mystery happens on the film set

5

Some people find horror movies enough to give them sleepless nights, but what about films shrouded in real paranormal activity? One such movie is the black and white horror, Return to Babylon. This movie has a hoard of legends circulating around it and it’s evident as to why. The director, Alex Monty Canawati, and a number of cast members said that bizarre happenings frequently occurred on set. They reported feeling otherworldly and even evil entities lurking around and felt unseen hands grabbing at them. While this alone is extremely creepy, it was what was going on behind the scenes that proved to be terrifying. The director and editor of the film began to notice odd things inside the editing room. Mysterious figures began to appear in the negatives of the film and the faces of the actors began to distort, seemingly in fear or agony.

anonymous asked:

Thomas apologized. He feels really bad, and people are trying to say he doesn't because he copy pasted his thought out, really great apology on a couple asks but what, was he going to do a unique apology for each of the billion asks he got on this? Please, consider this before spreading hate about him, he's human like anyone else. Him being internet famous doesn't change that!

You know why I’m reblogging negative posts about him? Because I used to like him. I used to enjoy his silly little vines and upbeat attitude. But then I followed him on tumblr and that changed.

Over time, I began noticing more and more unsettling things on his account. I told myself I was overreacting because each time, he’d apologize and delete everything. He was willing to change. That’s what I told myself. But he didn’t.

I think it was like…two years ago maybe that a friend of mine said he didn’t trust TS because he told someone to draw Dipper’s butt or something like that. I had asked for a link, but of course the post was already deleted. And do you see where we are right now, all this time later?

He’s built his image around making kid-friendly content and “being one of the Teens.” He looks young, he acts young, he always films in high school settings, for the longest time I thought he was like 19, 20. But no, he is almost 30 years old. He’s old enough to know when he’s crossed a line and he knows how to play his image to his advantage. Being the peppy, always willing to listen and change, ray of sunshine that can do no wrong gives him enough credibility to where he’s able to continually apologize, delete posts, and act like it never happened, only for him to mysteriously forget months later and repeat the cycle.

I’m posting because I know I’m not the only one who fell for it. I should’ve trusted my gut, no one can be that perfect. If they are, they’re hiding something.

‘Annihilation’ Trailer Sends Natalie Portman on a Terrifying Mission

If after watching this trailer, your confused about what’s in store for Natalie Portman, that’s perfectly normal.

The first look at Annihilation shows Portman’s character, an unnamed biologist on a special mission, enter an area known as Area X, an uninhabited land in which unexplainable things happen after an incident there.

The film is from Ex Machina writer/director Alex Garland and adapts the first book in Jeff VanderMeer’s Southern Reach trilogy.

In Annihilation, the biologist’s husband (Oscar Isaac) was sent on a previous mission to Area X, and mysteriously returns (but he’s not quite himself), prompting Portman’s character to go on her own journey to find out what happened. Things don’t go smoothly.

Paramount has set a Feb. 23, 2018 release date for Annihilation, and Jennifer Jason Leigh, Gina Rodriguez, Tessa Thompson and Tuva Novotny also star.

Miss Fisher and the Kickstarter

Originally posted by beckyrenee

So, I have a story. It’s about Miss Fisher’s Murder Mysteries and the Kickstarter campaign. Which I’m sure most of you are sick of hearing about right now, but it’s something I’ve been thinking about–about why I am so invested in the outcome, film aside, and why it’s success has become so intensely personal.  It takes a bit of a meandering route though, so bear with me.

The other day, my husband sent me a message via Skype.

Also, is it weird that I get irrationally angry when I see things like “Jodie Whittaker didn’t even think she’d get asked to audition as the Doctor, as she’s a girl.”  She’s a woman damnnit.

I love my husband. I do. But that is a rage that is ingrained deep in my bones, that colours every piece of media I watch, an anger that is as natural as breathing to me. I replied, flippantly:

Ahh yes, the infantalisation of accomplished women. Always a roaring success

But that’s not the whole story. It doesn’t encompass how prevalent it is, how that same infantalisation is used to excuse poor (read: criminal) behaviour from middle class white men, how every time I see it is draws my skin a little tighter, how much closer I get to an explosion of rage. How I befriend other women who live with that dissatisfaction, how cathartic it can be to scream “Yes!  Yes, this is real! This happens and IT IS NOT ALRIGHT.”

Most importantly, it did not encompass how relieving it is to find a show/book/film that doesn’t fall into this trap, how for an hour or two I can set aside that chafing sensation and lose myself in the fantasy.  

Miss Fisher’s Murder Mysteries is that show.
Agent Carter is that show.
Veronica Mars is that show.

Are we seeing a pattern here?

There’s a tweet that has stuck with me since I first read it

I rarely meet men in real life as extraordinary as ones on film, and rarely see women on film as extraordinary as ones I know in real life.

–Jen Richards (@SmartAssJen)

PROBABLY BECAUSE THEY DON’T GET THE FUNDING. We are told time and time and time again that there’s no demand for these stories, no profit to be made. We are told time and time again that women cease to exist when they turn thirty, or are relegated to certain roles.

Miss Fisher’s Murder Mysteries smashes through that bullshit with characters that are achingly human–brave and independent and struggling to find their feet and absolutely certain in their identity and flawed and powerful and clever. There’s Dot, learning to be a modern woman. There’s Mac, a queer woman who is snarky and loyal and caring and never defined by her attraction to women, but by all the other things she is. There’s Aunt Prudence, who seems to be the overbearing matriarch archetype but is revealed to be a fierce, loyal woman who cares for those she considers family. There’s Jane, the ward who has lived on the streets and dealt with her mother’s mental illness; Rosie, the ex-wife who still cares for her former husband, but cannot be with the man war turned him into; there’s Camellia Lin, revolutionary; there’s Regina Charlesworth, who works to bring health and education to the masses via her magazine. There’s Phryne herself, clever and impulsive and unapologetically living her life by her own rules.

Which brings us, finally, to the Kickstarter. When I saw the news, my initial instinct was excitement. I am a fan, after all, and Every Cloud has been trying to make this film work for two years. But my overly cautious side reared it’s head very quickly: Was it the wisest use of my limited donating funds? Would there even be a cinema nearby that shows it? Was I completely mad to even get hopes up when crowdfunding is such a crapshoot?

Then I realised that I do not care.

Let me explain. I want this film. As the Kickstarter reaches the halfway point, it has raised an astonishing  $578,000. I am certain that we will get this film. And maybe I will have to travel to see it in cinemas. Maybe it will struggle to find international distribution–the message that we don’t want an action-adventure film with a female lead in her forties is still prevalent, and underscored by the recent Netflix revelations. Maybe, maybe, maybe. Life is a series of maybes.

But one thing each dollar in that Kickstarter tells me? WE WANT THESE STORIES. And we’ve finally found a way to get them, and I pity the people who stand in our way. So I’m going to yell and donate a little bit more and watch the Kickstarter succeed, and I am going to do it in the company of like-minded fans. So as we go into the back half of this Kickstarter campaign, I raise my glass to all of you and say: May we all be charming freight trains, like Phryne before us.

“Without obsession, life is nothing.”

- John Waters, Director


I have often wondered what it is about MFMM that thoroughly enchanted me. I speak only of the TV series in this post.  Though I’ve read a few of the novels, I find that I prefer the characters as portrayed in the TV series.  I’ve always been keen on the serial murder mystery and historical fiction genres, so I am particularly fond of a series that satisfies both of those passions.

For longer than I care to remember, I have been a fan of anything Agatha Christie, of Ngaio Marsh’s Roderick Alleyn, P. D. James’ Adam Dalgliesh, Elizabeth George’s Inspector Lynley, Colin Dexter’s Morse, and Charles Todd’s Ian Rutledge and Bess Crawford mysteries.  I have ventured into the future with J. D. Robb’s  Eve Dallas, and have occasionally explored the dark & disturbing with Patricia Cornwell’s Kay Scarpetta mysteries (though I can only stand small doses).  Karin Slaughter’s novels are also good reading.  

