#mexican supernatural cast

[andreal831]

the subtle racism portrayed by Julie Plec and TVDU (especially Klaroline fans) fans as well towards Michael Trevino (Tyler Lockwood) is something that will always irk my soul. Both the actor and the character were done SO BADLYYYYYY. I know that since Tyler is written as a white character, technically his writing wasn’t “racist”, but I have reason to believe that Julie may have written him the way she did due to her issues with Michael Trevino.

What do you think about Tyler Lockwood? I think he definitely is one of the characters with the most potential besides Bonnie, etc. Most of the POC in the show (actors/characters) had the most potential and were sidelined.

IN FACT, I can say the same about Enzo! Yeah, Enzo St John is a canonically white character, but Michael Malarkey is a mixed race man (Italian/Palestinian-Lebanese), and we know how Julie is towards POC.

Like I’m not trying to blame all the bad writing on racism and discrimination, but all the POC actors/characters have shitty storylines and a lot of them are racist.

Lucy, Sarah Salvatore (the black Salvatore), Enzo, Tyler, Marcel, Vincent, Bonnie, Qetsiyah, etc.

Coincidence?

Whenever I discuss race, I do want to preface it by saying, I am white so I am speaking from that point of view. If you disagree or have another perspective, I would love to hear it.

That being said, I don't even think we can call what happened on the set and in the show "subtle" racism. There was such overt racism throughout the show that it is hard to discuss the show in any way without discussing racism. Just because Julie Plec doesn't view her actions as blatantly racist, it doesn't mean they are not.

Just the fact that they had two actors who are ethically not white but were portrayed as white is telling. Both Michael Trevino and Michael Malarkey were made to appear white in the show when there really wasn't a necessity for it. Tyler being Mexican could have added to the history of the wolves or it could have even come from his mom's side, allowing them to cast a Latina woman. For Malarkey, his race isn't really discussed but it would have been so easy to show him making Bonnie a nice Lebanese meal when they were staying at the cabin (cause lord knows the zionists running the show wouldn't allow him to be Palestinian). I also personally just like Tyler and Enzo more than Damon. I would have been fine with killing Damon off earlier to allow more screen time for them.

A year or so ago, my friend began watching the show for the first time and by the time we got to The Originals, as soon as Sabine walked on screen, she said "Does she get killed this episode?" People of color, especially women of color, were treated as disposable by the network. To the point that Tyler and Enzo likely only survived as long as they did because they were "white" characters. But it is also still obvious how much worse they were treated than any other side characters. Tyler and Enzo are both killed in such nonsensical ways and then they have no justice or even mourning. Tyler was a lifelong friend of the Mystic Falls gang and yet Damon isn't even sternly lectured for killing him for zero reason. Tyler had escaped the supernatural world. What was the point of dragging him back on the show just to kill him and have Damon suffer no consequences. He was Caroline's first epic love and she just forgives Damon for it? And what was the point of Enzo's death? Just to make Bonnie suffer more? Just to make her attend the wedding of his murderer? I know Stefan had his humanity off, but that doesn't change the fact that Enzo was dead and Bonnie was still grieving.

Moving on to how the fandom treats them. There is honestly so much hate in this fandom sometimes, and you're right, there is definitely a racial element to it. The way Tyler is treated by the fandom is so telling. I don't know if a lot of the fandom even knows Michael Trevino's ethnicity, but he is clearly seen as "other" or "less than" by the fandom. We also have to acknowledge how his "angry outbursts" are seen as unacceptable but when Klaus does it, it is because he is just so "passionate." The scene where Caroline keeps pushing Tyler to forgive her for sleeping with his mother's killer comes to mind. He snaps but he makes no move to touch her, and this is after repeatedly telling her to leave and her pushing his boundaries. I have seen the fandom call him "disgusting" and an "abuser" because of this, celebrating the fact that Stefan punches him. Stefan uses physical violence against Tyler's words, yet Tyler is the abuser? Then we have, Klaus, who runs her through with a coat hanger and bites her because she said something slightly rude to him and he is praised for "saving her life." It's hard to believe there isn't a racial element here. I often say Klaus gets pretty privilege, but why isn't that awarded to Tyler? Because we can't deny that Michael Trevino is attractive (I'd say more attractive than Joseph Morgan but y'all will come for me).

There was so much left of Tyler's story. The fact that they even had the Lockwoods as the protectors of Inadu's bones in TO would have been a perfect way to bring him back. Can you imagine Hayley or Klaus having to go beg him for help? It would have been such an amazing moment. But no, instead they bring Matt Davis onto the show to make sure he could infect every single spinoff.

You mention all of these characters and that's just in TVD. TO was no better. One of my mutuals recently got into a Twitter 'discussion' with one of the writers and the writer attempted to claim that the Mikaelsons were white supremacists and that was the point of TO, to show it was bad. Yet, when did they do that? How did they show being a white supremacist is bad? The Mikaelsons were at the top of the food chain the entire time. Yes, they constantly had people coming for them, yet they always won and the writing was always done in a way to make the audience root for them to win. How many POC characters were sacrificed in order to prop up the main characters throughout the shows?

Whenever we talk about racism in the show, we have to talk about Bonnie. Bonnie was constantly having to sacrifice her own wants and happiness in order for her white friends, and even enemies, to get what they want. Often when she set a boundary, the fandom villainized her. According to the writing and the fandom, her entire purpose was to serve the white characters. That is blatant racism.

But it's not just Bonnie. It's her entire ancestry. The fandom seems to believe Emily is Katherine's friend in the flashbacks, but she is clearly either being enslaved or at least some type of servant to Katherine. We can go all the way back to Ayana who Esther stole her spell to create the vampires. Or to Qetsiyah who was cheated on and used in order to aid the white doppelgangers. These things separately may not raise any flags, but the fact that we see it happen repeatedly throughout the show tells us it's more than just a coincidence.

Let's not forget Damon was not a confederate solider in the books. Julie added that. And yes I know he deserted but he says it is basically because he was missing Katherine, not because he morally opposed what he was fighting for. They added the founding families and yet didn't make the Bennetts apart of it even though they had been there longer than anyone. They were actively celebrating slave owners. Tyler's mom makes a passing comment of why they have the chains in the cellars and everyone just moves on. They chose to have the Mikaelsons live on a plantation in New Orleans. They chose to hire a very white cast and make it even whiter by white washing and killing off POCs.

Sure TVD is set in Virginia, but Virginia is only 65% white. So why was the cast 99% white? Then they create a whole show in New Orleans where 59% of the population is black, yet we still have a majority white cast? And when they introduce POCs it is usually to serve the white cast. Both Vincent and Eva were brought on so there bodies could literally be used by the white characters. Eva and Vincent's trauma were completely neglected and Eva was even killed off to allow Rebekah to use her body as she pleased whenever Claire Holt wasn't available to be on set. I've already discussed the difference in how Aurora is treated versus Celeste by the show and the fandom. You can read that here. Marcel is constantly belittled and sidelined, even after he is upgraded. There are so many witches of color in New Orleans, yet Davina is the most powerful? Why couldn't she have been played by a POC?

The show repeatedly dehumanizes people of color, especially the women. It's not a coincidence. It is pure racism. And because the show does it, the fandom does it. I am not taking responsibility away from the fandom. Each individual person should know better. But media is supposed to influence society. If we grow up with media that glorifies and celebrates different races, cultures, ethnicities, the fandom will begin to as well. Julie had no desire to do that. All she cared about was ratings and her own racist viewpoint of the world. She could have done more research, or hell, even just listened to her cast, but she chose not to. The writing of the show suffered because of it, but even worse the actors and even fans suffer because of it.

