The Time has Arrived...

Hello People of the Internet!

   Well...the time is here! Summer is officially over! This is officially the last post before I become a fully fledged University student this Saturday! I reiterate from last week's post...I AM TERRIFIED! I guess the fear comes down to the fact so much change is happening at once. Everything is changing! So, this is just an incredibly short update to say that though the next week may be slightly mental, thus difficult to post, I really plan to stick to posting if for no other reason it both relaxes me and helps me get some of my thoughts about specific films, straight and clear. Change and new environments can be incredibly daunting but if you find something that remains a constant, it can be a definite comfort and thus help you to relax and consequently embrace what is different. This blog will be one of the constants that will hopefully help me relax...even if some posts descend into simple 'blabbering' and just a 'stream of my own consciousness'. Hopefully, University will allow me to grow and improve as a person, thus this blog will grow and improve at the same time.

    One way I am already looking to improve myself, as a film student specifically, is to expand my limited and narrow taste in films. I have set myself a challenge to watch five films in one week, films that are cult favourites or/and critically acclaimed. I am a rather regimented person, sticking to schedules and goals. If you are like me, a person very much on the side of order, you will know. All I would need to say is one word...lists! Oh the humble list has so much power in its ability to calm the anxious mind! I have a list of this weeks five films and am currently working my way through them slowly but surely. The list includes:

1) The Shawshank Redemption directed by Frank Darabont 

2) Fight Club directed by David Fincher 

3) Pulp Fiction directed by Quentin Tarantino 

4) The Godfather directed by Francis Ford Coppola 

5) Se7en directed by David Fincher 

     And I must say the Shawshank Redemption and Fight Club are very good films and undoubtedly deserve the praise they often get! Also, it has reiterated a lesson to me about judging too early. Fight Club specifically, with its renowned narrative twist, was nothing like I thought it would be. The directing style along with decision to have a narrator was completely different to what I expected. Arguably, as a film viewer, I  very much have a preferred genre and niche! Ask me questions on Harry Potter trivia and I would probably talk all day, without taking a breath! Fantasy and big blockbuster films, specifically franchises adapted from novels, will always hold my interest and dominate my love for films. However, if nothing else I have learnt to both give older films a chance and to widen my viewing into more genres!

     From films, no matter how cliche the concept is, I really believe we can learn a lot. When you give films that you would not normally try a chance, and then end up enjoying such films, it teaches you to both relax and give other opportunities in life a chance. Reading back through this post I seriously see  no real plan to the writing or any objectives. It is not a review, though possibly it has loosely become a recommendation for those few, who like me, have not yet watched all these widely popular films. If I am to ask you to take anything from this post it is to bear with me. I am still young and trying to find a direction in my life and I think this blog has begun to reflect this, as it will continue to do so as I enter University. Consisting of film reviews and recommendations, interspersed with posts of vague comments on life I hope are at the very least uplifting, this blog is considerably eclectic. I ask that any readers stick with me and simply watch as many films as possible. I am a firm believer that films and television hardly 'rot our brains'. The ideologies or concepts encoded into media texts, with mediation by someone's personal morals and ideas, can teach us a lot. Films can open your eyes to opinions and experiences not thought of already, and all this from the comfort of our own homes.

     If you are a interested in films or simply someone that watches them now and again, or even someone interested more in literature, my main opinion is that variety is the way to go! Watch and read as many genres as possible! I am far from any kind of authority on the subject, just a random person lost in the sea of internet code and webpages. But if you have found your way to my little corner of the internet I hereby challenge you. I challenge you to find as much variety as possible, in the media texts you consume in daily life. By all means if you enjoy fantasy, continue to read and watch fantasy. But if that little voice in your head, that normally urges you away from a bleak looking cover of a political thriller novel, or from a historical dramatic film, pipes up...don't necessarily listen to it! Same with general life...never continue with something you are not enjoying just because you feel the urge or need to try something new, but on the flip side do not be too scared to try new things. I am going to try and listen to my own advice, it is going to be hard but there is no harm in letting go sometimes.

Thank you and until next time...keep on watching random stuff...go for all opportunities offered to you...and just keep smiling!

Note: Images are mine...I hope they put a smile on your face...they have no theme just randomly chosen because I thought they were uplifting!

The Great Gatsby...pushing against the current...

Hello People of the Internet!

This post is rather late but only due to the fact that, simply put, things are still mental at the moment. University is less than two weeks away and that is completely terrifying! Most of my time at the moment is spent running around like a headless chicken, desperately trying to get the last few things I 'need' in order to be ready. The truth is I can collect everything together, all the things on my list, but I am never going to feel prepared and never going to be ready. I am under no illusion that I have a struggle ahead of me. I have never been the most confident or most independent but I think that I am ready for the challenge..I hope anyway.

     For this weeks post my attention, once again, has moved back to past college work. 'The Great Gatsby' is an awesome novel by F. Scott Fitzgerald, a necessary read at least once in your lifetime. It has provoked an awesome film adaptation by the inspiring director/writer 'Baz Luhrmann'. Chances are, you have more than likely already seen the film adaptation by now, considering it was released two years ago in 2013, but if not you must watch now...stop reading and watch. In his usual style the director constructs an overly extravagant and often gaudy mise-en-scene, perfectly representing the decadent world of thrills and luxury seen in Gatsby's house (played by Leonardo DiCaprio) used to impress love interest Daisy (Carey Mulligan). The directing style reflects and becomes the epitome of the 1920s American Boom setting. Overall, I recommend watching the film yet also taking it just for what it is. When a great book is turned into a film, the film will undoubtedly face great scrutinisation and never live up to the wild imaginations of readers' minds. However, my personal philosophy when it comes to film adaptations is that they only add to any book's universe. Any film adaptation may fail to live up to it's literature predecessor but it should be seen more as an accompanying media text rather than a replacement or bid to be as good as the writing it is based upon. As with 'Great Gatsby', the film may be flawed, it's scenes often fall short of Fitzgerald's descriptions of a world of 'unreality', but it only fails when compared to the novel. It must only be seen as something extra, slightly separate. The performances are suitably emotional; the setting still perfectly juxtaposed between the the decrepit 'Valley of Ashes', the moral decay of the 1920s American society and it's weak industrial foundations of the Boom, against the thin facade of rich luxury and happiness, on 'West Egg'.

Here is an essay of ideas, analysing themes in the novel. Read and enjoy if you are interested just please don't copy the general ideas and writing....they are the property of my mind and all its anxious and crazy qualities. The essay compares 'The Great Gatsby' with 'Atonement' which coincidentally is another great book/film pair that you should check out.

