Movie book – Lotr UK Sat, 25 Sep 2021 21:46:27 +0000 en-US hourly 1 Movie book – Lotr UK 32 32 IT Movie, Book Differences Explained Sat, 18 Sep 2021 13:12:48 +0000 Spoilers follow if you haven’t seen IT yet. Stephen King‘s classic horror novel “IT” totals roughly 1,138 pages and covers 27 years of history in Derry, Maine, more or less. The doorstop of a book follows a group of friends known as the Losers Club both as kids in the 1950s and adults in the 1980s. […]]]>

Spoilers follow if you haven’t seen IT yet.

Stephen King‘s classic horror novel “IT” totals roughly 1,138 pages and covers 27 years of history in Derry, Maine, more or less. The doorstop of a book follows a group of friends known as the Losers Club both as kids in the 1950s and adults in the 1980s. In each decade, they band together to take on the fearsome foe referenced in the title. The story is brutal, unforgiving, envelope-pushing, and completely engrossing.

Andy Muschietti‘s live-action take on IT captures much of the magic and mayhem laid down in the pages of King’s original story, but since it’s truly an adaptation and not a translation, some changes were made along the way. Enough departures from the source material exist to encourage discussions about which version is better for years to come, especially since some changes were made for the better while others, arguably, were missteps.


Image via Viking Press

Plenty of things from King’s acclaimed novel made their way into the movie. Nearly everything about Georgie, from the brand of wax his brother Bill used to seal his boat to his bloody, severed arm, was a direct translation. The same could be said for Henry Bowers’ sadism, Ben’s fondness for the Derry library, and Eddie taking a stand against his overbearing mother, along with the finer details found throughout. (Like a couple of turtle references for the King faithful).

The biggest change? The setting. Derry, Maine was still the location but setting the story in the 1980s rather than the 1950s drastically changed the design, lingo, and pop culture references. We’ve yet to see how this temporal shift will affect the follow-up film, IT: Chapter Two, but clearly the sequel story will be set in the 21st century. In other words, expect more changes in the future; for now, we’ll stick with what we know.

Most of the changes concern the Losers Club, a.k.a. Bill Denbrough (Jaeden Lieberher), big-boned Ben Hanscom (Jeremy Ray Taylor), comedian-in-training Richie Tozier (Finn Wolfhard), neatnik Stan Uris (Wyatt Oleff), the historian hard-working Mike Hanlon (Chosen Jacobs), hypochondriac Eddie Kaspbrak (Jack Dylan Grazer) and tomboy Beverly Marsh (Sophia Lillis). I’ll start by addressing them one by one before moving into other changes the film has made from the book:

Beverly Marsh

Beverly gets a much-needed overhaul in the movie, which vastly improves on King’s arguably one-note depiction of the character in the book. Bev is still treated as the subject of both sexual attraction and abuse from just about every male character on screen, but she also suffers at the hands of her school’s “mean girls” early on in the picture. That’s a subtle but interesting wrinkle added to her character in the film and one that actually helps to flesh out Bev as a real, live person with her own struggles.

Bev also deals with the specific pressures of adolescence that only women have to handle. Themes of womanhood, sexuality, and puberty were always strong in the book, but Bev’s character gets a whole new exploration of these coming-of-age struggles in the film. There’s honestly enough thought given to this arc throughout the film to support a full-on feminist critique just dealing with Beverly’s role and portrayal. (Someone more versed in literary feminist critique than I am, please, I implore you, write a criticism from this perspective.)

But it’s not all great for Beverly when it comes to the movie’s changes: Despite retaining her fearless, heroic actions from the book (she saved the boys a number of times thanks to her marksmanship skills with a slingshot) she winds up being a “damsel in distress” captured by It in order to lure the boys into It’s lair where they save her, of course. Her catatonic, floating state does, however, give us a glimpse of It’s “dead lights”, one of the more mystical and celestial descriptions from the book.

Interestingly, the movie turns the sexual advances from Beverly’s widower father way, way up. In the book, Alvin Marsh is abusive, usually for strange reasons “because he cares about Beverly” (he cares a lot) but he’s also shown as appropriately affectionate at times; he also dies of mysterious causes well after the first encounter with It. In the movie, however, Beverly takes her father’s life in self defense when he attempts to sexually and physically assault her. This is a bold stance, but one that makes sense within the movie’s context since Beverly, who could honestly be considered the film’s co-protagonist since her arc is among the strongest, has a violent entry into womanhood, one that comes with confidence of being freed from the fear that plagued her throughout the rest of the film.

Mike Hanlon


While Beverly gets a much-needed character expansion from book to movie, Mike gets the short straw. In the books, Mike talks to his father—who is dying of cancer—about his past experiences in the military and in Derry. It’s from his father that he learns much of Derry’s history and obtains old photographs as records to corroborate those stories. It’s also through his father’s stories that he first learns of the ancient evil known as It.

In the movie, Mike’s parents died in a house fire which he barely escaped; the memory of the event still haunts him. Clearly this is a change from the book. Even Mike’s relationship with his grandfather is now altered. Rather than a nurturing, mentor-like experience, Mike gets more of a tough-love lesson about the real world; you’re either the butcher or the cattle, basically. All well and good for sucking it up and getting the job done, but not very useful in figuring out the nature of It.

Mike was the local history buff in the book, but the movie shifts this trait to Ben. Also in the book, Mike encountered It while investigating the ruins of the exploded Kitchener Ironworks where It takes the guise of a giant bird. This last part was wisely left out of the movie’s adaptation since it was always rather silly, and the decision to have Mike’s burned parents haunt him throughout the film was a much more effective one.

Unfortunately, the racial tension between the Bowers family and the Hanlon family was pretty much absent in the movie. This family feud went back at least one generation in the books, though it fell to the younger Bowers and Hanlon to carry on as both kids … and likely as adults. (Perhaps this will come into play in the sequel, possibly when we learn more about the house fire since Henry, curiously, comments on it when taunting Mike in the movie.)

Another change was Mike’s weapon of choice. Instead of the Losers bringing a slingshot to battle It–which Beverly wields in the book, armed with silver slugs crafted by Ben–Mike brings the slaughterhouse’s captive bolt pistol to use against It instead. Interesting change and the best use of the weaponized tool since No Country for Old Men.

Ben Hanscom


Oh, Ben. I’m delighted that Muschietti and casting director Rich Delia did such a fantastic job at choosing the young actors for the Losers Club and the Bowers Gang. They easily could have aged up the characters (despite the book’s clear descriptions) or shied away from their physical characteristics, but I’m happy to say they did not.

That’s not to say all personality traits survived the adaptation process. Ben was obsessed with the Derry library in the book, but more for architectural and structural reasons than the books it contained. The fact that it offered sanctuary from bullies, however, was pretty consistent in both versions.

In the book, it’s Ben’s engineering aptitude helps the Losers build a dam in the Barrens as well as their impressive underground hideout. The things he’s able to build seem to appear before his eyes as if fully formed while they are too complex for the rest of his Loser friends to grasp. Since the movie pretty much abandoned any craft-making or fort-building–more on that later–Ben’s book strengths would have been largely useless, necessitating the change to a bookish historian. (Sorry, Mike.)

As for the interactions with It, Ben’s first run-in with the title terror in the book was at the town’s canal. He watched as one of the infamous red balloons floated toward him against the wind. Distracted, he was quite surprised to find that Pennywise the Dancing Clown had transformed into a mummy and had nearly dragged Ben down into the frozen water. This mummy is only referenced briefly in the film, but at least the scene is a nod to the original source of fear for Ben.

Eddie Kaspbrak

Eddie’s hypochondriac nature and rapid run-downs of possible perils and side-effects throughout the movie were a delight. The decision to make him the group’s medic, however, was a strange one considering he’d probably have an aversion to blood. His familiarity with Keene’s pharmacy made sense though considering that he has been picking up his asthma medication here for as long as he can remember.

