#which is in accordance with the theme of the film he is starring in. In certain scenes

[david-talks-sw]

An argument I hear from time to time is the following:

"I don't care that this novel is considered Legends, if it was canon when George Lucas was in charge of Lucasfilm, it's still canon to me now. Whatever George says is what counts, I don't care what Disney says."

Putting the Expanded Universe's Star Wars and George Lucas' Star Wars in the same basket. And that's, uh... inaccurate.

So without further ado, let's explore:

George Lucas’ involvement in the Expanded Universe

Early years of the EU...

When the first bit of EU content came out in the form of the novel Splinter of the Mind's Eye, Lucas was too busy working on the films, so Alan Dean Foster wrote it by himself (which explains why Luke and Leia's relationship plays out romantically).

After the movies came out, when new material was going to be created, George told Lucas Licensing and other authors that the Prequel era was off-limits to write about, because he might tell that story one day.

Beyond that, they could go to town and write sequels, for instance. After all, part of why Star Wars was created was to let people's imagination run wild and George was happy to let other artists play in the sandbox he created.

That said, things were very clear from the get-go.

These weren't his stories.

The Thrawn books, Dark Empire, all this material was explicitly just Tom Veitch and Timothy Zahn and whoever else's creation. Not George's, who was described by Lucas Licensing's Lucy Autrey Wilson as "not very involved".

The most he did was answers "OK/Not OK" questionnaires about what the EU writers could or couldn't write.

Telling Yoda's backstory? Not OK.

Telling Han's backstory, between the Prequel and Ep. 4? OK.

Having someone wear Vader's suit after his death? Not OK.

The Emperor returning in a clone body? OK.

So that's it. That was his involvement in the 90s.

Him saying "don't write something set during this/that period".

"OK/Not OK" questionnaires.

It's also worth mentioning he didn't approve of Mara Jade, Luke's wife in the EU. In his mind, "Jedi don't marry".

Rather, the character herself wasn't an issue... until she married Luke. When Timothy Zahn asked for Luke and Mara to be married or engaged, back in 1993, Lucasfilm initially vetoed the idea.

According to Brian Jay Jones (author of "A Life", George Lucas' biography), in 1995 George convened a 'Star Wars Summit' wherein he gathered licensees and international agents to Skywalker Ranch to reinforce "the need for him to maintain quality control, especially in the areas of publishing, where some characters—such as Luke Skywalker, who’d been given a love interest in a fiery smuggler named Mara Jade—were living lives far beyond the ones he had written for them in the original trilogy".

Sources:

During the Prequels...

George Lucas was writing and directing three movies with large themes, shot almost back-to-back, commuting between Australia and California. That's hard enough as it is.

Also, in the 90s, most movies were still shot on film. During the making of Phantom Menace, Lucas shot parts of the film by combining prototype digital Sony cameras and using them in combination with videotapes, rather than shooting on film.

For Attack of the Clones, George worked with Panavision and Sony to develop fully digital cameras, which eventually became the standard.

As if that wasn't enough, by making the Prequels, Lucas and ILM were also creating fully-digitized worlds (Coruscant, Geonosis) and characters (Jar Jar, Yoda) and laying the groundwork for the CGI technology that has now become essential for today's blockbusters.

Having established all this...

Do you really think he had the time or the patience to read through a bunch of novels and guidebooks?!

Simply put: George Lucas was too busy revolutionizing cinema to be involved in the development of the EU.

So if you ask George who Tahl or Vitiate are, or what the Stark Hyperspace War or a vapor manifold are, if you ask him to recite you the Sith Code... he'll grumble and say "heck if I know".

He outright admitted that fans know more Star Wars lore than him.

Because SOMEBODY ELSE wrote that stuff.

And he let them do it because:

It made money. A lot of money, especially after TPM came out. Money that could fund his next films. You don't mess with licensing. Hell, it's why he was so cool with there being all those Star Wars parodies.

He didn't see those stories as canon anyway, so it couldn't hurt. He saw them as a separate universe, an alternate timeline wherein the films happened ALONG with all these other tales.

So associating the EU content with Lucas is unreasonable. He was too busy, so he just let Howard Roffman, Lucy Autrey Wilson, Sue Rostoni and Lucas Licensing do their thing and crank out new stories and transmedia content for the fans.

It was a one-way relationship. The licensing parallel universe needed to have some internal consistency AND adhere to what Lucas established in the new films movies (which was difficult because they weren't involved in the production process), but he didn't need to be in line or consistent with anything they established.

Now, George did set some guidelines/boundaries and there were obviously do's and don'ts. But once those boundaries were set and the brief was established, the authors had a lot of freedom and, like, 99% of their interaction was with their editors from the respective publishing houses (Scholastic, Del Rey, Dark Horse) and the folks at Lucas Licensing.

George was only really brought in to sign off on, like, some of the major plot points only once in a blue moon. Stuff like:

"Let's make a Maul novel". George would go "fine, just keep him mysterious."

"What species should Plagueis be?" George: "he could be a Muun, here's concept art."

Nothing more than that. Again: the Expanded Universe was other storyteller's interpretation of what Lucas had created.

Sometimes, it was spot on and it aligned with George's vision.

Other times, this additional lore was created by writers who didn't know what he was doing with the Prequels, so they were in the dark regarding certain plot points.

And then you have the authors who absolutely disagreed with George's vision of the Prequels, or of Star Wars, in general, but wanted to engage with the material nonetheless.

Which is why, whilst sometimes the EU fixed some plot-holes, sometimes the EU had inconsistencies.

Inconsistencies such as Ki-Adi Mundi being a Knight on the Council, who is married and has kids (when the Jedi being prohibited from marrying is a major plot point in the Prequels)...

… or the Jedi being essentially superhuman (when one of the narrative reasons Qui-Gon is killed is to show that the Jedi are mortals, not supermen)…

... or other stuff like Mace having a blue lightsaber for a period (because who the hell knew purple was an option?!) or some Jedi having red lightsabers, or Sith Lords being able to become ghosts after death, when that's a feat you can only achieve by being selfless.

It's also why you get conflicting definitions of what the Jedi call "attachment" or conflicting narratives trying to reframe midi-chlorians as a cold, intentionally-flawed way of seeing the Force (when they're meant to be a beautiful metaphor for symbiosis and how the Force works).

And it makes sense that some of this stuff wouldn't track, considering how Lucas stated multiple times that he didn't have anything to do with it, that it was a separate universe from his own...

Safe to say that if George had any involvement in the EU, it was so minimal that he, himself, didn't count it as "involvement".

Additional sources:

Later years of the EU...

After the Prequels were over and done with, Lucas created The Clone Wars with Dave Filoni. At first, he'd just suggest a few storylines, but he quickly got VERY involved in the whole process. Far more involved than he ever was with EU content.

And y'know... Dave Filoni is a massive Star Wars fan and an avid EU reader. So, from time to time, Filoni would bring up EU material for Lucas to consider during the story conferences, and they'd look at what was out there together.

But it's important to note that George's stance toward the EU didn't change and became a rule for everyone on the writing staff: the EU content was nothing more than a pool of "fun what-if ideas" that they could draw inspiration from.

If they could, they'd try to not mess with continuity... but if the story called for it, they could retcon anything without batting an eye. Because it wasn't canon to them.

It's why author Karen Traviss quit working with Lucasfilm after the Mandalorians were retconned into pacifists in The Clone Wars.

The only things that were truly canon were:

George Lucas' own word.

The movies.

Previously established The Clone Wars lore.

And that's it.

Everything else was somebody's else's concern. Not George's.

Sources:

This way of seeing the EU continued all the way to the time shortly before George sold the company to Disney as his drafts for the Sequels featured:

no Jacen, Jaina or Anakin Solo (Han and Leia's kids from the EU),

a still-alive Chewbacca (who died, later in the EU),

no "New Jedi Order".

Every version of George's Sequels ignored the EU.

Which would explain why the EU reboot was planned in the summer of 2012 (when Lucas was in charge)!

I'll repeat: the EU reboot was planned months BEFORE George Lucas sold the company to Disney.

Because of course it was! It's a natural result of 30 years' worth of content that's so intermeshed that it would stop future artists - namely George himself - from creating anything else.

Sources:

Exceptions to the rule:

1. Comics (kinda)

He did read the comics. Or at least, he gave them a glance.

Aside from the fact that he grew up reading comics, understand that George Lucas is a visual artist, first and foremost.

That's what he's about and that's what he loves, that's what speaks to him. There's a reason his upcoming Museum of Narrative Art will feature comic panels and pages of all kind.

During pre-production on Attack of the Clones and Revenge of the Sith, Lucas had the art team draw concept art before a script had ever been written so he'd have ideas for set-pieces.

Later on, J.W. Rinzler pitched him the idea of adapting his early drafts for Star Wars into comic form. Lucas' initial reaction was going "hell no". Rinzler had concept art made…

… and George took one look and was on board.

So it's not a stretch to assume that a book telling a story through beautiful drawings would catch his attention more than a novel.

Case in point: He knew who Quinlan Vos was and was enamored with the character. He knew Aayla enough to put her in Attack of the Clones after seeing a cover of Republic by John Forster featuring her (below, left).

(although, it's worth pointing out that he doesn't call her out by name a single time, in the director's commentary of the Attack of the Clones, she's just the "Twi'Lek Jedi" and her inclusion was done mainly to add more diversity to the Jedi fighting in the arena)

Over a decade later, when the comic Star Wars #7 came out in 2015, Lucasfilm acquired artist Simone Bianchi's original 20 pages and cover art for George, so he could feature it in his the Museum of Narrative Art:

So at the very least, he looked at the comics and admired the visuals.

Whether he actually read the comics in detail or just skimmed through most of them because he liked the pretty pictures (likelier, imo) is an entirely different matter.

Sources:

2. Video-Games (kinda)

Lucas would periodically check in on the status of LucasArts games, lending creative input and advice.

Sometimes, his advice ranged from "weird" to "he's gotta be fucking with us, right?"

Apparently, he advised the team developing Star Wars: The Force Unleashed that they dub Starkiller "Darth Insanius" or "Darth Icky".

And you know what? I have no trouble believing it.

Firstly because if you're going by the idea that he gave no fucks about the EU, then of course he'll come up with "meh" names. But also, this is the same guy who created "Winkie" in 2012/2013, the character who'd go on to be named "Rey".

He also told the team creating Star Wars: 1313 that he wanted a fresh face as the main character, then only weeks before the game was announced he went "let's make it Boba Fett".

Finally... the cancelled Darth Maul game by Red Fly.

Codenamed “Damage”, then “Battle of the Sith Lords”. Think Batman: Arkham City meets Star Wars.

Red Fly pitched it as a coming of age story where we see Maul be kidnapped, tortured, eventually joining the Dark Side, and ending in TPM. Then they had interactions with LucasArts and found out Maul survived his fight with Obi-Wan.

The game went through several iterations, partly because the people at Red Fly were kept in the dark about the developments in The Clone Wars (Season 4 wasn't out yet), and even when some tidbits came out and they knew characters like Savage Oppress and Death Watch would be included, they didn't get more details.

Whatever. They do their best to make something from what they're told. Then they have a meeting with George. As this GameInformer article explains:

“A friendly George Lucas entered the room and was eager to hear the pitch from Red Fly’s creatives. “Before they could finish their spiel, Lucas cut them off, stood up, walked over to [two Sideshow Collectibles statues of Darth Maul and Darth Talon], rotated them to be facing the same direction, pushed them together, and said ‘They’re friends!’” adds the source. “He wanted these characters to be friends, and to play off of each other. […] The problem with the idea of Maul and Talon teaming up for a buddy cop-like experience was that they were separated by over 170 years […] When this vast time divide was brought up to Lucas’ attention, he brushed off the notion of it not working, and said that it could instead be a descendant of Darth Maul or a clone of him.”

So now the game is about a descendant of Maul, guided by his ancestor and fighting a redesigned Darth Krayt, etc?

The game was eventually cancelled when George sold the company.

Worth pointing out that this was circa 2010/2011... around the time that George started working on his Sequels, according to Jett Lucas. And we know that the treatment for the Sequels that Lucas presented to Bob Iger featured old man Maul and Darth Talon as the villains of the trilogy... take from that what you will.

3. The Prequel novelizations (kinda)

They were all given a copy of Lucas' screenplay.

While most of their work was with Sue Rostoni, Lucy Autrey Wilson, and Howard Roffman on the Lucasfilm team (like some of the other authors), Terry Brooks, R.A. Salvatore and Matthew Stover all spent a bit of time with George before writing their respective novels.

George told Terry Brooks to write some additional material for Anakin Skywalker because there wasn't enough of that in the movie. He was shown rushes from the set, they "opened the safe" for him. When Terry had further questions re: midi-chlorians and the history of the Sith, George goes on a 30-minute monologue about all that.

R.A. Salvatore had a 45-minute interview with him that turned into a 3-hour chat. He was able to go back to the Ranch a few times during the writing process, and one of those times George chatted with him and his wife during lunch. He was shown various cuts of the film and concept art.

