#abominable movie icons

[ilovemesomevincentprice]

Vincent Price as The Abominable Dr. Phibes (1971) dir. Robert Fuest

[svankmajerbaby]

finally watched the dead meat channel interview with don mancini and brad dourif (like a month later or sth) and as always even if i didnt like the season its nice to listen to creatives talk about stuff and such. but when dourif was asked what his favorite horror movie was he said sth along the lines of "hmm no too scary" and said his favorite one was abominable dr phibes??? hes a man of taste i see 😌👌🏼

[spuffybot]

Ok was just having this debate with a friend who thinks Mission Impossible 2 is an abomination. And while I will give her that it is an anomaly within the MI canon and arguably is not a MI movie (Ethan doesn’t go rogue, he’s behaving OOC, the tone and vibe are off) I stand by the fact that it is a quintessential, iconic, and absolutely incredible Y2K movie.

1. The Soundtrack: much like the year 2000 classics Charlie’s Angels and Dracula 2000 this movie features Limp Bizkit, Metallica, Rob Zombie, Butthole Surfers, and Foo Fighters to name a few. It’s such an abrupt departure from the first film (the majority of songs on the first MI soundtrack aren’t even featured in the movie.)

There’s just something so utterly Y2K about Ethan throwing his glasses over the side of a mountain and them exploding to the sound of Limp Bizkit.

2. Ethan: just Ethan Hunt in this movie. Listen there are 6 MI movies that show Ethan as a perpetually serious genius with a passionate dedication to his friends and his mission. But there is only one movie where Ethan hunt is a sexy playful badass and that’s MI2. I would go as far as to say that Tom Cruise has never looked better in his life and I know that’s blasphemy against our lord and savior Lestat. But Ethan in MI2 is just GIVING. The arms. The smile. The ridiculous blowout that both falls into his eyes and tousles in the wind. This is peak sex appeal Cruise (it’s also before we knew he was all culty and creepy so it feels less bad to be deep in my feels about how hot he is.)

3. The John Woo of it all: John Woo said the year is 2000 and we will have DRAMA we will have FASHUN and we will have BIRDS. There is so. Much. Unnecessary. Slo. Mo. In. This. Film. SO MUCH. And the action sequences? I know this is a franchise known for its over the top action sequences but the ones in this film don’t even make sense.

4. The Title Sequence: honestly if anything in this movie is a fever dream (even more than the doves that fly out of an explosion) it’s the title sequence which feels like a mashup of every Y2K music video and action movie combined.

5. The Birds: listen I wasn’t going to ignore this scene. THIS SCENE. What can be said? It’s iconic. It’s absurd. It’s the epitome of the decadence, drama, and corniness of the year 2000.

Anyway, thanks for coming to my Ted Talk. MI2 may not deserve a place of honor in the official canon of Mission Impossible but it is hands down one of the best movies of 2000 and it deserves to be remembered as such.

[caramel-ribbons]

Huntlow is such a great dynamic. Like, they don’t have the pacing and icon status of Lumity or the history and angst of Raeda, but what they share in common with all these ships is their payoff.

Huntlow pays tribute to the character development of both Hunter and Willow in a way no other relationship in the Owl House does. When Luz and Amity meet, they’re still flawed. Luz is still oblivious and naive. Amity is still perfectionistic and cruel. They spend so much time together, recognizing their own shortcomings as well as each others, and this acknowledgment of who they used to be and who they became through each other, is the foundation of their relationship. Luz learns to accept herself and be vulnerable and Amity learns to express herself, quirks and all, and accept unconditional love from another person.

Raeda is, in many ways, the perfect relationship dynamic. Two characters who’ve been together for so long, they know the other better than they know themselves. They have all these memories from when they were kids, and despite experiencing so many ups and downs in their relationship, they still care for each other. Even after Raine breaks up with Eda and begins distancing themselves from Eda during season 2B, Eda still knows how much Raine cares for her. They know each other on a deeper level than most ever will.

But Huntlow? They didn’t meet the other when they were at their lowest. Willow didn’t meet Hunter when he was the Golden Guard, and Hunter didn’t meet Willow when she was “half-a-witch”. They only know each other for who they are now, not the labels people projected onto them or the expectations assigned to them.

Hunter was forced to be stoic and strong, but around Willow, he can be awkward. He can be sweet. Willow became shy and insecure because she was bullied for her abomination magic. But now, she’s a plant witch, an athlete. One of the best plant witches, actually, as well as the captain of a sports team she created. Hunter has only ever know Willow for her strength, her fortitude, and her self-assurance.

Thankfully, this part of the fandom has shrunk considerably, in fact, it was never big to begin with, but I do still see people who dislike Huntlow because they feel it’s rushed, and they’re allowed to feel this way. But Huntlow only feels rushed in part because of Disney’s cancellation of the Owl House, but mostly because of how their relationship begins. When they first meet each other, Willow is a “captain” and Hunter is just Hunter. Luz is the one who sees most of Hunter’s unfavorable moments. His obedience to his abusive uncle and loyalty to the coven system, and every other character besides Hunter remembers when Willow was the meek and timid witch who had no voice and could barely do magic. Seeing two characters who meet after they’ve overcome so much and after they’ve discovered so much about themselves feels antithetical to most relationships in this show.

