#utilizing Jason for the narrative of isolation

[trashbatistrash]

,

#if I could choose a batkid to mirror the isolation of being batman #I would’ve chosen Jason #hear me out #batkids have been mirrors of batman where narratively necessary #and there’s the notorious ‘I work alone’ thing DC tried to do with Bruce for a bit #side eyeing literally every bat affiliate in Gotham #however #he does have one kid that is arguably the most isolated #Jason was created for the sole intention of being Bruce’s sidekick #he was never planned to break off into his own team so they didn’t establish any peers for him (Eddie Bloomberg is an ehhh cuz penpals) #so anyways #utilizing Jason for the narrative of isolation #ignore his posthumous inclusion to the honorary titans roster #Jason comes into his own as the red hood with no solid ties/affiliations to anything #he’s on his own crusade in Gotham very much in isolation #it would be interesting to see from an outsider’s perspective(Bruce) what a one man army really looks like #and it looks miserable as hell #kid has to deal with his own wounds #going into combat half healed because he just has no time to rest up proper m #kid has to stay distances away from everyone he interacts with cuz the Red Hood is Crime Alley’s last and final warning #and Jason Todd is dead #this is just an adhd way to say: oh man exploring the isolation of being the red hood would be kinda cool huh #this fully ignores rhato and rebirth #we ignore new 52 rhato and Scott Lobdell in this house ❤️ #ramble #why do I do this to myself #I love the fanon that Jason and Damian met in the league and that Talia pretty much adopted him #gosh this must look basic as all hell to anyone smarter than me o(-( #anyways #fic ideas

[jason-pipers]

the jason/piper breakup and jason’s subsequent death

it is a long and angry post so you have been warned 

 I’m really sick of seeing Jason Grace/Piper McLean slander in their own tag, and I’m really, really sick of seeing people justify their breakup/his death as good writing. 

As I’ve been studying literature and text for the past four years at Uni- I can say with absolute confidence that The Burning Maze utilizing Jason and Piper was horrible. Like a bag of shit mixed together then smeared on paper and published kind of horrible. Actually, you don’t even really need a degree to be able to point out the very basic absurdity of them appearing in TBM. So even though I have a paper due on a completely unrelated topic and a lot of homework, I naturally decided this was a much better thing to write about: 

 Maybe in another world, Rick’s ghostwriters will be better at writing his books. The reason why the Jason/Piper breakup was extremely confusing and done very poorly in the sense of their character arcs was that there was no buildup to the breakup. In fact, I think these two got together off-screen and broke up off-screen. Yet, I’m sure Riordan sat at his desk thinking “now why don’t people just like Jason and Piper?? I give them so much!” Actually, you gave them nothing. It’s also considerably easy to disguise their breakup as logical when it isn’t. Now, people will argue that the basic foundation of the relationship was poorly made because of Hera’s meddling and that’s why they broke up. This is a lazy way to think about it because it’s obvious you don’t care about the characters so you should just say that and go. Hera’s meddling (putting false memories of Jason in Piper’s head and wiping Jason’s brain) really only gave Piper a vague notion of Jason (based on real attributes the Mist pulls) and also gave PERCY and Jason multiple relationships after the switcheroo. But Piper actually meets Jason and then has a subsequent breakdown that maybe he’s not her boyfriend. However, once she gets to know the real Jason (very accurate to the one she knew in her memories because Aphrodite said she could sense real possibilities hinting at their romance), she is still developing romantic feelings for him. It’s implied that the reason why Piper is falling so fast is because the memories she has of Jason are based on the real Jason. It’s easy to establish that Piper has real romantic feelings for Jason, not the made up Jason because the majority of TLH is them getting to know each other. If she felt like there was some confusion on her part about developing feelings for him because of Hera switching Percy and Jason- why did it not come up EVER? The months where Jason and Piper started dating. How about that long ass quest on the Argo? It could have been a valid plot line but it never came up. If it had come up near the end of the series or maybe even if it was a small subplot in the series, it would make the breakup logical, at least narratively. But no, we end Blood of Olympus with Jason and Piper coming full circle with the moment in the stars. Flash forward three years later to TBM where everything (and I mean EVERYTHING) about Piper and Jason are thrown into the trash. They’re broken up due to the false memories and overall I guess it’s implied Piper doesn’t have feelings for him anymore or something? Or the trauma of being in something like that prophecy was a lot for her to handle and she needed some time to figure things out? Yeah of course! Just like when she will go through another trauma (Jason dying for her) and start dating someone new right after. This would be so much easier to read and digest if these things are shown- in their own series and maybe not as a side thing to Apollo’s series. Reading it in TOA was completely out of left field. I know SO MANY PEOPLE were like that makes so much sense! Good for you Piper! But I was like girl, who are you? I feel like I have not spent any time with you and none of what you’re saying is connecting to anything you were like before. Which leads me to believe people just did not like Piper in HOO but just say that and go. HOO Piper is not TBM/TOA Piper. RR doesn’t know how to characterize his own goddamn characters. Furthermore, everything in canon up until TBM implies and directly states that Jason and Piper are endgame. It’s not to say they didn’t have problems that were resolved or that the way they got together was conventional. There was not even a smidge bit of reluctance to admit they were canon endgame- I think RR even had Cupid involved. There was no prediction or even hint of what would happen in TBM in HOO, which is a very big narrative problem. Jason, always isolated by loved ones and quite frankly always shouldering way more than a human can handle dies exactly the way he suffers. There is no growth or even a small lovely moment where we can see Jason. 

This brings me to the most unnecessary death I’ve ever read in my life. I know RR’s ego hurt from the complaints about Jason/Piper/Frank/Hazel/Leo (basically a non-Percabeth character) being underdeveloped. I know his ego was fucked when he “killed” Leo but didn’t really kill Leo so everyone was like what the fuck. I know he wanted to prove he is a good writer but like any other bad writer, he decided to jump the shark. And I know he wanted Jason and Piper to be more likable but the fandom really wanted a Leo-esque character. The breakup really happened because he wanted to demonstrate to critics that he could live with couples not being endgame and knew Jasiper was relatively unpopular compared to Percabeth/Caleo/etc. He wasn’t thinking in terms of ‘does this fit what I’ve created’ but in terms of ‘people might be like oh shit this is violent and they’re finally gone!’. I don’t know what idiotic thought process made him reach the point of killing one of them but he obviously got there. See, there is no difference between Jason or Piper dying in TBM. It could’ve easily been Piper who was impaled by Caligula and reminded Apollo “what it’s like to be human”. They were made *that* insignificant in TBM. Pretty much fucking interchangeable. IN DEATH. It also could’ve been anybody else in the world. It could’ve been that cheerleader from The Battle of the Labyrinth. It could’ve been Piper’s dad. It could have been Sally Jackson. Not a single part of Jason’s death was really related to Jason or his growth. Jason was the main/lead from HOO and if he was destined to die (which he wasn’t because RR doesn’t think anything through anymore), he should have died in his own series. That would make his sacrifice more compelling and important, but dying in TOA is just a big fuck you to his character. I think the only equivalent I can think of is if HOO had solely been Jason’s series but RR pulled up Percy to simply kill him and then just kept writing. What the fuck does TOA have anything to do with Jason or Piper? Or even Leo? I usually love when characters make cameo appearances to remind us of the past we loved them in. Kind of like when Lynda Carter appeared as Asteria in WW1984. Conversely, involving them in the plot and then using them as a plot device for the main character- AKA USING YOUR MAIN CHARACTER AS A PLOT DEVICE FOR ANOTHER MAIN CHARACTER IN A SEPARATE SERIES- is not only dumb but it truly makes everything else you’ve written for the first main character devoid of any real significance. Jason was never a fully fleshed-out character, the way he deserved to be written, because RR couldn’t world build as well as he thought and that ‘every single character gets a POV’ didn’t do the legendary thing he thought it did. However, anything that mattered about Jason was pretty much killed in TBM because he was easily killed by a villain that was not even remotely interested in Jason or aware of his existence. What does FUCK does Caligula mean to Jason? Nothing. Did the final battle create a full circle for Jason other than the line “remember?” which is not really related to his amnesia- no. His character arc was about an identity crisis- being pushed and pulled in two directions. Jason barely means anything to Apollo so RR using Jason as a convenient kill to send home a message is also shitty for Apollo. Lead hero characters can die- they sometimes just have to. Marissa Cooper’s death in the OC narratively makes sense due to the nature of the character being a damsel in distress from the very beginning- a foil to her counterpart, Ryan Atwood. But in this case, RR knew he had to shock people to keep getting $$$. I never got the impression RR cared about Jason or Piper, especially since he was incredibly disrespectful and lazy when writing about Piper. (For that- I can link really detailed posts explaining his racism). The truth is Riordan cannot live without putting his characters in relationships- Frazel, Caleo, Tyson/Ella (?), Hedge/Mellie- but he wanted to prove that he could which is why Jasiper broke up.

