psychological thriller then the invitation (2015) is one of my faves, but mother! (2017) is also good if u want an artsy pick & gerald's game (2017) and lyle (2014) are good as well

and then just a grab-bag of horror movies that didn't fit perfectly into any of these categories: barbarian (2022) if u want something really scary, piggy (2022) if u want slow-building horror, midsommar (2019) if u want sunshiney culty a24 aesthetic, us (2019) if u want something that'll freak u out & is slasher-adjacent, get out (2017) if u want slow-build thriller vibes, and teeth (2007) if u want teen-girl horror classic.

bear in mind that many of these films overlap between the categories i've divided them into 4 this answer, as is the nature of horror...if u were asking me 2 just like. force myself 2 choose a top 10 horror movies 2 introduce someone 2 horror w no preference 4 genre or vibe...i think my list would probably be (in no particular order):

alien (1979)

2. the fly (1986)

3. jennifer's body (2009)

4. ginger snaps (2000)

5. train to busan (2016) (<- pains me 2 say bc seoul station is my fave zombie movie of all time but if i had 2 choose just one zombie movie 2 introduce someone 2 the genre it would be this one...beginner zombie movie...)

6. scream (1996)

7. his house (2020)

8. barbarian (2022)

9. creep (2014)

10. us (2019)