#Barrie Evans Marketing

[majaloveschris]

I’d say Chris is a legitimate source; if he claims they are together then that’s the fact (whatever his way of statements have been), and it being a contract/stunt is the conjecture. Not the opposite. //

BUT HE HAS NEVER CLAIMED ANYTHING, that's the kicker. Even when he posted the video dumps, no where did he claim to be with her, but rather heart emojis and the year that was. Every word that he said during the SMA contradicted the actions that proceeded into the whole pap walk. Remember how he likes PDA? There is literally no where he has showed an ounce of affection for that girl, even in those videos. They are just cringe stuff that he has done with every random person he knows,just to paint a narrative.. just enough to creat a story but with enough room for deniability. Another little thing that people forget is , People magazine also reached out to sources and NOTHING was CONFIRMED. The same magazine that interviewed him before the public launch and claimed that if he was in a relationship he would say it himself. Just Jared coming out with a story before the dumps that was quickly deleted.

Now if liking posts is a confirmation of relationship then that man has been in a relationship with a lot of women.

My point is, even Chris is not a source. Because he has not said anything about them being together. Yet when he was with Jenny Slate,it was CONFIRMED by HIS people , with Minka it was CONFIRMED by HIS people.

Did anyone confirm that he and Lilly James were together, yet there are photos of them. In fact there is more PDA in those two days photos than in this:

" two year relationship with the love of his life that he will marry and has been married to,or have a house together to be featured in AD" and every other little thing we have heard.

Again creating a story and narrative for a purpose. Basically, a STUNT..

But let's look at his recent activities, when he speaks when events have nothing to do with her. He has said that Dodger is his true partner, just recently at a Walmart event, he said that a dog gives you what no other relationship with a human can and again right before he deactivated, he said how good it feels to be ALONE. I don't know anything about that man or more than what is speculated about him on SM, but that doesn't sound like a man is in a happy and healthy relationship. That doesn't even sound like a man in a happy place at the moment IMO.

Food for thought, didn't anyone notice the timing of all this. The public launch aka pap walk was right on the day of WN series premiere and Chris deactivated right after Netflix released WN to be picked up by another service. What did Simon Barry do on that fateful day of the pap walk, he tweeted, "he could do this all day." He also seemed very proud that WN did so well with little marketing. And just recently,what did he tell his WN minions, that the show has been renewed even though that is clearly a white lie.

Justin's father Facebook post really NEEDED to remind us that the marriage was to "Captain America" not even Chris Evans.

A STUNT. ✨

And the little pause after it. It was so funny!

I don't know if the fact that it wasn't confirmed means something. I think that's usually how it goes with these types of articles: when a "source" talks about something rather than the people involved.

I always loved the scare videos with Scott because they were genuine and funny, but theirs with Alba was neither.

I agree that he doesn't talk about things like being super in love and being in an almost 2-year relationship. I'd get it if they were in a super secret or private relationship; however, they aren't. They did a pap walk, and he's shared several stories about their relationship. I'm not saying he would talk about her or mention her name all the time, but I think he would phrase a lot of things differently.

The fact that he was Captain America had nothing to do with what Justin's father was talking about. We know Chris Evans is dating Alba, and I'm pretty sure people know he played Captain America. It was all for the show.

[brokehorrorfan]

Paramount Scares: Volume One will be released on October 24 via Paramount. The 4K Ultra HD box set collects Rosemary's Baby, Pet Sematary, Crawl, Smile, and a mystery fifth title making its 4K UHD debut.

1968's Rosemary's Baby is written and directed by Roman Polanski, based on Ira Levin’s 1967 novel. Mia Farrow stars with John Cassavetes, Ruth Gordon, Sidney Blackmer, Maurice Evans, and Ralph Bellamy.

1989's Pet Sematary is based on the 1983 novel by Stephen King, who also penned the script. Mary Lambert (Urban Legends: Bloody Mary) directs. Dale Midkiff, Fred Gwynne, Denise Crosby, Brad Greenquist, and Miko Hughes star.

2019's Crawl is directed by Alexandre Aja (The Hills Have Eyes, High Tension) and written by Michael & Shawn Rasmussen (The Ward). Kaya Scodelario and Barry Pepper star. Sam Raimi produces.

2022's Smile marks the feature debut of writer-director Parker Finn, based on his 2020 short film Laura Hasn’t Slept. Sosie Bacon, Jessie T. Usher, Kyle Gallner, Caitlin Stasey, Kal Penn, and Rob Morgan star.

The limited edition set comes with an special issue of Fangoria magazine, Paramount Scares enamel pin, sticker sheet, and exclusive slipcovers for all five films. Special features are listed below.

Rosemary's Baby special features:

Rosemary’s Baby: A Retrospective

Mia and Roman

Theatrical trailer 50th anniversary trailer

Like most first-time mothers, Rosemary experiences confusion and fear. Her husband, an ambitious but unsuccessful actor, makes a pact with the devil that promises to send his career skyward.

Pet Sematary special features:

Audio commentary by director Mary Lambert

Interview with Mary Lambert

Fear and Remembrance

Stephen King Territory

The Characters

Filming the Horror

3 image galleries: storyboards (with introduction by Mary Lambert), behind the scenes, marketing

Dr. Louis Creed, having just moved to Maine with his wife and two children, is heartbroken when he finds that his daughter’s beloved cat has been hit by a truck and killed. Thankfully, a strange, elderly neighbor called Jud knows a secret that may spare the young girl’s tears. He takes the dead cat to an ancient Indian burial ground that lies hidden in the surrounding hilltops; and when he buries the feline there, it comes back to life a few days later. But Louis can’t be trusted with the secret, and, despite strong warnings that something horrible will happen, he uses the power of the burial ground to bring his son back from the dead.

Crawl special features:

Beneath Crawl featurette

Category 5 Gators: The VFX of Crawl featurette

Alligator Attacks

Alternate opening

Introduction to alternate opening

Deleted and extended scenes

As a category 5 hurricane tears through Florida, Haley rushes to find her father, who is injured and trapped in the crawl space of their home. The storm intensifies and water levels rise, just as the pair face an even more terrifying threat—alligators lurking below the surface, ready to chop.

Smile special features:

Audio commentary by writer-director Parker Finn

Laura Hasn’t Slept - Original short film with introduction by director Parker Finn

Something’s Wrong with Rose: Making Smile

Flies on the Wall: Inside the Score featurette

Deleted scenes with optional commentary by director Parker Finn

After witnessing a bizarre, traumatic incident involving a patient, Dr. Rose Cotter starts experiencing frightening occurrences that she can’t explain. As an overwhelming terror begins taking over her life, Rose must confront her troubling past in order to survive and escape her horrifying new reality.

Pre-order Paramount Scares: Volume One.

[fanfics-that-shouldnt-exist]

Would anyone read a Jegulus fic with the following:

- regulus used to be a a big pop star. Think Britney Spears and Ashley Tisdale in the early 2000’s. Basically an industry plant.

-Sirius pursues sculptor against his parents wishes because the it wouldn’t have the lasting iconography and marketability that popular music would have. And that (on top of the abuse that most fics portray) is the catalyst for his separation from them.

-James, Lily and Mary are actors and have Harry with shared custody

- James and Lily tried dating in their teens, didn’t work. He later agreed to be Lily and Mary’s sperm donor with the agreement that he would be a parent to Harry and not just his uncle who happens to be biologically his father. Because he couldn’t handle knowing Harry was his biologically and not being in his life as a parent. So they have a happy family that is two lesbian mothers and a bi dad and their son. Plus Harry’s twenty billion aunts and uncle

- after the black family records management attempts to marry regulus to his fake pr boyfriend Severus and the company mysteriously gets shut down for fraud and embezzlement, Regulus quits music and works at a night club as a bar tender.

- regulus still secretly rights music but it’s more folk and country acoustic than his old bubblegum pop. Think Lizzy mcalpine and Emily Scott Robinson

-Remus is an author and Peter works in PR and Marlene as a costume designer

- pandora and Dorcas as dancers who got their start as back up for regulus

-Barry owns the night club that reg works at

There would be lots of hiding from the media, hiding from Sirius, toddler Harry content, regulus and Lily friendship and regulus singing Harry to sleep. And I would also be professing my undying love to Lily mother fucking Evans, because it’s what she deserves, Also this is what I came up with in like two days and have been hoarding for a week

Slightly inspired by @wolfstarlesbian but I think we are going in two very different directions. I couldn’t get the idea of a musicians au out of my head thanks to them so thank you!

[pashterlengkap]

Retired gay couple awarded for launching organization supporting LGBTQ+ elders of color

On November 12, Paul Glass and Charles D. Evans of Falmouth were honored with this year’s AARP Andrus Award for Community Service. It’s AARP’s most prestigious and visible state volunteer award for community service. They are the first married and Black gay couple in AARP’s history to receive the award. AARP, formerly the American Association of Retired Persons,  is one of the largest organizations in the country. With a membership of over 38 million members as of 2018, it focuses on issues affecting Americans over the age of fifty. The AARP Andrus Award for Community Service is an annual awards program developed to honor individuals whose service is a unique and valuable contribution to their community and society, reflecting AARP’s vision and mission. Related: This tiny market in East Texas is made for LGBTQ+ people In one of the most conservative corners of the country, queer folks are supporting each other. “I am beyond honored and grateful for this recognition. I feel we are not put on this earth to exist but to be of service to others and our community,” Evans told LGBTQ Nation. Get the Daily Brief The news you care about, reported on by the people who care about you: Subscribe to our Newsletter When AARP Massachusetts was looking to honor the state’s top volunteer, Glass and Evans’s names rose to the top. They have made a difference in the lives around them, sharing their knowledge, experience, talent, and skills to enrich the lives of our community. Since childhood, their indefatigable spirit to give back to their community was ingrained in them.  “Paul and Charles have channeled the many negative experiences they endured into positive, healing, and inspiring volunteer work and leadership,” wrote Barrie Atkin of Swampscott, who nominated the couple. “Their signature work co-founding LGBTQ+ Elders of Color in 2013 in Massachusetts was innovative, unusual, and courageous. No such organization existed at that time. In collaboration with the LGBTQ+ Aging Project, they identified the need and turned the need into a reality. They didn’t just co-found the organization along with others. Their continued leadership inspires many others to be involved.”  People of color are underrepresented and underserved when it comes to aging services and resources. Paul and Charles understand the intersectional challenges and complexities of growing older as African-American gay men. LGBTQ+ senior communities with multiple identities confront multiple challenges. Their organization, LGBTQ+ Elders of Color, fills the gap missed by Massachusetts LGBTQ+ organizations and local, state, and federal public health systems. Outreach is essential because the challenges facing Black LGBTQ+ seniors intensify with age. According to Services and Advocacy for GLBT Elders (Sage) and the Movement Advancement Project (MAP), approximately one-third of LGBTQ+ elders live at or below 200 percent of the federal poverty level, with 40 percent being Black. These seniors often feel more vulnerable, invisible, and isolated by retirement. Historical and ongoing discrimination has created significant lifelong challenges for this demographic: limited wealth and savings, low wages, few labor protections, housing instability, food insecurity, stigma, immigration, HIV status, and higher mortality from treatable conditions. All have contributed to a lack of well-being and a lower quality of life. By 2050, POC seniors will comprise over 40 percent of the elderly population, and approximately 3 million seniors will identify as LGBTQ+. With this projection, specific cultural and linguistic competence training and nondiscrimination policies are needed to support a rapidly growing demographic group that has experienced a lifetime of health, educational, and economic disparities. In 2018, Massachusetts legislators passed “An Act Relative to LGBT Awareness Training for Aging Services Providers” mandating LGBTQ+ cultural awareness training for all… http://dlvr.it/SzJfYC

[joinchris]

The Game-Changers: Top Startups Transforming the Blogging Industry

Introduction:

In the ever-evolving landscape of the digital era, blogging remains a powerful medium for sharing ideas, stories, and expertise. As the demand for quality content continues to rise, innovative startups are emerging to reshape the blogging industry. These companies are not only addressing existing challenges but also introducing groundbreaking solutions that promise to revolutionize how we create and consume content. In this article, we will explore some of the best startups that are poised to change the blogging industry for the better.

Check our Forums for more!

Medium: Redefining Blogging Platforms

Medium, founded by Evan Williams in 2012, has become synonymous with high-quality, long-form content. The platform has disrupted traditional blogging by creating a space where writers can focus on their craft without the distractions of ads or complex formatting. With its user-friendly interface, Medium is making it easier for both seasoned writers and newcomers to share their thoughts with a global audience. The startup's commitment to quality and simplicity is reshaping the expectations of what a blogging platform can offer.

Check our Forums for more!

Grammarly: Elevating Content Quality

While not a traditional blogging platform, Grammarly has become an indispensable tool for bloggers and writers alike. This AI-driven platform goes beyond basic spell-check, offering in-depth grammar and style suggestions. By providing real-time feedback, Grammarly empowers writers to enhance the quality of their content, ensuring that blog posts are not only informative but also well-crafted. In an era where content is king, Grammarly is a game-changer for bloggers striving for excellence.

ConvertKit: Empowering Bloggers Through Email Marketing

Email marketing is a crucial aspect of successful blogging, and ConvertKit is leading the charge in making it accessible for bloggers of all levels. Founded by Nathan Barry in 2013, ConvertKit simplifies the process of building and maintaining an email list. With features tailored specifically for bloggers, this startup enables content creators to engage with their audience more effectively. By recognizing the importance of cultivating a direct connection with readers, ConvertKit is playing a vital role in the evolution of blogging strategies.

Canva: Revolutionizing Visual Content Creation

Canva has transformed the way bloggers create visual content. With its user-friendly design tools, even those without graphic design expertise can produce stunning visuals for their blogs. Founded by Melanie Perkins in 2012, Canva's drag-and-drop interface and extensive library of templates empower bloggers to add a professional touch to their posts. In a world where visual appeal is crucial, Canva is leveling the playing field and enabling bloggers to stand out with eye-catching graphics.

Substack: The Rise of Newsletter Blogging

Substack has pioneered a resurgence of newsletter-based blogging. Founded in 2017, this startup provides a platform for writers to build their own subscription-based newsletters. By allowing writers to monetize their content directly through subscriptions, Substack is changing the way bloggers think about revenue streams. This model gives bloggers greater control over their work and fosters a closer connection with their audience.

