mystery happens on the film set


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:

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.   

Walk the Mile, Pay the Price

Warning: Film noir-ification of Dragon Age:Origins characters and setting.  Consume at your own risk.  

Features: Duncan as the grizzled detective, Alistair as the idealistic junior detective, and a mysterious bloody murder that could send the city of Denerim into a panic.

I should have known, really.  From the moment I’d gotten up this morning, I been feeling something deep down in my gut, like Antivan food gone down wrong.  Heavy, uncomfortable, and with one hell of a smell.  

I should have known from that that something bad was going to happen.

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3.Tell Your Friends - (Yoongi Mafia AU)

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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.


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.


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. 




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The Stars of 'Lost City of Z' Speculate on the Mysterious Fate of Percy Fawcett (Spoilers)

Warning: Major Lost City of Z Plot Spoilers Ahead

Based on the book by David Grann, James Gray’s new action-adventure The Lost City of Z tells the true story of Percy Fawcett (Charlie Hunnam), an early 20th century British military man-turned-explorer who on multiple occasions set out to find a legendary land he believed hidden deep in the Amazon. It’s a story full of intrigue, enlightenment, determination, danger — and ultimately, mystery.

No one truly knows what happened to Fawcett, who, along with son Jack (Tom Holland), disappeared on a jungle excursion in 1925. Gray even leaves it somewhat ambiguous in the film. The Fawcetts are seen captured by an indigenous tribe for a potentially cannibalistic ritual — and the explorers believe themselves doomed. But their deaths are never shown, and Gray even leaves open the possibility that the duo may have survived (and seemingly settled into the tribe) with the climactic delivery of a “sign” Fawcett promised he would send back to England signifying he’d discovered his elusive destination.

In real life, however, Hunnam (Pacific Rim) and his co-stars aren’t so hopeful. “I don’t think anyone really subscribes to the idea that he found this lost city and went off and lived in his version of paradise,” Hunnam told Yahoo Movies (watch above). “I think that it’s pretty accepted that he met with a somewhat sticky end.”

Sienna Miller, who plays Percy’s wife, Nina, has done her share of research, at least. “It’s really an interesting thing, if you start Googling it, there are lots of blond kids running around the jungle and there are all sorts of theorems that he just bailed on her,” she said. “I think they just got eaten by other humans.”

Holland (Spider-Man: Homecoming) agreed: “I think they were eaten. I think they were. I’d love it if they weren’t… and they lived the rest of their days there. But I think they were eaten.”

The Lost City of Z is now in theaters.

Speaking of eating, watch Hunnam talk about how little he could for the role:

Read more on Yahoo Movies:

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

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.

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?

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.

Ghibli Casts Its 1st Film With 2 Female Leads & All-English Theme Song

16-year-old actress Sara Takatsuki (Black President, Otomen, GTO, Daily Lives of High School Boys, Haganai) and 21-year-old actress Kasumi Arimura (Amachan, Hagane no Onna, Clover, Judge) will star in Studio Ghibli’s next film, this summer’s anime adaptation of Joan G. Robinson’s English children’s novel classic When Marnie Was There (Omoide no Marnie). Oricon describes the film as Ghibli’s first one with dual lead heroines, and it is also the first animated title and first Ghibli title for both actresses.

American musical artist Priscilla Ahn is contributing “Fine on the Outside,” a song she wrote when she was in high school, as the film’s theme song. It is Ghibli’s first theme song entirely in English. (Only Yesterday used a Japanese version of “The Rose,” while Whisper of the Heart used both the original English version of “Take Me Home, Country Roads” and a Japanese translation.) The film is also Ghibli’s first anime feature after Ghibli co-founder Hayao Miyazaki retired.

Amazon posted a publisher’s description of the original novel:

Anna hasn’t a friend in the world - until she meets Marnie among the sand dunes. But Marnie isn’t all she seems…An atmospheric ghost story with truths to tell about friendship, families and loneliness. Anna lives with foster parents, a misfit with no friends, always on the outside of things. Then she is sent to Norfolk to stay with old Mr and Mrs Pegg, where she runs wild on the sand dunes and around the water. There is a house, the Marsh House, which she feels she recognises - and she soon meets a strange little girl called Marnie, who becomes Anna’s first ever friend. Then one day, Marnie vanishes. A new family, the Lindsays, move into the Marsh House. Having learnt so much from Marnie about friendship, Anna makes firm friends with the Lindsays - and learns some strange truths about Marnie, who was not all she seemed…

In his second film, director Hiromasa Yonebayashi (2010’s The Secret World of Arrietty) is shifting the setting from the novel’s Great Britain to a Japanese village on the shores of Hokkaido. Takatsuki will play the 12-year-old Anna (written in kanji characters), while Arimura will play Marnie, the mysterious golden-haired girl who appears before Anna one summer.

