#dr. seth brundle

[atomic-chronoscaph]

Jeff Goldblum - The Fly (1986)

[your-local-lucifer]

Do you see this.

Do you understand my vision.

My VISION.

[wouldtheyfuck]

[gayeldritchgod]

Okay i need to know...

[bracketsoffear]

Corruption Tournament Round 1

Kid Rot vs. the Radiance

The Fur Beetles vs. Gregor Samsa

The Sisters of Plenitude vs. Sydney Sargent

Clara/the Changeling vs. Malenia

Thistle Men vs. Thrax

Eldon Stamets vs. Narrator

SCP 049 vs. Darryl Weaver

Seth Brundle vs. Ratboy

Conway vs. the Masque of Red Death

Calamity Ganon vs. Dr. Hilbert

Gog-Agog vs. Taylor Hebert

Spider vs. Eveline

Zazie the Beast vs. Bugsnax

Emperor Belos vs. the Candyman

Warren the Eagle vs. Queen Chrysalis

Oogie Boogie vs. the Grinch

[zippocreed501]

Geena Davis and Jeff Goldblum as Veronica "Ronnie" Quaife and Dr Seth Brundle

The Fly (1986)

[callmebrycelee]

MY MAN CRUSH MONDAY IS...JEFF GOLDBLUM SPOOKY SEASON EDITION

FULL NAME: Jeffrey Lynn Goldblum

DATE OF BIRTH: October 22, 1952

PLACE OF BIRTH: West Homestead, Pennsylvania

AGE: 71

SIGN: Libra

BEST KNOWN FOR: Portraying Dr. Ian Malcolm in Jurassic Park, The Lost World: Jurassic Park, Jurassic World: Fallen Kingdom and Jurassic World Dominion; David Levinson in Independence Day and Independence Day: Resurgence; Jack Bellicec in Invasion of the Body Snatchers; Michael Gold in The Big Chill; "Slick" Calvin Stanhope in Silverado; Seth Brundle in The Fly; Grandmaster in Guardians of the Galaxy Vol. 2 and Thor: Ragnarok; Ichabod Crane in The Legend of Sleepy Hollow; and Hiram Berry on Glee.

HEIGHT: 6 feet and 4 inches tall

[ashley-slashley]

horror would you rather 2

have nightmares in the same vein as david kessler, or have nightmares controlled by freddy krueger

die by falling down a flight of cement stairs (e.g. damien karras), or die by getting impaled by a metal pole (e.g. father brennan)

deal with david kessler while visiting england, or deal with brahms hillshire while visiting england

do jury duty in a trial where steve freeling is suing his job for building a neighborhood on a cemetery, or be in the audience of the dr. oz show where herbert west is presenting the re-agent

introduce damien karras to doom, or binge watch tales from the internet videos with ash williams

be in an episode of the monkees with patrick bateman, or watch head (1968) with the cenobites

take a painting class with carrie white, or play paintball with ellen ripley

play the sims with chop top sawyer, or play dress up games with baby firefly

babysit damien thorn, or babysit carol anne freeling

be roommates with seth brundle, or have a variety show (e.g. eric andre) with captain spaulding

go to disney world with crawford tillinghast, or go to universal studios with louis tully

reenact the music video of kate bush's wuthering heights with hannibal lecter, or go to a kate bush concert with david kessler and jack goodman

be neighbors with laurie strode, or be neighbors with damien karras

take regan macneil to build-a-bear, or go to legoland with patrick bateman

watch margaret white fight chris macneil, or watch robert thorn fight brock williams (ash williams' dad)

be adopted by the addams family, or be a distant relative of the munsters

cosplay as walter white and jesse eisenberg with stu macher, or do a group cosplay as walter white with ash williams and chet kaminski

hide in the airducts with xenomorph, or live in a treehouse with yautja

watch classic ytps with ash williams, or browse 4chan with chucky

go to an alice cooper concert with jason voorhees, or go to a led zeppelin concert with ash williams

fight dr. loomis, or fight mrs. baylock (nanny from the omen)