Conclusion:

The blogging industry is undergoing a transformative period, thanks to these innovative startups. From redefining the blogging platform to enhancing content quality and revolutionizing visual design, each of these companies plays a crucial role in shaping the future of digital content creation. As bloggers continue to seek ways to improve their craft and reach wider audiences, these startups are providing the tools and platforms needed to thrive in the competitive world of online content creation. By embracing these technologies, bloggers can not only stay relevant but also lead the way in shaping the future landscape of the blogging industry.

Check our Forums for more!

[madeulookbylex]

How to stalk your competitors’ negative reviews for new customers

Image: Shutterstock / Phoenixns

Stalking your competitors’ reviews can be an extremely effective technique for getting new customers. That said, it’s a strategy that’s more art than science, and must be done very carefully.Responding directly to negative feedback left for your competitors is generally a very bad idea. It can make you look like a jerk, and will more than likely make your competitors pretty unhappy. So, how can you leverage your competitors’ negative reviews to generate leads?This post will come at the issue from two different angles:

How to find your competitors’ negative online reviews, and

How to act on those reviews in a way that doesn’t damage your reputation.

6 ways to find your competitors’ negative reviews

Following are some of the most effective ways to stay on top of negative comments and reviews left for your competitors.

1. Monitor your competitors’ blog comments

Scouring through blog comments will often yield a number of negative comments or unanswered questions from customers. It will also give you some insight into how your competitors typically respond or react to negative feedback.Don’t respond directly to negative comments left on your competitors’ blog! I’ll cover some much more effective ways to utilize these comments at the end of this post.

2. Use Google Alerts to stay on top of brand mentions

Google Alerts remains the industry standard tool for monitoring online mentions. Set up alerts for mentions of your competitors’ brand name, product names and the owner’s full name.This will immediately alert you to mentions – both good and bad – across the web. This will include blogs, news articles, and other web pages.

While you can try setting up alerts for keywords that might indicate negative reviews (e.g., unhappy, complaint, negative), more than likely you’ll have to manually search for all the comments and mentions.

3. Use social listening tools to monitor negative mentions on social media

One of the best ways to stay on top of negative mentions of your competitors is to use a social listening tool like Brand24 or Hootsuite.More than ever before, consumers expect brands to respond to questions and feedback on social media. Brands that do respond appropriately can see some huge benefits. According to some research, customers who were contacted after leaving a negative review were 33% more likely to turn around and leave a positive review, and 18% were more likely to become a loyal customer.If your competitors aren’t responding – or aren’t responding well – to customer complaints, they’re sacrificing these benefits. And you can use this to your advantage.

4. Monitor local review sites using ReviewFlow

According to BrightLocal, when consumers are looking for reviews of a business they typically go to one of two places: either to a search engine or directly to the review site.If your competitors aren’t responding to negative feedback left on review hubs like Yelp, Google My Business and Angie’s List, they’re losing the opportunity to manage their reputation where it counts most.

Using a tool like ReviewFlow, you can actively monitor all the big review sites for mentions of your competitors’ names. While you won’t directly respond to those reviews, you will use what you’ve learned in some other strategic ways (more on this below).

5. Follow your competitors on social media

While a tool like Hootsuite will alert you to many mentions of your competitors on social media, it won’t show comments that don’t explicitly use your competitors’ name. This is where following your competitors and actively monitoring their social media activity is so important.This is particularly important on Facebook, where Visitors Posts won’t show up on social listening tools unless visitors actually mention or tag the business name.

6. Regularly monitor their Amazon reviews

If your competitors use Amazon to sell their products, this can be a great place to watch for negative reviews. While you won’t be able to respond to comments left on your competitors’ product pages, you can use what you’ve learned to improve your own products and customer service.

Note: While it may be possible to track down a reviewer’s email address through their Amazon profile, emailing a user for something other than servicing their order can get your account shut down.

How to use negative reviews to get new customers

I’ve already hinted at some of the ways you can use what you’ve found, however, I’ll cover each of these strategies in more detail below.

Respond directly to dissatisfied customers

As already mentioned, this is something you should do with extreme caution. Responding to questions and negative comments on your competitors’ social media feed or website is generally a pretty terrible idea, so should be reserved for one specific circumstance: if your competitor has abandoned (or virtually abandoned) their website or social media account. Even in this situation, avoid criticizing your competitor, and move the conversation offline asap.

Improve your own products and customer service

Monitoring your competitors’ negative reviews can help you avoid facing the same fate. Use what you’ve learned to improve your products, services, and social customer service skills.Here are a few ways to fix bad reviews.

Reach out to reviewers outside of your competitors’ website or social media feed

If you’ve seen a negative review on a competitor’s website or social media account, go ahead and reach out to the reviewer outside of that channel. Here’s how to connect with them.If you’ve found a blog comment: Click on the commenter’s name. This will often lead you directly to their blog or social media profile. Engage with them on their blog or follow and connect with them via their social media accounts.If you’ve found a comment on your competitors’ social media feed: Follow them on social media and reach out to them with helpful advice of information (e.g., “We heard you’ve been looking for a reliable web designer. We’d like to offer you this coupon for 20% off!”.)

Build up your presence on social media sites where your competitors are failing

This is another indirect way you can reach new customers by succeeding where your competitors are failing. If you notice a competitor regularly receiving negative feedback on Facebook, for instance, boost your efforts on that platform. All those dissatisfied customers are sure to be looking for alternatives…and why shouldn’t it be you?

A final thought

Regardless of how or where you engage with your competitors’ unhappy customers, always try to avoid criticizing the competition. Instead, focus on being empathic (“I’m sorry you had such a bad experience”), and on providing useful information or advice.Looking for more advice on stalking the competition? You may enjoy my post How To Use Social Media To Ethically ‘Stalk’ Competitors And Job Candidates.

John Rampton is serial entrepreneur who now focuses on helping people to build amazing products and services that scale. He is founder of the online payments company Due. He was recently named #2 on Top 50 Online Influencers in the World by Entrepreneur Magazine. Time Magazine recognized John as a motivational speaker that helps people find a “Sense of Meaning” in their lives. He currently advises several companies in the bay area.

John Rampton

Read more: http://ift.tt/2mSdwtC

from Barrie Evans Marketing http://ift.tt/2oNHiAk via Become an online business entrepreneur

[frei-und-schwerelos]

Happy 11th Birthday, Wicked UK!

(September 27, 2006 - September 27, 2017)

[peekbackstage]

Would you be willing to talk about how standards of masculinity and femininity in Asia differ from those in Europe/North America? I know, it's a ridiculously broad question but I think you mentioned it in passing previously and I would be really interested in your answer especially in the context of the music industry and idols. I (European) sometimes see male Asian idols as quite feminine (in appearance, maybe?) even if they publicly talk about typically masculine hobbies of theirs.

Hi Anon,

Sorry that it took me over a month to get to this question, but the sheer volume of research that is necessary to actually answer this is significant, as there is an enormous body of work in gender studies. There are academics who have staked their entire careers in this field of research, much of which isn’t actually transnational, being that regional gender studies alone is already an incredibly enormous field.

As such, in no way can I say that I’ve been able to delve into even 1% of all the research that is out there to properly address this question. While I can talk about gender issues in the United States, and gender issues that deal with Asian American identity, I am not an expert in transnational gender studies between Asia and Europe. That being said, I’ll do my best to answer what I can. 

When we consider the concept of “masculinity” and “femininity,” we must first begin with the fundamental understanding that gender is both a construct and a performance. The myth of gender essentialism and of gender as a binary is a product of patriarchy and compulsory heterosexuality in each culture where it emerges.

What you must remember when you talk about gendered concepts such as “masculinity” and “femininity” is that there is no universal idea of “masculinity” or “femininity” that speaks across time and nation and culture. Even within specific regions, such as Asia, not only does each country have its own understanding of gender and national signifiers and norms that defines “femininity” or “masculinity,” but even within the borders of the nation-state itself, we can find significantly different discourses on femininity and masculinity that sometimes are in direct opposition with one another. 

If we talk about the United States, for example, can we really say that there is a universal American idea of “masculinity” or “femininity”? How do we define a man, if what we understand to be a man is just a body that performs gender? What kind of signifiers are needed for such a performance? Is it Chris Evan’s Captain America? Or is it Chris Hemsworth’s Thor? What about Robert Downey Jr.’s Tony Stark? Do these characters form a single, cohesive idea of masculinity? 

What about Ezra Miller’s Barry Allen? Miller is nonbinary - does their superhero status make them more masculine? Or are they less “masculine” because they are nonbinary? 

Judith Butler tells us in Gender Trouble (1990) and Bodies That Matter: On the Discursive Limits of “Sex” (1993) that what we call gender is inherently a discursive performance of specific signifiers and behaviors that were assigned to the gender binary and enforced by compulsory heterosexuality. She writes:

Insofar as heterosexual gender norms produce inapproximate ideals, heterosexuality can be said to operate through the regulated production of hyperbolic versions of “man” and “woman.” These are for the most part compulsory performances, ones which none of us choose, but which each of us is forced to negotiate. (1993: 237)

Because gender norms vary regionally, there are no stable norms that coalesce into the idea of a single, universal American “masculinity.” What I mean by this is that your idea of what reads as “masculine” might not be what I personally consider to be “masculine,” as someone who grew up in a very left-leaning liberal cosmopolitan area of the United States. 

What I am saying is this: Anon, I think you should consider challenging your idea of gender, because it sounds to me like you have a very regionally locked conception of the gender binary that informs your understanding of “masculinity” and femininity” - an understanding that simply does not exist in Asia, where there is not one,  but many different forms of masculinity. 

China, Japan, and South Korea all have significant cultural differences and understandings of gender, which has a direct relationship with one’s national and cultural identity. 

Japan, for example, might consider an idol who has long, layered hair and a thin body to be the ideal for idol masculinity, but would not consider an idol to be representative of “real” Japanese masculinity, which is epitomized by the Japanese salaryman. 

South Korea, however, has a very specific idea of what idol masculinity must look like -  simultaneously hypermasculine (i.e. extremely muscular, chiseled body) and “feminine” (i.e. makeup and dyed hair, extravagant clothing with a soft, beautiful face.) But South Korea also presents us with a more “standardized” idea of masculinity that offers an alternative to the “flowerboy” masculinity performed by idols, when we consider actors such as Hyun Bin and Lee Min-ho. 

China is a little more complex. In order to understand Chinese masculinity, we must first understand that prior to the Hallyu wave, the idea of the perfect Chinese man was defined by three qualities: 高富帅 (gaofushuai) tall, moneyed, and handsome - largely due to the emergence of the Chinese metrosexual. 

According to Kam Louie:

[The] Chinese metrosexual, though urbanized, is quite different from his Western counterpart. There are several translations of the term in Chinese, two of the most common and standard being “bailing li'nan” 白领丽男 and “dushili'nan” 都市丽男，literally “white-collar beautiful man” and “city beautiful man.” The notion of “beautiful man” (li-nan) refers to one who looks after his appearance and has healthy habits and all of the qualities usually attributed to the metrosexual; these are also the attributes of the reconstituted “cool” salaryman in Japan, men who have abandoned the “salaryman warrior” image and imbibed recent transnational corporate ideologies and practices. 

[...]

In fact, the concept of the metrosexual by its very nature defines a masculinity ideal that can only be attained by the moneyed classes. While it can be said to be a “softer” image than the macho male, it nevertheless encompasses a very “hard” and competitive core, one that is more aligned with the traditional “wen” part of the wen-wu dyad that I put forward as a conventional Chinese ideal and the “salaryman warrior” icon in Japan. Unsurprisingly, both metrosexuality and wen-wu masculinity are created and embraced by men who are “winners” in the patriarchal framework. 

The wen-wu 文武 (cultural attainment – martial valor) dyad that Louie refers to is the idea that Chinese masculinity was traditionally shaped by “a dichotomy between cultural and martial accomplishments” and is not only an ideal that has defined Chinese masculinity throughout history, but is also a uniquely Chinese phenomenon.

When the Hallyu wave swept through China, in an effort to capture and maximize success in the Chinese market, South Korean idol companies recruited Chinese idols and mixed them into their groups. Idols such as Kris Wu, Han Geng, Jackson Wang, and Wang Yibo are just a few such idols whose masculinities were redefined by the Kpop idol ideal. 

Once that crossover occurred, China’s idol image shifted towards the example South Korea set, with one caveat: such an example can only exist on stage, in music videos, and other “idol” products. Indeed, if we look at any brand campaigns featuring Wang Yibo, his image is decisively more metrosexual than idol; he is usually shot bare-faced and clean-cut, without the “idol” aesthetics that dominate his identity as Idol Wang Yibo. But, this meterosexual image, despite being the epitome of Chinese idealized masculinity, would still be viewed as more “feminine” when viewed by a North American gaze. (It is important to note that this gaze is uniquely North American, because meterosexual masculinity is actually also a European ideal!)

The North American gaze has been trained to view alternate forms of masculinity as non-masculine. We are inundated by countless images of hypermasculinity and hypersexual femininity in the media, which shapes our cultural consciousness and understanding of gender and sexuality and unattainable ideals. 

It is important to be aware that these ideals are culturally and regionally codified and are not universal. It is also important to challenge these ideals, as you must ask yourself: why is it an ideal? Why must masculinity be defined in such a way in North America? Why does the North American gaze view an Asian male idol and immediately read femininity in his bodily performance? What does that say about your North American cultural consciousness and understanding of gender? 

I encourage you to challenge these ideas, Anon.  

“Always already a cultural sign, the body sets limits to the imaginary meanings that it occasions, but is never free of imaginary construction.” - Judith Butler 

Works Cited

Butler, Judith. Gender Trouble. New York, NY, Routledge, 1990. Butler, Judith. Bodies That Matter: On the Discursive Limits of Sex. New York, NY, Routledge, 1993. Flowerboys and the appeal of 'soft masculinity' in South Korea. BBC, 2018,  Louie, Kam. “Popular Culture and Masculinity Ideals in East Asia, with Special Reference to China.” The Journal of Asian Studies, Volume 71, Issue 4, November 2012 , pp. 929 - 943 Louie, Kam. Chinese, Japanese, and Global Masculine Identities. New York, NY, Routledge, 2003. 

[aion-rsa]

The Best Creepy Horror Movies

https://ift.tt/31YlYtU

Creepy isn’t the same as scary.