There are so many great creators in this fandom who are POCs and I highly suggest following them. They are able to give better insight in the discussion of racism in the show. But please keep in mind, they do not owe you their time or energy. It is up to each of us to do our own research and learn.

Thank you for the ask! I hope I answered it. Sorry it was so long.

[apolo-cacho]

Postcard for Huesera movie, dir. Michelle Garza Cervera, 2022 The Bone Woman is a 2022 Mexican-Peruvian supernatural body horror film directed and co-written by Michelle Garza Cervera in her directorial debut. It stars Natalia Solián as Valeria, a pregnant woman who finds herself threatened by occult forces. Alongside Solián, the film's cast includes Alfonso Dosal, Mayra Batalla, Mercedes Hernández, Sonia Couoh and Aida López.

Huesera: The Bone Woman had its world premiere at the Tribeca Festival on 9 June 2022 and won the Best New Narrative Director and Nora Ephron awards.

[dotthings]

There's a lot of content to go through but definitely check out Jensen, Danneel, and Robbie's commentary in this interview with Nerds and Beyond about making the SPN universe more inclusive.

Some bullet points to note:

Jensen acknowledging the era SPN started in and the limits the mothership had. "And I also want to say too just to touch on that because you mentioned Supernatural and the mothership, we did have a lot of older white, straight men. That was just the nature of the show and how it was built and laid out. Everyone was always well aware that it was that and we needed to make an effort not to do that and to diversify." Jensen went on to talk about bridging the eras and drawing on the knowledge of the old guard while opening the universe up to new voices. "we’re looking at things more from a 'let’s make sure we’re getting this right, let’s make sure we’re bringing in people who can do that' but then 'let’s also make sure we’re using every chance we get to broaden our horizons.'"

Danneel talked about the importance of inclusion but also, emphasized that it's accurate for the 1970's: "Yeah, it was a goal, but it’s a reflection of what society truly is and truly was in the 70s. It’s just that television never was an accurate representation of us as people."

Robbie about the inclusiveness on The Winchesters discussed the importance of found family: "Diversity is great, inclusion is better. So we had an opportunity from the jump to really differentiate ourselves by having more than just the two hander. Obviously, this is John and Mary’s supernatural love story, but within that it was who are the people with them? The thing that I really, truly loved about Supernatural whether it was season 1 or season 15 was that family don’t end in blood is really about, to me, is about the family that you find. There’s the family that you’re born into, and for some people like myself they are blessed, it’s a wonderful thing. For others they’re not as blessed, it’s a terrible thing. But then there’s the family that you make and that was really important to be as inclusive in that family as possible from the beginning."

Robbie also mentions that his father is Mexican and his wife is latine. Something to keep in mind.

Robbie differentiating between "diversity" and "inclusion" is also really interesting. To me, that is a reflection on how diversity can sometimes winds up being checking off ticky boxes to fend of accusations of not being diverse enough. Inclusion is far deeper and more thorough. It means the characters are given sustained pov and are crucial parts of the story, not tacked on to say "look how diverse we are."

The link between family don't end with blood and these inclusion issues with SPN has always been fraught, and it's at the point where the anti-found family discourse is very tangled with narrow-minded thinking that wants things to stay stuck in the past and stick to just 2 brothers in the car.

Robbie's acknowledged elsewhere how SPN started out with a small cast, and then grew, so it's not even right wrt the mothership to say it was "only" one thing. But The Winchesters has an opportunity to go much farther and everyone at CMP is taking it. Supernatural is for everybody and that should be reflected on the screen and behind the scenes. I'm really happy about what they want to accomplish here.

[rmlarson]

A husk of his former glory as a family friendly mascot.  With nothing left to lose in life, his behavior has grown cruel and downright mean-spirited.  He takes great delight in the emotional and physical suffering of not only the residents of Hayesville but the people they sacrifice as well.  His favorite gag is to decorate the town’s police station in the remains of sacrifices for Día de Muertos, just to rub Eloise’s sins in her face.  Tito’s eventual goal is to leave Willy’s Wonderland for good and head back to Mexico, slaughter every cartel member he can get his claws on, and eventually take over the country.  He’s grown increasingly fond of Liv Hawthorne as she’s grown older, believing her to be the reincarnation of his long dead love.  He’s been caught by Lund lingering around their mobile home numerous times.

—

Name:  Tito Manuel Turtle

Real Name:  Miguel Chiodo

Unofficial Name:  Miguel!Tito

Gender/Sex:  Male (anatomically correct)

Species:  Spiritually possessed common snapping turtle animatronic

Spiritual Age:  31 years old

Coded Age:  25 years old

Height:  5′9″

Eye Color:  Blue

Scale Color:  Gray blue

Hair Color:  Black

Occupation:  Former cartel drug lord; Cannibal; Cult member

Spiritual Beliefs:  Satanism; Black magic

Alignment:  Evil

Crimes:  Kidnapping, stalking, robbery, stealing, mutilation, non-negligent manslaughter, aggravated assault/battery

Abilities:  Spell casting, vocal impersonation, manipulation, supernatural stealth, teleportation

Hunting Style:  The only animatronic to utilize a “tag team” system, usually with Siren Sara.  He will lie in wait in the foam block pit inside his play place or the ball pit inside the dining room while his “partner” chases and tires their prey out.  Once in reach, he will lash out and tear into his victim while they’re being attacked from the front by the other animatronic.  If he decides to work alone, he will stalk after his victim, continuously dipping in and out of their line of sight, before violently attacking them from behind.

Likes:  Liv Hawthorne (a lot), Siren Sara, Arty Alligator, torturing people, gambling with Knighty, smothering and ambushing sacrifices inside the foam block pit, getting Willy riled up, huffing spray paint from time to time, scaring Lund and her goons for the hell of it

Dislikes:  The Janitor, Eloise and her goons, racists, the town of Hayesville, being stuck in one location for long periods of time, Arty’s flirting, gay men, every other Mexican cartel

Whereabouts:  Hayesville Willy’s Wonderland restaurant

Status:  Alive (spiritually); Self-repairing after being run down by The Janitor

[greatfay]

Wednesday: my thoughts

Ok, I watched Wednesday. And I liked it enough to pick it apart like string cheese.

The Good

Overall, a Scooby Doo-style supernatural teen murder mystery revolving around the iconic Wednesday Addams is a genius idea in theory, and turns out, not too shabby in execution. Watching this genuinely made me think “Chilling Adventures of Sabrina could’ve been this if it was made by someone who isn’t Roberto Aguirre Sacasa” because, turns out, this can work! It is aesthetically pleasing, the pacing is solid until it sags in the middle, and the casting choice are almost 10/10.

Jenna Ortega carries this show. She said “I am Wednesday” and we said yes ma’am, essays have been written about how great this performance is and I can contribute nothing new to it. I will add that Catherine Zeta-Jones as Morticia Addams is such a brilliant casting choice that I can’t believe I never thought of it, she nailed the role and managed to still make it her own by adding layers of glamorous poise and dreaminess to her character. Luis Guzman as Gomez was also perfect, especially paired with Catherine Zeta-Jones and Jenna Ortega. He has a genuine warmth to his screen presence that sells the whole point of Gomez as a character: a loving father and husband who is as supportive and generous as he is suave and debonaire. Gwendoline Christie is, as usual, having the time of her life as whatever character she plays, and Joy Sunday I think nailed her character to fit that archetype while still matching the tone of the show (something not everyone could do).

In general, I felt like the show runners knew that Wednesday herself was written so well that all they had to do was put her front and center and let that do most of the work, taking its time to establish her before introducing the Mystery, and I have to hand it to Tim Burton given the flops he’s delivered the past 15 years.