It’s here that another change from the book occurs. Though Eddie eventually learns that his asthma medication is a placebo, in the book it’s actually the pharmacist Mr. Keene himself (likely under the sway of It at the time) who tells Eddie the truth, not a classmate. The revelation was meant to shake Eddie up a bit and make him distrust authority figures more than before, but in the movie, it’s just an excuse for a mean girl to pick on the boy and write LOSER on his cast. (Speaking of that, wouldn’t it have been sweeter if someone else in the group had changed LOSER to LOVER, and not Eddie himself? Oh well.) Either way, the event actually encourages Eddie to stand up for himself and shut down his overbearing mother.

But speaking of that cast, Henry Bowers and his gang actually broke Eddie’s arm in the book, while it’s a fall in the Neibolt House that does it in the movie. The change certainly raises the stakes as far as the danger posed by It is concerned, but the book does a real number on the reader by making the very personal violence between the kids visceral and disturbing. Still, not a bad way to include the “bad break” for Eddie, which may be revisited in the future…

As for It, Eddie’s encounter with the leper at the House on Neibolt Street is terrifying but decidedly less sexually tinted than the one in the books. There the leper offered to “blow” him for a dime, a nickel, and eventually for free. Too strong, even an R-rated cut of It, apparently.

Stanley Uris


In both the book and the movie, Stanley was always the character that felt the thinnest for me. He’s supposed to be the group’s most skeptical member, a fastidious kid whose only other distinguishing characteristic seems to be that he’s Jewish. This is enough for the Bowers Gang to pick on him, of course.

Unfortunately, one of Stanley’s two most defining moments from the book was given to Bill in the movie. Despite his skepticism, it’s actually Stan who uses the shard of a broken glass bottle to cut the Losers’ palms for their blood oath, not Bill. (We’ll have to wait until the sequel to find out if his other memorable moment is kept intact.)

In the book, Stan’s hobby is bird-watching, which sounds pretty quaint and in no way useful when it comes to fighting fear itself, but it actually helps the Losers Club out in a number of ways in the book. This is dropped completely in the movie, probably for good reason. (“Birds in horror” only ever really worked for Hitchcock.)

Stan’s encounter with It in the book had nothing to do with his bar mitzvah or a twisted woman playing the flute. Instead, it took place at the Derry Standpipe, a sort of tower capping the town’s water supply. In the book, Stan became trapped here with the “dead ones”, walking corpses of those who had disappeared over the years. Stan managed to escape thanks in part to his love of birds (don’t ask). The Standpipe is briefly seen in the movie, however, and the floating “dead ones” may be referenced by the spiral of corpses found in It’s lair at the movie’s end.

Richie Tozier


Richie has long been the group’s jokester, always quick with a one-liner and rarely short on words. Wolfhard’s portrayal of Richie was spot-on in the movie, though some of the character’s finer points didn’t carry over from the book.

Most of those changes revolve around Richie’s encounters with It. In the movie, he’s the last one to see It when Pennywise takes over the slide projector and bursts through the wall in terrifying fashion. In the book, however, Richie notices that the pictures are moving in Bill’s family photo album when he sees Georgie smile at him. This is one of those moments that the kids, collectively and frustratingly, keep to themselves until it becomes clear to each of them in turn that they’re not just seeing things and every one of their friends has also encountered Pennywise in various forms.

The things Richie sees in the book are among the strangest shapes that It takes on. That Paul Bunyan statue shown in the movie? Yeah, it came to life and chased Richie in the book. Richie also fears the titular creature from “I Was a Teenage Werewolf” which chases him and Bill outside of the house on Neibolt Street. So, now Pennywise’s brief transformation into a wolfman creature makes a bit more sense, huh?

Bill Denbrough


The ostensible, de factor leader of the Losers Club, Bill is quite capable in both the book and the movie, despite his obvious stutter. I’m thrilled that they kept that aspect of the character in the movie even though it wasn’t quite as big of a point of frustration for Bill as it was in the books. (“He thrusts his fists against the posts and still insists he sees the ghosts.” I love that they included this, though it probably confused some casual viewers.)

Bill’s focus in the movie is on finding his brother, dead or alive. An interesting addition here was Bill using his dad’s blueprints (and his hamster’s extensive tube setup) to recreate the Derry sewer system; nice touch, though it would have been cool to see Bill working on that project with one of the other Losers. In the books, however, he’s well aware that Georgie is dead and, instead, focuses his efforts on surviving the summer with his friends.

One of the tools that keeps Bill safely out of the clutches of It (for a while) is Silver, his trusty, rusty bicycle. The bike has an epic mythology built up around it in the book but it’s left to a couple quick reference shots and a one-liner in the movie. It’s okay, Silver, I’m sure Bill will take care of you for (27) years to come.

While in the movie, Bill ends up wielding Mike’s captive bolt pistol to put an end to It, in the book, he packed his own father’s PPK .380 pistol. Perhaps a real gun in the hand of the movie’s 11-year-old hero was too much for the studio to sign off on, but Bill was more than willing to take up arms when he needed to. What’s strange is that, in the book, he didn’t really need to resort to physical violence. The other mythology not glimpsed in the movie is Bill’s involvement in the so-called “Ritual of Chūd”, which allows him to temporarily defeat It through a sort of psychic battle of wills, no guns involved. Only “mind bullets.” 

Henry Bowers

Henry Bowers’ over-the-top sadism in the movie was, believe it or not, a bit toned down from his behavior in the book. Henry’s realistic violence is often more terrifying than the other-worldly “fear magic” conjured by Pennywise since it hits much closer to home. The movie leaves the explanation of Henry’s anger issues up to subtext with the exception of a scene between him and his father; that’s really all you need to get the point across, but King’s writing lays out generations’ worth of abuse and the rage cycle it encourages.

In the book, Henry’s dad Oscar “Butch” Bowers is a military veteran who was relieved of his duties. His long feud with William Hanlon and his family included such notable events as Butch killing William’s chickens and painting a Swastika on his property, for which Butch had to sell his beloved car to pay for the damages. The feud temporarily stopped when William held Butch at gunpoint and stood his ground. Psychotic and abusive, Butch Bowers’ violent and racist tendencies were passed onto his son, who took out his own rage on the Losers Club.

Henry terrorizes the Losers throughout both stories, but it’s their final confrontation (at least as far as their childhood selves are concerned) that gets a change in the movie. In the book, Henry leads his remaining bully pals into the sewers after the Losers, rather than going it alone. He manages to survive and escape, but goes insane and is committed to an asylum. (I’ll explain why below.) The movie leaves it ambiguous whether or not Henry survives his final fight with Mike, so we’ll have to wait until the sequel to see how that all shakes out.

Bowers’ Gang

Let’s take a look at Bowers’ boys to see how they changed from the book to the movie:

Victor Criss (Logan Thompson) is the smartest of Bowers’ crew, but he almost joins up with the Losers in the book. Unfortunately, he sides with Bowers and tracks the Losers through the sewers where he is soon beheaded by It in the form of a Frankenstein’s monster. (Yep.) Wisely, this was changed for the movie; Victor basically acts as one of Henry’s lackeys throughout and doesn’t get much of an opportunity to distinguish himself.

Belch Huggins (Jake Sim) also heads into the sewers with Bowers in the book and, despite attacking It, is killed by the rarely seen tactic of severe facial mutilation. (It, the entity, also takes the form of Victor and Belch at other points in the book to torment and manipulate Henry.) In the movie, Belch also tags along with Henry, but he’s the one friend who pulls up a bit short once the Bowers boy starts carving into Ben’s stomach.

Patrick Hockstetter (Owen Teague) is far more twisted in the books: He has a refrigerator out in a junkyard where he traps small, injured animals and keeps them there until they die; he keeps a pencil box full of dead flies in school to show people; oh, and he murdered his infant brother by suffocating him. Yeah. (Patrick also gives Henry a handjob when they’re alone and offers to give him a blowjob, as well, for whatever that’s worth.) He’s killed by It when a swarm of flying leeches burst from the refrigerator, drain his blood, and drag him away. So even though he meets his end in the sewers in the film, it’s off-screen, far less gruesome, and much less deserving than his book version.

