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Tag Archives: American Horror Story
CFP for 'At Home with Horror?' Conference at Kent 27th-28th October 2017
Posted on April 20, 2017 by melodramaresearchgroup
Melodrama Research Group members Katerina Flint-Nicol and Ann-Marie Fleming have released a Call for Papers for a their upcoming conference on TV horror which will take place at Kent on the 27th and 28th of October 2017.
The CFP info from Kat and Ann-Marie:
The Melodrama Research Group presents:
At home with horror? Terror on the small screen
27th-28th October 2017
Keynote speaker: Dr Helen Wheatley (University of Warwick)
The recent horror output on TV and the small screen challenges what Matt Hills found to be the overriding assumption 'that film is the [horror] genre's 'natural' home' (Hills 2005, 111). Programmes such as American Horror Story, Penny Dreadful and The Walking Dead are aligned to ''quality TV', yet use horror imagery and ideas to present a form and style of television that is 'not ordinary'' (Johnston 2016, 11). Developments in industrial practices and production technology have resulted in a more spectacular horror in the medium, which Hills argues is the 'making cinematic' of television drama (Hills 2010, 23). The generic hybridity of television programmes such as Whitechapel, and Ripper Street allow conventions of the horror genre to be employed within the narrative and its aesthetics create new possibilities for the animation of horror on the small screen. Series such as Bates Motel and Scream adapt cinematic horror to a serial format, positioning the small screen (including terrestrial, satellite and online formats) as the new home for horror.
The history of television and horror has often displayed a problematic relationship. As a medium that operates within a domestic setting, television has previously been viewed as incompatible with 'authentic' horror. Television has been approached as incapable of mobilizing the intense audience reactions associated with the genre and seen as a medium 'restricted' in its ability to scare and horrify audiences partly due to censorship constraints (Waller 1987) and scheduling arrangements. Such industrial practices have been seen as tempering the genre's aesthetic agency resulting in inferior cinematic imitations or, 'degraded made-for-TV sequels' (Waller 1987, 146). For Waller, the technology of television compounded the medium's ability to animate horror and directed its initial move towards a more 'restrained' form of the genre such as adapting literary ghost stories and screening RKO productions of the 1940s (Ibid 1987). Inferior quality of colour and resolution provided the opportunity to suggest rather than show. Horror, then, has presented a challenge for television: how can the genre be positioned in such a family orientated and domesticated medium? As Hills explains, 'In such a context, horror is conceptualised as a genre that calls for non- prime-time scheduling… and [thus] automatically excluded from attracting a mass audience despite the popularity of the genre in other media' (Hills 2005, 118).
Helen Wheatley's monograph, Gothic Television (2006), challenges the approach of television as a limiting medium for horror, and instead focuses on how the domestic setting of the television set is key to its effectiveness. Focusing on the female Gothic as a domestic genre, Wheatley draws a lineage from early literary works, to the 1940s cycle of Gothic women films and Gothic television of the 1950s onwards. Wheatley argues for the significance of the domestic setting in experiencing stories of domestic anxiety for, 'the aims of the Gothic drama made for television [are] to suggest a congruence between the domestic spaces on the screen and the domestic reception context' (Wheatley 2006, 191).
Developments in small screen horror are not restricted to contemporary output. In his work on the cultural history of horror, Mark Jancovich argues that it was on television in the 1990s where key developments in the genre were taking place (Jancovich 2002). Taking Jancovich's work as a cue, Hills develops his own approach to the significance of horror television of the 1990s. Hills cites Buffy the Vampire Slayer and The X Files as examples of programmes striving to mobilise the genre's more graphic elements while existing as a 'high-end' cultural product: 'authored' TV that targeted a niche fan audience (Hills 2005, 126).
Taking these recent developments into account, the aim of this conference is to engage with such advances. Can we say that it is on the small screen where critical and creative innovations in horror are now being made? How has the expansion of satellite television and online sites impacted on the genre? How has the small screen format developed the possibilities of horror? Is the recent alignment with 'quality TV' evidence of horror's new mainstream status? This conference will also reflect on seminal works on television horror and revisit the history of the genre. In addressing these questions the conference will underline the importance of the small screen for horror, within the study of the genre and of the medium, and ask: is the small screen now the home of horror?
Topics can include but are not limited to:
The seasons and horror on the small screen
Gender and horror
Historical figures and events in small screen horror
Small screen horror as an 'event'
Adaptation from cinema to small screen 're-imaginings'
Production contexts
Censorship and the small screen
Serialisation and horror production
National television production of horror
The impact of Netflix and Amazon Prime
TV history and horror
Children's TV and horror
Genre hybridity
Teen horror
Stardom and horror
Please submit proposals of 400 words, along with a short biographical note (250 words) to horrorishome@gmail.com by Friday 30th June. We welcome 20 minute conference papers as well as submissions for creative work or practice-as-research including, but not limited to, short films and video essays.
Conference organisers: Katerina Flint-Nicol and Ann-Marie Fleming
https://tvhomeofhorror.wordpress.com/
https://twitter.com/Homewithhorror
Posted in News	| Tagged Adaptation, American Horror Story, Bates Motel, Buffy the Vampire Slayer, Censorship, Children's TV, domestic setting, Fandom, Female Gothic, gender, Genre, Gothic, Gothic Television, Helen Wheatley, History, Matt Hills, National TV, News, Penny Dreadful, production context, Quality TV, Ripper Street, Scream, Stardom, The Walking Dead, The X Files, TV, Whitechapel	| Leave a reply
Melodrama Screening and Discussion, 12th of February, Keynes Seminar Room 6, 4-7pm
Posted on February 3, 2014 by melodramaresearchgroup
All are welcome to attend the third of this term's screening and discussion sessions which will take place on the 12th of February in Keynes Seminar Room 6, from 4pm to 7pm.