Crime-solving couples are especially fun.  Similar to MFMM, the Dorothy L. Sayers Lord Peter Wimsey mysteries, set between the First and Second World Wars, tackle social injustice and women’s rights issues.  There is enough of a “slow burn” element between the two main characters to keep it interesting.  Harriet Vane is an Oxford-educated mystery writer.  Lord Wimsey bears a few similarities to Jack Robinson, but on the whole, cannot begin to compare to our beloved Detective Inspector, IMHO.  Interestingly, one of the novels is titled One Gaudy Night.  The series was also adapted for television and broadcast on BBC, though I have not watched it.  Other noteworthy favorites are the Amelia Peabody Mysteries by Elizabeth Peters and Margery Allingham’s Albert Campion and Amanda Fitton novels. 

Film-wise, it’s hard to beat the elegant Nick and Nora Charles for witty banter and on-screen chemistry (and, of course, that little scamp, Asta). 

Each of the above has its share of charming, loveable recurring characters.

I am, however, hopelessly in love with MFMM.  I am fiercely loyal to its endearing and enduring characters, its lavish, beautiful costumes and sets.  This series has everything.  It is as if I know these fictional people personally; I care about them and what happens to them.  I gain a better understanding of them through reading your posts.  I simply cannot get enough of them, which is why I gobble up the brilliant fanfic on AO3 like candy.  It continues their lives in such creative and satisfying (interpret that as you wish) ways. 

And so, despite my sideways-glancing, head-tilting friends and relations, I will proudly & unapologetically reside within this Phandom among kindred spirits, always eager for more of the food that feeds my happy obsession.

Cheers to us all ❤ 

Spider-Man: Homecoming (2017) Review

Michael Keaton’s obsession with playing winged characters amuses me. Batman, Birdman, the Vulture…who’s next?

Plot: Several months after the events of Captain America: Civil War, Peter Parker, with the help of his mentor Tony Stark, tries to balance his life as an ordinary high school student in Queens, New York City while fighting crime as his superhero alter ego Spider-Man as a new threat, the Vulture, emerges.

I was never a big fan of Spider-man. I never hated the character or anything like that, but I just never had as much of an interest in him as many other people have had. And all of the Spider-man films that I have seen, those being the Sam Raimi trilogy and those two Andrew Garfield starring ones, none of those had any kind of big impact on me, with the closest one being ‘Spider-Man 2′. Now we have Tom Holland stepping in, and he was one of the best parts of ‘Captain America: Civil War’ along-side Ant-man, so that did make me at least slightly interested in this new one. However at the same time I was sceptical, as Spider-man has been done so many times on film by now that it is kind of getting ridiculous. I mean, they all focus on the same thing with Peter Parker navigating his way through his adolescence while also contending with being a crime-fighting superhero. Now in this new reboot luckily we have a new ordeal with Peter Parker navigating through high school……while also contending with being a crime fighting superhero, huh. Gotta say though, I did really dig the whole high school vibe in this film, as it really reminded me a lot of the high school indie films that came out in the past few years like ‘Edge of Seventeen’ or ‘Me and Earl and the Dying Girl’ or even going as far back as the ‘Freaks and Geeks’ TV show. That really added to my enjoyment of the film. The story, well, it’s nothing new, just our friendly neighbourhood Spidey saving the day once again from a bunch of baddies. Sony also takes a massive advantage of the fact that they can now use Spidey in the MCU by having the plot revolve a lot around the Avengers tower (yes, that thing still exists), and also having Tony Stark be a mentor figure for Peter Parker even though he doesn’t really do much mentoring.

The action in the film is fairly enjoyable, especially a scene revolving around Spidey saving a bunch of fellow high-schoolers from an incident at the Washington Monument. The final action sequence is a bit overblown with CGI, but not to the extent of the final battle in ‘Guardians of the Galaxy Vol. 2′. Spidey’s new suit is cool though. Also, if you are expecting this to be a proper standalone Spider-man movie, then you might be disappointed, as the amount of MCU references in it are mind-boggling, and also it picks up a few months after the events of ‘Captain America: Civil War’, so if you haven’t seen that film, it’ll help for you to watch that one before watching this one.

The acting chops in this film are it’s strongest mark. Tom Holland is the perfect Spider-man, as he manages to be great as Peter Parker and Spider-man both at the same time, and there is even a certain scene to the end of the film where Holland shows off his dramatic side. Robert Downey Jr. appears as Iron Man, and luckily he is only a supporting role, so he doesn’t overshadow Tom Holland, but I liked his presence in the film. He successfully showed in his performance how he felt like he was talking to his younger self as much as he was talking Peter. What annoyed me about his character was how he refused to listen to Peter. Peter keeps telling him about all these things that Vulture is doing, but Tony simply shrugs it all off as if not much is happening. I kind of imagined Tony to take Peter more seriously. Michael Keaton for me was the stand out as the Vulture, as he had the right around of rugged menace to him, and I also understood his character motivation. A rare time when an MCU villain is actually memorable. So far it was just Tom Hiddleston’s Loki, now I’ll also say Michael Keaton’s Vulture. Zendaya plays the mysterious character of Michelle, and she mainly was in the film for comic relief, however it so obvious that they are setting her up to becoming Peter Parker’s love interest. It’s way too obvious. Peter Parker’s actual love interest in this film Liz is played by Laura Harrier, and she had the right amount of sweetness to her, though she is quite under-used. Other high-school character include Tony Revolori’s Flash Thompson, Jacob Batalon as Peter’s best friend Ned, Angourie Rice (of ‘The Nice Guys’ fame) as Betty Brant and others, all of which gave a nice new spin on their characters from the comics, whilst still doing them justice. Donald Glover was rumoured to play Miles Morales, but he actually plays this thug named Aaron Davis who does sweet FA in the film. Jon Favreau returns as Happy Hogan (who ain’t that happy!), and it’s nice to see his return after not being in the Marvel Cinematic Universe for so long. And the cast is rounded up by Marisa Tomei as Peter’s Aunt May, and though she isn’t in the film much, it was always nice to see Peter have that parental figure in his life.

The film is generally quite enjoyable, with a few surprises to offer up its sleeve, and mainly standing out thanks to its cast performances, and it’s a definite treat for fans of the character, but there is no denying that at the end of the day it’s the same old shenanigans being rehashed over and over again. Oh, and of course we cannot forget the big massive Sony product placement in this film, this time it being with Audi. The amount of times we see a goddamn Audi in this film is simply ridiculous. There is even a scene where Peter steals and uses an Audi to get to his destination when it would have been much more simpler to use his web-slings to jump across the city in his Spidey suit, like he usually does!

Overall score: 7/10

TOP MOVIE QUOTE: “If you’re nothing without this suit, then you shouldn’t have it.”

Epic Movie (Re)Watch #158 - Star Trek VI: The Undiscovered Country

Spoilers Below

Have I seen it before: Yes

Did I like it then: Yes.

Do I remember it: Yes.

Did I see it in theaters: No.

Format: Blu-ray

1) This would be the last Star Trek film to feature the entirety of the original series cast (as it was followed by four films with the Next Generation cast and now the three films in the rebooted timeline) and is intended as such. Nicholas Meyers (director of Star Trek II: The Wrath of Khan) returns as director, Gene Rodenberry died just days after seeing a cut of the movie, and it seeks to give the original cast a fitting send off.

2) Even though it at times keeps his involvement in the plot minimal, I like that Sulu is Captain. It shows that there are officers who are as competent as Kirk and who seek to be more than just his inferior officers.

