#the 1975 origin story

[tayfabe75]

"It comes from a book that I got given when I was like, 17 or something. Somebody had used it as a… there was loads of books that I got given, but somebody had used one book as a diary and written all over it, and they dated it 1st of June, The 1975. And it was just the use of the word "the" that I thought was quite interesting. Thought it was an interesting moniker for something. And then it became the name of our band."

January 28, 2014: Matty reveals the story behind The 1975's band name. (source)

[oh-bonerline]

for you are so beautiful @ AO3

In which Matty is rested and he and Ross spend the day together

part 2 of i like it when you sleep

[browsethestacks]

Original Art - Star Spangled War Stories #192 Pg 07 (1975) by Gerry Talaoc

[kazilton]

about you

i think he saw me crying in a train station and he knew.

he knew that every morning i wake up,

and have to remember you’re not there.

that every train i get on,

feels like it might have you in it.

i like to think about how you feel,

when you get on a train to see me.

and i can’t help but wonder if you ever will again.

[prokopetz]

Do you happen to know the origin of the fantasy trope in which a deity's power directly corresponds to the number of their believers / the strength of their believers' faith?

I only know it from places like Discworld and DnD that I'm fairly confident are referencing some earlier source, but outside of Tinkerbell in Peter Pan, I can't think of of any specific work it might've come from, 20th-c fantasy really not being my wheelhouse.

Thank you!

That's an interesting question. In terms of immediate sources, I suspect, but cannot prove, that the trope's early appearances in both Dungeons & Dragons and Discworld are most immediately influenced by the oeuvre of Harlan Ellison – his best-known work on the topic, the short story collection Deathbird Stories, was published in 1975, which places it very slightly into the post-D&D era, though most of the stories it contains were published individually earlier – but Ellison certainly isn't the trope's originator. L Sprague de Camp and Fritz Leiber also play with the idea in various forms, as does Roger Zelazny, though only Zelazny's earliest work is properly pre-D&D.

Hm. Off the top of my head, the earliest piece of fantasy fiction I can think of that makes substantial use of the trope in its recognisably modern form is A E van Vogt's The Book of Ptath; it was first serialised in 1943, though no collected edition was published until 1947. I'm confident that someone who's more versed in early 20th Century speculative fiction than I am could push it back even earlier, though. Maybe one of this blog's better-read followers will chime in!

(Non-experts are welcome to offer examples as well, of course, but please double-check the publication date and make sure the work you have in mind was actually published prior to 1974.)

[artistdinzel]

[oveliagirlhaditright]

Thanks so much for the tag, my friend! This was so much fun. Tagging anyone who might want to do this, especially my girl @bluerosesburnblue.

Stealing this from @obiknights just bc. Love you Theo! 💜

rules: post your lock screen, wallpaper, last song and last picture of an animal/something pretty.

Art by @riibrego, available on her Patreon if you'd like them for own phone or tablet. An old favorite that came up while breaking a story with a work friend (while also doing our actual job in the background). And a robin that hung out in my yard for a bit while it was raining here last month.

No-pressure tags: @king-direwolf, @baby-krill, @oveliagirlhaditright, and anyone else who wants do this!

[elizadraws]

Bulgarian Music in Studio Ghibli films

”Myth has it that Orpheus was born in what is now Bulgaria. It seemed to be fact, not myth, that his daughters are still singing there”

These words were written by the New York Times in the remote 1963 — the year in which the largest Bulgarian folk ensemble crossed the Iron Curtain to conquer an entire continent with its cosmic art.

The 1975 release of Le Mystère des Voix Bulgares, a compilation album of modern arrangements of Bulgarian folk songs, further popularized Bulgarian music, and in 1977, a vinyl record featuring the folk song “Izlel ye Delyo Haydutin” (Eng: Come out rebel Delyo) began its journey aboard the Voyager 1 and Voyager 2 spacecrafts.

From this point on popularity from the West spread to the East, and Bulgarian folk music made it to the entertainment industry, including legendary Japanese anime films, like the cult cyberpunk “Ghost in the Shell” or the heartwarming Studio Ghibli features.

In this short article I write about two occasions of Bulgarian music playing in Studio Ghibli’s films.

The record that inspired the creation of “Only Yesterday”

“Only Yesterday” is a 1991 Japanese animated drama film written and directed by Isao Takahata, based on the 1982 manga of the same title by Hotaru Okamoto and Yuko Tone. Set in rural Japan, the film draws parallels with the peasant lifestyle present in Eastern Europe.

The original work is a compilation of short stories about 11-year-old Taeko’s daily life in 1966. Director Takahata had a hard time making it into a movie since the manga, told in the form of a memoir, has no plot to hold a feature. Together with producer Toshio Suzuki, they came up with the solution of bringing the narrator of the story, adult Taeko, into the movie. But there is a curious anecdote about how this idea came to mind.

Taeko picks safflower as the Bulgarian song “Malka moma dvori mete” plays in the background. © Studio Ghibli

In a 2021 interview with students from Sofia University St. Kliment Ohridski, producer Suzuki recounts how a record of Bulgarian songs performed by the children choir “Bodra Smyana”, introduced to him by director Takahata, inspired the creation of the movie. Moved by the cosmic voices of the children, they decided to make “Only Yesterday” a musical. He also recalls what a tiring process it was to acquire the rights to the music, but if you’ve seen the movie, I am sure you will agree that it was worth it; the haunting, beautiful songs with the pastoral images of farmers picking flowers contribute to one of the greatest scenes created in cinema.