Appearance and reality in The Great Gatsby and Atonement according to Social influences 

     Both The Great Gatsby, by F. Scott Fitzgerald, and Atonement (Ian McEwan), suggest appearance is an illusion compared to reality and these illusions, are consequences of divisions between social classes. False personas from characters are seen, compared with truthful characteristics. The time periods, settings, force people to present themselves a certain way. In The Great Gatsby, the ‘roaring 1920’s’ are portrayed through Jay Gatsby and Daisy’s societal actions in particular. Nick’s narrative, shows a needed social security, defines relationships. In a pre-World War Two Britain, seen in Atonement, constrictions of class, cause people to act falsely. Cecilia seemingly hides her attraction to Robbie, as he is beneath her in traditional hierarchy. Characters can misconstrue these appearances thus the narrative becomes unreliable. 

    Firstly, with The Great Gatsby, themes of appearance versus illusions are explicitly expressed with how Jay Gatsby conducts himself. His act is controlled; a perfected façade, hiding his low society origins and struggle to gain wealth. It’s guessed that it may ‘ve been gained through ‘bootlegging’ alcohol (illegal during America’s prohibition). Nick, the narrator, describes Gatsby as acting with a ‘strained counterfeit of perfect ease’.  Gatsby’s uncomfortable reuniting with Daisy; the atmosphere is ‘strained’. However, being described as ‘counterfeit’, specifically references the fact that Gatsby is a fake portrayal of sophistication. 

        Despite generous wealth, Gatsby’s never accepted into high society, due to the fact his lowly farmer origin is drastically different compared to East Egg inhabitants. Gatsby has risen in wealth; believing he needs money to please Daisy. He has reinvented himself into this false ‘counterfeit’ but dresses in ‘pink suits’, showing he lacks understanding of social etiquette, unlike those born wealthy. His ‘perfect ease’ is an imitation of a gentleman’s actions; it is not natural. Importantly, he still ‘stalks’ around Nick’s cottage; creating an impression Gatsby is less refined and feral. He’s suffocated in high society, hiding behind this ‘dignified’ appearance. Later, he even explodes with supressed anger in the Plaza Hotel. Until then, a mechanical façade appears, acting as if a puppet ‘on a wire’, performing this refined ‘counterfeit’ for Daisy’s benefit. 

    At one point, Nick states, ‘Gatsby got himself into a shadow’. Gatsby ‘conscientiously’ operates to ensure his lower class flaws aren’t discovered by Daisy, tarnishing his image. He manoeuvres into a ‘shadow’ so light cannot uncover cracks in his performance; uncover his secretive past. By moving into ‘shadows’, Gatsby withdraws from the situation. Alternatively, the ‘shadow’ foreshadows Gatsby’s death. The ‘shadow’ juxtaposes with hope, shown through ‘sunlight’ after ‘rain’, stifling his chance at love. It represents Gatsby’s imminent demise by John Wilson from the Valley of Ashes, the setting itself society’s ‘shadow’. 

       Eyes are important in Gatsby; windows uncovering false pretences. Gatsby’s eyes become personified as ‘unhappy’, even as he attempts to appear relaxed. Daisy’s eyes begin ‘bright’, and ‘happy’, but become ‘frightened’ with the reality of killing Myrtle. Largely important, is symbolism from ‘Doctor T.J. Eckleburg’s’ eyes, this advertisement becoming a representation of God for unstable Wilson. Eyes that ‘see everything’. However, they’ve grown ‘faded’ in a ‘non-existent’ face. There’s absence of faith and hope in the Valley of Ashes and this becomes an excuse for loose morals in 1920’s America, reinventing oneself becoming normality. This idea that anyone can achieve prosperity, the American dream, becomes an illusion; unachievable on mass. Even in Atonement, eyes are telling. Robbie’s are ‘boyish marbles’, alluding to a childish age when Cecilia and Robbie interacted without society’s dictation or ideologies affecting their actions. The ‘mélange marble’ colours, show a hectically confused nature. Robbie embraces his origin, unlike Gatsby, proudly announcing his ‘housekeeper’ mother, but tries to smother other attributes. He distances himself with a Cambridge education. 

        Furthermore, Daisy conforms to society’s expectations. A beautiful façade put forward masks an unhappy reality. Arriving at Nick’s cottage, Daisy is wearing a ‘three-cornered lavender hat’. This colour creates femininity, painting her as perfect ‘wife material’. Also, Daisy’s trait to blend in with her surroundings is presented. Trees surrounding Nick’s cottage are ‘lilac’, similar to the ‘lavender hat’, implying to readers, Daisy is this ‘bright’ character craving attention, using her ‘rippling voice’ to enrapture male attention. But, also, she relies on social security of high society, blending to secure her position. 

       Daisy’s a stereotypical delicate woman, often wearing innocent ‘white’ to reflect her namesake of a beautiful flower. She seamlessly belongs, compared to ‘counterfeit’ Gatsby. It’s second nature for Daisy to hide sadness; remain presentable. Her mesmerising voice is a ‘wild tonic’ drugging men into dazes but has ‘artificial tones’, implying this seductiveness is a conscious effort.  Oppositely, the fact Daisy’s aware of her less powerful situation, in 1920’a society, shows she will never truly belong. She states the best thing a girl can be is a ‘beautiful little fool’. Daisy tries hard to perfect her appearance, due to feeling isolated. She tries to steal power back from ‘dominating’ Tom but her knowledge it won’t help, forces her to wish she herself was a ‘fool’, not worried about limitations for women in this era. Equality of genders, from Daisy’s view, is an intangible illusion.   

          Even ‘frightened’ by seeing Gatsby, Daisy remains ‘graceful’. It’s important she remains beautifully poised; beauty being the only power woman had in a male dominated society. Consequently, readers are unsure to Daisy’s true personality. Cecilia similarly conforms to expectations placed upon her, therefore is frustrated with her attraction to Robbie. Fragments of the vase ‘writhe’ and sibilance like ‘synchronous, see-sawing motion’, reflects a sexually charged atmosphere between the characters. However, Cecilia stifles this and exercises authority over Robbie because she doesn’t believe in a shared future.  Consequently, she hides from herself and uses a ‘condescending’ attitude, focusing on his ‘inadequacies’. She wishes to ‘punish’ him because, as a wealthy and sophisticated woman, she’s expected to marry someone equally as wealthy, ensuring the Tallis family remain secure. Therefore, Cecilia views her attraction as Robbie’s fault. A significantly divided society, before war comradeship, has forced Cecilia to become snobbish, hiding away from the reality of her feelings. 