There’s also detractors specifically because of Hunter’s trauma. They don’t feel comfortable seeing him enter a relationship when he’s still unpacking Belos’ physical and emotional abuse. It’s fair, but what people don’t seem to understand is that traumatized people have partners. Victims and survivors of abuse enter relationships. If Owl House has taught anyone anything about love, it’s that love doesn’t cure, but it does change, even heal. Trauma shouldn’t prevent people from having healthy relationships, in fact, they need healthy relationships just as much as anyone else, if not more. Support helps the recovery process. Yes, the media has enforced toxic portrayals of romantic relationships, and yeah, many stories, particularly made for movies and for television, present love as this magical force that melts cold hearts and purifies dark souls. But, there is still a place in media for the representation Huntlow offers of abuse victims and their journey to recovery.

[probadbatch]

Ok Bad Batch fans

I really don't want to be the person who squashes your theories and dreams but there is one thing I just keep seeing and I can't let you get your hopes up and wind up heartbroken over it.

Remember this?

Project Necromancer is the 'somehow' in "somehow, Palpatine returned."

I'm very sorry but this isn't about bringing back Tech. It's about bringing back Palpatine's wrinkly old ass.

Hemlock & Co are trying to clone Palpatine so that his spirit can move from his current body to a clone body and essentially live forever. The trouble they're having is with reproducing Palpatine's force abilities. That's why they're after Omega - something about her blood allows them to transfer force abilities during the cloning process.

The shadow council in Mando season 3 talks about it by name:

I get it, we were all distraught after TBB season 2 ended so Mando season 3 wasn't something we could commit to memory. I feel ya.

To sum it up - the Imperial Remnant has no real leaders among them so they're still trying to clone and resurrect their dead-Emperor in order to take over the galaxy again. But they still don't know how to do it so they're trying to buy themselves time until Hux's dad can figure it out.

That's why they were after Baby Yoda btw - Dr. Pershing needed a sample with his m-count to study so they could get a Palpatine clone that still had force abilities.

They do eventually manage to clone the old bastard but they can't get any force abilities to transfer. That's how Rey came to be - her dad was once of those force-null clones.

And then later they finally cram some amount of force abilities into the clones but as we see in TROS, those clones aren't quite up to snuff and had a tendency to fall apart once he tried to inhabit them with all of his dark side energy. That's why he eventually decided to Sith-lineage his way into inhabiting Rey or whatever the fuck that was at the end of the movie.

Everyone forgets that this guy explains what happened just a few seconds after Oscar Isaac's iconic line:

Also, cloning yourself so you can come back from the dead definitely falls under the category of 'abilities some consider to be unnatural.' That's what he's talking about when he tells Hemlock that many in the Empire would consider his work to be an 'abomination.'

I guess the good news is that since ol' Palps is still having trouble getting a clone body to work for him sixty years later in TROS, that probably means they don't get what they want from Omega.

So again. Very sorry. I really would like to tell you that they're resurrecting Tech. I still think Tech will come back but Project Necromancer won't be how he does it.

[katyspersonal]

Tagging game

Tagged by @bimbomcgee

Nickname: Kat, or Katy! Rom or Hina if you are very intimate with me and Rina if you want to be dead instantly

Sign: You really have any doubts? It's fuckin' Aries, binch!

Height: Boring generic 165 cm (5'4''). I love extremities, I'd love to be either very short or very tall.

Last thing I googled: 'Elden Ring Alberich face data'. Look at these mfers and tell me they are not implied to be related, especially considering that they are both big people in regards to Roundtable Hold:

Bonus - at first I misread this field as 'last thing I DOODLED' so here you can look at the result of me and Val having been drawing on Whiteboard and him mishearing me say "they added shapes" as "they added apes":

Sorry for NFT Boc everyone </3

Amount of sleep: From 4 hours to 4, it depends. I love consistency.... xD

Dream job: I want to work with plants... I just want to tend to flowers. Unfortunately spots like this are seldom open. Alternatively, I'd love a boring office job with buncha boring documents and high salary. Just take me somewhere where I won't have to interact with people -_-" You think I am not very social online, but in real life I get aggroed when a person I am not pals with as much as says my name!

Wearing: I am in my pajamas because it is 9 AM and I need to go to job soon! It is silly light blue one with pink flowers :3

Movies/books/media that summarize you: I used to have more interesting answer, but at this point my personality IS Soulsb0rne. I don't have to elaborate, just have a discussion with me that last longer than 10 minutes and you will understand. (and also probably go insane xD) However, if you really want to understand me well, you should also be familiar with Undert4le and Delt4rune, and also Mad0ka (ESPECIALLY Magia Record) and Gravity F4lls!

Favorite song: I don't have favourite song of all times, and in general it's been years of me not listening to music as it should be and instead abusing music as a podcast while drawing... This is one of the favourites since childhood tho:

Why it was so hard to find the subbed version... т.т

Instrument: None, but I often have dreams of playing piano! Makes sense because it is like, a dream haha.. hah

Aesthetic: It used to be all flowers and nature and blooming but Bloodb0rne seriously skewed it towards water and space and eldrich abominations.....