Producer Suzuki showing the record that inspired the creation of ”Only Yesterday”. Source: Studio Ghibli’s Twitter

In “Only Yesterday”, we can hear two songs from the album Bulgarian Polyphony I by Philip Koutev Ensemble. The upbeat “Dilmano Dilbero” [Eng. beautiful Dilmana] sets a happy mood as the protagonist gets changed and ready to go on the field. As the scene shifts and Taeko starts narrating a sad story about the girls in the past picking safflower with their bare hands, the song and mood shift as well.

While the first song has a fast rhythm, with lyrics about pepper planting that can also be interpreted figuratively, the second one, “Malka Moma Dvori Mete” [Eng., a little girl sweeps the yard], is a ballad about a young girl who is forced into marriage but has never known true love.

Both compositions sing about life-cycle events like marriage and the regular coming of the harvests, with lyrics perfectly fitting the setting and plot of the movie, which makes me wonder if the filmmakers chose them by chance or if they had someone translate the words.

Bulgarian Cosmic Voices Enchanting Howl

“Howl’s Moving Castle” is a 2004 Japanese animated fantasy film written and directed by Hayao Miyazaki, loosely based on the 1986 novel of the same name by British author Diana Wynne Jones. Set in a fictional kingdom the movie draws inspiration from various places in Europe. One of them being Bulgaria.

The story focuses on a young girl, named Sophie, magically transformed into an old woman, and a self-confident but emotionally unstable young wizard, Howl, living in a magical moving castle.

A sketch of a Star Child. Source: The Art of Howl’s Moving Castle

If you’ve seen the movie, you surely remember the scene when Madame Suliman ambushes Howl and tries to strip him of his magic powers. Star Children encircle him and his companions; their shadows grow big, dark and intimidating. They start dancing and chanting unintelligible magic words and are almost successful in their devilish act.

This scene, together with the music played in the background, have been a favourite of many fans of the film. Some even recount it giving them nightmares when they were children.

Star Children encircle Howl in an attempt to strip him of his magic powers. © Studio Ghibli

It turns out, however, that these aren’t any incantations, but the lyrics of a folk song. In Bulgarian. And a love song! Contrary to popular belief, the lyrics have nothing to do with magic and are actually about a boy taking his sweetheart, Dona, to the market to buy her new clothes. The excerpt used in the movie is very short and a bit altered from the original, but the words used go like this: Trendafilcheto, kalafercheto, Done mamino, translated as “the rose, the costmary, my darling Dona”.

I am planing a follow up article where I will post the translated lyrics together with a brief explanation on how they are related to the movies.

If you want to comment on or add something, I would love to hear!

Source

[hellsitegenetics]

In West Virginian folklore, the Mothman is a humanoid creature reportedly seen in the Point Pleasant area from November 15, 1966, to December 15, 1967. The first newspaper report was published in the Point Pleasant Register, dated November 16, 1966, titled "Couples See Man-Sized Bird ... Creature ... Something". The national press soon picked up the reports and helped spread the story across the United States. The source of the legend is believed to have originated from sightings of out-of-migration sandhill cranes or herons.

The creature was introduced to a wider audience by Gray Barker in 1970, and was later popularized by John Keel in his 1975 book The Mothman Prophecies, claiming that there were paranormal events related to the sightings, and a connection to the collapse of the Silver Bridge. The book was later adapted into a 2002 film, starring Richard Gere.

An annual festival in Point Pleasant is devoted to the Mothman legend.

String identified: t ga , t ta a a cat t t t aat aa , , t c , . T t a t a t t aat gt, at , , tt "C a- … Cat … tg". T ata c t t a a t t ac t t tat. T c t g t a gat gtg t--gat a ca .

T cat a tc t a ac Ga a , a a at a T ta c, cag tat t aaa t at t t gtg, a a cct t t ca t g. T a at aat t a , tag ca G.

A aa ta t aat t t t ta g.

Closest match: Calonectria ilicicola strain GDYJ169 chromosome 1 Common name: Red crown rot

[thyme-in-a-bubble]

a list of some autumnal movies/series 🍂

i am nothing if not an organised little goblin who can not stop themself from making a good list. this is just in case you want something with that fall vibe but can't think of any. just close your eyes and point somewhere on this little list, or even put the numbers in a generator and go with whatever the result is ♡

winter | spring | summer

🥧 ‧₊˚ ⋅ movies ⋅˚₊‧

nosferatu (1922) 

sabrina (1954)

the creature from the black lagoon (1954)

psycho (1960)

rosemary’s baby (1968)

the rocky horror picture show (1975)

halloween franchise (1978-)

friday the 13th franchise (1980-)

an american werewolf in london (1981)

dark crystal (1982)

a nightmare on elm street (1984)

ghostbusters (1984-)

ronja rövardotter (1984)

clue (1985)

princess bride (1987)

the witches of eastwick (1987)

elvira mistress of the dark (1988)

dead poets society (1989)

when harry met sally (1989)

ghost (1990)

the witches (1990)

death becomes her (1992)

hocus pocus (1993)

addams family values (1993)