Matthew Stover and George talked for a whole afternoon (I'm gonna go out on a limb and assume he was also shown the other stuff like some cuts/deleted scenes, concept art, etc etc).

Was there a line-edit of the ROTS novel from Lucas? Regarding the Revenge of the Sith novelization, some people bring up the idea that George Lucas did a line-edit on the book because Stover wrote this statement on theforce.net:

That said...

Stover, also stated that Lucas told him to write whatever he wanted as long as it was good,

he also said he didn't actually see Lucas type the edits,

an anonymous Del Rey editor stated on theforce.net that the notion that George edited the novel himself is "extremely incorrect".

There's enough "reasonable doubt" for the argument to be made that the Revenge of the Sith novelization was edited the same way as any other Star Wars novel, rather than by George himself.

The fact remains, though, that it was a novel written by someone who understood the source material, as it was explained to him in detail by George Lucas himself (a luxury many SW authors never got).

Lucas' backstory for the Sith in the TPM novel: If Pablo Hidalgo is to be believed, the backstory of the Sith, as detailed in the Phantom Menace novelization, came from Lucas.

(Obviously, I'd allow for the very likely possibility that there was some embellishment by Terry Brooks)

20 years later, however, it seems George decided to stick to the idea that there was no war between the Jedi and the Sith.

Final thought:

A lot of people will insist that George was involved in spite of all the above-posted evidence. Saying stuff like:

"But [X person] said that it was canon..."

Sometimes, they’ll link you to this whole website collecting quotes of other people saying "the EU was canon" (never George Lucas except for, like, one/two quotes where he acknowledges the existence of Sequel books which MUST mean he saw them as canon, right?) and...

On the one hand... of course they'll all vaguely say he's "involved" and tip-toe around the subject; it's technically true and, again, they're trying to make money. It's a business, folks.

On the other... yeah? Duh. Of course it was canon to Lucas Licensing and the authors who wrote for the EU. But it wasn't canon to George. And I just gave you a whole bunch of quotes directly from him and/or the same people quoted on that website, all confirming that he didn't see them as canon and he wasn't involved (or barely was).

Other times, we're straight-up approaching "burying head in the sand/lalalala I'm not listening!" levels of justifications.

Like, we just talked about the Sith's origins, right?

I remember a while ago, this Star Wars YouTuber was reviewing this quote from Lucas, in The Star Wars Archives: 1999-1995:

The YouTuber's reaction the second after reading the quote is saying:

"And of course, what George is referring to, here, is the Battle of Ruusan and the Brotherhood of Darkness using the Thought Bomb created by Lord Khan to kill the Jedi Lord Hoth and…"

My guy! You read a whole excerpt that started with "there was never a war between the Jedi and the Sith" and the words "Ruusan" or "Thought Bomb" never being mentioned once in the passage (or in the TPM novelization)... and concluded that George was referring to the Jedi/Sith Battle of Ruusan? And all that other EU stuff?

See what I mean, folks?

Now, look, I grew up with these stories (heck, I grew up with these stories in three different languages). So I get it. I know they're awesome.

And, yes, there is a difference between the kind of content we used to get and the content we're getting now (for one, lightsabers used to be lightsabers, in video-games, not baseball bats).

But if you're trying to prop up the EU, the facts show that the "George Lucas signed off on them" authority argument isn't a valid one. Because he clearly wasn't very interested or involved in it.

And why would you want to use this authority argument, anyway?

You shouldn't need to say "this came from Lucas" to like those stories. They don't need to be George Lucas Approved™ to matter and to be validated as "worthy of appreciation". They're valid on their own, they're great stories. And if you like them better than the Sequels, go to town. I know I do.

The only thing you can't do (with a straight face, at least) is hold them up as "the True Lucas-Approved Canon™ as opposed to the Disney Trash" in a rant, because you'd be wrong and/or lying. Neither had Lucas' hand in them in any meaningful way.

Finally... I was devastated when the EU was officially made non-canon, in 2014. And for a few years, I saw the new Star Wars continuity through this lens:

"Any EU content is still canon unless it's directly retconned...!"

Trust me, when I say that only pain lies that way. Because that's not how a lot of Star Wars creators, including the Flanelled One himself, see it. The way they saw/see it is:

"Unless it's been shown in a movie or TCW... it's a legend, it might have happened."

This line of thought seems to be increasingly applied to the new Disney canon too, by the way. "If it's not shown on a screen, then it's probably canon yet also up for grabs to be retconned."

And the sooner you accept that this is how it's being treated, the sooner you accept that the EU was never canon to Lucas or Filoni...

... the less painful it'll be when, I dunno, you watch The Acolyte and it's nothing like the Darth Plagueis novel or Plagueis himself is absent, or he's there, but as an Ithorian instead of a Muun.

(note how I didn't use the word "painless")

[accio-victuuri]

from this article: 10 short stories about "Formed Police unit" 📝 ( i included general facts and the ones related to Bobo )

The action blockbuster "Formed Police Unit", which brings together actors such as Huang Jingyu, Wang Yibo, Zhong Chuxi, Ou Hao and other actors, was released on May 1st this year and topped the box office in the first two days.

Before the screening, the producer Liu Weiqiang and director Li Dachao of "Formed Police Unit" shared the behind-the-scenes story of the film with the Entertainment Management Studio . During the exchange, they talked many times about the need to "shoot with care" and "correctly" when making movies today. Movies need to be awe-inspiring.”

Liu Weiqiang revealed that the film took 75 days to shoot and was 10 days overdue. The investors also fully supported it because they wanted to provide the best results for the audience. The following ten short stories let us know more about "Formed Police Unit".

ONE

The story theme of "Formed Police Unit" was proposed by director Li Dachao. In 2010 , Li Dachao saw a piece of news about a peacekeeping police officer returning to China after his death. The urn was covered with the national flag and the police standing on both sides saluted solemnly. Li Dachao was thinking about it at that time. I was moved, " At that time, I was thinking about what peacekeeping was, and later I learned that they are such a noble and selfless profession, all dedicated to contributing to the local people. "

I thought of this subject in 2010 , but the film didn't start filming until a few years ago. Li Dachao believes that timing is very important, " You see how much the world needs peace now, I think it is very important to express the spirit of peacekeeping. "

FOUR

"Formed Police Unit" is the first film starring Wang Yibo. Liu Weiqiang revealed that Wang Yibo was very cautious when accepting projects. When discussing the script, he was moved by the role of Yang Zhen.

At that time, Wang Yibo had a small worry, that is, there was a scene with teenage Yang Zhen in the movie. "He was worried that if it were played by another young actor, whether the two would be able to synchronize the performance. The little Yang Zhen we found and He looks quite similar, so he feels relieved when he sees it.”

FIVE

At the end of the film, Yang Zhen had a scene where he was beaten by an enemy. In order to guide Wang Yibo to perform the real pain, director Li Dachao said: "I pinched him before starting the movie. After pinching him, he screamed. I said this feeling was... By the way, you have to keep it real, and you have to magnify the pain of being pinched 100 times. "

SIX

The crew learned from former peacekeeping police officers who had actually participated in peacekeeping operations that when they went on missions, they would spread Chinese culture locally, teach Chinese and martial arts, and usually grow vegetables in the base where they were stationed.

The crew also built a vegetable garden on the set, and the props team was responsible for growing vegetables and watering them. There was a scene where the peacekeepers went to pick vegetables. "An interesting fact is that almost all the vegetables were dug up by Wang Yibo. He dug them too fast. I said wait, I haven't turned on the camera yet," director Li Dachao said with a smile.

SEVEN

Wang Yibo was still a newcomer to the film industry when filming "Formed Police Unit", but Liu Weiqiang's impression of him was that he was very smart, "You see, he usually doesn't make a sound, but when he does, he is very powerful. He is an observation-type actor, and a good actor is like this , observe first, and after observing, he will know which points he ne

EIGHT

The peacekeeping team in the movie is designed according to the real peacekeeping configuration, two armored vehicles + snipers + liaison officers, etc. Each character has his or her own plot mission. For example, Ou Hao plays the team leader, and he is a role model. As a police officer, he uses his lines to express the spirit of the peacekeeping police; Gu Jiacheng's character and Yang Zhen grew up together in the police station, and he played a catalyst role in Yang Zhen's growth.

The director revealed that in order to prepare the soldiers' strong bodies and performance conditions, the actors of the Peacekeeping Team spontaneously trained, ran, gained muscle, tanned, and encouraged each other before filming began. Huang Jingyu said that the first half of the movie was shot in the daytime, and in the end it was all night scenes. The action scenes were shot all night long, and it was raining. If you didn't reserve your physical strength, you wouldn't be able to persevere.

NINE

Based on the longitude and latitude, landforms, vegetation, weather and climate characteristics of the mission area in the movie, the crew found a filming location that could simulate the African environment and built an entire city, including slums, streets, squares, seaside stilt houses, etc.

The last major scene of rescuing witnesses during a stormy night had to wait for the tide to change during the actual shooting. The tide rose every four hours at that time. In order to show the harsh environment in the storm, we had to wait until the tide rose to shoot. It took 15 days to complete

article source

[jbaileyfansite]

Interview with Entertainment Tonight (2024)

Welcome to Jurassic Park, Jonathan Bailey. 

On Monday, the 36-year-old actor talked with ET from the season 3 premiere of Bridgerton in New Yorkand confirmed that he will soon be heading up Jurassic World 4, the latest installment in the beloved franchise which celebrated its 30th anniversary just last year. 

"I will be visiting Jurassic Park," Bailey shared exclusively with ET, jokingly adding, "I'm playing a dinosaur."

For the Fellow Travelers star, the new gig -- which comes from the mind of the original Jurassic Park writer David Koepp and Rogue One director Gareth Edwards -- is a full-circle moment as he shares that one of his earliest memories includes seeing the Steven Spielberg hit on the big screen when he was a kid. 

"I remember going with my family," he said. "It was the first cinema trip we all went on together. I've got three older sisters so I went when I was like 5."

As for plot details and confirmation on his cast members -- rumored to include Scarlett Johansson and The Lincoln Lawyer star Manuel Garcia-Rulfo, according to Deadline -- the actor kept tight-lipped, but shared that he is feeling ready to take up the mantle and carry on the cinematic legacy left by the previous cast.

"I am really excited," Bailey continued. "For so many of us, I know it's just like an iconic cinematic experience."

The confirmation comes just one day after he teased his involvement in the new project with a cheeky post on Instagram, complete with a photo of him on the Jurassic World water ride at Universal Studios Hollywood.

In the photo, Bailey is seen throwing up peace signs and wearing sunglasses during a visit to the theme park from over a month ago as the photo is timestamped on April 9. He also included a video of a glass of water on a table shaking, a reference to scenes from the original film.

"Hold onto your butts. 🦕," the actor wrote in the caption. 

The last film in the franchise, Jurassic World: Dominion, debuted in June 2022 and starred Chris Pratt, Bryce Dallas Howard and DeWanda Wise, as well as the original Jurassic Park crew including Laura Dern, Sam Neill and Bailey's Wicked co-star, Jeff Goldblum. Deadline reports that none of the reboot actors are expected to return for the fourth installment in the franchise. 

Bailey is having a hot year after the release of Fellow Travelers -- which scored him a Critics Choice Award for Best Supporting Actor in a Miniseries -- his casting in Netflix's Heartstopper, the forthcoming release of Bridgerton season 3 and his starring role as Fiyero in Wicked alongside Ariana Grande and Cynthia Erivo. 

He stayed similarly quiet on the film adaptation of the Broadway hit, which releases in theaters on Nov. 27, joking with ET that he shows anyone who asks the final cut, including his on-screen family members and friends in Bridgerton. 

"Yeah, I show everyone the whole film," he quipped. "I don't -- I haven't seen it." 

Source

[silvereyedowl]

What We Know About Series 14

Doctor Who series 14 is coming up next year. This is a roundup of advance information and leaks about the season and the preceding Christmas special. Sources are at the very bottom below the cut.

CAST

Ncuti Gatwa as the Fifteenth Doctor. Unlike his predecessors, this Doctor changes his outfit a lot.

Millie Gibson as Ruby Sunday. Like her actress, Ruby is a native of Manchester.

Returning characters:

Jemma Redgrave as Kate Stewart, head of UNIT.

Bonnie Langford as former companion Mel Bush.

Villains:

Jinkx Monsoon as a villain favouring piano-themed attire, described as "the Doctor's most powerful enemy yet". Not everyone survives the encounter...

Indira Varma as the Duchess. RTD: "a whole new audience will be hiding behind the settee when the Duchess unleashes her terror." Varma previously played Suzie Costello on 2 episodes of Torchwood.

Other characters:

Aneurin Barnard as Roger ap Gwilliam.

Jonathan Groff as a "mysterious key" character.

