#tom smith editors

[urbanowa]

Pull the blindfold down So your eyes can't see Now run as fast as you can Through this field of trees Say goodbye to everyone You have ever known You are not gonna see them Ever again I can't shake this feeling I've got My dirty hands, have I been in the wars? The saddest thing that I'd ever seen Were smokers outside the hospital doors Someone turn me around Can I start this again? How can we wear our smiles With our mouths wide shut 'Cause you stopped us from singin' I can't shake this feeling I've got My dirty hands, have I been in the wars? The saddest thing that I'd ever seen Were smokers outside the hospital doors Someone turn me around Can I start this again? Now someone turn us around Can we start this again? We've all been changed from what we were Our broken parts left smashed off the floor I can't believe you If I can't hear you I can't believe you If I can't hear you (We've all been changed From what we were Our broken parts Smashed off the floor We've all been changed From what we were Our broken parts Smashed off the floor) Someone turn me around (We've all been changed From what we were) Can I start this again? (Our broken parts Smashed off the floor) Now someone turn us around (We've all been changed from what we were) Can we start this again? (Our broken parts Smashed off the floor)

[post-punk-author-anthony-day]

https://open.spotify.com/playlist/74rrLIgdHwrq4WwmcAtK1h?si=CDAqaYS7T6yaSc5nv72I9w 400 hours! 6000 Trax ! 1000s of bands ! ALL SUBGENRES (DARKWAVE, COLDWAVE, NOISE ROCK, CRANKWAVE, EGG PUNK, GOTHIC PUNK, SOVIET WAVE, ART PUNK)

INCLUDES 70S (Pere Ubu, Magazine, Gang of four, Television, Talking Heads, Martin Rev and Alan Vega, James Chance, Essential Logic, Siouxsie Sioux, Killing Joke, Public Image LTD, The Clash, The Cure, The Smiths)

80s New Wave (Simple Minds, New Order, Dead Can Dance, Kitchens of Distinction, Jesus and Mary Chain, XTC, The Opposition, ESG, Units, Red Lorry Yellow Lorry,

Goth - Death in June, March Violets, Clan of Xymox, Christian Death, Southern Death Cult, Sisters of Mercy, Drab Majesty, Tropic of Cancer, Bauhaus, Lowlife

No Wave (Ice age, Sonic Youth)

SOVIET WAVE (Ploho, Molchat Doma, Utro, peremotka, Motorama, Serpien, Bitchevsky Park)

post punk revival & Garage - Interpol, The Strokes, Yeah Yeah Yeahs, Longwave, TV on the Radio, Editors, The National, The Libertines, The Horrors, Soft Kill, Jakobinarina , The Drums, Wild Beasts, Merchandise

&

#PostPunk2K - Vundabar, Black Midi, Black Country New Road, Courting, Squid, Goat Girl, Automatic, High Vis, Enola Gay, Warmduscher, Shame

[courseyoulovemeyoudontknowme]

The Revenant (2015, Alejandro González Iñárritu)

02/11/2024

[i-know-what]

Don't leave - Don't leave

I want you to realise when I'm gone

My, my - My, my

You are the only thing I wanna own

There's sugar on your soul

And you're like no one I know

You're the life from another world

You swallow me whole

With just a mumbled hello

And it breaks my heart to love you

It breaks my heart to love you

Don't leave - Don't leave

When you're lost in a moment, I am home

I try - I try

To make you realise when I'm gone, gone, gone

There's sugar on your soul

You're like no one I know

You're the light from another world

You swallow me whole

With just a mumbled hello

And it breaks my heart to love you

It breaks my heart to love you

There's sugar on your soul

There's sugar on your soul

And you're like no one I know

There's sugar on your soul

You're the life from another world

You swallow me whole

With just a mumbled hello

And it breaks my heart to love you

It breaks my heart to love you

I want you to realise when I'm gone

Don't leave - Don't leave

[casteldaccia]

Tom Smith.

© Anthony Harrison.