The explicit, canon Mexican-American heritage of Gomez and his children felt so natural and obvious. Like it’s one thing to have a Spanish or Latino actor play Gomez, it’s another for that ancestry, specifically Mexican ancestry and the displacement and trauma of experiencing colonization, to play a role in worldbuilding and characterization. It didn’t feel like it was just there for flavor.

The Bad

Convoluted Plot: The plot was doing fine until we got a double fakeout on the monster reveal that everyone could see coming a mile away, on top of overcomplicating the politics of Colonial Jericho and its relationship with “normies vs. outcasts.” I don’t know why Joseph Crackstone was leading the charge against outcasts (and Native Americans) to steal their land on the principle that they’re “abominations in the eyes of God” but at the same time, this guy is a fucking dark sorcerer. He’s doing Saurumon moves and there’s NO explanation, like what difference is there between him telekinetically tossing people around and girls like Wednesday having visions? Make it make sense. And like, the revenge plot: “I waited all this time to find a rare monster I can control to collect body parts and also the blood of the descendent of the witch who sealed my ancestor with blood magic so I could resurrect him with dark magic and then finally get our family’s revenge on the outcasts” girl please, please! MESS. We we were doing fine until then! And Wednesday’s revival via her necklace/talisman was such a cop out. Anyway...

Love Triangle: They really dug up the most boring, basic white boys to be love interests for Wednesday. Lbr she didn’t need love interests, and especially not two basic white boys! But if they had to... if it was in their contract or something that Netflix required a damn hetty het love triangle, there’s a way this could’ve been written to make me not eyeroll. Xavier was introduced in the pilot as the It Boy, that Dick-Slinger, the Resident Hottie™, and then spends the rest of the show swinging back and forth between “devilmaycare James Dean stand-in” and “whiny lil bitch.” Mind you he had every right to be pissed that Wednesday only asked him to the dance as a cover-up, sure, but I wouldn’t have written that. Wouldn’t have written the damn love triangle to begin with, but if they said “Write this love triangle between the two white boys or we kick your dog” what I would have done is write Xavier as a clever, mischievous little James Dean, slashed the daddy issues because that’s the other basic white boy love interest’s primary character trait, and made him way more savvy to Wednesday’s antics. She’s a force of nature; you can’t pair her up with a little rain cloud, the least a basic white boy could do is have some gale force wind charisma!! The moment she did that whole fake asking-out thing, he could’ve been like “So you’ve been desperately, madly in love with me this whole time? And here I thought you were sneaking around my private studio, looking for clues *winks* I’ll pick you up at 8, Velma. Dress like you’re in mourning.” Because that characterization would’ve made Xavier a better foil to Wednesday, and a bigger threat when she still suspected him of being the monster since he’s too clever to be manipulated. And Tyler! Boy has daddy issues and mommy issues?? Honeyyyyy. His character could still be the unassuming normie, but again, the best love interests are foils in some way. If he’d been written and portrayed as unfailingly cheery but introverted, and just unabashedly charmed by Wednesday’s morbid interests, I would’ve liked him more. Like, give me a country boy who’s got “good ole fashioned American values” which means of course he’s giving you a ride home, it’s late and dangerous, of course he remembered you mentioning your favorite book, Mama said you should give a lady your full attention when she speaks. And that leads me to my next gripe:

The Hyde reveal: when the Hyde was introduced in the plot, it was describe as a poorly understood, and under-researched member of the Outcast community. The big question was whether it was in a Hyde’s nature to be violent and cruel, if they are conscious of their actions, or if they are victims to a transformation they can’t control (which is a bit weird in a world where werewolves also exist, but they control their transformations and are relatively harmless). The moment we got that “How does it feel... to lose?” line, I was like noooo. NO. In my version of this show, Tyler is truly a cheery, all-smiles sweetheart who doesn’t blink when Wednesday brings up her pet scorpion, and instead asks “What was their name?” And it makes it more gut-wrenching and has way more narrative weight if Tyler isn’t in control of his transformations and has no idea he’s under someone’s spell, because then all the vindication Wednesday gets from solving the mystery gets slashed when it comes at the cost of a friend’s freedom and wellbeing.

The Antagonists: Obviously Christina Ricci was playing the Big Important Character. I knew it was her, I knew it I knew it. That’s fine. I liked her portrayal throughout the show, I do think her character lost narrative power in the last two episodes. I’m not a fan of when the Big Bad Guy gets replaced by a Bigger Bad Guy when the first Big Bad Guy had way more screen time dedicated to their buildup and character motives. Then there’s the sheriff, who frustrated me from Day One. Literally a jerkass from start-to-finish. The reveal that he knew his wife was a Hyde and suspected his son to be one too this whole time made his whole “I will get justice” shtick so fucking annoying, like you hypocritical bigot, you know who’s clawing mfers up left and right and he just ate the last of the fucking Cheerios in your fridge. Bianca as the first Arc Villain was great because I just can’t help but like a competent mean girl, especially when she’s not actually that mean, and the Principal was a good antagonist and obstacle for Wednesday. Do wish she was written to be a bit more savvy.

In my version of this show, the moment Wednesday was like “It’s Thornhill!” we would’ve had a quick transition to a close-up of Thornhill tapping her nails on the rail as she glides down the stairs in her greenhouse to the tune of “Back to Black” (to parallel Wednesday playing “Paint It Black”) as she’s legit jamming, like she’s shimmying and dancing her way down the stairs and having a good ass time, tossing off her polka dot jacket to reveal a black floral flowy top (the flowers will obviously be night shade), she pulls off her wig to reveal Amy Lee-style dark locks, and she is just living in her villainy. Her motivations will no longer be “the outcasts are why my family is dead, even though we’ve been harboring hatred for them since the 1600s” instead it’s “my family’s vendetta cost me a life of luxury and fortune and wealth” (because in this version, they would’ve lost the house due to her father’s alcoholism and gambling) “and I don’t actually give a damn about outcasts or normies, I just want to run the property values into the ground and set the world on fire. Whatever survives in the ashes, it belongs to me.” WE NEEDED A BAD BITCH. We needed someone who, in the end, is a strong parallel to Wednesday on the surface: a fascination with the macabre, a penchant for violence, deeply cunning and curious. But then the difference between them is that Thornhill is actually good at reading others’ emotions despite seeing everyone as disposable, while Wednesday is highly aware of emotional dissonance with her peers and family and the thought that she’s missing out on something causes her distress. This in turn could’ve been a deeper metaphor for the ease in which those who live in privilege and luxury can dehumanize others (Thornhill) vs those who are just straight up autistic and are thus othered and demonized for not conforming to or understanding social norms (Wednesday). Oh btw Wednesday is autistic, I don’t make the rules.

Anyway, in my version, when Wednesday confronts Thornhill, she gets away by smashing a vial of some smoky acid or something on the ground and gets away, but Wednesday chases after her while Principal Lady is coughing because it’s poison. Wednesday gets caught, blah blah blah, and instead of her coming back to life by absorbing her ancestor’s ghost, the Principal shows up and pours some of her blood into Wednesday’s wounds because shapeshifter-blood=healing, before succumbing to her own injuries and dying. That ^ could be planted earlier in the story with a quick flashback in episode 4(?) after Wednesday has tried to figure out why the Principal would cover up Rowan’s death and where this new “Rowan” actually went, and the Principal is being cagey, we could get a line like “I would do anything for my students. You’ve no idea.” And then a quick shot of her kneeling over Rowan’s lifeless body, weeping as she pours blood from her hand into his mouth and muttering “Come on, come on Rowan, wake up” then quick shot back to the office where the Principal is just cool and composed, refusing to give answers. Anyway, her saving Wednesday will have more to do with her genuine care plus her guilt for her part in having her father charged for murder, which won’t be because of a jealousy romance thing (which is so dry and tired) and will instead be due to her ambition and wanting to remove Morticia from the running of something important (like an internship at the New England Society of Necromancer’s Salem Branch or something).

