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.

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.

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)

When did the 20th Century truly end? (by Orie Enav)

I’m a 21st Century boy. Forgive me! At the tender age of only 28, the vast majority of my experience with popular culture happened after the Y2K bug reset civilization as we know it. Of course, I watched and enjoyed many films and TV shows prior to that calamity, but my teenage and university years were solidly based in the 21st Century. However, was the year 2000 really such a turning point that we should differentiate between what came before and after as significantly different? Or did other events serve as those defining watershed moments?

I’m not the first to point this out, and I’m sure I will not be the last, but the years we define “Centuries” as are pretty arbitrary. To say that the world of 1899 was materially different from that of 1900 is absurd, with exception that the latter had the devastating misfortune to end without Oscar Wilde living in it.  More likely, the 20th Century truly began, first incrementally with developments like the ubiquitous availability of motor cars and cinema, and then with a bang at the outset of the First World War. But we’re not here to talk about that.

My own experience is of the transition from last century to our current one, and despite how we all want to party like it’s 1999, nothing much happened then that affected our culture. For that, we must look to the major transitional events of our lifetimes.  Apologies to those too young to remember; luckily, movies are here to teach us about our own history.

1989

The 20th century was forged, defined and consumed by war. As The War to End All Wars drew to a close and the next World War loomed, it became clear that we were in for a period of instability that was largely unprecedented. Following the German and Japanese surrender, old alliances melted away as the strongest allies squabbled over the spoils, and the Cold War Era began.

Propaganda methods developed in the first half of the century were never more evident than in popular culture. Forget about asking the people to buy T-Bonds, if you want to gain support (and funding) for your proxy wars in Asia and the Middle East, you need to win over the hearts and minds of the electorate. Superman and all his friends fought the Nazis; once that threat diminished, they were replaced by those damn Reds from Russia.

Indeed, 20th century American cinema is dominated by action flicks where the enemy is Russia. James Bond fought the Russians, Rocky fought the Russians, the Manchurian Candidate taught us to mistrust our neighbours more than Joseph McCarthy ever did.  Only pinko commie types like Gene Roddenberry was willing to even consider a benevolent Russian character for the small screen. However, in 1989, that all changed.

Interbellum

When the Berlin Wall fell and the Soviet Union dissolved in 1991, Hollywood lost its easy target, an enemy we could all understand. The world rejoiced, as a new era of peace was ushered in. Our popular culture was suddenly dominated by some of the best romantic comedies ever made as people turned away from enmity to think more introspectively. Human stories dominated every genre: Superman battled American billionaires; the Friends gang had time for coffee and promiscuity; even the calls were coming from inside the house. Battlestar Galactica, a tale about the struggles of humanity to survive against a foreign alien race of murderous robots, concluded in 1980.

When discussing which Star Trek series is best, as Trek fans so often do, they usually omit the original series from consideration. It was a different time, they say, the effects and the budget were so limited that they could barely produce episodes. Of course the stories were often lame and lazy, they needed to sell accessible entertainment in an age where TV sci-fi was in its infancy! Well, while the former excuses the visual aspects, the latter does not. Obviously there are some standout episodes, but Star Trek hit its popular and qualitative stride from The Next Generation onwards, particularly in later seasons. The bulk of TNG’s best episodes take place after its second season, starting in 1990. The Star Trek we know and love, with challenging moral quandaries and thought experiments that only Science Fiction can provide, flourished in the years after the cold war ended, during a time of peace and prosperity, a time for self-reflection. This was when, culturally, the 20th century truly ended.

2001

So when did the 21st Century begin? Of course, the answer is unquestionably 9/11. A period of relative peace prevailed for a glorious decade, particularly when the Yugoslav Wars concluded and Europe finally seemed unified. Then the planes hit and we awoke as if from a dream to find the world is as ugly beyond our borders as it has always been within.

The external threat narratives returned to our entertainment, only this time the enemy was different. Muslims, Arabs, and terrorists dominated Hollywood stories in a way they had never before. America, as a concept, returned to the forefront not just a political focal point but as a cultural touchstone. Our heroes fought bad guys, always foreign, scary, and brown.

Even our science fiction, intended to be above it all in the lofty heights of philosophy, radically changed. Battlestar Galactica relaunched, but now the story was prototypically post-9/11, in which a great calamity has befalling humanity and the enemy is hiding within. Before 2001, Star Trek embarked first into Deep Space Nine and a sweeping and nuanced wartime narrative, the ups and downs, the surges, victories, defeats, tertiary beneficiaries and tenuous alliances. After 9/11, Enterprise addressed what happens once Earth has been attacked, and a desperate struggle to root out an enemy in a dangerous and unfamiliar territory.

As history moves on and the wars around the world continue, the shock and awe in our entertainment has diminished. It is evident in the Marvel Cinematic Universe how the culture is shifting from clear heroes and villains to more sophisticated plots (even if they don’t always make much sense). For example, the First Avenger fights the Nazis: easy. Then the Avengers, once assembled, fight aliens: again, Easy. But then the Avengers fight themselves in Civil War, over questions of power and consequences.

I will discuss my observations on how the media we consume lags behind the zeitgeist in a separate article, perhaps on the DragonFruit blog. Suffice it to say that the watershed moments of our popular culture are excellent resources for determining the boundaries of our centuries, and nothing of interest whatsoever happened on January 1st, 2000 except for a lot of epic hangovers.

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.