About 300 candidates auditioned for the roles of the heroines at the end of last year. The film will open in Japan on July 19. Disney happened to have just released Frozen, its first animated feature with dual lead heroines (one of which was named Anna). Marnie producer Yoshiaki Nishimura said there was a time in film history where “the flawless hero saves the woman,” followed by a time for films where “the woman supports the troubled hero.” Now, he said, 2014 is the time when “the man doesn’t have to save the woman.”

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.

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

Where were all those locations?

Ok, I’m gonna remind of you some things that took place in May-June when TWD season 5 started being filmed. A friend of mine looked through the Internet and found this, the photos belonged to THAT site when the filming started. I hope people don’t mind me using them here cuz it’s been almost a year since then. I’m gonna write the approximate dates of these pictures from the set due to their appearing on the Internet.  Credits to everyone who took them, you guys did a great job! I’m very grateful. 

So this picture appeared somewhere on the 14-15th of May. People were assuming that was Emily’s set time and some were even saying that she was filming in Georgia earlier than the 20-s of May when season 5 filming actually started. Though let’s put that supposition away because we are not sure 100%. Did you guys see this house in season 5? It can’t even be taken for an Alexandia house because of that “Do not mow” sign - this location was supposed to be an abandoned house. 

Let’s move on. 

People were saying this location was filmed but no one ever knew who exactly was filming there. Did you see this? Probably looks like Richmond? I don’t think so because it was filmed somewhere on the 20th’s of May. Where were Team Family cast at that time? In Terminus. What is this place and who was there? 

Ok, the next picture. 

Oh Tara… Why I’ve never seen you near this house? Does it look like one of their Alexandria houses? Maybe. But the set-up outside looks different. Approximate date  - the 24th of May

May, 25th. Can you recall any scene with house? 

May, 15th - a car is getting to the hospital set. People were assuming that was the car that took Beth, others were saying it’s a different car. Probably it’s just one of the car that we’ll later see in the yard of the GMH in S5. I just want you to recall those moments when it all started. 

June, 7th. Arranging the GMH set. Ok, so if filming in the GMH started in June, what was happening to Beth while Emily was filming in May? 

Before Slabtown they should’ve been filmed at least one episode with Emily. Or where was she? 

So now the question is - was the MSF a rewrite to get rid of Beth in such a disrespectful way or were all these unseen locations a part of a plan. 

I’m not even going to remind you of this:

Or the picture of Emily with somebody outside the hospital which I can’t find right now but you all know waht I’m talking about. Or the Bethfoot picture in November.

Oops, I did remind

So why Beth didn’t appear in the SF? Why is Emily gonna have a tour around the country in May and June and whatever while the cast is filming? 

My theory is that she’s already filmed a part of Beth’s storyline in season 6 and we will see her story while no one will be able to catch her on set until it would be ok to come back and film with the rest of the group. 

Something fishy is happening in S6 and it’s a “mystery that soon will be solved” as Emily told us before season 5 regarding to Beth’s story. Was the 3 episode-arc and Beth’s demise a mystery? I don’t think so. 

Keep your hope!

What do you think, guys?

DAY 2796

Of great times gone by, Cut yesterday   Nov 30,  2015       Mon  11:23 pm  

Birthday - EF Shilladitya Mitra

Tuesday, December 1, 2015

may all your wishes be true … may you see the end of endless years to come .. my you be happy and in the warmth of the love from all the Ef .. happy birthday

Within the walls of divinity do we put our efforts to work .. divinity has ever been that binder of faiths and belief .. there is the sublime presence of silence and devotion .. of respect and prayer .. of submission and servility ..  

This St Paul’s Cathedral standing as it does among the history of the city, challenges our memory too .. in the years spent in the city from ‘62 to ‘68, and the immense divine joy of attending the Mid Night Mass on the 24th December night, here among hymns and prayer and in absolute peace .. ethereal  !!

And who would have ever imagined that years down the lines of life, we would be in the premise again for the pursuance of profession and film ..

For ‘TE3N’ .. three .. interesting the way the title has been designed !!

And so its Nawazuddin and yours truly and Vidya too .. that surround ourselves in the Cathedral solemnity .. work voices are different and filled with commotion and the ethics of work … but silently there is the admiration and respect of the history of this edifice .. and we stand in awe and wonder at the times that may have passed within the pews of the interior ..

For the day however it has been just the two of us ..

A drop off in the porch .. a silent conversation .. and then in cinema parlance the close ups .. but really does it require the property to be in each frame .. !!

‘Phatpatiya gaayab ho gayee’

Hahahahaha .. do we really ever see the scooter in close shots .. NOOOOOO !! so do we really need to have it in the shot … NOOOOOOO … !!