Derry, ME

Picturesque Derry, Maine looks pretty much like you’d expect in the books once you take the 1980s aesthetic into account rather than a 1950s vibe. Personally, I wish the movie would have spent a little more time letting the town itself breathe and feel like a lived-in space rather than simply hopping from location to location, but this is nitpicking. (It may be more important to do so in the sequel, however…) So let’s take a look at some of those locations to see how they changed from book to movie:

The House on Neibolt Street:

While its rundown appearance is pulled right from the book (and readers’ imaginations), it’s even more of a house of horrors in the movie than it was in the novel. The book version featured the Leper chasing Eddie and the Werewolf coming after Bill and Richie, but the movie chose to pile a bunch of various scares in this house for an extended sequence that saw It splitting up the Losers. There’s a lot that goes down in this scene and Muschietti makes the most of it.

Later on in the book, the house is also the place where the Losers see It retreating into the sewers, but their actual entrance to It’s domain is through a pumping station in the Barrens. The movie, however, sees the Losers lowering themselves down after It into an old well in the basement of the house just before their final confrontation.


Image via New Line Cinema

The Barrens:

This area plays much more of a role in the book than it does in the movie. The film shows the kids playing in the quarry, but the book spends a lot of time in the town’s tract of land that contains Derry’s landfill, a gravel pit, and sewer-pumping stations, since it acts as a sort of overflow area for the town’s water supply. (Not really the best place to play, as the kids are told early on.)

Also in the book, the Losers dam up the water here and make an underground hideout that keeps them save from the town bullies, thanks to Ben’s engineering skills. This hideout also brings them closer together as friends and helps to give them insight into It’s nature and potential weaknesses. The movie avoids the hallucination scenes (wisely) and leaves It’s more celestial origin story off the screen. Will the sequel explore it? We’ll have to wait and see.

The Sewers:

In the movie, as I mentioned above, the Losers enter It’s domain through an extraordinarily deep well in the basement of Neibolt House. In the books, however, the plot heads back to the Barrens before the Losers all went into the maze of sewer pipes together. (Yeah, there was no “damsel in distress saved by a kiss” in the book, at least not in the kids’ story. Perhaps Muschietti is setting up a parallel for the sequel, however.) Since the movie spent little time in the Barrens to begin with, it’s not surprising that the plot didn’t take them there to enter the sewer system.

The sewer pipes in the book also descend to impossible levels as the Losers try to pick their way through them. It’s lair isn’t some co-opted pump room but something else entirely, something deeper and more foreign than anything the Losers had ever seen before. That could have been an interesting wrinkle to add to the movie–along with It’s true form–but hopefully they’re saving it for the sequel.

But back to the sewers. This rather disgusting location is also the place that the book’s most controversial scene takes place. After surviving It but getting lost in the maze of pipes, Beverly engages in an orgy with all of the other boys. Intended by King as a way to strengthen their bonds and “clear their heads” in order to find their way out, this was wisely cut from the movie adaptation.

Did I miss any big changes from the book to the movie? Be sure to let me know in the comments!


Image via New Line Cinema

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Adaptations of books for television and cinema to be published in 2021 Thu, 29 Jul 2021 07:00:00 +0000 Sarah G. Forden’s “House of Gucci”, Frank Herbert’s sci-fi saga “Dune” and Leigh Bardugo’s YA series “Shadow and Bone” are three of the many popular novels to be screened this year. . All products and services presented by IndieWire are independently selected by IndieWire publishers. However, IndieWire may receive a commission on orders placed through […]]]>

Sarah G. Forden’s “House of Gucci”, Frank Herbert’s sci-fi saga “Dune” and Leigh Bardugo’s YA series “Shadow and Bone” are three of the many popular novels to be screened this year. .

All products and services presented by IndieWire are independently selected by IndieWire publishers. However, IndieWire may receive a commission on orders placed through its retail links, and the retailer may receive certain verifiable data for accounting purposes.

While release schedules are fluctuating, there are still hundreds of movies and TV shows to be released in 2021 – and because Hollywood loves nothing more than existing (and proven) intellectual property, a lot of these projects are based on books.

If you’re one of those people who likes to read the book before watching the movie, then this list is for you. where you can read the books and where you can watch the said projects when they come out. (And if you’re looking for books that should become TV shows, click here.) Now read on!


“House of Gucci”

Delivered: “The House of Gucci: A Sensational Tale of Murder, Glamor and Greed” by Sarah G. Forden

Release date: November 24, 2021

With : Adam Driver, Lady Gaga, Jared Leto, Al Pacino

“The House of Gucci” details the sensational story of money, glamor, greed and murder. Originally published in 2000, this gripping novel by Sara Gay Forden chronicles the 1995 murder of Maurizio Gucci, heir to the fashion dynasty who was killed by an unknown gunman. In 1998, his ex-wife Patrizia Reggiani Martinelli – nicknamed “The Black Widow” by the press – was sentenced to 29 years in prison for organizing his assassination.


Delivered: “Dune” by Frank Herbert

Release date: October 1, 2021 at the cinema and on HBO Max

With : Timothée Chalamet, Oscar Isaac, Zendaya, Rebecca Ferguson, Jason Momoa, Charlotte Rampling, Josh Brolin, Dave Bautista, Javier Bardem

Frank Herbert’s sci-fi saga has been shown onscreen before, but the big-budget adaptation of Warner Bros. and Denis Villeneuve’s Legendary was slated for release in December 2020 and will now hit theaters and HBO Max in late 2021 Prepare for the film by reading (or re-reading) Herbert’s 1965 novel, which George Lucas cited as inspiration for “Star Wars”. Five sequels – “Dune Messiah”, “Children of Dune”, “God Emperor of Dune”, “Heretics of Dune” and “Chapterhouse: Dune” – have also been released since then. Buy the first three in a handy combo set, or just the first solo. The official synopsis of the original novel, if you want a vague description of what you’re getting yourself into: “‘Dune’ is set far into the future, in the midst of a sprawling intergalactic feudal empire, where planetary strongholds are controlled by noble houses which owe allegiance to the Imperial House Corrino. The novel tells the story of young Paul Atreides, heir apparent to Duke Leto Atreides and descendant of House Atreides, as he and his family move to the planet Arrakis, the only source of the spice blend universe.



Delivered: “Cherry” by Nico Walker

Release date: February 26 in select theaters and March 12 on Apple TV +

With : Tom Holland, Ciara Bravo, Michael Gandolfini, Jack Reynor, Forrest Goodluck

Walker wrote his semi-autographic novel, about a veteran who battles PTSD and drug addiction and ultimately turns to bank robbery to fund his habit, while in jail for bank robbery (he has since been released after serving his sentence).

“March of chaos”

Release date: March 5, 2021 at the cinema

With : Tom Holland, Daisy Ridley, Mads Mikkelsen, Cynthia Erivo, Kurt Sutter, David Oyelowo, Demián Bichir, Nick Jonas.

Set in the dystopian world, Ness’ young adult novel follows the protagonists, Todd Hewitt and Viola Eade, fleeing a world where their thoughts are prone to invasion. “The Knife of Never Letting Go” is the first novel in the trilogy which includes “The Ask and The Answer” and “Monsters of Men”.

“Shadow and bone”

Delivered: “Shadow and Bone” and “Six of Crows” series by Leigh Bardugo

Release date: April 23, 2021 on Netflix

With : Jessie Mei Li, Ben Barnes and many more

Not one but two series from author YA Leigh Bardugo serve as inspiration for this sci-fi / fantasy series, which is slated for Q2 2021 on Netflix and stars Jessie Mei Li as a teenage orphan. who discovers that she has a sleeper. power to harness the elements and potentially unite a divided country. The series comes from “Arrival” and “Bird Box” screenwriter Eric Heisserer.

“Without remorse”

Delivered: “Without remorse” by Tom Clancy

Release date: April 30 on Amazon Prime Video

With : Michael B. Jordan, Jamie Bell, Jodie Turner-Smith

CIA Agent John Clark is part of Clancy’s Jack Ryan universe and one of the agency’s brightest, coldest, and most effective agents. The film, an origin story for the popular character, follows Jordan as the main character, a man who uncovers an international plot while seeking revenge for the murder of his pregnant wife.


