#also begs the question if the rest of the cult are also cannibals or if bob's just the token megafreak

[vellichorom]

I neither know nor particularly care about Spooky Month but do you think that Bob's cannibalism could be a form of theophagy. Because methinks that could be real interesting.

ohhh possibly...

bear with me here but you SEE, the cult he's apart of is VERY obsessed with the idea of " everything, " with their god, dubbed " The Eyes of The Universe, " either promising them " everything " - like the world or whatever they individually desire, or possibly protection from the alleged end of the world... or something like that, it's not entirely clear what the cult's or their god's motives truly are beyond the umbrella of the term " Everything, "

but i believe there's been some alluding to the god or the cult members using others' bodies as vessels, WHICH MAKES ME THINK... the human flesh is Important to the cult. & you've got a cannibal right there, referred to by the creator with a religious quote that virtually pertains to " every moving thing " being nothing but feed to him.

SO I CAN'T SIT HERE & SAY IT'S NOT PLAUSIBLE YOU KNOW WHAT I MEAN? thinking it could possibly be done as some form of connection TO the eyes of the universe or as ritual practice for the cult's end GOAL,

[chilopodacrudus]

Who do you Want to Be? Chapter 9: Good Dogs

CW: Graphic depictions of violence; cannibalism, cults, (extremely NON romanticized) physical and verbal abuse, major character death, death, blood and torture.

Piers; Casey, Allison and Doc were all allowed to have a soft moment, a kind moment. Laying out on the grass in the field and wrestling around. For a time; they all felt companionship, they felt laughter, they felt dull dread pushed down. Piers mind went blank as well; he liked this feeling, he liked this new family...family. His mind reeled as he found him and his companions sprawled out on the grass resting at dusk. Where had the time gone. Doc was asleep curled up against Casey who was holding onto him drifting off as well. Allison had her eyes on Piers; reading him, or attempting to. Hands clasped along her chest fiddling with a wildflower she had plucked. Then their world shattered and fell back into place.

Johnny: He made himself known abruptly rousing Piers from his daydreams and making him sit up straight. “Piers.” He conveniently ignored the rest of them; Johnny speaking soft enough as to not rouse Doc from his sleep but he stepped forward a little too close for Piers comfort.

Piers: He held a hand up telling him to stop but also spoke softly. “Careful.” Piers stood up slowly gripping Doc’s lead tightly just in case.

Johnny: “Heh...don’t worry about it; I’ve got an idea that you might like and since...it’s nighttime...Piers you must be tired.” He lifted his head back gripping his fingers along Piers shoulder and whispered into his ear. “Was thinking...since you enjoyed Allison so much...you might want to double date with me.” Johnny knew how Piers would react; he was just waiting for him to fall into his trap.

Piers: He snarled at him and suddenly gripped Johnny’s neck. “You touch her; the muzzle is coming off.” He tensed his hands on Doc’s leash a wild look in his eye.

Johnny: He laughed and patted Piers’ hand around his throat. “You’re gonna make a man jealous with how much you fancy her; she’s MY girl Piers...I just let you borrow her. So…” He ticked his eyes down to Allison; who is now sitting upright and stiff praying Piers doesn’t get himself in trouble for both their sake. “What are you going to do in return.” He seized Piers’ hand and pulled it from his throat giving him a warning tug along Piers’ shirt still hiding an untreated deep wound.

Piers: He sneered at him looking to the side. He looked over at Allison; he looked at Casey then back to Johnny. He was speechless for once in his life.

Johnny: “No ideas? Well...I have one for you. I’m jealous of your ‘pet’ there Piers; I’ve always wanted one. Though the type of pets I like have even more bite then your damned pooch down there. You Piers; I want you to be my pet and what does that entail?…” He took the hook of his cane and slipped it against Piers’ collarbone. “Total obedience. No questions. You listen to me? You be a ‘Good Dog’?…” He looked eerily to Allison. “I don’t touch that bitch ever again. I might even let her be part of your..enrichment Piers...if you act extra Sweet.” Piers: He was in shock his eyes snapped open wide; embarrassment, hatred, a broken ego. He didn’t take orders; he hated not being in charge but Allison...he had a feeling that Johnny had gotten tired of her. He noticed the lack of attention he paid her and with this particular situation that was not a good thing at all. Boredom meant death; though he knew that all too well himself. A sickness churned in his stomach. Johnny knew about his latch; he felt the man’s fingers picking at it as he looked in his eyes. He had no choice. Allison: “Piers don’t do it.” She spoke sternly and shook her head. “I’m used to this don’t do it; don’t do this to yourself. Please.” She begged but spoke too loudly rousing Doc from his sleep.

