How 'Ted Lasso' helped me take a look at myself

Heads up there are a few spoilers for Ted Lasso season two in this blog.

The TV show Ted Lasso is an oddity. The concept isn’t something I should be interested in, and on paper it shouldn’t work. I’m not a fan of football in the slightest, and it being based on a series of comedy commercials, history tells us it should have become a series of shallow jokes about a fish out of water. It should have failed with the first season. However, it has become a phenomenon, and rightfully so. In a world divided, confused, and scared for the future comes a show that is willing to wear its heart on its sleeve and be a positive force.

That’s not to say it’s devoid of conflict or that its saccharine in its chirpy happiness. What makes Ted Lasso special is its honesty. Often when that term is used for a TV show, it’s a hard hitting drama about the worst life has to offer. While I appreciate those shows are important, showing a glimpse of how some people are forced to live, I do believe the incessant grimness has been a contributing factor in the global emotional and psychological decline. Oddly contributing to further despair, without providing suggestions for a solution.

I will acknowledge that Ted Lasso is about a football club and people that earn millions of pounds. However, it doesn’t dwell on rich people problems, or diminish the people that aren’t in the same tax bracket. The football and the money are barely a consideration or a factor in the show. Yes, they inform elements and the framing but at its heart its about people from very different backgrounds working together to raise each other up, and every week it raises me up to.

The show has covered a number of topics and themes, and I think there are great articles to be written about the portrayal of women in business, the complexity of relationships, grieving and creating a positive working environment. What I want to focus on is how it has broken down and helped me address my own toxic masculinity.

As I reach 40, I have taken a look back at my life and, like everyone else, there are things I know I could have done better at or dealt with differently. One of those things is my own relationship with my emotions and mental health. I grew up in the 80’s and 90’s and my fictional role models were action stars and superheroes who dealt in actions rather words. Greif was an opportunity for revenge and lashing out. If a wrong was identified in the world it was an opportunity to blow stuff up. There was no room for emotions. John Rambo starts by exploring his PTSD and trauma to then being dropped back into war for entertainment. Not great therapy, and the way to work through those pesky trauma nightmares was to kill more baddies.

In the 90s, during my teen years, I was swamped by Lad Culture. Get drunk and be loud, with a side of obnoxious. It was an extension of the 80s yuppie culture, work hard, play harder. I was pretty good at that. Over the years I became more worldly, and I like to think more balanced. I have had some hard lessons about how to manage and work with people. I have tried to be better and be a positive influence on people I know and work with.

I grew up with prejudices that I have addressed, and I’m embarrassed I ever held them, but somethings are harder to work on than others. My understanding and acceptance of the wider world, and the wonderful array of people that live In it, has always been tempered by how I have perceived myself and what I feel.

I have trouble with my weight and will often work ridiculous hours to get work done. I take on too much and when I get frustrated, I let it build up into anger. Then when things don’t work out, or I have too many plates spinning I get annoyed at myself for not being able to keep everything moving. This then results in the behaviour that contributes to my weight issues. It becomes a cycle. I know this, and have done for years, but to admit it, to let others know that I know this, would be the biggest failure. To admit that I can’t do any more, or that I have hit my limit when I know that others are under pressure as well is, as far as I have seen it, a sign of weakness, and so I carry on. Not wanting people to think less of me. I’m a man and I should be able to shoulder this burden. Just grab another snickers and knuckle down harder. During the pandemic this behaviour has been worse than ever.

But that may all be in the past.

Ted Lasso season two has made me stop and take a step back. Football clubs are often portrayed as hives of competition and alpha males. Ted Lasso has taken a different tact and shown how this team supports each other. In this season three elements have made me take stock.

Jamie Tart dealing with the pressure to succeed from his Father and supporters has been fascinating to watch. The internalisation of the fear of failure and the constant push for you to the be the sole winner of a team game struck home. The moment he punched out his Dad was stunning. A full stop moment. Yes, it was frustration spilling out, but it was not for him, it was for him as part of the team. A moment to say, ‘no more’ and I am part of this team, and they are there for me. The fact the punch was followed by a hug from Roy Kent was perfect. We often work as a team, in life and in work. within in that team we have responsibilities, but we are not responsible for the whole team. Be good at what you are good at and help the others to do the same and positive results are a lot more likely.

Let’s talk about Roy Kent. He should be the worst offender, but they have under-cut this perfectly and created a new modern role model. The curmudgeonly Roy has a life and reputation built on aggression and machismo. However, his arc has led him to become a great example of the ability and need to adapt and try new things, especially as we move from one stage of life to the next. His desire to change, adapt and learn for the people he loves is an inspiration. They are the people we need to be better for the most. I now stop an ask WWRFD: What Would Roy Fucking Do?

The most important is Ted and his anxiety attacks. His relationship with Dr Fieldstone has also made me question some of my own habits and what may have caused them. I’m not going to delve into my life story here (you can wait for the book J), but Ted discussing how the suicide of his father has shaped his approach to life and the emotional impact this has had, when he is forced to have to give up on things, stopped me in my tracks. The question I asked was, who am I trying to impress? What am I getting from the hours given up and why am I doing this? The waking up at 4am with anxiety isn’t a sign I care about my work, it’s a sign my work is damaging me. This isn’t something that I am going to address overnight, but these questions have started a chain reaction that has allowed me to stop and say, ‘Yes, I am struggling, and I need to take a breath’. What comes next I still need to figure out, but I know that I do need to figure it out.

Everyone behind Ted Lasso should be proud. Not only are they creating a funny show with heart, but they are also creating role models that show young (and some not so young) men, that being a man isn’t about being stoic, bearing the burden and keeping going. It’s not macho to just keep going and wash down the negativity. Being a man is about being a part of the world, being who you are, but knowing that we can all be better and being willing to explore ways of achieving that. It doesn’t mean the world and life will be easier, but it does mean that we don’t have to do it alone.

I’m heading into middle age, and I am scared of it. I am scared I won’t be able to keep up. I am scared that things are getting on top of me. I am scared that I won’t be relevant anymore. Ted Lasso came at the right time and has helped put some things in perspective for me. It’s fine to be sacred of these things, the world can be fucking scary, but its not helpful to keep those fears to myself. WWRFD? he’d begrudgingly talk to Keely, and they would work it out together, whether it’s easy or hard.

I’m about to be 40 and its time to make some changes.

Advanced Review of the BBC's The City and The City adaptation

I recently had the opportunity to watch the first two episode of the BBC Two adaptation of China Miéville's novel The City And The City which will start on April 6th.

In the last year we have had some amazing high concept sci-fi shows come our way. I’m a big fan of WestWorld, Altered Carbon and Black Mirror. All the American shows have a gloss and sheen but we brits like to have a grimier cynical take, which is why Black Mirror always stands out. This same approach is taken with The City and The City. This is a European noir murder mystery wrapped in a high concept sci-fi world.

The high concept in The City and The City is that two cities, Besźel and Ul Qoma, exist in the same space but in different phases of existence. Citizens of both cities can travel to the other across a heavily guarded boarder. Each city has its own history and social structures, as well as a heated rivalry.

The press release describes the series as:

The body of a foreign student is discovered in the streets of the down at heel city of Besźel. Cases like this are run of the mill for Inspector Tyador Borlú (David Morrissey) of the Extreme Crime Squad - until his investigations uncover evidence that the dead girl had come from another city called Ul Qoma. But the relationship between the two cities defies comprehension and will challenge everything Borlú holds dear.

The show plays with this concept brilliantly in its use of design, colour pallet and cinematography. The city of Besźel is established as a 1980s Eastern European former communist state, all drab concrete and crap cars. The city of Ul Qoma on the other hand is a modern cityscape of steel and glass. Establishing this concept and the world quickly is useful because you are dropped into this world and expected to keep up with what is going on.