The Ugly

Racism: Everyone’s tired of hearing about it, well I’m tired of talking about it. Tim Burton does not have a good history with race in his works. I, personally, don’t care if he never has black people in his works. If representation is handled with “colorblindness” or spite, I don’t want it. This situation had more of the former. If you don’t understand the context of how race relations work in the real world with your audience, it’s going to come out clumsy and jarring. Seeing a black boy dressed in a pilgrim costume, walking into a diner to bully a random girl he doesn’t know because she’s “different” for dressing in an identical aesthetic as he is, it makes no sense to me. Why would a black man have any personal investment in building a theme park surrounding European colonialism??? An oppression metaphor in a story just doesn’t sit well when the oppressing characters are cast as people who suffer under systemic oppression in real life. It’s so weird that Iman Marcus can start filming and play a character who is, technically in-universe, “privileged” financially and socially and politically, then he can walk off set and drive over to the nearest Starbucks and still get racially profiled by some corrupt ass LA cop regardless of his Netflix-paycheck.

It’s not so much that I find this morally repugnant, it’s that the moment I see it on screen, I’m reminded “ah this is fiction and I am watching a TV show.” Emotional and social inauthenticity (and cringe ass dialogue) makes it harder to suspend my disbelief than watching a sentient, severed hand receive defibrillation from a man with electric powers (legit made me emotional). Thought has to go into casting for this reason. I wasn’t as worried about Joy Sunday as Bianca, as being pretty and ambitious and a little mean isn’t exactly damning, though I still wonder if when she beats Wednesday in that fencing match, if we’re supposed to cheer her on and be happy that Wednesday was put in her place (I did, I was like “lil girl you’ve been here 2 seconds” and it was nice to know our protagonist wasn’t Perfect). Casting black actors as antagonists isn’t necessarily racist every single time; it becomes a problem when the antagonists are your only black characters, in a story revolving around “otherness” and discrimination. I did like that Bianca and Lucas and even Mayor Walker got more development (sad that the Mayor was murdered before he could redeem himself).

Also shoutout to the Netflix ASOUE for setting a more recent, modern precedent for that macabre, Gothic aesthetic that has dark-skinned people in it, there’s a good example of actors of color cast in various roles where their race doesn’t clash with their character. Black Mr. and Mrs. Poe are flawed, negligent adults and they could’ve been of any race. Aasif Mandvi as Uncle Monty was perfect, because embodying the warm intellectuals of the character wasn’t tied to his race; anyone could’ve played him. Alfre Woodard as Aunt Josephine was wonderful because all she needed to give the role was an eccentric portrayal of deep-set trauma and grief, the actress’s real-life race and social status aren’t at odds with how her character exists in-universe.

Queerbaiting: I only became aware of this after the show’s premier because I didn’t follow its promotional materials leading up to it. I’ve seen the posts on the official Netflix account. Yes it is queerbaiting, regardless of whether the person handling the account is an unpaid queer intern or a Netflix executive’s overly paid nephew. However, the actual writing of the show does not give queer baiting. Wednesday’s character “flaw” is her inability to prioritize the emotional and sometimes-physical wellbeing of others over her own agenda. This culminating in her falling out with Enid, and realizing Enid is her friend and cares for her, is not queerbaiting. We’re too late into this era to clamor for queer subtext crumbs to eat that up. Wednesday starts off a proud lone wolf with no friends to finding people who know exactly what they’re getting into when they become her friend and choose to do so anyway; she learns to take others’ wellbeing into account and gets friends, without compromising her own values and her personal boundaries (i.e. she hugged Enid when she was ready, when she was comfortable, not out of social obligation, and Enid gave her the space for that). Writing that arc meant that the writers paid attention to Wednesday character and maybe paid attention in Storybuilding 101 in college. It does not mean they intended a sapphic romance and then pulled the rug out from under us. And if you lot start grilling the actors on social media about their characters’ sexualities and then project those interpretations onto the actors and demand that they come out, I will find and kill you.

[araminakilla]

Day 38: ¿¡Como están Latinoamericaaaaa!?

Finally, FINALLY we have excellent news about Tad 3's premiere not only in Mexico, but all Latinoamerica. It releases on September 15th. But that's not all...

Here's a video with more scenes from the movie (in its original spanish, btw)

Here we have the first spoken words of Victoria Moon and how it looks like Tad's main concern is to cure his friend Mummy and not get famous (at least for the moment)

Also how Victoria mentions there's "a lot of freaks around the world" makes way for some supernatural creatures apart from the Incan mummies, the egyptian mummies and that scrapped Midas ghost seen in concept arts. Maybe if Mummy gets a spin-off he could meet some of them?

Speaking about recent videos, there's also two new trailers for Latinoamerica on Youtube and... great news. It is exactly like the one from the english dub and the movie here is called "The Curse of the Mummy" instead of the "Emerald Tablet" which is a great decision in my opinion (some sources are calling it "The Legend of the Mummy" incorrectly but that's a cool name too so I don't mind)

Now, about the Latinoamerican voices:

The voice of Tad is the same as the other two movies so that's fine. For some reason in the trailer Belinda isn't voicing Sara like in the first movie, but the voice sounds like the VA for the sequel which is odd considering they called her to sing a song again and it wouldn't make sense for her to be there and also not be there.

Except for the fact that they are contrating more influencers for the latino dub.

Which yeah, many could and will protest because "Agh! They ruined the Bad Guys with all the star talent they put there". Okay, fine, that was kind of a disaster, but guys... I have a good feeling about this cast.

Starting with Cristina Dacosta who voices Ra-Amon-Ah or "Ramona"

She is a youtuber from Venezuela who has a lot of views on her channel and many followers on Twitter. She seems like a nice woman and her voice as Ramona is great. She sounds like a lost sister of Cleo and Nefera De Nile. Royal, kind of bratty but also smart.

And then there's Mummy's voice. At first when I saw the trailer I thought "Is he voiced by Adrián Uribe again? because he sounds like him but it's not him" he has the same deep but also high voice that the one from the sequel, except from the last part where Mummy is in Sara's arms with a cocodrile head and says "That was cool" where he sounds like a young man.

And that's the case because...

This guy is the new voice of Mummy.

Juan Bertheau, a mexican youtuber and influencer with more than one million of followers on Twitter and many more in other web plataforms.

So with him there has been three voice actors for Mummy in Latinoamerica, one for each movie.

The first one was Moises Ivan Mora, who gave him a high pitched voice.

The second one was Adrian Uribe, who tried to do a non-binary voice.

The third one is Juan Bertheau, so I guess something had to happen to Mr. Uribe that he couldn't reprise the role.

I have two explanations: One, Mr. Uribe had a surgery months after the sequel premiered on Mexico and he had many sore throats trying to do Mummy's voice, so the company decided to look for someone more young for the role.

Two, since Juan is an influencer in real life, it makes sense for him to voice Mummy as he has become an influencer in the movie too. The parts where he is going to stream on his phone are going to sound so natural for Mr. Bertheau, and he has a tone of voice similar to the one from the sequel, except that he has no problem doing it the times it requires for the recording of the movie.

And let's look at the bright side of things, at least they didn't cast Bad Bunny as Mummy. That would have been the end of me for sure.

EDIT: In the english dub, Sara says "Come on, before it's too late" and Ramona says in the trailer "I want to see the world" while in the Latinoamerican dub, Sara says "Listen to me, before it's too late" and Ramona says "I want to conquer the world" so... I wonder the implication of both sentences.