Delivered: “Two kisses for Maddy: A Memoir of Loss & Love” by Matthew Logelin

Release date: May 10, 2021

With : Kevin Hart, Alfre Woodard, Lil Rel Howery, Anthony Carrigan, DeWanda Wise

This memoir by Matthew Logelin chronicles the tragic loss of his wife, Liz – his high school girlfriend – just hours after giving birth to their first child. Instead of surrendering to devastation, he vowed to go ahead and make a living for their newborn daughter, Maddy. He recounts this journey in this book, which also chronicles his relationship with Liz and the community that gathered around him after his death. Hart stars in the film, which was directed by Chris Weitz.


Delivered: “The One Hundred and One Dalmatians” by Dodie Smith

Release date: May 28 at the cinema and on Disney +.

With : Emma Stone, Emma Thompson, Joel Fry, Paul Walter Hauser, Emily Beecham, Mark Strong.

Smith’s 1956 novel follows the story of a Dalmatian couple on a quest to save their litter of puppies from the devious Cruella deVil. The Dalmatians are owned by a couple named, Mr. and Mrs. Dearly. The novel introduces the character of the devil as Mrs. Dearly’s former classmate who hatches a plan to steal the newborn puppies.


Delivered: “The Reincarnationist Papers” by D. Eric Maikranz

Release date: May 28, 2021.

With : Mark Wahlberg, Dylan O’Brien, Chiwitel Ejiofor

Evan Michaels has full memories of two other people who lived before him and believes he is the only one with such a problem – until he meets Poppy, a woman like him who can remember seven lifetimes. consecutive. She is also a member of a secret society called Cognomina, whose members have full memories of their past lives. To join the group, he must pass their tests to prove that he is their equal.


“French release”

Delivered: “French exit” by Patrick DeWitt

Release date: February 12, 2021

With : Michelle Pfeiffer, Lucas Hedges

This 2018 novel by Patrick DeWitt, about a wealthy widow and her son traveling to Paris from New York over a scandal, served as the basis for the comedy of the same name that closed the New York Film Festival. York 2020. IndieWire’s David Ehrlich praised Pfeiffer’s performance in the film, which could put Pfeiffer and his onscreen son, played by Hedges, into the Oscar conversation. The release of Sony Pictures Classics will hit theaters in February.

“To all the boys: always and forever”

Delivered: “Always and Forever, Lara Jean” by Jenny Han

Release date: February 12, 2021 on Netflix

With : Lana Condor, Noah Centineo

The third installment in Netflix’s hugely popular YA trilogy “To All the Boys I’ve Loved Before” hits Netflix on February 12, just in time for an overwhelming internet Valentine’s Day, Noah Centineo and his sweetheart Lana Condor. The book, which follows Jenny Han’s “To All the Boys” and “PS I Still Love You,” sees Lara Jean (Condor) entering her senior year facing some important life decisions as she prepares to go to the University.

“Street of fireflies”

Delivered: Kristin Hannah’s “Firefly Lane”

Release date: February 3, 2021 on Netflix

With : Katherine Heigl, Sarah Chalke

Kristin Hannah’s story of two inseparable best friends spans over three decades and heads to the small screen in a Netflix adaptation. Their lives diverge when one reaches fame and fortune and the other a quiet life of marriage and motherhood, but when an act of betrayal tears them apart, their friendship is put to the ultimate test.


Delivered: John Preston’s “The Excavation”

Release date: January 15, 2021 on Netflix

With : Carey Mulligan, Ralph Fiennes, Lily James, Johnny Flynn

At the dawn of World War II, “a wealthy widow (Mulligan) hired an amateur archaeologist (Fiennes) to excavate the burial mounds on her estate. When they make a historic discovery, echoes of Britain’s past resonate in the face of its uncertain future. The film is based on John Preston’s 2007 book, which is set during the actual excavation of an Anglo-Saxon ship’s burial in 1939 at Sutton Hoo, Suffolk, England.

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The family did not authorize donations, films, books, merchandise on his behalf Thu, 03 Jun 2021 07:00:00 +0000 Sushant Singh Rajput’s older sister Meetu Singh on Thursday warned fans against fundraising on behalf of the late actor, adding that the family is not allowing “anything about or related to RSS, whatsoever a film, a book or a commodity ”. “Unfortunately, we have noticed that some people are taking advantage of this for their […]]]>

Sushant Singh Rajput’s older sister Meetu Singh on Thursday warned fans against fundraising on behalf of the late actor, adding that the family is not allowing “anything about or related to RSS, whatsoever a film, a book or a commodity ”.

“Unfortunately, we have noticed that some people are taking advantage of this for their own personal benefit, which is an inexplicably inhumane act. All of these people are required to refrain from doing so,” Meetu wrote in a tweet.

“We would also like to bring to everyone’s attention that the family has not authorized anyone to collect donations or funds on behalf of RSS and that no one has consent to do anything about RSS. whether it’s a movie, a book or a merchandise, “she added.

“The family does not like to turn a devastating tragedy into profit and we will not allow anyone to do so. #JusticeForSushantSinghRajput #SSRians #SushantSinghRajput “, she wrote again.

Sending a message to Sushant fans who still fight for justice for him, his sister tweeted: The same desperation if not more. All SSRs have the freedom to carry on Sushant’s legacy. #SushantSinghRajput. “

Read all the latest news, breaking news and coronavirus news here

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Murkowski’s challenger blogged about the “evil” of the movie “Twilight” book series: report Tue, 27 Apr 2021 07:00:00 +0000 Kelly Tshibaka, who announced late last month that she would be launching a challenge against Alaska Sen. Lisa MurkowskiLisa Ann Murkowski Emboldened Trump Targets GOP Enemies The Hill’s 12:30 p.m. Report – Brought to you by Facebook – DC Gears Up for Festival Saturdays and Jan. 6 Protest Republican leaders misjudged Jan. 6 committee MORE […]]]>

Kelly Tshibaka, who announced late last month that she would be launching a challenge against Alaska Sen. Lisa MurkowskiLisa Ann Murkowski Emboldened Trump Targets GOP Enemies The Hill’s 12:30 p.m. Report – Brought to you by Facebook – DC Gears Up for Festival Saturdays and Jan. 6 Protest Republican leaders misjudged Jan. 6 committee MORE (R), supported an organization that promoted so-called conversion therapy and also called the book and film series “Twilight” “evil,” according to a report by CNN’s KFile.

KFile reviewed past articles and blog posts written by Tshibaka, who resigned from his role as commissioner of the Alaska Department of the Administration to launch his campaign in the Senate.

In a blog post in 2009, the GOP Senate candidate said that the popular series ‘Twilight’ “is evil and we should not read or watch it,” specifically arguing that “entertaining and participating in these kinds of activities makes us spiritually vulnerable” .

“It also leaves us open to enemy attacks,” she added of the film series starring Kristen Stewart and Robert Pattinson.

In a 2001 Harvard Law School student newspaper article, titled: “The right side: getting out of homosexuality”, Tshibaka, under her maiden name Kelly Hartline, wrote that homosexuals can “overcome the process of exiting homosexuality” through Christianity.

She also urged homosexuals “not to be controlled by the once-gay-always-gay rhetoric” used to advance political agendas. ”

Tshibaka, who in his campaign ad called himself a member of a “new generation of Alaskan conservatives,” also cited in the 2001 article the work of Exodus International, a former non-profit group. lucrative “ex-gay” who promoted the widely condemned practice of gay conversion therapy.

The organization, which finally gave up on conversion therapy in 2012, officially ceased operations in 2013.

In part of the article, Tshibaka argued that “the most common cause of homosexuality is childhood sexual assault.”

While CNN noted that many posts on Tshibaka’s social media pages were deleted before her Senate campaign began, screenshots and posts found by KFile showed that she was promoting fake allegations about the 2020 election, including arguments of widespread electoral fraud in several states.

