Mister McBlister

I like weird things, and normal things. Things are the things I like.

[hometoursandotherstuff]

[evasive-anon]

Superman meeting Santa is actually the cutest thing I've ever seen.

[ampervadasz]

[blueskulldragon]

[mistermcblister]

I mean, sure, of course.

[1m0g3n09]

Alfred was an absolute icon in btas

[mistermcblister]

Look, we all know I’m not superhero material, but I am absolutely “Superhero’s Butler” material.

[dioptre-hertz]

I had a very interesting discussion about theater and film the other day. My parents and I were talking about Little Shop of Horrors and, specifically, about the ending of the musical versus the ending of the (1986) movie. In the musical, the story ends with the main characters getting eaten by the plant and everybody dying. The movie was originally going to end the same way, but audience reactions were so negative that they were forced to shoot a happy ending where the plant is destroyed and the main characters survive. Frank Oz, who directed the movie, later said something I think is very interesting:

I learned a lesson: in a stage play, you kill the leads and they come out for a bow — in a movie, they don’t come out for a bow, they’re dead. They’re gone and so the audience lost the people they loved, as opposed to the theater audience where they knew the two people who played Audrey and Seymour were still alive. They loved those people, and they hated us for it.

That’s a real gem of a thought in and of itself, a really interesting consequence of the fact that theater is alive in a way that film isn’t. A stage play always ends with a tangible reminder that it’s all just fiction, just a performance, and this serves to gently return the audience to the real world. Movies don’t have that, which really changes the way you’re affected by the story’s conclusion. Neat!

But here’s what’s really cool: I asked my dad (who is a dramaturge) what he had to say about it, and he pointed out that there is actually an equivalent technique in film: the blooper reel. When a movie plays bloopers while the credits are rolling, it’s accomplishing the exact same thing: it reminds you that the characters are actually just played by actors, who are alive and well and probably having a lot of fun, even if the fictional characters suffered. How cool is that!?

Now I’m really fascinated by the possibility of using bloopers to lessen the impact of a tragic ending in a tragicomedy…

[aaronstveit]

Clue (1985) dir. Jonathan Lynn

[stream]

Planes, Trains and Automobiles (1987) dir. John Hughes

[thejanedoetoday]

Hallowe'en Party

David Suchet as Hercule Poirot

[memewhore]

[oldshowbiz]

1978.

[ladythatsmyskull]

31 Days of Horror: The Beast from 20,000 Fathoms.

A different sort of monster story of unrequited love by Ray Bradbury with illustrations by James R. Bingham. Originally published in The Saturday Evening Post (June 23, 1951) .

The story was later collected in anthologies under the new title The Fog Horn to distance it from the 1953 monster movie. The film producers bought the rights from Bradbury and used the Post illustration by Bingham as a basis for the creature.

The comic book industry also adapted a slightly changed story in a 1953 issue of Tales of Horror without crediting Bradbury.

The Beast from the Deep! Published in Tales of Horror #7 (October 1953). Popularly credited to Ray Bradbury (An unknown author scripted the comic) with art by Howard Rosenberger.

[lovethatsoothes]

“To Make a Long Story Short”

Stephen Andrade’s wonderful pulp-style tribute to Clue (1985)

Prints and original artwork available at nineteeneightyeight.com or through @galleries1988 on Instagram :)

[mistermcblister]

[bawdiestrhymester]

How gorgeous are these photos of the 30th Anniversary soundtrack album for Clue?!?

[batmannotes]

Because not everyone is a billionaire like Bruce Wayne

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[mistermcblister]

[mistermcblister]

At the excellent opening for @tony_miello at @artattheedge ! (at River's Edge Gallery art & design) https://www.instagram.com/p/CZAyAbjsjn_/?utm_medium=tumblr