be friends with christopher lee dracula, or be friends with jack goodman

be stuck in a room with norman bates, or be stuck in a room with kurt kunkle (dude from spree)

wake up in racoon city (resident evil for a self note), or wake up in silent hill

have hannibal lecter be your psychiatrist, or have damien karras be your psychiatrist

be haunted by jack goodman, or be stuck on an island with herbert west

throw dog biscuits at david kessler, or watch freddy krueger fight vince mcmahon

turn seth brundle into a marketable plushie, or turn dr. pretorius (from beyond (1986)) into a funko pop

be stuck at the bus stop in rock bottom with ash williams, or send billy lenz to brazil

go to the zoo on the same day as damien thorn and his mother, or break into a whale tank with beetlejuice

fuck around at a power plant with nosferatu, or violate osha regulations with harry warden

go to the slaughtered lamb (aawil), or go to the double r diner (twin peaks)

watch a tales from the internet video about stu macher, or watch an absolute mad lads video about david kessler

go on a date with jack goodman, or set up egon spengler with janine melnitz

be on whose line is it anyway with david powers and the lost boys, or watch captain spaulding's museum be featured in an episode of american pickers

watch the chris chan documentary with crawford tillinghast, watch any of wendigoon's iceberg videos with herbert west

take ballroom dancing classes with ash williams, or have chop top sawyer be your freestyle dance teacher

fight andrew tate with jennifer check, or fight dr. oz with herbert west

watch frank cotton be a guest on the dick cavett show, or watch margaret white be a guest on the view

celebrate the holidays with david kessler and jack goodman, or celebrate the holidays with billy loomis and stu macher

attend a seminar where fake doctors (e.g. dr. phil, dr. oz) are speaking with dr. loomis, or protest the seminar with herbert west and frederick frankenstein (young frankenstein)

go on a date with david kessler, or sleep with jack goodman

go to spencer's with dr. frank-n-furter, or go to hot topic with shorty the klown

take all the halloween candy from "TAKE ONE" bowls on candy on halloween with michael myers, or leave just one piece of candy from a bowl on someone's porch with freddy krueger

diy your halloween costumes with carrie white, or buy a shit quality costume from spirit halloween with stu macher

[thefangirlingpuellamagi]

So Ice King (Simon Petrikov) was based off of Doctor Two Brains (Steven Boxleitner) who was based off of Seth Brundle who was based off of Gregor Samsa, oh my.

[insectfused]

the worlds cutest scientist

[1percentcharge]

Rating bug men Meruem 9/10 Spider-Man 8/10 ant man 2/10 chrollo 0/10 not even really a spider dr cockroach 10/10 Seth brundle 10/10

[spoonfulofwhoopass]

I’ve been working on a series of drag faces based on horror movies for my Instagram! Here are the first 9.

Intro/General fall time face

Got called to perform at a show so… just vibing

Frankenstein’s monster - Frankenstein

Graverobber - Repo! The Genetic Opera

Christiane - Les Yeux Sans Visage

Seth Brundle/Brundlefly - The Fly

Colour study - The Void

Dr. Frank N. Furter - The Rocky Horror Picture Show

Herbert West - Re-Animator

[phantomofthepairofdice]

Double Features 2: Splatter, Splicer, Slander, Slasher

Considering the fact that we’re locked down and most folks aren’t going out much, why not settle in on a weekend with double feature. As part of a series of articles, I’ve decided to suggest some titles that would make for an interesting pair. It’s a time commitment like binging a few episodes of a TV show, and hopefully these double features are linked in interesting enough ways that it has a similar sense of cohesion. They also can be watched on separate occasions, but the lesser the distance between them, the more the similarities show. Do it however you want, really. I’m merely a guy on the internet, and that qualifies me for absolutely nothing! Enjoy at your own risk.

This template is back! I wanted to suggest a few more double features, but this time keep them in a specific genre: horror. I love horror movies, and I realized that I hadn’t really given them their due on this here blog, so I wanted to remedy that by showing a lot of love across a lot of different movies. I’ve put together some international movies, some classics, some that are silly, some that are serious, and even a bonus suggestion hidden in one of these blurbs. So without any more ramble in the preamble, here are four new suggested double features.