Originally posted by spockvarietyhour

3) The opening of the film (where a mysterious wave knocks around Sulu’s ship only for it to be discovered to originate from parts of Klingon space) is an incredibly strong way of opening the film. It establishes the conflict and sense of mystery which will come to define the story.

4) Sassy Sulu is the best Sulu.

Originally posted by williamtriker

(GIF originally posted by @williamtriker)

5) I think deciding to end the stories of the original characters with a plot based around peace between Klingons and the federation is a great one. It pushes each of these characters into an alliance they are uncomfortable with. Klingons have been antagonists towards them since the original series, that’s 25 years at this point. And it forces all of them to examine things they are uncomfortable with, ESPECIALLY Kirk.

(GIFs originally posted by @readysteadytrek)

Kirk is obviously horrified and disgusted at the idea. He refers to the Klingons as admirals and calls Spock, “arrogant and presumptuous,” after learning he recommended him as a peace ambassador. How many times have Kirk and the Enterprise gone up against Klingons? How many times have they threatened them? And, most relevantly, what was the species of those who killed his son in Star Trek III? He is pushed into a place he never thought he’d be and never wanted to be. It is so much easier to vilify them and hate them than it is to work towards peace. But that is what Kirk has to do over the course of these two hours. Work towards peace. And that is an amazing conflict to see play out.

6) According to IMDb:

The film is largely an allegory about the fall of Soviet Communism. When General Chang demands that Kirk answer a question without waiting for the translation, it is an allusion to the real-life exchange at the United Nations between U.S. Ambassador Adlai Stevenson and Soviet Ambassador Valerian Zorin during the 1962 Cuban missile crisis. Also, the explosion on Praxis due to “insufficient safety measures” is akin to the meltdown at Chernobyl nuclear power plant in present-day Ukraine, which is believed to have contributed to the decline of the Soviet Union. Spock says that there was seventy years of “unremitting hostility” between the Klingon Empire and the Federation, which is not how long the Cold War lasted, but is the approximate length of time that the U.S.S.R. (Union of Soviet Socialist Republics) existed in the twentieth century, with a communist form of government.

That makes the conflict all the more ripe in may opinion & I love it all the more.

7) Kim Cattrall as Saavik Valeris

(GIF originally posted by @readysteadytrek)

According to IMDb:

Valeris was originally written to be Saavik, Spock’s trainee from Star Trek II: The Wrath of Khan (1982), Star Trek III: The Search for Spock (1984) and Star Trek IV: The Voyage Home (1986) lending greater impact to her character’s betrayal. However, Gene Roddenberry objected to the character’s actions, ending up in a battle with Nicholas Meyer (who believed the Saavik character was his to do with as he pleased). Roddenberry won the dispute and the character was re-written into Valeris, who is played by Kim Cattrall. Cattrall wanted to play a different character rather than be the third incarnation of Saavik, following Kirstie Alley and Robin Curtis. Meyer had originally wanted Cattrall to play Saavik back in 1982, but she was unavailable.

I prefer that Cattrall is playing an original character. I don’t see it as being in line with what we’ve seen of Saavik in the past that she be a traitor and I think Cattrall is able to play a unique character because of it. Saavik - for me - will always be the somewhat proud closer-to-Kirk-than-Spock Vulcan in Wrath of Khan (as opposed to her more logical portrayal later on) so allowing Valeris to be her own character works. Cattrall is able to portray her as logical but with her own strong sense of morales and beliefs which leads her to some very interesting places/decisions by the film’s end. I think she’s a worthy character/actress to join the original crew on their final voyage.

8) Look how much Spock has grown!

Spock [to Valeris]: “Logic is the beginning of wisdom, not the end.”

9) I have to say the kinship Spock and Valeris are portrayed as having is done very well. Even though this is the first film she is in, we understand how and why Spock trusts/is proud of Valeris. This makes her betrayal by the film’s end all the more painful.

Originally posted by edith-keeler-must-die-blog

10) I can never get past the fact that Chancellor Gorkon is played by David Warner who was Sark in the original TRON.

Originally posted by readysteadytrek

11) There are a lot of lines in this film which allude to the racism the Enterprise crew feels towards the Klingons.

Chekov: “Guess who’s coming to dinner.”

Nichelle Nichols’ Uhura originally had this line but the actress referred to say it. According to IMDb there was another line she refused to say which ended up being dropped from the film and that was, "Yeah, but would you let your daughter marry one of them?“

12) Christopher Plummer as General Chang.

Originally posted by plummerchristopher

I truly enjoy Plummer’s performance as Chang and the character himself, although he runs out of steam a little bit by the film’s end. He is a poetic man, quoting Shakespeare often throughout the film, but a warrior through and through. A proud man who wishes to see the continuation of his race in what he believes is the best way (which isn’t necessarily the actual best way), Chang has an intense focus which Plummer performs well. A wonderful final villain for the original crew to face off against.

13) Remember how this film analyzes future bigotry?

Crew Member #1: “They all look alike.”

Crew Member #2: “And what about that smell? You know only top of the line models can even talk.”

(GIF source unknown [if this is your GIF please let me know].)

Also the filmmakers are doing a good job of drumming up sympathy for the Klingons right now. I am very much pro-Klingon in that moment.

13) The dinner scene.

Originally posted by trekgate

There are a lot of mixed emotions at play in this scene. Hope for the future - championed by Chancellor Gorkon - quickly turns into fear, distrust, and discomfort. It becomes apparent that most Klingons are not comfortable with this situation either.

Originally posted by redonyellow

Azetbur [Gorkon’s daughter]: “ ‘Inalienable.’ If only you could hear yourself. ‘Human rights.’ The very name is racist.”

14) And the conspiracy begins.

Kirk [after the chancellor’s ship is fired upon]: “What happened.”

Spock: “We have fired on the chancellor’s ship.”

Honesty I think it is the conspiracy and mystery which makes this film as good as it is. It helps to set it apart from the epic which was Wrath of Khan or the more lighthearted fun if The Voyage Home. It plays out very akin to a Sherlock Holmes or Agatha Christie mystery and I am a sucker for a good mystery.”

15) Kirk may be struggling with peace but damn if he doesn’t immediately do the right thing.

Originally posted by readysteadytrek

And then Bones - who is always a doctor first - goes with Kirk to tend to the wounded and tries to save the chancellor’s life. They put aside their fears and their prejudices in an attempt to do what’s right and I applaud them for doing so.

16) I don’t know why, but something about this exchange makes me smile.

Scotty [after the data is says they fired at the Klingons, even though all torpedoes are accounted for]: “No way!”

Spock: “I sympathize with you, Mr. Scott.”

I think it’s just Spock being Spock really.

17) Kurtwood Smith (of “That 70′s Show”) as the Federation President.

The nicest part about Smith’s character is that I found this line nicely refreshing:

“This president is not above the law.”

(GIF originally posted by @marshmallow-the-vampire-slayer)

18) The trial.

Originally posted by readysteadytrek

I think the trial of Kirk and Bones for the attack on the Klingon chancellor is the best part of this film. It makes you wildly uncomfortable the entire time, as it is meant to. While this film is an allegory for a post-Soviet-Union world, there is a lot of McCarthyism at work here. Their verdicts were clearly determined before they took the stands, with even Bones’ intentions as a doctor challenged.

Bones [after Chang accuses him of incompetence]: “I tried to save him [Gorkon]. I was desperate to save him.”

Bones has always been a doctor, so to accuse him of not doing his best to save a patient is such a painful strike to his soul. The scene also gives us this line from Kirk.

Kirk [after it is suggested some of his crew were the assassins]: “As captain I am responsible for the conduct of crew under my command.”

There is a difference between responsibility and culpability. There is a difference between responsibility and guilt. That is important to know.

18.1) Also we get this wonderful Michael Dorn cameo during the trial!