Lenny Rush as Morris, in time for the Doctor's "greatest nightmare". RTD: "But what secrets does he hold? What's secreted in the Segway?! And will his terrifying probabilities be proved true..?"

Jack Forsyth-Noble as Will.

Gemma Arrowsmith and Mary Malone will appear in the Christmas special, while Majid Mehdizadeh-Valoujerdy and Billy Brayshaw will appear in separate episodes.

Also announced to be appearing: Sophie Ablett, Anita Dobson, Michelle Greenidge, Bhav Joshi, Millie Kent, Eilidh Loan, Pete MacHale, Miles Yekinni, Hemi Yeroham. Dobson previously appeared in the audio play "Blood of the Daleks".

EPISODES

There will be a Christmas special in December 2023, followed by an eight-episode season. (The BBC posted that the season would air in spring, but then removed the information.) Russell T Davies is the showrunner.

A guest star from 2005 returned for the special.

Episode 1's title was coincidentally spoken aloud in a third-season episode of Star Trek: Picard. It includes the words roar, Glastonbury, and conquistador.

Episode 2 contains the words Liverpool, legions, and non-diegetic. Scene 10 begins "INT. CANTEEN. DAY."

RTD thinks episode 4 is one of the best things he's ever written. The line "I once went to the top of the Shard" was cut from it.

The script for episode 7 begins with the line "INT. COFFEE BAR, USA — DAY, 1947".

Episode 8 will contain the words kingdom, gold, and Tigella. Scene 73, featuring the Doctor and Ruby in the TARDIS while "enemies are being fought", was the last scene filmed for the season.

There's a 1960s episode, featuring the Doctor and Ruby in snazzy period outfits.

The episode guest-starring both Varma and Groff will be set in the Regency era. "Dress to impress, and beware the Duchess."

CREATOR RAMBLINGS

According to RTD, we will be "staggered" by the 2023 festive season surprises.

There are monsters which are "impossible to describe" without referencing Fourth and Seventh Doctor adventures.

RTD promises that there are "plans still unfurling" which have yet to be made public.

Production designer Philip Sims said he was excited about "designing a new Dalek".

Davies has hinted that the blue doors Michelle Greenidge and Anita Dobson were photographed with are significant.

Script editor Scott Handcock mentioned filming which required nine babies, as well as Ncuti and Millie.

Monsoon's first day on set "teams her with an unexpected name from the Tom Baker era".

Anita Dobson has said she's playing Ruby's neighbour, whose name is either Mrs. Flood or Blood.

RTD used a potato emoji while commenting on publicity photos from the Regency episode (Sontarans?). Davies was also very coy about the identity of Groff's character.

RTD mentioned one episode having gone through three titles with no decision having yet been made. Another episode had "sixpence" in the title for a while, until the coin was cut.

RTD teased a famous guest star appearing in a scene with a giant statue head in the finale.

While writing about the final days of filming, RTD said that "Yasmin Finney wrapped a few days ago".

OTHER

Filming began on December 7, 2022 and wrapped on July 14, 2023.

Block One was directed by Dylan Holmes Williams. Block Two was directed by Mark Tonderai. It included the Christmas special. Block Three was directed by Julie Anne Robinson. It contains "two wildly different episodes, by two different writers". Block Four was directed by Ben Chessell. Block Five was directed by Jamie Donoghue.

Posters of the Doctor and Ruby.

Fifteen will be getting a brand-new sonic screwdriver.

previous

Leaks and sources below the cut!

LEAKS

Michelle Greenidge appears to be playing Ruby Sunday's mother. Since Greenidge and Millie Gibson are different ethnicities, she is presumably an adoptive, foster, or step mother.

Campaign posters for the "Albion Party", with Roger ap Gwilliam as the "Space Saviour", were spotted on location filming.

Jinkx Monsoon is in the '60s episode.

Millie Kent is playing Valerie, and Sophie Ablett is Marti Bridges.

Mel Bush will be appearing in the season finale.

Reports from finale location filming, albeit second-hand, of someone on set saying, "This is where the Daleks come in".

According to his CV, Majid Mehdizadeh-Valoujerdy will be playing Carson in an episode directed by Julie Anne Robinson.

Davina McCall may be the returning 2005 guest star. She will apparently host a genealogy show on which Ruby appears, and will be crushed by a falling Christmas tree.

RUMOURS

UNIT may be getting its own spinoff. (SOURCE)

The DWM production journal has led some fans to theorize Steven Moffat will be returning as a writer.

SOURCES

Doctor Who filming begins with new director

Doctor Who filming in Penarth as Doctor and companion costumes revealed

Doctor Who filming at Capitol Shopping Center in Cardiff

Doctor Who filming with new monster at Swansea Bay Campus

Doctor Who filming in Newport with UNIT, Space Saviour and companion

Doctor Who filming in Swansea: new monster details

Doctor Who filming with Aneurin Barnard at Cardiff City Stadium

Doctor Who filming with Millie Gibson on a moving train from Cardiff

Doctor Who filming at Loudoun Square flats

Doctor Who Filming in Bristol With Millie Gibson, Michelle Greenidge and Anita Dobson

Doctor Who filming in Pembrokeshire with Millie Gibson

Doctor Who filming: new photos of Millie Gibson in Pembrokeshire

Photos snapped of Millie Gibson filming Doctor Who

Doctor Who filming: Ncuti Gatwa and Millie Gibson in Pembrokeshire

Doctor Who filming in Bristol with Millie Gibson and Anita Dobson

Russell T Davies talks “exciting” Doctor Who scenes as programme films in Bristol

Doctor Who filming with Ncuti Gatwa at two venues in Cardiff

Doctor Who filming: Block Three begins

Doctor Who filming: clue found for secret location filming

Ncuti Gatwa and Millie Gibson film 1960s Doctor Who scenes

Doctor Who films in Bristol with Ncuti Gatwa and Jinkx Monsoon

Doctor Who filming in Cardiff with Beatles connection

New Doctor Who photos of Jonathan Groff alongside Nucti Gatwa and Millie Gibson

Doctor Who filming at Margam Park

Doctor Who films more scenes with a Beatles connection

Doctor Who films in Cardiff theatre

Doctor Who films in Cardiff with Ncuti Gatwa and Bonnie Langford

Michelle Greenidge films Doctor Who in Cardiff

Ncuti Gatwa, Millie Gibson and Bonnie Langford film Doctor Who in Cardiff

Millie Gibson and Ncuti Gatwa film Doctor Who at Cardiff City Hall

Doctor Who films scooter stunt on Cardiff streets

Bonnie Langford and Ncuti Gatwa film Doctor Who scenes on a scooter

Ncuti Gatwa and Millie Gibson film Doctor Who in Barry

[houseofpurplestars]

Join Eyewitness Palestine on Wednesday, March 27th at 12PM ET for our Live from Lyd webinar, featuring a special virtual delegation led by Tamer Nafar (see interview below with EP staff member Moureen), who will take us around Lyd on a custom tour of the city. Lyd, like many Palestinian cities, is an ancient city that's been home to multiple civilizations over its 5,000-year history. It was the site of one of the most grueling massacres of the Nakba and remains haunted by the injustices brought on to it. Today, the community of Lyd--one of the few cities with an integrated Palestinian and zionist population--is marred by addiction and gun violence. We'll hear from Lyd residents about the resilience and struggles they face in the community.

By Moureen Kaki

Tamer Nafar wears many creative hats—he’s a hip-hop artist, a screenwriter, and actor. Nafar is probably most well known as a member and founder of the first and still-leading Palestinian rap band, DAM. Readers should know that the Son of Palestinian Hip-Hop doesn't give very many interviews. He says what he needs to say through his arts: "I chose hip-hop because it gives me a verse of 64 lines," he says. Nafar and the band have released well over 100 songs through single-releases and three albums. They primarily rap in Arabic but will often integrate English and Hebrew. They’re not just known for their music, though, but the resistance-nature of their work. DAM’s music is riddled with themes of Palestinian identity, resistance, and culture. According to Nafar, the band’s founder, the music itself is less a form of resistance and more “resistance-adjacent.”

"Well, nowadays when you have more than 30,000 people killed and art is not stopping it, I'd say that art's role is documenting. I don't think it rescues lives, but I think it's documenting--it's the soundtrack of a revolution. I try to document my life and the lives of Palestinians like me. When you say 'Palestine,' people think of Gaza or the West Bank, but not a lot of people understand what life is like for Palestinians who have an Israeli ID, so I took the initiative to document us. Art is a medicine, but like Advil. It's a certain kind of medicine. It can help but it cannot cure. But to create real change is an economic thing, a power thing, it's a militant thing and lobbying this. This is where change happens. If revolution were a movie, I think art would be mentioned in the credits, not as the main force of change."

If Nafar is right and the arts are indeed more of a method of documentation than resistance, then it might be fair to call Nafar a sort-of experiential historian, too. Beyond the work of DAM, his solo work and film experience tell the many stories of Palestinians in Lyd and beyond. Nafar stars in Junction 48, for which he also did the screenwriting. Junction 48 tells the story of Palestinian rapper from Lyd who’s trying to “make it” in the industry, crossed with the unique struggle of being treated like an outsider in your own homeland, as all Palestinians are treated in Lyd by the Israeli majority. It incorporates challenges that are unique to Lyd: identity crisis and confusion, gun violence, and drug trade and addiction. Those familiar with Nafar personally would be forgiven for thinking the story was loosely based on his own life as a Lyd-based Palestinian rapper. But the film captures a narrative much bigger than any one person. It tells Lyd's unique story of the generational consequences of Zionism in Palestine.

In a different world, one in which Palestine was never colonized, Nafar would have likely never been a Lyd resident. His father's family fled there in 1948 when they were exiled from Yaffa by Zionist militias. They were supposed to leave for Jordan but found what they thought would be temporary refuge in Lyd. The family stayed and eventually, Nafar was born into the Lyd scene. Nafar succinctly and concisely defined Lyd and its possibilities: "[Lyd] would have been the best, most beautiful salad in the world if the chef weren't racist." The effects of that kind of systemic racism are apparent in Lyd's massive drug market and related gun violence. Its history and socio-economic problems often compared with the systemic destruction of Black American communities throughout the United States. Nafar, like many others, has lost community members, including his cousin, to gun violence.

On top of the gang-related violence in Lyd, Palestinians are doubly threatened by armed settlers and the state. Because of the ongoing genocide in Gaza, tensions are particularly high in the mixed Palestinian-Jewish city. Nafar says that the current situation reminds him of 2021, when Occupation Forces attacked Gaza during the Great Return March. But coupled with the increased rise of the extreme Israeli right-wing and power of settlers this time, he says, feels slightly different, "you feel it with the silence. Something that is not tangible. We're not used to the silence." While the situation remains grim, Nafar says that there's only one way for him to find solace.

"With what is happening now in Gaza and the way they managed to silence the Palestinians in Israel, and with the rise of the extreme [Israeli] right-wing, and me losing my cousin, I'm too emotional right now to give you a thoughtful message for good or bad. I know that people want a happy, optimistic view, but our comfort now is just acknowledging the darkness. All of our comfort now is just finding people to sit with us in the darkness. This is my aim now, just finding people in the darkness to share that moment with. I personally don't want to feel good. My people are dying. Why the f**k should I feel good?"

Nafar's blunt honesty goes further. When asked about the future of Lyd his response is succinct: "khara," the Arabic word for sh*t. Sure, it might be pessimistic, but to Nafar's point, many Palestinians, the rapper included, are exhausted by a life dictated by Zionism. It feels unreasonable to expect a rosy, hopeful outlook on the future when so much of Palestinian life is rife with injustice. Nafar lost his cousin to gun violence in Lyd. His family lost his ancestral home. Even the landscape of his life is riddled with these reminders. When shooting a music video for his song, the Son of Lyd, Israeli police stopped him and the video crew six different times while they were trying to record all because they were using a Palestinian flag as a video prop. Nafar explained that he had to go out of his way to cut scenes in the video to ensure that the police did not make too much of the final cut because he wants viewers to know that there is more to Lyd than the drug market and violence.

"There were two videos released [for the Son of Lyd song]. In the 'Making of the Son of Lyd' video, what we did is we attached a Palestinian flag to a motorcycle and I got stopped six times by the cops. You can see it. It's all documented. And the funniest part is that while the cops were busy pulling me over, there were drug deals happening around us and they didn't give a f**k. They were so obsessed with the flag. The second time we were stopped and [the police were] issuing me a ticket and had the police car with the lights flashing. So, I used the moment to record for the video and that ended up being the main part of the video--the part with me rapping to the police car with lights in the background and we set a release date and I loved that video. But I had that weird feeling that I wasn't happy about it and I didn't know why. A day or two before the release, I canceled the release. I realized that the police took over my video and that's what bothered me. So now in Lyd, the city I wanted to show--my city that I wanted to represent, it's all about police and crime and this is not what I wanted. Yes, the police are part of my city, but there's a huge identity that I wanted to show that was missing, so I reduced the police presence in the video and replaced it with a way to show my love for the city. I don't want to romanticize my city, and say there's a 'beautiful struggle' here, but it is a unique place with a unique struggle."