Note: The pairs are listed in the order I think best serves them being seen.

Hausu & Evil Dead II:

Hausu aka House (not to be confused with 1985 American horror film of the same name) has sort of transcended cult movie status to become a staple of off-center horror-comedy. Directed by recently deceased Nobuhiko Obayashi, the film shows his roots in advertisements with every shot designed for maximum effect, a (still) cutting edge approach in the edit, and a joyous, playful approach to special effects. It’s a gauzy and dreamy romp about a group of schoolgirls who head to the countryside on vacation. While staying at one of their aunts’ house, the supernatural hauntings begin, and heads start to roll (as well as bite people on the butt). It’s the type of movie where the main cast of characters are named Gorgeous, Kung Fu, Melody, Prof, Mac, Sweet, and Fantasy and they each have corresponding character traits. I was lucky enough to catch this at a rep screening at the Museum of Fine Arts a few years ago (further proof that this has gone beyond the cult curio status), and this is absolutely a movie that benefits from having a crowd cheer and laugh along - but it’s fairly easy to find and still has lots of pleasures to be enjoyed on solo watch. I’m pretty much willing to guarantee that if you enjoy it on first watch, you’ll want to share it with others. Now, where does one start when talking about Evil Dead II? Sam Raimi is rightfully as well known for his start in the hair-brained splatter genre fare as he is for his genre-defining Spider-man films. The influence of the Evil Dead movies is nearly unquantifiable, apparent in the work of directors like Edgar Wright, Peter Jackson, Quentin Tarantino, and the Korean New Wave filmmakers like Bong Joon-ho and Park Chan-wook. There’s a reason that the second film of his Evil Dead odyssey is the one that people hold in highest esteem, though. There is an overwhelming gleeful creativity, anything goes, Looney Tunes approach to it that makes the blood geysers, laughing moose heads, and chainsaw hands extend beyond gore and shock into pleasure. It’s been noted over and over by critics and Raimi himself that the Three Stooges are probably the biggest influence on the film, and by golly, it shows. Evil Dead II and Hausu are pure in a way that few other movies can be. Both of these movies are an absolute delight of knowing camp, innovative special effects, and a general attitude of excitement from the filmmakers permeating through every frame. They’re a total blast and, in my mind, stand as the standard-bearers for horror-comedy and haunted house movies.

Total Runtime: 88 minutes + 84 minutes = 172 minutes aka 2 hours and 52 minutes

The Thing (1982) & The Fly (1986):

Feel free to roll your eyes as I explain the plots of two very famous movies. The Thing is John Carpenter’s body horror reimagining of Howard Hawks’ The Thing from Another World and the story that was adapted from, “Who Goes There?” by John W. Campbell Jr. The film is centered around a group of men in an arctic outpost who welcome in a cosmic force of shape-shifting annihilation. What ensues is a terrifically scary, nihilistic, paranoid attempt to find who isn’t who they say they are before everyone is replaced with the alien’s version of them. The film is a masterpiece of tone in no small part due to Dean Cundey’s photography and Ennio Morricone’s uncharacteristically restrained score. The real showstopper here, though, is the creature effects designed by Rob Bottin with an assist from Stan Winston – two titans of their industry. There may not be a more mind-blowing practical effects sequence in all of movies than Norris’ defibrillation – which I won’t dare spoil for anyone who hasn’t seen it. The story is so much about human nature and behaviors, that it’s good news that the cast is all top-notch – anchored by Kurt Russell, Keith David, and Wilford Brimley. While The Thing is shocking and certainly not for anyone opposed to viscera, David Cronenberg’s The Fly is the best example of a movie not to watch while eating. Quite frankly, it’s got some of the most disgusting things I’ve ever seen on film. Chris Walas and Stephen Dupuis’ makeup effects are shocking, but the terror is amplified because this builds such a strong foundation of romance in its opening stretch between Jeff Goldblum and Geena Davis in what might be their career-best work. The story is simple: a scientist creates a teleportation device that he tries out himself, but unknowingly does so with a fly in the chamber with him. When he reatomizes on the other end, his DNA has been integrated with the fly. Slowly his body begins to deteriorate, and he transforms into a human-fly hybrid. While this is first and foremost a science-fiction horror film, it’s truly one of the most potent love stories at its center. The tragedy is that the love, like the flesh, is mutated and disintegrated by the hubris of Goldblum’s Seth Brundle. Here are two remakes that – clutch your pearls – outdo the original. They both serve as great examples of what a great artist can bring by reinterpreting the source material to tell their version of that story. The critical respect for Carpenter and Cronenberg is undeniable now, but both of these movies make the case that there are real artists working with allegory and stunning craft in less respected genre fare. It doesn’t take a lot of effort to transpose the thematic weight of the then-new AIDS crisis onto both films, but they both have a hefty anti-authority streak running through them in a time where American Exceptionalism was at an all-time high. If you want to get a real roll going, fire up the ’78 Invasion of the Body Snatchers first to get a triple dose of auteur remakes that reflect the social anxieties of the time and chart from generalized anxiety to individualistic dread to romantic fatalism.

