Horror movie scenes that scared the shit out of me the first time I saw them

The attack on the moors - American Werewolf In London 

The chestburster - Alien 

The demon behind Patrick Wilson - Insidious

The final scene in the house - The Blair Witch Project

The blood test - The Thing 

The old hag in the bathroom - The Shining 

Freddy creeping over Nancy - A Nightmare On Elm Street

Alice’s doppelganger - Lake Mungo 

The plaza scene - Suspiria 

The witch in the girls bedroom - The Conjuring 

The party monster scene - Jacob’s Ladder 

Ayesha crawling on all fours - V/H/S 2 

The tall man in the bedroom - Phantasm 

The voodoo zombie bride - The Serpent and The Rainbow 

Look behind you! - The Descent 

The demon on the top floor of the apartment - [REC.]



31 Favorite Horror Movies

#29. Waxwork (1988)

Directed by Anthony Hickox

A wax museum owner uses his horror exhibits to unleash evil on the world.


  • Velcome to the Vaxvork.- Hans
  • They’ll make a movie about anything nowadays. - Mr. Lincoln
  • I do what I want when I want. Dig it or fuck off. - China
  • Raw meat. You do like raw meat? - Dracula


  • There were three characters that were supposed to be displays in the Waxwork, but left out of the film for legal reasons: Jason Vorhees from Friday the 13th (1980), five children from Village of the Damned (1960), and the Thing.
  • Michael Gough. Christopher Lee, Peter Cushing and Donald Pleasence were all possibles for the cameo role of Sir Wilfrid.
  • 18 wax horror exhibits are seen, including: - Count Dracula - the Phantom of the Opera - a witch - the Marquis De Sade - a werewolf - a mummy - a voodoo priest - a zombie - an urban legend killer (an axe murderer) - the Invisible Man - Frankenstein’s monster - an Invasion of the Body Snatchers (1956) pod - a demonic baby (from It’s Alive (1974) - an alien creature - a “cobra-man” circus freak - Jack the Ripper - Mr. Hyde - and a Golem.
  • Kane Hodder, who did stunt work for the movie, also had an uncredited role in the film as Frankenstein’s monster.
Researching Afro-Caribbean Religions: Voodoo, Santeria, And More

Welcome to the first part in a series on Afro-Caribbean religions, put together to answer some of the questions we’ve had in the past about voodoo and related religions which invariably end with “how do I research for this?!”

Why Did You Choose Voodoo?

Complete these sentences. It doesn’t matter how short, in-depth the answer is.

 1.     When I think of voodoo, I think of ….”

 Did you think of voodoo dolls/zombies/”black” magic ?  You may have misinformed (and potentially negative) intentions for it in your story from growing up on Hollywood voodoo.

 2.     “Voodoo in my story excites me because…”

 Did you think it’d be perfect for your magical villain and/or protagonist? Again, you may have Hollywood voodoo on the brain.  If it’s for your villain, be advised that “evil voodoo shaman” is yet another lash on a long-dead horse of negative stereotypes that has been around since 1932 gave us White Zombie. Now, nobody’s denying you permission to write a voodoo villain, but please don’t let your antagonist the ONLY representative of voodoo within the narrative.

Narrowing It Down

After completing those sentences, you may realize you’re just looking for a magical element for your story. If so, voodoo might not be for you because voodoo is a religion. If you want to do voodoo respectfully and avoid stereotypes, then you need to take care not to write Hogwarts Of The Caribbean. There are many magical traditions which aren’t religions and can carry the exact same allure for your work’s purposes.

 Of course, stripping out the worship does not make research any easier or less potentially offensive. Rather, it just makes your work and research more on topic. Regardless of what is and isn’t popular among their respective, modern-day cultures, indigenous and mixed belief systems are still peoples’ heritages, almost invariably with a tempestuous history that should not be ignored or silenced.

 So, decide for yourself: Do you need a tradition which is religious, magical, or both?

You Don’t Know What You Don’t Know

I challenge you to choose an alternative to Voodoo because if you check out NGram viewer and compare how ‘voodoo’ weighs in against any diasporic competitor in English-language literature, the difference is enormous.