[bellatrix01]

The Editors

[companion-showdown]

Anniversary Tournament

Last year for Doctor Who's anniversary I ran a tournament between Doctor Who stories, and I wanted to so something different again this year. A tournament between real people important to the history of Doctor Who, actors, writers, producers, directors, composers, production designers. Technically it'll be a tournament for the most infuential person to Doctor Who and its development over the years, but really I want it to be a celebration of all of these people, and not just the winner.

To that end, the nomination form, you can also submit nominations normally, ie sending me an ask or replying to this post, however I won't be accepting propaganda through those methods.

I'm thinking I'll close nominations on the 18th of November, that might change but probably not by much

Current Nominations:

if green then at least one person has submitted propaganda for them

Actors

Arthur Darvil

Billie Piper

Carole Ann Ford

Christopher Eccleston

Colin Baker

David Graham and Peter Hawkins

David Tennant

Frazer Hines

Freema Agyeman

India Fisher

Jacqueline Hill

Jodie Whittaker

John Simm

Jon Pertwee

Lisa Bowerman

Liz Sladen

Matt Smith

Ncuti Gatwa

Nicholas Courtney

Pat Gorman

Patrick Troughton

Paul McGann

Peter Capaldi

Peter Davison

Rodger Delgado

Sean Carlsen

Sophie Aldred

Stuart Fell

Sylvester McCoy

Tom Baker

William Hartnell

William Russell

Composer

Delia Derbyshire

Dudley Simpson

Murray Gold

Paddy Kingsland

Peter Howell

Rob Harvey

Ron Grainer

Segun Akinola

The BBC Radiophonic Workshop

Designers

June Hudson

Peter Brachacki

Raymond Cusic

Directors

Christopher Barry

Graeme Harper

Paddy Russell

Rachel Talalay

Richard Martin

Waris Hussein

Fandom

Marnal Gate

TARDIS wiki creator

The Audience

Craig Ferguson

Producers

Barry Letts

Graham Williams

John Nathan Turner

Philip Hinchcliffe

Verity Lambert

Julie Gardner

Writers (including script editors and showrunners)

Alan Moore

Anthony Coburn

Chris Chibnall

David Whittaker

Donald Wilson

Douglas Adams

Eric Saward

Gerry Davis

Grant Morrison

John Lucarotti

Johnathan Blum

Justine Richards

Kate Orman

Kit Pedler

Lance Parkin

Lawrence Miles

Marc Platt

Paul Cornell

Robert Holmes

Robert Shearman

Rona Munro

Russell T Davies

Steven Moffatt

Terrance Dicks

Terry Nation

Other/impossible to categorise

all the thousands of people who've worked behind the scenes

Michael Grade (BBC higherup who hated doctor who so so much)

Peter Cregeen (actually cancelled Doctor Who)

Sydney Newman

Nicholas Briggs

Gary Russell

John F Kennedy

Sue from Catering

The real historical figures who've appeared in the show

Shakespeare

[hotvintagepoll]

This is a three-way poll. Only one scrungle may continue onto the next round of the scrungly little guys contest.

Louis de Funès (Hibernatus, La Grande Vadrouille)—He is THE French scrungly icon, everyone knows him and either loves him for his scrungliness or fucking hates it and there's no in between. He is The Scrungly. He is Little. He is amazing. His facial expressions, his little noises, his everything - he's freaking hilarious. Also he's not afraid to crossdress in his movies and he looks fucking AMAZING in drag just saying Old men fuckers, this is your call 💪

Thomas Mitchell (It's a Wonderful Life, Stagecoach, Only Angels Have Wings)—One of those job'bing character actors who turn up in a lot of movies in bit parts. He is a very good actor, with a lot of pathos—you probably know him as the uncle from It's a Wonderful Life, or Jean Arthur's newspaper friend from Mr. Smith Goes to Washington. A salt of the earth type who brings gravitas and pathos to every part. He scrungles gorgeously.