[fff777]

watched the wayv 5th anniversary stream

It's pajama themed!!!!!! :3

Ten called Kun gege and Kun was like this is definitely a thing I am not used to wtf

When Winwin introduced himself in English he was like "I'm uh-Winwin" and Xiaojun and Hendery in Mandarin were like "you're a Winwin???"

Ten: 你可以叫我欽欽哥哥 WayV: *o*

Kun voluntold Sicheng to introduce the stream :3

Ten wanted them all to introduce their pajamas first :P

Yangyang introducing his pants and housecoat pattern combo

Ten had a nature wildlife theme lmao

Sicheng said that Dejun's was a ocean theme and Hendery and Dejun were like "no this is a hospital patient theme" lol. Ten said that his pajamas reminded them of Dream Launch.

Sicheng said that his pajamas were Dalmation vibes and the guys were like ehhhh that's not quite it

Ten: You are my star Sicheng: ...So romantic

Dejun asked Sicheng for help on taking off his eyemask (probably so as not to disturb his hair).

Apparently Hendery's not the kind of guy to wear pajamas. Like I think he doesn't wear much when he goes to sleep based on what the guys are saying.

Kun's housecoat is very dadlike lol.

He's showing off the bear

Ten saying that Kun looks like an esteemed guest at a hotel and Sicheng saying that he looks like rich president (like of a company)

Discussing what they did in 2023

Sicheng: *Sneezes* Sicheng: Bless me (I think that's what he said lol)

They said it would be game time but they're just reading comments first

Ten said he cut his hair for the rookie mentality lol

Kun reading the comments: 劉揚揚好嫩 Yangyang: Hah

Commenting on Yangyang's haircut and Hendery chopping the mullet

This stream has no subs as of right now so I can't understand the Korean parts unfortunately

They noted that the stream was happening around dinner time/bedtime

Aw cute collage journal

Sicheng calculating the number of days in 5 years XD

He said he calculated it with astrology lmao

Hendery was like uhhh do we have to read our own entries? And Sicheng was like yeah we love seeing other people embarrassed (so you have to)

Hendery's entry was about going to the amusement park together and buying animal hats together

Yangyang explained that it was during Kick Back promos and it was on a day when they had free time

Hendery telling us to guess what this picture is of. Apparently it was the merry-go-round.

Kun finally found pictures of them on that day.

Kun pointing to the animal hats

Yangyang said that on that day, they'd agreed to dress more low key. And Hendery said that it was because all of them had dyed hair. But then they all wore animal hats which kind of defeated the purpose.

Hendery was looking to see who wrote the next entry and it was not signed by anyone but he knew it was Dejun's :3 Probably recognized the handwriting.

Dejun's was about visiting Rain Day filming. He'd taken 1.5hrs to get there and bought drinks. But because it was raining the people on set were going to get changed. So Dejun saw them for one minute. And then he went home, another 1.5hr journey XD

Sicheng's entry was about a time he had stubble and he thought he looked good and wanted to take a bubble for fans but the members said that if he did, he'd lose fans and scare people so he didn't X'D All the members denied this or claimed they forgot that such a thing happened lol.

Sicheng's picture of his facial hair that Ten said looked a lot like Sicheng XD

Yangyang explained that it was just stubble, it wasn't full-fledged facial hair. And then Hendery asked the fans to weigh in on whether they want to see Sicheng with facial hair.

Ok so it's a promise, Sicheng will have facial hair like Guan Yu/Guan Yunchang for the next comeback XD Guan Yu aka Guan Yunchang is a historical figure often depicted with a very long beard.

Kun wrote a really long entry

Apparently WayVs went to an escape room and Kun asked the fans to weigh in on who was the most courageous/cowardly in escape rooms

According to Kun, Hendery was the bravest, and Ten was the most cowardly XD

Apparently Ten just go through the escape room with his eyes closed XD

Ten also talked about escape rooms. He said that if he was scared in the escape room, then he would make animal sounds to scare away the scary things lol. But apparently the NPCs would just get confused lol.

Kun demonstrating a scared Ten

Ten would get mad in the escape room when he had to do certain things XD Sicheng's example was that if the NPC said that person #1 had to do something and Ten was person #1, he'd be like "why do I have to do it?!" and argue with the NPC lol

Yangyang talked about Christmas hotpot with the members :3 They also did Secret Santa but they had to buy impractical things. They can't share them with us though ToT

They have to write an entry for memories with the fans. They're all going to do it in different languages and Kun has to write it down.

Yangyang hoping that there'll be lots of opportunities to meet fans and that fans will come and see them.

Kun struggling to keep up with summarizing and writing while the other guys are talking

Ten voluntold to keep the journal lol

Sicheng wearing Dejun's eye mask

Polaroid decorating time

Aw Yangyang did Ten's photo with a kitty theme

Ten did Yangyang's photo

Lol Dejun decorated Hendery's. He also used the kitty sticker.

LMAO Sicheng has experience with polaroid decorating and he just slapped as many stickers as he could onto it lmfao.

Hendery calling out Sicheng for speaking with such little enthusiasm as he explained his work X'D and they made him do a take 2 XD

Hendery used stickers and washi tape for Kun's photo, and explained that the face was Weishennies doing a kissy face to Kun :P

Kun explained that he went with a simple approach to Winwin's photo :P

Game time!

Ten arguing with Kun about moving the game piece X'D

Lol choose the phrase that Ten has not spoken before X'D

Hendery trying to game the tissue blowing game

Ten's trick did NOT work lol

Ok is it just me or are they NOT moving the game pieces properly???? like 1 space should be the next space over lol

Yangyang told Sicheng to be the person that they have to blow the balloon over because he's the tallest and then he lay down like this X'D

Balloon: *Lets out air* WayV: OMG Winwin!!!!!! dId YoU fArT?????

Dejun succeed by flinging the balloon a bit as he let go X'D

Ten was unsuccessful X'D

Question: Which one is not Sicheng's hobby?

Question: Which has Yangyang and mom not said to each other?

Hendery said that Yangyang's mom definitely did not say he was ugly because she always says good things about Yangyang to Hendery

Lol Hendery was wrong lmao

Confusion over whether they should be standing up or not lol

Lol the guys really have no 默契

Interesting how when they're talking about dancing, they revert to Korean. I wonder if it's because their dance trainers speak to them in Korean.

Kun voluntold to light the cake I guess (they were speaking in Korean for much of this)

Wayv: 錕哥今天是什麽日子 Kun: 今天是我五歲的生日啊 *aegyo*

Bro like no one reacted to his joke X'D

Lol thinking about what their debut song was, but settling on a simple Happy Birthday

Wtf is this candle??? lol

Ohh it's a spinning cake. Kyungsoo had a spinning cake for his Expectation livestream, I wonder if this is the new cake trend.

Yangyang always coming in with the emotional messages :3 He was saying how it was their fifth anniversary, but they'd known each other for longer than that, and that he hopes they'll continue to grow old together :3

Kun arguing that he will NOT be fifty years old in twenty years X'D

ASMR sleepy times with mood lighting

Lol Yangyang doing his qipaoyin which I looked up is called vocal fry register XD

Dejun preemptively drying Sicheng's tears

Nuisance strikes again

Sicheng: 晚安, 我愛你 ;_; <3 <3 <3

They were not prepared for this ASMR because the background noise is so loud....

Hendery saying the end of his message in Cantonese T_T

NUISANCE JUN

Not paying attention during Kun's bit ^^;;

Extra not paying attention during Ten's bit OTL

A fan asked if Hendery's teeth still hurt lol. I think this was a reference to when he'd gotten his wisdom teeth out earlier.

Sleepy times :3

[blind-rats]

The Quiet Misogyny of “Buffy the Vampire Slayer”

When accusations that Joss Whedon, creator of Buffy the Vampire Slayer, abused his power on multiple sets, few fans of his work seemed surprised. According to actor Charisma Carpenter, who had a recurring lead role as Cordelia Chase on Buffy and starred in its spinoff series Angel, Whedon created a toxic work environment and repeatedly harassed her on set. In a statement posted across the actress’s social media accounts, Carpenter revealed that the traumatizing experience of working with Whedon caused her anxiety and a chronic physical condition that she still struggles with today.

Carpenter’s statement comes directly on the heels of WarnerMedia’s investigation into workplace misconduct allegations levied against Whedon after he was hired as a replacement director on Justice League (2017) following Zack Snyder’s departure. In July 2020, actor Ray Fisher, who played Cyborg and worked with Whedon during post production on the film and its subsequent reshoots, wrote on Twitter, “[Whedon’s] on set treatment of the cast and crew of Justice League was gross, abusive, unprofessional, and completely unacceptable.” As a show of support for Fisher, Carpenter revealed that she had participated in WarnerMedia’s investigation, stating, “Despite my fear about its impact on my future, I can no longer remain silent. This is overdue and necessary. It is time.” 

In December 2020, WarnerMedia shared that they had concluded the investigation and claimed they had taken “remedial action.” Prior to the investigation’s conclusion, Whedon voluntarily stepped down from his role as showrunner for the upcoming WarnerMedia-owned HBO series, The Nevers, due to the pandemic, so it remains unclear what so-called remedial action was actually taken against him.

The allegations against the director and former Hollywood sweetheart—or whatever the male nerd equivalent of that is—span nearly the entirety of his onscreen career. While some fans of Whedon may struggle to understand how a man whose work has been lauded for its depiction of Strong Female CharactersTM and themes of empowerment could perpetuate the abuse he outwardly condemned, other fans were less shocked. 

In addition to accusations by Whedon’s ex-wife Kai Cole, who wrote a scathing essay for the Wrap in 2017 about her ex-husband’s faux feminism and predatory affairs, rumors have swirled for years about Carpenter’s untimely departure from Angel. However, feminists who are familiar with Whedon’s shows, including Buffy, Firefly, and Dollhouse, as well as his first two Avengers films, have long-since recognized the quiet (and not-so-quiet) misogyny directly embedded within his filmography. 

To understand Whedon’s nerdy repackaging of entitlement toward women and their bodies, one must look no further than the subtext of Buffy the Vampire Slayer, the series that initially launched him to success.

During Buffy’s seven-season run from 1997 to 2003, and even still today, comedic sidekick Xander Harris (Nicholas Brendon) became a frequent target of feminist ire. There are countless think pieces, forums, blog posts, and Reddit threads dedicated to fans’ burning hatred of the character, and the show’s insistence on framing him as morally correct when he’s quite clearly in the wrong. From the very first episode, Xander is positioned as the “nice guy” of the friend group—the wisecracking, lovable nerd who reads X-Men comics and doesn’t get a second glance from most women. 

As the everyman, Xander caters to an audience of men and boys who might relate to his average looks, inability to entice women, and his literal powerlessness up against the superpowered women he fights alongside. His friends and allies have varying degrees of usefulness in the fight to protect Sunnydale, which sits on a demon hellmouth: Buffy Summers (Sarah Michelle Gellar), Xander’s best friend and unrequited love interest, is imbued with vampire slaying abilities, and Willow Rosenberg (Alyson Hannigan), his other best friend and briefly-requited love interest, has ’90s-esque computer hacking skills and eventually becomes a powerful witch. Additionally, at any given time, he is surrounded by allies that range from friendly vampires and ex-demons to superstrong government soldiers and werewolves.

In any room he’s in, Xander is never the strongest, smartest, bravest, best looking, or even the most charming—he is utterly average in every way. In an early Season 1 episode, Xander sums up his character archetype perfectly when he says, “I laugh in the face of danger. Then I hide until it goes away.” Despite Xander’s mediocrity and inherent powerlessness in comparison to the women he surrounds himself with, one of his key character traits is his sexual entitlement. He regularly makes references to his perpetual horniness and sexualizes almost every beautiful woman he encounters. 

When he first meets Buffy, he immediately develops a crush on her, and despite her repeated rejections over the course of several seasons, he continues to wait for an opportunity to be with her. Xander pining over his best friend might not necessarily make him bad, but it’s concerning that he also harbors resentment toward every guy Buffy dates or shows interest in, occasionally even lashing out at her for daring to choose other men over him.

Worse, he views himself as a “nice guy” who is entitled to sexual and romantic relationships with the beautiful women he fawns over. Except Xander isn’t really a nice guy at all—his entire self-identification as a nice guy isn’t actually supported by his interpersonal relationships or behavior, and in fact, is often directly contradicted by them. 

Interestingly, Xander doesn’t simply act as a stand-in for sexually frustrated nerd boys in the audience who want to fuck women like Buffy; he is also, quite literally, Whedon’s self-insert character. Fans of the show had initially speculated about this, and Whedon confirmed it when he was interviewed by NPR in 2000, stating, “Xander is obviously based on me.” This was also reconfirmed during a panel at the 2011 Emerald City Comic Con when actor James Marsters, who played the vampire Spike, said, “[Xander] is Joss. That’s the way he sees himself.” As Buffy fans gain a clearer picture of Whedon’s behavior behind the scenes, it’s ironic that a man with a track record of abusing his power over women and people of color on set would align himself with a character whose primary character trait is powerlessness. 