 There’s so much more out there within and without the “voodoo” category.  For starters, the variants: Cuban, Puerto Rican and Dominican Vudú to name a few.  There are even Canadian Vodouisants, particularly in Quebec, of Haitian heritage; the point here is you can go beyond Haiti.

 You also may want to set the Loa aside and give Santería, Umbanda and Candomblé a chance – they’re distinct, but similar, have magical traditions inextricably blended within them, and probably have the same thing you’re looking for.  You could even take it straight to Africa and look into the founding beliefs like Yoruba (The Orisha Tradition).

 In addition to African groups, Mesoamerican beliefs of the Aztec, Maya, Zapotec,  Mixtec and so on may be strong contenders for your narrative even in a modern setting because not only can they also feature ancestor worship, a robust spirit world, trance states and a once-gods-now-saints, they can be witnessed today by people who still believe in it. You just have to be willing to put in a little more effort since these beliefs are labeled “Catholic” now: just like Vodouisants tend to be, the followers of this Latino syncretism are largely Catholics of indigenous heritage.

 The most prevalent example to look up is pan-Mayan syncretism and/or Maya Catholicism, which features things like worry dolls (distinct from voodoo dolls) and San Simon Maximón de Guatemala, “the Evil Saint” who accepts offerings of things like tobacco and Coca Cola.  Some belief systems have withstood the test of time and others are just now being dusted off, such as with Mexicanidad or Mexicayotl (an Aztec culture and philosophy revival movement started in the 50s which includes breathing life back into Aztec beliefs).

 Your research may not be as direct because you’re not going to find “The Complete Field Guide To Modern Mesoamerican Syncretism” but you’re also not going to find “Everything You Need To Know About Voodoo To Write Your Book: An Annotated Guide,” either.

Research Starting Point: Keyword List 

Here’s a list of things that You Should Know Exist by country (there is overlap and this is not an exhaustive list). This includes religions and magical practices devoid of liturgical worship.  

Most of these I’ve chosen because they are from specifically West African belief systems, but some of them I have chosen because they happen to have the dynamics of offering spirits propitiation or magical traditions.  

 Each belief system, religion or not, is its own iceberg with robust history and various amounts of representation.  Some are alive and well, others are the subject of controversy. The research part is your job.


Afro-Antiguan and Barbudan: Obeah.
Afro-Bahamian: Obeah 
Afro-Cuban: Abakuá, Santería, Palo Monte, Cuban Vudú, Palo (Las Reglas De Congo).
Afro-Dominican: Dominican Voodoo
Afro-Haitian: Haitian Vodou

Afro-Jamaican: Kumina
Garifuna Catholicism.
Afro-Puerto Rican: Santería, Puerto Rican Vudú (Sanse), Espiritismo
Afro-Trinidadian: Shango (AKA “Trinidad Orisha”), Obeah, Spiritual Baptism.
Afro-Surinamese: Winti

Afro-American  (South, Central and North)

Afro-Brazilian:  Candomblé, Umbanda, Quimbanda, Xangô de Recife, Xangô do Nordeste, Tambor De Mina, Santo Daime, Lucumi.
African-American:  Hoodoo, Louisiana Voodoo, Spiritual Baptism.


There is not a convenient label to put on Mesoamerican traditions blending into Catholicism, but awareness of the fact is worthwhile.  You may wish to look up “Zapotec religion,” “Mixtec religion,” and “Aztec religion” for leads. However, here are some labels:

Latin America in General: Curanderismo, Brujeria, Espritismo (which has African-inspired and Mesoamerican-inspired variations).
Incan Origin: 
União do Vegetal (Brazil), Vegetalismo (Peru)
Maya Catholicism, pan-Mayan syncretism

In Closing

Even though my personal answer “Where do I start with Haitian/Louisiana voodoo?” is “BY LOOKING AT EVERYTHING BUT THAT” hopefully you will find it exciting that Louisisana/Haitian Voodoo/Vodou is but a page in an entire book, a room in a mansion. 