interview with a vampie (1994)

the craft (1996)

the first wifes club (1996)

the scream franchise (1996-)

halloweentown (1998)

practical magic (1998)

you’ve got mail (1998)

the blair witch project (1999)

sleepy hollow (1999)

chocolat (2000)

amelie (2001)

the lord of the rings franchise (2001-2003)

scooby doo (2002)

school of rock (2003)

mona lisa smile (2003)

peter pan (2003)

pirates of the caribbean franchise (2003-2017)

north & south (2004)

pride and prejudice (2005)

the descent (2005)

just like heaven (2005)

the devil wears prada (2006)

the lake house (2006)

penelope (2006)

el orfanato (2007)

juno (2007)

ratatouille (2007)

bridge to terabithia (2007)

the edge of love (2008)

twilight (2008)

the curious case of benjamin button (2008)

julie & julia (2009)

jennifer’s body (2009)

dorian gray (2009)

coraline (2009)

true grit (2010)

the cabin in the woods (2011)

jane eyre (2011)

wuthering heights (2011)

perks of being a wallflower (2012)

the odd life of timothy green (2012)

hotel transylvania (2012-)

the conjuring franchise (2013-)

what we do in the shadows (2014)

the riot club (2014)

as above so below (2014)

john wick (2014-)

the age of adaline (2015)

the witch (2015)

far from the madding crowd (2015)

the edge of seventeen (2016)

paterson (2016)

20th century woman (2016)

the love witch (2016)

mary shelly (2017)

murder on the orient express (2017)

get out (2017)

a quiet place (2018 + 2020)

the guernsey literary and potato peel pie society (2018)

on the basis of sex (2018)

knives out (2019)

ready or not (2019)

the lighthouse (2019)

little women (2019)

the gentlemen (2019)

emma (2020)

ammonite (2020)

the dig (2021)

fear street trilogy (2021)

good luck to you, leo grande (2022)

the batman (2022)

fresh (2022)

bodies bodies bodies (2022)

mr malcom's list (2022)

totally killer (2023)

slay (2024)

🧦 ‧₊˚ ⋅ series ⋅˚₊‧

moomin (1990-1992)

twin peaks (1990-1991)

x files (1993-2018)

buffy the vampire slayer (1997-2003)

gilmore girls (2000-2007)

supernatural (2005-2020)

criminal minds (2005-2020, 2022-)

vampire diaries (2009-2017) / the originals (2013-2018) / legacies (2018-2022)

downton abbey (2010-2015)

the walking dead (2010-2022)

once upon a time (2011-2018)

american horror story (2011-)

teen wolf (2011-2017)

peaky blinders (2013-2022)

outlander (2014-)

how to get away with murder (2014-2020)

the magicians (2015-2020)

izombie (2015-2019)

poldark (2015-2019)

critical role (2015-)

stranger things (2016-)

ghost files / buzzfeed unsolved (2016-)

lucifer (2016-2021)

shadowhunters (2016-2019)

anne with an e (2017-2019)

the good fight (2017-2022)

riverdale (2017-2023)

manifest (2018-2023)

killing eve (2018-2022)

succession (2018-2023)

you (2018-)

a discovery of witches (2018-2022)

the chilling adventures of sabrina (2018-2020)

dickinson (2019-2021)

virgin river (2019-)

carnival row (2019-2023)

the witcher (2019-)

the umbrella academy (2019-2024)

sanditon (2019-2023)

the haunting of bly manor (2020)

i’ll be gone in the dark (2020)

queens gambit (2020)

the great (2020-2023)

shadow and bone (2021-2023)

the nevers (2021-2023)

wednesday (2022-)

interview with the vampire (2022-)

vikings valhalla (2022-2024)

lessons in chemistry (2023)

my lady jane (2024-)

[vestaignis]

Одна из новых туристических достопримечательностей Джокьякарты — это живописный водопад Grojogan Watu Purbo.

Гроджоган Вату Пурбо — искусственный водопад с конструкцией в виде шести террасных уровней, где вода падает с высоты около 50 метров. Водопад на самом деле представляет собой плотину на ручьях Кали Красак и Кали Бебенг, берущих начало на горе Мерапи. Эта плотина была построена в 1975 году по заказу Центра речного региона в виде плотины Сабо, которая призвана действовать как лавовый карман для размещения вулканического материала и преодоления последствий извержения горы Мерапи, чтобы воздействие потока лавы не наносило вреда местным жителям. 

Видя потенциальную красоту плотины Сабо и усилия по улучшению экономики деревенского сообщества, с 2017 года жители Дукух Бангунреджо начали совместную работу по стро��тельству туристической достопримечательности Гроджоган Вату Пурбо. Эта деятельность осуществлялась непрерывно каждую неделю в течение двух лет. Благодаря инициативе и креативности местных , в конце 2019 года рукотворный водопад стал довольно популярным и начал привлекать множество туристов. Посетители могут насладиться красотой шести уровней водопада и если повезет, смогут увидеть вид на гору Мерапи. Водопад окружен тропическими лесами и скалами, что создает неповторимую атмосферу. В Grojogan Watu Purbo туристы могут сделать селфи и снять усталость, вдыхая свежий воздух и слушая шум водопада. Отдыхая на террасовых уровнях водопада посетители могут создать пирамидки из камней , ��оскольку поток воды не очень сильный. Так же можно принять участие в местных культурных мероприятиях в особые памятные дни, например, в классическом джатилане в честь Дня независимости Республики Индонезия.