Doc: He was in bliss; for awhile, new people, new yard, new rich tastes of treats and belly rubs. But as he came to; he smelled Him. His eyes snapped open and he was upon Johnny in an instant; Piers couldn’t hold him down, the muzzle the only saving grace for Johnny but his claws did a number too. Shred; shred him, you can’t taste his flesh but you can claw and stamp down stamp this Bad Person down into the dirt where he belongs.

Johnny: Johnny yelled with his eyes wide he had never been witness to so much fury. Taking his cane he snatched around Doc’s collar and sharply jerked him off to the side as Doc yelped from the choking feeling in his neck as Piers was finally able to act and calm him. “What did I say Piers...the damn thing loses it’s head if you don’t MAKE IT BEHAVE.” But his anger didn’t last long; he again, was very excited today. He dusted himself off while laughing; shrugging at Piers backing up then pointed at Allison. “Gonna need that decision from you either way; you can tell I’m being EXTRA lenient right now so...before I change my mind…”

Allison: A firm voice escaped her. “Don’t” Piers: “Fine. You have a deal.” Allison: Her heart sank; this stupid man. ‘You don’t care about me Piers you don’t care about me so why would you do this. Why would you sign your life away to the devil for me. This doesn’t make sense’ Her mind scrambled for an answer. Casey: Casey could only sit in horror and watch he could never speak up on a good day and this isn’t even one of those, so he kept his silence.

Piers: “Don’t worry Allison. I’ll be okay.” He flashed her a smile and looked back at Johnny. He knew he had no choice in this; he wasn’t even sure why Allison argued. It was either he give in and let her die or give in and let Johnny dangle her over his head as a treat now and then but at least she’d be alive. At least she’d be safe. “I have one more request however if you will.” Johnny: His eyes wide in pure frantic joy he nodded and held his hand out. “Good choice; now what else would you ask of me? Hope it’s nothing too spicy…” Piers: He looked towards Casey ticking his head to him to have him get closer; he handed Doc’s leash to him making Casey stare at Piers like a mouse ‘what was he thinking’. “Doc very well hates you; I’m sure you’ve noticed, I want Casey to take care of him. I’ll do Casey’s job from now on too; whatever that might mean...and in return...full loyalty.” Casey: “Piers…” He spoke louder than usual then went to calm Doc; holding his arms around him and looking to the side. Why the hell was Piers doing this; he didn’t deserve this.

Johnny: A whistle on his lips he laughed in utter amusement. “Oh PIERS you’re a fun one; I like you, yea yea sure.” He rubbed his chin and looked up as if putting a plan into place then looked back into Piers’; very displeased face. “I can do that...big plans Piers...like I told you...I had a place for you from the get go but yea yea you can follow up on Casey’s job...in fact...why don’t the two of you team up. Bring the pooch with you too. I’ll fill you in on the ‘whatever that might mean’ later but I think a man like you will really enjoy it. Yea...this will work out just fine. Ha ha ha.” He pointed at Piers and ticked his fingers at him. “Follow me Piers; come here boy, I’ve got something I’ve been wanting to give a Good Dog like you.”

Piers: Piers expression was dark; if anyone else saw it they would run but Johnny is not a normal man. He had played into Johnny’s plan perfectly and he knew it. He had no idea what awaited him but a ‘Good Dog’ he was not; he was more of the rabid type and he swore to himself that Johnny would find that out soon enough.

[aion-rsa]

Clarice: How Does The Show Compare to Hannibal?

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Can a series be considered part of the Hannibal Lecter franchise if Hannibal Lecter never appears? 

Picking up in 1993, shortly after the events of The Silence of the Lambs, CBS’s new drama Clarice follows the continued trials and tribulations of Lecter’s most famous foil, originally brought to iconic, Oscar winning life by Jodie Foster thirty years ago. For long-time fans of Thomas Harris’ creation, Clarice is a contentious proposition. The idea of a TV series about Clarice Starling is neither a creatively bankrupt nor unappealing one, however it comes with a faint veneer of controversy due to a perception that its very existence potentially puts an end to revival chances for Bryan Fuller’s gone-too-soon cult classic Hannibal, which ran on NBC between 2013 and 2015. 