Russ Tamblyn (West Side Story, Tom Thumb, Seven Brides for Seven Brothers)—when they were making 7 brides for 7 brothers they didn’t even hire him to dance, they were like, this is russ, he’s a redhead, we need redheads, he’s shrimpy and will do. But then. But THEN. Choreographer Michael kidd meets him and is like ‘can you do anything?’ and my boy russ is like well! I can do gymnast stuff i guess :) And he gym stuffs so well he’s like in 80% of all the dancing sequences so you think my boy, russ, my goodness, russ is a DANCER! (he can’t dance. he is just very good at doing FLIPS and GYM STUFFS.) and then he’s so so good at flipping and making it look like dancing they put him in Dance Movie of All Time, west side story. Truly scrungling your way to the top. He’s good in that tom thumb movie too I guess. Go russ go.

This is round 2 of the contest. All other polls in this bracket can be found here. If you’re confused on what a scrungle is, or any of the rules of the contest, click here.

[additional submitted propaganda + scrungly videos under the cut]

Louis de Funès:

He is a small old comedy man, what else can I say? My mom loves him and even was disappointed that such a charismatic man wasn't in the hot contest.

Well... Look at him! He started as a jazz pianist, but he became super famous for his roles of angry little guys, or grumpy little guys, or very, very fractious little guys. A comedy, and in particular physical comedy, legend! And in all of them, he is scowling, contorting himself, seething, spitting words and incoherent with rage, making the funniest faces and noises and... he's like a very, very angry wet cat. Angry Wet Cat is, in fact, the best description I can come up with!!!! He was #ScrungleLifestyle #BornScrungly #Scrungle4Life

[editor's note: I don't speak French so let me know if anything in these clips is offensive. The first two clips are mostly physical comedy and a good introduction to Louis de Funès' humor for non-French-speakers :)]

he is so silly!!!! little old man with crazy energy and facial expressions like you wouldn't believe!! the scrungliest!! he makes the most insane characters seem lovable due to his comedian skill and his scrungly quality :D my favorite actor of all times

Thomas Mitchell:

Russ Tamblyn:

here he is once again fooling us into thinking he is a dancer when really he just has no issue being weird in a dance like fashion

[jokeroutsubs]

📝[ENG Translation] Joker Out exclusively for Style.

Before their performance at Sziget, Joker Out spoke exclusively to Style.Over.Net about what this means to them and when we can expect new music.

Article written by Meta Vrazic, published on 22.08.2024 on the Style.Over. Net website.

Translation by @kurooscoffee, review by a member of JokerOutSubs, proofread by @flowerlotus8

What do Tom Odell, Sam Smith, Bebe Rexha, and Kylie Minogue have in common?

All of these music giants shared the stage last week with the Slovenian band Joker Out at one of the biggest European festivals, Sziget.

Before their performance, they spoke exclusively to Style.Over.Net about what this means to them and when we can expect new music.

Photo: Vita Orehek

You're performing at Sziget, which means you're sharing the stage with some of the biggest names in the music industry. What does this mean for you?

Bojan: For us, this is a dream come true. Today (editor's note: on the day of the concert), we'll reach or even surpass our hidden hopes and dreams that every band starting out at 15 years old has.

Kris: I'd like to add that, in my opinion, it doesn't matter that much who is on stage before or after me. I focus more on which other performers have played on this stage at this time. In 2018, I listened to one of my favourite bands, The Kooks, at this exact time at Sziget. Lewis Capaldi also had his first performance at this time, and yesterday, Tom Odell got this slot. To me, it's an incredible achievement that we can compare ourselves with such names, especially in our region.

So you would equate yourselves with these artists? Do you see yourselves as equals?

Bojan: Yes, we're on par with Lewis Capaldi (laughs). No, we don't see ourselves as equals, but I would emphasise that this festival has 60 stages and over a thousand performers. So, being on the main stage at such a time is quite an amazing feeling.

Photo: Vita Orehek

In a recent interview, you mentioned differences between Slovenian and European stages. So, I have to ask – do you have a shower here?

Jure: Yes, I saw a shower. We'll definitely shower after the show since we're heading straight into a van and back to the studio.