[brightbeautifulthings]

Hello, lovelies! Tell Me Something Tuesday is a meme created by Rainy Day Ramblings and currently hosted by Because Reading Is Better Than Real Life, That's What I'm Talking About, For What It's Worth, Book Girl of Mur-y-Castell and Offbeat YA. It provides weekly discussion prompts on various book and blogging topics with optional participation. You can sign up for prompts here.

This week’s prompt is: Share your favorite horror books or movies.

I talk about my favorite horror books regularly, so rather than let this post get out of hand, I thought I might limit myself only to the ones I've read in the past year or so. For a more comprehensive list of my horror favorites, check out this post. I update it at least once or twice a year with my oldest and newest favorites!

Rules for Vanishing & Our Last Echoes by Kate Alice Marshall These two books put Marshall on my list of authors that I'm willing to read pretty much no matter the content. She has a gift for uncanny horror and creating an atmosphere of general wrongness, and her plots are so original and full of twists that I almost never know what's coming next. I'm hoping for many more novels set in this universe!

What Moves the Dead by T. Kingfisher I've enjoyed all of Kingfisher's horror novels so far, but this might be my favorite one to date. It has a charming, often funny nonbinary narrator, and Kingfisher has a gift for unsettling descriptions. It's definitely one of my favorite horror adaptations ever, and my only complaint is that as a novella, I wanted more! You can also check out my readalike post comparing it to Mexican Gothic.

Even If We Break by Marieke Nijkamp This ventures a little more into thriller territory, but I feel like there are enough gruesome murders in it to make it count. It's a clever, creepy cat and mouse slasher story with an interesting backdrop of live action role playing, and a cast of diverse, sympathetic characters. Good representation across the board, and at least one "Oh, SHIT, that was creepy" moment.

Harrow Lake by Kat Ellis This is my first Ellis novel, and I'm eager to read more of them. While I would have preferred more definitive answers at the end, it’s a suspenseful, atmospheric, and at times downright creepy horror novel with a supernatural stalker that calls up classic monsters like the Babadook. (Ha, okay, more self-promotion, since I did a readalike for that too!)

Hellblazer, Vol. 1: Original Sins by Jamie Delano Wtf wtf wtf. I've been in love with the character of John Constantine for years thanks to the film and Arrowverse (which I understand are all their own interpretations), but this was my first venture into the comics and ho-ly shit, does it not pull any punches. It starts off grim af and doesn't hesitate to continue venturing into the darkest corners. Definitely *not* for younger audiences, but not to be missed for paranormal horror fans.

[vacantgodling]

!! !! !! !! !! !! !! !! !! !! (10) tell me tell me tell me !

WELP time for more vdtrt characters—

maxime “max” kane -> max is a celestial vampire with some years on him, but he’s still quite young in comparison to the ethereal and ancient estel. he’s the father of gabe, though absentee is a polite way of putting it—he never wanted a child and he and charlese (his mother) can’t stand each other, always squabbling when they meet. he’s proud, brash, and easily provoked to violence. his strength is near unmatched, sans blackpeak perhaps, and he always seems begrudged to care about others or do the right thing. however, he does have a bleeding heart with various soft spots, the largest one reserved for liz who he views like a younger sister as he helped raise her with estel. overall, not a dude you wanna fuck with lol.

corsel haelathem -> the leader of the coven that vlad has been hidden at for most of his life, and a rare variety of elf vampire; a jotun, or, a vampire that draws energy from the moon, water, and ice. he is a distant cousin of awilda and due to a variety of circumstances ended up starting a coven in the mountains of mexico to take in and shelter abandoned vampires or half vampires unaware of their heritage or who need places to hide. it operates like a “school” where “students” can stay on a school like regimen if they have homes to return to for breaks, or they can stay full time if they don’t. he has been instrumental in keeping vlad safe for all these years and has a good relationship with most of the cast, sans blackpeak due to a “misunderstanding” that ended their romantic engagement centuries ago. corsel is aloof and a bit haughty, but he is remarkably warm and kind hearted in comparison to the few other jotun that exist. how he’s able to subsist in a place as sunny and warm as mexico is always met with a mysterious little smile and nothing else beyond that.

estel merafae -> one of the oldest celestial vampires in the universe, fascinated with humans and the wonders of earth. he can seem whimsical and lack-a-dasical at times but he’s extremely cunning and ruthless when he needs to be. he prefers not to need to be. he’s good natured and it’s difficult to truly upset him and he prefers to be cheerful than to dwell on things that are dim. he’s seen many things in his lifetime so not much phases him anymore though the wonders of modern technology still delight him.

awilda haelathem -> a responsible elf vampire, the leader of the vlad protection squad and a cheerful motherly figure to anyone she meets. she has muscles as big as her heart and she’s the younger cousin of corsel but a very distant branch of their family. she came to the coven initially to help him manage things with it but as she’s extremely young for an vampire in general it became a playground for her to meet others around her age and forge friendships which she’s taken full advantage of.

marco azarola etxebarria -> darren’s brother from another mother! the two of them have a remarkable amount of similarities, the main differences between them stemming from a minute age gap and where they grew up. but they become besties INCREDIBLY fast. marco is a half-vampire (a bloodling) who grew up in a large family under the mexican sun. unlike dave, his mother wasn’t aware that he was a half vampire (marco being the result of a fling) and was surprised by many of the strange attributes he exhibited growing up. after his first stint of bloodlust and draining the family cow, marco was ousted from his family. confused and alone (only 15) he wandered until he was eventually found by some of the older vampires of the coven, and taken in to heal. despite this rocky start, marco has been taking to his supernatural side quite well and loves to crack jokes and be the general life of the party. he’s extremely extroverted and reckless, a bit of an adrenaline junkie and is absolutely clingy to a fault. he loves his friends and he’d do anything for them :’)

moonglend -> the younger sibling of blackpeak and vlad’s self proclaimed protector, she like her brother is one of the few dragon vampires to dwell on the surface. she’s moody and distrusting and lets very few people into her inner circle simply because she’s used to being unwanted. she sees a lot of herself in vlad, young and naive and wants to shield him from the truth of his circumstances (even if she isn’t fully aware of them, she just senses somethings up) for fear of it breaking him. she’s extremely powerful and a force of nature if you get on her bad side, but she’ll be an extremely strong ally if she decides you’re worth protecting.

demari “demi” loftin -> demi is a grouchy elf vampire with a very powerful affinity for healing. he’s ingested and identified more poison in his short life than any other vampire on record and is considered a near expert toxicologist, able to ingest and quickly identify poisons on taste alone. his interest in science and healing aside, he’s easily irritable and somewhat moody but he’s more open with his care and affection than someone like moonglend. he’s also an easy punching bag for vlad’s wit (constantly losing to him at strategy games especially chess) and easily loses his temper at marco’s recklessness. he cares a lot and has a bit of an anxious side that he hides behind his outbursts but is overall a good dude.

raymond cromwell -> a close friend of laurent’s for many centuries and somewhat of a drifter, tending to prefer the company of humans to that of other vampires. while he comes from a well off family he has no interest in their business or funds and prefers to make his own way in life. crafty, resourceful, sly, and beguiling, raymond lets himself drift on his interest alone, but like a stray cat will always come back to those he cherishes. his fondness of carlotta sinclaire is something that he holds close to his chest but has never made a move upon, and then suddenly it’s too late.

antoinette rouzet-blanc -> the half-vampire daughter of laurent and emily; her striking red hair is uncommon but the only memory left of emily preserved. she takes after neither of her parents; being demure and bookish and not particularly confrontational. she has a hard time expressing herself and prefers to stay in the background.

[eievuimultimuse]

WHICH "EVIL" WOMAN FROM MYTHOLOGY / FOLKLORE ARE YOU ?

LA LLORONA.