Guilty Pleasure Movies and why we love them

This month I have done commentaries for two films that I am a big fan off but I’m not sure I would admit that to everyone I know. Actually, I suppose putting the commentaries on a podcast and then writing about them shows that I would … so let’s get it out there. I really enjoy the Child’s Play Films and the 80s He-man movie, Masters of the universe. Wow, I feel better just saying it! The question is, why do I feel embarrassed for enjoying these films? Surely enjoyment of a medium such as film is subjective? One person’s flop is another person’s classic.

Before we dig into it more let’s start by being clear, I am talking about “Guilty Pleasure Movies” and so we are all on the same page let’s give that a definition:

“A movie that I enjoy despite knowing that said movie is objectively not very good or is not held in high regard by most people.”

I think that’s a fair starting point. Something else to acknowledge is that while enjoyment is subjective, film quality is most definitely objective. It is quite easy to identify parts of a film that are not good, whether its cheap special effects, bad acting or jerky editing. All of which can sink a film in an instant. So why then do so many people love bad movies? I want to give 3 suggestions that I can definitely relate to.

Ø  The ‘Fuzzies’: This comes down to a simple notion, watching said films makes you feel happy. If your bored, a little depressed or feeling ill there will be a film you will pull out that will make you feel a bit better. This is most likely going to be down to nostalgia. It might have been the first horror film you saw, or you saw it with your childhood best friend or it was given to you by someone important to you as a gift. Or it could be that you have an emotional connection to the source material the film is based on and this is the only movie version there is. Don’t underestimate the power of nostalgia, it can make the best of overlook some glaring issues in films.

Ø  Nod and wink humour: It’s said that no one wants to make a bad films, However when you have a really low budget you might not have a choice but to make a bad film. This can go one of three ways. The creators understand what limitations they have and use that for entertainment by leaning into the daftness of it (usually in horror), ignore it and try and be as straight as possible losing all credibility you have, or try and be as straight about it as possible and make something that is so bad its good. These are the films you watch with your mates. The best hope is that the creator embraced it and rolled with the situation. The film maker is bringing the viewer in on the joke and they are laughing together. For a lot of B-movie horror films this take the form of gore effects being quantity over quality. Yeah the decapitation looked a bit iffy but the buckets of ‘blood’ that coated everything looked awesome.

Ø  Your Imagination: It might just be that the film you love is just too weird for the mainstream but the concept, design and / or end product really tickles you fancy. It reaches into you and for some reason this film gets a positive reaction, when others are left scratching their heads. Let’s not be shy about it, we all have things that we enjoy that we might only share we a small group of people. There are also going to be films that for some reason or other fit into that category and tickle your fancy. These are probably the best guilty pleasures, the ones you want to show to people and explain why it’s so good, tell people what you see that they don’t and why seeing this film should change their world view. The likely hood is that it will remain that little film that you love having on your shelf but others will never quite get it. Love that film, it speaks to the real inner you.

So they are my 3 reasons why people love films that are considered guilty pleasures. I mean it doesn’t have to be just one of the above. I am sure, in fact I know, there are cases that are covered by two if not all three of the above.

Please let me know what you think. Can you relate to the above reasons or do you think there are more? Please let me know. In the next blog, I will provide a list of 10 movies that are my guilty pleasures.

My Secret Origin

Everyone has a story, an origin story if you will, about how they were first introduced to comics. It changes from generation to generation, country to country and person to person but they are always interesting. In Britain there are several comics that will almost always be mentioned, for the younger readers there is the Beano and the Dandy. They are filled with whacky Comedy anthologies containing looney toon level characters with very British twists.

I got these sporadically for years as a young kid and got an annual for each every Christmas. As far as I was concerned these were comics. I was aware of Batman and Superman but only in the sense of characters that were toys and appeared on other merchandise. It was not until years later that I would learn about them and their full and complex mythology.

So how did I bridge that gap between Dennis the Menace and the Dark Knight? My Nan took me and my sister on a lot of day trips in the summer holidays. She couldn’t drive so we travelled on coaches to the destinations. These journeys could be incredibly dull and I loved to read so what better way to pass the time than reading comics?

Before one of these journeys I was given some money to buy something to entertain myself with. So I trotted into the local newsagents, my money in my hand not knowing that on this occasion my life would change. I looked through the usual magazines and kids comics, not really interested in what I was looking at. That was until I noticed an orange cover sticking out from the back. Pulling it out I was confronted with a helmeted character astride a bike clad in guns and a large gold eagle. It was an issue of “The Complete Judge Dredd”.

I opened the pages and flicked through the black and white art. It contained several chapters of the classic Cursed Earth saga, Judge Dredd and a bunch of cohorts travelling across the radioactive cursed earth on a mercy mission. I was hooked!! But I wasn’t finished there. As I pulled out the issue of Complete Judge Dredd, I uncovered that week’s issue of 2000AD. I was noticed it because the same character, Judge Dredd was it. My chubby little hands grabbed it from the shelf and opened it up. I couldn’t believe it, these stories were in colour!

I purchased both comics and ploughed through them several times that day. However, the one thing that struck me hard was that neither of them contained the end of the stories. I had to get the next issues to see what was going to happen. I went back to the newsagent a few days later and asked when the next issues will be in. They told me and I was back week on week absorbing the mad beautiful sci-fi horror that was early 90’s 2000AD.

As is very obvious from my previous blogs and podcasts, I did not stop there. As the title of this blog states, 2000AD was my gateway drug into the comic world. It was and is such an amazing comic and a staple of British pop culture.

After a couple of years of the 2000AD world I came across a Forbidden Planet in my home town. Holy Shit!! There are shops dedicated to this and so many other wonderful comics!! It blew my tiny little mind. My obsession was about to go to the next level … but that is a story for another day.

I would be fascinated to hear your comic’s origin story, what was your first comic? Where did you see it and what did you feel about it? Please let me know.