So, you won't have a chance to walk around Sziget? When did you even arrive?

Jure: We left Hamburg at 7 AM, arrived at 11 AM, had a coffee, did a soundcheck, now we're talking to the media, then it's the concert, and back. It's pretty packed.

Photo: Vita Orehek

You've already performed for various audiences in many countries. Which audience is more demanding, Slovenian or international?

Bojan: Slovenian, for sure, because it's our home crowd. Other artists we've talked to also say that the home audience is always more demanding.

In Slovenia, we're omnipresent, both musically and in the media, so there are certain expectations. Some might even come to our shows hoping our performace would suck, so they can justify not liking us. Meanwhile, in other countries, they don't understand what we're saying, so they come just to let loose, dance, and have a good time.

International audiences sing incredibly well. If you closed your eyes during the concert and just listened, you'd think you were in Slovenia.

Kris: I'd add that someone willing to listen to music in another language is by default more open-minded and less demanding.

What's tougher: Sziget or Eurovision?

Jure: Eurovision, because we had no experience, and the pressure was much greater. We prepared for it for six months, whereas for a concert, you have a day or maybe even just a few hours.

Bojan: At Eurovision, it doesn't matter how good you are or what kind of performance you have. If you mess up in those three minutes, you're done. There are so many people there who don't care about your story or how precise you are—if you make a mistake, it's over. Whereas at a concert, you're there to have fun, and even mistakes are welcome as they make the experience more enjoyable.

Photo: Vita Orehek

How do you prepare for concerts? Do you have any special rituals?

Bojan: Not really. About 30 minutes before the concert, we completely calm down, practice a little, and then we all shout our motto together.

We've all heard stories about stars with very specific backstage food and drink requests. Do you have any special requests? What must be there for you?

Jure: Ginger shots, sour candies, vitamin water, towels...

Bojan: A mirror! It sounds bizarre, but there's often no mirror backstage, and before you go on stage, you can't check that everything's in place. So now we've specifically added a mirror to our list.

Is there even any stage fright still present before the concerts?

All: Yes, definitely.

Kris: Sometimes it happens about 20 minutes before the performance, depending on the day you're having.

Photo: Vita Orehek

And who's the most nervous?

Jure: Lately, it's been Bojan.

You now have songs in three different languages. What does this mean for your target audience? What is your target audience like, actually?

Bojan: We aim to have a good time. To play and enjoy ourselves, this music comes from us – and we haven't changed much during this time. Of course, we always try to find something new and different, depending on where the wind takes us.

I mainly think that you don't need to take this too seriously. If everyone checks their playlist and looks at the music they listen to, it's probably not all the same and monotonous. Why shouldn't it be the same for performers?

Have you ever felt that you aren't taken seriously because of the “boyband” label?

Bojan: We get this most often precisely in Slovenia. When we did interviews abroad, serious journalists approached us with a great deal of respect. They often even came to our concerts before the interview and expressed their enthusiasm and respect—you can feel that they take you seriously. Still, this doesn't bother us in Slovenia either, because, in reality, we are a “boyband.”

Photo: Vita Orehek

Do you ever get tired of any of your songs?

Kris: I always enjoy all our songs, but during a one-month tour in Europe, we involved the audience during the song 'Umazane misli'. And sometimes, while waiting for the audience, it drags on and gets a bit boring.

Bojan: Well, I had a great time even during those moments.

Of course, we need to check in on how the new album is coming along. When will it see the light of day?

Bojan: The album is expected to be “on time,” and you can expect it at the end of October. So far, things are moving well; we occasionally hit a “bump” that throws us off rhythm, but we're satisfied. We're doing well and holding up great.

[urbanowa]

Happy Birthday 42, Tom Smith 🎉✨🎉✨

Editors · “No Harm” (Stadtpark Open Air 2022)

[post-punk-author-anthony-day]

The best playlist on Spotify!

[flanaganfilm]

Hey Mike! Can you talk about your experience going from Absentia to Oculus? That process after Absentia went on its festival run to pitching Oculus? Would love to learn about that time in your life & career!