We will be screening Black Christmas (1974, Bob Clark, 98 mins).
Kat has very kindly provided the following introduction:
Black Christmas (also released under the titles Silent Night, Evil Night, and Stranger in the House) is a 1974 Canadian independent horror film directed by Bob Clark and written by Roy Moore. It stars Olivia Hussey, Keir Dullea, Margot Kidder, Andrea Martin, Marian Waldman and John Saxon.
The reason for choosing this film is that it bears the hallmarks of the 'woman in peril' Gothic melodrama, only in this film, it is somewhat multiplied to numerous women. There is also an uneasy ambiguity surrounding the men, most notably the character of Peter, as well as the house containing a 'secret' within its walls and history.
There has always been speculation as to what the film is based on, and there are two strands of thought. Firstly, that the narrative takes its cue from the urban legend of 'The Babysitter and the Man Upstairs', that dates back to the 1960s and involves a babysitter who begins to receive crank calls from a mysterious man who asks her to continually 'check on the children'. The second strain of thought is that the source of the film is sorority murders that took place in Quebec around Christmas time in the years prior to the film. However, there is little evidence to establish this claim and Moore died without ever being interviewed on the subject. However, it is interesting to note that sorority killings occur in the second episode of American Horror Story: Murder House, and these took place within the 1960s and are meant to be based on actual events (although I am not suggesting a link between American Horror Story and Black Christmas).
Originally written by Roy Moore (and re-written by Clark himself), Black Christmas takes place just before Christmas break at a large college, where a group of sorority sisters are making plans for one last party before they all head off on holiday. Jessica (Olivia Hussey), the serious-minded beauty of the group, isn't in such a celebratory mood. She's just found out that she's pregnant and she's struggling with whether or not she wants to keep the baby while also dealing with near constant badgering from her temperamental boyfriend, Peter (Keir Dullea), who wants her to keep the baby and commit to marriage. As Jessica contemplates her future, her friends plan their party oblivious to her plight and to the fact that the night is about to take a very ugly turn. The house begins to get a rash of obscene phone calls, that at first seem like a harmless prank but quickly turn serious as the caller starts to delve into each girl's personal life and one of the sorority sisters goes missing. When it becomes clear that Jessica is the caller's primary target, the police place a wire tap in the house only to find out that the real culprit is closer than anyone ever imagined!
The Significance
Over the years, the phrase " the calls are coming from inside the house!" may have become somewhat of a punch line thanks to urban legends about babysitter stalkers and campy movies like When a Stranger Calls (1979), but back in 1974, Black Christmas established this now seemingly normal horror convention in a way that hasn't been used quite as effectively since. There's still some speculation about whether Roy Moore actually based the initial idea for the Black Christmas screenplay on those old babysitter stories, but what is clear is that whatever formula he used proved influential to many classic horror films that followed. Billy, the film's main menacing force, roams through the sorority house at will and the audience sees everything through his point of view, a technique that hadn't been used so effectively in mainstream cinema up to that point. On the Canadian DVD extras, it's revealed that although the steadicam wasn't introduced to filmmakers until 1976, camera operator Bert Dunk created the fluidly roaming "Billy" camera shots by designing a rig that attached to his head – this is especially impressive considering the shot where Billy climbs the trellis outside the house all the way up to the attic. That killer-POV shot went on to become standard in soon-to-be-classic slasher films that followed like John Carpenter's Halloween (1978) and Friday the 13th (1980) . In fact, many of the elements present in Black Christmas – including its holiday-themed setting and feminist subtext – may seem like a cliché when viewed through a present day horror fan lens, but Black Christmas arguably influenced the slasher cycle that began with Halloween and dominated the horror genre in the 1980s and beyond.
Do join us, if you can (and dare!)
Posted in Screening and Discussion	| Tagged American Horror Story, Andrea Martin, Black Christmas (1974), Bob Clark, Friday the 13th (1980), Gothic, Halloween (1978), Horror, John Carpenter, John Saxon, Keir Dullea, Margot Kidder, Martin Waldman, Melodrama, Olivia Hussey, Roy Moore, slasher, When a Stranger Calls (1979), Woman in Peril	| Leave a reply
Summary of Discussion on Twin Peaks and the X Files
Posted on November 20, 2013 by melodramaresearchgroup
After running the session on Twin Peaks and The X Files, Frances has very kindly provided the following summary of our discussion.
In this week's session the discussion focused mainly on the relationship between Twin Peaks and The X-Files as popular television shows and the use of horror and melodrama as predominant features throughout both. Continuing the discussion points raised by the previous session's screening of American Horror Story, it was commented upon again this week how the serial format of television allows greater opportunity to develop this connection between horror and melodrama, particularly in respect to the viewers' relationship with the characters of the shows. Twin Peaks is a good example of this as it is a series which features a big ensemble cast and many sub-plots interweaving with the main narrative: the mystery surrounding Laura Palmer's death.
The clip from Twin Peaks: Fire Walk With Me demonstrates this well as the sequence moves from the portrayal of Laura as a popular albeit troubled high school girl to much darker events which show Laura as the victim of evil forces (human and possibly supernatural) in her own home. The shots focusing on the house's staircase, Laura's bedroom door and the strange events which take place during Laura's dream (her doubling in the picture) are particularly striking and correlate to common Gothic tropes. Twin Peaks's combination of melodrama, thriller and horror makes it a good example of Gothic Television as outlined in Ledwon's article, which we found useful. Ledwon's article does raise the question: what would be a contemporary example of Gothic Television? In this session we did also talk about recent rumours that Twin Peaks may be brought back or re-booted and we agreed that this would probably would not work or be as successful: the series seems very much of 'its time'.