Favorite author: Lmao I don't read sorry dfshfsdhfd xD Focus issues! I read a couple of sentences and end up thinking of them from every possible angle, imagine every possible scenario, put them through my own memories and feelings..... and hella time sips away. Rom has MANY eyes, she should scrutinise the concept with EACH of them @_@ However, Dostoevsky and Bulgakov really pulled me <3 Dostoevsky has absolutely unrivaled fucking Russian depression in his works that I haven't found elsewhere, and Bulgakov just.. pulled religious themes so well, and I love his fucking CHARACTERS, so iconic xd If you read Master and Margarita you'll get it! (Crow I know you here LOVE classic Russian literature!)

random fun fact: I am in the walking distance from the sea! x) Could not have had it any other way, haha.

I tag: (You tagged some of our mutuals now already I guess?) @wikipedianna @lizteaart @val-of-the-north @saint--adeline @jarognieva @cosmichorrorsarestillnicerthanme @bobbyzombiegg @greenblueyulum

[the-gay-disney-games]

Round 1B: The Emperor’s New Groove (2000) vs. Lilo & Stitch (2002)

Propaganda:

The Emperor’s New Groove:

“That llama boy is gay. Probably genderqueer as well.”

“look at it.”

“just watch the movie it is blindingly obvious from like the first scene (no…no…no…)”

“I mean, i think kuzco is enough propaganda by himself”

“Kuzco is insanely queercoded. There's the way he immediately dismisses any women based on superficial traits, but seems very interested in Kronk. There's the crossdressing scene, which he was very into. And also just look at him.”

“Kuzco is a twink”

“Kuzco is a twink. Eartha Kitt is a gay icon. Kronk...”

“- come on, have you Seen Kuzko? That boy is a Twink.

- every character is So So queer coded in some way

- it's just,,,, so gay”

“You can't tell me those bitches ain't gay. The Llama guy (blanking on the name rn) literally rejected like 5 women rapid fire. Also kronk is queer ty”

“Kuzco is gender envy. Kuzco is gender queer/fluid.”

“That whole scene with Kuzco and Pacha in the restaurant that is all.”

“Kuzco is heavily queercoded in his mannerisms. The start of the movie has him rejecting a line of women as potential marriage candidates, being picky with their appearances. After that, he seems to be interested in asking Yzma about her henchman Kronk. Post llama-turning, he bickers a lot with Pacha but ends up creating a nearly familial bond with him. During a bit where they hide in the restaurant, Kuzco enthusiastically dresses in drag and pretends to be Pacha's wife. Pacha tells the waitress its their honey, with the waitress saying something about it "being brave to come out today", which could have two different meanings. After the movie and Kuzco returns to being a man, he doesn't get together with any woman like most films would. Instead, he finds himself a found family with Pacha, his wife, their two kids, and Kronk. If that's not queer-coded, I don't know what is.”

“Kuzco is so fucking gay and the film is completely unselfconcious and unapologetic. His mannerisms, his complete lack of a female love interest, the way his solution to hiding being a talking llama is to pretend to be Pacha's wife (???). His role model and only parental figure is a dramatic older woman played by Ertha Kit. And it's not just Kuzco; Kronk most certainly has the vibe to him. The casual gender non-conformance is off the charts. The Emperor's New Groove was a Disney movie that skirted under the corporate radar, made with very little input from the company itself. It is one of a kind and there will never be another one like it.”

“-Nothing about Kuzco is straight

-First off, the way he dresses and has incredible fucking hair. Like I know that emperor's were deemed as gods, and having them dress with pure gold jewelry and high quality clothing was a must.BUT STILL, HE PULLS IT OFF

-the scene were he turns down all of the women who were there for one of them to be his wife...BRO HE WAS SO SASSY AND SAVAGE AS HE COMMENTED ON THEIR APPEARANCES, TELLING THEM THINGS LIKE THAT THEY DON'T PULL OF THAT HAIRCUT AND SHIT LIKE THAT

-Don't even get me started on the diner scene with Pacha

-Twink....I will not elaborate”

“:)”

Lilo & Stitch:

“Pleakley and jumba are queer. I will fight people about this. And then they joined the found family to end all found families and co-parent with Nani. Change my mind ( you can't)”

“Jumba and Pleakley are MARRIED and you cannot tell me otherwise”

“The aliens are gay.”

“Trans icon Wendy Pleakley and their boyfriend Jumba”

“We stan Pleakley crossdressing”

“this is THE gay movie to me. It’s all about the found family. Stitch was cast out for being an “abomination” but then he found the place where he belongs with people who love him. Pleakley and Jumbaa are literally married”

“Found Family, cross dressing, self love, what else do you need?”

“I know Pleakley only gets to go whole hog on the crossressing in the TV show, but the movie is where he got his start.”

[tyrantisterror]

How would you rank ever Ghidorah Design, from worst to best? Or in a tier format, if you'd prefer.