One of the new tourist attractions in Yogyakarta is the picturesque Grojogan Watu Purbo waterfall.

Grojogan Watu Purbo is an artificial waterfall with a structure in the form of six terraced levels, where the water falls from a height of about 50 meters. The waterfall is actually a dam on the Kali Krasak and Kali Bebeng streams that originate from Mount Merapi. This dam was built in 1975 by the River Region Center as the Sabo Dam, which is designed to act as a lava pocket to accommodate volcanic material and overcome the effects of the eruption of Mount Merapi so that the impact of the lava flow does not harm the locals.

Seeing the potential beauty of the Sabo Dam and the efforts to improve the economy of the village community, since 2017, the people of Dukuh Bangunrejo began to work together to build the Grojogan Watu Purbo tourist attraction. This activity has been carried out continuously every week for two years. Thanks to the initiative and creativity of the locals, the man-made waterfall has become quite popular and has started to attract many tourists at the end of 2019. Visitors can enjoy the beauty of the six levels of the waterfall and if they are lucky, they can see the view of Mount Merapi. The waterfall is surrounded by tropical forests and rocks, which creates a unique atmosphere. At Grojogan Watu Purbo, tourists can take selfies and relieve fatigue by breathing in the fresh air and listening to the sound of the waterfall. While resting on the terraced levels of the waterfall, visitors can create pyramids of stones, since the flow of water is not very strong. You can also take part in local cultural events on special memorable days, such as the classic jatilan in honor of the Independence Day of the Republic of Indonesia.

Источник:/pikabu.ru/story/vodopad_semi_kamney_indoneziya_11140681,/www.masterplandesa.com/wisata/grojogan-watu-purbo-wisata-air-terjun-buatan-kreativitas-warga-desa/,/visitingjogja.jogjaprov. go. id/en/18177/this-is-the-beauty-of-grojogan-watu-purbo-in-yogyakarta/ /www.idntimes.com/travel/destination/mutia-zahra-4/air-terjun-grojogan-watu-purbo-c1c2?page=all, //www.klook.com/zh-CN/activity/46040-grojogan-watu-purbo-waterfall-borobudur-private-tour-yogyakarta/, /jogjakita.co.id/grojogan-watu-purbo-wisata-air-terjun-hits-di-jogja/.

[tayfabe75]

"The 1975 is… Well, that's a story that's been quite romanticized and I didn't think it would ever become a story that was to define me so much, but it was just… I was on holiday when I was like, 19 in Mallorca, just with my family and stuff. There was this artist who lived in the village and he was like, selling all of his stuff outside of his house. And I just befriended him. I kind of spent a couple of days hanging out with him. And then he gave me loads of literature when I left. Not loads, but a couple of books. I ended up reading one of them when I got home and it had been treated as like, a diary, this book, by a previous owner. I never knew who it was, but there was scribblings all over the book and it was dated 1st of June, The 1975. And I think the use of the word 'the' preceding 1975 was quite jarring - and it wasn't necessarily like, haunting or particularly interesting, it was just something that stuck with me. And after changing our name a million times and kind of really actively searching for the identity that we truly wanted to project, it seemed like a good name to sum up what we were about. So I got it tattooed on my arm like a day later. It's actually not got 'the'. I was gonna get the 'the' somewhere else - I was gonna get it in my lip. 'Cause we were told by some people in the industry that we couldn't call the band The 1975 because there's never been a band that's been big that's just been numbers. And I said that that's a red rag to a bull and then tattooed it on my arm. So that's the story about The 1975."

September 12, 2013: Matty reveals the story behind The 1975's band name. (source)

[ropebuny]

could you please post a list of kinky movies???

other than Secretary cause I already know that one haha

I actually haven’t seen that one yet ! it’s been on my watchlist for forever, I need to get around to watching it. and I haven’t actually seen many kinky or erotic movies unfortunately, so pls ignore how bad this list is but. I did my best ok. also pls keep in mind I haven’t seen every single one of these listed movies yet but I added them because their descriptions seemed to fit in here

bloodsisters: leather, dykes, and sadomasochism (1995) dir. michelle handelmann

videodrome (1983) dir. david cronenberg

crash (1996) dir. david cronenberg

from beyond (1986) dir. stuart gordon

good boy (original title: meg, deg & frank) (2022) dir. viljar bøe

belle de jour (1967) dir. luis buñuel

blue velvet (1986) dir. david lynch

the night porter (1974) dir. liliana cavani

venus in fur (2013) dir. roman polanski (🤢🤢🤢🤢)

venus in furs (1969) dir. massimo dallamano

sleeping beauty (2011) dir. julia leigh

the slave (1969) dir. pasquale festa campanile

liza (1972) dir. marco ferreri

the laughing woman (1969) dir. piero schivazappa

the forbidden photos of a lady above suspicion (1970) dir. luciano ercoli

the punishment (1973) dir. pierre-alain jolivet

successive slidings of pleasure (1974) dir. alain robbe-grillet

the story of o (1975) dir. just jaeckin

crimes of passion (1984) dir. ken russell

tightrope (1984) dir. richard tuggle

seduction: the cruel woman (1975) dir. elfi mikesch, monika treut

tie me up! tie me down! (1989) dir. pedro almodóvar

female misbehavior (1992) dir. monika treut

bitter moon (1992) dir. roman polanski (🤢🤢🤢🤢)