La Llorona ('the crying woman') from Mexican folklore is the ghost of a woman who steals children in order to drown them. She walks along the water wearing white, weeping for her son who she killed in a fit of madness. She is often described as a lost soul, doomed to wander the earth forever. There are things in your past that haunt you. You may sometimes be overcome by grief, but those who know you would describe you as resilient. You are highly emotionally expressive and introspective; the smallest things may lead you to tears. You are not bold, but you make up for it in compassion and warmth. You may make yourself too small, but this is something you can work on.

CIRCE.

In Greek myth, Circe is a sorceress who can turn men to swine. She was exiled to the island of Aeaea after turning the nymph Scylla into a fearsome beast for stealing away the sea god Glaucus. She is a figure of desire as well as fear. You are immensely driven and are known as someone who can get things done. At the heart of you is someone benevolent, though your enemies would never know this side of you. You let few people know that you have a soft heart as you don't want anyone to use this information against you. You are extremely smart and eloquent and people admire this about you. You may even hide behind this so that people won't get to know how good you really are.

BABA YAGA.

In Slavic folklore, Baba Yaga is a supernatural forest witch who usually appears as a decrepit old woman. She varies between acting as a benefactor and a villain, either helping the hero of the Slavic myth or hindering them. Baba Yaga is also cast as a Mother Earth figure, having an influence on the natural world. You are multifaceted and adaptable. You show many faces to the world depending on what is needed. You are very driven and have an incomparable presence in the lives of those closest to you. You may have difficulties with the way people see you, but those who love you can attest to how good a person you are.

SITA.

You are Sita from the Indian epic The Ramayana. Sita has long been thought of as symbolizing the "ideal woman", filled with devotion for her husband. She is the incarnation of the goddess Lakshmi and has an immense bond with nature. Sita is abducted and, once rescued, forced to undergo a purity trial by fire. In some versions, she dies in the fire; and in others, she survives, but is sent into exile because her subjects still think her impure. You have always behaved the way that you were expected to, and, as a result, you may not let people see the "real you". You are worried that people idealize you without bothering to get to know you. You may define yourself by your relationships, but you are more than that. You are resilient and kind and complex. You're worried that you'll never heal, but you will with time and distance.

[llpodcast]

(Literary License Podcast)

A Ghost Story (2017)

​

A Ghost Story is a 2017 American supernatural drama film written and directed by David Lowery. It stars Casey Affleck, Rooney Mara, Will Oldham, Sonia Acevedo, Rob Zabrecky, Liz Franke and Kesha. Affleck plays a man who becomes a ghost and remains in the house he shares with his wife (Mara).  The film had its world premiere at the Sundance Film Festival on January 22, 2017, and was released by A24 on July 7, 2017. A Ghost Story received positive reviews from critics.

Coco (2017)

 Coco is a 2017 American computer-animated fantasy film produced by Pixar Animation Studios and released by Walt Disney Pictures. Based on an original idea by Lee Unkrich, it is directed by him and co-directed by Adrian Molina. The film's voice cast stars Anthony Gonzalez, Gael García Bernal, Benjamin Bratt, Alanna Ubach, Renée Victor, Ana Ofelia Murguía and Edward James Olmos. The story follows a 12-year-old boy named Miguel who is accidentally transported to the Land of the Dead, where he seeks the help of his deceased musician great-great-grandfather to return him to his family among the living and to reverse his family's ban on music.  The concept for Coco is inspired by the Mexican holiday Day of the Dead. The film was scripted by Molina and Matthew Aldrich from a story by Unkrich, Jason Katz, Aldrich, and Molina. Pixar began developing the animation in 2016; Unkrich and some of the film's crew visited Mexico for research. Composer Michael Giacchino, who had worked on prior Pixar animated features, composed the score. With a cost of $175–225 million, Coco is the first film with a nine-figure budget to feature an all-Latino principal cast.

 Opening Credits; Introduction (1.05); Background History (25.56); A Ghost Story (2017)  Trailer (27.08); The Original (29.19); Let's Rate (1:17.37); Introducing the Double Feature (1:23.44); Coco (2017) Film Trailer (1:25.58); The Attraction (1:28.07); How Many Stars (1:53.14); End Credits (2:02.33); Closing Credits (2:04.10)

 Opening Credits– Epidemic Sound – copyright 2021. All rights reserved

 Closing Credits:  Proud Corazon by Anthony Gonzalez/Remember Me (Duo) by Miguel.  Taken from the soundtrack Coco.  Copyright 2017 Disney Records.

​

Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast. 

 All rights reserved. Used with Kind Permission.

 All songs available through Amazon Music.

[docrotten]

EVEN THE WIND IS AFRAID (1968, Hasta El Viento Tiene Miedo) – Episode 148 – Decades Of Horror: The Classic Era

“Tonight, even the wind is afraid.” What? Now you’re really scaring me! Join this episode’s Grue-Crew – Chad Hunt, Whitney Collazo, Daphne Monary-Ernsdorff, and Jeff Mohr – as they take in another hidden gem from Mexican writer/director Carlos Enrique Taboada, Even the Wind is Afraid (1968, Hasta el viento tiene miedo).

Decades of Horror: The Classic Era Episode 148 – Even the Wind is Afraid (1968, Hasta el viento tiene miedo)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

ANNOUNCEMENT Decades of Horror The Classic Era is partnering with THE CLASSIC SCI-FI MOVIE CHANNEL, THE CLASSIC HORROR MOVIE CHANNEL, and WICKED HORROR TV CHANNEL Which all now include video episodes of The Classic Era! Available on Roku, AppleTV, Amazon FireTV, AndroidTV, Online Website. Across All OTT platforms, as well as mobile, tablet, and desktop. https://classicscifichannel.com/; https://classichorrorchannel.com/; https://wickedhorrortv.com/

When Claudia and her friends break the rules by trespassing into a forbidden tower, the school’s headmistress punishes them by confining them to the school during Spring Break. A similar incident happened five years before with horrendous, tragic consequences.

  Writer/Director: Carlos Enrique Taboada 

Selected Cast:

Marga López as Bernarda, the principal

Maricruz Olivier as Lucía, the vice principal

Alicia Bonet as Claudia

Norma Lazareno as Kitty

Renata Saydel as Ivette

Elizabeth Dupeyrón as Josefina

Rita Sabre Marroquín as Silvia

Irma Castillón as Marina

Rafael Llamas as Diego

Sadi Dupeyrón (credited as Saidi Dupeyron) as Armando

Pamela Susan Hall as Andrea, the ghost

Enrique García Álvarez (credited Enrique Garcia) as Doctor Oliver

Lourdes Baledón as Verónica

The Grue-Crew head to Mexico for the ninth time and encounter a restless spirit seeking revenge. Suspense and supernatural shenanigans ensue! The cult film in question is Even the Wind is Afraid (Hasta el viento tiene miedo) from writer/director Carlos Enrique Taboada, who is also the writer/director for another Classic Era episode, The Book of Stone (1969, El libro de piedra). The Classic Era Grue-Crew also recognized cast members from another of their episodes, Macario (1960). When Even the Wind is Afraid was released in 1968, it revitalized the Mexican horror genre. Be ready to settle in for a discussion with your faithful Gruesome Magazine spirit guides.

At the time of this writing, Even the Wind is Afraid is available to stream from Tubi and YouTube, and is available as a Blu-ray disc from VCI Video.

Gruesome Magazine’s Decades of Horror: The Classic Era records a new episode every two weeks. Up next in their very flexible schedule is one chosen by Chad, Hammer’s X the Unknown (1956), written by Jimmy Sangster, starring Dean Jagger, Leo McKern, Edward Chapman, Anthony Newley, and a big gob-o’-glowin’-goo.

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans: leave them a message or leave a comment on the Gruesome Magazine YouTube channel, the site, or email the Decades of Horror: The Classic Era podcast hosts at feedback@gruesomemagazine.com

To each of you from each of them, “Thank you so much for watching and listening!” 