Alright, let's go in order of worst to best.

Keiser Ghidorah is the worst Ghidorah. I am of the firm opinion that Ghidorah needs to be Beautiful and Awe-Inspiring first and foremost, because it's part of how he works as a foil to not only Godzilla, but really ALL of the heroic monsters in Toho's pantheon, and what makes him such an iconic villain as a result. Ghidorah is magnificent, splendorous, and everything humans find laudable on the surface level. He's the color of gold, he has large and lustrous wings, he's got a crown of horns and a voice like a bell, and all these things make him prettier and more pleasing to the average human than monsters like Godzilla and Rodan - which makes how fucking nasty he is all the more striking.

Keiser Ghidorah fucks that all up. He's got these stunted wings, this pathetic thin little rat tails, and this lumpy, misshapen body with nasty little heads. He looks uglier and more stunted than Godzilla, which makes the fact that he's nastier, well, pretty expected. He's big, but he has no majesty. He's not a heraldic beast, his a stunted miserable wretch, which makes him getting his ass handed to him by a different stunted miserable wretch a lot less interesting. Just a shit Ghidorah.

The plus side is that pretty much every other Ghidorah design is a fuckin' banger. GMK Ghidorah is technically my second least favorite and it's still a damn good design. GMK is such an oddball in terms of the mythos of these characters, with its explicitly evil Godzilla and benevolent Ghidorah, but even with the very different takes on characterization they manage to make the pair's relationship as foils meaningful, just in a different context - a heroic and heraldic Japanese dragon from the country's history is literally dwarfed by a far more modern manifestation of monstrosity, and, though he is outgunned, the mythological figure stands tall and shines bright as it defends Japan against an unstoppable force.

I don't know whether I should include Death Ghidorah here since he's really his own character, but fuck it, I'm going to do it anyway. Even with his more explicitly evil color scheme, he does what all the King Ghidorahs should, looking regal, magnificent, and awe-inspiring while being an evil bastard beneath the draconic splendor. Just because he's a goth where most Ghidorahs are preps doesn't mean he can't be just as fabulous.

Cretaceous Ghidorah is in a similar boat - he's technically aiming for something different than the standard Ghidorah vibe, but he still manages to accomplish what a Ghidorah should. Yes, he's not quite as regal as a King Ghidorah would be, but you can still see the splendor there - it's just subdued, because this is young Ghidorah, a Ghidorah who hasn't quite come into his Kingdom of Terror. A Prince Ghidorah, if you will, and he pulls off that princely look quite well.

Mecha-King Ghidorah is basically what he needs to be to live up to his character concept. I like/prefer the fact that he's visibly a cyborg rather than a pure robot - that Ghidorah's malevolent power could not be fully replicated with machinery, but instead simply restrained by it, albeit in an extreme fashion. The character himself isn't used particularly well in his movie, but design-wise it's a solid concept.

Planet Eater's Ghidorah was one of the few things in the shitty anime movie trilogy that was good in both concept AND execution. My personal stance is that turning Ghidorah into an eldritch abomination is an unnecessary change but not a bad one - a lateral move, really, depending on how it's executed. But for the anime movie trilogy, a creative choice that's a lateral move is WAY higher than average. I like the serpentine necks, the shining and almost angelic glow on Ghidorah's golden form, and how our space monster appears from black holes to really hammer its unnatural nature in. The only thing I don't like about it is the ugly face they gave it - I reassert my stance that Ghidorah should be pretty, and that gnarled twisted mouth and cluster of pustule eyes mars the pretty factor. But the golden glow makes it pretty unnoticeable, and the fact that Ghidorah's arrival finally made this series watchable makes me forgive that slight flaw.

The original Ghidorah is beautiful and nearly perfect, being the one who established the criteria by which I judge all other Ghidorahs. Love his furry manes, crescent moon-shaped head spikes, and his very non-European dragon faces.

...but I like the crown of horns that the Heisei Ghidorah sports just slightly more. Ghidorah's a king, and the crown look is just so perfect.

Rebirth of Mothra III's Grand King Ghidorah takes the Heisei design and blends in those crescent moon horns from the Showa design. If his lesser horns were a bit longer and he had Showa's manes he'd be pretty much perfect! Look at his grandeur!

As it stands, my favorite Ghidorah is the 2019 take. The regal splendor is on full display, he's got his crowns, and he goes hard on the mythology angle of the original Ghidorah that so many people seem keen to ignore. I miss the fan wings a bit, but the fact that this Ghidorah's wing structure is based on those of William Blake's depiction of Satan goes a long way in my devil-loving heart. If he just had some lustrous manes, he'd be pretty much perfect.

[f1yogurt]

So, here's my take on The Thunderbolts movie now that a team lineup has been announced.

I do think that Zemo will be featured in the film. 100%. It's almost guaranteed to happen. Maybe he wasn't introduced because Marvel didn't want to spoil something, or maybe because they're waiting to introduce him closer to the release date so that they can hype up the movie (wow I hate marketing tactics). Either way, I know he'll be in the film, even though the role that he'll play in it is unknown.