Dorn is most famous for playing fan favorite Commander Worf on “The Next Generation” which was already airing when he filmed this part as Kirk’s/Bones’ legal council in front of the Klingons. Although he is not credited as such in the film, it is understood that Dorn is playing Commander Worf’s ancestor Col. Worf here. I like the continuity, it’s a nice touch.

19) Ah, the connection between Spock and Sherlock Holmes.

Spock: “If you eliminate the impossible, whatever remains - however improbable - must be the truth.”

I love when Spock uses his logic skills in a Holmes-ian nature. Detective Spock is a lot of fun to watch.

20) The prison asteroid Kirk and Bones end up on I think is a great example of place in the film. It’s cold and desolate nature is an incredibly powerful atmosphere which conveys not only where theses characters are physically but emotionally by this part of the movie.

21) Expectations vs reality at its finest.

Spock: “If I know the captain, by this time he is deep into planning his escape.”

[Kirk is in a fistfight with another prisoner, trying not to get crushed.]

22)

Kirk [to Bones, in the prison, while they’re waiting for sleep]: “Are you afraid of the future?”

THIS is Kirk’s conflict right here. He’s TERRIFIED of the future and his place in it. It’s a conflict which goes all the way back to Wrath of Khan: he is afraid of being obsolete. Of the march of time. That’s what truly terrifies him and that’s what he has to deal with in this film.

23) Hey look, it’s Christian Slater!

According to IMDb:

The Casting Director was Mary Jo Slater, mother of Christian Slater. Thus, his small role as a Communications Officer aboard the Excelsior.

Christian Slater wore the trousers made for William Shatner in Star Trek II: The Wrath of Khan (1982). "It was an honor to get into Shatner’s pants”, he quipped during a BBC interview.

Christian Slater framed his 750 dollar paycheck for his walk-on part.

24) According to IMDb:

Nichelle Nichols objected to the scene in which the crew desperately searches through old printed Klingonese translation dictionaries in order to speak the language without the standard universal translator being used. It seemed more logical to her that Uhura, being the ship’s chief communications officer, would know the language of the Federation’s main enemy, or at least have the appropriate information in the computer. However, Nicholas Meyer bluntly overruled her. In Star Trek (2009), Uhura specializes in xenolinguistics, intercepts and translates a Klingon communication, and speaks Klingonese in Star Trek Into Darkness (2013).

I agree with Nichols.

25) So in the prison Kirk makes out with a woman who turns out to be a shapeshifter, and when he learns she was a shapeshifter kind a recoils from her. Then she tries to kill him and Bones (which was her plan all along) and shifts into Kirk to cause confusion. Shatner seems to have a lot of fun playing the shapeshifter Kirk. It’s almost like he’s doing an impression of himself, dialing all the Shatner-isms up to 11. It’s brief but enjoyable.

Originally posted by trekgate

(GIF originally posted by @trekgate)

26) Damn, Spock is PISSED when it turns out Valeris is the traitor. He is hurting, and the mind meld he performs with her is super intense. It’s a nice side of the Vulcan I haven’t seen much of in Nimoy’s tenure as the character (Zachary Quinto would have some wonderful angry scenes though).

27) Dude, I love this.

Scotty: “Then we’re dead.”

[Beat.]

Spock: “I’ve been dead before.”

28) Spock and Kirk have one last heart to heart before the climax and resolution of this film and I appreciate that the film took the time to analyze their friendship one last time.

Kirk [while Spock is beating himself up over Valeris]: “Spock you want to know something? Everyone is human.”

Spock: “I find that remark offensive.”

29) The film creates some great climactic conflict by creating the dual scene of the Enterprise fighting off Chang’s ship and the nearing assassination at the peace conference. You know they can feasibly beat Chang, but do it in time to stop the assassination which gets dangerously close to fruition? THAT is the conflict. That’s the double jeopardy.

30) And this is the resolution of Kirk’s conflict with time.

Kirk [to Azetbur at the peace conference]: “People can be very frightened of change.”

Azetbur [realizing Kirk just saved the treaty signing]: “You’ve restored my father’s faith.”

Kirk: “And you’ve restored my son’s.”

Kirk has made his peace with the movement of time and is ready for its march.

31) Spock sass!

Spock [after the Enterprise is ordered to return to port to be decommissioned]: “If I were human, I believe my response would be, ‘go to hell.’ If I were human.”

Chekov: “Course heading, captain?”

Kirk [in his final line as captain of the Enterprise]: “Second star to the right, and straight on ‘til morning.”

32) Having the final credits for the main cast be their signatures is a nice touch.


When it comes to the original cast Star Trek films, Star Trek VI is second only to Wrath of Khan in my opinion. The added elements of conspiracy and mystery as well as themes of prejudice and bigotry help to set the film apart from the others. The characters are pushed to a place they’ve never been before personally and the entire cast shines in showing that. It’s a wonderful final film for the original stars after 25 years.

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New 'Thor: Ragnarok' Still Teases Return of Warriors Three
Destruction might be coming in Thor: Ragnarok, but it looks like one Asgardian trio will be along [...]

The Warriors Three have been a bit of a mystery in Thor: Ragnarok, after Asano, Zachary Levi, and Ray Stevenson were left off of the film’s cast list. The three were confirmed to appear in the film in August, but have been essentially missing ever since.

During a visit to the Ragnarok set, producer Brad Winderbaum confirmed to ComicBook.com that the film would address what happened to the Warriors Three. This has led some to speculate that the group, along with Jamie Alexander’s Lady Sif, would not survive the events of the film. And with Hogun appearing in an Asgardian setting that looks pretty similar to Hela’s destruction in Ragnarok’s trailer, that could very well be true.

titanic-shoe  asked:

Well, you're in luck, Bad Robot is supposedly working on two more films in the Cloverfield "shared universe" that's not directly tied, but are like Outer Limits stories or Heavy Metal/Creepshow stories connected by the Clover name. Next film is called God Particle, has Chris O'Dowd and others as scientists on a space station sized particle Collider that causes a test run to make the Earth mysteriously vanish and other worldly happening to appear. (1/2)

(2/2) the second film is still in works, called Overlord. It’s set in WWII, all that’s known is that it may involve something that links the Tagruato company (like 10 Cloverfield Lane connected into Cloverfield, with John Goodman playing a former employee of Tagruato,) and something about monsters. So, they may not be direct sequels, but share parallels because of some Universal company called Tagruato.           

That actually sounds pretty rad.  I like the idea of different stories sharing a universe, even if the stories wildly vary from each other.

I would have still really liked to see Clover’s mama, though.  Like, imagine how big she had to have been if Clover was just a BABY…

How about a round of applause for Markiplier and his team

“Who killed Markiplier?” Was such a GENIUS idea! The amount of effort from the setting, the filming, the atmosphere, the acting (seriously give these guys fucking Oscars) REALLY shows. It made you feel like you watching a real life mystery. Also there were SO MANY theories for what happened next and (they’re the REAL detectives if you ask me). It was such a joy to watch and be invested in.

@markiplier Thank you so much for this amazing work and bringing this community together

Originally posted by whatabigpairofgifs

anonymous asked:

I really hope no one got actually fired for taking the mv pictures. It's just entertainment and no one gets seriously harmed by taking such pictures.

Everyone who gets hired for the production (building props etc.) probably has to sign NDAs. That’s how it is done everywhere when something needs to be kept secret, not just in the entertainment industry. Breaching the NDA is often linked with either paying a (high) fine or/and getting removed from the production process.

Now we can argue if it makes sense to try to keep things like filming a music video that secret (running away from helicopters might be too extreme…). If these pictures would be real, we still couldn’t draw conclusions for the next album. That means in this case nothing from the whole “mystery” around TS6 would be revealed, and the hype around it wouldn’t get a scratch. 

But now imagine what would happen if people could guess the next albums theme or genre by analyzing leaked pictures from a music video set. This can harm the whole promotion strategy, and she couldn’t control it the way she intended to. 