          Furthermore, narrators are unreliable; therefore readers are given false appearances compared to reality. Briony ‘s unreliable because she’s too young to understand sexual tension between Cecilia and Robbie. When she views the ‘vase incident’, her privileged upbringing means she sees this ‘commanding’ lower class man, forcing her sister to undress. She presumes because Robbie is less privileged, he is experienced with dangerous ‘black mail’ and ‘threats’, like rumours of Gatsby implied. A darker reality is expressed through Briony’s innocent misunderstandings. She doesn’t see love Robbie feels; adoration shown in viewing Cecilia as an ethereal and ‘frail nymph’. Her view of reality is warped, thus she falsely convicts Robbie. Briony has been susceptible to ideologies of high society; therefore readers question her reliability Alternatively, Briony’s ‘schoolgirl crush’, not her upbringing, could have caused her to knowingly accuse Robbie in a fit of jealousy. Her selfish need for redemption, entitles her to untruthfully ‘write a different ending’, one where Robbie and Cecilia survive. Briony only cares for her identity as an author. She compares herself to ‘God’ with her power over words; believing it ‘not impossible’ for the dead couple to be at her birthday, just because she deems it so. Nick’s similarly unreliable, despite stating he is ‘reclined to reserve all judgements’. Nick generates obvious affection and admiration for Gatsby. When Daisy and Gatsby meet, Nick feels embarrassment for Gatsby, when the ‘clock’ is nearly broken. His face ‘assumes a deep tropical burn’. Nick is very empathetic towards Gatsby, even feeling his embarrassment. This implies Nick’s recall of events is highly subjective and biased. Nick describes servant ‘Finn’ as ‘demoniac’ when he interrupts Gatsby and Daisy. Nick is sympathetic to Gatsby’s story and plight for love., so much so, he wants Gatsby with Daisy even if Tom’s marriage is broken. Gatsby has taken over Nick’s world; it’s blasphemous and ‘demoniac’ to go against him.

           Finally, in The Great Gatsby, symbolism is important. When the ‘clock’ appears insignificant and ‘old’ in Nick’s cottage, it really represents time Daisy and Gatsby have lost. The fact they almost believe it ‘smashed in pieces’ on the floor suggests that tension in the room, implies the couple think they can’t recapture past memories. They’re ‘broken’. Despite what the two appear as, both refined higher-class socialites; they are different ‘breeds’ of people. Gatsby will always be ‘James Gatz’, of new money, who does not understand traditional ‘old money’. Gatsby fears it’s too late for reconciliation. His fingers ‘tremble’ and, momentarily, his emotions take over. He’s less controlled despite the composed  ‘at ease’ exterior. Atonement’s symbolism appears through the ‘vase’ representing love between Cecilia and Robbie. However, their love is broken into ‘fragments’ before it blossoms, instead of having lost love like Gatsby. The sophisticated ‘vase’ juxtaposes with the simile as it snaps ‘like a dry twig’. With two people hiding feelings, according to class expectations, love becomes fragile like a ‘twig’. The word ‘twig’ reflects a coarse Robbie, whilst the ‘porcelain pottery’ reflects frivolous well-bred Cecilia through alliteration. They are polar opposites (like Gatsby and Daisy), believing they cannot work.

      Ultimately, Fitzgerald’s Great Gatsby highlights the appearances hierarchical societies expect, of refined gentlemen and delicate women, can stifle relationships. Appearances of happy women like Daisy, who hide their actual sadness, have created ideas that wealth is the only thing needed. In reality, wealthy people of ‘West and East Egg’ are no happier than those in the Valley of Ashes. Gatsby reinvented himself, but even wealth doesn’t keep him from becoming a ‘counterfeit’ in pursuit of Daisy. Daisy won’t leave the social security of Tom Buchanan, because of his family’s reputation. Robbie and Cecilia’s love had a chance at survival, as Robbie reinvented himself through education (not illegally like Gatsby). He may struggle with acting as refined as Cecilia, becoming easily ‘irritated’, but the pair should’ve overcome class divisions, had Briony’s innocence not warped reality, seeing danger where only frustrated love existed. 

The 'Great Gatsby' quote “So we beat on, boats against the current, borne back ceaselessly into the past.” becomes relevant and even more poignant to me with University closer than ever. I very much feel up against the 'current' lately and will probably face many struggles. I will look back at the 'past' frequently for comfort. However, I may be pushed back 'ceaselessly' and find it daunting to separate myself from the comfortable past, a feeling  intrinsic to human nature, but it is something that has to be done. I therefore step forward on shaky legs..ready to conquer the challenges that will be thrown at me. 

Thank you and until next time...keep on watching random stuff...go for all opportunities offered to you...and just keep smiling!

Note: Images not mine!

Romantic Horror!

Hello people of the Internet!

    I am not going to lie, I wasn't sure what to review or recommend for this week's post. However, by chance, I happened to be reading through past college essays and came across my coursework investigation into Gothic Horror and Romance on television. I can remember how much I actually enjoyed writing this essay and reading around the chosen area of genre, particularly hybrid television. Gothic horror is something that has always been close to my heart, a fascinating genre that gripped me from the very first time I read 'Dracula' by Bram Stoker. However, unashamedly I admit to also being a fan of the more recent romanticised era of horror. It can be claimed that vampires as a horror convention have transformed from something in which to solely fear, the epitome of sin amongst a religiously dictated society, to somewhat of a love symbol, a perfect 'unattainable' or 'dangerous' sense of love but still...the point stands. With this concept, I began to compare two shows I myself love and completely recommend. The 'Vampire Diaries' and 'Penny Dreadful' depict two different 'cycles' in horror but more importantly raise a theory that the two genres, romance and horror, are not entirely the polar opposites people first believe. This is why the genres have created a modern hybrid sub-genre, romantic horror, that has been incredibly successful amongst recent audiences. I read many captivating stories, visited many interesting websites for the source material in this essay (books I highly recommend for any horror or general media enthusiast) as well as watching the pilot episodes of both shows. So...there you go!

This is a long post, I do not suggest anyone need to read it in its entirety but if you do, I simply hope it interests you and that you enjoy. 

With reference to ‘The Vampire Diaries’ and ‘Penny Dreadful’, does modern horror on television require codes and conventions of the romantic genre, in order to be successful? 