Why does a director and showrunner who weaponizes his power over his cast members to control them—and in the case of Charisma Carpenter, attempt to literally control her body and reproductive choices by pressuring her to get an abortion—get to hide behind a fictional facade of helplessness? Because he likes comics and wasn’t popular with girls in high school? Perhaps the most unlikely indictment of Whedon comes from the series itself, in a Season 6 arc that flips the concept of the harmless nerdy misogynist on its head. In the sixth season of Buffy—which notably featured the least involvement from Whedon, as he stepped down to an executive producing role to focus on other projects—a new group of villains called the Trio is introduced. The Trio features three socially inept, Star Wars-loving and comic book-obsessed boys who attempt to neutralize Buffy and take over Sunnydale. The group of seemingly harmless nerds evolves into a major threat over the course of the season.

After creating a mindless sex robot and being dumped by his girlfriend Katrina (Amelinda Embry), Warren Mears (Adam Busch), the leader and most malicious member of the group, creates a device to render his ex-girlfriend into a state of submission so he can force her to be his sex slave. However, before he is able to rape her, the device malfunctions, and when she tries to escape, Warren hits her over the head with a champagne bottle and kills her. Later in the season, Warren also fatally shoots Tara, a fan favorite and one of the few queer women characters in the series. 

Despite their inability to adhere to a traditionally idealized version of smooth-talking and muscled masculinity, the Trio’s proximity to nerd culture does not exempt them from causing harm. In fact, their self-identification as geeky underdogs is what provides them cover and their desire to acquire social power is what fuels their violence.

In an oft-cited acceptance speech for the “Men on the Front Lines” award presented by Equality Now, Whedon recalled a common question he received from reporters: “So, why do you write these strong female characters?” In response, he said, “Because you’re still asking me that question.” 

Though the response offers an empowering sentiment and makes for a highly quotable soundbite, he betrays his real motivations for writing fictional women within the same speech. He says, “When I created Buffy, I wanted to create a female icon, but I also wanted to be very careful to surround her with men who not only had no problem with the idea of a female leader, but, were in fact, engaged and even attracted to the idea.” He then went on to “jokingly” say that he writes characters like Buffy “‘cause they’re hot.” 

Whedon’s acceptance speech unwittingly reveals the contradictions, and similarities, within both his work and interpersonal relationships. Though he may have spent decades fooling Hollywood and his fanbase with his performative brand of feminist allyship, Whedon’s public persona was always a ruse to disguise the fact that he never actually respected strong women. He simply wanted to fuck them.

[theonlinemuse]

Welcome to our first bonus blog, the new post segment where we’ll be covering all the miscellaneous things about insert-media-here that didn’t make it into the episode! This week we’re sharing observations and fun facts about the 2021 release of The Green Knight starring Dev Patel as told by IER’s very own Shamila Karunakaran, who unfortunately had to bow out of recording due to losing her voice. 

This post touches on themes of racism and sexual harassment. And as always, beware of spoilers:

People in this movie really love to cradle Gawain’s face (it's understandable though, Dev Patel and his magnificent beard are extremely pretty here) and the lord and the lady are clearly trying to recruit him as their third.

Bi!Gawain is hardly a concept exclusive to the movie either. In the original story, he kisses both the lady and the lord eagerly without being prompted. He even kisses the lord three times! It’s not like in the film where Gawain is being harassed by the lady and the lord on separate occasions and is clearly frightened by their intimidation. It’s hardly necessary when there’s so much enthusiastic consent in the source material itself. 

Dev Patel continues to be adorable with animals as seen with Armani the horse. He’d never ridden a horse before so not only did Dev feed his animal co-star dandelions in between takes, he also tried to gain Armani’s favour by sneaking him apples he had pilfered from the hotel lobby. Petition for Dev to play a Disney prince in 2024! 

Gawain’s encounter with Erin Kellyman’s character is itself a retelling within a retelling! It’s only mentioned briefly in one line of Sir Gawain and the Green Knight, but St. Winifred was an seventh-century Welsh martyr who had wanted to become a nun. According to legend, a travelling prince became enamoured with her beauty and tried to force himself on her after she rejected him and when she fled to her uncle’s church, the prince decapitated her after the ensuing chase. A healing spring appeared where her head fell and she was brought back to life when her uncle returned her head to her body, but she would have a red mark around her neck where it had been sliced through for the rest of her life. 

Some of the details have been changed in the film with the suitor now being a lord who returned to kill her after she rejected his advances, but unsurprisingly, Winifred herself is the patron saint against unwanted advances. When you take into consideration that Winifred is played by a white and Jamaican actress and how her bodily autonomy has been violated by a white man for rejecting what he wanted from her, it’s understandable that Winifred gets upset and outright questions why Gawain would ever ask what she would give him in return for her head. 

She likely thought that she found an ally in a non-white Gawain, but even if he was going through the chivalry script, there’s still an expectation and entitlement to get something in return. Gawain still has a certain privilege over Winifred simply through being non-Black. 

I do love that they took this not even a footnote of a character from the original story and fleshed out a scene for her and I do love that Erin Kellyman got to play a traditionally white character. That being said, she shouldn’t have been the only Black character in the film and don’t try to argue for historical accuracy, more Black British actresses in period pieces, period! 

Fun fact: the places in Wales where St. Winifred was decapitated is traditionally considered to be a place Gawain passed through on his way to the Green Chapel. The original story references Gawain traveling past a place called "Holy Hede", which modern scholars generally agree is the Welsh town of Holywell, the site of St. Winifred’s Well. 

Very irrelevant detail, but the way that Sarita Choudhury is dressed in The Green Knight reminds me of Sophie Okonedo's wardrobe as Margaret of Anjou in The Hollow Crown. It’s an interesting throughline considering Sarita and Sophie both play complicated older female characters who were originally white in their respective old British source materials and have lost their sons by the end of their respective stories, depending on the interpretation you go with for the former. 

If I had a nickel... well, I’d have three since Gawain goes on to lose his own son in the vision of the bad future he has.

But let’s get further into Sarita’s casting or more specifically, who she plays in the movie. And to the trolls in the comments, Sarita is half white and her character is canonically Arthur's half-sister, both in the film and the source material, it's perfectly plausible for Sarita and Sean Harris to play siblings. 

While Sarita’s character is simply called Mother in the credits, she’s a composite of both Morgause and Morgan le Fay, both half-sisters of Arthur in legend. Morgause is mother to Gawain and his more infamous half-brother Mordred (Sacha Dhawan for the role anyone?) while Morgan le Fay is the sorceress orchestrating the events of Sir Gawain and the Green Knight.

And Gawain himself is also a composite with Mordred, especially the part where he is Arthur’s delfacto heir and is despised by his subjects. 

As David Lowery states, the relationship between Morgan le Fay and Gawain written for the film evokes Lowery's own experiences with his mother and needing to be pushed to stand on his own as an adult. Having mother and son both be brown in the film adds another layer to an already complicated relationship and reminds me WAY too much of what it was like growing up with a brown mother myself. 

When you think more on it, Gawain and Morgan being brown gives further insight into their motivations. It’s telling that even with all his flaws, Gawain as a brown man would still see himself as unfit to be heir to his legendary white uncle. He himself even says that “I have [no tales of myself] to tell”, which works on a metatextual level since there are very few popular portrayals of Arthurian Knights who look anything like Dev Patel.

With Morgan’s case, you could argue that her being brown would be another sign of her being “othered” in Camelot. Even though her half-brother is king, it’s already canon that he hasn’t been very involved in Morgan and Gawain’s lives and if he didn’t give them support, who else would? Especially since it’s already established that even the tavern patrons have no respect for Morgan, freely insulting her to Gawain’s face.

With that context in mind, it makes sense that Morgan would be more proactive in being a shaper of destiny for both herself and her son, even if that means bringing down the fall of a society she had no place in. 

And consider this: given who his mother is, the vision that Gawain has about the bad future near the end of the film: was it really the product of his imagination or did he inherit some form of magic from Morgan le Fay after all? You could argue that the Green Knight is responsible for causing the vision, but when you realize the extent of Morgan’s role in summoning him in the source material...

Finally, what sort of story would you come up with for the little girl playing with Arthur’s crown in the stinger? What would be her role in a potential sequel? Is she Gawain’s foil or would she be more like him than she’d like to admit? What sort of relationship does she have with Morgan le Fay? Is she the future heir of Camelot or does she spell trouble by inheriting her grandmother's magic? Or porque no los dos? If this is something you’d be interested in exploring, dear listeners, we bequeath this prompt to you.

[luislosing]

I have a theory

about Kwazii's backstory.

This one is a bit of a stretch so buckle up kiddos.

SO: who is our favourite orange, boot wearing, adventure loving cat?

You thinking what im thinking?

[Edit:] I found these photos after i posted this but i think it's pretty important] He has a sword. This is from the Sword fish creature report.

Backstory about Puss in Boots: (from wikipedia) "Puss in Boots" (Italian: Il gatto con gli stivali) is an Italian fairy tale, later spread throughout the rest of Europe, about an anthropomorphic cat who uses trickery and deceit to gain power, wealth, and the hand of a princess in marriage for his penniless and low-born master.

The first written account of this tale is from 1550 by Italian author Giovanni Francesco Straparola, who included it in his The Facetious Nights of Straparola. Other texts were published in 1634 and 1697.

If you look at these dates carefully, you may see that they line up pretty well with the Golden Age of Piracy:

Coincidence? I don't think it's a coincidence that a story about a sword wielding, thieving cat would be very similar to the acts of real-life pirates.

Puss in Boots originated in Italy, although it has been translated, adapted changed to fit themes in Asia, Africa and South America.

Here is a little trivia about Kwazii:

It's hinted that he is from somewhere in East or Southeast Asia, although it's largely been irrelevant to the franchise.

In the Philippines version of Puss in Boots; - ...the helpful animal is a monkey "in all Philippine variants", according to Damiana Eugenio -(Wikipedia)

A monkey? Did you mean:

Paani?

Who is from India.

And India is in Asia. Specifically South Asia. Next to Southeast Asia.

Hmmmmmm. Still a coincidence? I still have more evidence.

(From Wikipedia) - It was also adapted by Toei as anime feature film in 1969, It followed by two sequels. Hayao Miyazaki made manga series as a promotional tie-in for the film. The title character, Pero, named after Perrault, has since then become the mascot of Toei Animation, with his face appearing in the studio's logo.

Hmm, an orange cat, from Japan, based off the story of Puss in Boots? Where have I heard that before?

Kwazii...

Another thing. Why I mention Paani is becouse he is very similar to Kwazii. They both have a 'mysterious' past that we dont know much about. (An excerpt from the Octonauts Wiki) - In general, he shares a lot of qualities with Kwazii. Physically, he has a similar pale, light grayish gamboge palette and a long tail. Personality-wise, he seems just as if not more daring, along with being impulsive and rather acrobatic. He even gets stopped by Captain Barnacles before he does something without thinking and runs off before the other characters can catch up with him in a way that intentionally mirrors Kwazii doing the same thing. They also have a shared love for cooking, eating snacks (such as pudding), and telling stories.

You know who else is an orange adventure loving cat?

Calico Jack, who is the oldest Octo-agent, Kwazii's grandad, and a pirate. Who wears a funny black hat and boots? (Technically one boot and a peg leg) Who wears a belt and (i think) has a sword?

(Excerpt from the Shrek Wiki) - he [Puss in Boots] is a smooth-talking cat with a Spanish accent, usually wearing a cavalier's hat, a belt with a sword, a small black cape, and small Corinthian boots.

[Edit:] Although the Puss in Boots movie solely starring Puss was released in 2011, that specific adaptation of Puss in Boots first appeared in the 2004 Shrek Movie.

You know what else appeared in 2004 and was released in book form in 2006?

THE OCTONAUTS

Which Brings Me to My Final Conclusion:

I think Kwazii is somehow related to the story of Puss in Boots, whether it be himself, Paani, or Calico Jack.

We dont know enought about Kwazii's past to determine his backstory, or what happened to his parents, (as they are never mentioned). However, i think this might be a decent speculation into Kwazii's Mysterious Pirate past.

And one more thing:

Dont think i forgot that kwazii is based off Meomi's one eyed cat. (From the wiki) - 'Kwazii was based off of Meomi's late one-eyed cat, Eco.' Im gonna make that fit this theory somehow.

Again, this is just a theory, probably isn't true but i love to speculate. Lemme know if you want to see more Octonauts theories.

Sorry for the long post lol <3

[david-talks-sw]

Quick heads-up. This quote?

"The Dark Side is always there, it is experienced daily by people. It's like a huge cancer, alive, festering - both a reminder of the moral state and, at the same time symptom and symbol of a very sick society."