And now add Taylors overall fear of leaks into that, and you understand why her team tries everything to prevent these things from happening. Even if this makes her an easy target for people who want to harm her business, because leaks can destroy the perfectly planned promotion strategy.   

3.Tell Your Friends - (Yoongi Mafia AU)

One - Two - Three - Four - Five -  Six - Seven -  Eight  - Nine

Three:

Alone. The most awful word in the English tongue. Murder doesn’t hold a candle to it and hell is a poor synonym - Stephen King.

Bright noon sun had filtered through your sheer curtains, hitting your face in an obnoxious manner. Saturday morning cartoons long having finished, as your hand stretched back from your bedside table you recoiled back into your blanket once the time was fuzzily seen. Your eyes half asleep and a nail being slowly removed from your scalp, aspirin was your main goal of the morning, or rather finding it. 

Your first few minutes of the morning were spent blinking at the white ceiling above your bed, where terribly styled 90′s boy band head-shots should have been taped, with lipstick stains and badly drawn hearts paraded around their heads covering the shiny photos. This wasn’t a pre millennium sitcom though.

If it was you’d be living in a spacious New York city apartment and have no money troubles or deadlines to meet and your only worry’s would come in the shape of six foot three handsome blonde’s who broke your heart when they didn’t remember that it was the 3 month anniversary of the third time you’d you’d almost kissed. Your advice column would come in the form of a perverted aunt who may or may not have been a cougar and daddy’s devoted attention to his new wife was what you and your other twenty something friends plotted about destroying.

Your life wasn’t  failed American childish comedy show where the script was written by teen girls and the ideas were all submitted by sixty something CEO’s so out of touch with the younger generations that they didn’t know what satire was.

It was well past noon when you eventually managed to drags yourself from the irrational safety of your duvet and actually face the world, or rather, your apartment.

This brought the first problem of the early afternoon.

Your bag. 

Having vanished from the proximity of your apartment, it bugged you to no end as you went in search for it. The trusty little backpack had seen you through your first year of college, well the social bit of it at least, and even your room mate hadn’t seen it. You tore your room apart in attempts to find the valuable accessory, a nagging feeling in the back of your head as it was unlike you to misplace it. Most Friday nights you’d discard it at the end of your bed, thus sleeping without worry.  With your student ID, wallet and not to mention your USB with every major project of that semester in it, it was much more than a cheap thrift store bag you’d bought in the summer before college begun.

Then came the second problem.

Where you’d left the bag.

As you finally let yourself collapse back onto the mess that was your bed covers, you wracked your brain for what could have happened in the mere twelve hours since you’d seen your bag.

It was like the alcohol had set fire to the film reel of last nights events and as the aspirin set in it all came back to you in flashes of shiny metal gun barrels and the sounds of far off music and entreated mutual attention you’d shared with the mysterious assailant the previous night.

You found yourself wanting to go back to sleep and pretend it was all a dream.

Which it very much could have been.

It would have been all too easy for you to agree with the rational, or rather irrational part of your brain that told you to lie to yourself and remember it as an awkward late night movie that had woken you from your drunken slumber with a jolt. Because it had been so real. And as you considered the tempting thought, that was the exact reason you couldn’t accept it.

Because it had been so real.

He had been too authentic for you to think of him as a faceless creature of a broken dream, someone you’d forget all together within a few hours and soon the dream altogether would be another hazy drunken scenario. As you remembered it, he was all too touchable, so clear that you could picture what he looked like a photograph. You could still feel the goosebumps on your arms and the ceramic bath’s icy welcoming as you first sat down in it.

You were cold, and you were still cold.

So you showered with water that could melt ice with a wink and you prayed for the ice block that stuck to your rib cage to melt along with your worries as you spent too long in the enclosed cubicle and drew patterns with your fingers in the condensation.

When you finally shut the water off and reached out to grab the towel, the air was like a bee sting or spider bite to your bare arm and the thought popped into your head for a second if that was what he felt like, his skin as cold as his heart, as icy as his glare, a frozen as the set of morals he had painted in his brain.

You were never more grateful for warm clothes and blasts of hot air than you were that morning.

There wasn’t much of a choice left as you got dressed as slow as possible and spent the longest time you’d ever thought you’d spend choosing between three of your coats. No mugging having been engraved in your memory and no memory of having anything with you past that condemning bathroom door, you only had one other option when deciding if you wanted to fail your mid-term tests.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

As you awkwardly stood five feet away Seungkan’s apartment door, you matched the number on it to how many times you’d almost turned home, despite being on a moving subway car, despite already having buzzed his apartment number and explaining in a brief few words, your situation, despite having already knocked.

Your body told you run with an unneeded adrenaline rush that went straight to your nerve endings and brought an electricity to your hands, making you rub them together in an effort to get the sensation to subside.

You’d held your breath on the stairwell, your head beating the same out of beat up tempo song it had last night. And only as you heard the sound of locks being turned and chains clinking together did you manage to allow a breath.

Gloriously hungover and you’d guessed still buzzing, Seungkan had shamelessly stood in the gap he’d made between the door and it’s frame, holding a packet of frozen broccoli to his eye. Partly visible past the green packaging, a blue and purple swirl of painful inflammation surrounded his eye like a delicate brush stroke of a painter, except it was dreadfully lifelike

Not to mention the crude attempt of taping a bandage over his shoulder. He obviously hadn’t been expecting to be using the plasters he’d wasted the night before.

“You the girl from downstairs?” was his gruff question.

“Yeah”

He’d given you a once over before scowling, asking the question you knew must have been mandatory for him now.

“You a cop? Cause you know if you’re a cop, and I ask you if you are a cop, you gotta tell me you’re a cop?” was his mess of words before he finished with “Right?”

“I’m not a cop, Seungkan”

“Prove it”

It was the same question you were asked the night previous, except in a very different setting and very different tone, almost comical to the interrogation you’d gotten the other time. No, you didn’t even want to think about the other time.

“I look like a cop?”

It was risky, you talking to a drug dealer like this, a drug dealer with powerful connections, no matter how toxic, but Seungkan wasn’t one for small talk, he liked things straight and to the point and no matter how little you’d actually spoken to him, everyone knew his patience was short.

And everyone knew what happened when that short patience ran out.

Your answer seemed to satisfy him and  he stepped back to allow you into the apartment. No matter how stupid it seemed, willingly walking into the apartment of a drug dealer, a drug dealer known for his short temper no less, you decided staying in college was more important than the fear of upsetting the already injured boy.

“What’dyou say you were looking for again?” he’d asked, running a hand over his bruised face, wincing as his hands came in contact with open cuts.

“Um, my bag” was all the answer you gave as you desperately tried to avert your gaze from the stairs.

He’d raised an eyebrow and smirked at the sight of the small purse slung over your shoulder.

You shrugged and answered with a simple “A girl can’t have spares?”

Amused now, he sauntered over  to the coffee table and took a swig from the cup laying dangerously close to the edge, before speaking again.

“Right well, what’s it look like?”

Snapping your gaze from the upstairs landing, you turned to him with an innocent look.

“Um, it’s black. Pretty worn, it’s got a couple badges near the top”

Nodding he shook hair from his eyes before turning to the messy living room and sighing.  The mess of last nights party had turned into something of an ocean of flattened plastic cups and leftover cans and bottles. Not that you could actually blame the mess still being there, what with black and blue bruises just barely visible through the white shirt he wore, and the yellow ones on his arms from struggling and the nasty gash that took over his cheek and you decided that once getting a good look at his crooked nose, it would be better off to avert your eyes from his injuries.

There was an awkward exchange of ‘you want coffee?” and a “you want help?” which both brought the same declination from the two of you. There was some level of mutual respect, where there was an understanding that you didn’t want to sit down and get cosy with the drug dealer, and that he didn’t want you snooping around his house.