Of course horror movies can be scary simply by using loud noises and sudden movements to make their audiences jump, but creepy is harder to pull off. To be effectively creepy, a film needs to establish a certain atmosphere; it needs to draw you in and make you care. It needs to give you something to think about when you’re trying to drop off to sleep at night; to make you wonder whether that creaking noise down the hallway was just the house settling or something lurking in the shadows. Creepy stays with you. It gives you goosebumps.

Here are 85 of the best horror movies (in no particular order) to chill your bones. Enjoy the nightmares.

Us (2019)

Jordan Peele’s follow up to his award winner Get Out is another social horror. While it might not be quite as accomplished or coherent as Get Out (the end is a bit of a mess) Us is arguably scarier than Get Out as a family staying in a holiday home find themselves tormented by evil replicas of themselves. It’s a film that keeps you constantly on edge with the performances of the main cast – Lupita Nyong’o, Winston Duke, Shahadi Wright Joseph and Evan Alex – absolutely pitch perfect and never less than convincing as good and evil versions of themselves.

It Comes At Night (2017)

Though the marketing material was somewhat misleading, featuring the above scary-looking dude (who really isn’t a big part of the film at all), It Comes at Night, from director Trey Edward Shults is a claustrophobic slow-burner that insidiously ramps up the creep factor. Joel Edgerton plays the patriarch of a family holed up in a cabin in the woods to escape an unnamed wide spread virus. But when a man, his wife and their young child arrive seeking shelter his family life is disrupted. A coming-of-age horror with one of the bleakest endings around.

Mr. Jones (2013)

Nobody knows who Mr. Jones is. The artist is a recluse, but his bizarre sculptures have made him world famous. When a documentary maker and his girlfriend stumble across what looks like his workshop, they become obsessed with finding out the truth about Mr. Jones, but the truth isn’t particularly easy to stomach.

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One of the most stylishly shot found footage movies you’ll ever see, the makers know the rules of the genre well enough that when they break them, it adds to the story rather than detracting from it. Also, those scarecrows are petrifying.

Under the Shadow (2016)

Set in war-torn Tehran in the late 1980s, Under the Shadow sees a would-be doctor battling the forces of evil for her daughter (and her sanity) even as everyone around her flees to safer ground. The juxtaposition of earthly and unearthly threats makes this a uniquely terrifying film, and Shideh (Narges Rashidi) is a wonderfully complex and sympathetic heroine. Not many films could make a sheet of printed fabric terrifying, but Under the Shadow manages it.

Gaslight (1940)

Bella (Diana Wynyard) thinks she’s losing her mind. She keeps losing things, and the lights in her house seem to flicker, even though her husband Paul (Anton Walbrook) tells her he can’t see anything wrong. Plus there are those footsteps upstairs… Just from that description, you might think that Gaslight will turn out to be a haunted house story, but the real explanation for all the weirdness is far more sinister than that. Walbrook does sinister like no-one else.

The Babadook (2014)

A character from a terrifying kids book comes to life to haunt a single mother (Essie Davis) grieving for the loss of her husband in this beautiful, sorrowful meditation on depression and despair. Top-hatted Mr. Babadook with his horrible, terrible grin is of course creepy as all, but Noah Wiseman as her needy and uncontrollable child gives him a run for his money in creepiness.

The Clairvoyant (1934)

Maximus, King Of The Mind Readers (Claude Rains) performs amazing feats of clairvoyance on stage every night in front of adoring audiences. The problem is, it’s fake – the mind-reading is all done through a secret code Maximus has invented to communicate with his assistant wife, Rene (Fay Wray). But one night, he meets Christine (Jane Baxter), and his abilities become real. He really can predict the future. If you’ve already guessed that’ll turn out to be more of a burden than a gift, you’re right. Gorgeously shot, wonderfully acted, this is a creepy delight.

Sleep Tight (2011)

The second Jaume Balaguero film on this list is just as bleak and horrifying as the first: Sleep Tight sees a concierge secretly breaking into the homes of the people he’s supposed to serve to try to make them as miserable as he is. When Cesar (Luis Tosar) finds one tenant is harder to upset than the others, his behaviour escalates until he’s committing unimaginably grotesque crimes against the poor girl. The ending will have you shuddering in your seat.

Lake Mungo (2008)

This strange found footage film from Australia takes the format of a mockumentary focusing on the family of a dead girl who think there are supernatural goings on surround their house. It owes a debt to Twin Peaks in its odd neighborhood vibe, and the twisty plot holds many surprises, as the movie wrong foots the audience time and again. It’s creepy throughout but by the time you finally discover what’s really going on it’s not only terrifying but emotionally devastating too.

Dead of Night (1945)

Probably the best horror anthology ever made, this Ealing Studios production includes five individual stories and one wrap-around narrative. The wrap-around sees a consultant arrive at a country home only to find that he recognizes all of the guests at the house – he’s seen them all in a dream.

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Annabelle: Real-Life Haunted Dolls to Disturb Your Dreams

By Aaron Sagers

Spooked, the guests start recounting their own stories of the uncanny, each more unnerving than the last. Well, except for the one about the golfers, but that one’s just there for light relief before the film hits you with the scariest ventriloquist’s dummy ever committed to film. Just excellent, all round.

Hereditary (2018)

One of the most truly harrowing movies of recent years is Hereditary, the feature debut from Ari Aster. Toni Collette stars as a mother trying to hold together her family in the aftermath of a tragedy while around her supernatural goings on begin to escalate.

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Hereditary has been called The Exorcist for a new generation, though it’s so much more than that. In fact at times, Hereditary is almost too scary, so oppressive is it’s escalating anguish and dread. This one is pure nightmare fodder.

Nina Forever (2015)

Rob (Cian Barry) can’t get over his ex-girlfriend. Nina (Fiona O’Shaughnessy) died in a car crash, which is bad enough, but when he tentatively begins a relationship with his co-worker, Holly (Abigail Hardingham), he finds himself haunted by Nina. Literally. She materializes in his bed every time he and Holly have sex – she might be dead, but she’s not letting go.

“Creepy” doesn’t feel like a strong enough word to describe this film – “devastating” might do it. It’s a sensitive and horrifying portrayal of grief, with a sense of humour as dark as the inside of your eyelids, and some extremely upsetting gore. Brilliant, but not one for the faint-hearted.

Robin Redbreast (1970)

When she moves away from London to a tiny country cottage, Norah (Anna Cropper) expected the change to be a bit strange, but nowhere near as weird as it ultimately turns out to be. As she gets to know the locals, she finds herself being pushed towards a relationship with karate-loving Rob (Andrew Bradford), and while she’s initially game, she soon discovers that her choices are being made for her. It’s a little bit Wicker Man, a little bit Rosemary’s Baby, and a lot of creepiness.

It Follows (2014)

Inspired by a reccuring nightmare director David Robert Mitchell had in his youth,It Follows is a clever, freaky take on the slasher movie, featuring, well, a sexually transmitted ghost. Maika Monroe plays a young woman haunted by a shape shifting spectre after a sexual encounter who slowly but relentless trails her everywhere – the film plays with the audience expertly, making us guess whether background characters could really be the monster. Ultra modern and highly effective, this one will leave you jumping at shadows long after the credits roll.

The Masque of the Red Death (1964)

A tyrannical landowner is plagued by, well, a literal plague in Roger Corman’s adaptation of an Edgar Allan Poe story. Vincent Price plays the Satanic Prince Prospero, who rules over his village with an iron fist, condemning people to death for the mildest offence and abducting any woman who takes his fancy, but all of his evils come back to haunt him when he throws a masked ball and Death shows up. Fittingly, it’s got the hallucinogenic quality of a fever dream, and the various incarnations of Death are wonderfully creepy.

As Above, So Below (2014)

A group of explorers heads deep into the Paris catacombs, only to find they’ve gone a little too deep and stumbled into an alternate dimension that might actually be Hell. It’s a brilliantly over the top concept, and the way it plays out is incredibly eerie. Yes, it’s found footage, and yes, it’s a little bit on the silly side – it chucks in quotes from Dante and a few too many sad-faced ghosts – but some of the scares along the way are properly frightening. Suspend your disbelief and let it freak you out.

Oculus (2013)

Eleven years ago, Alan (Rory Cochrane) bought an antique mirror… and then died, along with his wife. According to the police, they were murdered by their 10-year-old son. According to their daughter, the mirror is haunted, and something supernatural caused their deaths. Now Tim (Brenton Thwaites) is out of prison, Kaylie (Karen Gillan) wants to prove he was innocent by conducting an experiment on the mirror… But inadvertently puts both of them in danger all over again.

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It’s chilling. The way director Mike Flanagan plays with reality, building unbearable uncertainty through camera angles and false memories, makes this film both incredibly scary and impossibly sad.

The Witch (2015)

After being cast out of a New England plantation for not interpreting scripture in the same way as the colony’s elders, a family strikes out alone, and soon discovers how inhospitable their unfamiliar new home country can really be. The Witch is a period piece, and the language is suitably archaic, but don’t let that put you off: it’s a brilliantly chilling portrayal of Puritan life, where belief can mean the difference between life and death, and horror is only ever one failed crop away.

The Amityville Horror (1979)

The Amityville Horror is the haunted house story. If you were only ever going to watch one haunted house movie, it should be this one, because this is the archetypal story: a family moves into a house where horrible murders happened, and then bad things happen to them. It manages a lot of things later imitators didn’t, though, which is that it makes the Lutzes’ decision to buy the house make sense, and also builds the horror slowly, so that they almost don’t notice when the things going wrong in the house switch from annoying issues to outright horror. If you’ve moved house in recent memory, this one’ll hit you where it hurts.

The Conjuring (2013)

If you were only ever going to watch two haunted house movies, the second one should definitely be The Conjuring. James Wan’s ode to ’70s horror has plenty in common with The Amityville Horror, but it also has plenty of ideas of its own – and at least half a dozen moments that’ll make your heart leap into your mouth.

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The camerawork, the music, the cute kids stuck in the middle of epic spiritual warfare… it all adds up to a completely terrifying experience. You’ll probably need to sleep with a nightlight for a week afterwards.

The Changeling (1980)

George C. Scott stars as Dr. John Russell in this classic ghost story, which is a favorite of The Others director Alejandro Amenabár. Following the tragic demise of his wife and son, Dr. Russell moves into a rambling Victorian mansion to compose music and pick up the pieces of his life. He’s soon being woken by relentless booming sounds coming from the heating system, precisely at 6am every day… Then there’s the old “apparition in the self-filling bath” trick (actually, this may be the first time this happened onscreen, but it sure won’t be the last).

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This is one of those movies which hits up all the clichés: people go into the dark, gloomy attic to search for clues, and to the library to look up old news archives on the microfiche; they visit the graveyard, and finally, hold a séance (which is overwhelmingly creepy). The eerie soundtrack and skilful storytelling result in a film which peels back its mysterious layers slowly for a satisfying finish.

The Hallow (2015)

If you go down to the woods today, make sure you don’t steal anything or break anything, or the Hallow will get you. Tree surgeon Adam and his family move into an ancient farmhouse to start sizing up the land for developers and quickly fall afoul of the supernatural creatures lurking in the trees, which turns out to be a really bad idea. This film’s got it all: foreboding mythology, grotesque body horror, and the most amazing line of foreshadowing dialogue you’ll ever hear.

The Uninvited (1944)

A couple of Londoners holidaying in Cornwall stumble across a gorgeous abandoned house on the seafront and immediately decide they want to buy it. The owner, a grumpy old colonel, is happy to sell it to them on the spot, but his granddaughter is reluctant. Turns out the house has got secrets, and, yeah, a ghost. The dialogue in this film is incredible in a very 1940s kind of way, and the tone can occasionally be accused of jolliness, but it’s also got its moments of proper creepiness. Best enjoyed with a glass of sherry.

Saint Maud (2019)

One of the best movies of the year, Rose Glass’s feature debut is a study of a young palliative care nurse who starts to believe she’s on a mission from God to save the soul of her dying patient.

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Saint Maud and the True Horror of Broken Minds and Bodies

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Movies

Saint Maud Review: Elevated Horror That’s a Revelation

By Rosie Fletcher

It’s a film about conflicts between mind, body and soul, but it leans her into genre territory as Maud (Morfydd Clark) hear God talking to her directly and punishes her own body in an attempt to feel closer to her spiritual side, while the cancer riddled Amanda (Jennifer Elhe) celebrates her body as it lets her down. Shot in Scarborough everything about Saint Maud is unsettling right up to the indelible finale. An absolute must watch.

Crimson Peak (2015)

Director Guillermo del Toro insists that Crimson Peak isn’t a horror film but is, instead, a gothic romance. That doesn’t mean that it isn’t creepy as all get-out, though. When aspiring author Edith Cushing (Mia Wasikowska) meets charming baronet Thomas Sharpe (Tom Hiddleston), she falls madly in love and agrees to move back to his ancestral home, Allerdale Hall – aka Crimson Peak. But the house is crumbling and full of ghosts, and Sir Thomas’s sister doesn’t seem terribly friendly, either…

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Del Toro’s visual flair is in full effect here, and every frame of this film (even the scary ones) are stunningly beautiful to look at. It’s a treat.

Baskin (2015)

A group of cops answers a call from the middle of nowhere and unwittingly stumble into something that can only be described as ‘a nightmare’ in this skin-crawlingly nasty Turkish horror. Abrasive, aggressive and deliberately difficult, this is the kind of film that burrows deep into your brain, only to resurface later at the worst possible time. Then again, by the time you’re stranded in the middle of nowhere with only dead colleagues and Silent Hill-style monsters for company, you probably don’t need memories of a horror movie to freak you out.

His House (2020)

A Netflix movie which could make a mark come award’s season the directorial debut of Remi Weekes sees a Sudanese refugee couple seek housing in London only to find themselves haunted by ghosts of the past and present. This is proper horror and it’s creepy as hell but it also leans into the horror of the refugee situation with the two marginalized, restricted, and treated as outsiders from the start – it’s a powerful but uncomfortable watch.

Host (2020)

The defining horror of 2020 – written, shot, edited and released on Shudder in just 12 week – Host is so much more than a lockdown gimmick. Following a group of friends who decide to do a seance via a Zoom chat, this ingenious movie trades on the real life friendships of the cast and crew and the absolute ubiquity of the video software during isolation. It’s seriously creepy too, utilising visions in the shadow but later some seriously impressive stunt work. Director Rob Savage and writer Jed Shepherd have signed up for a three picture deal from Blumhouse on the strength of this movie which absolutely needs to be seen.