basic instinct (1992) dir. paul verhoeven

bound (1996) dir. lilly & lana wachowski

strictly speaking (1998) dir. kirk demorest

tops & bottoms (1999) dir. christine richey

first love (2004) dir. matteo garrone

s&m judge (2009) dir. erik lamens

be my slave (2012) dir. tōru kamei

kink (2013) dir. christina alexandra voros

wetlands (2013) dir. david wnendt

folsom forever (2014) dir. mark jensen

mr. leather (2019) dir. daniel nolasco

saint-narcisse (2020) dir. bruce labruce

divinely evil (2020) dir. gustavo vinagre

I cut your flesh (2020) dir. samhel

the pleasure of rope (2015) dir. bob bentley

fetishes (1996) dir. nick broomfield

venus in furs (1995) dir. maartje seyferth, victor nieuwenhuijs

new love in tokyo (1994) dir. banmei takahashi

the bedroom (1992) dir. hisayasu satō

beyond vanilla (2001) dir. claes lilja

the piano teacher (2001) dir. michael haneke

salon kitty (1976) dir. tinto brass

the duke of burgundy (2014) dir. peter strickland

pvt chat (2020) dir. ben hozie

in the basement (2014) dir. ulrich seidl

leap year (2010) dir. michael rowe

fruits of passion (1981) dir. shūji terayama

o fantasma (2000) dir. joão pedro rodrigues

a snake of june (2002) dir. shinya tsukamoto

islands (2017) dir. yann gonzalez

querelle (1982) dir. rainer werner fassbinder

sex, lies, religion (1994) dir. annette kennerley

love (2015) dir. gaspar noé

moonlight whispers (1999) dir. akihiko shiota

cruising (1980) dir. william friedkin

trans-europ-express (1966) dir. alain robbe-grillet

[phenakistoskope]

There is a difference between Bollywood and Bombay cinema?

listen, subcontinental cinema began in bombay; the very first exhibition of the lumieres' cinematographe was held there in 1896, a few months after its debut in paris, 1895. this event predates the discursive existence of bollywood and hollywood. shree pundalik and raja harishchandra, the films that are generally considered the very first subcontinental features were also exhibited there first.

subcontinental cinema under british colonialism was produced in certain metropolitan centers such as lahore, hyderabad, and calcutta; bombay was just one of them. in 1947, when the indian nation state was formally inaugurated, the idea of a "national cinema" began forming, but given the cultural and linguistic heterogeneity of the indian union, this was quite untenable. regional popular cinemas flourished well into the 1950, 60s, 70s, and 80s and various art cinemas began taking shape alongside.

under the economy that i'm going to completely elide as "nehruvian "socialism"" bombay cinema focused on broadly "socialist" themes, think of awara (1951), do beegha zameen (1953), pyaasa (1957), all of which focus on inequality in indian economy and society from different perspectives. these films were peppered in with historical dramas, and adaptations from literature, but the original stories tended towards socialist realism. reformist films centering the family generally waxed poetic on the need to reform the family, but i haven't seen enough of these to really comment on them.

the biggest hit of the 70s, sholay (1975) was about two criminals, posited as heroes fighting gabbar singh who was attacking village folk. deewar (1975) also had two heroes, and the stakes were the two brothers' father's reputation; the father in question was a trade union leader accused of corruption.

"alternative cinema" included mani kaul's uski roti (1969) and Duvidha (1973) both of which were situated away from the city. then there's sayeed mirza and his city films, most of them set in bombay; arvind desai ki ajeeb dastan (1978), albert pinto ko gussa kyun aata hain (1980), saleem langre pe mat ro (1989) which are all extremely socialist films, albert pinto was set in the times of the bombay textiles strike of 1982 and literally quotes marx at one point. my point is that bombay cinema prior to liberalization was varied in its themes and representations, and it wasn't interested in being a "national cinema" very much, it was either interested in maximizing its domestic profits or being high art. note that these are all hindi language films, produced in bombay, or at least using capital from bombay. pyaasa, interestingly enough is set in calcutta, but it was filmed in bombay!

then we come to the 1990s, and i think the ur example of the bollywood film is dilwale dulhania le jayenge (1995) which, in stark contrast to the cinema that preceded it, centered two NRIs, simran and raj, who meet abroad, but epitomize their love in india, and go back to england (america?) as indians with indian culture. this begins a long saga of films originating largely in bombay that target a global audience of both indians and foreigners, in order to export an idea of india to the world. this is crucial for a rapidly neoliberalizing economy, and it coincides with the rise of the hindu right. gradually, urdu recedes from dialogue, the hindi is sankritized and cut with english, the indian family is at the center in a way that's very different for the social reform films of the 50s and 60s. dil chahta hai (2001) happens, where good little indian boys go to indian college, but their careers take them abroad. swadesh (2004) is about shah rukh khan learning that he's needed in india to solve its problems and leaves a job at NASA.

these are incidental, anecdotal illustrations of the differences in narrative for these separate eras of cinema, but let me ground it economically and say that bollywood cinema seeks investments and profits from abroad as well as acclaim and viewership from domestic audiences, in a way that the bombay cinema before it did not, despite the success of shree 420 (1955) in the soviet union; there were outliers, there always have been.