In a november editorial, Tshibaka supported investigations into “credible allegations of fraud, suppression of voters and voting irregularities” a few days later President BidenJoe BidenHouse The Democrat threatens to vote against the party’s spending bill if the HBCU does not receive more federal aid. Defense and National Security Overnight – Pentagon’s Deadly Mistake Haitians Stranded in Texas Prolong Biden’s Immigration Problems MORE was screened as the winner of the election.

In response to the CNN report, Tshibaka said in a statement to The Hill: “This is just proof that our campaign is gaining momentum, which is frightening Lisa Murkowski and her allies to death.”

“That’s what CNN is doing. They see a strong Tory candidate taking on a favorite DC insider and they go on the attack,” she added.

Referring to his previous blog post on Twilight Books, Tshibaka said: “Children should definitely read more, but Twilight books ignore Dr Seuss’ books, which are now canceled by the left.”

“I think Alaskans will care more about who will protect their oil and gas jobs than young adult vampire fiction,” she argued.

The Senate candidate also said the student newspaper article was attributed to her by an editor as a counterpoint, adding: “I do not share this view today.”

“I firmly believe that we must treat everyone with respect and dignity,” Tshibaka told The Hill. “I personally believe that marriage is between a man and a woman, but the Supreme Court has ruled that same-sex marriage is the law of the land.”

Tshibaka defended his support for investigations into allegations of electoral fraud, telling The Hill: “It makes sense that we apply the same standards that the Democrats set in the 2000 and 2016 presidential elections.”

When announcing her candidacy for the Senate last month, Tshibaka tweeted that she was running for “”represent our conservative Alaskan values.

“We’re going to defeat Lisa Murkowski and show DC insiders what happens when Alaska has strong Conservative leadership!” She added at the time.

Murkowski faced the reaction of the former President TrumpDonald TrumpOvernight Defense & National Security – The Pentagon’s Deadly Mistake Overnight Energy & Environment – Presented by Climate Power – Interior returns BLM headquarters to Washington France draws ambassadors to the United States and Australia to protest the deal on the submarines and his supporters, especially after joining six of his fellow Republican Senate colleagues to vote to convict Trump in his second impeachment trial following the Jan.6 uprising on the U.S. Capitol.

Trump himself has vowed to campaign against Murkowski in 2022, and the Alaskan GOP voted last month to censor its senior senator.

Updated at 4:22 p.m.

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Kids choose a movie, book and song in honor of Black History Month | Item Fri, 19 Feb 2021 08:00:00 +0000 Check out these black-centric pop culture picks When it comes to recommending a favorite book, Sofia Rathjen suggests choosing a story about an important piece of Canadian history that you don’t know. “It’s really important that everyone knows his story and that those stories are known and shared,” said the 13-year-old from Sherwood Park, Alta. […]]]>

Check out these black-centric pop culture picks

When it comes to recommending a favorite book, Sofia Rathjen suggests choosing a story about an important piece of Canadian history that you don’t know.

“It’s really important that everyone knows his story and that those stories are known and shared,” said the 13-year-old from Sherwood Park, Alta.

When CBC Kids News asked Sofia and two other Canadian children to recommend pop culture choices in honor of Black History Month, Sofia chose a book on Africville.

The vibrant black colony of Halifax, Nova Scotia was destroyed by the government in the 1960s.


The book Africville, by Nova Scotia author Shauntay Grant, is about a black community in Halifax that was destroyed in the 1960s (Image credit: Groundwood Books)

Africville, by Nova Scotia author Shauntay Grant, tells of a young girl visiting the area where the colony was located.

Sofia said she learned briefly about what had happened in Africville at school.

But it wasn’t until she read the book that she really understood the significance of what happened when the community was bulldozed.

The book is “a story about hope, resilience, community building and the Canadian experience,” said Sofia.

Sofia Rathjen reviews BIPOC authors’ books on Instagram at @the_technicolour_bookshelf (Image credit: Sofia Rathjen)

Sofia has a parent who is Colombian and Afro-Colombian and another who is white.

She wants to see people from all cultures represented in the books.

She opened an instagram account to showcase Black, Native and Colored Authors (BIPOC), and in January, she won a $ 2,000 grant to stock her school library with more diverse books.

“I think it’s very important that we have black representation and that we have a wide range of black stories to tell, because black people and the black community are by no means a monolith.” -Sofia Rathjen

Sofia said the Africville story is “an example of systemic racism in Canada that I really don’t think we talk about enough”.

Systemic racism is a form of racism that is ingrained and woven into society to the point where it is considered normal.

It can lead to discrimination and affect things like jobs, health care and education.


Kids in disguise in front of Marvel Studio's Black Panther movie poster

When Marvel released the Black Panther movie in 2018, many black kids finally saw a portrayal in a superhero that looked like them. (Image credit: Mark Lennihan / The Associated Press)

Samuel Yohannes, 15 from Toronto, recommended the film Black Panther.

The film, released by Marvel Studios in 2018, features actor Chadwick Boseman as a superhero in the fictional African country of Wakanda.

Samuel said he liked the film because of the way “it represents the story”.

In particular, he said, it teaches an important lesson about what the world would be like if black people had not been uprooted from Africa by colonialism and the slave trade.

Beginning in the 1600s, millions of people were robbed from African countries and shipped to countries like Europe and North America, where they were forced to work as slaves.

The film tells “the truth about what happened with our ancestors,” Samuel said.

Samuel Yohannes, 15, recommends Black Panther like a film that represents a positive cultural and historical message. (Image submitted by Hannah Yohannes)

Samuel said the film, which was directed and produced by a black director named Ryan Coogler, may have helped increase respect for blacks in the film industry.

“Now it’s more diverse and now people are more tolerant.”

Black Panther was a huge hit in theaters, grossing over US $ 1.3 billion at the box office, according to Box Office Mojo.

Black directors and producers weren’t used to having “that much love,” Samuel said, “no matter how good the movie is.”

He said he likes to think Black Panther helped change that.


A black and white photo of reggae singer Bob Marley playing guitar while singing soulfully

Bob Marley, who was born in Jamaica, is considered the singer who made reggae mainstream. (Image credit: The Associated Press)

One song Jahniya Diamond, 10, from Toronto, thinks everyone should listen to is one Love by Bob Marley.

Why? Because “Bob Marley uses his music to connect people.

Marley is considered the father of reggae music, having sold over 20 million records and making the genre popular with people around the world.

The song one Love was recorded in Jamaica in 1965 by Marley and his band, The Wailers.

Here is an excerpt from the song’s lyrics:

One Love! A heart!
Let’s come together and feel good

Jahniya said the song inspires her to achieve her “dreams and goals”.

Marley even inspired her and her brothers this year to start a group called the Hooligans.

Jahniya said she hopes the song will inspire others as well.

Look up the term Black History Month on our website: for more inspiration!

Correction: When this story was originally published, we identified Sofia Rathjen as black. She identifies as Colombian, Afro-Colombian and Caucasian. This story has been updated for clarity.

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Advocacy to block film, book on Kamathipura rejected | Bombay News Fri, 19 Feb 2021 08:00:00 +0000 Mumbai: A civil court on Wednesday dismissed a plea against actor Alia Bhatt, producer and director Sanjay Leela Bhansali and author Hussain Zaidi. He requested an order against the airing of ‘Gangubai Kathiawadi’, an upcoming film directed by Bhansali, has Bhatt trying out the title role and is based on Zaidi delivered ‘Mafia Queens of […]]]>
Mumbai: A civil court on Wednesday dismissed a plea against actor Alia Bhatt, producer and director Sanjay Leela Bhansali and author Hussain Zaidi. He requested an order against the airing of ‘Gangubai Kathiawadi’, an upcoming film directed by Bhansali, has Bhatt trying out the title role and is based on Zaidi delivered ‘Mafia Queens of Mumbai’. Kathiawadi, based in Kamathipura, is said to have owned a brothel in the town during her lifetime.
In the lawsuit filed by lawyer Narendra Dubey, Babuji Shah (74), who claimed to be Kathiawadi’s adopted son, sought to prevent them from publishing or selling the books or creating third-party rights. He also wanted a chapter concerning his mother to be deleted. Shah’s plea was to obtain an order against the production, directing or showing of any promotion of the film on social media or in theaters. The plea said the chapter was libelous and tarnished Kathiawadi’s image.
Shah claimed that Kathiawadi adopted four children, including him. He said his “mother” worked to elevate sex workers in the area and prevent human trafficking.
DSK Legal, which represented Bhatt, Bhansali and his production company, Bhansali Productions Pvt Ltd, asked the court to dismiss the lawsuit filed in December last year because the lawsuit was time-barred since the novel’s publication in 2011. The Defendants questioned Shah Locus to file a lawsuit and said he had not produced proof of adoption. They said Bhatt was just an artist and had no role in the production of the film.