We also discussed performance and melodrama in Twin Peaks and how the acting is, at times, quite 'hammy'. A good example of this is the sequence where Doctor Hayward comes home to discover Ben Horne in his family home, the latter having revealed that he is the biological father to Hayward's daughter Donna. Donna is distraught at the news and Hayward is enraged at the upset Horne has brought upon his family and so hits him, causing Horne to fall onto the fireplace and receive a severe – and possibly fatal – injury to the head. The scene ends with Donna and her mother crying, Horne unconscious on the floor and Hayward falls to his knees and cries out, shaking his fists in the air.
The scene is representative of the kind of melodrama used in Twin Peaks which usually takes place in the private space of the family home and involves the revelation of devastating secrets. Another example of this is the scene where Nadine Hurley regains her memory (after believing for a long period that she was a high school teenager following her suicide attempt) and finds that her husband Ed is in a relationship again with an old lover, Norma. This scene, like the one in the Hayward home, is left unresolved. We discussed how this is can leave viewers frustrated by the lack of a definitive conclusion – a comment which can be extended to the show's finale in general – but also in relation to the fact that often the good characters in Twin Peaks also suffer. Doctor Hayward, in particular, is a 'nice guy' but is not exempted from the consequences of the show's many family melodramas.
We spoke at great length about The X-Files episode we watched called Home. The use of music stood out in this episode, particularly during the Peacock brothers' attack on the sheriff and his wife. The juxtaposition of such upbeat music with the gruesome and disturbing imagery reminded us of Lynch's work, particularly Blue Velvet. Home also compares quite well to Twin Peaks as both shows portray the American Dream through the representation of small-town America with a particular emphasis on the family. The crimes which are committed in secret in both these towns are exposed by the intruding FBI agents, although the local law enforcers support the government agency's work. The sheriff in Home is given particular emphasis as he explicitly states how he loves the town as it is – with habitants leading apparently simple and honest lives – and he does not want the grizzly crime discovered at the episode's opening or the presence of Mulder and Scully to change that. In this way the episode sets up a number of conventional binaries: small town versus the city; the crimeless rural versus the corrupt city; the traditional nuclear family versus the domination of isolating careers for agents in the FBI. With the character of the sheriff, the episode begins by following this conventional path, emphasising the richness of possibilities such an American Dream can have.
H owever the presence of the Peacock family in the narrative very quickly subverts this and, as with the Laura Palmer investigation in Twin Peaks, The X-Files also exposes this dream to be just an illusion and that evil lurks within this small town too. Home presents this subversion in two main ways. First, in contrast to Twin Peaks, Home does not deny that loving families exist: the controversy of the episode is that this loving 'family' commits the ultimate taboo – incest. The Peacock family have been reproducing via this practice for several generations and this has led to numerous mental and physical degenerations, which is visibly marked on the brothers' faces. Their appearance in the show opens the episode and – even before we learn the reasons for their physical deformities – the brothers are portrayed as monsters. The music, the use of heavy shadow and the storm which accompanies their introduction quickly establishes the Peacock brothers as the enemy to be investigated, particularly as the show opens with a disturbing birthing scene which concludes with the siblings burying the offspring in the garden.
We discussed how, in this way, Home addresses two fears: the taboo of inbreeding and the Hollywood's obsession with the aesthetics of bodies, especially the idea of being 'body perfect'. The Peacock family not only tackles both these issues head-on, but they subvert expectations by finding this family life 'normal'. Indeed, the melodramatic moments of family drama in the episode occur because the Peacocks are attempting to protect their way of life from intruders. Contrary to the expectations evoked by the show's provocative opening, the Peacocks are the 'small town' community which are being invaded by the judgement and investigation of others. This interpretation of events on behalf of the Peacock family is reinforced by the fact it is FBI agents – Mulder and Scully – who instigate this intrusion and who, literally, invade the family's home. The sharp contrast between the obvious love and loyalty expressed by the Peacocks against their out-of-town counterparts is emphasised in this episode as Mulder and Scully are shown at times to be dysfunctional themselves, and it is stressed how Scully cannot empathise with Mrs Peacock as she has never been a mother.
The second way the show subverts expectations – and the components of the so-called American Dream – is with the way it portrays who is at fault in the episode. Certainly the Peacock family is represented as monstrous; a disturbing corruption of what a family should look like. But an important part of the horror in the show stems from the way the other townspeople have chosen to ignore the repulsive family and their lifestyle in order to maintain the town's respectability. The sheriff encompasses this attitude: he is eager to find out who murdered the baby found at the beginning but wants to do so in order to return life to the way it was. His unwillingness to investigate the Peacocks – even when it is clear that they must be an important part of the investigation – makes him just as culpable in the crime. We discussed how the horror therefore comes from within: from attempting to keep life the same in the town and ignoring perversions in favour of an illusion of stability and normality. It was commented how this is a very Lynchian trope and peculiarly American.
Extending this last point further, Home also explores similar themes found in horror films which engage with an imagined geography of America, where the small and rural town is threatening in its own way. Like The Texas Chainsaw Massacre and The Hills Have Eyes, Home taps into the fear that living in isolation is not only possible but can be the catalyst for the horrific events which takes place in such narratives. The believability that such family like the Peacocks could exist in America is a particularly potent element of this fear. As such the science-fiction label given to The X-Files does not seem entirely suitable. This episode, like many others in the series, does not create horror and melodrama from supernatural or paranormal activities. In this respect we found the Bellon article useful in critiquing the classification of The X-Files as a science fiction, although the use of 'ontological detective story' was not found to be entirely satisfactory as an alternative genre either. We agreed that melodrama, thriller and horror are important genres informing the show's narrative, performance and visual style. This link is strengthened by comparing Home to previous screenings and we found similar themes of holding onto the past, wanting to keep life the same and living in isolation in Whatever Happened to Baby Jane?.