The police procedural element is standard enough and easy to follow. Confusion creeps in as you’re escorted around Besźel and its complex political and social structure. While they are talking English for the most part non-English words and phrases are used, to highlight that this is a different world, with little to no explanation. Further to this, the story moves along the dank corrupt corridors of power in the city of Besźel and the viewer needs to keep up to understand who has authority over whom.

Half way through the first episode I was a little lost, however by the end I was so absorbed by the world and the details that were being presented that it didn’t matter. I understood that the show was making me part of the investigation. I didn’t need to know everything at the start because enough information will be parceled out as the story progressed. It’s up to me to be quick enough to pick it up and keep it straight in my head.

This world and story is brought to life by a great cast. David Morrissey brings a gravelly gravitas to the core of the show, which is what I would expect from him. The rest of the cast is led by Mandeep Dhillon as the fun and sweary Besźel Constable Corwi. She and Morrissey are great foils for each other, an anchor for the viewer and representations of a culture that is changing over generations. They are joined in the second episode by Maria Schrader as Senior Detective Dhatt of the Ul Qoma police force. She is more than a match for Morrissey, carrying a level and air of authority with ease. Having German born Schrader representing Ul Qoma is a great move; she brings a modern European sensibility and energy as the story progresses.

What I have seen so far is strong; it pulled me into the mystery and the world. I’m itching to watch the rest of the series. The second episode ends on a cliff hanger that will take the story in a different direction and if it is as textured and well thought out as the start, it’s going to be ace. I have also purchased a copy of China Miéville's novel so I can enjoy the source material as well, but won’t be reading it until I have watched the full series. There is so much depth and detail to this world that I’m expecting to get very different experiences from the different mediums.

In summary, this is a strong show that I really hope finds an audience on the BBC. It will have you talking about it the next day. The concept and the ideas that have been fleshed out deserve discussion and attention. The City and The City showed me that British Sci-fi can compete and I hope you try it out.  

I recently had the pleasure of being invited to the Madame Tussauds Blackpool Marvel Experience opening night. It was a fun evening and I left feeling impressed with the quality of the experience and all the exhibits.

Being a podcast about 20th Century Pop Culture this kind of thing is perfect for me. I got to get a photo with Sid Rotten, Freddie Mercury and the Two Ronnie’s. I was a happy little nerd to begin with.  So to top it off with the main reason I was there was awesome.

The exhibit is split into four areas each focused on different parts of the comic experience. The first is a faux comic book shop displaying a wide array of modern Marvel comics, many of which I have read. However the thought struck me that this was a missed opportunity. The racks could have been used to demonstrate the evolution of the Marvel universe from its Birth in the early 60’s to the Modern Marvel Cinematic Universe (MCU), which the exhibits focus on. Although this may be filled differently when open to the public.

Moving past this you enter the second zone with a smouldering Hemsworth Thor. The statue is excellent, not only is the face spot on the Thor Avengers movie costume is perfect. Set up like an ice cave you also get to see if you are worthy by trying to lift the Asgardian war hammer Mjolnir.

Beyond this is zone 3, an open area with several excellent Marvel Heroes and photo opportunities. The goliath Hulk looks incredible (see what I did there!). He is accompanied by the meanest mother fu… er, greatest spy master Sam Jackson’s Nick Fury and your friendly waxwork Spider-man.

Hulk 1.jpg

In my opinion, the best is saved for last where you will have the chance to have a picture with a full size Groot. It looks stunning and who doesn’t want to join the Guardians of the Galaxy.

It’s not the largest exhibit but it is an excellent celebration on the modern Marvel Universe. All the displays are great with (mostly) life like statues and loads of interactive elements. They are a slice of British pop culture heritage and to have this joined by some of the most iconic characters in modern pop culture is wonderful.

I congratulate the team that worked on this for capturing the essence of wonder and imagination that Marvel and the MCU inspires.  It’s a well worth a visit for anyone holidaying in Blackpool.

Excelsior!

The “Circus Theory” of entertainment, Or why Marvel need more fire eaters

When I spent my spare time dressing in lycra and throwing other men around a squared circle I learnt a lot about how to organise a show to maximise the enjoyment of the audience. It’s a simple theory that my close friend and co-host Mike has quoted at me so many times – a show should always be like a circus. In itself it sounds a bit daft, so let me explain.

The Circus is a single show, you sit down and for an hour or more you are entertained. However, the key is that during that time you will experience so many different acts. It could be the acrobats swinging through the air, the Clowns tumbling, the stunt bikers or the fire eaters risking their lives, if you don’t like one you will like the next, or the next. There will be something that keeps you on the edge of your seat and you will go away thinking about.

We applied the same idea to a wrestling show. You would have a hard hitting match between two technical experts, a fast paced highflying stunt-fest, a dramatic tag team match, a comedy match and finish with a no holds barred hard-core match. They were all wrestling matches but we added in variety so that there was always a match that would stand out for everyone in the audience. 9 times out of 10 this worked perfectly (as long as the matches were good!).

In essence … variety is the spice of life.

So how does this apply to Marvel? I have read Marvel comics on and off for years and enjoyed quite a lot of what I have read. In the last few years however I would say that the majority of what they have to offer is stale and cookie cutter bland. It’s not for want of trying; they have introduced new characters and had some interesting and talented creators work for them. The problem is the majority of the output is a homogenous mass of superhero noise with a couple of outliers that try, sometime successfully, to break the mould (Jeff Lemire’s Moon Knight, Tom King’s Vision, Jason Aaron’s Mighty Thor). They are all slight variations of the simplest of acts; flashy crisis / event driven cartoons with snappy dialogue and humour. This sounds like a good comic, right? It would be but when it makes up 95% of the companies output it gets very boring.

Even when they start with a flair for something different, like Jason Aarons Doctor Strange run, they soon fall back into the standard fare. It’s like the “House Style” leaks into everything and eventually makes it all the same. They have the their “Fresh Start” coming in May 2018 which I am sure will be a loud and fabulous tidal wave of more of the same.

DC isn’t completely free of this but they keep it contained and seem to have found a way of using it. Batman, Superman, Green Lantern and Wonder Woman, the stories often run in cycles and they will never push the boundaries too far. At least in the main run. They use it like a warm blanket, a patchwork quilt of continuity and nostalgia. The difference is that they are actually different characters. The Superman books always feel different from the Batman books which feel different from the Green Lantern books etc.

That wouldn’t be enough on its own, the house style does leak in. So what has kept them a step above? They acknowledge that variety is important. They have multiple worlds they dip into time and time again and use them to try something different; Earth 2 in the New 52 era was interesting for this. They have Else World stories, like the current “Batman: White Knight” story that is playing out an idea that could never be used in the main Batman book. In addition to that they have created imprints that have stretched the possibilities of comics and the superhero world. Swamp Thing, Constantine and Sandman all pushed the boundaries in ‘Vertigo’ during the 90s. More recently they have created the new Imprint ‘Young Animal’ which has allowed creators to push the boundaries of imagination with Shade the Changing Girl, Doom Patrol and Mother Panic, all of which can and do interact with the main DC continuity.

So what we have is two companies producing very similar products:

The first company producing a large quantity of similar products centred on a central style. They rely on customer good will and nostalgia or the love of specific characters that then appear in almost every book (Deadpool at the moment). The result is that customers start to drop off as they tire of not being challenged or being given something slightly different.