 In my next post on Afro-Caribbean Religions I will cover beliefs that are more-or-less consistent among voodoo and religions like voodoo. 

- Rodríguez


Warnings: Language (only a little) only a little Gabriel (very sorry, might do a part 2)

Pairing: Oh wow, on a GabrielxReader blog? I wonder…


Dark. It was dark. And cold. The only thing you could hear was your own breath. It smelled to. Like dirt. You couldn’t see. It was all black.

You tried moving your arms. There wasn’t much space wherever you were. Your hands hit something not to far away from your face. Wood.
You grabbed a loose plank and pulled, only to be greeted with a mouthful of dirt.

It took what seemed like hours to crawl out of the hole. Why were you in a hole?

Oh. It wasn’t a hole. It was a grave. Your grave. The last thing you remember was…

“Let her go you creep!” You heard Dean say.

You chuckled. Well, not you you. The demon possessing you. “Dean, Dean, Dean. We all know that I’m not gonna do that.”

Sam splashed holy water in your face. It sizzled and burned on contact with your skin. Even if you weren’t in control it still hurt like hell.

You took that moment as a chance to take control. You fought as hard as you could against the demon inside you. “The…the knife.”

“Y/N?” Sam asked.

You stuttered “Kill it. Kill…me. Just-” You screamed. Your eyes flashed black and you smirked. “Go on. Kill the bitch.”

“Y/N we’re not gonna kill you-” Dean argued.

“DO IT! Please Dean it’s the only way!” You told him.

Dean picked up the knife and glanced at Sam.

“You kill me and I drag the bitch to Hell.” The demon spat.

“I’m so sorry Y/N.”

That was the last thing Dean Winchester said to you before the blade was pushed into your chest.

The demon kept its promise. You wound up in Hell. You could still remember the fire, the screams, the pain. After continuous torture you lost track of time.

You were alive. How? Did someone make a deal? Zombie voodoo or something? The cut on your chest had healed somehow.

You looked around. You were in a field. A few barren trees surrounded you but you weren’t far from the road. Snow? Wasn’t it June? How much time had passed since you’d been gone?

Ypu knew tagt the first thing you had to do was contact Sam and Dean. The only thing you had on you were the clothes on your back. You had to find a gas station or something. Shivering, you followed the road.

About half an hour later you stumbled upon a small Gas'n'Sip. You walked inside, the small bell on the door rang as you opened it.

“What happened to you? Ya look like you’ve been to Hell and back!” The man behind the counter commented.

Well, he wasn’t wrong. And you did look like shit. Your hair was strewn all over the place, your clothes covered in dirt. There was still dried blood on your shirt.

“Oh, i was in a car accident. Do you have a phone I could use?” You asked.

The guy pointed to a sign that read STAFF ONLY.  “Back there miss. You want me to call the cops?”

“No, it’s okay.” You thanked the man and headed into the staff room.

You picked up the phone that was attached to the wall and dialed Dean’s number. No answer, just voice mail. “Dean it’s Y/N. Just pick up already!” You tried again but to no avail.

Then you tried Sam. He picked up on the fourth ring. “Hello? Who is this?” God, it was great to hear his voice.

“Sam? It’s Y/N. I need you to-” beeeeep. He’d hung up on you.

You called again. “Sam. It’s me. I don’t know how but-”

“Enough. You’re not my friend. Whatever sick prank you’re playing-”

“It’s not a prank Sam! I’m alive! I don’t know how but it’s me! It really is.” You pleaded.

He was quiet for a few seconds before he asked “What’s our code word?”

You smiled. You came up with a code word in case of demons or shifters so you could make sure that you were yourselves. “Tacocat. It’s a palindrome. T-A-C-O-”

“I can spell Y/N.” Sam replied.

You smiled. “So you finally believe it’s me?” You asked.

You heard Sam sigh. “Pray for Cas to pick you up. Might take a few minutes though.”

“Yeah. My being alive is surprising, even for me. See you soon Sam.”

“Bye Y/N.”

You headed out to the store. “Thanks for everything. My friend is picking me up in a few minutes.”