Due to complicated rights issues dating back to the 1980s, Thomas Harris’s stable of characters has been divided between different studios, with the DeLaurentiis company (who produced Fuller’s Hannibal) owning the novels Red Dragon, Hannibal and Hannibal Rising, while MGM have exclusive rights to The Silence of the Lambs. It’s for this reason that the TV iteration of Hannibal could never use Clarice Starling or Buffalo Bill, while conversely Clarice can’t directly mention Hannibal Lecter, Jack Crawford, Will Graham or anyone else who didn’t originate in Silence.  

Both shows find creative ways around this. Hannibal zeroed in on Lecter’s relationship with Red Dragon protagonist Will Graham, while winking to Clarice in the form of tenacious FBI trainee Miriam Lass. Clarice, for its part, refers to Starling’s interactions with a certain inmate at the Baltimore Hospital for the Criminally Insane and features several repurposed Lecter quotes from the movie, but never names Lecter directly. This is less of a problem than you’d think; after all, in the canon of both the movies and the books Clarice and Hannibal didn’t meet again until either seven or ten years after the events of Silence (depending on whether you go with the books or the film adaptations). 

But watching the new series it soon becomes clear that Clarice has little interest in the Lecter canon outside of the 1991 film.  

Read more

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Hannibal Lecter: History of the Character

By Gerri Mahn

From the first episode Clarice directly contradicts the plot of original Silence sequel Hannibal, scuppering any sense that it could be viewed as a bridging chapter. The inclusion of Ruth Martin, the senator whose daughter Clarice saved in Silence, is a savvy choice but it is quickly established that Martin is now the US Attorney General, whereas in the novels she remained a Senator (but left office prior to the events of Hannibal). The inciting incident of the show is Martin sending Clarice to work for VICAP in Washington, a department headed up by another familiar character for fans of the books; Paul Krendler, played here by The Walking Dead’s Michael Cudlitz. 

Krendler is a minor character in the film version of Silence, but is much more significant in the broader oeuvre of Harris’ writing. In the novels he is established as a misogynist who, smarting over Starling both beating him to the capture of Buffalo Bill and rejecting his sexual advances, actively works to impede her career. 

The Krendler of Clarice is decidedly not the same character as the books. Quite apart from the novel Hannibal including no reference to any significant prior working relationship, here he is a tough but mostly fair veteran of law enforcement, initially dismissive of Starling yet developing a grudging respect over the course of the three episodes provided to reviewers. If anything it feels like the series has opted to merge the broader trait of his dislike for Starling with the original mentor role filled by the now off-limits Jack Crawford. 

In isolation this is a fair choice. Once you accept that this Krendler is not the pre-established character, the tense yet warming relationship he shares with Starling works. However it does beg the question of why the show didn’t just create a new character to fulfil the role; it’s not as though Krendler is such a well-known name that not including him would be considered an unforgivable mistake by fans. If it were, he would certainly be written more in line with his textual counterpart or Ray Liotta’s slimy performance from the Hannibal film. 

It comes off as though the writers of the series chose to work exclusively from the film version of Silence, in which Krendler’s bit-part provides only the sense of him being a bit gruff. This, largely, summarises Clarice’s relationship with the source material; the 1991 film is its bible. The rest of the canon, not so much. 

Now contrast this with Fuller’s Hannibal. What started out as a slightly dreamlike procedural developed into a Grand Guignol opera about the yearning for human connection between damaged souls. It is a singularly beautiful TV show, but arguably its savviest choice is a fidelity to the ideas, spirit and characters, if not the specific plot, of its source material. Supporting players from the books are treated with the kind of fanfare that only an obsessive fan of Harris would either bother with or appreciate.

 Plot elements from the novels are remixed, allowing characters who never met on the page to interact, sometimes to spectacular effect. At times the show came across as giddy Thomas Harris fanfiction, a description Fuller himself actively encouraged. Hannibal was the perfect marriage of a unique creative vision with a classic text; it single handedly managed to revitalise the Lecter property after the film franchise’s ignominious farewell in the form of the limp prequel Hannibal Rising. 

I want to clarify here that I’m in no way trying to suggest that Clarice falls short due to not engaging with the source texts in the same way as Fuller did. For one, Clarice only has access to one of said texts, and does work to include every logical Silence of the Lambs character in a way that both serves its story and furthers that of the film (the film more than the book, as Krendler’s depiction can attest). But the approach is worth discussing as it does underscore a key difference between the two shows. 