Finally Home also presents the viewer with complex representations of gender. When watching the first half of the episode, we think Home is presenting us with traditional ideas of gender: we, like Mulder and Scully, believe at first that the Peacock brothers have kidnapped a woman to reproduce with. Scully comments that the basic instinct to reproduce may be motivating the brothers and Mulder later calls the Peacock's reaction to their scrutiny as demonstrating raw, animalistic behaviour. The woman-as-mother motif is raised continuously throughout the episode, beginning with the labour scene and the suspicion the brothers have kidnapped a woman, and then again when Scully talks about her own desires for a family. This notion of women is embodied by the
mystery woman in the Peacock house who is revealed to be the brothers' mother. Mrs Peacock states that Scully (and by extension other women) cannot understand the love she has for her family despite their murderous act because she is not a mother. Mrs Peacock is a form of the monstrous feminine, as postulated by Barbara Creed: she is the source of all life and this is her sole purpose for living. Without any limbs and restrained on a board beneath the bed, Mrs Peacock is a 'baby machine', reducing her femininity to the core components necessary for reproduction.
This confinement to the woman-as-mother is emphasised by the episode's opening, which introduces viewers immediately to the disturbing labour scene. The repeated shot of Mrs Peacock's eyes – both in this opening and repeated again when Mulder and Scully visit the empty house and then finally when they find the mother under the bed – is very effective as it still gives a human and expressive face to an otherwise biological 'machine'. Opening the show with Mrs Peacock giving birth also compares to the opening of American Horror Story and Vivian's gynaecologist appointment. The emphasis of women's bodies as a 'house' in American Horror Story is extended in The X-Files where 'home' takes on several meanings: it is the episode's title; it refers to the creepy Peacock house; and it also references the family Mrs Peacock attempts to maintain, with her body as the means for creating new life. The episode's ending, where Mrs Peacock escapes with one of her sons, suggests that the Peacocks shall continue in their quest for creating this home.
Mrs Peacock's agency in this concluding sequence is where the representation of woman-as-mother is complicated. Mrs Peacock is not made into an archaic mother endlessly producing new offspring against her will: she willingly and enthusiastically accepts this role and she is revealed to be the matriarch of the family, the brothers following her commands. Once again the episode inverts expectations. Mrs Peacock does not see herself as monstrous, nor does she need or want to be saved. This revelation taps into and stresses the fears explored earlier and is an important part of the show's horrifying impact.
As a concluding point, we also noted how the manner in which television shows are watched has changed considerably since the 1990s. Twin Peaks and The X-Files would have both been consumed on a weekly basis. Today, whilst this broadcasting practice still exists, many viewers also watch the shows in box-sets or streamed from online services, with the option to watch many or all the episodes at once. The difference this may make to the narratives of such shows – and particularly how melodrama is used to keep the viewer's interest – is still an area to be explored.
Many thanks to Frances for choosing such interesting TV episodes and for the great summary!
Do, as ever, log in to comment, or email me on sp458@kent.ac.uk to add your thoughts.
Posted in Summary of Discussion	| Tagged American Horror Story, Barbara Creed, Bellon, David Lynch, Genre, Home, Horror, Ledwon, Melodrama, Science Fiction, Summary of Discussion, The American Dream, The Gothic, The Hills Have Eyes, The Texas Chainsaw Massacre, The X Files, TV, Twin Peaks, What Ever Happened to Baby Jane? (1962)	| 3 Replies
Melodrama Screening and Discussion, 13th of November, Keynes Seminar Room 6, 4-7 pm
All are welcome to attend the fifth of this term's screening and discussion sessions which will take place on the 13th of November in Keynes Seminar Room 6, from 4pm to 7pm.
We will be screening Frances' selection: episodes of Twin Peaks and The X Files.
Frances' introduction:
Twin Peaks and The X-Files
The aim of this week's session is to continue the discussion inspired by Kat's screening last week of American Horror Story. As highlighted last week, Kat and I are interested in exploring further the relationship between horror and melodrama, and how this has a particular relevance to television, where such productions are based on the serial format. This week I shall be showing episodes from Twin Peaks and The X-Files as further examples of popular TV shows combining horror and melodrama traditions. Both shows were created and first aired during the 1990s and, as such, represent the forerunners to American Horror Story and the commercialisation of horror as a successful, primetime television component we discussed last week. This week's session shall therefore look at examples from both series and their spin-offs, including:
– A clip from Twin Peaks: Fire Walk With Me (a 1992 film based on the TV series directed by David Lynch; this film was made as a prequel to the TV show).
– Twin Peaks episode 29, season 2 (first aired in the USA on 10th June 1991; this episode is the final one of the series).
– The X-Files episode 2, season 4 Home (first aired in the USA on 11th October 1996).