You walked a few minutes to get away from the store. The air was cold. It had to be winter now.

“Castiel? It’s Y/N. I don’t know how, but I’m alive. Can you come to pick me up?” You prayed out loud.

“I’m here.” Castiel’s gruff voice made you jump.

You smiles and hugged the angel. “Cas buddy, it’s good to see you!”

He hesitated. “You too. It’s quite a shock though.”

“You’re telling me. Shall we head home?” You asked.

Cas touched your shoulder, sending you back to the bunker. It hadn’t changed a bit.

“Y/N?” A familiar voice asked.

“Dean, hey! I guessed Sam filled you in. On me…not being dead…” You smiled awkwardly.

“Missed you kiddo. Do you have any idea how you got back?” Dean asked.

You shrugged.“I really have no idea. You guys know?”

Sam walked into the room. “No. No demons would trade. No spells worked. Not even Cas could pull you out. You were in quite far.”

“Please. The last thing Y/N needs is questions. What she needs right now is a shower.” Cas spoke up.

“Thanks Cas. I’d be a bit offended if it wasn’t true. I’ve been in a grave for…”

“Six months.” Dean told you. “You’ve been dead for six months.”

You weren’t really sure what to say. Six months. “Wow. I really need a shower. Give me about two hours or so!” You joked.

The shower was great. All the dirt as dried blood gone. You walked into your room, which the Winchesters left untouched. It was also their idea to bury you instead of the usual hunter’s funeral. You threw on some sweatpants and a t-shirt.

You walked into the library to find the three of your friends researching a new case.

“Guys, when I was in the shower I found this on my arm.” You rolled up your sleeve to show them the bright red handprint that was seared into your upper arm.

“Angels.” Dean said instantly.

You raised your eyebrow at the boys. “Dean got a handprint when Cas ‘gripped him tight and raised him from perdition’.” Sam explained.

“But you said that I was to far in Hell to be pulled out.” You said to Cas.

“I did. You were. I’m not sure who pulled you out but I can try to find out.” He told you.

You groaned. “It’s gonna hurt, isn’t it?”

Cas nodded. He walked over to you and placed his hand on your shoulder. The handprint started to glow. A burning pain ran through your body. Then it faded.

Cas looked shocked. “It can’t be.”

“Cas? What’s wrong? Who did it?” You asked.

Cas turned away from you to face  the boys. “He’s dead.”

“Will someone explain to me what’s going on? Who’s dead?” You persistently asked.

“That would be me.” A voice behind you said.

You spun around to find a man who wasn’t there a second ago, with blonde hair and golden eyes standing behind you.

Quick as a flash, Castiel pulled out his angel blade and held it to the intruder’s neck.

“Woah there bucko! You’ll take someone’s eye out with that!” The stranger told Cas.

Cas slowly lowered the blade. “Gabriel.”

Gabriel smiled. “Hello brother.” He said before turning to you. “We’ve got a lot to talk about.”

Master Post: The Top 11 Zombie Films

Zombies have been done to death. From The Walking Dead to World War Z, zombies are as popular as ever – and maybe even a bit too popular. But from Haitian voodoo to viral infections, the subgenre has had enormous staying power. Forget the zombies in movies and on TV right now – here’s a countdown of the top 11 films that every zombie aficionado must see.

White Zombie | 1932 | dir. Victor Halperin

Considered the first zombie film, and starring classic horror actor Bela Lugosi, White Zombie is often overlooked when discussing classic horror films (perhaps since it was an independent production). Inspired by the Haitian voodoo religion, the zombies resemble mindless slaves rather than flesh eaters. The film borrows sets from Universal’s Dracula, and makes good use of them, with a daring use of unorthodox camera angles and techniques (such as dutch angles, extreme closeups, and superimposed imagery). Critically panned on release, only now is the film beginning to receive the critical praise it deserves.