Total Runtime: 109 minutes + 96 minutes = 205 minutes aka 3 hours and 25 minutes

Theatre of Blood & The Abominable Dr. Phibes

That old Klingon proverb that Khan tells Kirk about revenge being a dish best served cold is challenged by these two Vincent Price tales of the macabre. They posit that revenge is best served in extremely convoluted and thematically appropriate predecessors to the Saw franchise. Where Saw trades in shock and extremity, though, these classic horror tales offer an air of panache and self-satisfied literacy. In Theatre of Blood, Price plays a disgraced and thought-dead stage actor who gets revenge on the critics who gave him negative reviews with Shakespeare-themed murder. There’s good fun in seeing how inventive the vengeful killings are (and in some cases how far the writers bend over backwards to explain and make sense of them). It’s a little rumpled and ragged in moments, but Price is, of course, a tremendous pleasure to see in action as he chews through the Shakespeare monologues. Imagine the Queen’s corgis with a chainsaw and you’re on track. Phibes came first and, frankly, is the better of the two. The story is about a musician who seeks to kill the doctors who he believes were responsible for his wife’s death during a botched surgery. The elaborate angle he takes here is to inflict the ten plagues from the Old Testament. I hesitate to use a word that will probably make me come across as an over-eager schmuck, but it really feels best described as phantasmagorical. It’s got this bright, art deco, pop art sensibility to it that’s intoxicating. It also has a terrifically dark sense of drollery - it knows that you can see the strings on the bat as it flies toward the camera. Aesthetically, it feels adjacent to the ’66 Batman show. The music is great and the indelible image of his tinker toy robot band, The Clockwork Wizards, is a personal obsession of mine. Both Theatre of Blood and The Abominable Dr. Phibes feature great supporting turns from Diana Rigg and Joseph Cotton, respectively. Settle in for a devilishly good time and enjoy one of cinema’s greatest vicarious pleasures: getting back at those of criticized or hurt you.