It's not from George Lucas.

The person who originally posted it online attributed the source to Lucas' interview with Bill Moyers in "The Power of Myth". But it isn't mentioned in that.

John C. McDowell used the quote in an essay of his that was published on The Third Way in 2007, and his reference was his own book "The Gospel According to ‘Star Wars’: Faith, Hope and the Force". If you look at that one, he references something called "Power of the Force" from 2001.

No such interview or publication had come out under that name, that year. There was a book called "The Power of the Force: Spirituality of the Star Wars Films" published in 2000, written by David Wilkinson. So maybe McDowell was referencing that? But I don't have the book and can't find a digital copy online.

That said, if you look up parts of the quote you find a similar quote in "The Films of Akira Kurosawa" by Donald Ritchie, the earliest edition of which dates back to 1965, in the description of the Kurosawa movie "Drunken Angel".

So yeah, no. Probably not from Lucas. I'm 99% sure.

HOWEVER

Lucas did compare the Sith's relationship and their (and the other SW villains') selfish ways to a cancer.

At the end of the day, Star Wars remains about selfishness vs selflessness, a theme partially illustrated by:

the symbiotic relationships between Jedi Masters and Padawans, who help each other grow, inspired by Buddhist monks...

contrasted with

the "cancerous" relationship between Sith Lord and Apprentice, who keep using each other until one finally kills the other.

[accio-victuuri]

from this article by 1905.com which is a platform under CCTV6 “Infinite Possibilities Not Defined——Impression of Crossover Actor Wang Yibo”

This kind of persistence in love and the core of success through hard work are exactly the themes that the film wants to express, and the character of Chen Shuo fully expresses Wang Yibo's unique spiritual core. Rather than saying that Wang Yibo played Chen Shuo in his true colors, it is better to say that Chen Shuo reflected a certain side of Wang Yibo.

Recently, the movie "One and Only" starring Wang Yibo entered the 700 million club at the box office in just 10 days. Viewers in Tao Piao Piao and Maoyan rated it with an average score of 9.7. The difficult street dance moves he completed in the movie were praised by professional dancers again and again. "Wang Yibo's enthusiastic one-elbow throw is done by himself" became a hot search on the Internet, and the street dance movement suddenly became popular.

"Dancing in any corner of the world is not bad"

"One and Only" is the theme movie of the 19th Asian Games in Hangzhou in 2022. It is exclusively planned by the Hangzhou Asian Games Organizing Committee. It uses the new competition event break dance as the carrier. A story that shines on the stage. Director Dapeng said in many interviews that choosing Wang Yibo to play Chen Shuo was the unanimous recommendation of the hip-hop industry.

It was recommended because of Wang Yibo's professionalism in hip-hop and his influence. In the "This Is Street Dance" series of variety shows, his infectious and aesthetic dancing attracted countless audiences and aroused a wave of hip-hop dance among the people. His influence was noticed by the Chinese Dancers Association and awarded him "Ambassador of China's Top Dancers Promotion" ", it can be said that he is expected to play Chen Shuo.

Dapeng said that the screenwriter wrote Chen Shuo according to Wang Yibo, first there was Wang Yibo, and then there was "One and Only". So we can see the shadow of Wang Yibo in Chen Shuo.

Wang Yibo started learning to dance because of his love in the sixth grade of elementary school, and this hobby has continued to this day. On August 3, he said during the Yueyang road show of the "One and Only" crew: "Dancing is my passion, and acting is also my passion. I don't feel tired doing two things I like at the same time."

In order to meet the needs of the plot, he did the dance that he gave up because of injuries when he was a child; for a dance move in the movie, he practiced repeatedly until his leg was injured; in order to achieve the best shooting effect, he repeated every time the filming is complete and danced it completely. He is making progress, and Chen Shuo is also making progress. Finally, in the final scene, Wang Yibo performed all types of hip-hop dance, which made hip-hop lovers feast.

Wang Yibo once said in an interview: "Dancing in any corner of the world is not bad." So we saw in "One and Only" that Chen Shuo danced in subway cars, shopping malls, restaurants, homes, vegetable farms, etc., dancing all the time. We arrived at the final scene of the National Hip-Hop Competition. This kind of persistence in love and the core of success through hard work are exactly the themes that the film wants to express, and the character of Chen Shuo fully expresses Wang Yibo's unique spiritual core. Rather than saying that Wang Yibo played Chen Shuo in his true colors, it is better to say that Chen Shuo reflected a certain side of Wang Yibo.

Huang Bo, who plays Chen Shuo's coach, said that his first impression of Wang Yibo was "handsome and hardworking". Screenwriter Su Biao even admitted that Wang Yibo gave him a lot of creative inspiration. It took Wang Yibo ten years to step by step to shine in front of the public. His own famous experience is an "exclamation mark" worthy of admiration.

“Just stay indifferent"

At the "Moon Rise in the Bay Area" gala jointly held by Hong Kong and mainland China, Wang Yibo sang the theme song of the same name of the movie "Hidden Blade" he starred in. Because he sang so well, some people questioned him for fake singing, and rumors spread. Later, some professionals pointed out that the song itself had overlapping choruses, and Wang Yibo's live singing was perfectly connected with the accompaniment chorus he had recorded in advance. Some people compared the live singing with his original MV, and found that a sound on the scene has been changed. This anti-rumor treatment is the same as he did in a concert in 2019. The rumors are self-defeating.

When questioned about lip-syncing, Wang Yibo himself did not come out to defend himself. Wang Yibo majored in music at Hanlin Art High School in South Korea. When he debuted in 2014, he was the team's rapper and dancer. He won the Best Newcomer of the Year Award at the Cool Music Asia Festival and the Annual Music Award at the Screaming iQiyi Night Awards Ceremony, which shows his singing skills and level. You can tell from watching his stage that he can breathe steadily while dancing and singing, not to mention singing while walking that night.

He has always chosen to respond to his doubts with his works. At the end of 2019, Wang Yibo released his third single "Wugan", which is his first attempt at lyrics creation. "Don't be a puppet that allows others to manipulate your emotions" "No feeling is the best way to fight back" "When the sun goes down and the lights are turned on at night, you can see that the world is not bad" "The road to adversity sees the future and stands up after falling Get up" "Finding the way, Follow the light that you see, be free". Every line of the lyrics expresses his attitude.

In 2021, he released a new song "Twenty". The lyrics read: "I want to re-ignite the fire, only ashes are left in front of my eyes again and again, I am looking for an exit with wounds all over my body, I have tightened the invisible rope again and again, my hands are empty and I have no strength to break free, the wind is so vast above three feet, but there are already bursts of waves in all directions." "stand up thousands of times, stand up to the skyline, stand up to the end, stand up to the infinite future". The song "Twenty" tells the story of pursuing the front again and again without fear of difficulties and finally finding the strength to stand up, as if it is a portrayal of his struggle against fate.

In 2023, at the concert in Macau, he used the song "Twenty" as the background music, and performed a dance called "Exclamation Point" with the original crew of the "E-Mark" dance troupe in the movie "One and Only". The same song, but with music without lyrics and a different dance, adding a new connotation. This brand-new way of expression makes people marvel at his stage again, and also makes people re-examine the song "Twenty" and re-examine the ups and downs Wang Yibo has experienced for so many years.

Recalling this song, he seems to be telling people: Not feeling is the biggest response to doubts, you can't beat me, I will go forward bravely and shine with my works.

"Stay true to yourself, don't please others"

Wang Yibo in 2023, in addition to the release of the three box-office and word-of-mouth films "Hidden Blade", "The King of the Sky" and "One and Only", there are still many occasions where he will be exposed to the public. Whether it is at the airport, on the red carpet, on the stage, watching a show, or in brand activities, his clothing and makeup often become hot topics that the public likes to talk about. Some people say that he is a "walking clothes rack", and some people say that he is a "fashion vane of internal entertainment".

Clothing and beauty brands are very partial to Wang Yibo. Chanel awarded him as a brand image ambassador, and filmed the movie "My Friend" for him to participate in world-class film festivals; Moncler praised him as "Moncler's most handsome spokesperson"; EVISU customized a special car for him; Special guest of the Shu Uemura Beauty Makeup Contest, signed on the same stage with world-class design masters; Pechoin is the exclusive title sponsor of the TV series he starred in; Anta specially designed his favorite color - green shoes and clothing for him...

Why do they love him so much? It may be because of his appearance, or his talent, but more likely because his image and core match the brand's values.

In May of this year, when Wang Yibo attended the Chanel show in Los Angeles, the United States, he talked about the biggest commonality between him and Chanel in an interview. He said bluntly: "Be loyal to yourself and don't please others." Reminiscent of his saying in an interview many years ago: "If you don't like me, just like others", it is similar.

So what is the self he insists on? To use the lines in the movie "One and Ou", it is "you will succeed if you keep working hard", and "if you have no distracting thoughts, you will have everything".

Wang Yibo's talent and intrinsic value are being recognized more and more. In addition to being the "China Top Dancer Promotion Ambassador", he is also officially awarded the "China Skateboard Application Promotion Ambassador" and "China Ice and Snow Sports Promotion Ambassador", etc. Departments and organizations such as public security, transportation, fire protection, tourism, and public welfare have also invited him. Spoke for anti-drug, civilized transportation, fire safety, etc.

He is like a treasure, opening infinite possibilities with a multifaceted life that cannot be defined.

[popentertainment-moviereviews]

MONKEY MAN (2024)

Starring Dev Patel, Sharlto Copley, Pitobash, Sobhita Dhulipala, Sikandar Kher, Vipin Sharma, Ashwini Kalsekar, Adithi Kalkunte, Makarand Deshpande, Jatin Malik and Zakir Hussain.

Screenplay by Dev Patel and Paul Angunawela and John Collee.

Directed by Dev Patel.

Distributed by Universal Pictures. 121 minutes. Rated R.

Indian actor Dev Patel has put together an interesting career over the past fifteen years or so. He’s starred in such diverse and mostly acclaimed projects as Slumdog Millionaire (I kind of hated that way-overrated Best Picture winning film, but he was very good in it), Lion, The Best Exotic Marigold Hotel and even as part of the ensemble in the Aaron Sorkin HBO series The Newsroom (my personal favorite of his roles).

However, despite working fairly regularly over the years – mostly in starring roles – he has never really had a big break-out role that exploded him into the A-list of movie celebrities.

Therefore, he has decided to take matters into his own hands. In the new action thriller Monkey Man, Patel is not only the star, but he also co-wrote and directed the film. And despite the sort of ridiculous title and the fact that Monkey Man is very, very violent (sometimes stupidly violent), it is a pretty impressive calling card for the actor and now budding filmmaker – a stylish and often thrilling piece of genre filmmaking with a distinctive Indian flair.

In fact, to a certain extent, Monkey Man shares a decent amount of the plot points and themes with Patel’s Slumdog breakthrough – young Indian boy struggling to survive after the violent killing of his mother, growing into a young man who is consistently underestimated and beaten down, delving in the gray areas of organized crime and police corruption, and showing the slums of India to be something of a hell on Earth. Also like Slumdog Millionaire, we are thrown in well into the story and then many of the details are filled in through flashbacks.

Patel’s character here (he is never named, merely referred to as the Kid) grew up on the streets after his mother’s death, and in his early thirties he is part of an inhumane fight club. He is cast as the villain fighter, wearing an ape mask and called Monkey Man, and he is basically paid (rather poorly) to lose. His main skill as a fighter in this brutal circuit is that he bleeds profusely, which helps to inflame the bloodlust of the audience.

The Monkey Man character was not just random, though, nor was it simply because he had an ape mask. (Technically, an ape isn’t a monkey, but we won’t even get into that.) As a child, the kid’s mother enthralled the young boy with stories of the Hindu deity Hanuman.

According to Wikipedia, Hanuman “epitomizes the fusion of ‘strength, heroic initiative, and assertive excellence’ with ‘loving, emotional devotion’ to his lord Rama, embodying both Shakti and Bhakti. Subsequent literature has occasionally depicted him as the patron deity of martial arts, meditation, and scholarly pursuits. He is revered as an exemplar of self-control, faith, and commitment to a cause, transcending his outward Vanara appearance.”

Therefore the Kid is not only in thrall of Hanuman, in his Monkey Man character he is trying to be him. However, the fighting is just a means to an end for the Kid. He uses the money he makes to infiltrate the local organized crime in order to avenge himself on people who may have wronged him in the past.  

He begins a long, violent trail through the Indian underworld, law enforcement and politics. When badly injured during an early attempt at vengeance, he is brought into a local temple, where he is taught to win at fighting and hone his strengths and the strength of Hanuman. This leads to a long, bloody, hectic sequence where he not only tries to avenge himself but may also significantly change Indian political power.

The fighting scenes of Monkey Man are both exciting and a little bit ridiculous – there is no way this guy can take on so many people and be injured as significantly as he is and still keep going. However, action films long ago stopped making logical sense, and at least Patel is willing to acknowledge that the Kid is getting badly injured each time he goes out there, often having to take weeks or months to recover.