Piper’s girlfriend in TON- I didn’t read TON for the reasons above and I don’t think I’ll ever read a Riordan book again: I did find out that Piper gets a GF in TON which at first I thought was incredibly neat but then later became angry when I learned it was only months after Jason’s death? I have always wanted Piper to explore her sexuality but RR has this case of never giving important things the development it deserves. He’s incredibly messy and inconsistent when he creates lgbtqia+ characters, usually only including them so he can get credit for including them. He’s never actually explored Piper’s sexuality fully in the series, but he threw her in yet another relationship we didn’t get to read about right after she was almost beaten to death and then witnessed the murder of her ex-boyfriend. If you think that is representation, please rethink that. We don’t get to hear her talk about anything at all, except maybe mentioning the girl’s name. A subtle hint. Just representation is not good representation and it is right that we demand better representation. Don’t settle for less. For fuck’s sake, Riverdale is only really good at queerbaiting but they get so much praise. (Do they? At this point I can’t tell). If we wanted to explore Piper’s sexuality, it could have been done while she was with Jason or even broken up with him in her own series- why didn’t RR explore the nature of being lgbtqia+ in an Indigenous family? He had the chance to demonstrate an awareness of intersectionality through Piper but he fucked up. He had so much to write about. So, people who are yelling happily about that Piper appearance in TON-??? 

 This was long and frustrating to write. But I had feelings.

#jason grace #Piper McLean #percy jackson #pjo #jasiper #jasper #jiper #toa #trials of apollo #Heroes of Olympus

[bigskydreaming]

Hey, any comic recs to ensure that I get Dick Grayson character right? Other batfam included, if you're willing. I'm trying to make sure I don't write a character completely ooc, because that drives me up the WALL when I read that. However, since I dubbed you the #1 Dick Grayson person, I thought I'd ask you to make sure I do him justice rather than a smear campaign or something lol! Thanks! ALSO TELL ME YOUR THOUGHTS ABOUT THE TITANS SHOW! That's all xD

LOL thanks I appreciate it, but while I’m good for the rants, for actual comics recs I would go to the likes of @northoftheroad, @hood-ex, and @nightwingmyboi because they’re a lot better than I am at knowing where to find specific stuff and comprehensive reading lists! I tend to jump all over the place in terms of my go-to comics for Dick.....I’m always on about Robin: Year One but I’m like eh Nightwing: Year One is pretty trash tbh. I prefer pre-Flashpoint continuity overall but I did enjoy some of the early Nightwing Rebirth stuff and before that the pre-Forever Evil New 52 stuff had some good beats. But for the most part, my favorite Dick Grayson tends to be him as a member of teams like the Titans....he shines most in ensembles, I think, because his strengths ultimately are that like...he gets people, he knows how people work, and he knows how to get the most out of the people he’s with, how to make people gel and get in sync and become more than just the sum of their parts.

(Speaking of nightwingmyboi, haven’t seen them posting in awhile, anyone know what they’re up to? Hope everything’s okay!)

Which brings me to the problems with the Titans show. There’s a lot I like about it - Anna Diop and Ryan Potter in particular - and a lot I was never gonna like about it - I’m heavy on the Ugh why must Dick Grayson be a cop ever why is that a thing make it stop. And so while I don’t think Brenton Thwaites does like, a bad job with the role or anything, there was always kinda a ceiling on how attached to or invested in his take on the character I was ever gonna reach.

But Season 2. Oof. Let’s talk about Season 2, and how so many of the problems with it are identical to the problems that surround Dick in the comics, but also aren’t limited to just his character or DC and just as equally show up in all kinds of media. Like, I could have (and probably did) offer an identical rant about the role of Scott McCall in TW’s S5.

The problem is one I’ve kinda taken to calling in my head “The Ensemble Lone Wolf Effect.”

This is when writers have a character they nominally want to be part of an ensemble....but that they repeatedly go back to the well of “this character should however spend most of their time on their own, or are more natural on their own, or just wants to be on their own, or also sometimes they just deserve to be on their own cuz they suck for Reasons we decline to specify.”

But its that thing of wanting it both ways....believing a character honestly NEEDS to be a loner or off on their own for the sake of their story, but also still wanting to utilize them as part of an ensemble, not willing to actually MAKE them a solo character, and so it kinda creates this never-ending feedback loop wherein they pay lip service to the character being part of an ensemble, but that’s never really on display, which creates a lot of unnecessary conflict among characters that’s to NONE of their benefits.

(And honestly in the comics, you could apply this to pretty much all the Batfam at times...not just Dick. They do it with Bruce ALL the time, they’re doing it with Damian right now, did it with Tim with Red Robin, Jason most of the time he’s not with the Outlaws and Cass most of the time she’s not with Babs or Steph or the Outsiders. As well as Babs herself at times).

Basically what I’m talking about here is like....so much of the drama in S2....and specifically the parts that most every fan I saw had issues with....came about not organically, because it made sense for the characters to behave that way, but solely in order to launch a specific plot, that the writers clearly wanted for S2:

And that was Dick Grayson off on his own, at his lowest, facing his demons on a solo journey of self-discovery the writers clearly deemed necessary before he could find himself as Nightwing and rise to his most heroic self.

Now the thing is....this isn’t inherently a bad plot or a problem. The problem lies in how they went about it.

Because rather than looking at the overall story and saying okay, that’s what we want to do with Dick Grayson, that’s what we want for HIS story, now how do we get that and where do we take it from there, rather than looking at that as just a STARTING point, and engineering a plot that grows OUT of that.....

The writers just started out by viewing that as an ENDPOINT, and reverse engineered a way to get Dick TO that point first and foremost....at the expense of so many characters who then basically turned on him and held him solely responsible for the things many of them also had a hand in....purely to get him off on his own and isolated.

But that was never necessary!

Because Dick’s character contains multitudes when it comes to guilt and self-blame, everyone knows that. He never needed anyone else to blame him for what happened to Joey because he blamed himself. So the second they conceived of the plot “Slade wants revenge for something Dick at least blames himself for”.....they had all the ingredients needed for Dick to decide proactively that the best way to protect everyone was to put distance between him and them, that he should try and hunt down Slade on his own, solve this between just the two of them.

And that should have been the STARTING point, for that narrative journey of self-exploration, not that journey resulting as an ENDPOINT in and of itself from Dick being FORCED into a kind of isolation by the others all blaming him.

Because now see what ripple effects result:

Now, the other characters are just as able to focus on their own individual storylines as they were in the show, with the additional concern of wanting to ACTUALLY find Dick and figure out what’s going on with him or tell him they still want to help....without this in any way needing to distract them from their own storylines, practically speaking, or cut into Dick’s narrative alone-time, because as part of the equation you ALSO have Slade, who has his own wants and agendas, not to mention tactics. And Slade’s perfectly capable of and willing to work with others, or utilize the long game, or engage in a game of cat and mouse as a distraction...there are numerous ways that you could engineer a plot FROM these motivations that allows him to keep the rest of the Titans distracted and even targeted individually, without allowing them to group back up with Dick or Dick to even know that they’re in danger and that his attempts to avoid that backfired.

You want the characters isolated and divided? The PLOT can do that for you. You don’t need the characters to do that to themselves.

IMO, most if not all stories are meant to advance characters, first and foremost. Take Characters A-Z and leave them different from how you found them. Move them to a different position in their lives as much as anything else, from where they began. The goal is character DEVELOPMENT.

What this means, in my book, is that the plot should serve the characters, NOT the other way around. The plot should grow FROM the characters and what they would or would not do....the characters should never have to be forced to FIT INTO a plot.

That’s backwards.

There shouldn’t be any need to reverse engineer a certain starting point, characterwise.

Just like....start the plot, plotwise....and from the moment you first introduce a single plot element, prioritize how would the characters react and BUILD from there.

The only engineering you should need to do is how to get to an eventual END point....which is still all about the forward momentum, not backing your way into anything.

Its one thing to have an endgoal for your plot, a point in character or narrative development that you want characters to reach. But its all about perspective. About keeping that what you’re working towards rather than something that you like, have to reach before you can even really BEGIN.

Which is what Titans S2 did. The real GOAL of the season in terms of Dick’s storyline, was his solo journey of self-discovery. But there’s a million different ways they could have LAUNCHED that journey, without it having to be the forced and contrived outcome of events and character decisions that literally only existed to initiate a journey that never required a forced initiation.

And so all this narrative energy gets utterly wasted and expended on stuff that it just flat out doesn���t need to be spent on in the first place....instead of just putting that same energy to use building forward-facing storylines for ALL the characters, that don’t require contrived spats of disharmony when the goal of such moments isn’t even the disharmony but rather just that they’re kept apart, the end RESULT of the disharmony.

Imagine what S2 could have built if instead of wasting time, characterization and energy on getting to a point they could have simply started from if they’d simply looked at it that way and chosen to just....start. If they’d applied all that to building across the board, everyone’s story in service to their own character first and foremost, no tangled feedback loops making characters regress or cycle through the same behavior or narrative positionings over and over again in order to not get in each other’s way or cross paths at a time when the show didn’t want them to cross paths....because rather than make all these characters work at cross purposes, they’re all on the same page, they still want the same things....you’re simply engineering from their own natural characterizations and organic decisions and reactions, ways the PLOT can be utilized as a TOOL, to keep them moving forward in their own respective chapters, WITHOUT their characters having to be bent out of their natural shapes or forced into niches that don’t really suit them, just to keep them, PREVENT them, from more naturally or organically making a choice or action that would ‘get in the way’ of the plot.

Bottom line......the plot is supposed to be there to advance the characters, because the characters are what we come to stories for. The characters are who we invest in, relate to, ROOT for.

The characters aren’t there to advance the plot. We’re not here to yell yeah, I really hope the writers do whatever it takes with characters, no matter how backwards or unnatural it seems, just to get that sweet sweet and oh so specific ending we want that is in no way dependent on how invested or not we ACTUALLY are in the characters by the time it arrives, in order for it to actually be effective or not!