The Haunting (1963)

Not to be confused with the remake of 1999, this retro gem not only features some classic sequences of spooky happenings, but a philosophical take on the paranormal. As John Markway says, “The preternatural is something we don’t have any natural explanation for right now but probably will have someday – the preternatural of one generation becomes the natural of the next. Scientists once laughed at the idea of magnetic attraction; they couldn’t explain it, so they refused to admit it exists.

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By Chris Longo

Dr. Markway (Richard Johnson) is investigating the mysterious Hill House, whose inhabitants often die in odd circumstances. With him he has Luke (Russ Tamblyn), the cynical heir to the home, the psychic Theo (Claire Bloom, way too cool for school) and Julie Harris as Eleanor, who has some ghosts of her own but figures a free stay in a mansion is as close to a holiday as she’s going to get. Markway is pleased the ladies haven’t done any research into the bad reputation of the house “So much the better. You should be innocent and receptive.” (The old dog.) This is a great, character-driven story with a dry sense of humor, and a mysterious heroine who feels oddly at home with the supernatural.

Unfriended (2014)

A cautionary tale about the dangers of cyberbullying, Unfriended achieves the seemingly impossible and manages to make the standard sound effects of everyday computer programs terrifying. The whole story is told through one character’s desktop, so you get to watch as she Skypes with her friends, posts to Facebook, or picks something to listen to on Spotify. The details are fascinating, and it’s kind of brilliant how the filmmakers manage to express so much about a character through her browser bookmarks and the messages she types, but doesn’t send. Once the horror kicks in, though, you’ll be too scared to notice much more of the cleverness.

Shutter (2004)

Jane (Natthaweeranuch Thongmee) is driving back from a wedding with her boyfriend Tun (Ananda Everingham) when she hits a girl – in a panic, they leave the body lying in the road and try to get on with their lives. They start feeling rattled when Tun’s photography is blighted by misty shadows and they both suffer from the odd hallucination which seems to show that their hit and run victim (Achita Sikamana) isn’t resting in peace.

Where would horror films be without photographic dark rooms? Even in the digital age, the dim red light and slowly emerging pictures remain classic tools of terror. Not to mention the room with rows of jars containing pickled animals, and the surprise homage to Psycho. This story has it all. There are also touches of dark humor throughout (the praying mantis is a recurring motif) and one of the most bone-chilling scenes has a hilarious payoff.

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By Gene Ching

Directors Banjong Pisanthanakun and Parkpoom Wongpoom skilfully create real characters and have the ability to communicate some of the most powerful and eloquent moments without dialogue.  The mystery deepens as more sinister evidence comes to light and the climax is truly chilling. This is one which will stay with you long after Halloween.

Spider Baby (1967)

The Merrye children live out in the middle of nowhere, with only one another and their family chauffeur, Bruno (Lon Chaney Jr) for company. Which is for the best, because they’re all afflicted with the family curse – a bizarre quirk of genetics that causes members of the Merrye family to begin to de-evolve once they reach a certain age. When some distant relatives come to visit, intending to challenge the kids’ right to stay in the house, things go sour fast. It’s a horror comedy, this one, but if you’re not a little bit creeped out by Virginia (Jill Banner), the Spider Baby of the title, and her spider game, well, good luck to you.

What Lies Beneath (2000)

Robert Zemeckis directs Michelle Pfieffer and Harrison Ford in this glossy supernatural thriller, with predictably high quality results. Clare and Norman Spencer live the perfect life – especially now their daughter has left for college and they’re enjoying empty nest syndrome. But the neighbors are causing some concern – especially when the wife disappears and Claire believes she is trying to communicate with her from “the other side.”

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Zemeckis has admitted that this is his homage to Hitchcock, and true to form, the suspense builds deliciously slowly. When Claire starts seeing faces in the bathtub (where else?) she goes to talk it over with a psychiatrist. A session with a Ouija board proves that somebody is trying to contact Claire, and it’s not long before she’s stealing keepsakes from grieving parents and reading books with chapters helpfully entitled “Conjuring the Dead.”

The result is a strong movie whether you’re enjoying the ghost story or the “Yuppies in peril in a beautiful house” aspect of it (and it doesn’t hurt that Michelle looks luminously beautiful).

Cat People (1942)

Serbian immigrant Irena doesn’t have a friend in the world when she meets Oliver. He’s kind and attentive and they soon fall in love, despite Irena’s lack of physical affection. She’s convinced she’s living under a curse that will mean she’ll transform into a panther and kill any man she kisses, and despite seeing a (deeply inappropriate) psychiatrist, she can’t shake her beliefs. Oliver is initially patient but eventually finds himself falling for his much more reasonable colleague, Alice. There’s no way this love triangle can end happily and, well, it doesn’t. Cat People is sad as well as eerie, with an increasingly paranoid atmosphere enhanced by skillful shadow play.

The Nameless (1999)

Five years after her daughter Angela went missing, presumed dead, Claudia starts getting weird phone calls. A female voice claims to be Angela, and begs her mother to save her. A series of weird clues leads Claudia to investigate a weird cult… but when things slot into place too easily, it seems like someone might be luring her into a trap. Thematically, The Nameless is similar to Jaume Balaguero’s later film Darkness; there’s a similar feeling of hopelessness and despair, a creeping horror that doesn’t let up, topped off with a horribly downbeat ending. Brrrr.

Dead End (2003)

The Harrington family are driving home for Christmas when they decide to take a shortcut. Obviously, that turns out to be a bad idea. Picking up a mysterious hitchhiker is an even worse idea. Dead End isn’t a particularly original movie, and it does have a truly awful ending, but there’s something about its characters, its atmosphere, and the way it tells the well-worn story that’s really effective. And creepy, of course.

The Others (2001)

Every ghost story introduces an element of uncertainty: are these things really happening, or are they in your head? Like The Innocents, The Others is partly inspired by Henry James’ novella The Turn Of The Screw. Grace (Nicole Kidman) has turned being neurotic into a fulltime job; her children apparently suffer from a sensitivity to light, which means the gothic mansion they inhabit must be swathed in thick curtains at all times. This makes things difficult for the new servants, who have turned up in a most mysterious manner… 

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Grace’s daughter has an imaginary playmate called Victor; her insistence that there are “other people” in the house vexes Grace until she begins to hear them, too. A piano playing by itself, shaking chandeliers and some truly traumatic hallucinations add to the panic as Grace questions exactly who she is sharing her home with. The tension builds to almost unbearable heights before a truly haunting ending. An intelligent script with a superb twist, quality acting and an atmospheric set (complete with graveyards, mist and autumn leaves) – what more could you want in a creepy movie?

Night of the Living Dead (1968)

“It is happening, and no one is safe.” Night of the Living Dead features some of the most brilliantly ominous radio broadcasts in all horror. When a group of strangers end up trapped in an isolated farmhouse together after the dead begin to rise, no one is in the mood for making friends, and it’s their own prejudices and stubbornness that leads to their downfall. (Well, that, and the fact that no one realized getting bitten by a ghoul would lead to death and reincarnation. Oops.)

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The zombie imagery is some of the most haunting ever committed to film, as vacant-eyed ghouls wander in and out of the shadows, chewing on dismembered body parts as they lurch around, constantly in search of fresh meat…

Candyman (1992)

Say his name five times into a mirror and the Candyman appears. Despite his sweet-sounding name, that’s not something you really want to do: Daniel Robitaille was a murdered artist, stung to death by bees in a racist attack, and so he tends not to be in a good mood when he shows up. Set in an urban tower block, this film demonstrates that horror can strike anywhere, not just in spooky old mansions in the middle of the countryside. It’s gory, grimy, and really quite disturbing.

M (1931)

A child murderer is stalking the streets of Berlin and, as the police seem unable to catch him, tensions run high. In an attempt to stop the nightly police raids, the town’s criminals decide to catch the killer themselves, and a frantic chase begins. Though there’s no actual onscreen violence, Peter Lorre is amazingly creepy as the whistling killer, and there’s a sense of corruption pervading the whole film. (Since both Lorre and Fritz Lang, the director, fled the country in fear of the Nazis soon after the film was made, it’s tempting to speculate on what M might be saying about Germany at the time, which only makes it all the creepier.)

The Blair Witch Project (1999)

An early example of the found footage genre, The Blair Witch Project has been aped and parodied by everyone and their grandma, but there’s something unsettling about it that hasn’t quite gone away. Most of the film is improvised; the actors are really filming the scenes themselves, working from a loose outline of the plot, but without prior knowledge of what half the scares were going to be. That ambiguous ending lets you make up whatever explanation you like for the events of the film, which means whatever the scariest thing you can think of is, that’s what the film is about.

The Orphanage (2007)

Laura (Belén Rueda) is returning to her childhood orphanage with her husband and son in order to open it as a care home for children with disabilities. She’s busy, but still has time to notice that seven year old Simón (Roger Príncep) has found an imaginary friend, Tomas. He might have a sack over his head, but what’s a little creepy mask between pals?

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Movies

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By Matt Glasby

Movies

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By Rosie Fletcher

Simón is adopted, so it’s only a little odd when a social worker shows up without an appointment. It’s slightly more odd that she’s snooping around in the shed at night. During a daytime party, Laura has an encounter of her own with a masked child, and then experiences every parent’s nightmare: Simón is missing. What follows is the story of a mother who takes the search for her son to the limits of her sanity. Geraldine Chaplin makes an appearance as the medium who conducts possibly the most spine-tingling of all onscreen séances, and there are some truly terrifying shocks during Laura’s search for the truth.

Director JA Bayona makes every shot count; the movie is visually beautiful as well as fantastically sinister. It’s a bona fide horror film but the ending might make you cry.

Ring (1998)

Ring isn’t a perfect film. It’s a bit too long and ponderous and there’s a bit too much irrelevant mysticism in there. But in terms of pure creepiness, it’s pretty damned effective. The idea of a cursed videotape was brilliant – who didn’t have zillions of unmarked VHS tapes lying around the house at the time? – and that climactic scene where the image on the screen crossed over into reality is bloodcurdling. Sneaky, too, since it managed to suggest that no one was safe. Especially not you, gentle viewer, because didn’t you just watch that cursed tape, too? An awful lot of people must have breathed a sigh of relief once their own personal seven-day window was over.

The Innocents (1961)

Based on Henry James’ The Turn of the Screw, this film sees a young governess heading out to an isolated old house to take care of two young children who appear to be keeping secrets from her. Their previous governess died, along with another of the house’s servants, but their influence still seems to be lingering about. Or is it? Just like in the original story, it’s possible to read the ghosts either as genuine spectres or as the fevered imaginings of an over-stressed and under-sexed young woman. Either way, though, the film is terrifying.

The Skeleton Key (2005)

In a decaying house on an old plantation, an old man is dying. Caroline is hired as his carer, but although her job should be simple enough, she begins to suspect that something weird is going on – especially when she finds a secret room in the house’s attic filled with spell books and other arcane bits and bobs.

Is the old man actually under a spell? Why does he seem so terrified of his wife? And might Caroline herself be in danger? The Skeleton Key is one of those films that’s far better than it has any right to be; it slowly ratchets up the tension to a crazy finale and ends on an incredibly creepy note.

Insidious (2010)

Insidious uses just about every trick in the book to creep out its audience, and for some people, that might seem like overkill. There are lurking monsters around every corner; there’s a child in peril; there are wrong-faced nasties; and there are screeching violins every five minutes. On repeat viewings, the plot doesn’t quite hold up (halfway through, the film switches protagonists, which is baffling) and the comedy relief seems grating rather than funny. But the carnival atmosphere, the nods to silent German Expressionist films, the demon’s bizarre appearance, that dancing ghost… there’s something brilliant about it, nonetheless.

Dark Water (2002)

Part of the initial wave of soggy dead girl movies, Dark Water is occasionally very daft, but still effectively creepy. Yoshimi Matsubara is a divorcee, forced by circumstances to move into a crumbling apartment block with her young daughter, Ikuko. Their new home isn’t in the nicest of areas, but it might be alright if it weren’t for the leaky ceiling – and, um, that creepy little girl lurking in the shadows, the one who’s never there when you take a second look. Directed by Hideo Nakata and based on a book by Koji Suzuki, Dark Water might not be as terrifying as Ring, but it’s still pretty eerie.

A Nightmare On Elm Street (1984)

The effects are dated, and the sequels utterly killed Freddy Krueger’s menace, but the first A Nightmare on Elm Street film is still creepy, in its way. The premise is amazingly disturbing – a dead child molester is attacking children in their dreams – and, combined with some of the deeply weird nightmare imagery in this film, it’s more than enough to give anyone a few sleepless nights. All together now: one, two, Freddy’s coming for you…

Uzumaki (2000)

Slowly, inexplicably, a small town is taken over by spirals. Some people become obsessed; others are killed, their bodies twisted into impossible positions. Uzumaki is a live action adaptation of the manga of the same name, and it’s incredibly weird. Unspeakably weird. Visually, it’s incredible, although the green filters look less interesting than they used to due to overuse by every horror and sci-fi movie since. Still, most films don’t go to the extremes that Uzumaki does.

The Devil’s Backbone (2001)

Yup, it’s another soggy dead kid movie, but this time the kid is a boy and the action is set in civil war-era Spain. A young boy is sent to a creepy orphanage, where the other boys scare one another by telling stories about the resident ghost, Santi, who was killed when the orphanage was bombed. Written and directed by Guillermo del Toro, this isn’t your average ghost story – it’s a companion piece to Pan’s Labyrinth, but it’s much more of a horror movie than its better known counterpart.

The Vanishing/Spoorloos (1988)

Saskia and Rex are on holiday when Saskia suddenly, inexplicably, disappears. Rex dedicates his time to trying to find her, but to no avail. He can’t move on, can’t live with the uncertainty, so when Saskia’s kidnapper reveals himself and offers to show Rex what happened to her, his curiosity wins out. It’s a simple yet eerie story with an utterly devastating ending.