I'm not ecstatic about this Thunderbolts lineup so far, but there are plenty of characters who could be introduced or re-introduced between now and the release of the movie, so I'm not giving up hope. Like the potential for Abomination to arrive, but the fact that Marvel can't announce it because that could be a She-Hulk spoiler. Anyways, we've seen Marvel hastily introduce characters or change character arcs before, and I won't be surprised if they do it again in time to alter The Thunderbolts in order to feature a few more iconic characters from the MCU and from the original comics.

So I have high hopes for this movie, even though I don't necessarily enjoy the character lineup right now. Hopefully the MCU Thunderbolts will be just as great as we all expect it to be. And hopefully the movie will feature Baron Zemo dancing again.

[officialyourdailyinspiration]

Super Villains as Queer Icons

by Ken Ham

In a recent article on the Atlantic magazine’s website, there was a culture piece that looked at horror movie villains as “queer icons.”

Without delving too deeply into the article—which included many forced associations as well as some movies which were specifically written from the LGBT perspective, the author, Mary Retta, looked at several different “movie monsters,” and one association really stood out. She quoted another author, Susan Stryker, who in 1994 said this in regard to Frankenstein’s monster: “The transsexual body is an unnatural body. It is the product of medical science. It is a technological construction. It is flesh torn apart and sewn together again in a shape other than that in which it was born.”

We’ve discussed numerous times the horrors of surgical mutilation and unnecessary hormone treatments that the transgender movement and an all-too-willing medical community have foisted upon young people who are undergoing a crisis in their lives or just the uncomfortable and tumultuous throes of puberty. Rather than looking to heal those who are hurting, this only adds to the pain and confusion of these young people. But the above “body” statement struck me as a reminder that everyone is remade in one way or another. Either we “remake” ourselves in our own fallen and distorted image by surgery, addiction, hedonism, false religion, doing what is right in our own eyes (Judges 21:25), or some other panacea which excludes God. Or as Scripture teaches, we are remade in the image of Christ.

While at first blush it may seem counterintuitive to compare human birth and Christian rebirth with Frankenstein and his monster, there are some striking parallels and contrasts. I’ll briefly list a few below, based on the “body” quote above. The Bible speaks about God “knitting” or “intricately weaving” us together in the womb (Psalm 139:13, 15). The development of the child in the womb is one of the wonders of the created world, wherein genetic material from the father and mother comes together to create a new, unique individual. Scripture rightly says that people are “fearfully and wonderfully made” (Psalm 139:14). By contrast, Victor Frankenstein crudely sewed together his monster, hindered by the constraints of his abilities and tools. The resulting abomination is rejected in disgust by his creator.

There have been tremendous advances in reconstructive surgery, where surgeons reconstruct accident victims’ bodies to resemble their pre-accident selves. Prosthetics technology also gives people artificial parts to either compensate for birth defects (a sad consequence of the fall) or loss of body parts in accidents. These are good things and can be looked at as medical science attempting to alleviate some of the consequences of mankind’s sin.

Such science is also co-opted for so-called “gender affirmative care” in which biological males receive surgery and hormones to feminize their appearance and vice versa for women. However, there is no way to truly turn a male into a female or a female into a male. A man will never have the capacity to bear and nurse offspring as a mother does, and a woman will never father children. This sad imitation of manhood or womanhood robs them of their God-given femininity or masculinity that should be healthy and honoring for them as image-bearers of God. In this sin-cursed world, however, people are often confused, connived, or coerced into believing lies about their bodies, gender, or sexuality. Recently, videos have gone viral of “de-transitioners” who, having been given “cross-sex” hormones during their teen years, look neither masculine nor feminine and now realize the preciousness of what they gave up in this confusion.

While probably not the first comparison that comes to mind when thinking of the body of Christ and its members, Mary Shelley’s Frankenstein has some curious biblical themes running throughout its pages. Whether they were entirely intentional or not is unclear (although it seems certain that many were, based on her 1831 introduction to Frankenstein). Shelly wrote the following lines to explain the moment that the monster came to life: “Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world.” Her book contains many other biblical allusions, usually antitheses to the creation account, as would be expected in a tale where man plays God in creating what Victor Frankenstein deems a “wretched monster.” Yet all these themes in the book showcase that Shelley had in mind an anti-creation horror concept embedded in her book that acknowledged the perfectness and goodness of the Genesis creation account and that man’s attempt to remake himself or attempt to instill life is futile and only leads to catastrophe. Only God can create and recreate humans (by new birth into Christ), as we are made in his image.

[ilovemesomevincentprice]

Vincent Price as Dr. Anton Phibes

Dr. Phibes Rises Again (1972) // dir. Robert Fuest

[detectivehole]

im assuming you've seen all of kotobukiya's bishoujo horror figures, right? i was just thinking of it because of ash being included with all these other slasher characters lol

yea ive seen that collection and yes, again, ash is in there for no reason other than he's the only iconic character in a set of similarly iconic "horror" movies i suppose

but you know what?

i can let this one slide. she's cute. i would rather this goofy, abomination of an anime figure exist than not

in the series defense i think there was also a ghostbusters figure too? which certainly isn't horror and the ghostbusters themselves not the villains either

aside from ash i really like the beetlejuice one from this set. also a funny figure. i find these Sexy Anime Reimaginings inherently funny because... well they just are. but there is something mildly charming about them in an absurd way

[male1971]

If you follow me, you know how much I love the Planet of the Apes franchise. (Just look at my icon!)