The second seems to have learnt a lesson. They also court the sense of nostalgia that exists for their top tier characters and have a habit of over saturation for hot property characters (Harley Quinn, we’re looking at you!). However they have also found a way to challenge those ideas and concepts. Moreover, they have created avenues for creators to really push the boundaries of imagination. A sandpit part of the universe that not only has Batman and Wonder Woman but also a snarky English magician con-man and a team of heroes that live on a teleporting transvestite street called Danny.

I will always want something fun and exciting from my nostalgia character superhero books. They are the bread and butter of the comic book industry and when done well can be great, we all love the acrobats. These are not always enough, for me at least, sometimes I want something different like a fire eater. Then I will look to the fringes and check out something like Doom Patrol or Hellblazer. That means my money is going to go the company that will provide me a Variety Show in their superhero offerings.

Good sequels and Bad

I am really looking forward to seeing The Shape of Water when it released in Feb in the UK. It’s an original film from a fantastically creative film maker and it looks amazing. I must confess though, I am more excited for The Predator, Deadpool 2 and Avengers: Infinity War.

This year there are more than 30 sequels coming out at the cinema and I am sure that I will watch a good portion of them. Although, the way sequels are treated is funny. Fans and movie goers in general, myself included, lament the lack of original movies coming out but we love to see the on-going adventures of characters we know and love. The trick to making a sequel successful is to make it interesting and fresh while not affecting what has gone before or changing what is at the core of the character.

If we look at a couple of movie series that have multiple sequels we can see where some have succeeded and others have failed, at least in my opinion. Now I am going to discount any series based on books (Harry Potter, Hunger Games etc) as they have a template to work from.

To end on a positive note let’s start with two film series that I mostly enjoy but have followed a very similar path and as a result are at a low point. The Terminator and Alien.

They both start with a small sci-fi horror concept, one a haunted house the other a slasher film. Each gained attention and success by creating a complete world and just dropping the viewer in them. The follow ups take that concept and instead of treading the same ground, up the ante. Aliens and T2 are examples of perfect sequels being great movies in their own right, while building on what was established in the first films. James Cameron being the director and creative force behind each is a testament to his talent.

Unfortunately, after that is where its starts to fall apart. In both cases the third film in the franchise tries to do something new, without really respecting the characters that have been established. Both T3 and Alien 3 have uneven tones and do not feel like extensions of the stories that have already been told. In my opinion Alien 3 is a better film that T3. This could have just been a wobble overall but the issues continue.

The fourth instalments in each series (Terminator: Salvation and Alien: Resurrection) are jumps forward in time and force story telling conceits to keep certain characters in play. Both ignore key elements of the past films in favour of trying to standalone. They are shallow and forced. I would even go as far as to say that both have a negative effect on the films that have come before by taking characters in a poor direction.

In both cases this should have been the end. Profits and credibility were low but there was going to be more. In recent years, we have had Prometheus (and Covenant) and Terminator: Genysis which have both tried to rewrite the history of what has come before. I would suggest that that the result is mostly negative and in some ways insulting to fans of the series.

As I say, both are at a low point now but I am sure we will get some form of movie continuation at some point. The only thing I can hope for is that we get a sequel that is honest to what the heart of the franchise is about.

On the flip side is a series of films that have reinvented themselves to become one of the biggest money makers of recent years. Much like Alien and Terminator the Fast and Furious films start with a small and tight concept. It was nothing new but it was fun did better than expected, it was bound to get a sequel. The following two films try different approaches but always keep the core fun, if daft, elements in play … and fast cars, lots and lots of fast cars. The fourth film in the series is the most interesting for me, it goes back to the beginning but starts to grow the focus of the first three. They move from underground racers being involved in crime to crime stories centred on core characters that happen to be excellent race drivers.

This is taken to the next level in 5, with the addition of Dwayne ‘The Rock’ Johnson. 5 through 8 are crazy crime action movies. They have massive set pieces and explosions, and they took a middling franchise into one of the most successful of the 21st century.

Another example of knowing your franchise but keeping it fresh is the Mission Impossible series. Each film since the first in 1996 has had a different director that has brought a different tone and feel but they have kept the similar sense of fun action and big stunts. Doing so they have gone from strength to strength, with the 6th instalment coming in 2018.

I know that these are very different beasts and that the F&F and MI series is are more pulp action nonsense overall. However, there is something very important that the Terminator and Alien franchise can learn from them. People want to see these characters do what they do. It’s why Bond has 25 films, why Rocky never started MMA, it’s also why people get so frustrated with the Hellraiser franchise (that’s a blog for another day).

As movie goers, we cry out for new and fresh concept and characters and stories. These will always excite and intrigue us. However, let’s be honest, as some studios have shown over the decades, if you put time, effort and money into a well thought out sequel you will satisfy fans and bring in new people as well as make a ton of cash.

My Top 5 Haunted House films

The haunted house has been a staple of cinema since the beginning. Cob webbed shadowy corridors and creaking doors used to varying effect to create that perfect spooky atmosphere. I love a good ghost story but so often I think it is done poorly. I really dislike the Insidious film series for their reliance on jump and noise scares rather than fear and tension … just my opinion. While I can find something to enjoy in the run of ghost film remakes like 13 Ghosts (2001), The House on Haunted Hill (1999) or The Haunting (1999), they don’t deliver the creepy horror I love in a good haunted house film.

Below is a list of my top 5 favourite Haunted House films:

1.       The changeling (1980) – After the death of his wife and daughter George C. Scott moves to a renovated mansion to focus on his music and work through his grief. His time in the house is soon interrupted by noises in the night and distant whispering voices. This opens up into a mystery that is preventing the unquiet spirit from moving on.  The Changeling uses its locations and sound brilliantly to unnerve the viewer. The film is laced with tragedy and lose, which makes the final reveal the more impactful and shocking.

As a side note, I should mention that the events of the film are loosely based on events that the screenwriter claimed happened to him when he lived in a town house in the mid-60s.

2.       Poltergeist (1982) – For years there have been tales of the production of Poltergeist and who was actually in charge on set, Producer Steven Spielberg or Director Tobe Hooper. Regardless of who actually ‘directed’ the film, the fact remains that this is one of my favourite horror films. It is the quintessential modern haunted house film, clearly influenced by the events of Amityville. 

The standard American family living in a good neighbourhood where the kids can play safely. It is template 80’s Americana. This is then be shattered by the ‘abduction’ of the youngest daughter, leading to the acceptance and handling of the supernatural presence. There are moments that stretch the suspension of disbelief (a tree attack!) but the overall film is a masterclass is quiet drama being punctuated with hard hitting scares. More so than The Amityville Horror (1979), this film helped move ghost stories from gothic mansions to modern suburban homes.

3.       The Others (2001) – As I mentioned in the opening, in the late 90’s, early 00’s Gothic horror was not in vogue. It was replaced by loud, more action orientated horror (13 Ghosts / The House on Haunted Hill / Ghosts of Mars). However, in 2001 Alejandro Amenabar wrote and directed the first Spanish entry on this list, the Spanish/American produced The Others. A magnificent gothic tale that plays like a novel.

The film lays interesting and believable constraints on its protagonists, as to why they cannot leave the haunted location. Trapping them in with the fear, unable to escape. This makes for great conflict as we watch Nicole Kidman’s lead start to unravel as she deals with events that she does not want to believe are real, while trying to protect her children. The tension and scares culminate is a successful twist and a satisfying ending that a lot of modern horror films lack.

4.       Paranormal Activity (2007) – Found footage films are the lowest budget films that can be made. This usually means they are a gateway into Hollywood for armature or up-coming film makers, but they are usually poor. Every now and then though a film comes up that understand how to use the format to great effect. For me, Paranormal Activity nailed it.