Check out this episode!

[movienation]

Netflixable? "Chupa" packages a Mexican Myth in a Kid-friendly Package

“Chupa” is a harmless Spanglish trifle for kids, an “E.T.” riff about Mexico’s flying vampire bobcat of myth, El Chucacabra. It’s built on a simple formula — kid discovers a supernatural (or extraterrestrial) playmate, must save it from those who would exploit it — and executed accordingly. There’s a little pop to its casting and limited charm in its Mexican cultural touchstones. Look at this…

[foxyboxyfan]

N.M. Film Focus: Meet Cute vs. ‘The End’

BY CHRISTA VALDEZ

(From left) New Mexican actor Jack Justice and Anton Yelchin posed for a photo in 2011 while filming “Odd Thomas” in Albuquerque. / Photo courtesy of Jack Justice

Gone too soon The cast and crew of made-in-New Mexico films “Terminator Salvation,” “Fright Night” and “Odd Thomas” had the opportunity to work and socialize with actor Anton Yelchin.

Along with the rest of the world, these New Mexicans were saddened to learn of Yelchin’s tragic death on June 19. In 2011, then 10-year-old Albuquerque actor Jack Justice worked with Yelchin on “Odd Thomas,” portraying a childhood version of the “Star Trek” star.

Farewell, Anton.

Calling all Fall casting is already underway for the third season for AMC’s “Better Call Saul.” The “Breaking Bad” spin-off starring Bob Odenkirk, Jonathan Banks and Michael McKean will resume filming in Albuquerque in late August or early September. Apply for you (or your car) to be cast by emailing contact information and photos to extras@whiteturtlecasting.com

Casting calls are forthcoming for the first full season of supernatural TV series “Midnight, Texas.” The contemporary NBC drama is being adapted from author Charlaine Harris’ work; her books were also the basis for the HBO series “True Blood.” “Midnight, Texas” is slated to film in Albuquerque by the end of summer. To be considered for a background work, register with EG Casting at egcasting.com

Typecast Men and boys with beards and scruffy, long hair are needed for the many period westerns ramping up to film in New Mexico. Note to inked actors: several current productions have a new policy that requires actors with visible tattoos to provide a release from the tattoo artist. That’s something to bear in mind when getting your next tat.

False alarm Social media reports have hinted that the Transformers franchise might return to New Mexico. Most memorably, 2009’s “Transformers: Revenge of the Fallen” broke a Guinness World Record for the biggest explosion captured on film with actors present. It’s true that the production eyeballed the state for some filming of “Transformers: The Last Knight,” but we may have been too packed to accommodate their schedule.

Southern stars Josh Brolin is filming “Granite Mountain,” a film about the real-life Yarnell Hill fires of 2013, in northern New Mexico. Now his dad, James Brolin, is expected to shoot “Rose” down south. The independent feature stars Cybill Shepherd as widowed ex-cop Rose, who’s on a transformative journey through the Southwest; her character may find love with older cowboy Max (Brolin). The film also stars Pam Grier, Cindy Pickett, A Martinez and local actor Mark Vasconcellos.

A “Longmire” still / Photo credit: Netflix

Keep an eye on the Casting Calls page of OneHeadlightInk.com for real-time casting notices for this and other productions shooting throughout The Land of Enchantment.

So long For now, we bid farewell to “Longmire” and “The Night Shift” as the series wrap shooting seasons 5 and 3, respectively. Both shows are likely to return next year to roll film. Indie films “Ideal Home” and “Cowboy Drifter” have also finished filming. The cast and crew from these projects are ready to move on to new projects featured in this column’s roundup of New Mexico productions. Are you ready?

Featured still of Anton Yelchin in “Odd Thomas” / Photo credit: Image Entertainment

Source: N.M. Film Focus: Meet Cute vs. ‘The End’

[meant-to-be-a-hero]

Season Three, Episode Twenty-Three: Insatiable

This one's sad, isn't it.

Allison doing the recap, for the last time.

Ew. Gross way to start the episode.

Nogitsune's doing the Cool Villain Walk.

Parrish was drawn to Beacon Hills, eh? First hint that he's supernatural.

"You know why there are openings?" - Because of all the murders, probably.

With the betas either dead or left, Derek's kind of been sidelined during 3B. Then again he was a big part of 3A, so I guess it's just ebb and flow of the story.

Meredith won't stop screaming, because she's a Banshee.

Fuck off Brunski.

Who's shooting at the Twins? Surely not the Nogitsune. Are the Mexican hunters here already?

Breaks out of mental institution, goes to high school. Maybe Meredith is crazy after all.

Fuck off Brunski.

He's insatiable! He said the thing!

Go Coach! Taze his ass.

Also, Coach has to know something's up in this town by now, surely. He's been involved in far too much and seen too many weird things not to know.

This conversation between Chris and Allison is painful :(

"He's my type." - Oh Meredith, I love you.

So maybe Rafe's not as big of a douche as I thought. I still don't like him.

Isaac, NO torture! Jesus, man.

Scott not accepting his dad's apology is a really good bucking of the usual tropes actually. You'd expect him to accept and for them to reconcile, but instead he throws it back in his Dad's face because he doesn't need him.

Walk, walk, fashion baby, etc.

Oh it's Kate again, isn't it? Argent saw the crest on the shells.

If only Allison had waited, she'd probably still be alive.

"As long as no one else dies because of me." - Well, there's at least one more to come I'm afraid.

Yoink! My Oni now. Wonderful.

The Oni are like Daleks apparently - the more there are, the less effective they are.

Wait, why did Allison's arrow kill the Oni? Silver?

Allison's death literally comes out of left field, huh.

Speaking of painful conversation, Scott and Allison's last one is painful.

Posey really is a good actor, isn't he?

That's literally the only time they kill a main cast member, I think? Everyone else who leaves stays alive.

Sigh. Pain. :(

[petnews2day]

The Best Urban Legend Movies, Ranked

New Post has been published on https://petnews2day.com/?p=51457

The Best Urban Legend Movies, Ranked

Hollywood is no stranger to bringing some of the world’s most spooky and spine-tingling urban legends to the big screen, instilling fear in viewers. Fans of these chilling tales and folklore favorites have flocked to see the stories brought to life in the cinema, with some of the most renowned pictures delving into the fright generating narratives and elements. From vengeful spirits wreaking havoc on the living like in the great Black horror movie Candyman and the scary J-horror classic Ringu to violent reptiles dwelling in sewers in the ‘80s cult classic Alligator, there have been countless unforgettable films that depict some seriously scary urban legends.

1999’s supernatural horror staple The Blair Witch Project famously featured a fictional local legend that inspired three aspiring filmmakers to go into the woods and investigate, never to be seen again. The unsettling 1979 psychological horror picture When a Stranger Calls put babysitters across the country on edge with its all-too-real depictions of an intruder hiding in the house, bringing the popular modern folklore “the babysitter and the man upstairs” frighteningly to life. These are some of the best urban legend movies.

9 The Curse of La Llorona

Warner Bros. Pictures

Inspired by the spine-chilling Mexican folklore La Llorona, the 2019 supernatural horror film The Curse of La Llorona brings the Latin American tale to the big screen and tells the story of a mother in 1970s Los Angeles who fights to protect her young children against the titular vengeful ghost that wants to lure and steal them away.

Related: These Are Some of the Best Recent Spanish Horror Movies

La Llorona is also known as “The Weeping Woman” and the legend claims that the malevolent spirit was once a mother who now spends eternity wandering waterfront areas in search of her own children whom she drowned. The creepy picture is the sixth installment in The Conjuring Universe and delves deeper into the history surrounding the Mexican lore while featuring a determined mother’s efforts to save her children from the terrifying specter.