Clarice largely adopts the look of The Silence of the Lambs, but to its credit the show uses the film predominantly as a springboard to tell new stories. While the first episode somewhat clumsily tries to pack in multiple Silence references, the second and third quickly find a more successful rhythm. A rhythm, interestingly, punctuated with unsettling dream imagery that would have been right at home in Fuller’s show. Vivid red blood squeezed from a hat in an almost greyscale kitchen. A human hand bursting from the back of a death’s head moth. Blood from the dying Buffalo Bill’s mouth racing back in, the nightmare suggestion of a monster coming back to life. Whether influenced by the earlier show or not, these moments clearly set out that this is a different vision to the film, which outside of a couple of pretty conventional flashbacks, eschewed fantasy. 

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Why David Tennant Lost Hannibal Role According to Bryan Fuller

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But that’s not the only way that the three episodes made available to reviewers parallel the Hannibal series. It’s no secret that the earlier show was initially constrained by a frustrating case-of-the-week structure. From out of the gates, Clarice has a similarly episodic approach but wears it slightly better. Based on the first two episodes you would be forgiven for writing this off as CSI: Silence, but the third episode unites the threads in a satisfying way, indicating that going forward Clarice could be predominantly a serialized conspiracy thriller with an occasional dip into isolated cases. And while aspects of the unfurling mystery are faintly ridiculous and don’t provoke flattering comparisons to Silence, it’s engaging and confident enough to indicate that this series is interested in more than just reminding you of a thirty-year-old classic. Which, given the current trend in reboots, is refreshing. 

There is however a sense that Clarice’s take on the procedural is a safer one than Hannibal’s. For example, the respective second episodes of both shows feature standalone cases. In Clarice the team are sent to deal with a cult-like militia who have injured a policeman. In Hannibal, somebody is turning drugged people into living mushroom farms. 

The seeds of that show’s evolution into a surreal, heightened melodrama in which murder became a kind of art form were in place from the start. Clarice is far more rooted in the real world, but given that the central character is a driven young FBI agent as opposed to a high-art loving cannibal genius who is also maybe the devil, the discrepancy isn’t exactly surprising. Of course Clarice should chart its own path, although when comparing the two it’s hard not to miss Hannibal’s delighted embrace of sheer weirdness. 

All of that said, there is a distinct pleasure here in seeing Clarice Starling back in action. Given that the novel and film Hannibal immediately got to work destroying her career, getting to see her achieve genuine success is nicely refreshing. Despite Starling’s status as an iconic part of a larger franchise, until now only The Silence of the Lambs ever really did her justice. The ending of the novel Hannibal was famously controversial, with Clarice’s final fate as Lecter’s brainwashed lover seen by many as a betrayal of everything she stood for. And while I will argue that it was misunderstood, that the conclusion was the inevitable result of the Faustian bargain Starling made by allowing Lecter inside her head in the first place, it’s undeniable that she was relegated to a reactive supporting role with very little agency, a sin that the film adaptation was also guilty of. 

No such problem here. As portrayed by Rebecca Breeds, this is the Clarice Starling you loved in Silence. Courteous, tough and direct when she needs to be, singularly skilled at negotiating with killers yet grappling with all-too-human demons and vulnerabilities. She’s an immediately interesting, likeable presence. And there is no danger of her being overshadowed; while Clarice sets up an appealing enough supporting cast, it never loses sight of whose story this is. 

Jodie Foster will always cast a long shadow, but Breeds captures the essence of the character without ever falling into a hollow impersonation. It’s a fantastic performance that holds the show together even when the writing falters. 

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It’s too early in Clarice’s run to fairly say whether it will be as good as Hannibal was. The other show overcame a shaky start to become an all-time great with a fervent cult following still hoping for a belated revival. Whether Clarice can stoke the same passion from viewers remains to be seen, but while its tenuous relationship to the literary source material may be frustrating to Harris fanatics, particularly those enamoured by how Fuller’s show engaged with the books, it’s only fair to judge Clarice on its own terms. And who knows? If it’s successful, maybe it will be the spark Netflix needs to revive that other Harris TV adaptation. For now though, plan to call on it; the world is more interesting with Clarice in it. 

The post Clarice: How Does The Show Compare to Hannibal? appeared first on Den of Geek.

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[supercultshow]

Hello Supercult West! This is Supercult South Bad Movie Professor Cameron Coker (BS in “Women, Children, and Cartoon Animals first” with a minor in “Party Time!”) and I’m reaching out to you from across the country to help hype tonight’s screening of Titanic: The Legend Goes On!