The film follows a couple that have moved into a new house and quickly start to experience strange goings on. The hand-held camera footage is given justification and I am pulled into the daily goings on of the couple and their friends. This is then used to great effect later to build tension and for the viewer. The Camera doesn’t always focus on the central point, so you are pushed to take in the whole screen to look for the scare. The tension builds in this films to an excellent open ended pay off, the way a found footage film should. 

5.       The orphanage (2007) – “Presented” by Guillermo Del Toro but the creation of Director J. A. Bayona. I will admit that this being a subtitled film meant that it took me a while to get around to watching it. I am so glad that I eventually did. A woman returns with her family to the orphanage in which she grew up to reopen it as a home for children. However, things take a tragic turn when her son goes missing. This one event starts to pull together strands for a mystery involving her past as well as that of ghosts trapped in the orphanage.

Oscar Faura’s cinematographer is beautiful throughout. He and Bayona use the central building and its cliff side local to create a sense of isolation and timelessness. This accentuates the fear and tension as the film grows to its tragic gut punch of a conclusion.

5 Haunting Horror films based on true stories (aside from Amityville Horror).

When I started researching this I was expecting to find a glut of films that would fit this category in the 70s and 80s. There were a couple but they were a bit tenuous (The Exorcist). It seemed more like a nugget of a real-life event was taken and then turned into something completely different. I suppose this way no one extra had to be paid. This changes in the early 2000’s and from 2005 onwards we have had a continual stream of Horror Movies based on ‘real events’. This has culminated in the Conjuring films, based on the accounts of the Warrens.

Below is a list of 5 films that are based on alleged real paranormal events:

1.       An American Haunting (2005)

Events: in 1817 the Bell family started to suffer an alleged haunting by a ghostly witch. It started when the head of the family, John Bell, came across a strange animal in his corn field. Shocked by the animal’s appearance he opened fire, the animal vanished. That night for the first time, the family were bombarded by a beating sound on the side of their home. From that point on the haunting got worse.

The noises continued. Sometimes outside the house, other times in the same room as members of the Bell family. Many people as well as the family reporting the sounds as well as seeing and feeling things within the house over several years.

Whatever the entity was that was haunting the family it made its final attack in 1820, when it allegedly poisoned and killed John Bell. Laughing loudly as he took his final breathes. It is said that the ghost returned in 1828 for a short time but was not heard of again after that.

This is regarded as one of the earliest and most wide spread hauntings in American History.

Film: The film has got an interesting cast with Donald Sutherland and Sissy Spacek and several up and coming actors at the time. It has an interesting modern wrap around mechanism as access into the period setting. It also maintains the actual, relative down beat, ending of the legend but condenses the haunting period of years to what feels like months. While the film maintains the haunted happenings the scares and tension never really amount to much, it was only a 12 (PG-13).

It was an interesting exercise in period drama horror, however I think this would have been better if it had either been more stylised (ala Sleepy Hollow) or tried for some harder edged scares and content (ala Annabelle Creation).

2.       The exorcism of Emily Rose (2005)

Events: The film is based on the tragic events that lead to the death of German woman Anneliese Michel. She dies in 1976 suffering from malnourishment and dehydration after months of being subjected to exorcist practices.

After suffering a seizure at the age of 16 Anneliese began to suffer increasing periods of depression. These low points and neuroses began to become focused on religious artefacts. A huge concern for a girl that came from such a religiously devoted family. Soon both she and her family became convinced that she was possessed by something evil. After several attempts the family convinced two priests that she needed intervention.

This started the exorcisms that eventually led to her death. Following her death her parents and the two priests were prosecuted for murder. They were found guilty of negligent homicide. This also forced the Catholic church to distance itself from the case and change its stance to state that she had been mentally ill and not in fact possessed by an evil force.

Film: They take a leap with this film as the story is told in retrospect, dealing with the court case that follows the death of Emily Rose. This is not a film about whether they can save the possessed girl, we know the answer is no. The film spends more time dealing with the question of whether she was possessed at all. It’s an interesting conceit and that isn’t fully explored. If they had had the confidence in the audience, it would have been a better film. However, they never want to completely condemn the priest.

In a better film, he would have been played as a more unreliable narrator. There would have been more uncertainty about whether she was possessed or if the priest hadn’t been obsessed due to his religious zeal.

That said, the film is good fun and the core cast are mostly good. This is a solid possession horror film with an interesting concept. The frustration is that this had the potential to be something more and elevate the genre and story into a classic.

3.       The Haunting in Connecticut (2009)

Events: of all the ‘True Events’ on this list, this is the one that has the most holes. This is the first but not the last appearance of the Warrens on this list and their paws are all over this.  The haunting was alleged to have focused around the House and son of the Snedecker family, who was suffering from a form of Cancer. Minor events were reported but nothing of great note. That is when the Warrens got involved and the story became ‘clearer’.

The entity harassing the family was supposed to have been linked to the previous use of the house as a mortuary. It was stated that there were several employees of the mortuary that practiced necromancy and necrophilia. It was the spirits of these people that were returning at the heart of the events.

This did lead to several grander events. This included the son attacking his cousin and being held in a mental health ward for a period. However, following Ed Warren’s death in … several people linked with the investigation and the documenting of the events admitted that Ed told them to embellish what they knew in any way they could think of to make it scary.

The House is still occupied and the current occupants have frequently stated that they have never experienced any paranormal activity.

Film: The movie has a couple of well-placed scares and some moments of tension, however the overall film is very pedestrian. The facts from the true events are close enough regarding the house and its history. However, elements of the family are changed for safety. The focus on the main son having cancer is reduced.

There is little to say about this film really. It’s competently made, the acting is sufficient and its creepy at times but it just feels very run of the mill and safe for this genre. It’s a shame really because again, like the Exorcism of Emily Rose, this has the potential to add an element of ambiguity and tension with a just a few changes. Could the son’s illness have been at the root of the events? Could it be suggested in the film that this was a hoax to raise money to cover medical costs.

It’s worth checking out if you are a fan of the genre but there are better films on this list.

4.       The Conjuring (2013)

Events: Ah the Warrens. The couple that have now become synonymous with modern haunted house movies, thanks mostly to this film. As is usually the case, the story the Warren’s tell is very different from the truth the family have sated. The Perron family lived in the house at the heart of the story of a decade and the hauntings were spread over this while period.

The haunting was centred around the spirit of an alleged witch called Bathsheba Sherman who died in 1885. There is little evidence that she was in fact a witch, however it was alleged that she killed several infants as sacrifices to the devil. The haunting took on several aspects for the different inhabitants. Some saw apparitions, others were physically attacked but all the heard the noises and voices.

The haunting was never fully resolved. The case may have been closed by the Warren’s however after the Perron’s sold the house in 1980 there were further reports of ghostly activity. This is an event that I think deserves a more attention and possibly a closer adaptation of the story.

Film: Forgetting the alterations of the history this was a return to form for haunted house films. I really enjoyed the tone and feel of the film. It’s has an excellent sense of creepiness and uneasiness running through it. There are some incredibly well placed and paced scares that are incredibly effective.

The strength of the film is in the first two thirds. The build-up of the family dynamic and the relationship that grows with the Warrens. This investment in characters underlines the tension and scares. However, this is partially undone by a clichéd and overly dramatic finale. This will most likely be regarded as a milestone in horror history however it just falls shy of becoming a horror classic. I won’t even go into the dreadful sequel and Annabelle spin-offs. This Franchise has such potential but is being squandered on cheap jump scares and poorly written and preposterous characters.

5.       Deliver us form Evil (2014)

Events: The book ‘Deliver us from evil’ written by Lisa Collier Cool, chronicles the supernatural cases of former New York Police officer Ralph Sarchie. It is set up to be like the real life X-files. It covers a number of cases of possession and ghostly attacks that are alleged to be related to crimes that were left unsolved. Of course, they have been solved by Sarchie but the truth would not be accepted by the public.