Slide in to frame and slide out to give it simulated movement and …BAAADOOMBAA .. we have canned digitised shot in place .. the unit in splits, recovering from this ingenuity of mine .. but really have a look when the film is released and see if it really mattered whether the machine was required or not ..

Its called quite formally in our cinematic lingo as ‘cheating’ .. we ‘cheat’ a shot without the audience ever discovering it .. and that as they say is the beauty of the moving pictures ..

Wanna see more ..

Happy … !!!!???

But seriously though .. it is most difficult to get the city out of one’s system .. the nostalgia haunts you at each drive at each event at each corner, at each street .. because at each location was a story that brought back those delightful visuals and talk of the days gone by .. 

And the desire to recreate them in some manner comes, when there is effort to connect with those that lived and breathed with you during those days .. friends and acquaintances .. known and unknown individuals .. incidents that occurred at each corner of our years .. so vivid and so exact .. it is quite unimaginable !!

It is a wonder .. that happenings of those years are in memory with greater detail than what we went through a few hours ago .. and this is how it shall remain .. I am certain .. 

The face and the upkeep of it is a mystery .. make up creates some unimaginable formats .. changes one to age to be the young, to be disturbed and to be in the joys of achievement .. to be in presentation of those that we nominate as ‘heroes’ on Tv .. and then suddenly destroy all the facial beauty to be undone on set for film .. unkempt, old, and with not a care for its upkeep ..

Love and more in these times ..

Amitabh Bachchan 

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.

A Major ‘American Horror Story: Hotel’ Clue Just Got Explained

Rejoice, “American Horror Story” fans! We can officially scratch one semi-huge mystery off our season five list. Remember that “arcane,” but “purposeful” top hat clue “AHS” boss Ryan Murphy teased in “Freak Show?” Well, it turns out that was alluding to the fifth installment’s hotel theme — and its leading lady.
Per EW, the “American Horror Story: Hotel” Powers That Be confirmed that the top hat image that appeared on Maggie’s coffee cup was a reference to the classic 1935 film “Top Hat,” which just so happens to be set in a hotel. Palm, meet forehead.

But wait! There’s more. The top hat clue was also a nod to Lady Gaga. As MTV News previously reported, the pop star officially landed the leading role in “Hotel,” and while the details of her characters remain sparse, we can tell you how it all relates back to that damn top hat. “Cheek to Cheek,” Gaga’s latest single with Tony Bennett, was written originally for “Top Hat.” And there you have it. The great top hat mystery is officially over. Now, onto other“Hotel” clues.
HuffPost Entertainment previously theorized that “American Horror Story: Hotel” could have a connection to the Garden of Allah Hotel. Denis O’Hare’s Stanley referenced it in “Freak Show,” telling the freaks he had a cousin who worked at the famous Hollywood hotel. Opening in 1927 and demolished in 1959, the Garden of Allah was the celebrity hotspot of its day. Frequent guests and residents included F. Scott Fitzgerald, Ernest Hemingway, Dorothy Parker, Greta Garbo, Humphrey Bogart, Gloria Stuart and the Marx brothers.
Seeing how “Top Hat” came out in 1935 and Marlene Dietrich’s film “The Garden of Allah” was released in 1936, we could be looking at a storyline set in the Golden Age of Hollywood — and that, Little Monsters, has Gaga’s name written all over it.


Next on Pretty Little Liars - 4x15

- The liars look for somewhere safe to go while they decide what to do next. Luckily Ezra can offer tham a remote, isolated cabin in the woods with no cell service or internet.

- Mona enrolls in an offensive driving class to get back her knack for running people over.

- The liars talk to Alison and ask her whether the times she visited them were real. She confirms that they were, except for the one where Hanna met Alison in a bar in the old west, but Alison was actually a talking dog in a cowboy hat. That was a dream.

- Emily’s self defense classes branch out from agricultural equipment to kitchen appliances.

- Ezra introduces the new book to read for English class, “American Psycho”.

- Now that Hanna is leading the investigation into what happened to Ali, Spencer spends her time shoplifting.

- Emily confesses to Paige that Alison is still alive. Paige volunteers to help find her, and quickly sources tracker dogs, night vision goggles and hunting rifles.

- The board of Radley refute the suggestion that their facility is out of date by showing a selection of similar facilities in old film noir.

- Hanna sets up her support group for friends of manipulative queen bees who have gone missing under mysterious circumstances and may or may not be dead. Attendance is good, apart from a number of people being run down by cars in the parking lot.

- Aria is enjoying a quiet night at home reading a book. Ezra calls her to ask what she thinks of the book and let her know she left the light on downstairs.

- Caleb calls Hanna to explain that it’s complicated.

- Spencer is shocked to find she actually has two parents.

- Mona and Ezra go head-to-head on “So you want to be an evil genius”.

Please note: Description above may not resemble actual show.

[More ‘Next on Pretty Little Liars’]