Total Runtime: 104 minutes + 94 minutes = 198 minutes aka 3 hours and 18 minutes

Blood and Black Lace  & The Bird with the Crystal Plumage

The final pairing comes from beyond American borders and, to some, beyond the borders of good taste. Mario Bava and Dario Argento are likely the two biggest names in Italian horror, and that’s for very good reason. Bava, who started as a cinematographer, has made loads of movies (even the film which gave Ozzy Osbourne and crew the name their band name) that have tremendous visuals and terrific sense of mood. Argento, probably most famous now for Suspiria, emerged onto the Italian film scene a handful of years later and picked up that baton from Bava to crystallize the dreamy logic puzzles cloaked in hyper-saturated colors. These two films are regarded as quintessential in the giallo genre – named for the yellow covers of the pulp crime fictions that inspired them. As someone who loves the flair that can be applied to make a slasher film stand out amongst their formulaic brethren, I found that the giallo made for a smooth transition into international horror. Blood and Black Lace is a murder mystery that’s as tawdry and titillating as its title suggests. Set in an insular world of a fashion house in Rome, models are being murdered. The plot feels like a necessity in order to create a delivery system for the stunning set pieces that revolve around a secret diary. Bava puts sex right next to violence and cranks up the saturation to create something thrillingly lurid. Six years later, Argento made his first film which has often been credited for popularizing the giallo genre and already is playing around with some of his pet themes like voyeurism and reinterpretation. Built around an early set piece (that stacks up as one of the best in thrillers) in which a man is trapped but witnesses a murder, the film sees said man trying to find the piece of evidence that will make the traumatic killing make sense. Like Bava, it blends sex and violence with tons of flair, including a score by the aforementioned Ennio Morricone. The film is absolutely on a continuum between Hitchcock and De Palma. If you’re looking for a pair of exciting horror/thrillers, or even an entry point to foreign genre cinema, this is an accessible and enjoyable place to start.

88 minutes + 96 minutes = 184 minutes aka 3 hours and 4 minutes

Well, there you have it. Eight movies, and hours of entertainment curated by some guy with no real qualifications. If you’re interested in some more suggestions (in horror and other genres), stay tuned for the next entry in this Double Features series. And if you’re looking for a way to watch these movies, I highly recommend the app/website JustWatch where you can search a title and see where it’s available for streaming or rental. Happy viewing.

Thanks for reading.

[pigeons-without-hats]

So stalking various tumblrs I came across post by @thefangirlingpuellamagi saying that Dr Two Brains was based off of a character (Seth Brundle) in ‘The Fly’ 1986

I’m like cool it’s Jeff Goldbloom

So I decided and try and figure out how to edit images, on procreate ( spoiler I have no clue what I’m doing) but. for what it is I think it came out OK

So have Jeff Goldblum Dr two Brains

[latetotherant]

The Contention of Voice: Alan Moore’s Reshaping of Mr. Hyde’s Monstrosity ••• By Lissa Heineman

Having now completed The League of Extraordinary Gentleman’s fourth volume, it is possible comic culture’s favorite uncle, Alan Moore, is officially retiring from comics. The graphic novel series is celebrated for its gallery of famous characters from literary history, acting as a new-age compendium for Industrial Revolution-centric anachronisms. It’s both a Lit Degree-er’s nightmare and playground, remixing themes and characteristics from different classic works together. One such example is Moore’s take on the OG, 1800′s Hulk, Dr. Jekyll/Mr. Hyde.

Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde was published in 1886, a time in which the debate around science and religion was intense. Charles Darwin’s The Origin of Species had been released in 1859 and made the Victorians begin to question their ‘infallible’ faith in God’s unlimited control, but also be wary of metaphysical sciences — a phenomena that studies the fundamental nature of reality. The book used its main characters to generate discourse about morality, reasoning, science, and faith, while reflecting upon the growing uncertainties that came with fin-de-siecle, or end-of-the-century, culture. To the modern reader, the basic message of Stevenson’s novel is clear: Hyde wasn’t simply a monster, and consequence of metaphysical practices, but a manifestation of Dr. Jekyll’s repressed self. However, this leaves a question of how human Hyde is in comparison to Dr. Jekyll, if they are one in the same. What is Mr. Hyde’s personhood? It is through the introduction of Alan Moore’s take on the character(s), that Mr. Hyde’s own character takes shape. By integrating characteristics of Edgar Allan Poe’s The Murder in the Rue Morgue into Hyde’s storyline, Moore argues for Hyde’s personhood and agency, not allowing him to simply be a figure of the Victorian’s metaphysical anxieties.

