#xander berkeley

[scenesandscreens]

Gattaca (1997)

Director - Andrew Niccol, Cinematography - Sławomir Idziak

"For someone who was never meant for this world, I must confess I'm suddenly having a hard time leaving it. Of course, they say every atom in our bodies was once part of a star. Maybe I'm not leaving... maybe I'm going home."

[tourneurs]

“Let’s throw away every negative, destructive thought we might have.”

Safe (1995) dir. Todd Haynes

[creepynostalgy]

Tony Todd and Virginia Madsen in Candyman (1992)

[badmovieihave]

Bad movie I have Poison Ivy 1992 ,Poison Ivy 2 (1996 ), and Poison Ivy: The New Seduction

[haveyouseenthisseries-poll]

[profwonderbearthementalista]

Mentalist Mondays - Week 25

Spoilers below the cut...

Jane Meeting Red John

Collage 1: Patrick Jane meeting Timothy Carter (fake Red John) in Strawberries and Cream Part 2 3x24.

Collage 2: Patrick Jane meeting Sheriff Thomas McAllister (real Red John) in Red John 6x08.

Both scenes are stunningly acted by Simon Baker, Bradley Whitford and Xander Berkeley.

@lightningzombie, @feministjane, @backgroundagent3, @adder24, @magicandmaybe

@catnuns, @stxrdust-widow, @jisbonsaga, @wildwildtarget

[notforemmetophobes]

The Killing Jar (1997) - M. Emmet Walsh 

I too would like to sneak up behind Walsh and leave something in his gut.

Not a knife like this guy. My goo.

[photoset #2 of 2]

[loisfreakinglane]

NIKITA || 1.01 “Pilot”

[abs0luteb4stard]

W ⋀ T C H I N G

[horrorcrypt12]

31 Day Horror Challenge:

Day 11: Tony Todd

Now Watching: Candyman (1992)

"The Candyman, a murderous soul with a hook for a hand, is accidentally summoned to reality by a skeptic grad student researching the monster's myth"

Happy Halloween!

@nightmareonfilmstreet

[frc-ambaradan]

Lol! Sorry, Moff, but Thrawn never cared to participate in any meeting in his life 🤣🤣

[nerds-yearbook]

After 5 seasons of 82 episodes, the last episode of the Incredible Hulk aired on May 12, 1982. The series, based on the format of The Fugitive (1963 - 1967), continued on in a series of TV movies that were each failed back door pilots (The Incredible Hulk Returns - 1988, The Trial of the Incredible Hulk - 1989, and The Death of the Incredible Hulk - 1990). ("A Minor Problem", The Incredible Hulk, TV Event)

[ivebeentotheforest]

Sid and Nancy - 1986 - Dir. Alex Cox

Japanese B2 Poster

[erstwhile-punk-guerito]

[scholarofgloom]

[zhnnveuxpasdrmir]

Trying to explain that this quiet, braided anthology of short-short, thought variant, actor driven one-offs is a must-see breakthrough teleplay, a timeless masterpiece!, a work of explicable magic.

I was one of the six people in the world that actually saw this in 2010, but I'd only caught a few bits of it at the time. They were arresting as hell. It's exciting to finally get a chance to appreciate it now, due to the grisly stupidity of all corporate media conglomerates, and the ease of getting high quality archives of unfairly treated past media anonymously on the dark web, along with heroin and guns! 😁

I liked how The Booth At The End examines the fallacies inherent to popular reads of morality, and somehow criticizes specific religious cultures without once mentioning any of them, or admitting to any particular central framework by name. The script is rooted in widely understood monotheist ethics.

It's unrepentant, dour, merciless, and openly, loudly, glaringly deceptive in its candor.

Xander Berkeley. Holy shit. was just unbelievably powerful on this show. Every actor turns in a lifetime achievement award worthy scene, but mr Berkeley is just: setting your disbelief aside, so casually! You believe. The unthinkable is thoroughly plausible in these weency, handy little scenes that.... feel longer. You'll think it was an hour. It was like six minutes.

I don't know fully why this isn't a better known show! Maybe it's too hard to face. If you have an interest in the craft of acting, in show, this little one-sitting binge demonstrates expert theatrical film making.

And these goddamn endings will fuck you up for life!

so here's my theory on the Man, Doris, and the doom of human kind:

oh he's certainly not the Devil. He's a creation of G-D though for sure. As is Doris.

If he has to be a specific character from the stories, he's The Christ, not exactly The Messiah, but something a lot more like christian Jesus if he'd lived on since Resurrection, only through a magical realism lens instead of a worshipful one. The Man is aware of what G-D is, knows it's not what humans think it is. Some say "the wandering Jew" but no: this is not and never was a human.

if Doris has to be a specific character from the stories, she's Satan, or a fallen angel, but let's be real, G-D's ex-favorite, luring the new boy away from G-D's detachment, and into "the trap". I don't agree with the above article in thinking it ended too soon, it ends exactly where it should, where it has to.

because that demand Doris makes is real, and it's one that our planet's conception of G-D has always, always failed. She's right to state this demand, and the Man must comply. Both of them will be literally destroyed by the task. This is shown over and over in both seasons.

The Booth At The End is a genius series of stage teleplays that criticizes flaws in popular conceptions of G-D, how it distorts our perceptions, and how those distort our experience of need. Each "normal" character symbolizes a specific 'mistake' or foible; each supernatural character represents an attempt, by 'history' ambition institution or spiritual quest, to understand and eliminate those errors. The two seasons are a diptych demonstrating respectively How and Why we are trapped forever in a Hell of our own device. 🌞❤️