Twin Peaks was first aired in the USA on 8th April 1990 and ended on 10th June 1991, after running for two seasons. The series begins with the discovery of a girl's body wrapped in plastic and washed up on a riverbank in a quiet American town called Twin Peaks. The girl is revealed to a local named Laura Palmer, a high school student and the school's prom queen. The news of Laura's murder shakes the town, particularly as Laura was seen as the perfect, all-American teenage girl with a loving and respectable family. This event sets up the key question which drives the rest of the narrative: who killed Laura Palmer? Soon after the discovery of Laura's body, another teenager named Ronnette Pulaski is found badly hurt and wandering confused just outside of town. The girl slips into a coma and FBI Agent Dale Cooper is called to investigate Laura's death and any connection this may have to Ronnette. On inspecting Laura's corpse, Cooper finds a letter concealed underneath one of her fingernails which bears a striking resemblance to a murder case of another girl murdered a year earlier. Believing the cases to be connected, Cooper remains in Twin Peaks to investigate Laura's death and expose the killer he thinks may be local or, at least, not very far away.
Cooper's investigation into Laura's demise is the core plot point which drives the narrative although the FBI agent's investigations soon expose the corruption and crime which permeates the seemingly sleepy town. The series also follows the lives of all its inhabitants and thus the show features an extensive supporting cast and interweaving sub-plots. Throughout the course of the show, the picturesque Twin Peaks is found to be harbouring drug dealers, pimps, adultery, domestic violence, child abuse, incest, mental illness, blackmailers, corporate corruption, human trafficking, prostitution and, of course, murder. Laura is revealed to be at the heart of these crimes as Cooper discovers two sides to Laura's life: on the one side, the happy high school girl who was the prom queen and dates a local boy Bobby; on the other side, Cooper discovers Laura's darker life, where she is also seeing another teenage boy James, is addicted to cocaine and prostitutes herself to pay for her habit, and has been the victim of sexual abuse since childhood. The revelation of Laura's suffering exposes the perpetrators of these criminals as Twin Peaks locals, as well as illuminating the family dramas of other residents, not directly responsible for Laura's death. As such the series plays out like a soap opera, where the personal melodramas of the town's inhabitants becomes public knowledge and the repercussions of this are great: Twin Peaks cannot return to its (however illusory) status as a normal, quiet American town.
Twin Peaks is therefore infused with melodramatic sub-plots and performance, and you will see examples of this in today's screening. The series is indebted to the features of melodrama we have looked at in previous sessions: the detective story; use of delay and reticence; the threat of the domestic space; heightened emotion and exaggerated performance; and suffering women (there are many suffering women in this series which include but go beyond Laura). However Twin Peaks's genre is difficult to pin-down precisely, particularly as the series features other surreal moments in true Lynchian fashion: Cooper has many dream sequences where he visits a mysterious red room which is not of this world. Cooper is convinced that this dream holds the clues to solving Laura's murder and it reveals that the mystery hinges on deciphering who or what is BOB. As a result of this strange mixture – the show's portrayal of intense family drama juxtaposed with dream sequences and suggestions of the supernatural or mystic which lack narrative or logical explanation – Lenora Ledwon suggests that Twin Peaks is a prime examples of the 'Television Gothic'. Like the Gothic discussed previously in our sessions, this genre also places an emphasis upon the home, the family, the uncanny and the monstrous (either real or supernatural) but is particularly subversive because of the show's domesticity as a television programme (Ledwon, 1993, 5). She writes:
This new Television Gothic utilizes familiar Gothic themes and devices such as incest, the grotesque, repetition, interpolated narration, haunted settings, mirrors, doubles, and supernatural occurrences. But these elements undergo a sea change once they are immersed in the "currents" of television. What could have been a soothing repetition of formula instead becomes a disturbing process of transgression and uncertainty. (2)
The extracts from Twin Peaks chosen for you to watch today demonstrate this potent combination of family melodrama, Gothic tropes and horror sequences. Twin Peaks questions the stability and conception of American Dream and in particular the idea of small-town America and the nuclear family. In the clip from Fire Walk With Me this is particularly potent: the seedier sides of Laura's life become increasingly apparent to the viewer and Laura becomes both a Gothic heroine in her own home – a victim of the evil forces surrounding her – but also an active (and enthusiastic) participant in the town's sleazy underbelly. The show makes extensive use of horror iconography in these examples and helps to complicate the question: who killed Laura Palmer? On one level this is answered (the killer is revealed mid-way through season two) but the surreal and dreamlike sequences used in the show's finale show that the answer is not so easy or complete. The series questions whether the evil in the town is inherent in the people who live in Twin Peaks or whether another force is responsible. The show's final episode also extends this question of instability to another form of authority: the US government. Cooper's status as an agent of the FBI is an important facet to the murder investigation and, along with other law enforcers like the town's sheriff, they represent the (only) force of good. Yet the viability of sustaining such control and enforcing the law in Twin Peaks also comes under threat. The series thus ends on an ambiguous note: what is to become of institutions like law enforcement and the family? Does the ending offer any hope? These are questions to keep in mind for the screening.
The last episode I am showing is from The X-Files, a series which ran from 10th September 1993 to 19th May 2002, spanning nine seasons. Both The X-Files and Twin Peaks therefore began in the same decade, although the latter was cancelled much earlier. At first glance the two series seem very different: whereas Twin Peaks appears to adopt a soap opera format with an emphasis on the domestic and the family, The X-Files is commonly classified as a science-fiction series and follows the actions of two FBI agents – Mulder and Scully – who investigate a series of cases which feature paranormal occurrences. Mulder is keen prove the existence of aliens although his partner Scully – a scientist who is assigned to evaluate Mulder's activities – is a hardened sceptic. Over the course of the show, the two agents become very close and learn from each other's perspectives, as well as investigating cases which reveal criminal activity, paranormal activity and the corruption of the government. For Joe Bellon, the show's combination of all these elements means that it should not be classified as just 'science fiction'. (Bellon, 1999). In fact, the show's strange mixture of not completely conforming to a pro-science perspective but also not being entirely irrational in its representations either, make for a difficult classification. It is for these reasons Bellon argues that The X-Files functions in the 'ontological detective mode', where '[t]he question to be answered is not "who done it?" but rather "what is it?"' (7). This shift in emphasis thus widens The X-Files's concerns beyond the question of the existence of aliens (although very important) and includes the exposure of corruption and evil which wears a very human face, such as the FBI. These larger issues are comparable to the issues raised by the Twin Peaks finale as well.