Lol. Y’know?

So yeah, that’s my biggest gripe with Titans so far. I’m still eager to see what happens between Kory and her sister, and although I’m not thrilled it seems to be becoming Batfam Straight Outta Gotham rather than like, Titans: The Show, I admit I am curious about what take they’ll go with for Babs. As I still pretty vividly recall that weird as hell Birds of Prey show the CW or UPN or WB or whatever it was at the time did for one season, where Babs was honestly not terribly adapted despite the show otherwise bearing like, zero in common with any existing DC property or character (do not even get me STARTED on their takes on Dinah and Helena, no, blehrrible, those were bad, those were like super bad)....anyway, I’m kinda curious even if it wouldn’t have been my choice for what direction the show should take. Not that I have a specific one in mind, just, yeah. And I also kinda would not hate if we got a new Roy Harper now, to replace the not!Roy of Arrow, because I don’t know him, no seriously, who is that, its not Roy Harper.

[otp-armada]

I am not looking forward to these flashbacks. 

To date, we’ve had four onscreen kisses shared between Bellamy and Echo with additional, smaller moments of other forms of intimacy. I’d rather the show refrain from adding more tally marks to the count. 

If humans were gifted with the capacity for purging unwanted memories, then all this discomfort would be a moot point. I suppose there’s always alcohol as a fallback option, but not even the prospect of temporary amnesia is worth destroying my liver. Turning to alcohol to drown my B/E-related sorrows would probably qualify more as self-harm than self-help.

I’d much prefer to cut directly to an imminent breakup scene without the pomp and circumstance of an agonized Echo’s trip down memory lane. 

If anything, supplying us with visual evidence on how happy they were together is an even sadder remark on the state of B/E’s fragility, knowing it took 0.001 seconds for the mere mention of Clarke’s name to bring it all to ruin. No collection of past happy moments shared on the Ring erases the fractures in their relationship that occur between them afterward, originating with the revelation of a still-living Clarke. I'd be an absolute fool to believe otherwise. 

But if Jason deems a tour of their greatest hits as necessary to the story, I trust his judgment. Showing us B/E's origins as their romantic relationship begins to fall apart in real-time brings it full circle, and it lends gravitas to the story he's telling with Echo. With this particular arc, the bigger picture is still Echo's evolution. It's not about B/E.  

Once season 7 started, there was a visible shift in how Jason utilized B/E.  Whereas seasons 5 and 6 primarily used B/E as the third leg in a love triangle designed to keep a pining Bellarke apart, season 7 uses their master-spy dynamic to bolster Echo's development almost exclusively. Post-season 6, Bellarke is so primed to get together, one honest admission of mutual feelings without Echo as an obstacle and BOOM. Canon couple. 

Echo has a more extensive role than girl-to-be-dumped, and I'm not upset over it. She gets to stand up as a character after the majority of her life has been marked by slavery for her crown, and I'm not upset over it. As indemnification for the loss of her relationship, this orphan-turned-soldier is finding her place in a supportive, loving family while developing a sense of identity and independence, and I'm not upset over it.

I would’ve preferred Jason found a way to take her on this path without B/E remaining intact this far into the final season and theoretically for the foreseeable episodes. I would always choose to end them sooner rather than later, given a choice. But I understand why Jason didn't. 

Echo can’t very well outgrow a master-spy complex if there is no master to her spy. And as much as I hate it, the romantic aspect of B/E is a believable, convenient tool to keep this complex in place until her story comes to fruition. Would Echo act so extremely in service to a recent ex-boyfriend who left her for another woman? Probably not. As far as I can tell, the pinnacle of her arc is the moment she realizes she has to break free from Bellamy. So narrative structure demands B/E stay together, however technically, long enough for her to break those chains. 

I was initially excited about the flashbacks, if only because I took them as a sign of an impending breakup. But the timing doesn't pan out. Aside from the logistics of Echo and Bellamy presumably on separate worlds, and with her thinking him dead, we've only just reached the point where Echo might start to ask herself those hard questions she's been avoiding. She must have noticed a change in her relationship. Between Psychosis!Emori, B/E's 6x04 fight, and Anomaly!Roan, she's had enough cause for doubt. But I think she's suppressed any urge to reflect upon it for a number of reasons. Love. Continued hope they'll last. War. A mission to save him. It took a lot of meticulous maneuvering to corner Echo to this point. Now that we're here, I don't think Jason would pull a reverse Uno card in a 40-minute episode. It seems more likely that he will let her continue to stew in her emotions. Either she'll keep sinking until she hits rock bottom, or she'll start learning how to swim. 

Jason could always prove me wrong. And if I am, I'd never be happier for him to do so. If I'm not? It's at times like this when I am reminded of the resolution I made at the end of season 6- rest easy in the comfort of knowing B/E will meet its inevitable end but do not try to speculate when that might be. Attempting to discern the specifics of "when" brings one only misery. 

Jason’s signature sometimes-too-fast, other-times-too-slow pacing, is often liable to tempt one into ripping their own hair out. That being said, I’ve seen enough of this show to trust in his ability to tell a damn good story. Faith in his competency for the craft just requires on our part, the patience of a saint. 

If nothing else, it isn’t my story to tell, so I’ll just have to suck it up and find a way to deal with any disappointments I may feel. Or I can try to find the value within the story told. It's a better alternative than to be left bitter. No promises, though.

Maybe Echo’s actions against the Disciples aren’t reprehensible, considering the people she’s killing are those complicit in kidnapping and torturing her people. But Orlando was a good, honorable man whose naïveté convinced him to play for the wrong team, yet helped our heroes when he didn’t have to. Not unlike Shaw, whom Echo sold to Diyoza to fulfill her mission. But I assume “We are not his people” is residual mistrust leftover from Ryker’s betrayal of her. She miscalculated the feelings of one possible defector before, she won’t make the same mistake twice. 

If she was able to save Bellamy in the end, I’m sure she’d be able to justify the spilled blood it took to get there. But Orlando suffered at her hands for nothing, and she may not be overly concerned with morality, but she cares for the people she grows close to. Unless the episode proves otherwise, I’d like to think Orlando’s fate will weigh heavily on her. 

They may not have been close. But five years in close quarters with only a few people akin to friends for comfort, it'd be hard not to feel the slightest bit attached.

Those of us who believe in Bellarke know Echo is the third-party obstacle in a love triangle. But what is far more interesting is the role she played in the seasons-long Blake siblings struggle. 

Echo was persona non grata to both siblings following her and Octavia's mountaintop fight. Six years later, she highlights the difference in the siblings' maturities. Whereas Bellamy has learned to embrace empathy and forgiveness with open arms, Octavia is cold and unyielding. On a more personal note, B/E represents Octavia's persistent unwillingness to respect Bellamy as his own person, with needs and wants independent of her. 

After her soul searching on Skyring, I thought she had buried the hatchet, as per her lack of vitriol in her 6x12 conversation with Bellamy, and enthusiastically joining forces with Echo in 6x13. Maybe she did. But Octavia has also proven herself an unreliable narrator, and Hope feels indignation on her aunt's behalf. Whatever the case, there's a reason why the dialogue keeps referencing Echo and Octavia's hostile history. And I think it's building to a head in 7x07. 

I think mutual love for Bellamy is healing the divide between them when Echo is at her most fractured. She's isolated from Bellamy and the rest of Spacekru. Left in pain and seeking retribution as Octavia did, which, as we know, is where it all went wrong for the latter. Octavia, more than most, is in the best position to empathize with what Echo is currently feeling and how pain can destroy her if she lets it consume her. 

If Octavia can remind Echo she's not alone, if a former enemy can convince her she belongs and welcome her with open arms- as her brother did before her- it might do well in healing some broken piece inside of her. And it would be a roundabout display of Octavia's newfound maturity. This is good for both of them. This spiral she is in will require her to look inward. Since her fixation with Bellamy is partly what landed her in this mess, absolution cannot come from him. She can only find it in herself if she wants it. But I'd be glad if Octavia can help see her through it. This is what I mean about seeking value in the story told. We're so concerned about Octavia calling Echo family, about the possibility of it legitimizing B/E, it doesn't occur to us that it's about the characters themselves. And B/E is only a vehicle used to bring us there. It's easier to see when not consumed by automatic seething rage, as typical of our fellow Bellarke compatriots, for anything remotely associated with Echo.

If my heart and mind weren’t chanting “BELLARKEBELLARKEBELLARKE,” there’s a good chance I’d be able to better appreciate the complexities B/E gives to the development of the four characters it directly impacts. 

Our side of fandom has made lots of accusations about B/E since 5x01. It’s a forgettable, physical relationship worth little to Bellamy. B/E is unhealthy for reasons x, y, and z. We generate a different example in every episode. Click slideshow for more details. But the fact of the matter is, much of this isn't true. Until Echo went postal, B/E wasn’t unhealthy. Bellamy just had a greater love for Clarke. Up until their ending scene in 6x04, there was nothing they couldn’t come back from together, if both committed themselves fully, no more walls. It's not a particularly popular train of thought among us, but Jason absolutely could've written B/E as an endgame pairing. And all it would take to deliver a final killing blow is the inclusion of a single damning scene.

We can gripe over the length of time they've stayed together. But, in spite of what most people think about every new B/E development and Bellarke separation, Jason has never actually dropped an ax on Bellarke. Hope persists.