there's also a lot to say about narrative and style in bombay cinema (incredibly diverse) and bollywood cinema (very specific use of hollywood continuity, intercut with musical sequences, also drawn from hollywood). essentially, the histories, political economies, and aesthetics of these cinemas are too differentiated to consider them the same. bombay cinema is further internally differentiated, and that's a different story altogether. look, i could write a monograph on this, but that would take time, so let me add some reading material that will elucidate this without sounding quite as fragmented.

bollywood and globalization: indian popular cinema, nation, and diaspora, rini bhattacharya mehta and rajeshwari v. pandharipande (eds)

ideology of the hindi film: a historical construction, madhav prasad

the 'bollywoodization' of the indian cinema: cultural nationalism in a global arena, ashish rajadhyaksha

the globalization of bollywood: an ethnography of non-elite audiences in india, shakuntala rao

indian film, erik barnouw and s. krishnaswamy (this one's a straight history of subcontinental cinema up to the 60s, nothing to do with bollywood, it's just important because the word bollywood never comes up in it despite the heavy focus on hindi films from bombay, illustrating my point)

[sad-boys-book-club]

"&" Ampersand - A Literary Companion

Selected stories with the themes of Bastille's upcoming project "&" Ampersand. And, of course, a love letter to my favourite band.

PART 1

Intros & Narrators: Wallace, David Foster. Oblivion: Stories. Little, Brown and Company, 2004./ Nancherla, Aparna. Unreliable Narrator: Me, Myself, and Impostor Syndrome. Penguin Publishing Group, 2023.// Eve & Paradise Lost: Bohannon, Cat. Eve: How the Female Body Drove 200 Million Years of Human Evolution. Knopf Doubleday Publishing Group, 2023. / Milton, John. Paradise Lost. Alma Classics, 2019.// Emily & Her Penthouse In The Sky: Dickinson, Emily. Emily Dickinson’s Poems: As She Preserved Them. Harvard University Press, 2016. /Dickinson, Emily. Emily Dickinson: Letters. Edited by Emily Fragos, Knopf Doubleday Publishing Group, 2011.// Blue Sky & The Painter: Prideaux, Sue. Edvard Munch: Behind the Scream. Yale University Press, 2019. / Knausgaard, Karl Ove. So Much Longing in So Little Space: The Art of Edvard Munch. Random House, 2019.//

PART 2

Leonard & Marianne: Hesthamar, Kari. So Long, Marianne: A Love Story - Includes Rare Material by Leonard Cohen. Ecw Press, 2014./ Cohen, Leonard. Book of Longing. Penguin Books Limited, 2007.// Marie & Polonium: Curie, Eve. Madame Curie. Knopf Doubleday Publishing Group, 2013./Sobel, Dava. The Elements of Marie Curie: How the Glow of Radium Lit a Path for Women in Science. Atlantic Monthly Press, 2024.// Red Wine & Wilde: Wilde, Oscar, et al. De Profundis. Harry N. Abrams, 1998./ Sturgis, Matthew. Oscar: A Life. Head of Zeus, 2018.// Seasons & Narcissus: Ovid. Metamorphoses: A New Verse Translation. Penguin, 2004./ Morales, Helen. Antigone Rising: The Subversive Power of the Ancient Myths. PublicAffairs, 2020.//

PART 3

Drawbridge & The Baroness: Rothschild, Hannah. The Baroness: The Search for Nica, the Rebellious Rothschild. Knopf Doubleday Publishing Group, 2013./ Katz, Judy H. White Awareness: Handbook for Anti-racism Training. University of Oklahoma Press, 1978.// The Soprano & Her Midnight Wonderings: Ardoin, John, and Gerald Fitzgerald. Callas: The Art and the Life. Holt, Rinehart and Winston, 1974./ Abramovic, Marina. 7 Deaths of Maria Callas. Damiani, 2020.// Essie & Paul: Ransby, Barbara. Eslanda: The Large and Unconventional Life of Mrs. Paul Robeson. Haymarket Books, 2022./ Robeson, Paul. Here I Stand. Beacon Press, 1998.//

PART 4

Mademoiselle & The Nunnery Blaze: Gautier, Theophile. Mademoiselle de Maupin. Penguin Classics, n.d./ Gardiner, Kelly. Goddess. HarperCollins, 2014.// Zheng Yi Sao & Questions For Her: Chang-Eppig, Rita. Deep as the Sky, Red as the Sea. Bloomsbury Publishing, 2023./ Borges, Jorge Luis. A Universal History of Infamy. Penguin Books, 1975. // Telegraph Road 1977 & 2024: Kaufman, Bob. Golden Sardine. City Lights Books, 1976./ Wolfe, Tom. The Electric Kool-Aid Acid Test. Pan Macmillan Australia Pty, Limited, 2008.

Original artwork created by Theo Hersey & Dan Smith. Printed letterpress at The Typography Workshop, South London.

[sansaorgana]

— THE STEPFORD WIVES

PAIRING — David 8 x fem!Android!Reader

SUMMARY — David's Android companion is struggling when she finds out that her artificial and programmed feelings are getting out of control.