Sarchie has appeared on several podcasts, radio and TV shows to promote the book and Film, telling his tales of the supernatural that lives in the Bronx. Demon neighbours, ghostly vengeful brides and the exorcisms that were carried out to save the people involved. Its sounds like he was a busy guy, maybe the Bronx is over a hell mouth and they would have been better off with Buffy the Vampire Slayer.

Film: Eric Bana is a New York cop that starts to uncover a conspiracy of soldiers possessed by demons from the middle east. The plot is a little daft and the direction is not subtle in anyway however this odd combination of horror and cop drama is fun if not scary. Bana is committed to the role and is sufficiently brooding and earnest about it all. It does all fall a part in the finale, as they usually do. If these events are alleged to have happened I am sure that someone in the media would have noticed.

A fun film for Halloween or with a few beers but not a solid recommend.

Dr Strange or: How I stopped worrying and learned to love the Mouse

Last night, while talking about the new Star Wars film a friend of mine mentioned that she hadn’t seen and wouldn’t watch The Force Awakens or the Last Jedi. I can understand this if her reasoning was that she wasn’t a fan of Star Wars or Sci-fi but when I asked why she stated “I hate Disney.” Now that is a pretty strong statement. To hate something, anything is a definitive position so I wanted to know more about how she had gotten to this point.

When I asked, she explained that Disney was a cynical money making machine that takes any property it can get its hands on an rape it for every penny. The properties she was most update about and used as examples were Winnie the Pooh and Robin Hood. Getting to the core of it she felt that Disney was responsible for taking elements of British Culture and repackaging it or Americanising it and then selling it back to the younger generation.

During the discussion, she asked, why can’t anything be kept sacred and just have the purest form be given to each generation? I have my own opinions on this and as I drove home I thought about it more and why I’m actually ok with Disney and how they treat properties. I am a fan of the Marvel movies and have enjoyed all of them, to varying degrees. However, despite some missteps one of the things that I think Disney has always been spot on is the characterisations and adaptations of the main characters. They have evolved the characters but kept their soul.

As I do with most things I broke it down into different elements, which I have highlighted below. These are probably commons sense but they are worth repeating.

Evolve or die, but keep the essence

When my friend mentioned the fact that Disney had ‘raped’ the Winnie the Pooh books and that the A.A. Milne estate should not have sold the books, something very important struck me. I haven’t read the Winnie the pooh books since I was a kid. Also, that I am more familiar with the Disney version than the original, not that I think they are that different. Is this a bad thing? No, the fact is that is if the Disney version did not exist then the original would probably be lost to time apart from the few that pass the stories or books down the generations. However, that would not last forever.

The fact that several generations have had newer, glossier versions has meant that they have been introduced to the characters old and new from Hundred-acre wood. Each iteration a slightly updated version, keeping it relevant. The Key however, and this is what Disney have cracked, is keeping the essence of the character. Pooh Bear is not the only character that has survived through evolution.

To provide an example of both sides of the coin let’s look at a couple of other characters. The best one I can think of in recent years is Sherlock Holmes. I don’t think any other character has benefitted from evolution. The original stories by Sir Arthur Conan Doyle are great and worth being read, more on that later, but a stuffy Victorian detective is not an easy sell to a modern audience. So over time you have had different versions, each providing something new to the mythos while bringing the old to a new audience. In the 80’s we had Spielberg’s ‘Young Sherlock Holmes’ and Disney’s ‘Basil the great mouse detective’, I’m a fan of each and it was the former that introduced me to the original stories.

However, the most successful evolution of the character has come more recently with the BBC series Sherlock. The essence of the character has been maintained but they have moved the setting to modern London. This has stood head and shoulders over the American versions (Sherlock Holmes movies and the Holmes TV series) not because its British but because it has better writing and acting. This version has reignited interest in the character and the concept of the great detective.

Let’s look at the other side of the coin and a character born in the same period, Tarzan. The film released in 2016, The Legend of Tarzan looked glossy and well-made but it was a flop. Having seen it I can understand why. While the special effects and acting were all good, the story was so A to B simple that it may have engrossed an audience in the 1930’s but something more needs to be done for a modern audience. I would even go so far as to state that the Disney version (1999) is a better version and story. So, the character of Tarzan is little known by younger people and if is at risk being considered an anachronism and being cast aside. This is tragic as the character and concept are fantastic and in the hands a good writer and director I can imagine a modern telling making an interesting social commentary on nature vs. nurture, what it is to have mixed heritage and / or how the modern social class structure treats people.

The point is, that without these modern versions the character of Sherlock Holmes would become irrelevant, just as Tarzan is at risk of being. In this fickle world if you’re not relevant then you get taken over by other characters that are. This means that some amazing parts of culture past get lost and forgotten. I could add in a list here of so many great characters that have fallen by the wayside because they either failed to adapt or evolve (think The Shadow vs Batman or Alan Quartermaine vs. Indiana Jones). 

Grant Morrison provided a Limbo world for such characters in the DC universe. Introduced in Animal Man #25 and then expanded upon in Final Crisis. This concept is further explored in Neil Gaiman’s American Gods. These forgotten characters are all in there, waiting to be rediscovered and given a new glossy coat, ready for a brand-new audience.

Gateway drugs

With new iterations of characters not only do we get more relevant versions, more people are made aware of the original source material. The newer versions are a gateway and that is a good thing. In all cases the original and / or the best iterations of things do not go away, they are always there. However, if they are presented to you directly then you need to be given a map.

Consider Winnie the Pooh and Sherlock Holmes again. The original stories for each are really good and should be visited again and again by old and new audiences. Yet, do you think sales of the books of these stories would be as high-without BBC’s Sherlock or Disney’s Winnie the Pooh? Of course not.

As I mentioned above I was introduced to the Sir Arthur Conan Doyle stories after seeing ‘Young Sherlock Holmes’. I now have a wonderful Hardback collection that I dip into now and then. As a kid I don’t think I could have been sold on Sherlock and his detecting solely on someone telling me about them. In order for me to get through the older language and story structure I needed to already be invested in the character. My first taste was free, I had to work to get more and it was worth it.

The same can be said of Winnie the Pooh. The books are great but in the market of so many children’s books why pick up one book about a little bear over another? Well, if your child has seen the Disney version then they will choose Pooh Bear, probably the better choice. If they love those books then hopefully they will pass them on.

More than that it will hopefully open the doors to other literature that they may not have thought about otherwise, as they get older. A.A. Milne might lead to Enid Blyton and Roald Dahl. Or Conan Doyle might lead to Raymond Chandler and Ian Fleming. I am willing to bet that more people reach these other authors and stories via modern films and comics than picking them up directly.

As a final note, regardless of what you think about the 2001 – 2003 Lord of the Rings films it cannot be denied that those films opened a door to both Tolkien and Fantasy Fiction for a whole new generation. Book sales soared and people got hooked. There is a knock-on effect. Without those films, we would not have ‘Game of Thrones’ or ‘The Shannara Chronicles’. You can enjoy these both as books and TV shows.

Selective selection

A further point that my friend made was the absolute glut of merchandise that Disney produce to sell to kids. As well as all the half-hearted cash-in tie ins and spin-offs. Now as a comic book geek, I am very used to this mentality and how to deal with it. While I completely understand her point, there is a truth that must be accepted, Disney is a business and it is supposed to make money. It will produce whatever it can to make money it is up to us as consumers to vote with our money.

I know that I can go into almost any supermarket in the western world and buy some form of Disney merchandise. Does that mean that it’s all top quality and worth having? Not at all. It is therefore up to me to select what I buy and what I buy for my kids. Buy quality and what matters to you. If you want a bath towel with Cinderella or Yoda on, you can. If you don’t want to dilute your version of a character then simply walk on by.