Audition (1999)

Takashi Miike’s Audition is more often described as extremely disturbing rather than creepy, but if you can get over that ending (which, let’s be honest, most of us watched through our fingers or from behind a cushion while shouting “NO NO NO NO NO” at the screen), the rest of the film may well creep you out. It starts off slow: a middle-aged man is thinking about dating again, but rather than trying to meet women via traditional methods, he holds a series of fake auditions for a non-existent movie. He meets Asami, a shy dancer, and starts wooing her – but Asami isn’t as sweet and innocent as she seems. Pretty much every character in this movie is an awful person, and the way they treat one another is disturbing on many, many levels.

One Missed Call (2004)

Also directed by Takashi Miike, One Missed Call is a parody of the endless string of soggy dead girl movies made in Japan at the time. But somehow it’s still really creepy. The premise is that, as the title suggests, teenagers are receiving missed calls on their mobile phones. The mystery caller leaves a horrifying voicemail: the sound of the phone’s owner screaming in agony. And since the call came from the person’s own phone, and appears to come from a few days in the future, it’s clearly a sign of impending doom. Sure enough, the kids all die just as the missed call predicted. There’s a nasty little backstory about evil little girls, and a bonkers televised exorcism, and generally, it’s a great film whether you love or loathe stories about scary dead kids.

The Last Man on Earth (1964)

You might’ve thought about how you’d survive the apocalypse, but have you ever stopped to consider whether it’s actually worth doing? In The Last Man On Earth, Vincent Price is the only survivor of a mysterious plague that’s turned the rest of humanity into walking corpses, hungry for his blood. Every day, he tools up and goes out to kill the bloodsuckers; every night, they surround his house and try to kill him. It’s a dismal way to live, and a depressingly eerie film. It’s based on Richard Matheson’s novel I Am Legend – so skip the Will Smith adaptation and watch this instead.

A Tale Of Two Sisters (2003)

Part melodramatic family drama, part psychological horror, A Tale Of Two Sisters is all scary all the time. When a pair of sisters return from a mental hospital, having been traumatised by their mother’s death, they find their new stepmother difficult to adjust to. The nightly visitations from a blood-dripping ghost don’t help, either. But as always in these kinds of films, nothing is what it seems – you might need a second viewing to get your head round the ending.

Night of the Hunter (1955)

Robert Mitchum might have claimed not to be interested in movies or acting, but he’s great in this. As Harry Powell, a bizarrely religious conman, he’s terrifying, whether he’s preaching about the evils of fornication or chasing the children of his latest victim across the country in an attempt to steal a stash of money he knows they’re hiding. The use of light and shadow in this movie is just stunning; the first time Powell arrives at the Harper house is a particular highlight. Robert Mitchum’s singing voice isn’t half bad, either.

Peeping Tom (1960)

Peeping Tom was so controversial when it was released that it effectively ended director Michael Powell’s career. It’s violent, voyeuristic, and since it tells a story from the villain’s point of view; it’s entirely unsavoury. And it’s wonderful. It looks great, it has an amazingly twisted (and tragic) plot, and Carl Boehm is brilliant as Mark, the awkward, mild-mannered psychopath who feels compelled to murder as a result of his father’s deranged experiments. (That’s not a spoiler, by the way – but if I told you how he killed his victims, that might be.)

Psycho (1960)

Happily, 1960’s other movie about a disturbed serial killer was less of a career-killer. Alfred Hitchcock’s Psycho is wonderful, sodden with guilt and tension right from the opening scene. It’s a shame that so many of its twists are so well-known now, because watching this without knowing what was going to happen must have been brilliant. It’s still great – beautiful to watch, genuinely tense and frequently unnerving – but it has lost some of its shock value over the years. (Also, the bit at the end where the psychiatrist explains everything in great detail is utterly superfluous.) Anthony Perkins’ final twitchy, smirky scene is seriously creepy though.

City Of The Dead / Horror Hotel (1960)

Getting the timing of a holiday wrong can have disastrous consequences, as City Of The Dead illustrates. Nan Barlow is a history student who, under the tutelage of Christopher Lee’s Professor Driscoll, becomes fascinated with the history of witchcraft, and decides to visit the site of a famous witch trial… but she arrives in town on Candlemas Eve, probably the most important date in the witches’ calendar. Um, oops.

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City Of The Dead is often compared to Psycho, and there are enough similarities between the films that you could assume it was a cheap rip-off – but though the campy US retitling supports that assumption, this was actually made before Hitchcock’s motel-based chiller. It’s definitely creepy enough to be worth watching on its own merits.

Village Of The Damned (1960)

For no apparent reason, one day every living being in the English village of Midwich falls unconscious. For hours, no one can get near Midwich without passing out. When they wake up, every woman in the village finds herself mysteriously pregnant. Obviously, their children aren’t normal, and something has to be done about them… Based on John Wyndham’s novel The Midwich Cuckoos, Village Of The Damned is more of a sci-fi movie than a horror movie – but it’s super creepy nonetheless.

Dolls (1987)

Re-Animator director Stuart Gordon toned things down a bit for this creepy fairy tale, but not much. When a group of awful human beings are forced to spend the night in the home of a couple of ancient toymakers, they soon get their comeuppance at the hands of – well, the title gives that away, doesn’t it? You’ll never look at Toys R Us in the same way again.

The Woman In Black (1989)

When a reclusive old lady dies in an isolated house out in the marshes, a young lawyer is sent to sort out her estate. But there’s something weird about her house, and the townspeople aren’t keen on helping sort things out, either. The TV version of this movie is far, far creepier than the Daniel Radcliffe version; there’s one moment in particular that will etch itself on your brain and continue to creep you out for years after you see it…

The Perfume of the Lady in Black (1974)

Beautifully shot with a great score, The Perfume of the Lady in Black is a dreamy, unsettling film where nothing is ever as it seems. The wonderfully named Mimsy Farmer plays Sylvia, a scientist haunted by melancholy and hallucinations. She’s never quite recovered from her mother’s suicide, and when she goes to a party where talk turns to witchcraft and human sacrifice, her sanity starts to unravel. But are her problems really all in her head, or is there something else going on? The film doesn’t reveal its secrets until the very end, when all that creepiness pays off spectacularly.

May (2002)

May was always a weird child, and unfortunately she’s grown into a weird adult, too. Unable to form any meaningful relationships with the people around her – not even a class of blind children she thinks might be kinder to her than the people who can see how strange and awkward she is – May decides she’ll need to take this “making a friend” business into her own hands. Dark and twisted and incredibly gory, May is as sad and sweet as it is creepy. A lot of that is attributable to Angela Bettis, whose performance is adorably unnerving.

Nosferatu (1922)

In this unauthorised take on Dracula, the evil Count is depicted not as a tragic or romantic anti-hero, but as a horrifying embodiment of the plague – complete with an entourage of rats. Max Schreck makes a brilliantly weird-looking vampire, all teeth, ears and fingernails; his shadow is especially unnerving. Although the ending as presented seems a little abrupt, it’s conceptually horrifying – as is the fact that, due to a copyright claim filed by Bram Stoker’s estate, all but one copy of this movie was destroyed back in the 1920s.

Vampyr (1932)

In a spooky old inn, Allan Grey is visited in the night by an old man who leaves him a gift-wrapped book, with instructions to open it only on the occasion of the man’s death. Which turns out to be soon. The book explains that the town is plagued by vampires – and, helpfully, gives instructions on how to kill them. Vampyr is an early sound film, so while there is some sound and a little dialogue, most of the silent film conventions are still in place. It has a fairly straightforward, Dracula-esque story, but the plot’s not the point. It’s a deliberately strange film, full of disembodied dancing shadows and weird dream sequences; there’s something almost otherworldly about it.

Dracula (1931)

Bela Lugosi is the definitive Dracula. With his eerie eyes and wonderful accent, he’s brilliantly threatening as the charming Count, but despite his iconic performance here, he’s not the creepiest thing about this film. Nope, that honor goes to Dwight Frye’s portrayal of Renfield, the lunatic spider-eater under Dracula’s control. He’s amazing, all awkward body language and hysterical laughter. Lugosi’s oddly cadenced speech has been emulated and parodied a zillion times, which takes away some of its power; Frye’s performance, on the other hand, is just downright disturbing.

White Zombie (1932)

A year after Dracula, Bela Lugosi starred as Murder Legendre, an evil voodoo master, in one of the first ever zombie movies. The zombies here aren’t flesh-eating ghouls but obedient slaves, working tirelessly in Legendre’s mill. Even when one of them tumbles into a grinder, work doesn’t stop. When the plantation owner goes to Legendre for help winning the heart of the girl he loves, he’s handed a dose of the zombie potion – and now the only way to break Legendre’s spell over the innocent girl is to kill him. Lugosi is suitably menacing, and the drone-like zombies are properly eerie.

The Cursed Medallion/The Night Child (1975)

For a few years, in 1970s Italy, Nicoletta Elmi was the go-to creepy kid. She pops up in Mario Bava’s Bay of Blood and Baron Blood, and in Dario Argento’s Deep Red, among others, but she’s never more creepy than she is in The Cursed Medallion. Here, she plays Emily, the daughter of an art historian who’s making a documentary on demons in paintings. She’s given a medallion but, as the title suggests, it’s cursed, and she ends up possessed by the spirit of a murderess. It’s atmospheric, lovingly photographed and, of course, Elmi is awesome in the lead role.

The Descent (2005)

A group of friends go off on a spelunking holiday, but get more than they bargained for when it turns out that the caves they’re exploring are dangerous in more ways than one. There’s enough time spent on character development that you really feel it when the group starts to get thinned out; there’s some incredibly painful-looking gore; and there are some amazingly freaky monsters. Watch it in a darkened room to make the most of its wonderfully claustrophobic atmosphere.

Paranormal Activity (2007)

The shine might’ve come off this movie because the Paranormal Activity franchise has become Lionsgate’s new one-every-Halloween cash cow, but there’s something deliciously creepy about this movie. Rewatching it now, even knowing when all the scares are coming, it’s still chilling. In a neat twist on the traditional haunted house story, Paranormal Activity’s entity haunts a person, not a house – so its victim can’t just pack up and move. The found footage conceit is used to great effect, making you stare intently at grainy nighttime footage of an empty room, straining your ears for distant footsteps, before making you jump out of your skin with a loud bang. (Pro tip: the movie has three different endings, so if you think you’re bored of it, try one of the others.)

Ju-on: The Grudge (2002)

So much of the effectiveness of a horror movie comes down to its sound design. A well-placed creak, groan, echo, or jangle can make the difference between something completely normal and something terrifying. New scary noises don’t come along very often, but Ju-on: The Grudge managed to come up with something unlike any other scary noise you’ve heard before. Its ghost makes a weird rattling, burping groan as she approaches; it’s kind of like a death rattle, kind of like a throttled scream, and it’s creepier than anything you’ve ever heard before. The film is relentless, light on plot and heavy on jump scares, but it’s that noise that’ll stay with you.

Julia’s Eyes (2010)

Julia and her twin sister, Sara, both suffer from the same degenerative disease – one that causes them to go blind. When Sara undergoes experimental surgery and subsequently kills herself, Julia suspects foul play – and, indeed, something weird seems to be going on, with whisperings about an invisible man lurking in the shadows. But as Julia gets closer to the truth, her own eyesight suffers more and more…The film restricts our vision almost as much as Julia’s; it’s almost unbearably claustrophobic, and ultimately heartbreaking.

The Eye (2002)

Another film about eyes and the horrors of going blind, The Eye follows Mun, a classical violinist from Hong Kong, as she undergoes an eye transplant. Although the transplant seems to be successful – Mun can see again – something isn’t right, because now she can see dead people. And most of them are terrifying. The ending is vaguely preposterous, but the rest of the film is creepy enough that it’s forgivable.

Zombie Flesh Eaters (1979)

Lucio Fulci’s unofficial sequel to Dawn Of The Dead features perhaps the creepiest zombies ever committed to film. When a boat turns up in New York harbour with only a zombie on board, investigative reporter Peter West sets out to find out where the boat came from and what’s going on. He ends up on the island of Matool, where the dead are returning to life to eat the flesh of the living… and they’re really, really gross. Zombie Flesh Eaters was initially classified as a video nasty in the UK, and it’s not difficult to see why. Its atmosphere elevates it above your average exploitation movie, though; there’s something really melancholy about it.

[REC] (2007)

When a local news crew decided to tag along with the fire brigade for an evening, they probably didn’t realise they’d end up fighting from their lives in a zombie-infested tower block. Co-written and co-directed by Paco Plaza and Jaume Balaguero (yup, him again), [REC] is a decent enough zombie movie, until the final reel, when it reveals an even more terrifying ace up its sleeve.

Let Me In (2010)

Although remakes are usually terrible, Matt Reeves’ take on this unusual vampire story was both respectful of and different from the original and, for my money, it’s creepier. Lonely tween Owen doesn’t have any friends until the equally strange Abby moves in next door. They embark on an odd friendship/proto-romance, but Abby has a secret: she’s a vampire. The use of a candy jingle is, against all odds, really eerie, and by paring the story down to its most essential elements (and getting rid of that daft cat scene) Let Me In makes for a scarier watch than Let The Right One In.

Carnival Of Souls (1962)

After a traumatic accident, weird things start happening to Mary. A strange man seems to be stalking her, though no one else can see him, and she feels irresistibly drawn to an abandoned pavilion out in the middle of nowhere. Once upon a time, the pavilion housed a carnival, but now it’s just an empty building… or is it? There’s nothing surprising about the plot of this movie to a modern audience – you’ll have the whole film worked out within about five minutes – but it is gloriously creepy. The climactic scenes at the carnival are pure nightmare fuel.

The Shining (1980)

Probably the most effective of all the Stephen King adaptations, The Shining plonks Jack Nicholson down in the middle of a creepy hotel and lets him do his thing. Nicholson plays Jack Torrance, a struggling writer who gets a winter job as caretaker of The Overlook Hotel, where the isolation and/or ghosts send him out of his mind. There are so many creepy images in this film: the twin girls who just want to play, the woman in room 237, the lift full of blood, and, oh, lots more.

The Cabinet Of Doctor Caligari (1920)

Appropriately, watching The Cabinet Of Doctor Caligari feels like slipping into a nightmare. Caligari’s cabinet holds Cesare, the sleepwalker – a catatonic oracle able to answer questions of life and death with eerie accuracy. Is Caligari a hypnotist, a murderer, or both? It’s a strange story, made stranger with a twist ending, and rendered impossibly creepy by the Expressionist production design. The weird, distorted hand-painted sets give the film a crude, unreal beauty and, if anything, the passage of time has increased the film’s creepiness, because it’s so utterly unlike modern films.