I am always excited when a new movie is coming out (except for that Tim Burton abomination).

Tomorrow we will get a teaser trailer for the new movie!

[gaelic-symphony]

for the character thingy:

Tara

Emily

JJ

Regina/Evil Queen

No pressure to do all of them though if you don't want to ✌️

For Tara:

Why I like them: She's everything to me!!!! She's kind, strong, empathetic, emotionally intelligent, totally badass, and unbelievably hot. She's my wife and I love her. She's perfect. 10/10 no notes.

Why I don’t: I do not have an answer for this. I literally cannot think of a single reason not to like her!

Favorite episode (scene if movie): Ugh, it's impossible to pick just one! Either Mirror Image or False Flag.

Favorite season/movie: 13. It's a great season for her, and a great season for Temily.

Favorite line: When she refers to herself as "the woman behind the woman (Emily)." I take this as proof that Temily is canon.

Favorite outfit: GREEN DRESS 🥵

OTP: Temily

Brotp: Talvez (Luke and Tara)

Head Canon: She's a dog person, but has never actually owned a dog.

Unpopular opinion: This fandom's constant sidelining of Tara is deeply rooted in racism and misogyny. The only reason she's not as popular as other characters is because she's a Black woman.

A wish: I wish the fandom would stop treating her like a minor character!

An oh-god-please-dont-ever-happen: Her leaving the show

5 words to best describe them: The love of my life!

My nickname for them: Wifey💕

For Emily:

Why I like them: Lesbian with mommy issues who just wants to be accepted and loved. She's just like me fr! Also her growth as a character from season 2 to season 16 is absolutely beautiful to watch.

Why I don’t: I don't like fanon Emily. She's nothing like canon Emily.

Favorite episode (scene if movie): Demonology!!!!!!!

Favorite season/movie: Hmmm I might have to go with 16 because I love gray haired Section Chief Prentiss! I hate so, so much of Evolution, but for Emily purposes, it's an absolute masterpiece.

Favorite line: I have many, but "I've got a Glock leveled at your crotch" certainly stands out!

Favorite outfit: Cargo pants. Iconic lesbian wear.

OTP: Temily!!!!!!!

Brotp: Demily

Head Canon: Her parents divorced when she was in college, and even though she's not close with either of her parents, she has more of a relationship with her mother than with her father.

Unpopular opinion: Almost nobody in this fandom understands her or interprets her correctly. She is NOT a bumbling incompetent. She is NOT chaos personified. She is NOT comic relief. She would also never talk like a Gen Z TikToker. She's a middle-aged federal employee who excels at her job and has close, caring, mature relationships with the people she works with.

A wish: I wish people would stop butchering her character. This includes wishing they would stop shipping her with men.

An oh-god-please-dont-ever-happen: Hotchniss. Really any het Emily ship, but especially that one. It's an abomination.

5 words to best describe them: A lesbian for the lesbians!

My nickname for them: Other wifey💕

For JJ:

Why I like them: She's a deep, complex character with so much room for fandom exploration. Also pretty lady make lesbian brain go brrrr 😵‍💫😵‍💫😵‍💫

Why I don’t: I don't really like the direction her character took in later seasons, when she came back as a profiler. I love media liaison JJ, and I love Evolution JJ, but in seasons 7-15, she just doesn't do it for me like other CM women do.

Favorite episode (scene if movie): Hmmm probably North Mammon?

Favorite season/movie: 5 was a good look for her! I liked the bangs.

Favorite line: "It's not people, it's men."

Favorite outfit: Her Evolution crop top and leggings combo 🥵

OTP: I honestly don't know that I have one? I love Jemily and Jara, but I think Temily is endgame.

Brotp: JJ and Morgan!

Head Canon: If Henry had been a girl, JJ would have named her Rose, after Rosaline.

Unpopular opinion: Reid stans are way too hard on JJ, to the point of being misogynistic about their dislike of her character.

A wish: I wish the Jeid confession had never happened!

An oh-god-please-dont-ever-happen: Will becoming a main character on CM.

5 words to best describe them: too complex for this fandom😒😒

My nickname for them: I don't really have one

It's been sooooo long since I was in my SwanQueen era, so I don't think I can answer all of these for Regina, but I'll answer some!

Why I like them: Ummm...she's a morally gray milf? Literally what more do you need?

Favorite outfit: Her in suits 🥵🥵🥵

OTP: SwanQueen!!!!

[twistedtummies2]

The Price May Be Right - Number 13

Welcome to “The Price May Be Right!” I’m counting down My Top 31 Favorite Vincent Price Performances & Appearances! The countdown will cover movies, TV productions, and many more forms of media. Today we focus on Number 13: Dr. Phibes.