After sifting through the messy living room, he took to the kitchen with reluctance to leave you alone, but either way he had, and it was only then you’d noticed it.

The same brown bottle of rubbing alcohol, perched on the coffee table, just like it had been on the sink the night before. Fresh cotton pads surrounded it, along with bloodied ones and a few darker ones. Darker than the patch of the carpet Seungkan had used as a pillow the night before and darker than his eyes, darker than his suit, which really did envelope his whole being.

Dark and cold.

Nameless, to you at least, it gave these random thoughts an impersonal nature.

There was no sting of familiarity as you kept your eyes trained on the small glass bottle on the table, it was just there, simple as, and it didn’t bother you as much as it should have. The whole situation didn’t bother you as much as it should have.

A strange calmness had overtaken your shaking figure, numbing your hands and making your mind shiver at even thinking about reliving the memory of last night a few feet away from where it happened. You’d stood in something of a trance as you stared at the bottle, the rest of the room blurry, only focusing on the bottle. He’d left it there for Seungkan.

“Hey!” impatient finger had snapped themselves in front of your face to get your attention and their owner had stood back with a wary expression.

“You okay?”

It was more of a question for him, with his skin unnatural colours and his face all puffy and the bottle of alcohol lying on the table so casually it hurt. You’d known he’d woken up that morning and had to tend to his wounds alone. Waking up on his carpet, colder than January snow that brought no Christmas as a present, just cold air that would turn into February frost. He’d woken up alone that morning.

The sympathy was washed away with your brain dead stance and you’d answered him.

“I’m fine. Really”

Seungkan had looked genuine for a moment, sceptical gaze condescending but appreciated, almost like he hadn’t been accused of assault the night previous and had been roughed up by his employer rather than receiving a warning letter.

“You come to my place often?”

The moment he’d said this you instantly knew this was a bad topic of conversation and it needed to flip away from being about you quite quickly before you practically spilled all you knew about last night to him. It wasn’t that you were so sympathetic to him that you’d tell the much taller boy about how you’d snooped around his house and found some incriminating evidence about him. You weren’t that gullible.

It was just hard to look at the kid you’d so vividly witnessed become a punching bag. You didn’t think you’d have to see the aftermath.

“Yeah, just Fridays, with my friends. You find my bag?”

His expression had gone from trying to figure out who you were to one of consolation.

“Nah. It’s not anywhere down here. You sure you didn’t just misplace it?”

The down here was what had gotten you stuck and you’d taken long enough to actually reply that it had him beginning to look confused.

“Maybe. I don’t know. I thought it would be here”

“Listen, you know how things get at these parties, I can’t be responsible for any fucker who decided to take it”

It was endearing that he looked down upon theft but didn’t seem to hold any morals when it came to sex workers.

“I’ll ask around, but hey, I’m sure it’ll turn up”

You’d never had a conversation with Seungkan where he hadn’t been either extremely drunk or moderately high, you hadn’t stuck around once he started singing and you didn’t want to meet him when extremely high either, so he surprised you slightly. Incredibly polite and timid, he was breathtakingly vulnerable as he stood in front of you, trying not wince when he brushed his arm against something or twisted his chest the wrong way.

You’d asked in the end, despite your better judgement.

“You okay. You look sort of” you’d smiled as comforting as you could “beat up?”

He’d shrugged as if it happened every other day, which it did, but never to that extent. Never before had you cared so much about it either.

“Yeah.”

You didn’t want him to say it.

“It’s just a couple scratches”

But he did.

“Can’t say I didn’t deserve it”

____________

Thank you so much for reading! Part Four will be up soon. 

____________

-Masterlist-

-Asks-

One - Two - Three - Four - Five -  Six - Seven -  Eight  - Nine

morning warm up doodles in which one unbearably polite Englishman meets another (who is quite blatantly a fan)

anonymous asked:

Hey! I was just wondering if Mystery Kids EP 2 is still happening I can't find anything about it anymore?

yeah, it’s still happening! everyone who’s working on it has school and work and stuff, so it’s pretty slow going, but we’re here! currently, i’m trying to balance mystery kids with my independent animation film and the 30+ hours per week of school and homework while still finding time for personal stuff, so it might take a while for the full thing to air.

the reason you haven’t seen a ton of stuff is bc we’re doing our best not to leak any spoilers, but i’ve got some promos and concept art set to release over the next couple months.

also, watch the Nightmare Mirror blog - be prepped, bc it’ll be releasing some major stuff around Halloween.

B^) thanks for being patient!

Interstellar and the Post-Post-Apocalyptic Genre

Interstellar does in fact make sense– if it is viewed under the lens of Freudian dream logic.

In Slavoj Zizek’s In Defense of Lost Causes, he argues that the disasters in Hollywood blockbusters are in fact subsets of the “secondary” romantic plots between the lead characters. The catastrophes in the films are better understood as metaphors for the personal flaws which keep the two lovers apart. Once the psychological issues are confronted and vanquished the role of the monsters shifts to mediator and the disasters vanish as soon as their real purpose– the production of a hetero-normative couple– is achieved. For example, in Jurassic Park (1993), the dinosaurs represent the inability of the two paleontologists to have children. The monsters function as a mediator, convincing the reluctant Dr. Grant to be a father. This reading explains many mysterious moments in the film– like why the movie opens with Grant using a sickle-shaped raptor claw to pretend he is eviscerating an obnoxious child. Later on, once he is reconciled with children whom he must protect from the dinosaurs, the claw (a symbol of his revulsion for children, but at a more basic Freudian level, a symbol of his castration fears, that a child would play a Cronus to his Uranus) drops from his belt. The magical result: the next morning Grant is awoken by peaceful, herbivorous dinosaurs representing his new attitude toward fatherhood.

Likewise, Christopher Nolan’s new sprawling space epic, Interstellar, can more easily be read with this “secondary” romantic plot as the primary one. In the film, Joseph Cooper (Matthew McConaughey) is a restless former NASA test pilot whose dreams are deferred when a blight wipes out most of mankind, forcing the adventurer to become a farmer along with pretty much everyone else on earth. Terrified of the excesses of the 20th/early 21st century which wrought the disaster, his neighbors (and we assume the rest of mankind) exist as practical and austere but fearful luddites in a neo-Depression era America.

However (spoiler alert), Cooper’s dreams are soon revived when his young daughter Murphy (the name meaning, the films explains, “what can happen will happen”) discovers a “ghost” has manipulated gravity in her bedroom to spell out a mysterious set of coordinates. The coordinates lead our hero back to NASA where his former co-workers convince him to travel into outer space to find a new home for humanity.

To explain all the strange idiosyncrasies of Interstellar’s plot, let’s look at it as if it were not really about “saving humanity” but Cooper’s own interpersonal romantic problems– here an incestuous desire to sleep with his own daughter. (Zizek argues this is also the theme of the space epic Deep Impact [1998]). The desire is symbolically introduced in the first few moments in a strange scene that is otherwise unrelated to the rest of the plot. While in the midst of changing a tire with his daughter and son, an enormous phallic symbol in the form of an ancient drone flies over Cooper, interrupting an ordinary day of family routine with the fantastic. Cooper is seized with a wild desire to chase the object through vast swathes of fresh corn, ramming his battered and broken truck through the green crop in a raucous euphoric action sequence that reads if anything like an absurd wet dream. The adventure ends when the truck careens to tilt over the edge of a cliff– his sexual desire, threatening to destroy himself and his family. But here, literally teetering on the edge of the void, he gains control of the phallic object and through the technological medium of his laptop, invites his daughter to manipulate and control the phallus on the mousepad, allowing her to bring it in for a safe landing on green verdure.

After this, through various supernatural efforts expressed through the “ghost”, Cooper and his daughter try and separate from one another. The ghost (who we later learn is Cooper himself) commands Cooper to go away, but his daughter surreptitiously follows him and he is unable to escape her.