The Exorcist (1973)

An obvious choice, but The Exorcist is genuinely scary. It’s deceptively simple: the filming style is realistic, the locations are ordinary-looking and, by comparison to more modern horror movies, there aren’t many elaborate effects or stunts. But the film makes every scary moment count. It’s atmosphere is oppressive, claustrophobic – there’s an ever-present sense of dread throughout. It ought to feel more dated than it does, but even now, the demonic makeup and scratchy voice of the possessed Regan gives me goosebumps.

The Omen (1976)

Damien is probably the ultimate creepy child. Adopted by the Thorns when their own newborn dies, it doesn’t take long for his dark side to emerge: Damien is the Antichrist.

There are so many iconic moments in this film, so many things that have shaped both the horror genre and our culture’s idea of evil; something about this film really struck a chord, and even now it’s pretty effective. Every death scene in this movie is memorable, but the suicide of Damien’s nanny at his birthday party particularly stands out.

Ghostwatch (1992)

Originally shown on UK TV at Halloween, Ghostwatch scared a whole generation shitless. It’s presented as a live broadcast, starring familiar BBC faces: Michael Parkinson plays host, while Sarah Green and Craig Charles report from the scene as a normal family recount their experiences with the terrifying ghost they’ve dubbed “Pipes”. The shadowy figure of a man is glimpsed several times throughout the show, some appearances more obvious than others, and as viewers call in to share their own stories, things get weirder and weirder…Okay, this isn’t technically a film, but it is so amazingly creepy and brilliant that it couldn’t be left off the list.

The Wicker Man (1973)

The Wicker Man is a wonderful mishmash of genres: it’s got humour, horror, singing and sex. It frequently teeters on the edge of absurdity. But at heart, it’s deeply creepy. When devout Christian Sgt Howie visits the isolated community of Summerisle, he thinks he’s investigating the abduction of a little girl – and the villagers certainly do seem to be acting suspiciously. But as his investigation continues, it becomes clear that something entirely different is going on. Howie runs headlong to his doom, and its final scene is downright spine-chilling.

Suspiria (1977)

Suspiria is Dario Argento’s finest hour. It’s eyeball-meltingly beautiful to look at, all unnatural neon lighting and ridiculously lavish set design; the music is cacophonous, a never-ending wall of sound that doesn’t let up; and the plot is, well, it’s functional enough.

Suzy, an American ballet dancer, flies to an exclusive dance school in Germany only to find herself in the midst of a murder investigation – and something weird is definitely going on with the teachers. If you haven’t seen Suspiria in a while, treat yourself to the Blu-ray. There’s nothing restrained about this movie, nothing ordinary; it sneaks up on you and worms its way into your brain. It’s brilliant.

The post The Best Creepy Horror Movies appeared first on Den of Geek.

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[tinytourist]

Nostalgic Christchurch

I had a training session in Christchurch last week for work and I convinced my flatmate, Alecia, to come along and make a trip of it. After nearly missing our flight, we arrived in ChCh on Wednesday night. Evan and Al (Alvan) met us for a sushi dinner and we closed down the restaurant while catching up and planning our weekend.

On Thursday I went into the office for the training session as Alecia bounced around various coffee shops and cafés doing her work. Alvan invited us to theirs for dinner where we were greeted by the scent of hearty spiced dal and homemade Roti. It was a restaurant quality meal, but fresher. I was jealous that Evan gets to come home to meals like this all the time!

After dinner, we rushed to the climbing gym. I was excited and intrigued by the wide variety of holds available for all levels. Each of us was working on our own problem for a while, attempting different methods until one by one, we conquered our challenges. It was a significantly fulfilling climbing session for me.

We dropped Alvan back off at their house and went to Countdown for some goodies. When we got back, we interrupted their flat meeting. At least we came equipped with wine. We drank that wine late into the night as we told stories, laughed, and had heart-to-hearts while sitting in the van in their driveway.

On Friday, Alecia and I took off from work to explore. We met up with my friend Jess from work and her family at C4 Coffee for some brekkie before making our way towards the Banks Peninsula. En route, we stopped at Birdlings Flat which is a grey pebble beach with rough, pastel turquoise waves.

The destination was Ngaio Point Track, an hour long coastal walk through bush reserves and two small beaches. One of the beaches was completely covered in red seaweed and smelled distinctly like oysters. We enjoyed expansive views of the Akaroa Harbour before saying goodbye to Jess and her family.

Alecia and I went on to explore the town of Akaroa. We walked along the waterfront, stopped at the lighthouse, and had a small lunch at a cute little French café called “Sweet AS”. So Kiwi! Then, we went to the Giant’s House which is a mosaic sculpture garden. Unfortunately, the last entry is at 3:45 PM - even on Fridays!! We were ten minutes too late, but we both vowed to come back to Akaroa to see it again.

We might’ve missed out on the art, but we certainly did not miss out on all of the culture. We made it to Barry’s Bay Cheese factory to try and buy a few cheeses and French Peak Wines for a tasting and vineyard view. There, we learned about the history of the French settlers in Akaroa. The French influence is still evident. Alecia and I went back to Christchurch where we relaxed before having a solid meal at Thai Chef.

On Saturday morning, we met up with Alvan in Lyttelton to explore the farmers market and grab brunch at the Shroom Room café. Lyttelton is a quaint port town surrounded by house-lined hills. After we ate, we went to Ben’s house for a few drinks before heading to Ferrymead Historic Park for Nostalgia Festival. It was a happy coincidence that we happened to be in Christchurch the same weekend as this music festival headlined by Kiwi artists. We were even able to buy tickets just a few nights in advance!

The concert grounds were lined with local clothing vendors and a wide variety of food and drink booths. We had a great time dancing to the different artists. LEISURE was the highlight for most of us. The irony of being able to experience this while most of the world is in some level of lockdown was not lost on me. 

After the show, we went back to Alvan’s friends’ house where Sophia taught us how to play the game Casserole. It involves each person writing down three things on three separate pieces of papers: a person, an action, and an object. There are three rounds: taboo, charades, and single word. You break into groups and the goal is to guess as many words as possible within 30 seconds. Each round ends when all the papers in the bowl have been guessed. We had a blast acting and guessing and racking our brains. 

On Sunday morning, Alecia and I went for a walk in Hagley Park, grabbed brunch at Unknown Chapter, and headed back to the park for some free music. Next, we walked to the modern art museum and saw a lot of interesting installations that made us think. We passed by the earthquake memorial on our way to the car and got to the airport just before our plane boarded.

[susanneverreads]

October/November TBR List

Have I finished the Infernal Devices series yet? Nope. Will I still be posting this TBR? Yup. I know this list is coming in the middle of the month but I’m only reading Clockwork Prince on the weekends and want books for during the week! This will probably be the last TBR I post for awhile!

The 5th Wave by Rick Yancey

After the 1st wave, only darkness remains.

After the 2nd, only the lucky escape.

And after the 3rd, only the unlucky survive.

After the 4th wave, only one rule applies: trust no one.

Now, it’s the dawn of the 5th wave, and on a lonely stretch of highway, Cassie runs from Them. The beings who only look human, who roam the countryside killing anyone they see. Who have scattered Earth’s last survivors. To stay alone is to stay alive, Cassie believes, until she meets Evan Walker. Beguiling and mysterious, Evan Walker may be Cassie’s only hope for rescuing her brother–or even saving herself. But Cassie must choose: between trust and despair, between defiance and surrender, between life and death. To give up or to get up.

Bang by Barry Lyga finished

Sebastian Cody did something horrible, something no one—not even Sebastian himself—can forgive. At the age of four, he accidentally shot and killed his infant sister with his father’s gun.

Now, ten years later, Sebastian has lived with the guilt and horror for his entire life. With his best friend away for the summer, Sebastian has only a new friend—Aneesa—to distract him from his darkest thoughts. But even this relationship cannot blunt the pain of his past. Because Sebastian knows exactly how to rectify his childhood crime and sanctify his past.

It took a gun to get him into this.

Now he needs a gun to get out.

Cinder by Marissa Meyer

Sixteen-year-old Cinder is considered a technological mistake by most of society and a burden by her stepmother. Being cyborg does have its benefits, though: Cinder’s brain interference has given her an uncanny ability to fix things (robots, hovers, her own malfunctioning parts), making her the best mechanic in New Beijing. This reputation brings Prince Kai himself to her weekly market booth, needing her to repair a broken android before the annual ball. He jokingly calls it “a matter of national security,” but Cinder suspects it’s more serious than he’s letting on.

Although eager to impress the prince, Cinder’s intentions are derailed when her younger stepsister, and only human friend, is infected with the fatal plague that’s been devastating Earth for a decade. Blaming Cinder for her daughter’s illness, Cinder’s stepmother volunteers her body for plague research, an “honor” that no one has survived.

But it doesn’t take long for the scientists to discover something unusual about their new guinea pig. Something others would kill for.

Reckless by Cornelia Funke

Ever since Jacob Reckless was a child, he has been escaping to a hidden world through a portal in his father’s abandoned study. Over the years, he has made a name for himself as a finder of enchanted items and buried secrets. He’s also made many enemies and allies–most important, Fox, a beautiful shape-shifting vixen whom Jacob cares for more than he lets on.

But life in this other world is about to change. Tragedy strikes when Jacob’s younger brother, Will, follows him through the portal. Brutally attacked, Will is infected with a curse that is quickly transforming him into a Goyl–a ruthless killing machine, with skin made of stone.

Jacob is prepared to fight to save his brother, but in a land built on trickery and lies, Jacob will need all the wit, courage, and reckless spirit he can summon to reverse the dark spell–before it’s too late.

A World Without You by Beth Revis

Seventeen-year-old Bo has always had delusions that he can travel through time. When he was ten, Bo claimed to have witnessed the Titanic hit an iceberg, and at fifteen, he found himself on a Civil War battlefield, horrified by the bodies surrounding him. So when his concerned parents send him to a school for troubled youth, Bo assumes he knows the truth: that he’s actually attending Berkshire Academy, a school for kids who, like Bo, have “superpowers.”

At Berkshire, Bo falls in love with Sofia, a quiet girl with a tragic past and the superpower of invisibility. Sofia helps Bo open up in a way he never has before. In turn, Bo provides comfort to Sofia, who lost her mother and two sisters at a very young age.

But even the strength of their love isn’t enough to help Sofia escape her deep depression. After she commits suicide, Bo is convinced that she’s not actually dead. He believes that she’s stuck somewhere in time — that he somehow left her in the past, and now it’s his job to save her.

In her first contemporary novel, Beth Revis guides readers through the mind of a young man struggling to process his grief as he fights his way through his delusions. As Bo becomes more and more determined to save Sofia, he has to decide whether to face his demons head-on, or succumb to a psychosis that will let him be with the girl he loves. 

[luditarebelde]

The exhibition title is taken from a term coined by Korean American artist Nam June Paik who is considered to be the founder of video art. Paik is credited with an early usage (1974) of the term "electronic super highway" in application to telecommunications: "The building of new electronic super highways will become an even huger enterprise. Assuming we connect New York with Los Angeles by means of an electronic telecommunication network that operates in strong transmission ranges, as well as with continental satellites, wave guides, bundled coaxial cable, and later also via laser beam fiber optics: the expenditure would be about the same as for a Moon landing, except that the benefits in term of by-products would be greater”. In the 1970s, Paik imagined a global community of viewers for what he called a Video Common Market which would disseminate videos freely. The Whitechapel Gallery in London presents this major exhibition bringing together over 100 works to show the impact of computer and Internet technologies on artists from 1966 to 2016. Arranged in reverse chronological order, Electronic Superhighway begins with works made at the arrival of the new millennium, and ends with Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Key moments in the history of art and the Internet emerge as the exhibition travels back in time. The exhibition runs from 29 January to 15 May 2016 featuring new and rarely seen multimedia works, together with film, painting, sculpture, photography and drawing. The full list of artists included in Electronic Superhighway (2016-1966) are: Jacob Appelbaum / Cory Arcangel / Roy Ascott / Jeremy Bailey / Judith Barry / Wafaa Bilal / Zach Blas / Olaf Breuning / James Bridle / Heath Bunting / Bureau of Inverse / Technology (B.I.T.) / Antoine Catala / Aristarkh Chernyshev / Petra Cortright / Vuk Ćosić / Douglas Coupland / CTG (Computer Technique Group) / Cybernetic Serendipity / Aleksandra Domanović / Constant Dullaart / Experiments in Art and Technology (E.A.T.) / Harun Farocki / Joana Hadjithomas and Khalil Joreige / Celia Hempton / Camille Henrot / Gary Hill / Ann Hirsch / Nancy Holt and Richard Serra / JODI / Eduardo Kac / Allan Kaprow / Hiroshi Kawano / Mahmoud Khaled / Oliver Laric / Jan Robert Leegte / Lynn Hershman Leeson / Olia Lialina /Tony Longson / Rafael Lozano-Hemmer / Jonas Lund / Jill Magid / Eva and Franco Mattes / Model Court / Vera Molnar / Mouchette (Martine Neddam) / Manfred Mohr / Jayson Musson / Frieder Nake / Joshua Nathanson / Katja Novitskova / Mendi + Keith Obadike / Albert Oehlen / Trevor Paglen / Nam June Paik / Jon Rafman / Evan Roth / Thomas Ruff / Alex Ruthner / Jacolby Satterwhite / Lillian F. Schwartz / Peter Sedgley / Taryn Simon / Frances Stark / Hito Steyerl / Sturtevant / Martine Syms / Thomson and Craighead / Ryan Trecartin / Amalia Ulman / Stan VanDerBeek / Steina and Woody Vasulka / Addie Wagenknecht / Lawrence Weiner / Ulla Wiggen / The Yes Men / Young-Hae Chang Heavy Industries. This video was created and produced by ARTtouchesART. It displays the work of the artists mentioned above on the track of The Chemical Brothers - 'Asleep from Day' featuring Hope Sandoval. This video is our tribute to the video art scene of the last 50 years.