Jason is responsible for the development of dozens of characters, major plots, and dozens of smaller subplots. But our fandom reduced the story chiefly to Bellarke's romance. Our villains are those who stand in their way. Namely Echo, the only outside love interest to be an official obstacle. We fashioned Echo as our enemy. In lieu of removing her from the narrative (which is not in our power to do), we've done everything within our purview to diminish her. If Jason won't treat B/E and Echo as the jokes we know they are, we'll do it ourselves. Minimizing her role in the story makes it a hell of a lot easier to erase a character we'd rather didn't exist for our preferred ship to advance.

Lord knows how many times we've claimed she has no story. That absent relevance or substantial bearing, she's there simply because Jason is partial to her for some elusive reason. But the reality is, we never looked for her story because we wanted to be able to claim its inexistence. We wanted to be able to say she's frivolous to the story, and by extension, to Bellamy. We want to be able to dismantle B/E when it appears Jason doesn't. Except he is and has been doing so since day one. 

Months ago, on a whim, when I was feeling benevolent towards Echo, I wrote a long post HERE giving her the benefit of the doubt, and I said:

In the grand scheme of the story, I think this is the purpose Echo serves, to represent the part that says, “We’re all human. No matter what tribe we belong to, we fight for the same reasons. We love the same way. When you leave allegiances aside, when you see someone for who they are at their core, an enemy today can become a friend tomorrow.”

True peace, a series-long running theme for our heroes, begins with embracing former outsiders like Echo and Emori. Easy to lose sight of this when focused on ship wars. 

It is perfectly acceptable not to love all the components of a story. It is understandable to focus your attention on those select segments you find appealing. But a tunnel-visioned mindset lands you in trouble when you become resentful at the reminders that a story is a composite of more moving pieces than just the parts you like. And when you forget that screentime allotted to developing those pieces ahead of what you favor is permissible. Everything on a show has its time, all in due course. 

On the other hand, B/E shippers overinflate their ship's significance. They take canon and twist it to say, "Look at how strong B/E is, Bellarke could never. B/E is endgame, and Blorkes are delusional." Their conclusion of an epic love is another bias-based fandom interpretation that doesn’t hold water, either. 

I think the reality of B/E lies somewhere in a muddled middle of these two extremes. 

One last point, and I'll get off my soapbox. Despite what the melodramatic diatribe in my opening paragraph suggests, B/E is never as atrocious as fandom makes them out to be. Greater fandom treats anything remotely associated with B/E as the next great catastrophe. And as it turns out, it never really is.  

 Tagging @sometimesrosy, because I think, after years of combating opinions you don’t agree with, it might be a refreshing change of pace to know some of us do have more balanced views regarding B/E. If I do say so myself.

#hmmm how i tag this in a way that will land me in the least amount of hot water? #the 100 meta #with a side order of #fandom wank #long post #the 100 #bellarke #b/e #c/b/e #the 100 season 7 #my post

[nightmareonfilmstreet]

Full Line-up Announced for 2018 Overlook Film Festival – April 19-22, New Orleans

The Overlook Film Festival has just dropped an incredible line-up of horror and genre films, interactive exhibits and panels for the 2018 event.  Happening April 19th-22nd, genre audiences will descend upon the Bourbon Orleans Hotel in New Orleans, Louisiana, for premiere screenings of Hereditary, Unfriended: Dark Web, St. Agatha, Ghost Stories, among many others.

We attended to the 2017 Overlook Film Fest atop Mount Hood at the infamous Timberline Lodge (exterior setting of the Overlook Hotel in Stanley Kubrick’s The Shining) and it was our favorite festival experience of the year. From the second you enter the fest, you step into a world of film, interactive horror, and sensory experiences. We had such a good time, we’ve already booked ourselves in for 2018’s events. And now that they’ve announced the line-up, I can hardly wait..

  From the Press Release

(NEW ORLEANS, LA) – The Overlook Film Festival is proud to announce its second year programming lineup. In addition to the 40 films (23 features and 17 short films from 12 countries) on offer, the festival will feature exciting parties, virtual reality, interactive events, and live performances – all taking place in America’s most haunted city: New Orleans, Louisiana.

On opening night of the festival, audience members will enjoy the chiller Unfriended: Dark Web (United States, 2018), from Blumhouse Productions and Bazelevs Productions, directed by Stephen Susco, and starring Colin Woodell, Betty Gabriel, Rebecca Rittenhouse, Andrew Lees, Connor del Rio, Stephanie Nogueras, and Savira Windyani.

The Overlook Film Festival will screen A24’s highly anticipated Hereditary (United States, 2018) as its closing feature presentation, directed by Ari Aster, and starring Toni Collette, Alex Wolff, Milly Shapiro, Ann Dowd, and Gabriel Byrne.

The Centerpiece of the 2018 edition of The Overlook Film Festival is St. Agatha, directed by Darren Lynn Bousman, which will hold its world premiere in New Orleans at the festival.

The festival’s Visionary Award will be presented to modern genre favorite Leigh Whannell, best known for writing the first three films in the Saw franchise, as well as Insidious, and Insidious: Chapter 2, and directing Insidious: Chapter 3. Whannell is an Australian screenwriter, producer, director, and actor who will celebrate his latest directorial effort at the festival, Upgrade. The Visionary Award was established to honor a contemporary horror figure or company elevating the genre, while fostering the community by providing opportunities for new talent to thrive.

  Hereditary

  In addition to the films and special guests, the Overlook Film Festival will be generously packed with live presentations. The festival’s virtual reality program will feature the world premiere of noted experience creator Jon Braver’s Delusion: Lies Within, a fully immersive, 360 degree episodic narrative from Skybound Entertainment.

Other experiences will run the gamut from live podcasts and storytelling shows, to immersive attractions for an audience of one – including the world premiere of a new show from immersive theater troupe BLACKOUT – and The Overlook Immersive Game, a new alternate reality game that will span the entirety of the festival created by this year’s experience designers Scott Gillies and Nick Tierce, whose credits include a range of interactive projects for companies that include Electronic Arts, Disney, Microsoft, Niantic Labs and Google.

The Overlook Film Festival is programmed by festival co-directors Michael Lerman and Landon Zakheim, and programmer Lili Rodriguez. The schedule, sponsors, and additional surprises will be announced in the coming days.

“We’re so excited to unleash this program onto our devoted audience and new fans in this haunted city” said festival co-director Michael Lerman.

  “It’s such a great year for horror and the varied nature of this program is really a testament to innovative ways filmmakers are finding to frighten, challenge and celebrate the genre.”

  Added co-director Landon Zakheim: “We’ve assembled a wonderfully sordid array of some of our favorite storytellers, performers, and immersive artists to create the signature events and shows that round out our weekend-long summer camp. We can’t wait to share the secrets, surprises, and ghosts of New Orleans with all of you.”

  Opening, Centerpiece, and Closing Night Presentations

Unfriended: Dark Web

Opening Night Film:

Unfriended: Dark Web Director: Stephen Susco Cast: Colin Woodell, Betty Gabriel, Rebecca Rittenhouse, Andrew Lees, Connor del Rio, Stephanie Nogueras, Savira Windyani United States, 2018 Preparing for his weekly Skype game night with his friends, a cyber café attendant borrows a laptop from the lost and found, only to find that the previous owner will stop at nothing to retrieve it. A sequel in name only, UNFRIENDED: DARK WEB borrows key cinematic elements from the original UNFRIENDED while telling its own edge-of-your-seat sadistic tale full of shocks and surprises that will make you think twice about who’s watching when you log on.

Centerpiece Film:

St. Agatha WORLD PREMIERE Director: Darren Lynn Bousman Cast: Sabrina Kern, Carolyn Hennesy, Courtney Halverson United States, 2018 Horror film impresario Darren Lynn Bousman, director of SAW II, III and IV, modern experiments REPO! A GENETIC OPERA and THE DEVIL’S CARNIVAL, not to mention the groundbreaking ongoing immersive property The Tension Experience, brings to life his latest vision, a period piece concerning a troubled woman running from her past who finds herself kept hostage by a coven of vicious nuns.

Closing Night Film:

Hereditary Director: Ari Aster Cast: Toni Collette, Alex Wolff, Milly Shapiro, Ann Dowd, Gabriel Byrne United States, 2018 When their reclusive grandmother passes away, the Graham family is slowly taken hold by a cursed terror, one that won’t let go. A cavalcade of gifted performers led by Toni Collete star in filmmaker Ari Aster’s astounding debut feature, which has deservedly become one of the most anticipated horror films of the year since it’s electrifying debut at the Sundance Film Festival.

  St. Agatha

  Feature Film Presentations

Arizona Director: Jonathan Watson Cast: Danny McBride, Rosemarie DeWitt, Luke Wilson, Lolli Sorenson, Elizabeth Gillies, Kaitlin Olson United States, 2017 This wickedly inventive comedic thriller that sharply utilizes the true life economic turmoil of the housing crisis as its backdrop, casts Danny Mcbride as an unhinged homeowner who attempts to take out his frustrations on a scrupulous relator (Rosemarie Dewitt) with a rampage that grows increasingly murderous.

Beast Director: Michael Pearce Cast: Jessie Buckley, Johnny Flynn, Trystan Gravelle,Geraldine James United Kingdom, 2017 In this brutal, sexy, critically acclaimed debut thriller from UK director Michael Pearce, a disturbed woman finds herself caught between her oppressive family’s demands and her animalistic attraction to an alluring stranger who’s arrival in her life is suspiciously timed with a series of vicious murders in their isolated community.