Soon, Cooper decides to flee as far away as possible, to fling himself into the remote regions of space, insisting that his daughter cannot accompany him. While his son is more or less indifferent to this idea, his daughter is deeply disturbed, leading to an emotionally intense scene in her bedroom in which Cooper promises that one day he will return and when he returns, because of relativity, they “might be the same age”. Likewise, his journey through space is filled with agony. He is torn between the immoral desire to return to his daughter and risk reproductive disaster (what the NASA scientists call “Plan A”) and a normal relationship with the fellow astronaut Amelia Brand (Anne Hathaway) and her pods of viable reproductive hexagons (“Plan B”). The “destruction of the human race” is here code for Cooper’s inner struggle between the two women.

This reading explains the strangest element of the film– the fact that the mysterious center of black hole (in a film that prides itself on scientific fidelity) turns out to be peephole into Cooper’s daughter’s bedroom, allowing him to watch her at every moment for all time. (Why not, for example, her laboratory instead?) The very limits of space itself cannot separate Cooper from his desire. His effort’s to get away from his daughter (to deny it) eventually find him trapped, confronting his obscene fantasy.

Finally, this interpretation explains an even more perplexing scene at the end of the film, in which Cooper, ejected from the literally perverted space of his daughter’s bedroom, finds her dying in bed, a decrepit old lady. Lacking any purpose, he asks his daughter what he should do with his life now that he has finally returned to her. Strangely his daughter tells him to go to a remote planet and pursue Amelia, the female astronaut, and enjoy a normal relationship with her– this, despite the fact that Murphy knows that her father and Amelia have just spent decades together in a spaceship. Somehow she assumes (or knows) that the two have not already entered into a sexual relationship.

But if Interstellar is about incest, why? To answer this question we must first recognize that the film is the latest entry in a new Hollywood genre, the post-post-apocalyptic film which includes such efforts as Oblivion (2013), The Hunger Games (2012-2015), Cloud Atlas (2012), Divergent (2014), and After Earth (2013). What distinguishes the post-post-apocalyptic movie from the simple post-apocalyptic offering is that we do not see humanity struggling to survive in the wake of a disaster as in The Day After (1983), but rather, the disaster has long since passed. The story begins well after society has re-organized into something new and all the pangs and trials of our present era are long since forgotten.

For example, in Hunger Games II: Catching Fire (2013), Katniss Everdeen (Jennifer Laurence) again volunteers to replace her younger sister as a gladiator who had been selected by lot to compete in the eponymous contest. Like other P-P-A films, Hunger Games II: Catching Fire revels in the fantasy of undespoiled nature. When we first meet Katniss– before she is called upon to slay her fellow teenagers– it is among the green rushes and mists of the forest, a Diana figure, stalking game with her bow. Meat and food are scarce. She hunts out of necessity, dutifully returning the animals to her mother and sister to prepare a simple repast.

The narrative insists these hard-scrabble facts about her life are negative. The characters treat them as if they are unfortunate circumstances they must overcome. They are poor. Their house is shabby. They do not have enough to eat. The hunger games (not the film, but the contest in the film), if anything, offers a promise of material wealth out of which her family can rise out of squalor. Except it’s not squalid. We do not see Katniss, say, (as we do in the real economically devastated landscape of 80s Detroit in Michael Moore’s Roger & Me [1989]) snapping the necks of bunny rabbits then stripping the skin off them, breaking their bones, and scooping out their entrails. Nor do we see Katniss living in a mud-smeared hut, defecating into old plastic buckets. Rather, their home is like the houses of our present-day rich– that is to say, free of Ikea, made with real materials. The spaces she occupies don’t resemble our offices and homes, there’s no molded plastic or cheap modernity. It’s all stuff only found in nature or a vanished past– gleaming hardwood, worked leather, polished glass– not pressboard, duct tape, shipping containers, and plexi-glass.

Interstellar’s setting is the same. Cooper’s farmhouse is all burnished oak beams and shaker furniture. His existence is down to earth; he lives off the land, watches little league, and shops on main street as if he lived in 1920. The troubling and ugly excesses of consumerism are eradicated. There are no more shopping strips, McDonalds, and suburban malls– these are replaced by nature and an austere reverence for resource management.

In other words, the films are lying to us. The narratives claims they are showing us something bad (Katniss and her family suffering poverty in a remote backwoods, Cooper struggling to live off the land), when in fact, through their filmwork, costume work, and other visual art, they invite us to indulge in a lovingly polished and complete fantasy. The Hunger Games wants us to covet Katniss’s existence, not pity it. Why this double speak?

In earlier more utopian visions of the future like the Star Trek television shows in the 60s and 90s, the implicit assumption is that civilization is on the right track, we just need to keep going to improve. Star Trek’s “Star Fleet” is the United States purged of its obvious faults– namely materialism and capitalism. Western civilization’s best features are preserved and embellished– society is tolerant, pluralistic, gender-neutral, democratic, and dedicated to the pursuit of knowledge. Star Fleet is an idealized vision of how America saw itself then– a defender of freedom, an enemy of tyranny who vanquished first fascism and then the Soviet Union, a civilizer, an innovator, a protector. Moreover, our scientific progress and the lattice of order it creates helps other societies. Just as the U.S. Navy sails around the world to provide disaster relief or medical aid though the technological marvel of its fleet, so too, the starship Enterprise (meaning our enterprise, that of the human race) alights from planet to planet fixing similar problems.

By contrast, the underlying assumption of the post-post-apocalyptic genre is the exact opposite– namely, our present society is fundamentally rotten and flawed at the core. Thus the only way to fix it would be for the inevitable collapse to arrive so it can be wiped away and we can begin again anew. This vision of America is like that of The Hunger Games’ Capitol “Panem”– an industrialized center greedily sucking away resources (including the young Katniss herself) from the rest of the globe which remains in squalid third world poverty. Here a more modern viewpoint is reflected: we in the west are hurting not helping other societies. Perhaps like the denizens of Panem (or the over-consuming Americans who caused the blights in Interstellar), we are standing on the top of an enormous, teetering, unsustainable, broken societal structure that despoils resources to benefit a few (us) at the expense of the majority (the rest of the world).

This terrifying idea, however, does not galvanize us all into action– rather it simply paralyzes us with fear. It is something we acknowledge but feel powerless to change in any fundamental way. What exactly is the correct course of action? Change our carbon footprint? Move to a commune? Quit our job in our office? Invest in ethical stocks? Buy American? Don’t own a cellphone? Perhaps the system is too massive, too entrenched, too confusing, to change? After all, we are literally clothed and fed by it. It scratches against us on the label of our shirts and pants. It makes our “fair trade” coffee less bitter. And so the shift is slight– our outward actions don’t change– we still drive cars, work in offices, and become fractional owners of anonymous corporate conglomerates through our 401Ks. Only our doubt grows larger– our certainty that we are doing any good or living in a way that truly benefits other people.

This is the reason we see Katniss hunting in her green glade or Cooper harvesting his corn– these images show us something we wish we could have– knowable and self-reliant supply chains. These characters have the luxury of knowing they aren’t harming someone in some distant impoverished place simply by earning their living. Moreover, in these worlds we no longer need wait with nervous bated breath– the looming disaster has already come and gone.

This new post-post-apocalyptic fantasy is inherently incestuous. Cooper’s inward looking perversion represents the basic modern view on which the genre is based, that of an inevitable self-consuming perversion (via science and technology) of the natural order which we cannot escape. It’s the environmental warning we know we don’t heed: we must go farther afield to find more sustainable resources because exploiting the one’s close at hand (like fossil fuels, Cooper’s daughter, or the earth itself) is unviable in the long term.