[smokedstorybara]

everyone seems to describe writing fanfic, and their motives for doing so, as “fixing canon”

which is totally valid

it’s just not how it is for me

(I make a lot of long introspective posts like this on my main, like one every couple months, but since this one is about writing I figured I’d put it here instead; I’m gonna put a readmore here so y’all can skip over it all if you want)

for me writing fanfiction is almost like an experiment, an exploration of variables - circumstance, setting, choices - and how they affect the characters trajectories and the outcome of the story as a whole (though tbh I tend approach writing in general as an exploration of tropes and structure and psychology so I guess it’s just how I am)

(I’m gonna use some fanfics I’m working on, as well as the couple I’ve actually posted, as examples to help me explain what I mean, so if you don’t want spoilers maybe don’t read)

first: exploration of circumstance (then setting, choices, and ending with all three together)

my two examples for this are my published Dear Evan Hansen fic (Apprentice) Park Ranger Handsome and a role-reversal Arrowverse au I’m working on

(A)PRH started with the thought “what would’ve happened if Evan and Connor had first interacted over the summer, at the park Evan worked at?”

my first answer was a simple “their first meeting would likely have gone much smoother - the environment and circumstances of it being much more relaxed”

this led to “they both would’ve latched on to that; this conversation is going well lets try to keep it going as long as possible I’m starved for positive interaction turning into if I talk to him again maybe it’ll go as well as last time it hasn’t gone wrong yet keep coming back keep talking to him maybe this can be good”

which leads to them becoming friends (and likely developing crushes on each other) and then opening up to each other >> relying on each other >> supporting each other >> each realizing that if they want to support the other they need a more stable support themself >> Evan likely being the first to actively reach out for outside support since he already has a therapist and relatively better relationship with his mother >> Evan doesn’t fall from that tree and Connor doesn’t commit suicide >> the entire plot of the play no longer happens but the boys are happy and their families are at least on their ways to healing

the Coldflash role-reversal (which does not have a name yet) actually started with the question “what element would I need to change for Barry to still be a CSI for the CCPD but also use his superspeed to become a criminal?”

the element I went with was him not being allowed access to the file on his mother’s murder

the cause-effect diagram so far is as follows: Barry isn’t allowed access to the file and thus can’t investigate >> he’s upset about this fact >> in a better mental state to be aware of corruption and laziness in the police force (as well as other factors that lead to the wrong person getting arrested) >> becomes bitter and disillusioned but hides it because he still wants to do what he can to prevent innocent people from going to jail >> when he gets superpowers he decides to use it to bring light to the failings of the city’s law enforcement >> becomes a thief >> tries to steal the Khandaq Dynasty Diamond at the same time as Leonard Snart does >> Leonard Snart gets a hold of the cold gun >> they both try again at the same time but because Flash is faster the public see him as a thief and “Captain Cold” as a hero >> because Snart is a giant nerd and also because he’s frustrated with all the chaos in his city from the metas, he decides to go along with it and becomes a superhero

second: exploration of setting

my only example for this is a fantasy au I recently started for Pacific Rim

so the variable I changed was “instead of a war between humans and beings from another world, it’s a war between the two fae courts”

and where changing a circumstance leads to a cause and effect of characters choices, changing setting leads to a map of what that changes in the characters circumstances and identities

some examples from this au:

Hannibal Chau is a human who uses deals with what I’ve been calling “J Court” in my outline to boost his black market business - instead of just being a shady black market dealer with ties to the PPDC, he’s one of the few humans who even knows the fae exist

Stacker Pentecost is either the king of the J Court or the leader of it’s army, giving him much more power than he had in canon

Raleigh left the Court after Yancy’s death, separating himself from his people and instead immersing himself in humanity, but somehow Stacker convinced him to return

(on the flip side: Newt is still an expert on Kaiju biology and just as obsessed with studying them as he is in canon)

third: exploration of choices

this exploration is where I look at one choice made in canon and ask myself “how would everything change if a different choice was made here?”

two examples again; an Umbrella Academy fic (tentatively named “The One Where He Stayed” in my drive) and a Check Please fic currently titled Moving On

the choice in TOWHS is Klaus going back to 2019 after Dave dies - instead he stays, serves a full tour in Vietnam and then returns to the US with his surviving war buddies

this changes his circumstances, setting, and leads to a cause-effect chain of decisions

he’s now a veteran in early seventies USA, he has friends who respect him and care about him; he still decides to go sober to see Dave again but there’s more behind the decision; he makes himself a home and a family - even if a good portion of them are dead soldiers, some of them are the spouses of his brothers-in-arms, their children and siblings; he learns to control his powers, all of them; and when he finally ends up back in 2019 - either the long way or from accidentally opening the briefcase - he still has this family waiting for him to show back up, willing to help, he’s powerful and knows it, and there’s no way he’s going to let the apocalypse happen

Moving On is less changing a choice made in canon and more answering the question of “what would happen if this choice that wasn’t made was?”

or, more specifically, “what if Bitty and Jack broke up before the Stanley Cup win? how would that affect Bitty’s friendships, his life?”

because many of Bitty’s friends are also friends with Jack, or at least look up to him, and in fact several were friends with Jack first

this one is mostly about exploring the psychology of the comic’s characters and how they all would react

I was happy to realize there would likely not be too much side taking, but there would be awkwardness for most of them; Bitty would likely gravitate more towards spending time with Tango, Whiskey, and Ford who would be the three most likely to not make a big deal out of it or make things awkward; also Bitty would be unable to tell his mother, which would eat at him

then there was the question “if Kent found out would he sympathize? would they become friends?” (slightly harder to answer, since Kent is a tiny bit of an enigma, but I chose to be optimistic there)

and the most important question: “how would I want to end this story? would it be a more satisfying conclusion for Bitty to find a new boyfriend and be happy with him, or to decide he doesn’t need a man to be happy? should Jack end the story single, or in a new relationship?”

the answers I decided on were: while Bitty doesn’t need a man to be happy, he was closeted his entire teens and at this point has only had one relationship and he deserves to get another chance at romance; and on the other side, Jack’s personal story is more about his hockey and becoming comfortable being himself and really all he needs is to win the Stanley Cup or something

fourth: all three at once - or in other words: The Soulmate AU

soulmate AUs are the best way to cover all three at once because the very existence of soulmates changes the circumstances of the story and how the world works, and affects what choices the characters would make

once again, I have two examples: my published Moomins fic Perchance To Dream, and an Arrowverse one-shot series titled Dream A Little Dream

Perchance To Dream was started by the question “in what way could I make Moomin and Snufkin soulmates without them immediately knowing upon meeting? which soulmate trope would I have to use?”

my tentative answer was soul dreams

which was quickly followed by the acknowledgement that if young Snufkin had started having soul dreams he’d likely be unhappy >> if Moomin knew his soulmate was unhappy with their soul bond and he had a way to cut off the bond - say, an herb that you take every night to stop your soul dreams - he’d do that for them, even if it would make him very sad >> time passes and they meet how they do in canon and they’ve both grown enough that they don’t immediately recognize each other >> Snufkin would figure it out first, but exactly when and how would depend on Moomin >> Snufkin would keep it a secret, nervous about telling Moomin >> Moomin would find himself drawn (and attracted) to Snufkin and would have very conflicting feelings over it >> they’d both spend an awfully long time feeling conflicted and guilty before Moomin decides he wants to be with Snufkin, soulmate or not, and Snufkin decides to tell Moomin the truth - probably around the same time

Dream A Little Dream exists entirely as an exploration of the soulmate trope and the different possibilities within

instead of being a romance focusing on one or two ships, it’s a non-linear web showing both how the existence of soulmates affects all the characters and how the events of canon affect the relationships of all the soulmate pairs

(I tried to separate it into primary pairs, secondary pairs, and tertiary pairs to make it easier on myself but all the pairings were too important to the whole idea behind the story to limit their chapters(literally I have, like, nine endgame ships and two of those are polyam(as in I’m counting a four person polyam chain as one ship, even if it might technically count as three, and the other is three people: one relationship); and around fifteen soul pairs(yes there are more soul pairs than endgame ships, there’s a reason for that)))

because of the way I’m exploring the trope there’s fairly little, aside from romantic relationships, that changes from canon (at least up to season four of the Flash, cause that’s as far as I’ve seen)

mostly it’s things like Leonard Snart returning to life because him and Barry are one of the soul pairs I plan on having end up together - after a very long process of Len spending nine months thinking his soulmate died >> then several months of Barry knowing Len’s his soulmate but Len being in the dark >> a period of Len trying to win Barry over but failing a bit >> Len dying and Barry mourning him >> Barry marrying and then divorcing Iris >> Len coming back to life >> Barry and him finally getting together

which is a parallel(in that they both have the “good guy is soulmated to bad guy” dynamic) and contrast to Cisco and Hartley who don’t realize they’re soulmates when they first meet and totally hate each other >> when they can no longer deny it, they start to work together and accept each other >> end up together

Iris’s soulmate is Eddie, and she, Caitlin, and Ray are explorations of moving on after the loss of your soulmate and the different forms that takes - Iris and Caitlin ending up together(along with Shawna, who was left behind by her soulmate) and Ray trying to fill Anna’s spot with other romantic relationships before finally realizing that that isn’t actually helping and finally properly coming to terms with the loss

and I’m gonna stop here instead of going any further into this one, since it’s got so many moving parts and also it’s a little harder to separate from canon than the others

[buzzdixonwriter]

Gene Autry's Horse

Peter David recently posted a short essay on the current brouhaha over Martin Scorsese and Francis Coppola saying the Marvel movies aren’t real cinema, not genuine works of art, but just “thrill rides”.

Before going further, let me state my unabashed respect and admiration for Peter David.  He’s a creator who certainly earned his spurs, he has a massive body of work, he is an all around mensch, and his opinion is hard earned and well informed.

Except in this case, his conclusions are wrong.

To prove my point, let me ask Peter a question:

What was the name of Gene Autry’s horse?

Those of you wondering what Gene’s horse has to do with the Marvel cinematic universe (hence MCU), my explanation is this: The single largest genre of films made before 1960 were Westerns.

Add to that television programs, where Westerns remained a staple until the mid-1970s.

And radio shows.

And pulp novels.

And comic books.

They were the definitive American movie genre from 1903’s The Great Train Robbery until Butch Cassidy And The Sundance Kid drove a stake through the heart of the standard genre offering in 1969.

There are some who claim Blazing Saddles did the genre in, but Westerns had endured numerous comedy and parody versions in the past.

Butch Cassidy And The Sundance Kid killed the Western as a popular genre by simply having Butch and Sundance do the most logical thing at the first sign of danger, the thing the real Butch and Sundance did in real life:  They ran away.

And thus a genre trope was forever slain…

This is not to say they’ve never made another film that falls into the broad category of “Western”, but there’s no audience clamor for more of the genre.

Westerns are now simply historical films set in the American west during the period from the fall of the Alamo (1836) to Arizona becoming a state (1912).

There are films that employ Western genre tropes that take place in the contemporary era (Road House and Extreme Prejudice to name two) or transplant the Western genre to other lands (Sukiyaki Western Django and Tampopo, f’r instance), but as a genre it is dead-dead-DEAD.

Yet at one time, Westerns were so popular that not only did everybody know the name of Gene Autry’s horse, but said horse starred in his own TV series!

So what happened?

Well, several things.

I could cite the changing audience in America, going from 80% rural prior to WWII to 80% urban / suburban after WWII (with a corresponding rise in detective and spy genres, as well as sci-fi), or I could cite a huge glut of material made even more accessible by television, but the truth is this:  The overwhelming bulk of American Westerns were nothing but product.

It was actually built into the genre.  I’ve been trying to locate the original essay, but a scholarly study some years back concluded only 8 basic plot conflicts drove Western stories, and only 17 stock characters carried said stories (they can be good, bad, or neutral characters, effectively tripling their number).

The essay went on to liken American Westerns to Japanese noh or kabuki dramas:  Far from familiarity of material being a problem, audiences came expecting certain tropes and stock characters, and gained their enjoyment from how well said tropes and characters were presented.

Sound familiar?

This is not to say there weren’t films that fell into the Western genre that also aspired to art, but you either had to be a Hollywood heavy hitter to get a chance at making a film like that or, at the tail end of the genre, flying so low under the radar that nobody recognized what you were doing until you did it.

Does that sound familiar?

But the overwhelming majority of Westerns, while possessing technical craftsmanship, were just product:  So many feet of gunfights. So many reels of stampedes.

Big budget A-picture or bare bones B-movie, they all fell into the same general patterns, and studios, large or small, promoted them the same way.

And audiences were fine with this.  Tom Mix, Gene Autry, Roy Rogers and Dale Evans frequently wound up among the top 10 box office draws in Hollywood during their careers.

Where are those Westerns now?

I’m a big fan of old B-Westerns, having grown up with them on TV as a kid, and know a fair amount about the personalities and production companies involved, seeking out B-Westerns on Amazon Prime and YouTube and the multi-pack bargain bins at big box stores.

How many of today’s superhero fans could identify William Boyd or Red Barry or Rocky Lane or Buck Jones?

They might remember hearing the names of Roy Rogers or Gene Autry since those stars were involved in mainstream marketing such as fast food restaurants or baseball teams (and Autry donated a museum to Los Angeles that’s named after him), but how many have actually seen any of their movies?

We have two competing superhero universes today, DCU and MCU.

Where are the T.H.U.N.D.E.R. Agents movies?  How come there’s no Dr. Solar or Brain Boy or Magnus, Robot Fighter films?

Answer:  No large corporation stand to make billions promoting those characters and licensing them to toys, video games, vitamin, and Underoos.

Corporations possess no sense of integrity to the original creators’ concepts.  They will change things in the blink of an eye if they think it will boost their profit margin.  They’ll promote the silliest and the most self-damaging ideas if they think it will make them a few extra bucks today.

Superman and Batman and Wonder Woman succeeded at DC bcause nobody there cared what the creators did so long as they turned their work in on time.

Product.

Jack Kirby and Steve Ditko and Jim Steranko blazed exciting new trails at Marvel because Martin Goodman couldn’t have cared less what they were doing so long as they delivered on schedule and under budget.

Product.

They flew under the radar.  They worked in a fast and grungy fashion, knocking the books out as quickly as they could.

To amuse themselves they trafficked in big ideas, eccentric art, outre stories.

That it caught on and blazed a new trail proved a combination of talent and luck.

There was no similar boom for romance comics or nurse comics or Western comics during the same period.

Right now the MCU movies are riding high and they are made with a great deal of technical care and they are amusing and entertaining.