So, here’s a random fun fact for you Batman fans out there: apparently, this character was the inspiration for the version of Mr. Freeze that appeared in the seminal animated story, “Heart of Ice.” And, of course, that version of Mr. Freeze would become the inspiration for the character in nearly every other interpretation – both in and out of comics – to date. So, yeah, if you’re a Mr. Freeze fan, you can thank Egghead for it. :P ANYWAY…while Vincent did many, MANY horror movies – both serious and comedic alike – the one thing he never got was the chance to play a horror icon, so to speak. Which is to say, when you look at other great classic horror actors over the years, whatever else they do there’s always one specific character for whom they’ll always be remembered. For Christopher Lee and Bela Lugosi, it was Count Dracula; for Boris Karloff, it was Frankenstein’s Monster; even with more modern actors, like Roger L. Jackson and Robert Englund, they have specific horror roles (The Voice of Ghostface and Freddy Krueger, respectively) for which they will always be most chiefly recognized. Vincent never had that; he never got that recognition of having a specific, classic monster he could be identified with. The closest we ever got was that he was so well-known for his work with the stories of Edgar Allan Poe, but that’s a bit of a different issue. However, in the 1970s, Price DID get a chance to ATTEMPT such a feat, in two films that were part gruesome, gory nightmare fuel and part witty, satirical humor-fests: these were the Dr. Phibes films. The titular character was a deranged musical genius, who wore a mask to hide his hideous skull-like deformities – all elements taken from the timeless tale of “The Phantom of the Opera.” However, the story of the good doctor is rather different: Phibes’ descent into evil began when his beloved wife, Victoria, was stricken with some unholy medical condition. In order to save her life, a risky surgical operation was needed, which was so tricky it required the aid of no less than nine people to even hope for a success. Unfortunately, something went wrong with the operation; as soon as he got the news, Phibes hurried in the direction of the hospital…but was ironically caught in a terrible car crash, and apparently burned to death in the wreck. Husband and wife were then interred together. The rumors of Dr. Phibes’ death, however, were greatly exaggerated. Phibes miraculously survived the crash, and later rose from the grave hideously disfigured by the accident. He brought his wife with him, and kept her body imprisoned in a sarcophagus filled with honey and special fluids, so that her beauty would forever remain intact. In the first film, “The Abominable Dr. Phibes,” the mad maestro goes on a killing spree, attempting to get revenge on the nine people he blames for the death of his wife and the ruination of his existence. In the second film, “Dr. Phibes Rises Again,” the musical maniac returns, now seeking to resurrect his beloved bride. The Phibes films were a bizarre sort of pair. In a way, I sort of see these as the precursor to both the Scream films and the SAW movies. Like the former films, the movies combine elements of parodical dark comedy with real chills and gory, brutal death scenes. Phibes, himself, is treated as a serious and tragic character, and the fear factor is upped by his appearance. The mask he wears to hide his deformities is basically just Vincent’s face with some uncanny valley makeup added to enhance the effect, giving Price a particularly ghoulish appearance. This combined with the special voice box Phibes uses to speak after his accident – which causes Price to speak in a robotic, mechanical, droning sort of way that is both odd and genuinely unsettling – makes the character truly chilling. At the same time, however, he’s a sympathetic villain, as everything he does is in the name of his precious Victoria, and while one recognizes he is the bad guy of the story, it’s hard not to feel sorry for him and understand his motivations. The methods through which he offs his victims are pretty messed up even by today’s standards, too. In all, I would say most of the scares from the film come from Phibes himself. The humor generally is the result of the other characters around him, as well as some the intentionally contrived elements of the plot that are meant to satirize various horror movie tropes. I’m a little surprised there weren’t more films in the Phibes franchise; if there had been, maybe Vincent could have had that one iconic horror character to be recognized by…but, on the other hand, one of the things that made Vincent so fascinating was that he wasn’t someone who could fit into a singular mold, so to speak, and instead had MANY roles for which any given person could recognize him for most keenly. Dr. Phibes was ultimately just one of those parts, but it’s a part well worth remembering. Tomorrow, the countdown continues with Number 12!

[kylesvariouslistsandstuff]

Some random opening weekend predictions for animated movies for the rest of the year and maybe some 2025 ones, too...

THE GARFIELD MOVIE - Somewhere around $30m-45m. The only thing we can kind of base this on is the live-action GARFIELD from 2004, which did okay at best, wasn't really all that big back then. Whereas this is all-animated and much more recognizably Garfield & co., which I think will help it open above your typical post-COVID outbreak animated movie. It's the first all-new animated picture since KUNG FU PANDA 4, though not the first kid-friendly movie, as IF will open the weekend before it. Still, it's Garfield. Well-known, decades-old character. I guess the only other comparison here would have to be THE PEANUT MOVIES, which opened w/ $44m back in fall 2015. So yeah, somewhere in that ballpark.