There is no point getting upset about merchandise or add on products, they will always exist. However, you can use them to enhance your pleasure or ignore them. That is up to you.

Change is coming

Before we finish I want to acknowledge that I understand that not all versions of a character are very good or in some cases even appropriate. I have used English and Western characters for my examples because that is what I grew up with and relate to. However, I am very aware that Hollywood and Disney have butchered and converted characters form other cultures into western versions. This has been and still is a weakness of character evolution and adaption in almost all formats.

However, change is coming. There is a wave of young creators that understand that diversity is a part of adaptation and evolution. Several cases of white washing have occurred and been called out by audiences in the last few years. The loudest being for 2017’s adaptation of Ghost in the Shell. A weak adaptation was affected further by western casting over obvious Asian choices.

We live in a much more diverse and varied world and audiences have started to make their preference known. We are about to enter an era of new diverse characters or old characters evolving to remain relevant. The next version of Sherlock might not be your Dads Sherlock but that doesn’t mean either version is incorrect, just that they are part of an ongoing story of evolution.

The question is who will be at the forefront of this next era of diversity in character evolution or truer adaptation? Time will tell, but lets come back to Disney. In 2018 we have Black Panther (which I am so excited for) with a majority black cast and African setting. Not something we would have got even 10 years ago. Beyond that we have got the live action Aladdin which is casting Middle Eastern and Asian actors to tell this story of Arabian Nights. That’s not to say that we are there yet there is lots of work to be done and it needs to be handled with quality and sincere productions.

I hope for a world in which my 4-year-old daughter has access to the Winnie the Pooh books and the Holmes stories. Yet she also has exciting new characters and new iterations of old characters that have been evolved to meet the desires of future audiences and say something interesting about the world they now inhabit.

Summary

The great thing about fiction is that it’s like water. It can be poured into any container, mixed with other things, even change form to fit what you want it to do but you can always take it back to its essence. Disney have poured water into many different containers and diluted it with all kinds of things. In some cases it’s become something amazing other times a stodgy mess – but the pure water will always be there for anyone that wants to take a drink.

Evolution of the horror movie scare

As usual, before I start I have admit that I am not an expert in Horror films (despite the many, many films I have watched). This blog, as with all of them, is just my opinion and I am happy to be challenged and on anything I propose. In fact, I welcome your comments and feedback. So, let’s get stuck in.

From the earliest days of cinema Horror has been a popular genre. With films like The Golem (1915), The Cabinet of Dr Caligari (1919) and Nosferatu (1922) people loved being scared. Over the course of the next century the genre evolved and changed to reflect the fears of society. Also, upping the ante again and again on what the films could show to elicit fear and scares. Each generation has films that they claim are the best in genre and are the peak of fear. The question is, who is right if any of them?

I am a big fan of horror movies and enjoy the varied sub-genres for different reasons, expecting different things from them. However, there is a core conceit, I should feel a sense of fear when watching the film. It’s how that fear is evoked that might change. For example, the tension built up in the first half of ‘Halloween’ (1978) creates a sense of fear that elevates the events of the second half of the film. While the notion of Freddy Krueger in the first Nightmare in Elm Street (1984), a killer you cannot escape, is scarier than many of the actual ‘scares’ in the film. The film plays for blood rather than tension.

Since these films were released the genre has altered several times. The 80’s were filled with slasher films and low budget high gore video nasties. There were entries into the genre in the mid to late 70s that can be considered ‘classic’ films. However, the genre has always been fuelled by B-movie fare. It was these movies that became much of the output in the 80’s. unfortunately this meant that the genre was at a low point going into the 90’s. It was pulled from the doldrums by Wes Craven and Kevin Williamson with Scream (1996).

The film was a huge success and made Horror a viable commercial prospect again. As is always the case, Scream was followed by a litany of poor imitators. It also opened the channels for the ante to be upped once again. As we had had the video nasties of the 80s in the early 2000’s we were introduced to torture porn with SAW (2004) and Hostel (2005). The popular films source of scares had shifted again, now to victims literally being tortured or under threat of torture. The mechanics of the torture device might be clever but the scare had become simple and base.

I’m not a fan of these films. In fact, I find them tedious and a slog to watch. In my opinion, the acceptance of these as milestones in modern horror is the moment that the craft of creating tension and paying off with a scare was dropped. However, they were not the only films that changed the course of the genre during this period. The Blair Witch Project (1999) introduced the low budget high tension scares of the found footage format to the mainstream. It also introduced the notion of moving the focus of a threat or scare from the films characters to the viewers. This combination of excessive gore and direct viewer threat has been the main thrust of horror films for the last decade.

Things have started to change in recent years. Directors like Adam Winguard and Ti West have started to reintroduce the slow burn horror movie (House of the Devil 2009, You’re Next 2011). Are we at the start of another shift in horror? Could films like ‘Get Out’, ‘IT’, ‘Annabelle: Creation’ or even ‘Split’ drive the shift into the next iteration of popular Horror?

All these shifts and varying films are filled with different types of scares but do some work better than others? I understand that different people are effected by different scares but I also think that the art of a well-structured scare has been lost. The majority of horror films of recent years have all made the same mistake, in my opinion. There is a belief that the scare needs to be directed at the audience. This has been done over and over with loud musical stings and jump scares. Don’t get me wrong, these can be effective when used in the right place and sparingly. However, they have become the standard go to shorthand for a movie scare. By the third time something jumps out at me with a thump of noise, I check out. The other issue is that by directing these scares at the audience more than the characters they take the audience out of the experience rather than bringing them in. why should we care about a character surviving if we as the audience are continually put in their place?

It should be remembered that Horror films, like all forms of entertainment must contain a variety of elements to work. Some jump scares are fine, as long as they are accompanied by the building of tension and some well-placed reveals. The other elements that are more important are characters that matter and the audience cares about. It should be these characters, that we grow to love, that are under threat and to which the scares are directed. Fearing for these characters, I believe, is more effective than an audience directed scare. The final element is the context of the scare within the story. A scene can be well constructed, look great and have excellent effects but if the story is poor or makes no sense then everything else is for nothing.

All those different types of horror films that have been popular and fallen out of favour. All those masters of horror that have brought something new. They’re all valid and all deliver something worth watching as both movies and examples of Horror history. However, for all the differences the things that remain constant are at the heart of all good films. A good story, filled with characters we care about that is filmed well. Within that a good writer and director can introduce any types of well-constructed scares and the audience will be terrified.

What are the examples you think of that manage to blend all of these elements to make a great Horror Film?

Werewolves and Werewolf Movies

Stories of people changing into animals, especially wolves, have been a part of cultural mythos since ancient Greece. Those are the ones that have been written down; it is very likely that these stories go back even further. Some suggest that a story appearing in such similarity in such vastly different parts of the world can be taken as evidence that these creatures are real. However, I think it says more about the human condition than the existence of supernatural beings.

Wolves and bears were the apex predators in remote early civilisations. So it was no wonder that they were seen with such reverence and that people wanted to emulate or turn into that. In fact the word Berserker comes from the name given to crazed Norse warriors who wore Bear skins into battle. They were called Bear Shirts, taking the strength and viciousness of the animals into battle.

This idea of taking on the aspects of an animal have survived and been co-opted into other myths, such as the vampires. In addition to this the structure of the story started to take form and the monster went from being a figure to revere to one of fear. It stopped being something that people wanted to take on to become a curse that was laid on them, something that they could not control and would now manifest with the cycle of the moon.

In fact this linking with the lunar cycle became so embedded as an idea that is was accepted as reality at one point. You will have head the cliché of the crazies come out on a full moon, in fact the word Lunatic actually comes from this very idea.