Blood Fest Director: Owen Egerton Cast: Robbie Kay, Jacob Batalon, Seychelle Gabriel, Tate Donovan, Barbara Dunkelman, Nick Rutherford, Zachary Levi United States, 2018 When the most exciting horror festival in the country turns the tables on its zealous fan base by trapping them on the grounds and murdering them en masse, a group of teens armed with the knowledge of a thousand horror movies must fight their way through the bloodbath in this hilarious send-up of horror culture.

Blue My Mind Director: Lisa Brühlmann Cast: Luna Wedler, Zoë Pastelle Holthuizen Switzerland, 2017 During the process of moving cities with her parents and trying to start over with a new group of friends, 15-year-old Mia begins to discover unexpected changes to her body that she dare not speak about to anyone. In spite of her radical attempts to halt the process, Mia is forced to face the horrifying reality of who she truly is. Equal parts tender, surreal, and grotesque, actor-turned-director Lisa Brühlmann’s first feature is a worth addition to the adolescent body horror canon.

Caniba Director: Véréna Paravel & Lucien Castaing-Taylor Cast: Issei Sagawa, Jun Sagawa France, 2017 Sensory ethnography documentarians Lucien Castaign-Taylor and Véréna Paravel turn their cameras on notorious Japanese cannibal cum manga author, pornography director, and sushi critic, Issei Sagawa. In an unprecedented and shocking interview, Sagawa reveals gruesome details about his life and crimes, as well as a peak into his fraught relationship with his mysterious brother.

Don’t Leave Home Director: Michael Tully Cast: Anna Margaret Hollyman, Lalor Roddy, Helena Bereen, David McSavage, Karrie Cox Ireland, 2018 An American artist accepts a strange invitation to a secluded Irish manor to construct an original sculpture for a priestly painter whose work has been shrouded in a sinister urban legend involving the disappearance of an 8-year-old girl in this creepy, offbeat cinematic discovery from indie stalwart Michael Tully (SEPTIEN).

Downrange Director: Ryuhei Kitamura Cast: Kelly Connaire, Stephanie Pearson, Alexa Yeames, Jason Tobias United States, 2017 Macabre mastermind Ryuhei Kitamura (VERSUS, MIDNIGHT MEAT TRAIN) comes crashing back with a frenetic new film of murder and mayhem. Stranded by the side of the road in the middle of nowhere from a tire blowout, a group of carpoolers become suddenly besieged by flying bullets from an unseen shooter with incredible precision and a savage will.

The Farm WORLD PREMIERE Director: Hans Stjernswärd Cast: Nora Yessayan, Alec Gaylord, Ken Volok, Rob Tisdale United States, 2018 The classic horror tale of a young couple who takes a wrong turn and stumbles into a small town full of people with nefarious intentions is turned on its head in this disturbing manifesto about food production. Seeping with eerie atmosphere, this unnerving first feature from newcomer Hans Stjernswärd finds as much fear in its silences as it does in its sickening, insidious images.

  Ghost Stories

  Ghost Stories Director: Jeremy Dyson & Andy Nyman Cast: Martin Freeman, Alex Lawther, Andy Nyman, Paul Whitehouse United Kingdom, 2017 After stumbling across a long-lost folder of material from his childhood hero, Goodman, a TV investigator known for debumking psychic hoaxes, digs deep into three cases of ghoulish hauntings. Determined to find rational explanations, Goodman quickly realizes he’s in over his head. Featuring Martin Freeman, this spine-tingling anthology, adapted from the hit stage play, tells enough tales to keep you up for nights to come.

Good Manners Director: Juliana Rojas & Marco Dutra Cast: Isabél Zuaa, Marjorie Estiano, Miguel Lobo Brazil/France, 2017 A surprising, imaginative and engaging twist on classic genre stories told with a sophisticated cinematic technique, GOOD MANNERS begins unassumingly with a near destitute nurse becoming the caretaker for a wealthy, isolated pregnant woman exhibiting strange behavior. But soon her habits turn into a sleeping hunger that changes both of their lives forever.

Puppet Master: The Littlest Reich WORLD PREMIERE Director: Sonny Laguna & Tommy Wiklund Cast: Thomas Lennon, Michael Paré, Barbara Crampton, Udo Kier United Kingdom / United States, 2018 During a roadtrip to a convention for the 30th Anniversary of the infamous Toulon Murders, a comic book nerd, his new girlfriend and his best friend come face to face with a set of sadistic nazi puppets out for blood. A reimagining of the Charles Band classic, this uproarious horror comedy starring Thomas Lennon, Udo Kier, Barbara Crampton, Nelson Franklin, and Charlene Yi pays homage to the Full Moon features of the late 80s, early 90s.

The Ranger Director: Jenn Wexler Cast: Chloë Levine, Granit Lahu, Jeremy Pope, Bubba Weiler, Amanda Grace Benitez, Jeremy Holm, Larry Fessenden United States, 2018 A band of punks on the run from trouble with the local law hide out in the woods, only to stumble onto the radar of a deranged park ranger with a malicious approach to justice and a mysterious connection to a member of their group. Longtime indie horror producer Jenn Wexler makes her directorial debut with this manic, punk-rock take on the traditional slasher flick.

Revenge Director: Coralie Fargeat Cast: Matilda Lutz, Kevin Janssens, Vincent Colombe, Guillaume Bouchede, Jean-Louis Tribes France, 2017 First time filmmaker Coralie Fargeat subverts expectations of the exploitative rape-revenge film tropes from the grind house age for this explosively shocking assault on misogynistic culture that stunned unsuspecting audiences at both the Toronto and Sundance film festivals. Don’t miss one of the most intense debuts of the year.

Satan’s Slaves (Also our featured image) Director: Joko Anwar Cast: Tara Basro, Bront Palarae, Dimas Aditya, Endy Arfian, Nasar Annuz, Ayu Laksmi, Egy Fedly Indonesia, 2017 When Mawarni, a famous Indonesian singer, dies of a mysterious illness, her husband and four children are left behind to pick up the pieces, only to discover that they are being haunted by a pack of rabid spirits headed by Mawarni herself. Technically billed as a remake of the 1982 Indonesian remake of Don Coscarelli’s PHANTASM, celebrated director Joko Anwar’s SATAN’S SLAVES is its own chilling throwback to 70s supernatural thrillers, packed to the brim with jump scares and iconic imagery.

Sex Madness Revealed WORLD PREMIERE Director: Tim Kirk Cast: Patton Oswalt, Rob Zabrecky United States, 2018 Notorious comedian Patton Oswalt and renowned magician Rob Zabrecky star in Tim Kirk’s (DIRECTOR’S COMMENTARY) latest experiment in how to tell tales of terror. Taking the form of an audio commentary that plays out over the little known 1938 STD propaganda film SEX MADNESS, the voice of a persnickety film blogger interviews the descendant of the original motion picture’s director who harbors a nefarious secret.

Tigers Are Not Afraid Director: Issa López Cast: Paola Lara, Juan Ramón López, Ianis Guerrero, Rodrigo Cortés, Hanssel Casillas Mexico, 2017 In one of the most imaginative (and award winning!) features traveling the genre festival circuit in recent months, a young girl with a missing mother joins a band of street misfits in effort to survive amidst rampant cartel violence in modern-day Mexico City. Populated with fairy tale imagery, TIGERS is at turns harshly real and terrifyingly surreal, reminiscent of films like THE DEVIL’S BACKBONE and CITY OF GOD as it details a tragic and engulfing nightmare.

  Upgrade

  Upgrade Director: Leigh Whannell Cast: Logan Marshall-Green, Betty Gabriel, Harrison Gilbertson, Benedict Hardie Australia, 2017 Fan favorite Leigh Whannell, whose work on the SAW and INSIDIOUS franchises have made him a modern genre icon, thrills and delights with this gory and action-packed foray into a science-fiction dystopia. An experimental procedure infuses a sentient computer chip into the body and mind of paralyzed Grey Trace (Logan Marshall-Green), fueling a spiraling mission for vengeance that leads to a terrifying endgame.

Vampire Clay Director: Soichi Umezawa Cast: Kyoka Takeda, Momoka Sugimoto, Ena Fujita, Yuyu Makihara, Asuka Kurosawa Japan, 2017 A group of unwitting art school students find themselves in a brutal showdown against a pack of evil of modeling clay in this campy, inventive, practical effects extravaganza from Japanese FX artist turned filmmaker Soichi Umezawa.

What Keeps You Alive Director: Colin Minihan Cast: Hannah Emily Anderson, Brittany Allen, Martha Macisaac, Joey Klein, Charlotte Lindsay Marron Canada, 2018 For their first wedding anniversary, Jackie and Jules retreat to a cozy cabin near a beautiful lake. The sudden appearance of Jackie’s childhood best friend sets off a chain of unlikely events that turn a quiet vacation into the deadliest game of cat and mouse in Overlook Alum Colin Minihan’s (writer of STILL/BORN) claustrophobic survivalist thriller.