I moved to Los Angeles in 2003, right after I graduated college. I went to Towson University in Maryland, was an EMF major (Electronic Media & Film) and had wanted nothing more than to make movies my whole life. We were a comfortable middle class military family (my dad was in the Coast Guard) and for most of my life, making movies for a living felt like an impossible dream.

When I moved to LA I took whatever work I could find. I shot and edited those local car commercials you see on TV at 2am, I was a logger and an AE for reality TV shows, and I eventually worked my way to editing.

I said I'd give myself 5 years to make it in Hollwood. By the time we shot Absentia, I'd been here for 7 years, and in that time I hadn't gotten any closer to my dream.

I've already written at length about how Absentia came along and what it was like to make that little movie, and I've recently blogged about how the Oculus premiere changed my life and birthed my career, so I won't rehash those - but I don't often talk about what went on in between.

I finished editing Absentia just before my oldest son was born in 2010, and went back to working full-time as a reality TV editor. In fact, in the months leading up to his birth, I was working double-time - I spent my days at a company called Film Garden working on a series for DIY Network, and my nights editing packages at Nash Entertainment for those true crime clip shows. Whatever it took to keep the lights on and provide as much support as I could for my son.

While this was happening, I'd submitted Absentia to a pile of film festivals. We didn't get into any of the majors - Sundance, SXSW, and Toronto all passed on the film. Our world premiere was at the Fargo Film Festival, where Tom Brandau, one of my former professors from Towson - and one of my mentors - was teaching.

(Our original festival poster, WAY better than the weird clip art that would come later)

The movie got into a fair amount of film festivals, and we traveled with it as much as we could. I have fond memories of the Phoenix Film Festival, San Luis Obispo (where I met Greg Kinnear at a party and very awkwardly asked for a picture - you can see how thrilled he is about it) and my personal favorite: the Fantastia Film Festival in Montreal.

(At one of the screenings, I believe the San Luis Obispo Film Festival)

While this was happening, the film was picked up for a tiny VOD and DVD release through Phase 4 Films.

They were a Canadian distribution company whose claim to fame was putting out Kevin Smith's Red State under a very unusual distribution model. They acquired the movie, which led to a company holiday part in Hollywood.

There, I briefly met Kevin Smith for the first time. We've met again since, and I've now had a chance to thank him for the kindness he showed me back then - I was just some starstruck kid at a party, but he was gracious and available and inspiring. I really admire the way Kevin deals with his fans, and I've tried to emulate it over the years.

So that was kind of it for Absentia. We went to a few festivals, went to a few parties, and posed for a few pictures with some people we admired. Phase 4 designed some truly godawful cover art, dropped the movie into video stores, and that was that.

($2.99 is a pretty good deal)

So Absentia had pretty much run its course. It had a passionate following of fans, but between the crappy art design and glut of low budget horror films on the market, its moment had already come and gone. I was back at work, editing a series for DIY Network called Extra Yardage, and yearning for another chance to make a movie.

Absentia might not have broken open the industry doors like I'd wanted it to, but one thing it did yield was a meeting with an entertainment attorney named Joel VanderKloot.

I had been represented a few times over the years by various managers (to be honest, they were actually Jeff Howard's managers, and they took me on because we had a co-written project together.) But those relationships hadn't gone anywhere, I'd never sold a script or booked a job, and when I suggested making Absentia they were not supportive ("You've already tried the indie thing, haven't you?") so by the time Absentia was made, I was completely unrepped.

Joel was a family friend of Jason Poh, who was one of our Absentia Kickstarter backers. He was a guy who'd just found the project online and donated a thousand bucks. He kept up with us, and loved the final movie. He told me he knew an entertainment lawyer and offered to arrange a lunch.

I left my editing job at Film Garden for a long lunch and met Joel in Santa Monica (this was a day-killing drive for me). Joel had seen the movie and really liked it. We had a good lunch, but wasn't immediately sure about taking me on - it's a lot of work to take on a new client, and there wasn't much heat on my movie. But there was something there that he liked, and he called later that day to say he would take me on as a client.