Honestly, I can’t imagine that I will ever be moved to see Monkey Man again, but I’m glad that I got to experience it.

Jay S. Jacobs

Copyright ©2024 PopEntertainment.com. All rights reserved. Posted: April 5, 2024.

[silverscreenprincess]

Of Fallen Girls and Immaculate Hands

‘Once I painted a girl as I thought she was … Now I’m going to paint women as they really are! I shall find a girl with the face of an angel … And a soul as black as hell’.

The 1920s of director Frank Borzage undoubtedly succeed, at every try, in subverting our starry image of the era. Precisely, Borzage upends public perception through three key elements: moon-soaked mise-en-scène, Charles Farrell and the glowing miss Janet Gaynor. In the director’s three films starring America’s favourite lovebirds, the familiar echoes of glistening pearls or silver flapper shoes are absent – instead, Borzage shines the white-hot spotlights onto the marginalised, the destitute and the martyrs. It is through this careful scene-setting that his classic melodramas become the stage for a wrestling of dichotomies such as that between poverty and richness, or despair and pure bliss. In his 1928 feature-film Street Angel, however, a new element seems to be expanded upon: the contradicting nature of women – according to men – or what we understand as the madonna-whore complex. Borzage lingers on this theme, panning camera shots across various women’s faces, or across the face of the man who looks at them, never saying much of his own. If we look close enough at these unwavering eyes, black and white and grainy, maybe we might reach something deeper. Maybe the silent picture will tell us something tangible – or maybe that isn’t the point.

I was immediately drawn to Street Angel in August of last year, after I had watched the ‘gifted trio’’s other two collaborations, 7th Heaven (1927) and Lucky Star (1929) in rapid succession. I was soon enthralled by the leading couple’s heart-breaking chemistry, and Borzage’s depiction of the impoverished neighbourhoods of Naples. My intrigue was piqued when I recognised Janet Gaynor’s character in Street Angel, Angela, as not only an re-imagining of her angelic (the subtlety in old films is just wondrous, sometimes) self in Lucky Star and 7th Heaven, but as an extension, perhaps even a continuation, of her destitute and prostituted character in the latter film. Indeed, Gaynor returned to the silver screen as an impoverished woman with prostitution as her only means to make it – although this time, the man she loves, Gino (played by Charles Farrell), knows it. The result was complex, a delicate amalgamation which verged at times on the horrid and at others on the delightful. 

It is necessary, to comprehend the complexity of this film, to shine the spotlight on Gino in much the same way Borzage did. Indeed, Gino does not understand women. The poor man winds up so charmed by Angela’s strikingly innocent charms, that he sells his painting of her to be turned into worship portraits of the Virgin Mary. However, once he finds out that Angela was arrested for soliciting, his love for a woman turns into contempt for all. After his declaration of anger against the opposite sex, the viewer understands that the end is near – the two must find one another again, the only obstacles to their happiness being Angela’s desperation and Gino’s fiery rage. The setting becomes clear once more.

Naples, a river of smoke pearling through the air; Gino is walking away from the wharves of the city, ridden with anger at the women who frequent it; Angela, walking towards it, for she is hungry, and needs to eat. The collision is near fatal. After chasing Angela into the nearest church and wrapping his furious hands around her neck, he gazes up towards the painting of his former love, clothed in the grace of the Holy Virgin – a creation of his own strong and heavy hands. Gazing down again, and into Angela’s eyes, he realises his mistake and begs her for forgiveness. The pure woman, rendered untouchable by her sin, is once again holy, cherished and beloved. 

It is unclear whether the film agrees with Gino in his feelings towards Angela. Is she pure because she had never touched a man before him, despite having attempted to solicit for money? Or are prostitutes capable of being pure, and good? The title, Street ~ Angel, tells the viewer everything and nothing at once.

On a cold night in February, I think of this film once more. I think of the fog that looks like mist in teary eyes, and the devotion of two lovers, and the sweetness of its horror. As always, it leaves me with many questions, unanswered – for they are all too long. Is Street Angel a feminist tale – what is divine about a fallen woman – is it good, is it really good? Street Angel will leave you wondering for a horrifically long time. You will only know it is brilliant, and that will be that.

[noanunoparty]

18/01/23 ~ NTS Radio ~ Ryuichi Sakamoto Special

For the past 2 months I've listened to every album, soundtrack, composition, live recording that Ryuichi Sakamoto has made. There have been a lot of tears. A lot of reflection on life, on mortality, on social harmony and the environment. A loooot of emotions have been felt.

All of this research has solidified my respect for Sakamoto as an artist. A true pioneer. A maestro. Condensing his career into 2 hours has been difficult, but I hope you enjoy the show and my notes.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ryuichi Sakamoto has released over 20 solo studio albums, 10+ live albums, several compilation albums, over 40 EPs and singles, and about 48 soundtracks.

1978 - Thousand Knives - Plastic Bamboo

Sakamoto’s first solo album, created with the help of Hideki Matsutake who was known as the 4th member of YMO. The album fused electronic music with traditional Japanese sounds whilst incorporating elements of modern classical and reggae. 

On the album cover, from Taeko Onuki “I was told that the jacket he’s wearing was an Armani and chosen by Yukihiro. I had only known Sakamoto in jeans and rubber sandals and he said to me, “What do you think?!

2. 1980 - B-2 Unit - Riot in Lagos 

Sakamoto’s “edgiest” album. B-2 Unit birthed Riot In Lagos which is said to be an early example of electro. Several electro and hip hop artists were influenced by the album, especially Riot In Lagos. 

“Differencia" has, according to Fact, "relentless tumbling beats and a stabbing bass synth that foreshadows jungle by nearly a decade". Some tracks on the album also foreshadow genres such as IDM, broken beat, and industrial techno. For several tracks on the album, Sakamoto worked with Dennis Bovell, incorporating elements of afrobeat and dub. 

Another recommended track: E-3A

3. 1981 - Left-Handed Dream / Hidari Ude No Yume - Kacha Kucha Nee

Sakamoto wanted to record an album rooted in pop and created Left-Handed Dream (or Hidari Ude No Yume), which displays a variety of global influences through the instruments used - marimba, didgeridu, traditional Japanese instruments such as the sho and hichiriki flutes. The album showcased Sakamoto’s ability to seamlessly combine Eastern and Western sounds, strengthened through collaborating with Talking Heads guitarist Adrian Belew & co-producing with Robin Scott. 

Venezia would then become the Left Bank! 

4. 1982 - Bamboo Houses 

Sakamoto continues his long-standing collaboration with David Sylvian of Japan, Sylvian’s first solo project outside of the band. Featuring Steve Jansen on drums. 

5. 1983 - Merry Christmas Mr Lawrence Soundtrack - Forbidden Colours

Sakamoto’s first film score, for Merry Christmas Mr Lawrence which he also starred in alongside David Bowie. David Sylvian contributed lyrics and vocals on Forbidden Colours, which became a hit and a vocal version of the main theme, Merry Christmas Mr. Lawrence. The soundtrack won a BAFTA Award for Best Film Music in 1984. 

Another recommended track: Germination

6. 1984 - Ongaku Zukan - Etude

Ongaku Zukan was an experimental album with no deadline - created around Sakamoto’s incredibly busy schedule in 1983, which saw Yellow Magic Orchestra pause their group activities after an intense 8 years of recording and touring. Features from Hosono, Takahashi, Minako Yoshida and Tatsuro Yamashita. 

Sakamoto recalls he got started on the album without having a clear direction for its content: "Making an album without a blueprint...... it's an adventure to see what happens like when you embark on a sea voyage without a compass or chart. If you follow a blueprint, you will be able to record efficiently and in a short period, but I removed all of that and made it that way."

Sakamoto likens this production method to "automatic writing", which is known as one of the methods of surrealism:

"I went into the studio and recorded what came out without any prejudice...... I made it as if in a kind of trance. It could be something classical, it could be pop. Regardless of style and unity, the major premise was to accept everything that was made, so we created a lot of songs."

7. 1985 - Esperanto - A Rain Song 

Sakamoto’s 6th solo album, orginally composed for a performance by New York choreographer Molissa Fenley. An experiment with new sampler technology - apparently Sakamoto needed a huge computer to make this score. 

Another recommended track: A Wongga Dance Song

8. 1986 - Futurista - GT

Futurista (未来派野郎, translates literally as "Futurist Bastard") was created as a response to the Futurist Movement - an artistic and social movement originated in Italy. Mid 80-s avant-garde synthpop perfection! 

Sakamoto samples a lot throughout this album - G.T. samples “Legs” by Art of Noise. 

9. 1986 - Illustrated Musical Encyclopedia - Field Work (ft. Thomas Dolby)

The reissued English titled version of Ongaku Zukan, intended for the international market. It combines about half of the tracks from the 1984 album with newer singles "Steppin' Into Asia" and "Field Work” ft. Thomas Dolby.

10. 1987 - Neo Geo - Risky ft. Iggy Pop

The term "neo geo", or "new world", is derived from Sakamoto himself as a way to describe worldwide musical diversity in regard to genre (similar to world music and world beat). Again, showcasing Sakamoto’s ability to combine Eastern and Western musical styles. 

Bootsy Collins on bass! 

11. 1987 - The Last Emperor Soundtrack - First Coronation 

The soundtrack features 9 pieces composed by Sakamoto, 5 by David Byrne & 1 from Cong Su. The album won Best Original Score at the 1988 Academy Awards.

12. 1989 - Beauty - You Do Me

8th solo studio album, which sees his solo career begin to extend outside of Japan. Beauty is notable for its "collage of styles" that range from rock, techno, and classical to flamenco, African, and Japanese traditional, featuring a long list of collaborators.  

In discussing whether music is narrative and illustrative or an abstract medium, Sakamoto said, "I have visions sometimes when I'm writing contemporary music, even when it's very logical. For example, for one of my songs on the album Beauty, I was always having visions of Amazonian rainforests, a little plane flying very low over the trees. Trees, trees, trees, and some birds. But the title of the song is 'Calling from Tokyo'".

13. 1991 - Heartbeat - Rap to the World

Sequel from Beauty, still collaging sounds from all over the world, this time in an eclectic upbeat fashion. You can hear the dance music influences throughout this album, which is enforced through the credits - notably Towa Tei and Satoshi Tomiie. 

14. 1994 - Sweet Revenge - Same Dream, Same Destination

One of my least favourite Sakamoto albums - the strings are beautiful but a lot of the vocals miss for me. But this song + the cover is iconic! Maybe he was just gearing up for his next album, Smoochy. 

The album title refers to Sakamoto’s wish to bring a sense of melody back to the “rhythm-obsessed pop-world”.

15. 1995 - Smoochy - A Day In The Park

An exploration of the old world meeting the future - Sakamoto combines Latin tinged sounds, jazz and the possibilities of the internet through electronic experimentation with an “listening” approach running throughout Smoochy. 

16. 1996 - 1996 - Bibo no Aozora (Trio World Tour Live recording) 

1996 contains a selection of Sakamoto's most popular compositions plus two new compositions, all arranged for a standard piano trio. The arrangement of "Bibo no Aozora" that appears on this album has appeared in several film and television projects.

A concert, called Ryuichi Sakamoto Trio World Tour, was organised in 1996. This concert was played at 6 venues in Japan, and the Bunkamura Orchard Hall concert was live streamed on August 28, 1996 on the Internet, and was one of the first concerts to be streamed.

17. 1997 - Discord - Salvation 

Sakamoto’s first full length orchestral work, which sees him contrasting modern musical tools with traditional instruments. Amongst procrastination and self-imposed deadlines, Sakamoto wrote the four movements in Discord ("Grief," "Anger," "Prayer," "Salvation") in a month. He finished writing the last notes on the morning of the first rehearsal with the orchestra. 

Salvation features spoken word contributions from Laurie Anderson, DAvid Byrne, Patti Smith and Banana Yoshimoto. 

18. 1998 - BTTB (Back To the Basics) - Energy Flow

Sakamoto was stuck in a traffic jam and melody popped into his head. That melody would then become Opus - the opening track of his solo piano album, BTTB - Back To The Basics. BTTB & Discord see Sakamoto’s departure from his pop-tinged outputs as he returns to the piano. 

19. 2002 - Elephantism - Great Africa 

Elephantism stands out from the rest of Sakamoto’s discography as it’s his first venture into new-age, ambient sounds with elements of African musical styles, featuring field recordings. 

Elephantism is a reflection of Sakamoto’s life ethos, where he strives for world peace. In his search for harmony, he turns to nature - specifically the elephant. “Elephantism is the state of being compassionate, loyal and loving towards family and friends, and being understanding and generous in attitude toward other clans; it means being big and expansive in your outlook on life, not small and mean; it means showing thoughtful consideration, wisdom and dignity when necessary, but in equal measure showing powerful expression and emotion, and being, yes, a little wild and passionate now and then!”