So what changed in us for the story to change? Well, we grew up, become civilised and repressed our animal urges. The stories of the beast being unleashed had shifted from being one of warrior bravery to representing the release of violent sexual desire. This is the story structure that becomes standard with the birth of film. The person that became cursed is usually lusting after someone but cannot have them because the beast would be let loose. Finally they have to be put down or be sacrificed to prevent the beast from attacking again (The Wolf-man 1941)

It is only in the latter half of the 20th century that the animal side starts to be represented as something that could be embraced. The sexual awakening of the 60s and 70s made it ok to be more promiscuous, and so the beast becomes a sexual release to be revered once again (The howling). This is reclaimed in later films when not only the animal but the cyclical nature of the change is taken on by female werewolves in Ginger Snaps (2000).

Werewolves may not be as sexy as Vampires or as satirical as Zombies but they definitely have more to say about us as a society. What we want and how we are now more that civilised animals repressing primal animalistic urges that get released in different ways such violent or extreme sports, hunting, sexual perversions or even something as simple as loud music and sweaty dancing. After all, underneath art we all just a little bit of an animal.

To celebrate the first vs. battle (American Werewolf in London vs. The Howling) I have compiled my list of 10 werewolf movies you should check out.

1.       The Wolfman (1941)

2.       Curse of the wolfman (1961)

3.       American Werewolf in London (1981)

4.       The Howling (1981)

5.       Silver Bullet (1985)

6.       Monster Squad (1987)

7.       Wolf (1994)

8.       Ginger snaps (2000)

9.       Dog Soldiers (2002)

10.   The Wolfman (2010)

90s Cartoon theme Songs (by J-Man)

I grew up in the 90's. By the time my little eyes and ears could comprehend what they were being subjected to, the era of mad animation had already begun. The 1990's were a colourful time, from the acid induced dance music to the sugar and additive-laden neon sweets and drinks. Luckily the animated shows we were given were no different.
Accelerating from the successful franchises of the 80's, most of which made money from the toy and merchandise tie-ins, the animation of the 1990's seemed to blast full speed with style, irreverence and a no holds barred approach to the premise of new shows.

But no matter which show you loved the most (or simply just watched because you didn't have anything better to do while you eat refreshers and drank panda pop) the first and most resonating taste of a cartoon is its theme. And the 90's gave us some wonderful themes.

*Be warned, if you begin looking up some of these themes on youtube it's very likely you will succumb to the endless black hole of intro's. Just as Scott and I did.*

The list of catchy choruses, magical melodies and bouncing bass lines are endless. I have a special affinity for theme songs. There is something potent about the tiny snapshot of music purpose-built to set the tone of a show. Each one is like a 30 second score, encompassing the feel, the energy and often the premise of the show to come. Those of you who have stepped foot in Super Shakes will probably have noticed a handful of themes in the shop playlist (In between copious amounts of Seal). So if I took the time to go over every jingle that puts a smile on my face then this would be an incredibly long blog. [Though honourable mentions go to any theme without lyrics such as Doug, Rugrats, Ren and Stimpy; and to superstar composer Danny Elfman]
For the purpose of time and sanity I'll instead present to you 3 observations during my time in the infinite back-to-back session of intro videos. So if you are simply a curious party or are in the process of creating your own authentic sounding 90's theme song, keep these in mind.

Rule 01: 90's keep it brief

Apart from the quality of the animation and the steady decline of muscular He-Men, a new trend also occurred - swifter intros. Just as every comic is somebody's first, the same applies for cartoons with their self contained stories and repeatability. Because of this many 80's shows began with an intro that was in itself a prologue, as is the case of the hilarious and infectious opening to Ulysses 31. [Check it out here - https://youtu.be/OZ4c1X5ene8 ]
But once we past the invisible decade barrier, things start to get more straight to the point.
Maybe it was because the old style was beginning to feel tired, maybe it was to simply shave an extra minute and a half off the total run time. There is a good chance that it was because as we merged into the era of lunacy and (Ani)maniacs there was no story structure.
"Mama had a chicken! Mama had a cow! Dad was proud, and he didn't care how!"
Enough said.

Rule 02: Ducks have Soul

The musicianship behind theme tunes is often passed by. Since most of the themes are over and done with in 30 seconds, a lot of these gems and respective artists don't get to become as recognised as the 30 seconds (or less) of effort that goes in to most modern pop songs. And although there were many thematic changes to soundtracks as time progressed including Guitar riffs getting more fiery and saxophones (unfortunately) dissipating, one trend I did notice was that shows with ducks had a passionate theme that few competed with.
Lets begin with Duckula (Which began in the 80's but waddled into the Nine-zero's). Beginning with a dark and spooky backstory and blackened images, all is blasted away once the vocals burst in. I get the impression if the theme was a minute longer we would have some glass shattering vibrato on our hands. At several points there are moments when it is as if the microphone they used cant actually handle the singing. Kudos to the composers for making the very silly premise of this show get glossed over by the energetic theme.
From Duck vampires to Duck crusaders, namely DW - Darkwing Duck. This Noire-styled big-billed master of surprise had a hearty theme too. In order to even attempt to replicate the pipes on this performer you have to fill your lungs first. You can just hear the force in their voice as they repeat the title of the show, to the point where when the second verse comes in the whole song seems muted in comparison. But so do many things after you listen to this theme a few times, its hefty.
Then in 1996 as if there weren't enough rich vocals and duck centred animations; along comes The Mighty Ducks. Not the rousing live-action family comedy starring a handful of young actors (Including the future Foggy Nelson from Daredevil sporting virtually the same haircut). This is jacked up, colourful, anthropomorphic ducks playing hockey, and the theme is just as mighty. The entire song seems to be shouted and the eager singer can barely get the first sentence finished without adding some vocal flair. The incredible intensity of this theme leaves no doubt about the final statement "Ducks Rock!".

This correlation between bombastic birds and soulful songs doesn't end there. A post millennium show Duck Dodgers has a theme performed by none other than world renowned welshman Tom Jones. And if thats not enough, need I mention one of the the most catchy themes of all - a Tale of a rich Duck who famously dives into his vault of Gold coins? I'm sure you can hear it in your head already. [If not click here to develop a tick that makes you "Woo-Oo" impulsively anytime you hear the title of the show - https://youtu.be/9DXo5haNd9M ]


Rule 03: Repeat the title as many times as possible

It goes without saying that if you want someone to remember your brand, you need them to remember the name. It's quite possible this marketing tactic was discovered in the late 80's. Pick 5 cartoons that ran in the 90's, and sing the theme. (Feel free to do it in your head if you don't want to look like a Freakazoid at the coffee shop). I'd bet that you said the title of the show at least 3 times. Yes it's intended and yes it almost seems silly once highlighted (Try the theme game again with 5 HBO shows; it's very different. I'm betting on 0), but it also puts a recognisable time stamp on our cartoons, a loveable paradigm of silliness.
This may have most memorably begun with a group of adolescent-genetically irregular- Japanese covert martial arts practicing-amphibians. Yes Leo, Donnie, Mikey and Raph's unquestionable chant, which although formed in the late 80's ran deep into the hearts, minds, and dreams of 90's kids everywhere. Brought to life by the mastermind of mindless repetition Chuck Lorre (See Two and a Half Men & Big Bang Theory - J-Man), who may have unintentionally begun a more overt tradition for shows created afterwards. Notably Earthworm Jim, W.I.L.D Cats, Hey Arnold and Rocko's Modern Life all follow the formula that shouting the title is key to a good theme.
You can see this method working in the Spider-Man cartoon series (Theme co-written by Media Mogul and Power Rangers creator Haim Saban). The words are repeated to the point that the synthesised vocoder chanting goes askew into saying Spider-anything. It's almost as if the singer was exhausted or Joe Perry(Of Aerosmith)'s face melting guitar was tiring them out. I used to think that at one point he was saying Spider-Glider in reference to hobgoblin showing up on screen, but it works for any word you can cram into those syllables. Spider-pamphlet. Spider-burger. Spider-spleen. You get the point.
And as if to prove that the musicians and melody makers behind all of these knew what they were doing - See Exhibit B - Bucky O' Hare. The action packed, detailed crammed opening doesn't forget to add the secret sauce; the name Bucky O' Hare is mentioned various times as are most of the other characters. But as we reach the end there is a very self aware moment where after definitely screaming the name several times one vocalist asks the other "Did you say Bucky?" as if they have a quota to fill. Without a beat his colleague replies "I said Bucky." and they both harmonise for a final "Bucky O'Hare!". This not only adds another few name drops to the counter but is a wonderful little giggle at themselves and the absurdity of their job.