Let Sleeping Corpses Lie (a.k.a. The Living Dead at the Manchester Morgue, a.k.a. Don’t Open the Window) | 1974 | dir. Jorge Grau

While producers were aiming for a bigger budget, color knockoff of Night of the Living Dead, director Jorge Grau had loftier goals. Studying autopsy photographs, Grau managed to make the most realistic zombie film of the period, and set off the gory 1970s and 1980s European horror movement.  But it’s not all just blood and guts. The film carries an environmentalist message, juxtaposing human consumption and waste with the zombies. (Fun Fact: The film doesn’t take place in Manchester.)

Zombi 2 (a.k.a. Zombie, a.k.a. Zombie Flesh Eaters, a.k.a Woodoo) | 1979 | dir. Lucio Fulci

Directed by “Godfather of Gore” Lucio Fulci, Zombi 2 was banned in Great Britain in its initial release due to violent content, released uncut only in 2005. Infamous for its eye gouging scene, perhaps more spectacular is a scene where a zombie fights a shark - daringly executed with a stuntman and a live shark - with the zombie getting a few good bites in before getting his own arm bitten off.

Braindead (a.k.a. Dead Alive) | 1992 | dir. Peter Jackson

Yes, it’s the same Peter Jackson you’re thinking of. Before Lord of the Rings, Jackson was busy making wacky and edgy cult films. A rabid zombie fan, Jackson’s entry into the subgenre ranks among the best. Braindead is, hands down, the goriest zombie movie of all time. It’s probably the goriest movie of all time, period. According to Zombie Movies: The Ultimate Guide by Glenn Kay (highly suggested reading for any zombie fan), the climax alone used “eight gallons [of blood] a minute.” Even Lucio Fulci claimed that Jackson’s effects were over the top. From mutations to lawn mowers to Sumatran rat-monkeys, this film has everything. Oh, and it’s also really funny.

Re-Animator | 1985 | dir. Stuart Gordon

Based on the H.P. Lovecraft short story “Hebert West-Reanimator," Re-Animator is as funny as it is gory. Along with Dawn of the Dead and Return of the Living Dead, Re-Animator was a major influence on Jackson’s Braindead. It’s also well received critically, holding a 93% on Rotten Tomatoes. Not bad for a film where a decapitated head gives a girl, err, head.

I Walked with a Zombie | 1943 | dir. Jacques Tourneur

Directed by Jacques Tourneur, I Walked with a Zombie is shot beautifully. Tourneur, a master at creating atmosphere, would later go on to direct the critically praised noir Out of the Past. More eerie than outright scary, the Haitian voodoo inspired film makes great use of low key lighting and shadows, and it features one of the most visually striking zombies of all time (played by the menacingly tall Darby Jones). Surprisingly, the film is actually a loose adaptation of Charlotte Brontë’s Jane Eyre. Most interesting is the film’s treatment of the supernatural – the film hovers on the edge of the real and the unreal. Horror fans might be somewhat put off by the melodramatic story line, but classic film lovers won’t want to miss this. 

Shaun of the Dead | 2004 | dir. Edgar Wright

Don’t let those taglines touting the film as a "romantic comedy” scare you. Shaun of the Dead is arguably the funniest and the wittiest zombie movie ever made. Reverent to the zombie films that came before, particularly Romero’s original Dead trilogy (a nod to ‘Bub’ from Day of the Dead can be seen above), the film is a great zombie film in its own right.

Dellamorte Dellamore (a.k.a. Cemetery Man) | 1994 | dir. Michele Soavi

Featuring zombies, guns, motorcycles, and sex, this comedy/horror film is surprisingly deep and philosophical. An inversion of the classic zombie mythology, it doesn’t deal with the fear of death, but the fear of life. It’s cryptic, it’s philosophical, it’s unique, and admittedly, it’s not for everyone. But don’t let that dissuade you from watching it. It’s hailed by Martin Scorsese as one of the best Italian films of the 1990s.

Return of the Living Dead | 1985 | dir. Dan O’Bannon

The quintessential 1980s zombie film, Return of the Living Dead introduced the world to the zombies that craved brains. Eschewing the dark and somber tone of Romero’s Dead films in favor of a funnier, gorier, and over-the-top comic feel, the film features a killer soundtrack, memorable dialogue, and a number of iconic characters and zombies - such as the infamous Tarman. It also presents a rather cynical commentary on the military. Directed by Dan O’Bannon (the screenwriter for Alien), Return is one of the most entertaining zombie films of all time.