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Time to kill: How a James Bond film book club helped me survive foreclosure | James bond Tue, 15 Dec 2020 08:00:00 +0000 Bn March, right after the declaration of the first lockdown, I started going to the virtual pub every Saturday night with a group of six classmates. Most of us had not spoken to each other regularly for many years, so our weekly Zoom sessions were a valuable opportunity to share our thoughts on work and […]]]>

Bn March, right after the declaration of the first lockdown, I started going to the virtual pub every Saturday night with a group of six classmates. Most of us had not spoken to each other regularly for many years, so our weekly Zoom sessions were a valuable opportunity to share our thoughts on work and parenting, to exchange anecdotes from our school years. and to confess our hopes and fears for the future.

We didn’t want to discuss our situations, it turned out. We wanted to escape them. Within a month, real life was limited to the first few minutes of each conversation, and the bonds around Bond counted for the rest. In less than two months, we had assigned ourselves some homework. Each week we would watch a Bond movie and then debate its merits over beers and vodka martinis. At first we tried to vary the schedule with non-Bond films – okay, so, Carry On Cowboy – but that initiative was killed just as quickly as the untrustworthy Lt. Specter in Thunderball.

No story seemed worth analyzing if it wasn’t about a known secret agent everywhere he went. No question was as compelling as whether Octopussy was too far-fetched: We didn’t mind 007 dressing up as a clown before deactivating a nuclear warhead, but the backgammon scene from the same movie was beyond that. pallor. (“Bond takes the job when the Major has all his men on the board,” a friend complained on WhatsApp. “By the time they get to flirt with the dice, he’s got 11. Pure bullshit.”) the movie “book club” was launched, and it has been going on ever since.

What attracted us to these movies like the giant magnets from You Only Live Twice and The Spy Who Loved Me? It could have simply been their availability: where would the ITV programmers be without them? We might be middle-aged men, and therefore susceptible to their macho fantasies – especially when the actor playing the ultra-manly super-spy was even older than us.

Then there was the pandemic factor. While we cooked in our apartments and homes, we could experience the Bond films as their original audiences did: marveling at the sunny, exotic places we couldn’t visit. And perhaps, on some level, we have been comforted by the sight of a global apocalypse averted by British jurisdiction. Edgy dramas were daunting in 2020, while comedies seemed too light-hearted. But colorful adventures in which the entire human race is threatened and then saved – well, you can see the allure.

Even if it hadn’t been for the pandemic, Bond films would be particularly well suited to a weekly “book club”. Their sheer numbers put them ahead of most of the competition – two dozen films spanning decades, so each one awakens memories of where you were when you first saw it. And each of them is a perfect cocktail of familiarity and variation. It’s reassuring to know what you’re going to get, but you can appreciate seeing how the music, design, effects, and politics have been redesigned and updated. You can, in short, dive deep into their treasures (copyright: Bond, James Bond). And if you end up laughing at fashion and wincing at sexism, that’s okay too. I can tell from bitter journalistic experience that some franchises are so revered that you can’t criticize them without risking your life or your body – or at least a few nasty tweets about your physical flaws. But 007 fans tend to be kind enough to admit that the junk splashes and rubbery reptiles make us love the series even more.

Now that we’re out of Bond movies, my only regret is that our schedule was as hit and miss as the plot of Moonraker: Craig one week, Dalton the next. At first, someone suggested that we start with Dr. No and go through the canon in chronological order. But it seemed absurdly too ambitious. There were 24 official Eon Bond films, plus two unofficial, which would mean half a year of Zoom talks. There was no way the pandemic would last that long, was there?

On an equally naive note, someone proposed that when the coronavirus is over and dusted off, we could all come together to watch No Time to Die in theaters … in November. Alas, our divination turned out to be more fragile than that of Solitaire in Live and Let Die. No Time to Die won’t release until April, and normal life might not return until later, so it looks like we can get it right: hit play on Dr No and watch it all again. It’s either that or the Carry On movies, after all.

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Why you probably hate most movie, book, and video game reviews these days Thu, 19 Nov 2020 08:00:00 +0000 Earlier this week, I written about see Ron Howard’s new adaptation of JD Vance Hillbilly elegy. And since then, I’ve thought how disappointing it is that an otherwise well-made film – with a number of interesting things to say about contemporary American life – is almost certainly rejected out of hand by a large faction […]]]>

Earlier this week, I written about see Ron Howard’s new adaptation of JD Vance Hillbilly elegy. And since then, I’ve thought how disappointing it is that an otherwise well-made film – with a number of interesting things to say about contemporary American life – is almost certainly rejected out of hand by a large faction of the commentary of modern pop-culture, for whom even the mention source material is some kind of policy misstep. In the midst of it all, I came across a particularly good item by Spencer Rider – quite interesting, published in the radical left publication Negation mag– which captures a number of things to note about the current critical landscape.

Over the years, I have developed the habit of reading a parcel cultural criticism, ranging from Walter Benjamin and Arthur Danto’s dense meditations on fine art to everything Ross Douthat thinks of Quentin Tarantino or a freelance writer to Polygon has to say about The Last of Us: Part II. I like to think and write about ideas, expression and the ways in which themes are communicated indirectly through symbols other than words. But over the past half-decade or so, the genre has become extraordinarily boring and tedious: readers face, in Rider’s words, “a critical landscape that understands what it’s supposed to love without ever understanding why.” Everything is now politicized and criticism is increasingly detached from the real artefacts it is supposed to assess.

Rider focuses his analysis primarily on cinema, noting the rise of “films devoid of significant politics but which only exist in the minds of critics as political signifiers” – like that of 2016 ghost hunters remake, Star Wars: The Last Jedi, and Joker. These films, whatever their content, have become crop war footballs thanks to a hyperactive online ecosystem looking for new signage tools. But I would go further than Rider and I would say that this pathology is not limited to film criticism: it has infected the entire field of cultural writing.

The cycle of pop culture criticism tends to follow a predictable pattern. First of all, a cultural artefact – a book, a movie, a video game, a long-running newspaper article – is published with wide approval. Second, there is inevitably a backlash, shattered at the intersection of pure contrarianism and cash-strapped media looking for hateful clicks. (Some examples that immediately come to mind are those of Damien Chazelle La La Land, Donna Tartt’s The goldfinch, and software Sekiro: Shadows Die Twice.) Third, among people whose job it is to write about such things, the underlying work is permanently marred by the backlash, so that it becomes impossible to refer to the underlying project in the years. following without some tut-tut mention of the environment. “controversy” that emerged (although that controversy boiled down to a handful of anonymous accounts saying sarcastic things on Twitter).

Significantly, I have no idea at all that this “backlash” would occur if works like La La Land, The goldfinch, and Sekiro were not all really irresistible artistic creations (although I’m too bad at video games to play so many Sekiro as I would have liked). They all have something interesting and potentially disturbing to say about the world, and as a result, they are all deeply memorable. You could pass them on to your children in 2030, and the underlying principles would still resonate.