In Dr. Jekyll and Mr. Hyde, Jekyll is described as having become “too fanciful… [and going] wrong in mind,” practicing “unscientific balderdash” (Stevenson 12).  Jekyll is framed as immoral, particularly in comparison to the book’s protagonists. His ‘science’ is described as “transcendental medicine” (Stevenson 52), ie: metaphysical inquiries. Jekyll’s research, and his addiction to his own chemicals, code him as a heretic. Stevenson indicates that Jekyll, himself, is problematic. Yes, Hyde is young and brutish with more physical capabilities than the older, deteriorating Dr. Jekyll, but he certainly isn’t the degenerative juggernaut illustrated in The League of Extraordinary Gentlemen. Rather, Mr. Hyde is described as “troglodytic” (Stevenson 16), “ape-like” (Stevenson 20), and “a monkey” (Stevenson 39). These descriptions of Mr. Hyde allude to the backwards progression of man’s evolution, as chronicled by Charles Darwin and the likes of Thomas Henry Huxley, reaffirming Jekyll as representative of a bastardization of London’s moral ideals of the time.

The League of Extraordinary Gentlemen clearly takes some creative liberties with its depiction of Mr. Hyde. In Issue 1, Hyde is seen easily holding Quatermain feet above the ground, close to the ceiling, easily in one hand, fangs barred and tendons and veins practically bursting across his collar and face. Across the same two-page spread, Auguste Dupin attempts to defend himself and Mina Murray from Hyde, shooting the monster in the face. Part of Hyde’s ear is blown off, which only increases Hyde’s anger, emphasized by the all-capitalized dialogue bubbles. Not only does Hyde retain the apishness described in Stevenson’s novel, but it is intensified, as seen via the fangs, flared nostrils, incredible muscle definition, and the overall brownishness of his complexion. He towers over all the other characters dramatically, alluding more to King Kong than how earlier adaptations had illustrated the character, which often emphasized “neanderthal” over “monkey”. Hyde was popularly depicted as an unkempt, twisted, and hunching man across films and drawings. There can be many reasons for this deviation within the comic’s universe, but one of the most obvious links is in how this Hyde is adapted not only from Stevenson’s work, but also Edgar Allan Poe’s The Murders in the Rue Morgue. The murders attributed to Hyde by Dupin in The League are ones that were committed by the Ourang-Outang in Poe’s short story. Even the way that Hyde’s anger increases when Dupin shoots him mirrors how the Ourang-Outang becomes agitated enough to murder the two women, which occured only when one of the women provoked it by screaming (Poe 35). Moore masterfully blends together Hyde and the Ourang-Outang to display the animalistic qualities of the former character.

However, what is most interesting regarding Hyde in The League is his communication -- his literal ability to speak. Never at a single point in Dr. Jekyll and Mr. Hyde does Mr. Hyde speak; we only hear Dr. Jekyll himself talk. A large part of Poe’s Rue Morgue mystery is based in “voices in... contention” (first on Poe 11). Witnesses heard the then-mysterious “arguing” of the deep-voiced French sailor and the shrill shrieking of the Ourang-Outang, and found the ape’s voice to be unidentifiable in gender and nationality. Dupin notes that: 

"the voices of madmen, even in their wildest paroxysms, are never found to tally with that peculiar voice heard upon the stairs. Madmen are of some nation, and their language, however incoherent in its words, has always the coherence of syllabification” (Poe 28-29). 

Poe introduces the idea that language is a characteristic of a nation, and therefore language being linked to personhood. It is this argument that leads to Dupin’s logical deduction that the murderer couldn’t have been human at all, as he didn’t have language or nation, and it is this language that brings us to question the boundaries between both Stevenson and Moore’s version of Jekyll, Hyde, and their divide.

Stevenson’s Mr. Hyde is a ‘mask’ for Dr. Jekyll; we never engage in Mr. Hyde’s perspective, and while Dr. Jekyll uses the potion to maintain control over both himself and his alternate-persona, we are never given evidence that Hyde himself has his own perspective. Hyde’s activities across the novel are described as bouts of rage that mirror the kind of blind activity that the Ourang-Outang perform: they are mindless performances of heated passion and emotion. On the other hand, Dr. Jekyll’s role is indisputable. In his confession of the murders in Stevenson’s novel he admits that he “mauled the unresisting body” (Stevenson 60), rather than referring to himself as Mr. Hyde, which would relieve himself of blame or control. This reaffirms Hyde as a costume for Jekyll’s depravities. Even in the final chapter, “Henry Jekyll’s Full Statement of the Case”, where Dr. Hyde’s body is “in control”, the character still refers to himself exclusively as Dr. Jekyll. Dr. Hyde is never autonomous, and he is never a singular being. These facts create a gap in how to read Mr. Hyde at all, because despite his own embodiment, he is very much just Dr. Jekyll. 