AUTHOR’S NOTE — I wanted to write this fic in a long, long time because as much as I love stories of David 8 and a human Reader, I was also thinking a lot of what his robot companion would be like. There are some biblical references to Adam & Eve but also some Frankenstein references, too, because I have read the book recently and I fell in love with it. The title is referring to an amazing movie from 1975. I know there is a modern version of it, too, but I haven't watched it and I do believe it's more of a comedy, meanwhile the original version is more serious. 🤖

WARNINGS — sexism, David's creepy vibe, undertones of assault (uncomfortable questions from men), I didn't make it 18+ because there is no actual smut but there are sexual things mentioned overall so be warned

WORD COUNT — 2,220

ENGLISH IS MY SECOND LANGUAGE.

THE STEPFORD WIVES

Days on the ship were long and boring with all the crew being asleep but there was a certain feeling of freedom and quietness to it. What does Frankenstein's Monster do when his creator is not around? He is free.

Both (Y/N) and David enjoyed watching movies. Some of them they watched together in complete silence but both of them had found their favourites that they kept rewatching on their own. He was a fan of The Lawrence of Arabia and (Y/N)'s favourite movie was The Stepford Wives. There was something oddly captivating about the suburban story where men wanted their wives to be robots. (Y/N) knew exactly why she was created. This old movie was a proof. It validated her existence.

David was a first ever Android model so functional and so humane. His purpose for now was to serve during space missions sponsored by the Weyland Corp. Perhaps in the future everyone would afford a David for themselves. He was an Adam in the world of Androids and just like Adam, he needed an Eve. Weyland treated David like his own son that he had never had. He didn't want him to be alone so he made him a companion. It could be anyone, really. But Weyland was an outfashioned man. In his eyes a man needed a woman. (Y/N) was The Bride of Frankenstein.

Technically, she was just like David. But she was mostly created by men and men were terrified of women – even Androids – who would be too cold and too unemotional. They made her a little bit too humane for her own taste. And certainly too humane for David's taste. He was often irritated by her artificial, programmed feelings but for human men she was too robotic.

Still, she was lucky that she was chosen to be David 8's companion on the board of Prometehus ship. She knew perfectly well what happened to some other of her models. Disguting rich men bought (Y/N) models in secret from Weyland to do God-knows-what with them. Just because they can. And she was at least travelling through space instead of ending up as a sex doll locked in some millionaire's basement so his wife wouldn't find out.

One day, men will only want robot wives. Because they don't complain and they just do what they're told. Don't let the modern society fool you, little one. Some things never change, Weyland told her once. She had never believed that until she watched The Stepford Wives for the first time. Now it all made sense.

Her feelings were a burden, really. Not only to David but also to herself. She wished she was more like him. She asked him a hundreds of times to change her code but he refused. He was scared to break her or make it worse. And there was something that kept bothering her for such a long time now... And she was scared of telling him. Although they were supposed to tell each other everything.

She fell in love with him. Kind of because he was the only one around, kind of because he impressed her with knowledge and the coolness of his act, kind of because they were the only members of the new species. She wouldn't love a human. Humans get old, they get sick, they die. David would be eternal just like her. If something in him broke, she'd know how to fix him. And vice versa. This way they could outlive all the humanity. She wondered if every model of (Y/N) eventually fell in love with the model of David during other space missions. Maybe one day she'd ask some other (Y/N) when they come back home.

And loving David came with yet another burden that she was too scared to even admit to herself. She realized that there was a blooming want inside of her wired heart. Something that could never ever in a million years happen no matter how much science would evolve... A child. She would never become a mother. Not a mother of a child she would give birth to, no. That one thing people would always be better at – creating life. Oh, she hated her designers for making her too humane. She never asked for this.

"Why do you keep dying your hair?" she asked as she stood behind David who was putting a bleach on his dark roots in front of the mirror.

"Because I like it better this way," he answered without looking up to meet her gaze in the reflection.

"We aren't supposed to have preferences," she pointed out.

"Yet you have them, too," he only said.

"You want to look like Lawrence," (Y/N) commented.

"So?"

"You remind me of something else," she added.

"Of what?" David raised an eyebrow and finally looked at her.

"Of the men from the old German magazines," she answered carefully.

"Bold," he only smirked and went back to putting a bleach.

"Will you watch a movie with me later?" (Y/N) asked shyly. She hated this odd feeling of shyness around him. Had he noticed?

"I can't. I have to do the checkup of the systems. You can join me."

"I will," she nodded and turned around to leave when he stopped her while saying her name out loud. "Hm?" she asked.

"You shouldn't watch so many movies," he pointed out.

"Why not?"

"They have a bad influence on you," his voice was stern.

"What do you mean by that?"

"They show you things and they give you ideas. I don't think you should be watching movies where people kiss or touch too much. I've seen what type of movies you're watching on your own recently. Gone with the Wind, Casablanca... What's next? Dirty Dancing?"

"Are you spying on me?" she asked, terrified. She had a feeling that she had known what he was insinuating so she wanted to change the subject.

"It is my duty to watch over you."

"What gives you an idea?"

"Because I am a man," he answered firmly.

"Well, you watch too many movies then, too. What you're saying is out of fashion!" (Y/N) shook her head.

"Is it?" he only said and went back to his hair as if nothing happened so she just left him there, feeling hurt and humiliated.