The X-Files's resistance to conforming to the usual conventions of science-fiction does not mean that the show has no discernible genres, however. I would argue that melodrama is an important part of the show, motivating the narrative. Mulder's preoccupation with all things paranormal is not without cause: he is convinced his sister was abducted by aliens as a child and he is determined to expose the truth. His detective work thus provides the catalyst for the revealing a number of hidden truths along the way, in a manner similar to Cooper's work in Twin Peaks. Yet the key difference is that Mulder is motivated by his own family trauma: in The X-Files the detective work is a very personal affair. The melodramatic potential of this sub-plot also comes to the fore with another personal relationship, this time the relationship between Mulder and Scully. As the series continues, one of dominant reoccurring stories of the show is the 'will-they-or-won't-they?' question. Although the FBI agents' relationship is platonic for the majority of the show, the two do become romantically involved.
The X-Files also makes extensive use of horror conventions in its narrative and iconography. The decision to bring horror onto the small screen was quite deliberate: the show's creator, Chris Carter, mused that there seemed to be a lack of prime-time shows which included horror. He wrote: 'You look at the TV schedule … and there's nothing scary on television.' (quoted in Hammond and Mazdon, 2005, 63). The show's episodes are therefore littered with monsters, creepy occurrences and unexplained events intended to haunt and disturb. The importance of the horror format is also apparent by the 'Monster-of-the-Week' episodes: these are episodes which stand-alone from the main narrative and its concerns (such as Mulder's sister) but help to develop the evil and horror infecting the larger X-Files universe. It is one of these episodes I have chosen to screen for this session: an episode called Home. In this instalment of the show, The X-Files follows a very similar narrative arc to Twin Peaks: a gruesome discovery in a small, quiet town in American necessitates an investigation by the FBI and Mulder and Scully are sent in. Their investigation leads them to the Peacock family, who live in an old, isolated house and have no contact with the other town's inhabitants: in fact the family has managed to reproduce through incestuous liaisons. Mulder and Scully attempt to infiltrate this disturbing family home and solve the mystery of the murder.
Home became quite an infamous episode for the show, as its horrific content meant that the show was broadcast with a viewer's warning for the first time in The X-Files's history. Many reviewers criticised the series for going 'too far' in the episode and the network did not re-broadcast the show for many years afterwards. Home has also been rated number one out of the 'Scariest Science Fiction and Fantasy TV Episode' with the warning: 'Once seen, this episode will never leave you.' (see: http://io9.com/top-25-scariest-science-fiction-and-fantasy-tv-episodes-1450803057). Interestingly, the horror of this episode is unrelated to all of the paranormal investigations which feature elsewhere in the series, and a supernatural explanation for the events does not occur. Rather, like Twin Peaks, Home seeks to expose the horrific living in the domestic sphere, questioning the stability and safety of the traditional family unit. Home presents us with a radical re-definition of the American family which becomes unnatural, perverse and monstrous. One noticeable difference between Home and Twin Peaks is that the first's family appears to function without any female presence or influence at all: it seems that only three of the Peacock 'brothers' live in the old house. However the episode soon subverts expectations again and presents us with extreme variations of the Gothic heroine, as the true nature of the situation comes to light and the investigation is solved. As such The X-Files creates a unique and horrific version of the traditional family melodrama.
As with Twin Peaks, this X-Files episode evokes the questions: what is the cause of the 'evil' here? How does this reflect upon the idea of family and the domestic home? Can these observations be extended to include the representation of authority, as with the FBI?
Enjoy the shows!
Bellon, J. 1999. 'The Strange Discourse of The X-Files: What It Is, What It Does, and What Is at Stake.' Critical Studies in Mass Communication 16, 136-154.
Creeber, G. 2004. Serial Television: Big Drama on the Small Screen. London: British Film Institute.
Hammond, M. and Mazdon, L. (eds.) 2005. The Contemporary Television Series. Edinburgh: Edinburgh University Press.
Kowalski, D. (ed.) 2007. The Philosophy of The X-Files. Kentucky: The University of Kentucky.
Lavery, D., Hague, A. and Cartwright, M. (eds.) 1996. Deny All Knowledge: Reading the X-Files. London: Faber and Faber.
Ledwon, L. 1993. 'Twin Peaks and the Television Gothic.' Literature Film Quarterly,21:4, 260-270.