But also, on a grander scale, the film’s incest theme is about the twisted nature of our own fantasy. We indulge in these films to imagine living the full-blooded outdoor life of the poor absent the trappings of technology, when in fact, ironically, we are doing the opposite. We, like Cooper, are not looking far enough afield, we are literally trapped in our distorted “tesseract”, helplessly looking in on another dimension (here the two-dimensional world of the film) in which our absurd wish is made manifest through the very technological means and corporate interests we are trying to escape. And so, like the cooped-up Cooper, what we see is ourselves cooped-up. We are watching ourselves become trapped in an infinitely telescoping hall of mirrors, not really wanting to see any of it come true– or else why wouldn’t we just actually be outside rather than in the theater?

Do you know what I find interesting, academically?

The way that the media produced in a cultural moment can both reflect and direct the inner workings of that culture, in a way that’s very difficult to spot at the time it’s happening.

My favourite example is the story of Film Noir, which was made in Hollywood from the late 30s but wasn’t recognised as a genre for nearly 10 years: after the second world war ended, a decade of American films were released in Europe at once and french critics were able to identify that films that had previously been called crime, mystery, drama, even romance, similarly shared themes of paranoia and corruption, along with chiaroscuro lighting and minimal set dressing.

What’s almost as interesting is the way that this saturation of the market more or less gave birth to the modern field of Film Studies, through magazines like Cahiers Du Cinéma.

Feel the love!

One of the things that irritates me the most about the largely negative reaction to Jupiter Ascending is the oft-presented claim that the film is objectively bad and impossible to genuinely enjoy on any level. Doug Walker (aka. the Nostalgia Critic), in particular, seemed absolutely baffled by the revelation that the film had an honest-to-God fandom. Such people effectively attempt to invalidate positive reactions to the film by suggesting that they are indefensible, which is the worst kind of close-mindedness.

These kinds of attitudes are frustrating to me mainly because they bear absolutely no relation to my personal relationship with the film. Neither, it would seem, do they reflect the feelings of many of the people who follow this blog.

With my post Magical Moments, I asked people to explain what they loved most about JA. I got a wide spectrum of answers, which is brilliant and reflects my own feeling that JA is a film with much to offer to anyone willing to embrace it and its world. I wanted to share a choice sample of responses - if you want to share the reasons why you love JA, reply to the Magical Moments post here!

pensola - “I kind of like the mysteriousness behind Seraphi. You seldon get a woman in the post-mortem role, being an important figure like her who planned ahead of death and everyone refer to. Though we never really saw her, I felt her presence and loved it!

itsallsoquiet-shh - “I think I loved the film for the world it created, the feeling that this is just one story happening in a whole universe of stories. I love space and sci fi, and the this film is a window into a huge sandbox where I can set my own ideas. The splices and recurrences are a good mechanic - almost like a big Lego box.

thecosmosknowsitself - “When I was a little girl, there were no movies about me. Little boys could grow up to be heroes but little girls couldn’t. With JA, it was everything little girl me had wanted: to be a hero in space and win the heart of the guy I saved. Perfection.

holding-onto-the-world - “I first saw it just cause I love sci-fi and Mila Kunis but loved it for the complex story and variety of characters. All the glorious effects and aesthetics are just an added bonus.

mycurrentfavoritething - “I love fantasy/scifi books and this would’ve been a book I’d read. To me it’s like a movie that was adapted from a book, but they had to leave out a lot because the book was long and detailed and they couldn’t fit it all in the alloted time frame.

just-t-iciair - “Jupiter personnality. She’s funny and badass and (maladroite : i dont know the word in english). But she’s stay herself and enjoying her life and her family after all. Of course i’m a huge fan of caine/jupiter romance. And the world is beautiful.

Horrifying facts about your favorite scary movies!

“The Omen”- During production, David Seltzer (the writer)’s plane was struck by lightening over the Atlantic. A few weeks later, executive producer Mace Neuler’s plane was also hit by lightening.

“The Poltergeist”- In the scene where the clown tried to strange Robbie, the actor was really suffocating. Luckily, director Steven Spielberg saved his life.

“The Amityville Horror”- A few days before filming the Amityville remake, a dead body washed up on shore near the set. Like Ryan Reynolds’s character in the the film, the crew began to wake up at 3:15 am. The woman who experiences the real Amityville horror, died during the making of the film.

“The Exorcist”- Many people know the bizarre things that happened on the making of this classic horror film like, an actual exorcism was requested on set. The first set of the McNeil home mysteriously burned down. Also, 9 cast and crew members were said to have died during the making and the release of the film.

“There was definitely a feeling that it could happen, we were playing around with something we shouldn’t have been playing around with.” - Marcel Vercoutere, special effects for The Exorcist.

After the film, the actress Linda Blair, who played the role of Reagan, was said to have had a lot of psychological problems after the film. Saying that she was feeling like she was being possessed.

I had an awesome dream where I was on the set of a porn film being filmed in an old gothic castle and anyways spooky shit started happening and then we realized the castle was haunted by an old old demon and me and the pornstars had to work together to solve the mystery to exorcise the demon

Snoke: Dark Side Positivity 2

DISCLAIMER: This is the second in a series of short, positive posts celebrating Dark Side things.  I’m saying something nice about a fictional character I like.  Please, I respectfully request that you practice “don’t like, don’t read.”

Here are some random Dark Side Positive thoughts I’ve had about the mysterious Supreme Leader.  These thoughts apply to the film (SW ep 7 TFA) and not necessarily relevant to any apocryphal materials.  They reflect a reading of the film-as-text only.  I have a whole other set of thoughts corresponding to other texts.  :)

1.  So oddly?  Supreme Leader kind of looks like my great grandmother.

2.  Except, poor thing, what happened to his face?

3.  If someone messed up my face like that, I would be pissed.  I would probably want a handsome knight like Kylo Ren to avenge me.

4.  Telecommuting by hologram is practical and eco-friendly.

5.  I thought it was nice how Snoke gave his blessing when General Hux wanted to fuck up the Republic.  He didn’t even question Hux’s judgment…was just like, “live your dreams, son.”

6.  Also thought it was nice of The Big Guy to be checking up on Ren to make sure he’s ok with confronting his dad.  I think “by the grace of your training I will not be seduced” implies that this training is offering Ren some kind of emotional support, allowing Ren to resist a temptation.  Ren says Han Solo means nothing to him, but he still seems tempted to go to Han.  I can definitely relate to a situation where you are tempted to go to someone but need to rely on your support network to help you stay away from them.  There is no pull quite like the desire to return to a person you love, even if that person may have hurt you. I’m really glad Kylo was able to find someone to help him stay strong.

7.  It’s also nice that Snoke sends Hux to retrieve an injured Ren.  Ren has done nothing but fail at things the whole movie.  Even so, his people really make a point to stick with him.  

8.  Snoke expresses nothing but confidence in Ren during the film, even though Ren doesn’t really accomplish any of his goals.  Snoke sort of does Ren the favor of reframing Ren’s problems as very difficult. This contextualizes the concept of failure–not as a personal weakness, just a result of the difficulty of the tasks at hand (even you, Master of the Knights of Ren, have never faced such a test…)  It reads as very positive and supportive.  Whoever is putting a lot of pressure–SO much pressure–on Kylo Ren to succeed, it isn’t Snoke.

9. Snoke also chooses not to reprimand Ren for grabbing the girl and not the droid.  Instead it’s more like…ok, bring her here and I’ll help you fix this.

10. I’m happy these three found each other.  Undoubtedly my feelings will change if/when a future film reveals information to change the context of their interactions, but as depicted in TFA, they have a healthy and functional relationship.

11.  Preventing a “new Jedi” (singular or plural?) from rising does sound like a good idea.  Though perhaps the methods used in this effort were a bit aggressive?  But what do I know about Jedi prevention!  Nothing, really!  Snoke does seem to have a plan, and inside knowledge, which puts him ahead of your casual, amateur Jedi-preventionist.