Despite performing similar brutalities to Poe’s monster, Hyde/Jekyll is very human. However, when he’s offered a voice by Moore, Hyde becomes separate. Jekyll isn’t speaking through Hyde, and Moore’s Hyde becomes a near-replica of the dynamics that Marvel’s Bruce Banner and the Hulk engage with, as well as that of Poe’s Ourang-Outang and the Frenchman, who feared being accused as guilty for the crimes of the ape. Such dynamics are further displayed by Moore in Champion Bond’s explanation of Jekyll/Hyde. He describes Dr. Jekyll as “a highly moral individual” who “become(s) Hyde” whenever he is stressed (Moore Vol. 1). Moore and Stevenson’s characters here are distinctly separated. Moore’s choice to depict Hyde and Jekyll as split shifts the blame of Jekyll/Hyde’s actions away from Stevenson’s intended perpetrator: Jekyll, and onto Hyde, transforming Jekyll into a victim. Jekyll even offers a warning to the League as they approach the Limehouse District. With sweat beading across his forehead he admits “sometimes I’m not myself. I’m not sure I can always be relied on.” Stevenson’s writing posed a message that playing with science can drive a man mad and immoral. With Moore’s Hyde having his own distinctive personhood, Stevenson’s message is removed from the Jekyll/Hyde mythos. 

Alan Moore offers an alternative take on Dr. Jekyll and Mr. Hyde. Departing from Stevenson’s classic allegory for the anxieties of scientific advancement, Moore uses the classic Poe story to explore Hyde as a separate force. Monstrosity, in the 19th century, was linked to the degradation of character and religion. However, Moore’s transferral of power over to Mr. Hyde, as suggested by both literal narration and the gift of speech, allows Hyde to take up the true mantle as a monster. Moore points to how this form of remix encourages reshaping perceptions of the familiar. This variation on Jekyll/Hyde can easily parallel the Ourang-Outang and the Frenchmen, Bruce Banner and the Hulk, and even deviating examples of both Frankenstein and his monster and The Fly’s Seth Brundle and Brundlefly, who both exemplify monsters with their own senses of personhood and creators who fall victim to their creations. One can see that Moore’s recharacterization of Hyde makes a classic work feel more approachable and non-other.

__

Works Cited:

Moore, Alan and Kevin O’Neill. The League of Extraordinary Gentlemen: Volume One. California: America’s Best Comics, 2000. Print.

Poe, Edgar Allan. The Murder in Rue Morgue. Feedbooks, 1841. Online. http://www.feedbooks.com/book/795/the-murders-in-the-rue-morgue

Stevenson, Robert Louis., and Roger Luckhurst. Strange Case of Dr Jekyll and Mr Hyde, and Other Tales (Oxford world's classics). N.p.: Oxford U Press, 2006. Print.

[ball-of-lint-blog]

Ok so nobody cares but

I've had this idea floating around in my brain for about a year, but never really put it onto paper until two months ago.

I'm a writer. I write things and stuff. Right? Ok. So I saw the movie "The Fly" from 1986, and instantly fell in love. It has captivating performances, amazing special effects, and was just overall interesting and very well done.

(The sequel was not as good, but this is not about that)

My brain started churning as soon as the credits started rolling. What happens next? At this point I hadn't seen the next movie, so I just started working on my own sequel. I was so enthused about my own idea I didn't care if there was another.