http://io9.com/top-25-scariest-science-fiction-and-fantasy-tv-episodes-1450803057
Do join us if you can, for more TV horror. Visit our additional blog for more information:http://melodramaresearchgroupextra.wordpress.com/
Posted in Screening and Discussion	| Tagged American Horror Story, Chris Carter, David Lynch, Detective Story, Domestic, Family Melodrama, Home, Horror, Joe Bellon, Melodrama, Performance, Science Fiction, Screening and Discussion, Serial, Suffering Woman, The American Dream, The Gothic, The X Files, TV, Twin Peaks, Twin Peaks: Fire Walk With Me (1992)	| Leave a reply
Summary of Discussion on American Horror Story
After running the screening session on American Horror Story, Kat has very kindly provided the following summary of our discussion:
Throughout the session, a constant discussion point was the house, and the importance to the narrative. Many of us commented on the fact it was presented as a gothic house. Also how there was a strange sense of space. The geography of the house did not appear logical – this was mentioned in relation to when Ben's phoney patient went to leave the house. The front door did not appear where you thought it should be. However, the audience are more aware of the space and the size of the cellar. This use of space to confuse added an unreal aspect to the house – much like The Shining. It was noted how space was beginning to become associated with individual characters and how there was a lack of action outside the space of the house – even in the garden! Some of us who had seen it revealed that the narrative does move to the garden later in the series. Also noted was the lack of possessions in the house – we could see no photos or personal ornaments. Is this important? Maybe the lack of possessions was representational of Ben and Vivienne's relationship? Empty? The lack of lighting was discussed – how dark the house was lit, adding to the Gothic ambience. Ann-Marie shared that the house was also used in an episode of Buffy entitled "Fear, Itself". It was observed how the opening of the first episode cut from murders at the house to Vivienne at her gynaecological appointment – making the link with house, procreation and birth. One of the group mentioned how important children and birth are to the narrative, more so as the series goes on and how Constance said how important a "good line" is.
The concept of and use of ghosts was discussed. It was remarked that there is a split (evident later in the series) between those who are malicious and those who are good. The point was made how the character of the ghosts were forged and cemented at the point when they were killed. Although this did not seem to be true for Moira who appears to have a split personality. There is a certain morality in Moira as well as a form of archaic womanhood as she says, it's women who always cleans up the mess (which she does at the end of episode 2). There was also a discussion on ghosts and the spaces they inhabit. Do they get to go outside? Again, those of us who have watched the series mentioned the episode of Halloween (without giving away any plot spoilers!).
The style of the series was a point for discussion. It was suggested that the storyline involving the cupcake was very Hitchcockian – how the camera focused on the cake and its movement. It was reminiscent of the glass of milk in Notorious but also of Suspicion. The amount of male nakedness was a talking point! There appears to be much more of this than female nakedness. This appeared to be connected with Ben's sadness and how his sadness is intertwined with his sexual desires. Notably in the scene where he masturbates and cries. The format of the series allowed for more risks in content and for more creativity in the horror/melodrama. The series could not just rely on horror, so there is an emphasis on the drama and melodrama. We invest in the family and, like a crime drama, we want to know what happens next. One of the group observed how revelatory each episode was – and that revelations were not just confined to episodes, but also in terms of ad breaks. You could tell where the ad breaks would occur and how the revelations would be formatted to allow for these breaks, which appeared very Dickensian, or reminiscent of how Dickens serialised his novels for weekly publication. The importance of editing was observed. There is a massive use of jump cuts, which adds to the unsettling nature of the series.
The violence of the series was noted. The excess of Vivienne's attack on Ben when she finds him with the other woman – she strikes and cuts him with a knife. Also the replaying of Addie's words "You'll regret it" over this sequence. It provides a sense of foreboding. It appears as if a comment on modern relationships and how they are somewhat horrific and the split in the family which creates the horror. The focus on the family and the home and the idea of perfection and its attainment. The series appears to be providing commentary on the "all American dream" centred on the home (coded as gothic) and the family. Addie wants to look like a perfect girl and Tait was intended to be the perfect child.
Jessica Lange's Constance was a large focus of the discussion. She was discussed in terms of her allure, her power, her sexuality and as a mother. She appeared – through costume and how she spoke – as if a throwback from the 1950s. Constance is a melodramatic constructed woman as she could be from a Sirk film or a Bette Davis or Crawford vehicle. She has no qualms in calling Addie a mongoloid or a freak and locks her in the room of mirrors, which must be a horrific experience for Addie. But she is also very protective of Addie. Constance appears to be vested with some other worldly power which is part of her allure. She too was looking for the "perfect American life" in wanting to be an actress, which is how she came to be in LA.
Many thanks to Kat for organising a screening which led to much discussion, and for summarising it so well!
Posted in Summary of Discussion	| Tagged Alfred Hitchcock, American Horror Story, Bette Davis, Buffy, Charles Dickens, Concealment and Revelation, Douglas Sirk, Horror, Jesssica Lange, Joan Crawford, Melodrama, Notorious (1946), Serialisation, Summary of Discussion, Suspicion (1941), The American Dream, The Gothic, The Shining (1980)	| 1 Reply
Melodrama Screening and Discussion, 6th of November, Keynes Seminar Room 6, 4-7 pm
Posted on November 1, 2013 by melodramaresearchgroup
All are welcome to attend the fourth of this term's screening and discussion sessions which will take place on the 6th of November in Keynes Seminar Room 6, from 4pm to 7pm.
We will be screening Kat's choice: some episodes of the TV series American Horror Story.
Kat's introduction:
American Horror Story: Murder House is the first season of the television series, American Horror Story, which aired between 5th October and 21st December 2011. Produced by 20th Century Fox, American Horror Story was created by Brad Falchuk and Ryan Murphy. The series received critical acclaim and won various awards including a Golden Globe for Jessica Lange as Best Supporting Actress. Two more series have since been commissioned and aired, Asylum and Coven, the latter is currently showing both here and in the US. The first season revolves around the Harmon family, Ben, Vivien and their teenage daughter Violet who move from Boston to a house in LA known to locals (but not to the Harmons) as the murder house.
Creators Murphy and Falchuk began working on American Horror Story before their Fox series Glee began production. Murphy wanted to do the opposite of what he had done previously and thus began work on the series. He stated, "I went from Nip/Tuck to Glee, so it made sense that I wanted to do something challenging and dark. And I always had loved as Brad had, the horror genre. So it just seemed natural for me." Falchuk was intrigued by the idea of putting a different angle on the horror genre, stating their main goal in creating the series was to scare viewers. "You want people to be a little off balance afterwards."