          Recently, horror has been romanticised with romantic codes and conventions. A hybrid genre has been created, where romance and horror intermingle. The question is, why has this fusion occurred and more importantly, whether hybrids have become more popular than traditional gothic horror that avoids romantic mise-en-scènes. The French word ‘genre’, meaning ‘type or kind’, is often associated with ‘cycles’; ‘referring to groups of films made within a limited time’. [1] Looking at television, this suggested ‘cycle’ is evident. ‘The Vampire Diaries’ and ‘Penny Dreadful, both show two ‘cycles’ or waves in horror. ‘The Vampire Diaries’ arrived September 10^th 2009 in the midst of a ‘vampiric craze’ that swept the media. Consequently, the series bought the biggest premiere since the 2006 CW network launch; an audience of 5.7 million people watched the premiere. [2] ‘Penny Dreadful’, a more modern horror show, provides a move away from this newly discovered hybrid genre. This show differs from the ‘Vampire Diaries’ and centres less on a romantic love triangle surrounded by paranormal dangers. ‘Penny Dreadful’ is no less successful, having won ‘Most Exciting New Series’ at the Critic’s Choice Television Awards. [3] Ultimately, romance has been introduced and resulted in a successful hybrid genre, whilst traditional gothic horror has been reawakened. Turbulent romantic feelings, heartbreak or lust, can aid audiences in engaging with fantastical horror, though because both shows are successful, it may not be necessary.

           Firstly, with romance’s introduction, ‘Vampire Diaries’ subverted the conventional horror vampire. This stereotypical monster evolved into a symbol of eternal or unattainable love. With ‘Vampire Diaries’, the vampire has become a heroic character (Vladimir Propp),[4] compared to the original evil villain. Author Neil Gaiman, has discussed ‘vampiric evolution’ and references genre’s ‘cyclical’ definition, believing that ‘vampires go in waves’, though have currently ‘reached their saturation point’. ^[5] He discusses that vampires now need to be ‘elegant’ and ‘sexual’ in order to attract audiences (scopophilia) and thus they directly juxtapose with previous horror representations. For the majority of ‘Vampire Diaries’ opening, Stefan (Paul Wesley) wears a black leather jacket, connoting him as this conventional romantic ‘bad boy’ character. Interestingly, character Bonnie implies through teenage, diegetic dialogue (‘romance novel stare’) that this element of darkness entices Elena. As she stares at Stefan, a POV shot pans forward. The audience feels attraction.

         Attractive vampires, seen in Stefan and Damon Salvatore (Ian Somerhalder), introduce a romantic love triangle with protagonist Elena (Nina Dobrev). This love triangle is conventional to romance. Producer Kevin Williamson believes that ‘high school is a horror movie’ ^[6] and this belief has clearly been imposed on his series. The modern day setting, allows both genres to mix seamlessly. A typical high school mise-en-scène is seen; evident in many other romantic shows. Elena, the female protagonist, meets Stefan and in doing so, the archetype ‘boy meets girl’ romantic narrative is introduced. Furthermore, Matt (Zach Roerig) appears in a deep focus shot, alienated from Elena in the foreground. Matt becomes the generic jealous character of romance; posing a threat to the main relationship and creating another element of conflict. This keeps the audience ‘hooked’, alongside supernatural horrors e.g. vampires and witch Bonnie (Katerina Graham).

        Philosopher Noël Carroll theorizes that horror appeals to ‘curiosity’. He states ‘art- horror is the price we are willing to pay for revelation of what is impossible or what ‘violates our conceptual schema’. ^[7] The initial night forest setting of ‘Vampire Diaries’ is highly conventional. An element of chiaroscuro has been used to create necessary sinister tones. Shadows invade the foreground of the shot as it pans towards the right, with backlighting to reinforce this unnerving effect. Silhouette branches merge into one shadowed web to foreshadow to the audience that a tangled web of chaos will erupt (as expected in horror). As Todorov states, Elena’s equilibrium will be disrupted with the vampires’ introduction. Close ups of vampire teeth and blood unsettles the audience, but the love triangle and scopophilic vampires provide audiences with more ‘unknown’ relationships to ‘unravel’, without having to ‘pay’ for more violence.

        Reaching ‘saturation point’, as Neil Gaiman states, explains a shift back towards traditional horror, within recent ‘Penny Dreadful’. ‘Penny Dreadful’ reanimates the gothic archetype vampire villain from Bram Stoker’s ‘Dracula’. The romantic heroic vampire has faded, whilst conventional monsters are resurrected. As Neil Gaiman states, vampires should now be ‘outsiders’ luring their prey in. ^[8] Their return to villainous roots successfully appears in television horror as the romantic craze ends. Vampires are seen as feral creatures in episode one of ‘Penny Dreadful’. Close ups of red eyes and drooling fangs reiterates this. There is no redemption or sympathy for these characters as opposed to the Salvatore brothers. Sir Malcolm (Timothy Dalton) has to take power back from these vampires. Traditional vampiric lore is used in a low angle, as he stakes a vampire to take back authority. As David Russell suggests, there is ‘uncontrollable flux and violence’ ^[9] in the horror genre. The horror genre undergoes ‘cycles’, romance being just another ‘uncontrollable’ change as audiences’ interests evolve. Romance softens the attacks in ‘Vampire Diaries’, but ‘violence’ becomes more prevalent in ‘Penny Dreadful’ as the vampiric craze fades. Horror must undergo these ‘cycles’ or waves’ to survive; romance provides a fresh approach and appeals to a wider audience.

       Overall, horror in ‘Penny Dreadful’ is more evident with the first use of red shown through blood. Also, in the title sequence, a romantically innocent, pure flower (connoted via the colour white) begins to spill blood. The presence of blood is a pivotal convention to horror, the stark red signifying violence that is necessary to horror narratives. The flower drips blood to connote, that seemingly innocent character Miss Ives (Eva Green) hides something darker. This innocent outer façade, covering something darker, commonly occurs in romantic horror hybrids. However, importantly, despite the fact ‘Penny Dreadful’ focuses on horror, compared to ‘Vampire Diaries’, both focus little on ‘gore’, compared to insubstantial threats. Using ‘Penny Dreadful’, gothic horror is described as an ‘offshoot of Romanticism, weaving stories rife with ancient horrors, dark passions, and doom. It’s bloody, but the focus is never on the gore.’[10] Distinctively, modern horror avoids a constant bombardment of ‘gory’ visuals. Penny Dreadful’ is excellent in following conventional corruption of gothic horror; reanimating Gothicism by focusing more on earlier foreshadowing of ‘doom’ or ‘dark passions’ that frighten audiences.