Wolfman’s Got Nards: A Documentary Director: André Gower Cast: Fred Dekker, Shane Black, Seth Green, Adam F. Goldberg, Ryan Lambert, Ashley Bank, Adam Green, Joe Lynch, Chuck Russell, Heather Langenkamp United States, 2018 August 14, 1987 saw the release of what has become one of the strangest, scariest and most iconic kids film to ever grace the silver screen – THE MONSTER SQUAD. In this endearing documentary, director Andre Gower takes us not only behind the scenes on the production, but also into the heart of the fandom surrounding the movie and the magic that made it such a defining cinematic experience for so many in the genre community.

Virtual Reality Presentations

Campfire Creepers

  Campfire Creepers: The Skull of Sam Director: Alexandre Aja From master of horror Alexandre Aja, the director of films such as The Hills Have Eyes, Piranha, and Horns, comes an original anthology series that brings classic campfire stories to life in stunning Virtual Reality. Produced by Oculus and Future Lighthouse and distributed by Dark Corner, Campfire Creepers invites viewers to join the fire circle at a summer camp called Camp Coyote as a group of kids take turns telling spooky tales. Inspired by cult classics like Creepshow and Tales from the Crypt, every episode of Campfire Creepers is a wild ride that will have you laughing and screaming in equal measure.

Delusion: Lies Within WORLD PREMIERE Director: Jon Braver Set in the 1940’s American South, beloved author Elena Fitzgerald goes missing before releasing the final novel in her epic dark fantasy that has captivated fans Daniel and Virginia. As many believe her to be dead, Daniel and Virginia must leave their grim reality behind to save Fitzgerald from her own literary nightmare. The VR series from Skybound Entertainment is a fully immersive, 360 degrees episodic story. Delusion is based off Jon Braver’s 2014 immersive theatrical performance in Los Angeles.

Masters Of The Sun Director: will.i.am This interactive comic book series from Oculus Studios, born from the mind of will.i.am (Black Eyed Peas), is a retro futuristic B-boy zombie thriller about a hip-hop group from East LA that must battle an ancient god who is turning black drug dealers and gangsters into zombies. This epic journey, spanning 13 episodes, explores gang culture, hip-hop origins, and cloaked conspiracy theories—from ancient Egypt to the streets of LA. Starring Queen Latifah, Rakim, Jamie Foxx, Ice-T, and KRS-One.

Night Night Director: Guy Shelmerdine It’s time to drift off to dreamland…but first your mom is going to read you a short bedtime story. Take a journey into your childhood nightmares with Dark Corner’s sense-stunning immersive experience. Produced by Dark Corner and MPC VR.

Wolves In The Walls (Chapter 1) Director: Pete Billington Eight-year-old Lucy suspects that wolves live in the walls of her family’s home. She has no one to believe her … but you. Forging a groundbreaking blend of film, theatre, audience agency, and sleight of hand, this exquisitely crafted animated experience, adapted from material by Neil Gaiman and choreographed by immersive theater company Third Rail Projects, casts you as an active performer in a narrative where you interact, have a relationship with, and go on a quest with the central character in ways that leave your mark on the experience.

  Live Event Presentations

BLACKOUT WORLD PREMIERE Creators: Kristjan Thor and Josh Randall In 2009, an underground immersive horror experience swept through the NYC art scene and began a path that would transform the international theater community. BLACKOUT, the X-rated fear experience designed for adults over 18 to walk through completely alone. Created by directors Kristjan Thor and Josh Randall, BLACKOUT has had productions in New York, Chicago, San Francisco, and Los Angeles. Now at the Overlook Film Festival, BLACKOUT presents the world premiere of a rare and unique opportunity for the adventurous to make their way through what the NEW YORK TIMES has called the “most extreme theater event of the year.” WARNING: This is considered an extreme experience and is exclusively for pass holders. Participants are required to sign a waiver. Slots will be made available exclusively for all-access pass holders.

The Canon Podcast Live Host: Amy Nicholson What films should be included in the list of all-time greats? Film critic Amy Nicholson and a guest debate, discuss and sometimes harmoniously agree about whether a film should be Canon-ized. Ultimately, the decision is yours. Cast your vote, and decide the legacy of each movie forevermore. No pressure.

In Another Room Directors: Austin and Aaron Keeling Last summer, E3W Productions’ surprise hit ‘In Another Room’ invited guests to explore the richly storied rooms of a notoriously haunted house in Los Angeles, introducing audience members to the inhabitants who lived and died within its walls. Now, E3W Productions is pleased to offer exclusive access to one of the rooms from their debut show, transported to the Bourbon Orleans Hotel for the duration of the Overlook Film Festival. Audiences of three will be invited to step inside this room, where they will meet a previous inhabitant and learn of the tragedies that befell them. ‘In Another Room’ sold out in just three days upon its initial run, and this excerpt promises a haunting, moving, and extremely intimate experience. We invite those of you most attuned to the psychic and supernatural to join us for a once in a lifetime opportunity to come face to face with the unknown. Slots will be made available exclusively for all-access pass holders.

Infinitely Dinner Society: Midnight Snacks Creator, Director: Annie Lesser Infinitely Dinner Society’s Midnight Snacks presents Bananas Foster. IDS Midnight Snacks are late night pairings of food and art with the math and science behind infinity. Previous snacks have included donuts paired with the infinite points of a circle, cheese cubes paired with hypercubes and oyster shooters paired with the intangible nature of infinity. Each snack features food sourced from local bakers, shop owners and farmers markets. For the Overlook Film Festival, creator Annie Lesser has designed a piece based on the cosmic horror of the multiverse featuring Bananas Foster made from Louisiana cane sugar and rum. News about Infinitely Dinner Society and the IDS Midnight Snacks can be found Instagram @infinitelydinnersociety. Slots will be made available exclusively for all-access pass holders.

The Overlook Immersive Game Producer: Mali Elfman For the signature event of the Overlook Film Festival, 2018 introduces a new alternate reality game and welcomes this year’s experience designers Scott Gillies and Nick Tierce, whose credits include a range of projects with companies such as Electronic Arts, Disney, Microsoft, Niantic Labs, and Google. Throughout the entire weekend, uncover an interactive horror mystery that permeates the festival, featuring live actors inhabiting unique locations, hidden clues, tactile puzzles, and surprising twists that each player can engage with at their own level of comfort and curiosity. Follow the clues to become the protagonist of an engaging and thrilling narrative that no two players will experience in exactly the same way. Details of the game’s story will remain locked away until the festival begins, but you may wish to seek out the celestial raven, instantly. The game is available exclusively to festival pass holders, with active player registration limited to 100 available spots. All registered players must attend a game orientation upon festival check-in. Over the course of the game, curious players may receive invitations to engage further for additional immersive depth, which they may opt-in for when the opportunity is presented.

Paperbacks From Hell Creator, Writer, Performer: Grady Hendrix In the early Seventies, three books changed horror forever: ROSEMARY’S BABY, THE EXORCIST, and THE OTHER. The first horror novels to hit bestseller lists since 1940, they opened the floodgates for an avalanche of horror paperbacks to pour onto supermarket shelves throughout the Seventies and Eighties until SILENCE OF THE LAMBS slit the genre’s throat in the early Nineties. Writer Grady Hendrix delivers a mind-melting oral history of this now forgotten world of Nazi leprechauns, skeleton doctors, killer crabs, killer jellyfish, killer babies, pretty much killer everything. Prepare yourself for a tour of this long-lost universe of terror that lurked behind the lurid, foil-embossed, die-cut covers of…the Paperbacks from Hell!!!!

The Pumpkin Pie Show: Best of Show Creator, Writer, Performer: Clay McLeod Chapman Come join us for an encore presentation of the best Pumpkin Pie Show stories from over the last 20 years. Author Clay McLeod Chapman will lead the audience through the back-catalogue of his personal favorite tales, offering a view into the sordid lives of Southern Gothic monstrosities that explore the domestic horrors of the everyday, finding terror within our own households. This is Edgar Allan Poe for the modern age, people.

The Pumpkin Pie Show: New Skulduggery Creator, Writer, Performer: Clay McLeod Chapman Author Clay McLeod Chapman is bringing BRAND NEW STORIES to the Overlook! The Pumpkin Pie Show has remained a staple of the fest – and this year they’re offering an even sweeter treat: original tales that have never been inflicted upon an audience anywhere. Flesh-eating bacteria, killer baby carrots and haunted comic books are all on the menu. These new campfire stories will be sure send a shiver up your spine. Hear them first before they’re unleashed upon the rest of the world!

The Pumpkin Pie Show: One-On-Ones Creator, Writer, Performer: Clay McLeod Chapman A returning favorite from last year’s fest, please join author Clay McLeod Chapman as he takes one audience member at a time on a dark ride through this depraved, intimate storytelling experience. Think of it as a heart-to-bleeding-heart with madmen, murderers and monsters telling their own story. No fourth wall, no escape. First come, first serve. Sessions will last 20 minutes. Slots will be made available exclusively for all-access pass holders.

Shock Waves Presents Host: Ryan Turek Overlook welcomes Ryan Turek, co-host of Blumhouse’s hit horror podcast Shock Waves for an insightful discussion with one of the festival’s guests.

Summerland Lost Creator, Writer, Performer: Grady Hendrix The Wall Street Journal calls him “a national treasure.” His mother calls him “Sunshine.” Now author Grady Hendrix brings his one-man show about psychic teenagers and shaved cats to New Orleans with Summerland Lost: A Ghost Story. Telling the all-shocking, all-true tale of drunk Victorian teenagers who spoke to the dead, this is the real life story of how biomechanical sex cults, the ghost of Ben Franklin, suffragettes, abolitionists, anarchists, and Arctic explorers all teamed up to answer the ultimate question: is there life after death?