Night of the Living Dead | 1968 | dir. George A. Romero

Night of the Living Dead is the film that started it all, and it presented a paradigm shift not just in zombie films or horror films, but in film as a whole. Night is the film that turned the mindless voodoo slaves into zombie flesh eaters. The film also pushed boundaries outside of the realm of horror. Duane Jones, a relatively unknown black stage actor, was cast as the lead protagonist – controversial for the time. Additionally, the lack of a “happy ending” at the hands of trigger happy rednecks is sure to resonant with audiences today.

Dawn of the Dead | 1978 | dir. George A. Romero

Ask any hardcore zombie fan what the greatest zombie film of all time is, and 8 times out of 10, it’s Dawn of the Dead. (The other two fans will argue Romero’s other films.) Okay, slight exaggeration, but not by much. Dawn consistently ranks as one of the greatest zombie films of all time, often taking the number one spot. But it’s not without reason. Simply put, zombies as we know them today would not exist if not for Dawn of the Dead. As Bram Stoker’s Dracula defined the modern vampire, Dawn of the Dead defined the modern zombie (impressive when considering the fact that Romero has never used the word “zombie” in his films). Steeped in social commentary - the now almost cliche critique on consumerism - and featuring the shuffling zombies we’ve come to recognize today (with makeup and effects from the excellent Tom Savini), Dawn is the standard against which all zombie films are compared.

- Intern Ben (thebenolivas)

Honorable Mentions: The Walking Dead (1936), Sugar Hill (1974), The Fog (1980), The Beyond (1981) Dead and Buried (1981), Creepshow: “Father’s Day” (1982), Night of the Comet (1984), Day of the Dead (1985), Night of the Creeps (1986), Prince of Darkness (1987), The Serpent and the Rainbow (1988), Night of the Living Dead (1990), Scooby-Doo on Zombie Island (1998), Wild Zero (1999) 28 Days Later (2002), Dawn of the Dead (2004), Land of the Dead (2005), Fido (2006), Grindhouse: “Planet Terror” (2007), [REC] (2007), Pontypool (2008), Dead Snow (2009), Zombieland (2009)

Why Did Indiana Jones And The Kingdom of the Crystal Skull Suck?

Well, we’ve all been wondering, and since I’m writing something kinda in the subgenre, here’s my take. It boils down to verisimilitude and escalation.

1. All the past movies started out with a sequence that was grounded and down to earth, before escalating into something more fantastical. Raiders started out with Indy in a temple full of booby traps. ToD with a gunfight in a swanky nightclub. Last Crusade with a chase through a circus train. Pretty much sequences that could happen in any movie, and then only gradually are we eased into the more outre stuff.

How does KotCS begin?

A. Russian operatives, at the height of the Cold War, drive onto a US military base and massacre American troops, all for the sake of getting their hands on a shiny bauble. Does that sound like something that could’ve happened in our reality? Without triggering a nuclear war?

B. There’s some strange magnetic artifact that makes metal float in the air and fly around corners.

C. Cate Blanchett is a psychic or something?

D. Indy survives a nuclear explosion.

All that stuff is pretty much as ridiculous as the end of the movie, where Indy and friends flee a spaceship as it takes off. Hell, it’s more ridiculous than the endings of the older movies. So right off the bat, we’re in sci-fi territory and thus the movie isn’t taking place in ‘our world.’

2. Similarly, there’s no escalation of the supernatural element. In the past movies, everything seemed to be set in ‘our world,’  with only a teensy bit of paranormal activity and then only at the very end. It’s actually a little reminiscent of magic in Conan–something strange and special and exceedingly rare. Indy found the Ark of the Covenant, but it only did something at the climax. Same with the Holy Grail–that he didn’t even find until the end. ToD had voodoo dolls and zombies, but they were being used by the bad guys, so there was still some mystery to it.