So were Westerns.

MCU movies aim at too specialized an audience.  They appeal to this generation, but there’s no guarantee they’ll appeal to the next.

Indeed, there’s a strong argument that the next generation will reject the previous generation’s entertainment simply because it’s…well…theirs.

The films of Coppola and Scorsese will be watched.

They’re not product.

Oh, there were financed to make money, sure enough, but they were financed to make money by expressing the director’s personal taste and vision.

Further, they tend to transcend genre.

Yeah, two generations from now people who really love gangster movies will probably look up The Godfather and GoodFellas.

But people who love film, people who love art will be watching them as well.

They’ll also watch Public Enemy and Little Caesar, but unless they’re film buffs with specialized tastes, they’re going to skip the dozens of “programmers” cranked out in the 1930s to satisfy fans of that genre.

And the reason?  The Godfather and GoodFellas and Public Enemy and Little Caesar transcend their genres.

They are about people, not thrills and chills.

Consider classic Universal horror films.

James Whale & co. snuck one bona fide brilliant work of art past Carl Laemmle with Bride Of Frankenstein but after that the brakes clamped down hard and fast.

Uncle Carl couldn’t have geniuses running around doing whatever they felt like, thus risking the audience for Universal’s product.

Consistent mediocrity is better than risky genius in the eyes of the corporations.

The classic Universal monsters?  Reduced to The Munsters now; familiar icons, to be sure, but empty jokes, shadows of their former selves.

Replaced by newer monsters who in turn have been replaced by newer monster who in turn have been replaced by newer monsters and who will be replaced by newer monsters still.

‘Twas ever thus.

I begrudge the enjoyment no nobody who enjoys MCU movies.

Have fun.  Knock yourselves out.

But never mistake popcorn for caviar.

    © Buzz Dixon

  Champion was the name of Gene Autry’s horse.

[barrieevansmarketing]

Google My Business And Why Your Business Needs It.

Your local business has a website. Now you’re told you need Google My Business too! WHY you may ask. Local people search for LOCAL business 90% of the time. And where do the local businesses show up FIRST? Yep, in the Google My Business listings that show up at the top of the Google search results a majority of the time. There are some keywords that don’t trigger what is known in the trade as the “3 pack”, but a significant amount do.

What Is Google My Business (AKA GMB)?

Google My Business allows local consumers to find your business on Google Search and Maps. It’s what you could call a “one stop shop” for all your business information. Users love it because it’s at the top of the page, it provides local relevance to their search, and it’s relevant to a map that shows up in the middle of the search results page.

Why on 3 businesses in the three pack? Simply put, The best optimised and most relevant businesses for your search show up in the 3 pack.

You can click more results and then you’ll see all of the Google My Business profiles for that search result, but it’s those that have most relevance and are best optimized that show in the top 3 on page 1 of the search results. Sometimes you may see the top 3 plus an ad but being in the top 3 is where your business needs to be.

Let’s take a look at some GMB searches and who pops up:

Let’s look at the old chestnut of Dog Training. I live in South Wales, UK so we will look at dog training Cardiff:

As you can see, there are 3 businesses showing up under the Map. The map also shows pins of where each business is. When you click on the business name, a new tab opens with more information about the business. First, let’s look at the main 3 pack and what info is offered:

The business name is obviously the first thing you see with the phone number and the closing time. There are links to the business website on the right and a link to show the directions map to that business so you will be able to take your dog along for the training. The service may actually come to you, which needs to be in their information if relevant. As with anything Google search, relevance and information is key to your business showing up. If you have more relevance and information for the searcher than your competition, it stands to reason that you will be above them in the search results. There are other factors that may change this, which we will look at now.

I clicked through to the top listing and will show you some reasons why that is the top listing.

Image 2 on left with critique on right.

As you can see at the top of the listing, the website and directions are available again, but also an opportunity to save for future reference.

There is a little down arrow next to the Hours: Open Closes 8pm that when clicked will open a drop down showing the opening hours of the business. The other 2 businesses in the 3 pack also take advantage of this feature. The phone number is again shown, the business address and a little further down a feature for Questions and Answers. This is a great way to interact with your potential clients by personally answering questions for them when asked.

Reviews

Another good place for interaction is the reviews. It’s always good to reply to reviews no matter what. This feature offers you the possibility of helping someone who is not so happy with your service and dealing with their grievance. You may then get a good review from that person because you show you care about them and your reputation for good service. Reviews are important because people like to check them to see if your business is a good “fit” for them.

A little further down, below the reviews, is where you can see a little more about the business.

The description in this listing provides some information about the person and their experience. It also includes the keywords for dog training, which is important for a well optimised listing. If this was a more competitive niche I would suggest that the description could be longer if possible. The most important thing is the inclusion of keywords and the personal touch. The other 2 businesses in the top 3 don’t have a description that is relevant to their business that provides information that Google can use to position them better.

This listing also uses the posts feature, which is a great way to tell Google your business is active and looking for work. This feature was brought forward from the days of Google Plus. It was incorporated into GMB to help business have more contact with their audience. The other businesses in the top 3 list do not make use of these and therefore they don’t show in the listing.

By just optimising the listing better and using the features Google gives you, you can rank higher than competitors who may have more reviews and a better overall “score”. If you look at the business at position 2, they have the best review results, but they don’t appear to be using the features and haven’t fully optimised their listing. Had they done those things; I believe they would be at the top instead of position 2.

Having checked further, the businesses in position 1 and 3 make use of the free site that Google gives you. This is where the posts I speak about above actually reside. When well optimised, the website will boost the listing and can rank in its own right. Using Google properties is good because of the power Google has. The business in position 2 is there on merit and the review score, not because they are better optimised. Having a well optimised listing with good reviews and full use of everything Google gives you to promote your business will see you getting more success in the search results.

The nice thing about Google My Business, in particular the maps feature, you can see where a business is in relation to where you live. That way you can choose the business best positioned for you. With this in mind, your business needs to have the Name, Address and Phone number (commonly called the NAP) present on all of your other listings and be sure they directly match the information in your GMB listing. This is where duplication is vital. Put your NAP on your website, your directory listings, your social media profiles. Google sees these things and will know that they are relevant to your business.

Claiming A Google My Business Listing

Google gives you the opportunity to claim a listing if you haven’t set up one. Your business may actually show up on Google if there is a record of it anywhere on the internet. If there is no information except for perhaps a postcode, Google shows a button to claim the business (I couldn’t find an example when researching for this post, but it does show from time to time). If it is your business, you click this button and then fill in the information based on the tips we discuss in this post.

The business will need to be verified and this is usually done by receipt of a postcard from Google with a code on it that you enter into a box so Google knows the business is real and working from the address the card was delivered to. In some cases you may be able to verify using a mobile phone. This is usually more relevant when adding a new branch address and your business is trusted and has a good standing with Google.

That is basically it with Google My Business and why your business needs it. I hope you have found this useful.

  If you feel it’s too much for you to cope with to do all this extra work and feel a little overwhelmed, please feel free to book a consultation and find out how we can help you to have a strong online presence for your business.

The post Google My Business And Why Your Business Needs It. appeared first on Barrie Evans Marketing.

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[madeulookbylex]

10 Marketing Books You Should Read In 2017

Image: Shutterstock / Rawpixel.com

Interview after interview with top performers tends to reveal similar daily habits: an early wake time; a regular exercise regimen; and a designated time for reading.

Reading a lot wont necessarily make you a great leader, but it seems great leaders tend to read a lot with rare exceptions. Great leaders read because its the most efficient way to gain the condensed information, guidance, and insights they need to excel at their jobs. Who wants to reinvent the wheel when others have provided the blueprint? This is especially valuable in the marketing world, where the challenges facing chief marketing officers and other marketers are changing daily.

If youre ready to take your marketing game to the next level, heres a rundown of 10 of the best new marketing books to dive into this year:

1. “They Ask You Answer” by Marcus Sheridan

Marcus Sheridan is a legend in the digital marketing world after he used content marketing to lift his failing pool company from the brink of bankruptcy to become one of the largest in the country. Sheridans strategy is based on two fundamental assumptions: your customers are smart readers who want you to educate them and your best resource for doing so (the internet) is free.

“They Ask You Answer” shows you how to become the authority theyre looking for and gain their trust, you need to think hard about who your customers are and what they want. What are they confused about? Afraid of? Longing for? What are their pain points and their dream scenarios?

Answer those questions with your content, and youll have a whole new cadre of brand ambassadors to do your advertising for you.

2. “Non-Obvious 2017” by Rohit Bhargava

Georgetown Professor and founder of the Influential Marketing Group, Rohit Bhargava is a self-professed non-obvious trend curator. His series has been tracking trends since 2011 in the areas of culture and consumer behavior, marketing and social media, media and education, technology and design, and economics and entrepreneurshipall of which digital marketers should be following.

“Non-Obvious 2017” identifies five brand new trendsincluding fierce femininity, passive loyalty, and moonshot entrepreneurship, and reviews over 60 trends from earlier editions, providing longevity predictions for each. Bhargava also teaches his readers the skills necessary to do what he doescut through the noise and identify the emerging trends and patterns others miss.

If you want your marketing to resonate (and who doesnt?), this is the book for you.

3. “SEO for Growth” by John Jantsch and Phil Singleton

Since Google is a crucial source of web traffic and lead generation, companies cant help but question how strong their search engine visibility really is. If you dont have a handle on the basics by now, or havent kept up with the many Google algorithm changes affecting your website, its time to get caught up.

John Jantsch and Phil Singleton put their years of experience and research to work for you, showing you how to leverage the new rules of search engine optimization to maximize your websites organic ranking potential.

From high-level strategy to tactics you can immediately implement, “SEO for Growth” is a must-read for marketers and entrepreneurs.

4. “Hug Your Haters” by Jay Baer

For Jay Baer, a complaining customer is not a companys problem, its one of their best assets.

Most unsatisfied customers wont ever tell you where you went wrong, leaving you guessing how to do better. But a complaining customer actually gives you a major opportunity for growth and corrective action. Far too many business care too little about retention, placing much emphasis on outbound marketing and the attraction of new customers, with comparatively little attention paid to the customers theyve already paid to get, writes Baer.

“Hug Your Haters” outlines the two types of haters any business is likely to come across, identifies what they want and tells you how to give it to them. And its full of concreteand hilariouscase studies so you can see their responses in action.

Follow their lead and youll be turning haters into brand advocates before your very eyes.

5. “Pre-Suasion” by Robert Cialdini Ph.D.

To truly persuade someone, according to Robert Cialdini, you need to do more than change their mind; you need to change their state of mind. In “Pre-Suasion”, the long-awaited sequel to his New York Times bestseller, “Influence,” Cialdini directs our attention to the time immediately preceding the message, or what he calls the privileged moment for change. It is at this crucial juncture when you can prime your target to be more receptive to your words. Get them in the right mindset, he argues, and they will be much more likely to agree with you. The book outlines tips and technique that you can use in a variety of contexts to convince people of your message, even before you say a word.

6. “Get Scrappy” by Nick Westergaard

Afraid you cant compete because youre a mom and pop shop in a big block store environment? Then youll take solace fromand find a useful roadmap inNick Westergaards “Get Scrappy”. Host of the popular On Brand podcast, Westergaards simple message is exactly what you want to hear: you can punch above your weight. More than just a collection of tips, he provides an entire system for scrappy marketing, starting with the steps you cant miss, how to do more with less, and concluding with simplifying your methods for the long haul. Its a practical guide to helping you achieve big results on a small budget.

7. “What Customers Crave” by Nicholas Webb

Nicholas Webb wants you to rethink customer service and your targeting mechanisms. Forget age, geographic location, or race, Webb argues. Its much more important to know what your customers love and what they hate. What customers truly crave are amazing experiences and you can only give them that if you know their likes and dislikes. For Webb, customer service is not a technical process; its a design process, and it demands innovation. He walks you through how to identify different customer types, so you can figure out how to create superior experiences across all of the different customer touch points. “What Customers Crave” will change the way you think about customer service and how to boost those conversion rates.

8. “Invisible Influence” by Jonah Berger

People assume they have much greater control over their decision making than they actually do. But as Wharton School Marketing Professor Jonah Berger demonstrates in “Invisible Influence”, the reality is that we are all subject to the power of social influence. Berger uncovers the forces that subtly shape our behavior and shows how, contrary to common belief, this is often a positive thing. As an example, Berger sites the social facilitation phenomenon, in which doing an activity with someone else (say running) helps us do it better (faster). And for those cases in which social influence is a hindrance to good decision making, such as in the case of group think, Berger provides practical tips for overcoming it. We may all be subject to invisible influences on our behavior, but just knowing what those are can put some of the power back in our hands.

9. “Hacking Marketing” by Scott Brinker

According to Scott Brinker, marketing systems are lagging behind the rapidly changing environment in which theyre operating. He identifies five digital dynamics (speed, adaptability, adjacency, scale, and precision) that have transformed the work of marketing, and proposes a relatively simple way of bringing order to the chaos. As marketing becomes more digital and marketers are increasingly reliant on software to do their jobs, the art of managing marketing increasingly resembles the art of managing software. Therefore, marketing managers should adopt the successful frameworks and processes software managers have already developed. “Hacking Marketing” provides a hands-on (and non-technical) guide to creating your own agile marketing processes and serves as a much-needed reminder that when our environment and tools have changed, our work processes should as well.

10. “Digital Sense” by Travis Wright and Chris Snook

Travis Wright and Chris Snook recognize that marketing today is all about customer service. And like Jay Baer, they see it as an age of opportunity. They have devised a whole new marketing system based on two frameworksThe Experience Marketing Framework and the Social Business Strategy Frameworkto help you understand and surpass customers expectations at every stage of the buyers journey and get all of your employees on board. Their learn, plan, do approach allows you to reach customers while also allowing for discover, design, deploy innovation to improve everyday operations. “Digital Sense” is full of data, exercises, and specialized knowledge to help you understand their approach and customize it to suit your needs.

These must-reads are fresh takes on our rapidly evolving field, chock full of guiding frameworks, helpful tactics, and actionable tips. Its a fair amount of homework, but it does promise a major return on the investment.

    Josh Steimle is the author of Chief Marketing Officers at Work and the CEO of MWI, a digital marketing agency with offices in the US and Asia, and despite being over 40 can still do a kickflip on a skateboard.

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