        ‘Penny Dreadful’ uses a stronger sense of horror in 1891 London, thus ‘reanimates the gothic horror genre’. [11] Compared to ‘Vampire Diaries’, chiaroscuro is more heavily evident. Long shots of shadowed streets, with fog and low lighting concealing frame edges, establish a gothic setting, perfectly reminiscent of traditional horror. In total, three months of pre-production went into constructing a Victorian era London, showing horror has reverted to its origins. Gothic literature from Oscar Wilde, Bram Stoker and Mary Shelley (Dorian Grey, Dracula and Frankenstein), heavily influence this series. Using these influences, ‘expressionism’ is seen, where the ‘psychology of characters (feelings, sexuality, motivation) is evident in external manifestations and setting. [12] Penny Dreadful is as successful as ‘Vampire Diaries’, because its stereotypical gothic London mise-en-scène, allows a strong ‘expressionist’ effect. ‘Vampire Diaries’ seemingly relies on verisimilitude, the ability for a younger audience to engage with a realistic high school and youthful dialogue. However, ‘Penny Dreadful’ creates disturbing effects by projecting the characters’ darkness visually (low-lit frames and frequent shadows).

        Both shows compete in a medium that hinders their chances of success. Commercials, on television, can interrupt the encoded tense atmospheres. Some critics believe that ‘the idea of watching horror on television, with gore and nudity replaced by commercials, often seems pointless’. [13] In comparison, film provides cinematographers with ‘a larger canvas’, allowing ‘the more demented among them to immerse the audience in nightmare landscapes’.[14] These limitations have instigated the romanticized hybrid. The romantic aspect works well with the ‘commercials’, injecting more romantic drama into each episode; cliffhangers such as will the hero end up with the princess, instead of breaks in horror tension. Ultimately, horror benefits when a continuous tense atmosphere is created, i.e. diegetic ‘creaking footsteps’ or ‘cracks of thunder’ within ‘Penny Dreadful’.  Instead, ‘Vampire Diaries’ creates a continuous, conventional love story with softer warm lighting, for the majority of the first episode. A wide shot of a sunrise, conventional to romance, connotes a sense of flourishing feelings between Stefan and Elena; a story that the audience eagerly follow.

      In contrast, these two examples, utilize the opportunity for long-form storytelling’[15] (‘serialization’). Eric Freedman states ‘the advantage of serialization is that it creates the demand it feeds…the desire to find out ‘what happens next’ only satisfied by viewing the next instalment.’ [16] Both these shows are successful, because ‘serialization’ urges audiences to watch further and sate their ‘curiosity’; romance injects further suspense.

        Alternatively, Aaron Smuts reinforces a suggestion that romance has been injected into horror to make it more believable through ‘Disbelief Mitigation’.  Smuts states that ‘the importance of mitigating disbelief is crucial. Interference with fear, by disbelief, is harmful…belief provides a semi-cognitive amplifier for viewers response’. ^[17] Arguably, because both shows use romantic relationships, in which audiences can personally identify with, they become more ‘real’. Fantastical horror in both shows, ‘Vampire Diaries’ witchcraft or ‘Penny Dreadful’s tarot reading, is unbelievable, with non-diegetic orchestral instruments reinforcing magical atmospheres. But when you add relationships between Elena and the Salvatore brothers, in front of curtains with flowers signifying romance, or lustful attraction between Miss Ives and Ethan Chandler (Josh Hartnett), the audience are better equipped to relate to experiences.

          Overall, there is a polarization amongst horror critics, ‘loosely defined as ‘subjectivists and objectivists’. The ‘objectivists aspire towards a totalizing description of genre…clearly defined categories of iconography or themes’. Subjectivists, tend to focus on the genres’ less tangible emotional effects’.[18] Visually, horror and romance are polar opposites, however their ‘emotional’ effects, as defined by ‘subjectivists’, are closely interlinked. This may be why genres have successfully interwoven together. Whether it’s Elena’s emotional heartbreak over Stefan’s vampirism and secretive nature, captured in an extreme close up, or Ethan Chandlers shock over reanimating corpses from over the shoulder angles; the audience are subjected to a variety of strong emotions. It doesn’t matter whether it’s romance or horror. As Professor Jeffrey Goldstein argues ‘you choose your entertainment because you want it to affect you’. [19] Romance and horror, rely on base emotions that active audiences relate to; love and fear. People choose romantic horror because these emotions are conventional to the genres and provide a strong ‘affect’.

      Carol Clover argues that ‘horror tends to be made on the basis of imitation’. ^[20] This explains the ‘very Hitchcock’ reference in Elena’s dialogue, whilst situated in a conventional horror graveyard. In ‘Penny Dreadful’, a mother is attacked whilst in the bathroom, her horror-stricken diegetic scream, reminiscent of Hitchcock’s renowned ‘Psycho’ shower scene. Williamson is able to appeal to younger audiences through this hybrid genre. He is praised for ‘realization that young people feel as empowered in their roles as knowing cultural consumers…fulfilling their romantic longings’. ^[21] Romantic conventions can help target the ‘knowing cultural consumers’ of younger teenage demographics. Younger audiences have economic dependence on older generations, yet ‘Williamson’ credits his success on ‘realisation’ that younger people contribute considerably as television audiences and as horror enthusiasts. Therefore, Williamson has introduced romance to instigate ‘romantic longings’, encouraging younger audiences to develop a personal investment in characters by making younger target demographics and horror enthusiasts feel appreciated.[22]   

     Ultimately, “Genres do not merely exist in their own little worlds. They are intertextual…organic…feeding off each other hungrily…they play with audience expectations’. [23] Romance and horror have intertwined, ‘hungrily feeding of one another’. Kevin Williamson raises this idea, with the ‘Vampire Diaries’, that themes common to horror, like ‘immortality, lust and fear’ work well in romantic high school settings. He uses ‘life and death stakes…and prom night’ and addresses the challenge of ‘telling stories with emotion’ whilst keeping them ‘real and grounded’. [24] Romance enables the horror conventions to be ‘grounded’ and ‘real’. Through this setting, horror and romance aren’t perceived as polar opposites. These shows are successful hybrids; the genres mix so seamlessly, because horror has always been about romance amongst younger generations. Even in the slightly more horror-filled gothic ‘Penny Dreadful’, relatable emotions establish verisimilitude, ‘grounding’ the supernatural occurrences conventional to horror. These shows are successful because romance reinforces audience engagement with the darker side of television. The ‘cycles’ of horror may change, but audience ‘emotions’ behind these genres, will always dictate any shows’ survival.

Once again, I hope you enjoyed reading this essay. Though, unfortunately, the shows or images are not mine, nor the awesome concepts from source material, I did actually think of the general ideas in this post all on my lonesome so please don't copy. Thank you and until next time...keep on watching random stuff...go for all opportunities offered to you...and just keep smiling!!!

On a side note, in regards to 'Penny Dreadful', I HIGHLY RECOMMEND if not anything else, watching Bille Piper's monologue in the episode 'Memento Mori'. The writing is brutal and often uncomfortably blunt, however Billie Piper delivers it with emotional power that can leave you speechless. Fantastic! 