20. 2002 - Works I - CM - Old I (Suntory 1983) 

Compilation of music written for various commercials (called CM in Japan), all works are from 1983 to 1984. Monopoly is a favourite (didn’t have enough time to include it in the show!) 

21. 2004 - Chasm - Ngo/Bitmix

Sakamoto’s 15th solo studio album. Chasm is experimental, combining the paion with ambient and glitch programming. Features contributions from Hosno and Takahasi, under their Sketch Show alias. 

22. 2005 - Insen - Avaol 

Sakamoto and Alva Noto’s second studio album - their collaboration began in 2002. “Both explore the potential for interaction and tension between electronic and acoustic instrumentation”.

23. 2009 - Out of Noise - composition 0919 

Sakamoto was one of a handful of concerned artists who took part in The Cape Farewell Project, where scientists joined with the creative community for a conference in Greenland to address and investigate global warming. During his stay in Greenland, Sakamoto made a number of field recordings that he incorporated into his album Out of Noise; the album is dominated by graceful, minimalist keyboard pieces punctuated by electronic noise, ambient sounds and bits of found voices.

24. 2017 - async - Zure

Sakamoto’s 19th studio album - his first one in 8 years since Out of Noise. It’s also his first full length solo record since recovering from throat cancer in 2015. During this 8 year “break” he felt uninspired with the composition process and focused on scoring films. Despite his recovery, Sakamoto thought that async would be his last album. "That’s why I tried to forget all the rules and forms, anything. I just wanted to put down just what I wanted to hear, just a sound or music, it doesn’t matter. This could be the last time."

He began making async in 2016 and completed it in 8 months. 

Async is unusually textural, featuring both acoustic and electronic elements plus samples recordings readings and field recordings of city streets. Sakamoto’s worries of death seep into the album, which were influenced by his experience with cancer and the many earthquakes and tsunamis in Japan in 2011. “We were warned about how our civilisation is fragile and how the force of nature is great."

25. 2023 - 12 - 20220123

Maybe one of Sakamoto’s most moving albums. 

His breath can heard throughout 12 like a metronome - keeping time, evoking the feeling of a warm embrace and making us are of how fleeting life is. It has a palpable level of intimacy to it, as if you’re in the room with him as he plays the piano. 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ending on a few of my favourite Sakamoto quotes:

"I hate to divide the world -- East and West. Where is the edge? My music is much more melting."

"I want to be a citizen of the world. It sounds very hippie, but I like that."

[rivertalesien]

I'm not trying to jump on a bandwagon, but now that the internet has suddenly decided Goncharov is relevant again, maybe start getting some of your facts straight and give credit where it is due:

It's been well-documented (most recently in Michael Donati's biography of Ida Lupino as well as others) that Scorsese's film was basically cribbed from an unproduced screenplay written by Lupino while she was working on The Trouble With Angels with Hayley Mills and Rosalind Russell.

According to the man himself, Russell had been in touch with film legend Orson Welles during the production, excited about a project she thought would be perfect for him: a Russian mafia melodrama with underlying themes of hidden identities and betrayals, but Welles was neck-deep in Chimes at Midnight, his Falstaffian masterwork.

In a 1975 interview on the Dick Cavett show, Welles shared his conversations with Russell about the screenplay; how Lupino came up with the idea while directing for Gilligan's Island (if Goncharov's theme of being "stranded" isn't ringing any bells); how she had become depressed and isolated during the Angels production, lending a darker tone to her then-untitled story, which became an exploration of personal violence and societal injustice, seen through the eyes of a younger generation of Russian mobsters.

Troubled angels

According to Welles, Lupino was distressed by the onset antics of her young star, Hayley Mills and the various, dark-suited figures who would visit the set, making various "deliveries" to the former Disney favorite's trailer. Welles claimed that Disney's controlling behavior was a major contributor to many of his former protegee's "rebellious streaks" with Mills being no exception.

Russell, Welles said, was witness to various terse "discussions" between Lupino and Mills, with dialogue that would eventually end up in the screenplay (and unchanged by Scorsese), including the infamous (and often censored) "Katya and the Bookkeeper" scene.

When asked how Scorsese learned of Lupino's screenplay and why she would be given no credit, Welles explained Lupino's fears for her career (even with an implied threat from Disney, though he had passed away in December of 1966, following TTWA's release), and that she did not want her name associated with anything so "lurid."

With Scorsese updating the Russian setting to Italy (with the help of the screenwriter Welles called "that bastard Mateo"), Goncharov became thoroughly stamped with the now-familiar trademarks of Scorsese's later works, including Taxi Driver and Hugo.

But its origins belong to one of Hollywood's first women filmmakers who dared to push against the traditional boundaries that kept women (like Katya) from achieving greater status.

Without Ida Lupino, there would be no Goncharov.

[arwenkenobi48]

Blog Owner Profile

Hello everyone! The name’s Ezra (aka Arwen). Welcome to my strange little corner of the internet, where I post whatever comes to mind, usually ideas for original creative projects and whichever fictional characters I happen to be most obsessed with.

General Info

I’m a 23 year old transgender man (currently pre-transition, but presenting as male and using male pronouns). I’m also demisexual and panromantic, meaning that I’m attracted to all genders, but need a bit of time to get to know someone first. I’m half Indian, specifically from the Kashmir region, but was born and raised (and currently living) in the UK. My personality type is INFJ, my star sign is Cancer and according to the Chinese zodiac, my spirit animal is a dragon, which explains my lifelong affinity for them.

My interests are mythology/folklore, fantasy, sci-fi and horror media, cinema, creative writing, animation, classic literature, history, heavy metal, zoology, art and fandoms. There’s nothing I enjoy more than creating original characters inspired by myths and legends from around the world, watching an obscure cult classic movie or gushing about fictional villains.

I am a survivor of complex PTSD, which I am receiving medical and psychiatric support for. I’m also neurodivergent (dyspraxia specifically) so if things seem a little disorganised here that’s probably why. I tend to be rather shy at first, but come out of my shell around those I trust.

I recently got a degree in film and screenwriting and am constantly brainstorming new ideas for film and tv scripts. I’m also a part time artist, both digital and traditional, using my iPad, sketchbook and a single stick of charcoal to make something intriguing.

Fandoms

I’m into multiple fandoms, including but not limited to:

Star Wars

The Lord of the Rings

Faust

Cuphead

The Dark Crystal

All Tomorrows

Crash Bandicoot (the most recent one)

Basically, as long as something is fantasy, sci-fi or even horror themed and has unforgettable villains, I will be obsessed with it. I have quite a few OTPs as well. ObiMaul (Obi-Wan Kenobi/Maul), Angbang (Sauron/Melkor) and Faustopheles (Faust/Mephistopheles).

Fictional Others

I have a number of F/Os (fictional others) who I like to think of as a hypothetical family/brotherhood. Writing about them as if we’re all living together in a gothic castle is incredibly therapeutic.

A complete list of them and their different roles is as follows:

Amsel Bloodmoon (From my original gothic novel project Blood Moon Sky). He’s gay, he’s a goth, a dhampir (half vampire half human) and I consider him to be my beloved boyfriend. We’ve been together since late October last year and deeply in love.

Sauron (From the Lord of the Rings). I am so utterly smitten with this beautiful man, he’s basically like my celebrity crush in a weird way. Even though he’s a bit puzzled by it, he certainly enjoys the positive attention.

Feral Opress (From Star Wars: The Clone Wars). I am obsessed with this adorable little Zabrak. Heck, he’s actually the character that kickstarted my “career” on tumblr in the first place! He’s my sweet baby boy and I love showering him with affection.

Mephistopheles (From Faust and other pieces of folklore). My artistic muse and a character who I almost consider to be a mentor. This charming demon is also the focal character of most of my original intellectual properties, which I have tied together into a mythos/multiverse that I call The MephistoVerse.

The Devil (From Cuphead). He’s basically like one of those cats that demand affection 24/7 and of course he always gets it because he’s so adorably pompous and floofy.

Ratbag the Coward (From Middle Earth: Shadow of Mordor and Middle Earth: Shadow of War). He’s a sweet dork of an orc who’s like a brother to me. Constantly coming up with harebrained schemes and being the closest thing to a troublemaker the household has.

Dr Hans Friedrich (From an obscure YouTube channel called Rocky ASMR). An evil scientist who lives in the basement and totally isn’t planning to make zombies for world domination. Underneath his eccentric demeanour, however, Friedrich really just wants to be loved.

Koroviev (From my absolute favourite novel, The Master And Margarita). A trickster demon who’s always cracking jokes and joining in on Ratbag’s pranks. He always knows how to make us all laugh.

Gabriel Belmont (From Castlevania: Lords of Shadow). Despite being a rather moody vampire, he’s still part of the brotherhood and partakes in our various adventures. He needs a hug (and frequently gets them from me).

Ulysses the Dragon (From various projects within the MephistoVerse). The very first OC I ever created, 14 years ago, Ulysses is a green dragon who’s as loyal as a dog and as smart as a corvid. He’s pretty much been a lifelong companion and I love him to bits.

Dr Neo Periwinkle Cortex (From Crash Bandicoot). As if one evil scientist wasn’t enough, Cortex is the most recent F/O of mine. He is simply adorable and the rest of us can’t stop fawning over him. Although I dread to think what he and Friedrich are conspiring about.

Writing Projects

I am the creator/owner of the following intellectual properties:

The DragonSoul Trilogy. Although purely existing in script form, these are intended to be a trilogy of 2-D animated dark fantasy films focusing on the rivalry between Mephistopheles and Stardust, a dragon/human fair folk who owes the demon his soul.

Pandæmonium. A sitcom focusing on Satan and his fellow demons becoming social media influencers, with disastrous consequences. A combination of satire and slapstick. Very loosely based on Paradise Lost.

The Book of Buyan. A graphic novel about two intrepid sorcerers going on a quest to find the soul of a powerful necromancer.

The Varkaus Mythos. A nine-volume series of fantasy novels set almost entirely in the fictional realm of Varkaus. Ancient prophecies, barbarian orcs riding armoured griffins and interdimensional portals await.

Blood Moon Sky. Gothic novel divided into four parts, exploring some original vampire lore and the backstory of the ancient Bloodmoon lineage, a prophecy surrounding the seventh son of a seventh son, a romance between a dhampir and a human and a mysterious tragedy that has broken the vampires apart.

The Secret Life of Cuthbert Wetherby. A surreal animated short film about the Victorian folkloric figure Spring-Heeled Jack and his double life as the upstanding gentleman Cuthbert Wetherby and the infamous Terror of London.

Little Sunshine & Friends. A four-episode miniseries spin-off of DragonSoul, featuring Mephistopheles and his henchdemons getting up to all kinds of crazy antics.

Mythology All-Stars. An anthology series with each episode devoted to a different set of myths and legends from around the world and original stories featuring beloved characters such as Anansi, Sun-Wukong, Beowulf and some more obscure ones like Suur Töll and Arawn.

I, Darkswan. An experimental short horror film containing allegorical depictions of humanity, good and evil, life and death and a seriously unreliable narrator.

With the exception of Blood Moon Sky, these projects are all connected and are part of The MephistoVerse, with Mephistopheles of course playing a crucial role in the plots, or at least encountering the protagonists in some way or another. I, Darkswan is a bit of an outlier, as it is a story written by one of the characters within the MephistoVerse so there’s almost a kind of Inception thing going on.

Please bear it in mind that the vast majority of these projects currently only exist in the pre-production/planning stage. Feel free to ask me about them but if you’re going to create any content based on them, please tag and/or credit me.

Miscellaneous

My top 10 favourite films (in no particular order) are:

The Dark Crystal

The Princess Bride

Tetsuo: The Iron Man

The Chronicles of Narnia: The Lion, The Witch and The Wardrobe

The Wind In The Willows (Cosgrove Hall)

The Lord of the Rings trilogy

The Thief and The Cobbler

Beowulf

The Producers

Faust (F.W. Murnau)

Honourable mention goes to Monty Python and the Holy Grail

My favourite places in the UK are Glastonbury, Sheffield, Glasgow, Buxton and the Natural History Museum in London. My favourite food is a döner kebab. I might be slightly addicted to bubblegum soda. My favourite bands/musical artists are Nightwish, Starset, Rammstein, From Ashes To New, Written By Wolves, The Veer Union and Enya. 

My favourite visual artists are Jacek Yerka, Zdzisław Beksiński, Vladimir Kush, Rob Gonsalves and Louis Wain. Other people who serve as sources of inspiration include Guillermo Del Toro, Vincent Price, Ralph Bakshi, William Blake and Shakespeare.

Although I was raised Muslim, I’ve recently found my place as both a Unitarian Universalist and a devotee of Lord Shiva. I love learning about different religions and philosophies in general, it’s always a fascinating eye-opener.

My askbox is always open! 💖

*whispers discreetly* by the way, I do frequently write explicit content here. Thou hath been warned. Minors, Begone.