I was elated. I felt like I'd made my movie to the best of my ability, and that it had flashed in the pan and then died... no one had noticed outside of a few festival audiences and critics. But here was someone who worked in the industry and he saw something in the film that he believed in.

Joel started looking for managers while I clung to my day job. He passed the movie around and we had a few nibbles, which led to the first manager in my career who wanted to simply represent ME: Nicholas Bogner.

Bogner went about setting general meetings at production companies who specialized in horror films. There weren't a lot of takers, and not everyone was willing to watch an entire feature film in consideration of a general meeting. So it was hit or miss - I was a nobody, after all, and they get these kinds of incoming inquiries all the time.

But there were a few takers. And the very first meeting I had was with Anil Kurian at Intrepid Pictures.

Again, I took an extended lunch from my editing job and drove across town to Intrepid's offices in Santa Monica. I was beyond nervous when I sat in the waiting room. The young man working the front desk signed me in and offered me a water. And then, just before the meeting started, he leaned over and he said "I loved Absentia, by the way."

Anil was a really cool executive and we had a good general meeting. At the end of it, he introduced me to the heads of Intrepid: Marc Evans, and Trevor Macy.

We all ended up in the conference room, where posters for Intrepid's other movies - at that time, The Strangers and The Raven - were hanging. I vividly remember staring at them while I pitched all five of the ideas I had for movies.

One of them was a story about a little boy whose dreams manifested in real life, and another was a take on Stephen King's novel Gerald's Game. But at the time, none of these ideas worked. The meeting was over, and everyone was politely going about their day.

I felt a panic in me. It was my first real meeting, the door had been cracked open just an inch by Absentia, and I was about to walk away with nothing. Would my new manager want to keep me? Would my new lawyer think he was wasting his time?

I stopped in the doorway and turned back. "I've got one other thing," I said. "I made a short years ago about a haunted mirror, and I have a take for a feature."

They kind of laughed at the idea of a haunted mirror. "How do you make that scary?" Trevor asked. I said "Think of it like a portable Overlook Hotel," and the room got a little quieter.

"I'd like to see that short," Trevor said. I agreed to send it immediately.

I ran back to work, stayed a few hours late to make up the time I'd burned on my lunch hour, and went home to find a DVD copy of Oculus: The Man with the Plan.

I'd made that short in 2005. It was 20 mins long, and a lot of fun. Over the years whenever I'd get into meetings (all courtesy of Jeff Howard, who had sold scripts long before we started writing together), people would see it and ask about a feature. Every time, though, the conversation stalled because they wanted the film to be a found footage movie, or they'd balk at the idea of me directing a feature.

I sent the DVD to Intrepid and waited. About a week later, they called and asked me to come back in.

I took another long lunch (this would become quite a habit as the project advanced) and drove back down. We met again in the conference room, but this time the mood was a little different.

Trevor said "We're interested in this. How would you expand it? I know there are cameras in the room with the man and the mirror, which begs the question of found footage..."

My heart sank.

"... but we're thinking that's a mistake. It looks like all the fun is in playing with reality, and you can't do that with found footage. So how would you do it?"

And we were off.

I won't rehash the long journey between this meeting and the Oculus premiere at Toronto (scroll down to find another blog about that), but that was really the moment when things changed.

I drove back to work a little giddy. Intrepid optioned the short film, I called Jeff Howard to see if he'd still want to work on a feature with me, and we were commissioned to write the script.

It was my first Hollywood job. I was paid the bare minimum, but I was also able to join the WGA because of the deal. I still didn't quit my day job (and wouldn't for a long time, not until the movie was really shooting in Alabama the following year) but I was off to the races.

Once the script was done, Oculus would lead to my first agents (at APA, and they treated me very well) and my first "real" movie.

