#peter atkins

[80smovies]

[90smovies]

[duranduratulsa]

Up next on my 90's Fest Movie 🎬 🎞 🎥 🎦 📽 marathon...Hellraiser III: Hell On Earth (1992) on glorious vintage VHS 📼! #Movie #movies #horror #hellraiser #hellraiser3 #hellraiseriiihellonearth #clivebarker #pinhead #cenobites #dougbradley #TerryFarrell #paulamarshall #kevinbernhardt #lawrencemortoff #PeterAtkins #ashleylaurence #aimeeleigh #armoredsaint #zachgalligan #vintage #VHS #90s #90sfest #durandurantulsas4thannual90sfest

[badmovieihave]

Bad movie I have Expelled: No Intelligence Allowed 2008

[screamingeyepress]

What makes horror compelling? Check out this interview with horror screenwriter and author Peter Atkins, one of the minds behind Hellraiser and Wishmaster.

Peter Atkins was born in Liverpool, England on the second of November, 1955. He was a founding member of The Dog Company, a 1970s avant-garde theatre group, along with Clive Barker and Doug Bradley—with whom he would later work on the Hellraiser movies. As well as his movie and TV work, he is the author of the novels Morningstar (1992), Big Thunder (1997), and the collection Wishmaster and Other Stories (1999). He is married to Dana Middleton and lives in Los Angeles, California.

How did you come to work on Hellbound: Hellraiser II?

Clive Barker, Doug Bradley, and I were all members of The Dog Company (a 1970s theatre company in Liverpool and London) and were extremely close friends. When Chris Figg, the producer of Hellraiser, was putting a team together for the sequel, Clive was kind enough to recommend me. Read On https://www.screamingeyepress.com/interviews/peter-atkins/

[notmuchtoconceal]

Hellbound: Hellraiser 2 -- through a series of cast drop-outs and hasty script changes -- reformed itself from an artless cash grab which terminates in a soft Hollywood reset into the story of a young woman confronting the trauma which destroyed her family; a slow-build which erupted in a conflagration that destroyed her home overnight (though by the second, left the house standing so it contents could pour out.)

When you read Peter Atkin's original script, there is a stunning amount of additional detail which paints a fuller picture of the crude cardboard world of the film where trick photography and montage turns a collection of hallways and matte paintings into a sprawling cthonian maze.

Yet by the end, all catharsis is forfeit -- the father is revived, the evil vanquished, the damage undone. When you read the events depicted in the original script as a dream language which constitutes the organic regeneration of a myth, the fact that Frank and Larry are literally conjoined in their burning attic hell -- the topmost story of the home which didn't burn down -- and his confronting and absorbing his brother, the parasitic twin, is what ultimately allows him to get so pissed he punches the Freshly Cenobitten Gaslighting Head of the Asylum Who Traps Autistic Girls in Repetitive Puzzle Cubes After He Vivisects and Gases Their Mothers in the face before the snake-worm buzz-saw phallus which bores into his skull (not from an omniscient Platonic solid in this version, but a fleshy amorphous mass :-- no worship of the tetrahedron) turns him into his kinky brainwashed leather sex puppet and dangles him around his own hospital cracking Freddy Krueger one-liners as he murders his own crippled and infirm.

Figuratively, this is simply an expression of the Ba'al cycle in miniature (the Pagan origin of Christianity which is nature worship; cycles within cycles; seasonal, annual, generational, epochal, which through self-determined individual will can be overcome to build civilizations, histories, myths of higher-order artistry and expression) -- for Larry, as Clive Barker himself points out, is something of a soft-boy dominated by his wife who gets really into boxing because he's so timid.

Watch the original again. His wife who's fucking his brother who literally regenerated from his blood sacrifice (his hand nailed -- a Christic reference, though through the back of the palm -- as he moves the marriage bed, literally complicit in his own cuckoldry) arouses him in his state of television-induced blood lust to distract him from the corpse in the attic by appealing to his desire to protect her. She's stringing him along, he starts to fuck her, and while she's horny, she kinda realizes ... aw, fuck. I actually love my husband. I love my pussy husband who I also have contempt for. Holy Shit. Why am I fucking a blood-eating monster? Is my home life really that insipid? Could I get more attention in better ways, or do I really just live for the havoc I cause?

Larry has issues with his masculinity cause he's the good boy. Frank's corrupted his soul cause he's the bad boy. Julia's fucking them both. The love triangle is a the most stable shape in human psychology, as the triangle is the most stable shape in nature. Truthfully, I think everyone wants a third and you only earn one when you overcome base human passions, otherwise you're consumed and end up in hell.

The sequel, told from his daughter's perspective, dispenses with this baggage entirely. Here, in the original draft, Larry overcomes Frank, who from Kirsty's perspective is a dark perversion of her father; an incestuous reflection who in the final film poses as him simply to lure her into hell and trap her with him in a Holocaust-style cremation-oven fuckbed of which he has several in the vast mausoleal chamber where he keeps his candle-lit fuckshrine to himself, presumably with his own lipstick on his photos as he's tortured by apparitions of bitches who tease him.

In other words, to show Frank and Larry conjoined literalizes what is left figurative in the final film, where he is the apparition of a delusion which functions as a lure; an embodiment of her guilt, shame, complicity, which she must recognize the falsity of to free herself. Only this self-insight gives her the courage she needs to navigate the maze of hell and overcome institutional gaslighting to rescue her mute Autistic other half from the asylum and begin their new life of lesbian sisterhood, which was so obvious it didn't need to be confirmed in the DVD commentary.