Okay, let’s try this again Supercultists…

Once upon a time, in 1912, a big a$$ ship sank and a lot of people died. This was very sad in a lot of ways, but it was very good for Hollywood, who has milked the tragedy for every ounce of cinematic material ever since. Over 20 films about, relating to, or featuring the Titanic have been released since the disaster, roughly two every decade. The first was ‘Saved From The Titanic’, released just 29 days after the event and starring Dorothy Gibson, an American Actress who survived the sinking. In 1943, a German propaganda film about the Titanic was commissioned by the Nazis with the intent of showing not only the superiority of German filmmaking, but also to argue that British and American capitalism was responsible for the disaster.

The Titanic was truly a tragedy of pie in the face proportions.

Featuring the best CG Titanic since 1997!

Fievel? Is that you? What sisyphean curse

Pongo, Perdita, why are you in this film? What do these Italians have on you??

The best thing about this film is that, unlike The Legend of Titanic, Titanic: The Legend Goes On doesn’t have a sequel.

This is the villain, because of facial hair.

I just… I mean… Well… There it is.

Sorry, I know this is tragic and all, I just… A rapping dog?

The most commercially successful is undisputedly James Cameron’s 1997 romantic comedy about a girl who just refuses to share her rafts. But Cameron’s success was immediately followed by a series of pretenders and cash-ins. Chief among them was the first animated feature film about the Titanic: Supercult Classic, The Legend of Titanic. Released in 1999, just two years after James Cameron’s epic, this Spanish Italian film is quite possibly the worst thing ever. It features a straight up rip-off of the plot of the James Cameron film with a bunch of human characters, but with 1000% more animated talking animals including a bunch of immigrant mice in varying flavors of racist, a gang of criminal sharks, and a naïve dog-faced giant octopus named Tentacles.

But we’re not talking about that film. We’re talking about the second animated film about the Titanic: Titanic: The Legend Goes On, also called Titanic: The Animated Film in the American release. The Legend Goes on features a straight up rip-off of the plot of the James Cameron film with a bunch of human characters, but with 1000% more animated talking animals including a bunch of immigrant mice in varying flavors of racist, and a truly bizarre rapping dog. Released in 2000, this Spanish Italian film is somehow NOT a sequel to Legend of the Titanic. It’s not even made by the same production studio. Which means that two separate groups of people in Italy and Spain decided to make an animated knock-off of James Cameron’s Titanic and then proceeded to unleash a torrent of animated stereotypes, musical numbers, and bizarre sub-plots onto the screen.

The Legend Goes On was Directed, Written and Produced by Camillo Teti, a Producer and Production Manager of Spanish action films, westerns, and weird children’s sci-fi films named Navigators of the Space, which probably isn’t a rip-off of Flight of the Navigator. Probably. The Legend Goes On was Camillo’s first animated film and it not only rips-off the James Cameron film, but also a plethora of other animated films from One Hundred and One Dalmatians and The Rescuers to Secret of NIMH and An American Tail. This begs the question: Can you make a decent animated film by cannibalizing the parts of a dozen other animated films…and a 100-year-old tragedy that claimed the lives of over 1500 people? The answer is no. God no.

Titanic: The Legend Goes On is a travesty that insults the memory of those lost during the sinking of the Titanic, but more than that, it’s an insult to all of us who deign to watch it. With the American release of the film garnering a 7% audience score on Rotten Tomatoes, it’s been described as “a failed Disney imitation that excels in bad taste”, “inappropriate for children”, “one of the worst animated films of all time”, and “the worst film ever made” period. All of this and we might not even be seeing the best version of the film.

The most commonly available version has been drastically cut and re-edited. The re-edited version begins in media res with the ship sinking, then tells the rest of the story in flashback, removing several scenes and subplots, reordering certain scenes and shortening the runtime from 83 minutes to 70 minutes. It even changes the infamous rap song, adds one-liners and dialogue to previously silent scenes, and features a new musical score. We’ll know soon enough which shipwreck we’ve gotten ourselves into, but regardless, the legend of this incredible animated cult film will stay with us forever. Whether we like it or not.

You know there’s something you should know, so I’m gonna tell you so, don’t sweat it, forget it, enjoy the show!

Supercult West is proud to present, Titanic: The Legend Goes On!

Titanic: The Legend Goes On Hello Supercult West! This is Supercult South Bad Movie Professor Cameron Coker (BS in “Women, Children, and Cartoon Animals first” with a minor in “Party Time!”) and I’m reaching out to you from across the country to help hype tonight’s screening of Titanic: The Legend Goes On!