Bibliography: (Interesting sources you may enjoy exploring further!)

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[1] Steve Neale, Genre and Hollywood, (2000) Routledge Taylor and Francis group London- page 9

[2] http://www.imdb.com/title/tt1405406/

[3] http://www.imdb.com/title/tt2628232/awards?ref_=tt_ql_4

[4] Propp, Vladimir Theory and History of Folklore: Volume 5 of Theory and history of literature (1984)- translated by Richard P. Martin, Manchester University Press- page 173

[5] http://www.ew.com/ew/article/0,,20301186_3,00.html

[6] Crissy Calhoun, Love you to Death: The Unofficial Companion to the Vampire Diaries (2010) ECW Press Toronto Canada- page 18

[7] Noël Carroll in Steven Schneider and Daniel Shaw’s Dark Thoughts: Philosophical Reflections on Horror (2003)- page 8

[8] http://www.ew.com/ew/article/0,,20301186_3,00.html

[9] David J. Russell in Refiguring American Film Genres: Theory and History (1998) edited by Nick Browne, University California Press- page 234

[10] http://www.theatlantic.com/entertainment/archive/2014/06/a-good-fright-is-hard-to-find/373597/

[11] http://www.theatlantic.com/entertainment/archive/2014/06/a-good-fright-is-hard-to-find/373597/

[12] Colin Stewart, Marc Lavelle, Adam Kowaltzke, Media and Meaning: An Introduction (2001) BFI Publishing- page 201

[13] http://www.mania.com/history-horror-television_article_129603.html

[14] http://www.mania.com/history-horror-television_article_129603.html

[15] http://www.mania.com/history-horror-television_article_129603.html

[16] Eric Freedman- Chapter 9 Television Horror and Everyday Life’- The Contemporary Television Series’ (2005), page 168

[17] Steven Jay Schneider and Daniel Shaw- Aaron Smuts’ Haunting the House from Within-Dark Thoughts: Philosophical Reflections on Cinematic Horror (2003)-Scarecrow Press, Inc- page 165

[18] David J. Russell in Refiguring American Film Genres: Theory and History (1998) edited by Nick Browne, University California Press- page 234

[19] http://www.livescience.com/7949-horror-movies-people-love.html

[20] Clover, Carol Men Women and Chainsaws: Gender in the Modern horror Film (1993) Princeton University Press- page 6

[21] http://www.nytimes.com/2009/09/10/arts/television/10vampire.html?_r=0

[22] Fourie, Pieter Jacobus, Media Studies: Institutions, theories, and issues (2001) Volume 1, Juta and Company Ltd- 297

[23] Colin Stewart, Marc Lavelle, Adam Kowaltzke, Media and Meaning: An Introduction (2001) BFI Publishing- page 202

[24] Crissy Calhoun, Love you to Death: The Unofficial Companion to the Vampire Diaries (2010) ECW Press Toronto Canada- page 19

The 'FRIENDS' Formula...

Hello, again, people of the Internet!

After a busy few days rushing around, frantically, trying to get the bulk of 'necessities' I will need for Uni, I am taking the time to relax with a new blog post. So here it is!

In watching sitcoms and comedy shows recently, I have discovered in many cases a strong parallel can be drawn between what is shown on comedy television today, with the much-loved show 'FRIENDS' that ran from 1994 until 2004. However, as one of my personal favourites, it is far from a negative to see the blatant inspiration David Crane and Marta Kauffman's show has had on this television genre. I literally grew up with 'FRIENDS', watching it whilst I was too young and probably far too early compared to what was appropriate. Nevertheless, it is undeniable that 'Friends' will always 'be there for you', whether its appreciated or not, as storylines reminiscent of the sitcom's own episodes, arise in more modern and recent shows. Below are a few examples of links and interactions between recent sitcoms and 'FRIENDS' that I find particularly interesting. Read and enjoy!

How I Met Your Mother (2005-2014)

     Possibly, when discussing the links between 'HIMYM' and 'FRIENDS', the most significant similarities reside in the male characters. For example, Ted Mosby (portrayed by Josh Radnor) is a somewhat 'geeky' character. With a boring job as an architecture professor and an 'on-off relationship' with character Robin (COBIE SMOULDERS!!), Ted Mosby is almost a mirror reflection of 'Friends' Ross Gellar (David Schwimmer). Ross Geller, also a 'Star Wars' fan, similarly has a job as 'Professor of Palaeontology', and has an almost comical endless string of failed relationships, specifically three divorces. Importantly, there is also the first renowned 'on-off relationship' with Rachel (Jennifer Aniston) stretching over all seasons. Both characters are portrayed as highly intellectual, the classic sitcom convention seen in how this intelligence often generates humour when the characters are socially isolated and differ from the norm, thus consequently made fun of. Ross can be considered the inspirational template for Ted Mosby as a character. 

     Furthermore, Barney Stinson (Neil Patrick Harris) became 'HIMYM's' 'ladies-man' and main comic relief whenever the drama threatened to suffocate the lighthearted appeal of the sitcom genre. Using significant charm to deceive vulnerable women, Barney emulates the incorrigible Joey Tribbiani (Matt LeBlanc) and his many 'one-night stands' with women. Joey's catch phrase "How you doin'?", becomes an instance of dialogue that has invaded Western English slang and vernacular. Both characters can be considered devices to offer breakaway humour, often establishing a subsidiary plot to the story. On the other hand, both are actually given more depth in later episodes. It seems that the aspects that made 'HIMYM' as a sitcom greatly appreciated amongst fans of the genre, can be derived or at least were based upon the style of 'FRIENDS'. Down to each characters' personality, it can be seen how the success of 'FRIENDS' has very literally moulded, if not the whole sitcom genre, then the basic conventions of 'HIMYM'. No character arc rises above any other in importance, both shows are clearly centred on equal friendship. Whether it the setting of 'Central Perk' or 'MacLaren's Pub', Manhattan offered the perfect city for both shows; a city of possibilities was depicted, first in 'FRIENDS', where numerous opportunities for humour were seen and available to the writers.