In the original draft, therefore -- we see a father figuratively revived, but presented in a literal way. It reframes the events of the previous film as such that Frank was only ever reborn to be overcome and destroyed. It reframes a family tragedy as a hero myth. Due to his daughter's tireless love, Larry becomes complete, and Kirsty seems to disregard Tiffany entirely with a crack about opening a game store.

Perhaps, to depict this myth so literally is repulsive, for it is too revealing.

The rational framework of psychological self-overcoming and self-integration might function as something of a gauze by which we may preserve the self-flattery of our pretensions to civilization.

Perhaps, to depict Kirsty as rescuing her father from hell (plot reasons where additionally cited for the removal of Larry; he spends much of act three unconscious after being rescued, so the feeling was Kirsty's story was over and Tiffany's was superfluous -- forgetting the incidental details of Kirsty needing to literally step-into her stepmother's skin, oh yes... becoming like the woman who fucked both her father and brother to help the new girl) in such a direct way reveals too uncomfortable a subtext.

If Kirsty becomes like Julia and Larry becomes like Frank, then now Father and Daughter are Truly One with Rebel and Whore.

The base contradiction at the heart of the Christian worldview is exposed. Beneath all our rational striving is a dark wonderland of flayed men and dancing incest and techno-bacchanalian revelry and deep stoic meditation in leather while highly aestheticized art objects are probed and fondled in the dark as our mechanical nature is subtly unfurled.

Dick itches just thinkin bout it, bro.

Best then we accept that daddy's dead and he's never coming back. Best we then accept that gay sex is a perfectly healthy expression of self-love which only toxic dumbasses could fuck up. Where now is the contradiction in our worldview? What do you suppose we're running from? A uterus is the source of all life, and in it is constant division. A uterus is a microcosm of the void of space as the dick is a microcosm of a shooting star or the sunbeam you yearn to strut across.

Birth is a form of death, as death is simply a form of metamorphosis.

The older I get, the more it makes sense that Clive Barker resents Hellraiser's success. It's a classic, and it's all most will ever know him for, when he's a contemporary renaissance man who is primarily a novelist, though also a painter -- he's really up there with Stephen King in terms of sheer output, and really... his horror phase was comparatively short, he mostly writing gay bizarre fantasy epics which would probably look great on screen, but I think Mr. Barker stopped making movies after three because he found them exhausting. Socially. Bureaucratically. Financially. Meanwhile, on the page, his imagination remains unrestrained and the only limit is the speed at which his fingers can clack and no man could ever tell him he needs an editor or that his work is indulgent.

Clive Barker's like chocolate mousse.

You crave the indulgence.

When he pares himself down to fit neatly into the Christian worldview, you absolutely feel it and know a tremendous loss, the same as you would see in a tree mutilated limbless by an overzealous surgeon.

[zippocreed501]

[dipnotski]

Peter Atkins – Evreni Kurmak (2023)

Evrenin olağanüstü karmaşıklığı, onun şeklini, ölçeğini ve yoğunluğunu belirleyen birkaç temel yasadan ve bir avuç temel sabitten kaynaklanır. Derinliklerinde yalın, zarif ve güzel olan bir yapıya sahiptir. Bu yasalar ve bu sabitler nereden gelir? Ayrıca bu yasalar neden matematik dilinde ifade edildiğinde böylesine verimlidir? Peter Atkins’in, Evreni yasalarıyla ve sabitleriyle donatmanın en az…

[ndcgalitzine]

WHITE COLLAR | 2.12 "What Happens in Burma"

[megalokiodinsonlove]

I created an account on Instagram to post White Collar edits, if you want to follow it's @burkecaffreywc ❤️

[90smovies]

[duranduratulsa]

Up next on my Spooktober Filmfest...Hellraiser III: Hell On Earth (1992) on glorious vintage VHS 📼! #movie #movies #horror #Hellraiser #hellraiser3 #hellraiseriiihellonearth #clivebarker #pinhead #cenobites #dougbradley #AshleyLaurence #kevinbernhardt #TerryFarrell #lawrencemortoff #PeterAtkins #paulamarshall #aimeeleigh #KenCarpenter #armoredsaint #zachgalligan #vintage #VHS #90s #spooktober #halloween #october

[aragarna]

I'm not old enough to play Neal's father. - White Collar rewatch (140/?) 6x02 Return to Sender

[pretty-little-fools]

[missr3n3]

i am so unbelievably emo over jessie's new backstory n how it relates to joshua

so like in this new version. she goes to the atkin house w/ her rookie partner andrew. the parents are just. covering the walls n floor leading to their 3 yr old son's room. and she's basically stuck making the choice between saving andrew, who's cornered by the same thing that killed mr n mrs atkins (it was luce), or saving what she believes is a terrified, orphaned toddler (he wasn't crying. wonder why that could be 🙃) and of course she's gonna save the little boy who still has his whole life ahead of him! she may have to shoulder the guilt of hearing Andrew's final, horrified screams for the rest of her life, but it was all worth it to give that child a future, right?

so now imagine how she felt when she saw that same boy as an adult, missing both legs after being tortured all night by an unseen and possibly unbeatable force, the same one that killed andrew :^)))))

[2ndaryprotocol]

The hellaciously fun action/horror hybrid ‘Hansel & Gretel: Witch Hunters’ hit theaters this week 10 years ago. 🍬🧙🏼‍♀️☠️

“𝚆𝚑𝚊𝚝𝚎𝚟𝚎𝚛 𝚢𝚘𝚞 𝚍𝚘, 𝚍𝚘𝚗'𝚝 𝚎𝚊𝚝 𝚝𝚑𝚎 𝚏*𝚌𝚔𝚒𝚗' 𝚌𝚊𝚗𝚍𝚢.”