8 The Hitcher

Tri-Star Pictures

The 1986 road thriller The Hitcher follows the young motorist Jim Halsey as he is terrorized by a menacing hitchhiker who ruthlessly stalks him on the Texas highways, with the murderous stranger determined to see the man dead. Starring C. Thomas Howell and Rutger Hauer, the adrenaline-pumping film draws upon the fear and potential threat of picking up a hitchhiker on the side of the road, with the dark figure harboring nefarious true intentions.

Writer Eric Red drew inspiration for the plot from The Doors song “Riders on the Storm”, with its lyrics describing a killer on the road during a storm. Though initially met with a lukewarm response by both critics and audiences, in recent years The Hitcher has gone on to become a cult classic that had led to a direct sequel in 2003 and a remake in 2007.

7 When a Stranger Calls

Columbia Pictures

Derived from the classic urban legend “the babysitter and the man upstairs,” the 1979 psychological horror flick When a Stranger Calls depicts the deranged acts of a demented killer as he savagely targets a babysitter; after the murderer is apprehended and sent to a psychiatric facility, he escapes seven years later and sets out to finish what he started.

The opening of the freaky film is widely regarded as one of the scariest movie openings of all time, as its first 20 minutes features the young woman horrendously discovering via the police that an intruder is inside the home. When a Stranger Calls had a profound impact on the face of horror movies, with Wes Craven’s 1996 slasher Scream paying homage to the picture with its spine-tingling introduction. A made-for-TV sequel was released in 1993 and a direct remake premiered in 2006.

6 Urban Legend

Sony Pictures Releasing

Touting an impressive cast of then up-and-coming Hollywood stars like Jared Leto, Tara Reid and Joshua Jackson, the 1998 slasher Urban Legend follows a grisly series of murders on a prestigious New England university campus that all seem to be influenced by notorious urban legends. Many chilling tales are depicted in the gory film, most notably Bloody Mary, The Hookman, and The Killer in the Backseat, with the targeted characters dying in the disturbing manners reflected in the spooky tales.

Despite being a success at the box office, Urban Legend didn’t win critics over but nonetheless garnered appreciation by both folklore scholars and the cinema for revitalizing the urban legend genre on the silver screen. A modern day adaptation is currently in the works, with Colin Minihan set to write and direct the digital-age remake.

5 The Mothman Prophecies

Screen Gems

The great Richard Gere and Laura Linney headline the 2002 supernatural-mystery film The Mothman Prophecies, which chronicles reporter John Klein’s attempts to investigate and research the legend of the eponymous humanoid creature that was spotted in the 1960s in Point Pleasant, West Virginia. Klein’s obsession to locate the folklore being is fueled by the death of his wife two years prior, after he discovers her notebook with drawings of the moth-like creature within its pages. Based on the experiences and recollections of John Keel, the author of the titular novel, The Mothman Prophecies director Mark Pellington set out to provide a less-literal interpretation of the book and instead wanted to explore psychological drama in UFO witnesses. A recent documentary called The Mothman Legacy chronicles the actual events in a spooky way.

4 The Blair Witch Project

Artisan Entertainment

One of the most successful independent films of all time is the 1999 supernatural horror staple The Blair Witch Project, which focuses on a group of fictional filmmaker students who set out to create a documentary on the eerie local legend known as the Blair Witch. When the three disappear in the ominous woods of the Black Hills near Burkittsville, Maryland, the trio’s equipment and “recovered footage” are found one year later and presented for audiences to witness.

Related: Is The Blair Witch Project Still One of the Scariest Horror Movies More Than 20 Years Later?

Directors Daniel Myrick and Eduardo Sánchez wanted to create a horror picture that blended paranormal phenomena with documentaries, coming up with the urban legend in 1993 and writing a 35-page screenplay that featured improvised dialogue. The Blair Witch Project inspired the found-footage concept that would go on to become popular in cinema, with movies like Paranormal Activity, Cloverfield, and V/H/S adopting the style.

3 Alligator

Group 1 Films

The 1980 independent horror flick Alligator focuses on the courageous efforts of Chicago Detective David Madison and reptile expert Marisa Kendall as they set out to locate a massive deadly sewer alligator that is attacking the local residents after having been previously flushed down the toilet years earlier. The movie draws inspiration from the unsettling urban legend in which the reptiles dwell within the sewers of cities, wreaking havoc when they ultimately escape and putting citizens on edge. Alligator was lauded by critics for its satirizing of genre clichés, with Alternate Ending writing in their retrospective review, “Funny and self-aware about the ridiculous contrivances of its genre, and it’s also straight-faced in treating the threat of that impossible crocodilian as a real problem.”

2 Ringu

Toho

Based on the Koji Suzuki novel of the same name, the 1998 Japanese psychological supernatural horror film Ringu (also known as The Ring) follows journalist Reiko Asakawa as she battles against time to investigate the chilling mystery surrounding an allegedly cursed videotape that viciously kills anyone who watches it seven days later. The film’s main antagonist Sadako Yamamura draws upon the Y��rei archetype, a spirit in Japanese folklore that is believed to be barred from a peaceful afterlife; it also utilizes a chain letter curse in which anyone who views the spooky videotape will meet untimely ends. Ringu had a major influence on Western cinema, sparking a global interest in Japanese horror and inspiring the successful 2002 remake, The Ring.

1 Candyman

TriStar Pictures

In the 1992 gothic supernatural classic Candyman, Chicago graduate student Helen Lyle begins writing her thesis on urban legends and folklore, prompting the young woman to investigate the legend of the “Candyman,” a malevolent spirit that kills anyone who says his name five times in front of a mirror. The titular antagonist was heinously murdered due to a forbidden 19th-century interracial love affair, and he vengefully returns to murder anyone who dares utter his name or questions his existence, driven by a need to preserve his legacy.

The horror flick is based on the Clive Barker short story “The Forbidden”, using the Bloody Mary legend as a basis for calling upon the angry, revenge-seeking spirit. Candyman is widely considered to be a contemporary classic of horror cinema, and was both a critical and commercial success; a direct sequel to the picture was released in 2021.

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[luxshine]

Update on Y yo a Ti, Cas, and a bit of a request guys.

Ok guys, update on the Mexican VA’s! 

Castiel VAs has been contacted, he graciously accepted my request for an interview and the questions are on his inbox. I am waiting for his replies, as well as Dean VA’s. Once I get them, I will post them under the tag #mexican supernatural dub.

I will also be writing a post on how tropicalization (the ONE time when VAs and translators are allowed to change lines as they wish) works and how it was not the case with the Supernatural Dub EVER. 

Finally, the request. Can we all stop reffering to the Mexican dub as the Spanish dub? I know you guys consider it Spanish the LANGUAGE, but there’s a bit of a difference here between Spain’s Spanish, Spain’s other language that is Castillian, and Mexico’s Spanish. Calling the Macias Group “the Spanish Dub” sort of kinda erases the fact that it’s the Mexican dub. At the very least, it’s the Latam Dub (As in Latin America), not the Spanish Dub.  At the same time, the Brazilian Dub should be called the Brazilian Dub, not the Portuguese Dub since the second implies that the Dubbing was made in Portugal and well... Portugal doesn’t even AIR Supernatural. (eta: I’ve been informed that AXN airs Supernatural in Portugal, however, they do it with subtitles only so the point that there’s no Portuguese Dub remains, but with the correction that Spn airs in the country)

I know that for English-speaking fans it may sound as if I am splitting hairs here, but it’s kinda important for us Latam fans to have that identity respected. I men, no one calls Supernatural “That English Show” right? Even when, lingusitically speaking, it is originally in English.

Thanks!