But what if shade isn’t really your thing? The critical response cycle looks quite different for content with an overtly political message – at least, when it sits roughly in line with the center-left consensus among cultural journalists. Do not believe me ? Here’s an example: I read somewhere that one of the main exclusives of the renowned streaming service “HBO Max” was a movie called Not pregnant, about a pregnant teenager fleeing a state with restrictive abortion laws and taking a road trip to a more progressive northern state. At a glance, I tried to predict the “Tomatometer” score of this film, that is to say the percentage of reviews on the aggregator site. Rotten tomatoes which gave the film a favorable review. I went down to 92%. When I checked my work, the Real World Tomatometer read 89%. I was only 3%.

I don’t really think it’s a sign of a healthy critical environment when I can predict which material will be “approved” and “disapproved” on the basis of topic alone. But I recognize that everyone has their biases and that the field of journalism has historically taken a more progressive direction. (In addition, in the Not pregnant in case there’s probably a selection bias going on – what “conservative” outlets will review a movie like this?) That’s what it is.

What worries me much more is the idea that any cultural product that is not explicitly didactic – and didactic in the correct way – is inherently suspect, forcing the reviewer to comb through it to find something “problematic”. This is, I think, a big part of why the genre of cultural criticism has become so tedious to read: if a cultural product is interesting at all, it will be. possible– if that is not necessarily plausible – to interpret it in a way that is offensive to someone’s sensitivity.

It should be noted that a few months ago I wrote about the value of black and white morality in the stories we tell, versus the ubiquity of morally troubled antiheroes. I still think… I don’t mean “more ambiguity” is the answer to boring moralism. Rather, what I’m saying here is that just because a story clearly reflects the moral framework of its creator that it has to turn into a screed on a particular set of political concerns. The Lord of the Rings is a nice black and white story, but it obviously doesn’t preach a particular message to the viewer (except maybe against anti-industrialization).

The critical point is that the stories value telling contains a thematic core that, presumably, will make sense for generations beyond this, as opposed to simply trying to galvanize the viewer to support a specific cause over the next couple of years. And yet, much of cultural writing increasingly seems to reflect the view that works can only be “relevant” – or even worth creating – if they do.

This is one of the reasons why, speaking for myself as a writer, I indeed find it very liberating to work in the Christian tradition, because living as a Christian is an invitation to try to adopt an “eternal gaze” towards the world, and to be free to comment on real things wherever they may be, without feeling major pressure to appease a particular faction or line up behind a single (constantly evolving) political project. And because of that, I can recognize that there is a deep beauty in works like sorry to disturb you and Portrait of a Lady on Fire whether or not I share the specific political visions of their creators. This beauty exists because it taps into truths about the human condition that do not easily collapse in this immediate historical moment.

In terms of getting the culture of writing out of its rut, I’m not sure there are any obvious solutions. Maybe that just means pulling writers off Twitter and stopping short-sighted snowballs from picking up speed. Or maybe it’s about refusing to play ball with algorithms designed to amplify incendiary catches (another advantage of being independent: no pressure to satisfy advertisers demanding high click-through rates!). Or maybe it just means watching the slow-motion collapse of traditional outlets, as audiences grow weary of being hassled.

In the meantime, those of us who have not committed to seeing all creativity as mere power plays will continue to move forward.

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How to survive a horror movie book review Mon, 21 Sep 2020 07:00:00 +0000 It may have been released until 2007, but the book How to survive a horror movie by Seth Grahame Smith has been a tremendous educator on my love of horror movies. Looking back on my 7th year. I didn’t know anything about horror movies. I was terrified of The Exorcist after my sister made me […]]]>

It may have been released until 2007, but the book How to survive a horror movie by Seth Grahame Smith has been a tremendous educator on my love of horror movies. Looking back on my 7th year. I didn’t know anything about horror movies. I was terrified of The Exorcist after my sister made me watch it when I was seven. Freddy Krueger always scared me more than anything. And I couldn’t bear to hear on Friday the 13th, “Jason noise”. So what made me want to read How to survive a horror movie? Well, I wanted to overcome these fears and know how to defeat these slashers, demons, and other supernatural beings.

Also, the blanket with a bunch of guts was a plus.

My copy is well worn, with a crease on the front cover, probably due to falling asleep on it. For a good six months to a year, this was my bible. It’s not a big book, and only has 175 pages, but it’s pretty dense with material. Now, I’m not going to go into the literary merits of writing a survival guide on how to deal with monsters and villains in horror movies, but it’s still a hell of a good read to this day. If Randy (Jamie Kennedy) wrote a book on how to survive in Scream, maybe it is this one. Also, oddly enough, one of the four true masters of horror, Wes Craven wrote the front of the book.

If he got the Wes Craven seal of approval then you got my money

Wes craven
Courtesy of:

By writing the front of the book, I mean, apologies for the book. The opening is titled “An Apology From Wes Craven”. Set in a universe where all horror movies reside, titled “Terrorverse”, the book gives you all the rules you need to survive. Craven, apologizes to the myriad of people he led to the massacre, for being disembowelled, beheaded, burned alive, tortured and more in his films. Unfortunately, a guide on how to defend yourself against the Terrorverse is not enough according to Craven. As he says:

No matter what I do, no matter what lead I give them, it seems my characters always end up on the wrong side of a long knife. And while I’m glad that someone has finally written a guide to help them survive, I wonder how much good this is really going to do.

Death finds a way.

How to survive a horror movie

Without doing this review only on Wes Craven and his films, this book owes a HUGE thank you to the film. Scream. This film gave viewers a taste of the rules and trials of horror films. He revealed all the secrets on how to survive horror movies. And at the end of the movie, it pays off for Randy and Sidney. However, this does not pay off more for the majority of the characters. Giving Wes Craven the first page is a sign of respect and it tells you everything you need to know about what’s to come in the book. Speaking of which, the table of contents should sell you the book before I do.

The table of contents sells itself

The table of contents of How to survive a horror movie Goes like this:

Chapter I:

Welcome to the Terrorverse

Chapter II:

Slasher Survival School – Masks, Gloves and Motels

Chapter III:

Inanimate Evil – Artificial Instruments of Death

Chapter IV:

Crypt-Ographie – Ghosts, Zombies and the Reanimates

Chapter V:

Fangs of Fury – Aliens and Beasts

Chapter 666: chapter 666

The satanic “versus”: curses, demons and the devil himself

What you are really reading is the goodness of the comedy horror movie

An example of the excellent illustration in the book.

The book works the same as The Zombie Survival Guide by Max Brooks. Where this book goes into a lot of detail on literally everything you would need to know about fighting zombies, this book gives the impression of a grade 7 textbook to the procedure. You learn a bit more about all aspects of the various ghouls, ghosts, demons, slayers, and spirits you might find yourself facing in the Terrorverse.

What really makes this book perfect for any kind of horror fan is that it takes something that would terrify, say, a 7th grader, and that makes them hilarious. Much like the later sequels of the horror film franchises, the book is more humorous than scary. It pokes fun at the tropes of horror movies and makes them easy to digest. If you’re looking to write a horror movie, this book might be a better resource than most official versions on writing. After all, you can’t break the rules of horror. Everyone knows that.

A truly historic book for this horror fan

The long and short of the book is that it goes through everything you can imagine would make it a horror movie. Go to space ? He has that cover. Are you being attacked by a killer doll? You know this section is in the book. Do you face the Devil in person? This is the last section of the book, and oh boy, is that a doozy.

The book assumes that there are some things that just don’t work in horror movies. You, as a new resident of the Terrorverse, should know all the tricks of the trade. Are you in a tight spot and need a line that no one could say in a horror movie because it’s too intellectually dense? This book has a list of them.

A Personally Influential Book Every Horror Fan Should Read

As a horror fan and old / still scared cat, this book shaped my love of the genre. Once you see the absurdity of the horror genre, it quickly becomes something fun and less scary. Of course, you can still be wowed by the bizarre atmospheric horror or horror flick, but once you know the rules of engagement you can beat pretty much anything the Terrorverse throws at you.

So for all those terrified 7th graders, grab a copy of this book and join the rest of us in the Terrorverse, ready and waiting for whatever may be thrown at you.

THS Fright-A-Thon is a celebration of all that is horror, you can check out the entire Fright-A-Thon collection here!

For more on horror, slashers, ghouls, ghosts, or any other general pop culture, be sure to come back to That Hashtag Show.