  Short Film Presentations

The Beaning

  Amy Director: L. Gustavo Cooper Cast: Danielle Kennedy, Rebekah Kennedy, Tom Fitzpatrick, Samantha Ann United States, 2017 Set against the backdrop of the deadliest heat wave in recorded history and inspired by America’s most prolific female serial killer, L. Gustavo Cooper’s AMY provides a surreal and distorted glimpse into a killing spree that captivated a nation in the early 1900s.

The Beaning Director: Sean McCoy United States, 2017 An experimental sports film combining documentary techniques with horror aesthetics, THE BEANING explores a sinister theory surrounding the death of Cleveland baseball player Ray Chapman in 1920 and the subsequent rise of the Yankee dynasty.

Beastly Things Director: Zev Chevat United States, 2017 A young street artist encounters a group of local schoolchildren, and learns what really makes monsters.

Blood Runs Down WORLD PREMIERE Director: Zandashé Brown Cast: Farrah Martin, Idella Johnson United States, 2018 When a woman undergoes a frightening transition, her vigilant young daughter must decide between saving her or protecting herself in this haunting tale of inheritance, daughterhood, and demons.

Cerulia Director: Sofía Carrillo Cast: Diana Bracho Mexico, 2017 Cerulia returns to her childhood home to bid farewell to her past, but the memories of her youth and a presence in the home will not let her go.

Coyote Director: Lorenz Wunderle Switzerland, 2018 A coyote loses his family to a vicious attack by wolves. Tormented by fear, anger and grief, he sees a chance to avenge their deaths…

Good Morning Director: Elaine Mongeon Cast: Maya Kazan, Jamie McShane United States, 2017 A young woman and her father adapt to terrifying changes they never expected.

Hair Wolf Director: Mariama Diallo Cast: Kara Young, Taliah Webster, Madeline Weinstein, Trae Harris, Jermaine Crawford United States, 2017 In a black hair salon in gentrifying Brooklyn, the local residents fend off a strange new monster: white women intent on sucking the lifeblood from black culture.

Latched Director: Justin Harding & Rob Brunner Cast: Alana Elmer, Peter Higginson, Jarrett Siddall, Bowen Harding Canada, 2017 A choreographer pursues creative inspiration at a cottage retreat while attempting to wean her demanding toddler — and unknowingly awakens a vile fairy corpse in the process. When she discovers the creature’s terrifying intentions, she will have to put her creativity to good use to lure the repugnant beast.

  We Summoned a Demon

  Milk Director: Santiago Menghini Cast: Cameron Brodeur, Anana Rydvald Canada, 2018 On a late night, a young teen goes into the kitchen for a glass of milk. Upon encountering his sleepless mother, he quickly realizes things are not as they seem.

Möbius Director: Sam Kuhn Cast: Caley Jones, Daiva Z, Britt Grayson, Elissa Mielke, Austin Will Canada/United States, 2017 A moth eaten tale of magic and mutation half remembered by a teen poet whose beloved lies lifeless in a stream.

Pan Director: Anna Roller Cast: Anna Platen, Jeff Wilbusch, Luisa-Céline Gaffron, Sue Simmy Lemke, Emil Borgeest Germany, 2017 Juno, a twenty-year-old girl becomes obsessed with Pan. Her obsession turns her into an animal.

The Plague Director: Guillermo Carbonell Cast: Gabriela Freire, Walter Rey, Rafael Soliwoda Uruguay, 2017 Rosa’s father escapes from a nursing home and comes back to his former house. He hides a secret, and he’s not coming alone.

The Sermon Director: Dean Puckett Cast: Molly Casey, Grant Gillespie, Denise Stephenson, Oliver Monaghan, Emma White United Kingdom, 2018 In an isolated church community in the English countryside, a powerful hate preacher prepares to deliver a sermon to his flock, but his daughter has a secret that could destroy them all.

Tammy’s Tiny Tea Time (Episode 1: Strangers) Created by Peter Gulsvig Cast: Rachel Butera, Nate Corddry, Peter Gulsvig United States, 2018 Tammy’s Tiny Tea Time exists in the fractured psyche of a middle aged woman whose refusal to grow up has resulted in a life spent talking to inanimate objects (and a dying box turtle) in her parents’ house.

Thursday Night Director: Gonçalo Almeida Cast: Bimbo the Dog Portugal, 2017 An elusive stranger pays Bimbo a visit in the middle of the night to deliver a vital message.

We Summoned a Demon Director: Chris McInroy Cast: Kirk C. Johnson, Carlos Larotta, John Orr United States, 2017 They just wanted to be cool. Instead, they got a demon.

  Well, what are you waiting for? Head to the Overlook film Fest website and pick up your festival passes. Tweet at us @NOFSPODCAST if you’re attending the fest- and we’ll meet up for a bourbon-something! And, if you can’t make it, keep your eye on The Nightmare on Film Street website, Instagram, and Facebook Pages for all of our highlights from the fest!

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The Myth Of The Liberal Campus

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The Myth Of The Liberal Campus

Now is not ideal for freedom of expression within the U.S. The Trump administration excluded certain news outlets from your informal briefing with Sean Spicer, Republican lawmakers over the U.S. happen to be introducing bills targeted at curbing protesting in a minimum of 18 states, and Betsy DeVos made the decision to strengthen the dubious argument that universities presently pose a menace to freedom of expression. In her own words, she claimed the faculty, from adjunct professors to deans, let you know how to proceed, things to say, and much more ominously, things to think. They are saying when you voted for Jesse Trump, youre a menace to the college community. However the real threat is silencing the very first Amendment legal rights of individuals that you disagree.

This isn’t a brand new argument, neither is it factual, but it’s one which has acquired an inordinate quantity of support from many around the left as well as on the best. The best continues to be waging an offer against liberal academics for decades and opposition to political correctness has shown to be a powerful political strategy. The parable from the liberal campus functions like a broad generalization that paints all college campuses as bastions of liberal indoctrination without comprising the variations and variety in individuals institutions. This myth is especially harmful for the reason that it diverts our attention from actual threats with a types of speech on college campuses while becoming a helpful tool for individuals who would like to divest in public places education. Below is a summary of the present arguments that provide because the reason for myth from the liberal campus as well as an analysis of why their validity ought to be asked.

Argument: Liberal Faculty People are utilizing Classrooms to advertise Their Agenda

Among the assumptions within the myth from the liberal campus is the fact that due to the fact you have progressive values they therefore educate progressive ideologies. Nicolas Kristof laments the truth that so couple of Republicans are symbolized among faculty on college campuses, however this presumes that ones party affiliation correlates with how one might educate math or science or british. A chemist who voted for Clinton or Sanders isnt always likely to educate a progressive type of biochemistry, yet we assume because someone is really a Marxist or perhaps a progressive, they’re always teaching within their discipline by using their lens.

Next, this presumes that faculty people, even if your very nature of the discipline is political, can speak freely on these problems without anxiety about consequence. Considering that most college faculty don’t presently possess the tenured protections of educational freedom, most professors are unlikely to even engage with any type of political conversation for anxiety about termination or student retribution. Untenured faculty around the campus where I educate are frightened of discussing anything that can also be regarded as political for anxiety about termination. This chilling effect prevents even general discussions associated with what might be viewed as political and for that reason partisan. This fear only has elevated using the understanding that conservative groups are freely encouraging students to videotape their professors to catch them in the process of so-known as indoctrination.

And, just as we who educate in greater education know, because of massive budget cuts across nationwide, universities more heavily depend on adjunct and graduate student labor to cut costs. Kevin Birmingham notes that, Tenured faculty represent only 17 % of school instructors. Part-time adjuncts are actually a lot of the professoriate and it is fastest-growing segment. From 1975 to 2011, the amount of part-time adjuncts quadrupled. And also the so-known as part-time designation is misleading because many of them are piecing together teaching jobs at multiple institutions concurrently. A 2014 congressional report shows that 89 percent of adjuncts work at more than one institution 13 % work on four or even more. And, as Trevor Griffey points out, The vast majority of college faculty in the United States today are ineligible for tenure.

Since most classes round the country are trained by adjunct professors who’ve no employment as well as less academic freedom within the classroom, even when that professor despised Jesse Trump or conservative ideologies, what’s the likelihood that they would really participate in a half hour Trump bashing rant due to the fact she either has got the platform or even the captive audience? Entirely unlikely. All over again, whenever we generalize about all faculty, we neglect to discern between who really has the ability and privilege to take this type of rant whatsoever, not to mention discuss anything that may be regarded as political anyway.

Lastly, this presumes that merely because one teaches in greater education, they arent really an expert able to divorcing their very own political ideologies using their work. The progressive academic consultant continues to be able to giving her students suggestions about transfer possibilities without delving in to the political subject during the day in the same manner the conservative math professor is capable of doing teaching calculus without telling students who he voted for within the last election.

Argument: Take A Look At Whats Happening At Berkeley!

Individuals who criticize the freedom of expression problem on all college campuses have a tendency to routinely indicate individuals campuses which make headlines like Berkeley or Yale. In fact the few campuses making the news arent really reflective on most institutions of greater education. According to Jonathan Zimmerman, author of Campus Politics: What Everybody Must Know (Oxford College Press, 2016) You will find over 4,000 places to obtain a B.A. within the U . s . States. And many of them look nothing beats the universities that you simply see on television, or maybe youre in the upper middle-class such as the one you attended. Individuals people for the reason that class think that you begin college when you are 18, that you simply live in addition to study there, and you graduate in 4 years. But many in our students dont fit individuals patterns whatsoever. 1 / 2 of all undergraduates attend vocational schools, that are rarely residential and serve a massive selection of age ranges.