To sum up, Memory can be measured by recall, recognition and relearning. With the constant barrage of names and vivid images drilled into our heads several times over before we have even seen the show - our capability to recite, recognise and build on our knowledge may explain why 90's shows and their themes were so (literally) unforgettable.

- J-Man

(@TheMindofJMan)

Horror Novels that still scare me

As I am writing this the sun is shining, it is a wonderful summers day, we have to treasure them in the UK, we don’t get many. Looking out the window as a wisp of cloud floats past on the midday breeze it doesn’t feel like a day of Horror … for most. I, like so many horror fans, love it all year round. The greatest horror novels don’t care whether it’s night or day, foggy or bright sun, Halloween or Summer Solstice they will take you somewhere horrific and make your skin crawl. That is what a good book can do and that is why I love them.

As I have gotten older and a little more world weary the affect these books have has changed. I no longer cower under my bed sheets, hoping that a thin piece of material will protect me from some unseen terror waiting in the shadows. However, that doesn’t mean that I don’t put down a book and still have it sneak around in my brain, creating a feeling of unease. Over the years there have been several books that have affected me to the extent where they might have affected my sleep. In the light of day, it is ridiculous but there have been moments when my foot has fallen from the covers and a little voice in my head tells me to pull it in asap.

I had a think about which books have stayed with me the most over the years. After a while I landed on two books that have I enjoy and scare me in different ways now to when I was young. The first is Stephen King’s “The Shining” and the second is James Herbert’s “Haunted”.

When I first read The Shining, I was in my late teens and I read it as a haunted house story, which it is. The book is packed with a creeping and ever growing sense of dread expertly written by King. There are scenes in that book that give me physical shivers. I think Joey had the right idea to keep it in the freezer at night. Now that I am older, have a growing career and a family the book reads in a very different way. Where once I focused on the spooky inhabitants of the overlook I now see more fear and terror in the mental breakdown of Jack Torrance. A man desperate to prove that despite his faults and mistake he is a good man. His guilt and repressed frustration being manipulated by isolation as well as supernatural forces are the real backbone of this book.

This book is one of King’s best and is one of his most personal, his own struggles with drink and drugs are well known. His fears and struggles are clearly reflected in those of Jack. While I don’t have similar substance issues I can relate the frustrations and worries of wanting to do the best for a family. This great book speaks of the dark shadows that move in the night as well as those that cloud a man’s heart. This is one of the highest recommends I can make.

The second book I want to mention is James Herbert’s “Haunted”. I love this book so much that I have several copies of the book, including a signed limited edition. This is a slim novel but has so much to love. A gothic tale of a sceptic being invited to a house in a remote area that is supposed to be haunted. The story is simple and very well paced.

This was one of the first Herbert books I read when I was younger and much like with The Shining I focused on the spooky element of the story. I still really enjoy this part but again as I have gotten older I have noted that there is more to this book. The sceptic, Ash, so solid in his beliefs, being twisted not only to be made to believe but to be broken for what he believes. More and more we line in a world so twisted and manipulated by large forces that it is hard to hold on to any single belief or idea. The book explores the idea of faith and belief in an idea and yourself. The story of Ash continues in two sequels. The best of these is The Ghosts of Sleath, a story which continues the ideas of faith while maintaining the great spooky scares.

Both books are amazing ghost stories that will creep into your brain and unsettle and scare you. As the books are so well written that can be enough to enjoy. However, each of them have so much more to offer and so many more ways to keep you awake at night.

What Horror Novels do you love and you love being scared by?

The Horror writers that made me love Horror

Well it's July so what better way to celebrate the long sunny days than with a review of the Horror writers that got me hooked on to the genre as a kid. 

I am a big horror fan and I made a start on Horror novels when I was in my early teens. As soon as I started I started to try different writers. Below is a list of the writers that had the most influence on my tastes.

1.    Stephen King: Is it any surprise that ‘The King’ ended up on this list? I don’t think you can talk to anyone about horror writing without talking about Stephen King. A King novel was one of the first ‘grown up’ books I tried to read. I was trying to run before I could walk by taking on Pet Semetery and IT before I was out of ‘Point Horror’ (how good were they!). I failed to get through either and so took on Carrie. I loved it and wanted more King but after my failure to conquer the first two books I was a little intimidated. It was then that I found out there were several collections of short stories available, perfect. I got a copy of Night Shift and ploughed though it as quickly as I could. It was like being prepared for the bigger King books. Since then I have read a load of his books but it’s always good to know that there is more to read.

2.    James Herbert: My Mum introduced me to James Herbert when she read ‘Ghosts of Sleath’ when it was first released in paperback. She handed me the slightly worn paperback and suggested that it might be something I would enjoy. She wasn’t wrong and I read it in a week. It would be a year or two before I would get another Herbert book. This was the mid 90’s and the internet was not what it is now. I had to wait until I found another book in a shop or car boot sale. The second Herbert book I read was ’48. A totally different read but just as thrilling. Years later I have a complete collection of Herbert paperbacks and I am about 2/3 of the way through them. James Herbert was a great writer and a wonderful example of British Horror sensibilities. His books cover all aspects of horror and no matter your favour I am sure there is a book that you would like.

3.    Dean Koontz: Koontz is another one that I was introduced to by my Mum. This time however, I pinched a couple of the books from the shelves to take on a school trip. I took Midnight and Phantoms (Affleck was the Boom in Phantoms!) and of the two I loved Midnight. The stories were a bit pulpier, fast paced and filled with some great gory horror. I can’t say that Koontz is one of my favourite authors; however I enjoy most of his books. A few other that really stood out for me are Tick Tock and Demon Seed. The Odd series are also really good and worth reading.

4.    Clive Barker: Barker is a funny one; I was first introduced to his work via the Hellraiser film when I knew very little about how things worked. I just assumed he only made films. I was happy to find out how wrong I was in the late 90’s when I was given the paperback omnibus editions of the books of blood for Christmas. Wow was I in for a shock! This collection of wonderfully twisted and gory tales sucked me in. Barker’s imagination is vast, dark and compelling. His books vary from full on Horror to more fantasy but I enjoy them all, for the most part. While I enjoy his books you have to commit to them, they will challenge you and there are time when I am not sure if they are genius or in need of a more strict editor.

5.    Point Horror: I was too old to appreciate the Goosebumps books when I found out about them. Luckily a series of books existed for the early teen market, Point Horror. These books are written by a number of different authors, so it’s a bit of cheat but this series is still a milestone for me. They are predominantly based around urban legends horror tales and basic horror tropes but for the 12-year-old me they were perfect. These are a great entry point for younger readers, they are a horror enough that they aren’t for young kids but not overly complex or too violent or gruesome.