What's particularly neat about this time, looking back, is that I owe it all to Absentia. We'd made this tiny little movie to try to kick open the door of Hollywood and start a career. And despite the enormous pride I had in the finished film, it felt for a long time like it hadn't quite succeeded in that.

But quietly, subtly, the movie did exactly what I hoped it would. The festival screenings built up a small but confident word of mouth. The movie led directly to my attorney Joel (who still represents me to this day), which led directly to my first real representation, which led directly to Intrepid Pictures.

Trevor Macy is now my business partner and has produced every single thing I've ever made since. We run Intrepid Pictures together, and I see that same eagerness in the faces of young filmmakers who find their way to us for general meetings. I try to be as supportive and accessible to them as I possibly can, because I remember very well what it feels like to stand in their shoes.

And Trevor even ended up making those other pitches he'd rejected all those years ago - Before I Wake and Gerald's Game followed soon after Oculus was done.

Absentia did everything I could have wanted it to do, and much more. I'll always remember that period of time with great affection... but man, it was stressful. The uncertainty of those years still exists in me, I don't think it'll ever leave.

Someone told me, along the way, that there wouldn't be a moment when I realized I "made it." It would happen while I wasn't looking. That ended up being absolutely true.

[book4air]

Social Media: https://linktr.ee/book4air

Book4Air #avatarthelastairbender #restorationproject

Showrunners: Ryoma Ishizuka Lucía Lobosvilla

'The Vow' Artist - Rick Orange Writer - Lucía Lobosvilla Letterer - Melissa Palacios

'Rebound' Original Artist - Ryan Hill Original Writer - Gene Luan Yang Additional Art - Luan Bindewald, Melissa Palacios Letterer - Melissa Palacios

'Rumors and Relics' Based on the story “Relics” by Johane Matte & Joshua Hamilton Writer - Lucía Lobosvilla Artists - Melissa Palacios, Vago, Luan Bindewald, Sam Lee Wins Coloring - Kat Peterson, Sam Lee Wins, Melissa Palacios Letterer - Melissa Palacios

Voice Directors: Lucía Lobosvilla Anthony Rodriguez

Composers: James A Reilly Aneesh Kashalikar Ty Porter Music

Audio Team Head Audio Engineer: Sam Gabriel Line Placement: Valravn Mixing Engineers: TheTVBunny (Elise Lepley) Mastering: Kim Morton

Video Team Team Lead: Ryoma Ishizuka Video Editors: Hazco Fox, PhantomSavage, TheRealizer367 (Walter Vitola), Astrid Ev, Curtis Creates Stuff, Mr.Amazing

Special Thanks: Book 4 Restoration Project Team Dark Horse Comics Nickelodeon Gene Luen Yang Gurihiru Aaron Ehasz Bryan Konietzko Michael Dante DiMartino Dave Roman Kevin Coppa Baby Lion Turtle Dave Subscribers and you!

Voice Cast

Aang - Ryoma Ishizuka Katara - Stephanie Pines Zuko - Cade Watts Iroh - D. Tyler Fultz Appa & Momo - Josh Lee Mai - Ari Thrash Kei-Lo - Belsheber Rusape Jr. Mura - Kat Peterson Tom-Tom - Victoria McMullen Ukano - PeanutButterMacaron Hanzo - Christian Sekhanan Dulma - Josephine Sweet Merchant - JJ Williams Fire Captain - Grant Corvin Headband Guy - Ara’digm Wong Additional Voices - Grant Corvin, Cade Watts, Lucía Lobosvilla, Ara’digm Wong

Promo Bumper Animated by Sam Lee Wins Voice of Katara - Stephanie Pines Video Editing - Ryoma Ishizuka Audio Editing - TheTVBunny (Elise Lepley) Mastering - Kim Morton

Patreon

White Lotus: Zac Harrell

Fire Sages: Daniel Lacey Stefan Gheorghiev

Dai Li Agents: Alejandro Navarro Minnichi

Freedom Fighters: Geans mistercokes

Cabbage Merchants: Abel Anna Yamshchikova Bunix can you feel it now mr Krabs Cezary Styczewski Edowen imitationpitaya Jake Sullivan Laura Castrillón Melissa Palacios Mercedes Valle Nerd King 101 Nichelle (ShadowleafTV) Night In Star Light Smith sniddee Tacosdecanasta Victoria C. McMullen Violet