KotCS, we have the skull. Indy almost immediately gets his hands on it. It’s obviously paranormal. It’s strangely magnetic, it gives people psychic visions, it controls ants (?), it controls angry natives (???)–and what’s worse, it gets tossed around like a pigskin. The Grail, the Ark, even the Sankara Stones, they commanded awe and respect. The Crystal Skull seems more like just a key card or something. Important, but not something really special. You get the feeling that if Indy had ended the adventure with it, it’d be doing time as a paperweight instead of being in Warehouse 13.

3. The supernatural element itself is lame. Previously, all the ‘magic’ in the world was in rarefied air. It was stuff people actually believed in, whether Jewish, Christian, or Hindu. I firmly believe that if the artifact in Indy 4 had been the Golden Fleece or something, with Zeus implied to be a real deity, people would’ve been almost as disappointed. It just makes the magic less special when apparently it’s everywhere. But it’s especially disappointing to go into a whole ‘nother genre and group our artifact with Shirley MacClaine and healing crystals. We’ve gone from two thousand years of culture and religion to kitsch from the seventies.

4. Indy is indestructible. Just like with the escalation from a grounded ‘our world’ to magic, the old movies reinforced their verisimilitude by having Indy get beat up and injured from all his adventures. In KotCS, a much older Indy seems more physically fit than ever, and is easily able to beat up men half his age who completely outnumber him. Here’s Indy at the end of Raiders.

Holy shit, look at that huge gash on his forehead! That isn’t even at the end of an action scene, he’s just that beat up.

Indy at the end of Crystal Skull.

That guy’s been in a fight? Let alone an action movie? He looks exactly like he did at the start of the movie.

It’s another ‘our world’ versus ‘fantasy world’ thing. And it actually leads into my next point.

5. Spielberg and Lucas just weren’t serious about this. A lot of people want to blame Lucas for KotCS, and he certainly has lost the touch he once had (not to take away from his prodigious accomplishments earlier in his career). But Spielberg was the one who let him get away with it and I feel also went into this whole thing despite not really wanting to do it or even being able to do it. I know I’m not blowing anyone’s mind here, but Spielberg lost his taste for gruesome but fun violence and apparently became such a gun-control advocate he can’t even depict his characters effectively using guns to defend themselves against dinosaurs or such. Which is, you know, only a problem if you insist about making movies about people with guns. 

If Indy were more of an ‘old gunslinger’ like Clint in Unforgiven, it’d be at least somewhat believable that he can come out on top in ‘our world.’ If he pulled a lot of clever tricks and outwitted his opponents, that would be even better. But just saying he can outfight everyone no matter how old he is, and only using his fists while they have automatic weapons, is just throwing your hands up in the air and saying this movie takes place in Narnia.

(Also, not to get political, but isn’t it pretty hypocritical to say it’s fine for Indy to kill people by setting them on fire, feeding them to ants, even blowing them up with rocket launchers, but handguns are a step too far? Are we supposed to believe that murdering someone with a blowdart is somehow morally superior to using a Colt .45?)

noscarstoourbeautifuls  asked:

I'm really curious if you've got any headcanons for ryou? ^^

I have a lot and have made posts before, but I can always give out more!

-Ryou is ambidextrous, I’d like to think so with how easily he typed with his left hand only, but then again he was possessing it during the Monster World arc (but still, I think it’s an interesting idea with him)

-I love the idea of him being a fan of the horror genre with films and literature, but he’s not a huge fan of certain themes. He doesn’t like zombie stuff too much (at least the infected kind you see nowadays, he likes voodoo zombies and the kind in Duel Monsters), and possession makes him squirm, for obvious reasons

-He HATES jump scares though, he thinks they’re not funny and rude

-He doesn’t care for video games that much, but he does own a few jrpg games

-You wouldn’t know what he’s super into just by looking at his house, until you go into his room set up for rpgs and his bedroom

-He’s taught himself to say a few things backwards just to freak people out for shits and giggles

-Ryou loves cats, but is allergic and that bothers him. Until he gets a sphinx cat, who he adores greatly and names after his sister

-He’s the kinda person to take a bite right outta uncooked ramen and keep a straight face while doing it