 Happy Endings (2011-2013)

     Before its cancellation, 'Happy Ending's greatly resembled the earlier sitcom of 'FRIENDS', a fact it did not attempt to hide or shy from. I could discuss numerous sitcoms that emulate 'FRIENDS', for example a sick Bernadette (Melissa Rauch) in bed with husband Howard (Simon Helberg) in episode 'The Re-Entry Minimisation of 'The Big Bang Theory' (2007-), reflecting Monica (Courteney Cox) and Chandler (Matthew Perry) in 'The One with Rachel's Sister'. However, in choosing 'Happy Endings', my attempt at highlighting that a pseudo 'FRIENDS' formula has been created within the sitcom genre, is much more clear. One only has to watch, season 2 episode 4 of 'Happy Endings' dubbed 'Secrets and Limos', to see how the creators 'own up' to their similarities with their more popular predecessor. With dialogue, such as 'Don't patronise me Monica!', the creators have blatantly played upon the undeniable comparisons viewers often make between shows, sitcoms specifically. Any fan of 'FRIENDS' would be crazy to deny giving this show a chance, simply because it was cancelled. The show begins as a wedding collapses, as with Rachel in 'Friends', not just to capitalise on the popularity of the earlier sitcom, but also to seemingly begin where romantic comedies normally finish. The sitcom has an increasingly modern atmosphere and tone when compared to 'FRIENDS' directly. 

      This show is worth the chance, seemingly offering a more 'down to earth' and 'real' representation of young adults. As expected of modern media, due to 'scopophilia' or the 'pleasure derived from looking at beautiful people', the cast is unrealistically beautiful, however they are not all surviving in luxury in one of the most expensive cities in the world either, as sometimes in 'FRIENDS'.

Now, the aim of this post is not to accuse all recent sitcoms of being pale imitations of the earlier 'FRIENDS', lacking any originality and just copying humour already seen. Instead I simply propose an idea that the cultural impact of 'FRIENDS' is much wider then many people initially believe. It is undeniable that 'FRIENDS' was an incredibly successful series. 'The Last One' alone, had 52.5 million viewers and all the cast were paid $75,000 per episode in season three, $85,000 in season four, $100,000 in season five, rising to an incredible $1 million by seasons nine and ten. Aniston, Cox, and Kudrow became the highest paid TV actresses of all-time. However, recent sitcoms do not reflect 'FRIENDS' merely to capitalise on its success and popularity. Simply, the modern sitcom genre has been influenced greatly by Crane's creation. 'FRIENDS' has set the precedent of 'being funny'; shows only resemble the series because it found what was funny amongst viewers, the formula for success, and exposed it to the world. Conventions may change, 'canned laughter' VS live audiences or the 'feminisation' of male characters, but 'FRIENDS' hit on something deeper and more culturally funny. Ensemble sitcoms now know what they must do to reflect this humour. When they find the right cast...the rest simply follows.

Thank you for reading! Until next time, keep on watching random stuff...go for all opportunities offered to you...and just keep smiling.

NOTE: Images are not mine. 

I am off to University. It is Fantastic!

Hello People of the Internet!

   I am not afraid to share that it has been a completely crazy week, a welcome break from the monotonous cycle of waking up, grabbing the laptop and situating myself on the sofa (read 'training myself in the fine art of becoming a couch potato). On Thursday 'Results Day' finally arrived; the period of endless tension and waiting was ended once and for all. It is a welcome relief for many people, whether they achieve the results they hoped for or at the very least are given the chance to plan for the future and begin to take a different path. It must be remembered that, whatever happens, is meant to happen, one must remember that a specific University, one you have been aiming for throughout college, may not be the only route to reach set goals. If a University rejects you solely on grades, maybe it was not meant to be. More than likely, someone will always end up on the path they are meant to take, if you enter Clearing for another University, maybe it will serve you better than your original plan. The 'problem', fantastic thing about life, is that there is an endless world of opportunity out there for everyone. Providing you 'put the work in' and 'don't give up hope', very cliche I know, no closed door completely means the end of a goal or dream. Obstacles should only make us more determined.

I am a slight hypocrite I suppose, having fortunately been able to 'achieve' the University I aimed for originally but that does not mean that there was and still won't be obstacles. Of the five universities I applied for, one did in fact reject my application and though the course offered there sounded great, I have decided the rejection simply does not matter. I still managed to choose a wonderful University and received an Unconditional offer prior to Results day, and will now show those whom said 'no', what I can do and what I am capable of. I am not perfect, far from it, but I am hard-working. I know that wherever I end up in the end I will undoubtedly try my hardest and achieve my upmost best. For now it is time to have fun 'preparing for University' i.e. I am going to buy so much awesome stuff!!

My education, up to this point, has been a long road, probably focused on grades more so than is possibly healthy. Specifically, recalling my first year of college, I remember suddenly being asked, put on the spot, to think about what I wanted to achieve by the time I leave, and more importantly, what I envisioned I would be doing after college. Of course, for me, I knew the goal was always going to be University, but in terms of a career and the further future, I think that was always more questionable, shrouded in a blurry plan and vague idea. I remember in year 10, early year 11, I wanted to be a paediatric doctor aided by the fact I was always good at the sciences. However, one day, I just woke up and realised my heart wasn't in it. So at college I took four A levels that simply interested me; History, English Literature, Biology (I couldn't give up all sciences) and Media Studies, with an EPQ in the History of Horror. If I am to offer any real advice it is to pursue your interests and not what you feel are expectations. So I let go of my doctor 'dream' and just realised if I ever wanted to be truly happy I had to aim for the Media industry. Films and TV will always captivate me above all else. Now, two year later and five A*'s, I am off to study Film at University. I do not believe I am ever particularly the smartest person in any room. I am just determined and pursuing something I am passionate about. Taking subjects I was interested in, wanted to excel at, is undoubtedly the reason I got the grades I wanted. Looking back, to some degree I enjoyed every essay and every project.

In my opinion, one of the most important factors in deciding which University to go to, is going to the open days on offer. When you walk around the campus, if you feel comfortable in the atmosphere and can imagine yourself buying coffee from the campus cafe or see yourself reading in the library, then it is the place for you! On my interview day, at my future University, I felt comfortable. It may not be the highest in league tables for my chosen subject of Film but it does not matter. I liked it there so I am determined to succeed there.

The strange thing about pursuing Media and falling into a Film degree is that many people seem shocked it is what I have chosen with the grades I achieve. But, at the end of the day, grades do not scratch the surface of any person or life in general. There is so much more to success then grades and in my opinion, to be successful, I had to be content and happy in the subject I chose to explore further at Uni. Sometimes I struggle more with creativity, whether it writing a short story for English coursework or editing a TV sequence for Media coursework, but it is that struggle that urges me on and not the grades that dictate me (though getting the grades I aimed for was my personal perfect way to close the college chapter of my life). Without this epiphany, to pursue my interests in college, the position and future ahead of me would be completely different. Yes, being a doctor could be more secure and less tenuous or competitive then the Media industry but, it would not challenge me creatively on a daily basis, or satisfy my need to release my imagination and break the cycle of monotony life can sometimes become.