Penguin Sledders: Ashe_Wottlin ayszhang BNT Dornfist Duke Skibbington Laala 212 Pokejedservo TheTobi2Uchiha TitaniaBird Tony Lui WhyNotReek Akiizayoi4869

Executive Producer: Ara’digm Wong

[urbanowa]

Blood runs through your veins thats where our similarity ends Blood runs through your veins If there’s hope in your heart It would flow to every part If there’s hope in your heart.

[thewarmestplacetohide]

Dread by the Decade: Cat People

👻 You can support me on Ko-Fi! ❤️

★★★★½

Plot: A new bride fears she is cursed and will transform into a panther should she consummate her marriage.

Review: Equal parts unsettling and heartbreaking, this early erotic horror expertly builds tension and explores themes of sexual shame.

Year: 1942 Genre: Supernatural Horror, Creature Feature Country: United States Language: English Runtime: 1 hour 13 minutes

Director: Jacques Tourneur Writer: DeWitt Bodeen Cinematographer: Nicholas Musuraca Editor: Mark Robson Composer: Roy Webb Cast: Simone Simon, Kent Smith, Tom Conway, Jane Randolph, Jack Holt

-----

Story: 4.5/5 - Quite shocking for its time and unique in its delivery. It makes the reality of Irena's fears unclear until just the right moment.

Performances: 4/5 - Everyone is great, but Simon is the standout as the terrified and crumbling Irena.

Cinematography: 4.5/5 - Gorgeous. Creative framing, lighting, and camera movements do the work of special effects.

Editing: 4.5/5 - Helps execute what effects could not.

Music: 4/5

Sets: 4/5 - They feel genuinely lived-in, with great bits of foreshadowing laid throughout.

Costumes, Hair, & Make-Up: 4/5

Trigger Warnings:

Very mild violence (largely offscreen)

Dated psychiatric practices and discussions of mental illness

Animal death

Animal neglect and poor husbandry (real)

[brokehorrorfan]

Natural Born Killers will be released on Steelbook 4K Ultra HD + Blu-ray on July 2 via Shout Factory. The 1994 crime thriller is directed by Oscar winner Oliver Stone (Platoon, Alexander).

Stone co-wrote the script with David Veloz (Behind Enemy Lines) and Richard Rutowski, based on a story by Quentin Tarantino. Woody Harrelson, Juliette Lewis, Robert Downey Jr., Tommy Lee Jones, and Tom Sizemore star.

The three-disc set include the director's cut on 4K UHD (with Dolby Vision) and Blu-ray and the theatrical cut on Blu-ray. Special features are listed below, where you can also see the full Steelbook layout.

Disc 1 - 4K UHD:

Director’s cut (122 minutes)

Audio commentary by director/co-writer Oliver Stone

Disc 2 - Blu-ray:

Director’s cut (122 minutes)

Audio commentary by director/co-writer Oliver Stone

Introduction by by director/co-writer Oliver Stone

Interview with cinematographer Robert Richardson (new)

Interview with editor Hank Corwin (new)

Interview with producer Clayton Townsend (new)

Interview with special effects artist Gordon J. Smith (new)

Disc 3 - Blu-ray:

Theatrical cut (119 minutes)

Audio commentary by director/co-writer Oliver Stone

Natural Born Killers: Method in the Madness - 2014 featurette

Natural Born Killers Evolution: How Would It All Go Down Now? - 2009 featurette Documentary

Chaos Rising: The Storm Around Natural Born Killers - 2001 featurette

Alternate ending with introduction by Oliver Stone

Deleted scenes with introduction by Oliver Stone

Theatrical trailer

Two victims of traumatized childhoods become lovers and psychopathic serial murderers irresponsibly glorified by the mass media.

Pre-order Natural Born Killers.