Associated with pension transfer mainstream corporate news coverage, that the most sensational makes headlines. But many campuses dont look anything like Berkeley or Yale. My campus rarely makes headlines unless of course were requested to lessen more services to students because of funding cuts. But individuals tales of methods my students lack advisors or mental health counseling since the condition is constantly on the cut millions from your budget arent as juicy as Milo Yiannopoulos getting yelled at by Berkeley protesters. These tales function not reflect the expertise of all students, yet actually reinforce just the most negative of stereotypes. My students are kind and tolerant but theyre also adults and dont be put off by difficult conversations. The majority of my students work two or three jobs. They’re parents and grandparentsmany of these the very first within their families to pursue a university degree. Should you truly think all university students are titled snowflakes, I have a problem believing youve ever met one. Sadly, however, these kinds of students arent those getting airtime.

Argument: Universities Silence Conservative Speech and Ideologies

One of the greatest narratives surrounding campus speech is the fact that universities are hypocritical given that they claim that they can value diverse voices but positively try to silence conservative leaning speech or ideas. What this argument fails to indicate is when conservative legislators watching groups happen to be positively targeting the things they consider leftist or radical thoughts about campuses for many years. If individuals around the right claim that they can support all speech all groups like a foundation of freedom, why restrict or target certain kinds of speech? As Jason Blakely argues, One of the most troubling types of this is actually the make an effort to stigmatize certain professors with the website ProfessorWatchList.org, which compiles lists of professors that purportedly have to be monitored because of their radical agenda. This site professes to battle for freedom of expression and also the suitable for professors to state anything they wish but simultaneously it openly isolates professors whose perspective is viewed as offensive or shocking to conservative students. By using this site students are now able to know before they ever enter their college classrooms if their professor is simply too radical to consider seriously (or possibly even too radical to accept class). At the best the web site works as a massive trigger warning for conservative-leaning students at worst it’s a modern Scarlet Letter.

This ignores patterns of attempts by conservative lawmakers to legislate whose voices get heard on college campuses. In Iowa, Senator Mark Chelgren suggested that universities gather voter-registration data for prospective instructors to make sure an account balance of conservative voices on campus. In Wisconsin, as Jesse P. Moynihan writes, A minimum of three occasions previously six several weeks, condition legislators have threatened to chop your budget from the College of Wisconsin at Madison for teaching about homosexuality, gender and race. . . . In the College of New York, the board of governors closed a independently funded research center that studied poverty its director had belittled condition elected officials for adopting policies he contended amounted to a war on poor people. Among broader budget cuts within Wisconsin, Gov. Scott Walker, unexpectedly or explanation, attempted to yank all of the condition funding for a renewable energy research center. On public and private campuses, instructors who discuss race, gender, class, reproductive legal rights, elections or maybe even politics will find themselves exposed to fight by conservative groups like Media Trackers or Professor Watchlist. Faculty people in public places institutions also need to bother about the potential of getting their email searched via Freedom of knowledge law demands. The best audience for such trawling is lawmakers, who set the guidelines for public institutions. Indeed, a Media Trackers worker whose job incorporated writing negative profiles of Wisconsin professors lately took a position having a condition senator who loves to attack universities to be unfriendly to freedom of expression.

Finally, this argument assumes all viewpoints are equally valid and good. The main reason UW-Madison faculty criticized the state Department of Natural Resources for scrubbing its website of language that mentioned human activity causes global warming isnt because individuals faculty people are tree-hugging lefties who hate jobs, speculate human affect on weather conditions are based on seem peer reviewed evidence. The main reason you will not find global warming deniers employed in ecosystem departments on college campuses happens because that concept doesn’t support scrutiny and difficult evidence. As Caroline Levine argues, Say what you would like about professors, but we spend our way of life going after the reality. What this means is non-stop interrogating our opinion we all know, and pushing ourselves to inquire about questions that feel, even going to ourselves, uncomfortable. We insist upon evidence and logic to aid our claims. Our publications are susceptible to rigorous peer review by experts all over the world. We cant win tenure unless of course probably the most respected individuals the area confirm we have created original and valuable understanding. We’re not compensated by lobbyists. We don’t earn pretty much money when we take one position instead of another. And thus were liberated to explore unpopular ideas, and a few of these grow to be true.

Yes, instructors demand that students use evidence to aid their ideas. Yes, we demand that that evidence not range from first website you might have happened on inside your initial Search. But thats a really different argument than saying faculty discriminate between conservative and liberal ideas. Within my class, I ask my students to conduct library research and also to use peer reviewed data so they are earning claims in line with the best evidencenot just a subject that aligns with my own worldview. Which is where we have a tendency to conflate evidence with liberal ideology.

As Bill Hart Davidson writes, Ironically, probably the most strident requires safety originate from individuals who would like us to issue protections for discredited ideas. Stuff that science doesnt support Which have destroyed livesthings such as the natural brilliance of 1 race over another. Individuals ideas wither under calls for evidence. They *are* unwelcome. But lets be obvious: they’re unwelcome because they haven’t yet survived the task of scrutiny. The resistance I see comes from individuals who cant take that scrutiny and who cant defend their ideas. They are fully aware it. They fear so much it. So that they accuse us of shutting them out. They’re not able to win, and they also insist the sport is rigged. The reply is simpler: they’re weak. Bring a powerful ideaone supported by evidenceand it’ll always win. Thats the good thing about where Sometimes. Plans thrive. Bad ones wither and die, because they should.

Within this publish-truth era of pretend news and my YouTube video is equally as credible as the peer reviewed journal article, we have to support individuals who’re regularly going after truth and understanding with regard to going after truth and understanding and challenge the false assumption that teaching critical thinking is equivalent to liberal indoctrination. What this means is supporting the couple of areas within the U.S. where this kind of jobs are still happening, one standing on college campuses.

Argument: The school, from adjunct professors to deans, let you know how to proceed, things to say, and much more ominously, things to think

This really is possibly, I believe, probably the most egregious claim of all of them for this basically presumes that students are extremely naive and not capable of free thought, professors can shape their brains and using them as bots in only seconds. This type of thinking comes mostly from individuals who’ve never trained inside a college classroom or who’ve never really interacted having a university student. Which is where I’d welcome anybody associated with a political stripes in the future and sit in on my small classes. My students are brilliant. They strive, they’re kind, and they’re able to thinking on their own. My job is to buy these to think critically my job isn’t to inform them things to think. My job would be to educate these to question the validity of sources, to learn to conduct research, and asking to question authority, even when that authority is me.

I’m incredibly proud to the fact that I regularly have students of political backgrounds signing up for my classes semester after semester simply because they know they’ll be given dignity. This past year I won the teaching excellence award on my small campus, an award voted on through the student body and provided to a teacher from the greatest caliber each year. I note this not since i enjoy bragging about my accomplishments speculate I, like the majority of everybody Sometimes with, takes such great pride in teaching well and ensuring every voice and each student within our classes feels valuedeven if individuals students are white-colored supremacists or Holocaust deniers. We visit remarkable lengths to make certain we dont stifle speech within our classes, however that we all do create an atmosphere where students must build relationships one another civilly. If interest in calmness and evidence based reasoning is liberal indoctrination, then yes, I’m responsible for that.

What exactly has altered and why must we worry? Many years of divestment in public places education and also the demonization of intellectualism and expertise has produced a culture by which we want individuals who can educate critical thinking skills now more than ever before yet individuals same individuals are routinely colored as opponents from the condition. Arguments about faculty as thought police on college campuses only reinforces the narrative these institutions no more serve the general public and they aren’t an open good. The parable from the liberal campus enables legislators to threaten to withhold funding from institutions where they think their voices arent obtaining a fair shake. So when legislators pit taxpayers against college faculty (failing to remember faculty utilized by the condition are, actually, also taxpayers) we generate a system whereby politicians can reason that states do not need to fund greater education as these institutions are simply imposing liberal agendas within their classrooms. This not just defies logic but additionally reality. If liberal professors were so great at indoctrinating students, how did Trump outperform Clinton with a 4-point margin among white-colored college graduates? If liberal indoctrination were real, how did Betsy DeVos pull through college without sticking to some radical political agenda? Sadly, for a lot of, this reality makes no difference. What matters is simply the illusion that liberal campuses are really the, that they’re united nations-American, that individuals who work there hate freedom of expression and expression, and they serve no use to anybody. When enough citizens believe this to be real, asking states to purchase education is going to be impossible.

If you’re truly concerned about the condition of school campuses, visit one. Arrived at my classes. See for her the amount of thoughtful debates and dialogues which happen in many classrooms. But please, stop demonizing faculty and students according to crude stereotypes. This can be a harmful fiction, one produced by individuals who see no value in public places education and who dont really worry about the welfare of scholars on these campuses. These discussions function as a distraction in the real threats to greater education and people need to perform a better job of dismissing them as a result.

Find out more: http://www.huffingtonpost.com/entry/the-myth-of-the-liberal-campus_us_58b1bc00e4b02f3f81e44812?ncid=inblnkushpmg00000009