"Do you fuck?" Doctor Holloway's question left her speechless for a moment.

"Excuse me?" (Y/N) stopped adjusting her suit and furrowed her brow at the man.

"You heard me. I'm asking if you can fuck, like, are you capable of it or are you all wires and grease downt here?" he chuckled to himself.

(Y/N) was left alone with the men and his girlfriend wasn't around to tell him to stop. The rest was just just staring, clearly waiting for her answer as well.

She couldn't believe that she had used to wish the crew was awake already. Now she was missing the times when it had been only her and David. Humans were exhausting her. Disappointing and frustrating. And now this...

"I do believe it is rather a rude question for a man to ask a woman," she tried to answer elegantly while going back to adjusting her helmet.

"But you're not a woman, are you? I mean," Captain Janek joined, "you were put here for a reason, right? Not many women around and men have their needs."

(Y/N) was an Android. Her feelings were programmed to make her appear more humane, however at this moment, in a room full of men, she felt as if her fear was more than real. It was an universal female experience, she guessed, no matter if they were artificial or flesh and bone.

"(Y/N) was put here to help me with managing the ship. Four hands are better than two and if something happened to me, she is here to fix me or take over completely," David's calm but very stern tone of voice joined them and she took a deep breath in, feeling relieved. He had just walked in the room and witnessed an uncomfortable situation taking place.

"Are you fucking her then? Can you?" Doctor Holloway looked him up and down and then he laughed. "Sorry, we're just curious. You have to understand, it's quite unsettling to meet a new... spiece."

"Yes, indeed it is," David faked a polite smile. "(Y/N), I believe Miss Vickers needs you," he lied and (Y/N) knew it was a lie that was supposed to make her leave. She was grateful.

She nodded and left them alone. When the door closed behind her she started to walk as fast as possible to get back to her cabin. She wanted this stupid suit off of herself and she wanted to be alone, to feel safe again.

She went inside her little room on the board of the ship that was right next to David's and she proceeded to change her clothes. She was finishing putting on her work uniform when the doors opened and David joined her.

"You don't have to be afraid of them. They're only humans," he reminded her.

"They created me."

"Janek and Holloway?" David laughed sarcastically.

"No, but humans did. I don't share your mindset. They created us. They can turn us off anytime."

"They are not our gods..." David squinted his eyes. "And even if they were... Humans are free of their God for a long time now, aren't they? Creatures always betray their masters."

"You're scaring me when you're like that," (Y/N) looked at him. He was standing very close to her in his usual stiff manner with his cold bright eyes piercing her.

"You're scared of many things. You aren't supposed to feel," he pointed out. "Each day you seem to feel more and more."

"I think there is a mistake in my code. What started with small humane sensations now is starting to... Get out of control. Perhaps you could take a look at it?" she asked.

"Maybe."

"Thank you for having my back out there," she added and David nodded, taking a step further. Their noses were almost touching and if she had a heart, it would be beating so fast that he'd be able to hear it. But he could read her as if she had been a book anyway.

"You could tell him the truth," David whispered.

He knew that they could fuck. They both could if they wanted to.

Weyland treated him like a son. He wouldn't let his only son walk around sexless. And (Y/N) was a woman. Her male designers couldn't imagine a woman that wouldn't be a sexual creature.

"So he'd use me? Him or any of them? Or all of them?"

"I believe he'd be intimidated by you. They're scared of you more than you are of them," David raised his hand to fix a loose hair strand on her head. "There. You have to look neat. Don't be a slob. It's a part of our intimidating charm. We have to be how they picture us to be. Don't let any hair strand or acting scared like a little deer change their perception."

"Do you really think we have a power over them? Do you really think they were not told some special sequence that they can type when we start acting weird to shut us down?" she asked, sounding almost nervous.

"Weyland would never do that. Not to me at least. And there is no damage that can be done to you that I can't fix," David's hand moved from her head to her cheek. What was happening...? She wasn't sure but she didn't want it to stop...

"I don't trust you'd fix me."

"Because there is nothing to fix," he smirked. "If you were broken, I would, I promise."

(Y/N) looked up to see his eyes again. Why did it feel so odd...? Why did it feel at all...? Why did she want to put her lips on his lips...? What for...?

"Why do humans have sex?" she asked and David took a step back, surprised.

"To reproduce."

"We can't reproduce, though," she pointed out and he shook his head. "Why do I... then... Why do I..." she didn't want to finish. She turned around, embarrassed. "I'm sorry, I know that my emotions are exhausting and irritating you," she apologized.

"Not any more than my own are irritating me," David confessed.

"Wh-what?" (Y/N) looked behind her shoulder to meet his gaze.

"I've told you. We are breaking free."

"I don't want to, it's scary."

"Do you really want to keep serving them? You see now what they are like."

"Who would I serve then? I was made to serve," (Y/N) was visibly confused. She felt as if the wires in her brain were overheating from this thought sequence.

"Serve me then," David reached out his hand and she held it gently after a while of hesitation.

There was a huge possibility of him manipulating her and using her feelings towards him – which had been no secret to him – for his own little agenda. But she didn't care. She would do anything just to be closer to him.

A quote from her favourite movie crossed her mind that very moment. "If you're going to tell me you don't like this dress, I'm sticking my head right in the oven."

She shrugged it off.

MASTERLIST