So here it is:

Two years before the Telepod accident, Seth Brundle and his twin brother, Elliot Brundle Pershing, got into an argument. This ended up tearing them apart and after that moment Elliot cut his brother off completely. One year before the Telepod accident, Elliot had his second son, but lost his wife in childbirth.

16 years after the Telepod accident. The second son is now 15 years old. His name is Cody. He lives with his father and older brother of 5 years, James. Their house is generally hectic, with James being depressed, unemployed and still living at home and Elliot working a 7-10 job. Cody wants to go to college and become a biologist, inspired by the AP Biology teacher at his school, Dr. Evelyn Rametsu.

One Saturday morning, Elliot wakes up to somebody knocking on the door. It turns out to be a woman, a journalist, named Veronica Quaife. She tells him that she knew her brother.

Elliot is immediately uninterested, wanting nothing at all to do with his brother. As it turns out Cody was never told of his mysterious uncle, and James was strictly forbidden to tell his little brother about him (even barely remembering him). Veronica quickly interjects and breaks the news to all of them: Seth Brundle, the brilliant but eccentric scientist, is dead.

Cody is intruiged with his uncle's occupation. James is a little sad, but overall unphased by the situation. Elliot however is broken. Sure he fought with him, but didn't wish him to die. He never even got to apologize. He feels immensely guilty.

Elliot wants to know exactly how it happened. Was it a suicide? Murder? Was he drunk and reckless? A lab accident? They are all shocked to hear it was technically all three. Veronica offers to drive down and show them more at Seth's now abandoned apartment.

While Elliot does want to know more, he needs time to process. He lets his sons go with Veronica down to Seth's lab/home, which is covered in cobwebs and mold.

Veronica explains to Cody and James that Seth was eager to try out his Teleportation Pods, and in a drunken fit he teleported himself. However he was unaware that a housefly had gotten into the Telepod with him, and he and the fly became merged on a molecular-genetic level. This prompted Seth to undergo a grueling metamorphosis, which in the end left him as a twisted man-fly hybrid.

If any lecture from Dr. Rametsu taught Cody anything, it's that a fusion like that would prove to be anything but life-changing. Maybe a couple of digestive changes, but nothing as drastic as having to vomit on your food. Before he can say anything, though, Veronica plays a video on a small TV in the house, which almost makes James vomit.

Cody is interested to see how this sort of thing happens. He notices the stray wires of the Telepods, and being the person he is, he puts them back together. James tries to take his mind off the video by looking at the Telepods, and he is immediately interested in them.

Veronica takes them back to their house later, after telling them more about how Seth died.

James wants to go back to explore the Telepods more that night, because it reminds him of his video games. Cody agrees to go along with him, also wanting to study the Telepods. They agree to head there at midnight as to not disturb Elliot.

That night James is all ready to head to Seth's old apartment. He knocks on Cody's door, and finds that Cody has fallen alseep. He decides against waking him up, instead heading over there alone to make Cody feel left out by going out and exploring the Telepods himself.

James gets there, and decides he wants to go inside of the Telepods. As he's walking inside, he doesn't notice the little hanging piece of Brundlefly flesh stuck to the wall of the telepod, and upon entering the glitched out Telepods turn on. James is transported to the 3rd Telepod, where he steps out and thinks he's fine. Scared, James makes his way home.

The next day, James finds himself buzzing with energy. He can't seem to sit still and is really hungry for sugar. He also appears to be breaking out in acne again. Cody notices his shift in energy, and asks if he's feeling okay. James responds that he's feeling great.

Ok I'm getting tired. Basically James' transformation is a lot faster, Veronica and Cody are Stressed, and Dr. Rametsu finds a cure for James' condition. Elliot and Veronica also become close friends. In the end, before the fully transformed James can be forced into the rewired Telepods, he kills Cody by, 《GORE WARNING》, shoving his claw from the back of Cody's head through his mouth and letting him bleed to death. James is turned back into a human, and is comforted by Veronica and Elliot and the movie ends.

SO THERE YOU HAVE IT MY CONTRIBUTION TO THE HORROR FANDOM

So what do you think? Also have this shitty drawing of Cody that I made