INSIDE OUT 2 - Over $100m. The first INSIDE OUT opened with $90m back in 2015. Adjusted, that's definitely higher than $100m now. Anxiety was a huge hit upon the teaser release last fall, too. Could be a Grogu-esque character for the film that gets everyone in droves to check it out... So yeah, easy $100m opening. Will sit up there with THE SUPER MARIO BROS. MOVIE ($146m) and SPIDER-MAN: ACROSS THE SPIDER-VERSE ($120m), as grand champion animated openings post-March 2020. Could even make a play for the record, which currently belongs to the 2019 LION KING ($191m). If we don't want to count those kinds of CG movies, then... INCREDIBLES 2, with $182m.

DESPICABLE ME 4 - Over $60m. MINIONS: THE RISE OF GRU opened to a great $107m back in 2022, being the first movie in this franchise in five years (it had been delayed from its original planned summer 2020 release date), and it also helped that the DESPICABLE ME franchise was over ten years old by that point - the first movie having turned 10 in July 2020. I think that definitely helped MINIONS 2, and out of nowhere came that whole meme with people dressing up in fancy suits to see the movie. That's a sort of thing that can't be engineered, and can't happen again... Thus, I expect DESPICABLE ME 4 to perform a little more closely to DESPICABLE ME 3 (that opened to $72m back in 2017) and open above $60m. Could be anywhere between that and $80m, really. Maybe higher, if there's something of a nostalgia rush for it like there was for MINIONS 2.

TRANSFORMERS ONE - Over $25m. Tricky, given that this is an all-new take on Transformers and all-animated no less. I'll compare this to fellow Paramount animated film TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM. That movie came off of two live-action takes on the characters (released in 2014 and 2016), and prior to that there was a single animated movie in 2007 that made an okay amount of money, and there were the three live-action movies from the 1990s, the first of which being iconic... MUTANT MAYHEM opened with $28m last year, so I expect a similar turnout for TF ONE. Especially coming a year after RISE OF THE BEASTS (opened with $60m). With no footage out yet, it'll have to make a real impression the way MUTANT MAYHEM did in order to not get fully dismissed as "Oh, a TRANSFORMERS cartoon now?" Keep in mind, the first SPIDER-VERSE got that kind of reaction in 2018, and opened w/ $35m.

THE WILD ROBOT - Over $30m. I sense a real hype for this one, unlike most non-sequel animated movies released over the past couple of years. And even before COVID, honestly. The trailer really, *really* made an impression. At the movie theater I work at, between co-workers and guests commenting on the poster? Yeah, I think this one possibly scores the biggest opening for a DreamWorks non-sequel since THE BOSS BABY ($50m) all the way back in 2017. The bar isn't too high, for CAPTAIN UNDERPANTS, ABOMINABLE, and THE BAD GUYS grossed between $20-25m on their respective opening weekends, while RUBY GILLMAN came and went. This one, I think, will surprise.

THE DAY THE EARTH BLEW UP - Over $10m. It's Looney Tunes, yes. It's 2D, also. I don't expect a huge opening for it, given how the tides often flow. No doubt fans and those who have been keeping track of its existence will show up. Not sure how GFM goes about marketing and advertising this one, but I'm basing this on how a lot of non-anime 2D films - whether they're based on pre-existing franchises or not - did over the past 15 years.

MOANA 2 - Over $100m. The first MOANA opened with $56m back in 2016 and legged it up to a $245m+ domestic gross. Pretty solid run in theaters... But on streaming? E-X-P-L-O-D-E-D... It continues to be one of the most streamed movies of all-time, every year. Something about it, really keeps it atop the tidal wave. The post-theatrical life for this movie is ROBUST... Thus, I think this sequel will be a massive opener.

THE LORD OF THE RINGS: THE WAR OF THE ROHIRRIM - Over $10m. Being an anime take on LORD OF THE RINGS, I think this will largely be ignored on its opening weekend, looked at as just "a LORD OF THE RINGS cartoon". With some diehards and animation fans such as ourselves showing up. Could be a leggy surprise thereafter, though.

MUFASA: THE LION KING - Over $30m. Whenever a sequel/prequel/whatever to a Disney remake crops up, it usually doesn't do great. ALICE IN WONDERLAND (2010), for example, was a billion dollar smash. Six years later came ALICE THROUGH THE LOOKING GLASS, which didn't make half of what the first Burton movie made worldwide. It did pitifully domestically, opening with $26m, waaaaay down from the first one's $116m opening take. MALEFICENT 2 had a similar trajectory, though not as harsh as a come down. That opened with $36m domestically, down from the first's $70m opening. I think LION KING prequel - coming off of the first, which opened with $191m - has a similar fate. It'll also have SONIC THE HEDGEHOG 3 to compete with.

DOG MAN - Over $10m. Basically a milder CAPTAIN UNDERPANTS. Looking at the likes of MIGRATION and such, it'll be a teens opener, probably having spectacular legs afterwards.

THE SMURF MOVIE - Over $10m. Kinda hard to gauge. A little while ago, Sony Animation did SMURFS: THE LOST VILLAGE in 2017, which opened with $13m. That came off of two relatively recent live-action hybrid movies. In 2025, it'll have been almost 10 years since LOST VILLAGE, so maybe that helps it? Maybe the new approach helps it? Remains to be seen, this is based on what little we know of it... But we already had three Smurfs movies in the 2010s, so it seems like it'll only do alright.