You can buy the book here!

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Will there be an “Alpha Flight” movie? Wed, 09 Sep 2020 07:00:00 +0000 Some of us who were kids in the 1980s felt a twinge of nostalgia this summer thanks to rumored plans for a film about the Canadian superhero team, Alpha Flight. The news couldn’t come too soon. John Byrne’s well-written and expertly illustrated comic book series, which spanned from 1983 to 1994 and saw several one-off […]]]>

Some of us who were kids in the 1980s felt a twinge of nostalgia this summer thanks to rumored plans for a film about the Canadian superhero team, Alpha Flight. The news couldn’t come too soon. John Byrne’s well-written and expertly illustrated comic book series, which spanned from 1983 to 1994 and saw several one-off revivals here and there, could be a thrilling cinematic experience if done right.

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I can count on the fingers of one hand how many superhero movies I have loved. It’s not just guilt about enjoying things that I should have gotten past; is that so many adaptations make tons of money seem oddly overrated. The Avengers movies embody our Faustian market with CGI, which would have made up nearly 100% of Infinity War’s visuals, including the protagonists, and the Endless Show fails to distract from the mediocrity of the writing. Three hours is a long time to wait for lines like these, from Thanos to the climax of Endgame: “As long as there are those who remember what was, there will be those who can’t. accept what can be. They will resist.

The 2000 X-Men movie is fine for about fifteen minutes. After the thrilling first scene where Wolverine fights an alien in a cage at a bar in remote Alberta, the whole thing turns into a dead mess with a somewhat incoherent plot. The 2009 Watchmen adaptation flaunts a working vice cardinal that strives too hard to be daring, as gratuitous and nasty backdrop succeeds each other with the apparent expectation that viewers overlook the vulgarity of the dialogue, characters, and situations. It just doesn’t gel, and the whole thing has an arching, smiley quality that makes it hard to sit down. The scene where Leonard Cohen’s “Hallelujah” plays isn’t inspired, it’s awful.

But an Alpha Flight movie has real potential. If you were an American kid in the 1980s, here’s a show that took you to a society like ours, but different in subtle ways. The cityscapes of Montreal, Quebec, Toronto, Ottawa, Calgary, Winnipeg and Vancouver have been vividly rendered and beautifully depicted in well-written and informative captions, as has the wilderness of northern Quebec , the desolate borders of the western plains states and remote areas of the Northwest Territories. A mysterious atmosphere attracted the reader. Behind the pleasant or bland facades of everyday life in Canada lay the sinister actions of immensely powerful villains and the machinations of Secret Ministry H, a government agency tasked with harnessing and deploying the powers of mutants. against threats to the security of Canada and the world.

Alpha Flight, as created by John Byrne.

And the mutants were a very engaging bunch. Here we had imperfect individuals who attracted awkward young readers who were just beginning to find their way in life. All the protagonists of Alpha Flight were sympathetic. But aside from James MacDonald Hudson, who had something of a reserved Clark Kent personality and whose superhero alter ego Guardian almost always had a bold, daring presence, the members of Alpha Flight had a quality. or an attribute that could make it a target of jaded. bigots.

Marrina was a hybrid of human and aquatic creature. Eugene Judd, aka Puck, was a dwarf. Jeanne-Marie Beaubier, alias Aurora, was struggling with dissociative identity disorder, that is, split personalities. And his brother, Jean-Paul Beaubier, aka Northstar, would become the first openly gay character in a Marvel comic book. Adding more diversity, the team included a First Nations mystic, Michael Twoyoungman, alias Shaman, and a Polish Jew, Walter Langkowski, alias Sasquatch.

All of these characters struggled. Northstar and Aurora were both alienated from a very traditional sectarian order that sought, as late as the 1960s, to enforce certain mores and ban certain literary works in Quebec. Shaman, too, was at the crossroads of the contemporary world and a world that modern people have failed to understand or accept. Aurora’a’s relationship with Langkowski was complicated by the existence of not only two personalities but an emerging third. James Hudson’s relationship with Heather MacDonald Hudson was heading for tragedy. Marina and Snowbird were unlike any other on the planet. Puck was ostracized in bars who learned to stand up for himself, and even though he was little you certainly wouldn’t want to receive one of his punches.

They stand guard for us

The authors explicitly described Alpha Flight as a team drawn from different parts of Canada and, therefore, a kind of unifying force for a country torn by internal strife. Alpha Flight could play the role of a galvanizing and mobilizing team, a team that people could believe in no matter where they live in Canada or whatever their accent. It is a crucial role.

Today, it is not easy to say what precisely Canada is, other than in the crudest geographical terms. The nation’s identity was the subject of a furious controversy that came to a head when the criminal actions of radical secessionists sparked a national emergency known as the October Crisis of 1970. More than 40 percent of Quebec voters chose secession in a 1980 referendum, and barely less than 50 percent in a second in 1995. Today, the embers are still burning, the feelings are still there, even so many Quebecers tend to avoid the subject in the conversation.

The villains of the Alpha Flight series, no less than the heroes, are outgrowths of a complex social reality. In some cases, these are mutants that Department H enlisted and who went out into the field with good intentions but then became unhappy. One of the more interesting characters in the series is Alec Thorne, aka Smart Alec, whom James Hudson personally recruited to serve in a prototype group known as The Flight. Thorne has no other powers than his exceptional intelligence.

Some people consider him to be the smartest man in Canada, and he claims to be the smartest man in the world. Thorne wields no weapons but dons a device called a brain helmet that increases his already awesome IQ in the stratosphere. By wearing this helmet, Thorne can anticipate the movements of others and can see and hear strata inaccessible to most people.

Smart alec

Smart Alec is one of the most complex and believable characters in the world of Alpha Flight. While it may be in bad taste to talk about his IQ, it is fascinating to watch Thorne strut confidently around a chess tournament and haughtily tell a lower intellectual that this player might want to take another look. on the absurd position in which he has moved. his queen.

Mostly, Thorne is fascinating because he’s a believable villain in a larger-than-life setting. He is an impetuous egotist. Sure, he’s smart, but the smartest man in the world?

But Thorne is as erratic on the pitch as he is personally conceited. His anxiety over a real emergency, triggered by villainous Egghead’s plan to launch a nuclear missile into New York City from Canada, resulted in the death of another member of the Squadron. Following this incident, Hudson decided that a tiered structure for mutants in the service of Department H would work better. Therefore, the real pros are Alpha Flight, the middle level is Beta Flight, and those like Thorne who need guidance and training the most make up Gamma Flight. Indeed, Hudson demoted Thorne. This predictably fuels Thorne’s resentment and helps him accept an offer from wheelchair villain Jerome Jaxon, who harbors a long and deep grudge against Hudson, to join another group, Omega Flight.

In issue 12, titled “One Shall Surely Die”, Jaxon’s plan to get revenge on Hudson sets off events leading to a furious battle between Omega Flight and Alpha Flight inside the World Trade Center, culminating in the disappearance apparent from Hudson. For his part, Thorne loses his sanity after grabbing the Shaman’s Medicine Pouch in the heat of the moment and watching it despite warnings from its owner that Thorne has no idea what’s going on. hides in its depths. This leads to an unforgettable scene. One image shows Thorne’s perfectly distinct features under his encephalo helmet. In the following image, they are slightly blurry. In the following, they are blurry. What goes on in his mind is entirely left to the reader’s imagination.

Canada’s greatest heroes

The makers of an Alpha Flight movie have an array of fascinating options to explore. It would be interesting to see a Mission Impossible-type apocalyptic scenario in which the negotiations between radical secessionists and the rest of the world boil down to a chess match, and Alpha Flight must find or release a player qualified enough to compete with Smart. Alec and deflates his claims to be the smartest man in the world.

But whatever the plot of the filmmakers, what’s important is that they give us more Northstar, more Aurora, more Puck, more Marrina, more Sasquatch, more Shaman, more Snowbird and more Guardian, more endearing and vulnerable characters that spoke directly to young readers who are just starting to find their way around the world.

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