Results day arrived this year, and like every time I prepared for the worst. I second guessed myself as I always do, telling everyone that I really thought I hadn't done as well this time and that the exams felt incredibly 'different' or 'difficult' this year. This was not to purposefully try and project a fake facade of modesty, I really felt worried that I had not achieved my personal 'grade goals'. Stress does some crazy things and I thought it had completely messed up some of my exams. All in all, I was happy and can now finally focus on University without the worry, at the back of my head, that I had not achieved my personal goals and grades!

If any of you have managed to keep reading this post, then you deserve a medal or something. At the end of the day, I guess the message I am trying to present is that the only thing that matters, in deciding your future path, is you! Your interests. Your happiness. Your personal goals. Do not compare yourself to other's standards or let grades and a certain University dictate to you who you are through rejection. It is up to you!

"Who decides why we live and what we'll die to defend? Who chains us? And who holds the key that can set us free...it's you. You have all the weapons you need. Now fight!" (Sucker Punch 2011)

Mini Review: Fantastic Four (2015)

Disappointment. The only positive I can possibly think to say, is that the world of the 'Fantastic Four' benefits greatly from more modern visual effects and technology, compared to the original films. Apart from that, I am afraid to say that everything in the original films outstrips the more recent adaptation, whether it the cast, writing or action. The last fighting sequence lasts no more then what seems like 10 minutes and thus the film leaves an unsatisfying bitter taste in the mouth of those who view it. I will always back the superhero/comic book genre of film, however it feels like this release was only created in order to capitalise on the recent popularity of superheroes, in a bid to achieve more profit. If you are interested in the 'Fantastic Four' comics, I would stick to the original films, if you have to watch the more recent release, try and merge the films together in your mind. Impose the light hearted humour and awesome action of the previous creations, into the more updated visual world.  

Note: Image is not mine but those above review are. ;) My images are to remind you there is always 'light at the end of the tunnel...a path or road to travel'! 

Goodbye! Once again, keep on watching random stuff...go for all opportunities offered to you...and just keep smiling. 

Xmen: Rogue Cut....quality VS quantity???

HI! HI! HI! people of the internet,

    Nerves are overtaking people! After pushing it back, probably more than I should have, I am finally learning to drive. I don't know what could possibly be worse, sitting in the car with a stranger, a socially awkward person's nightmare, or attempting to operate a car despite the fact I lack any sense of coordination. It is an interesting experience! Consequently, I have left this post for today to try and calm myself down; discussing films and TV to once again escape reality and take my mind off my impending lesson. I know I shouldn't be this nervous but oh well...that is just me.

Xmen Days of Future Past: Rogue Cut

      When discussing the recently released Rogue Cut edition of Xmen: Days of Future Past, one must question whether this edition is purely an additional release to raise profit or whether it acts as just another building block in constructing the admirable universe that the superhero genre has become under Marvel Entertainment. This question has arisen, comparable to that of Shakespeare's 'to be or not to be?', and it is probably one that will remain unanswered simply because of the fact the film is capable of fulfilling both objectives. The Rogue Cut only enhances the previous theatrical release by reintroducing Rogue (Anna Paquin) but at the same time also undoubtedly reinforces Marvel Entertainment's ability to obtain success almost effortlessly.

      Since the original release of Xmen: Days of Future Past, fans of the mutant heroes have yearned to see an extended version of the film, rumoured from the start to hold a substantial amount of footage cut from the cinematic version. Even before the release I can remember reading how most of Anna Paquin's scenes, barring that of an end scene showing the power-absorber happily reunited with fellow mutants in 'Xavier's School for Gifted Youngsters', were removed. However, in being released almost a year later after the cinema version, the new edition always faced the danger of adding unnecessary scenes to an already convoluted film. The phrase 'Quantity VS Quality' comes to mind in relation to this film, more specifically are 'more scenes better' or simply just 'excessive'?
 
      Overall the majority of the film's narrative remains untouched and not dissimilar to the original cinematic version, a fact that makes me question the need to release a whole new version in the first place, for any other reason but with the aim to raise profits. However, despite this, the small differences help to flesh out background characters such as mutants like 'teleporter' Blink (Fan Bingbing) and Bishop (Omar Sy). More significant differences appear during the later half of the film's narrative, these changes adding much more to the film overall. A romantic exchange between Beast (Nicholas Hoult) and Mystique (JENNIFER LAWRENCE!!!) feels much more fluid and entwined with the untouched version. In my opinion, this scene above all else feels like it should have been included within the cinematic version. The scene not only adds credibility to Mystique's change in view, defiance of Magneto (Michael Fassbender), but also links with the romantic subplot in Xmen: First Class between these two characters. As a result, the universe is only further constructed; each film, every version, only injects more into the cinematic world created.

      Finally, it is not until the 'home stretch', that the 'Rogue Cut' begins to feature the titular mutant herself, and it is this separate character arc that most noticeably pushes the film away from its original theatrical release. Although the film's 'denouement' is almost reduced down to a dissatisfying pace by the introduction of this extra storyline, Rogue's rescue brings more evident excitement into the future scenes of the film, the majority of which were previously spent sitting in a room and waiting for sentinels to arrive. Instead of just highlighting the dire future awaiting the characters should they fail, Rogue's character arc ensures the future mutants are functioning devices within the overarching narrative. If nothing else Ian McKellen and Shawn Ashmore's extra scenes and screen time, brings much needed nostalgia to the film, aspects that hark back to the original Xmen films that I, myself, loved.

   Ultimately, whilst the extended scenes and dialogue in the Rogue Cut do not hinder the overall narrative or film franchise itself, the film is still plenty enjoyable, the extra aspects at the same time do not necessarily improve the film substantially. Simply, another version has just been introduced, becoming not a negative or a positive but something else to flesh out the growing superhero world. Whilst it is undeniable another version of any film will be introduced and created to extend the profit generated by a project, I believe that Marvel Entertainment has only created this extended version with the fans in mind. Whether they are disappointed with the lack of substantial difference to the cinematic version, or are actually satisfied, they still get to explore that little bit further into the comic-book movie world.

What you should be watching: TEEN WOLF SEASON 5

MTV's TEEN WOLF (Jeff Davis) has never failed to impress me and to this day still continues to captivate me as it did when I first recommended it eons ago. The series have become progressively darker since its inception and with the new introduction of villainous 'Dread Doctors' and their creepy, unhinged surgical 'chimeras', anyone interested in horror especially, as well as teenage drama more widely, would be a fool not to watch. Dylan O'Brien as Stiles Stilinksi specifically continues to impress. Whether it comedy or sombre drama the character, and actor, captures the audience. Overall, without any hesitation, I would seriously suggest you watch this show over Summer, if you have not begun already.

Thank you for reading and speak to you soon!
NOTE: Images are not mine :)