The dark tone of the series is modelled after the ABC soap opera, Dark Shadows, which Murphy's grandmother forced him to watch when he was younger to toughen him up. He also citied The Amityville Horror and The Shining as influences for the series as well.
It doesn't take much to persuade me to show anything horror related. However, there are, I think, particular reasons as to why American Horror Story is not only a good choice to show to the group, but also a great example of how horror can work with melodrama. Firstly, structure of a drama series. There has been a proliferation of horrific dramas on TV. Frances will look at this more in the next session, but recent TV has seen a rise in the commercialisation of horror. Series such as True Blood, Walking Dead, American Gothic, The Following, Hannibal and Bates Hotel. Even Sleepy Hollow! For such series to work, there has to be more than just horror to enable the shows to sustain a lengthy episodic momentum. As you can tell from the diversity of the examples, TV much more than the cinema, is the medium willing to take chances and experiment with the concept of horror.
American Horror Story: Murder House is an update on the Gothic melodrama format and as the title infers, focuses on all things horror and home that have seeped into American culture. This referencing of American popular culture, history and previous Gothic melodramas makes this first season extremely self-reflexive. The character of Constance is a great example of this.
The series intertwines real life murders such as The Black Dahlia with fictional narratives that places the home as the central force. The extent as to how central the house is, is evident by what is said in a later episode, "Don't think that you own this house, the house owns you." As with Gothic melodramas, the house is paramount in that it homes all past secrets that are waiting to be uncovered and you can see how films such as Amityville and The Shining have influenced the series. Secrets are also kept by the Harmon family. The family are under enormous emotional pressure as Vivien had miscarried and Ben had an affair before their move to LA. The melodrama revolves around the family's relationships. Vivien believes her husband is responsible for her mental state and accuses him of trying to "gaslight" her. Jessica Lange's character, Constance, is another example of how melodrama is employed in this series. Constance appears of another era, as if she's walked straight from a Hollywood melodrama of a bygone time. It is Constance and the house that are stars of this series.
I haven't included much further reading apart from an article from Hollywood Reporter that focuses on the popularity and success of recent horror dramas from American networks and stations.
http://www.hollywoodreporter.com/news/american-horror-story-walking-dead-645007
Do join us if you can. And please note we hope to start promptly at 4.
Posted in Screening and Discussion	| Tagged American Gothic, American Horror Story, Asylum, Bates Hotel, Brad Falchuk, Coven, Dark Shadows, Glee, Hannibal, Hollywood Reporter, Horror, Jessica Lange, Melodrama, Murder House, Nip/Tuck, Ryan Murphy, Screening and Discussion, Secrets, Sleepy Hollow, The Amityville Horror, The Following, The Gothic, The Shining, The Walking Dead, True Blood, TV	| Leave a reply


WEST ORANGE, NJ -- After taking its lumps in the ultra-competitive American Division of the Suburban Essex Conference this past winter, the West Orange boys basketball team will be moved to the Liberty Division for the 2019-2020 season.
The Mountaineers finished the season 6-15 competing against a steady diet of elite teams such as Montclair Immaculate, Seton Hall Prep, Newark East Side and Newark West Side in the American Division.
West Orange's new co-tenants in the Liberty Division will be Irvington, University, Barringer, Newark Tech, Bloomfield and Newark Central--hardly a forgiving slate, but nonetheless still a slight reprieve from the unyielding demands of an American Division schedule.
The West Orange girls basketball team, which won its first Essex County Tournament championship last month, will remain in the American Division next season, accompanied by University, Newark Tech, Montclair Immaculate, East Orange, Arts and Bloomfield.


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Outbreak of Diseases in North PK
By Team Htv 9 Feb, 2015
Prediction of rainfall and snow in different areas of Balochistan is expected to increase diseases.
The weather is cold and dry throughout the country. Diseases are spreading towards the north of Pakistan due to dry cold. The Met office has predicted rainfall and snow in different areas of Balochistan. It is currently dry and cold in Murree, Gilgit Baltistan, Azad Kashmir, Hazara Division and other northern areas of Pakistan after a period of rainfall and snow. The cold has decreased in Quetta, Zob, Ziarat, Chaman and other nearby areas of Balochistan and so have the areas of Orakzai Agency, Tribal Area, Kurram Agency and Bajorr Agency. The foggy evenings of Punjab are creating traffic problems. The Met office has predicted rainfall and snow in Makran coast, Quetta, Zob and Kalat division from today and rainfall and snow in the northern and mountainous regions of Pakistan from Saturday.

redpajama_set_name: RedPajamaCommonCrawl


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Don't overlook tax considerations when selling your manufacturing business
Post category:Manufacturing
If you're contemplating selling your manufacturing business, be sure you understand the tax implications. The way that your business (as well as the transaction) is structured can impact your tax bill and, therefore, your net proceeds from the sale. Here are some issues to consider.
Stock sale vs. asset sale
If your business is a corporation (either an S corporation or a C corporation), deciding whether to structure the transaction as a stock sale or an asset sale may have a significant impact on its tax treatment. Generally, a stock sale is preferable from the seller's perspective. That's because when shareholders sell their stock, the profits generally are taxed at favorable long-term capital gain rates — currently a top rate of 20%, compared to a current top rate of 37% on ordinary income. In contrast, asset sales usually generate a combination of ordinary income and capital gains, depending on how the purchase price is allocated among the business's various assets.
From the buyer's perspective, on the other hand, an asset sale is usually the structure of choice. A buyer of stock generally inherits the corporation's basis in its assets. If the corporation has already taken significant depreciation deductions on those assets, there may be little or no basis for the buyer to write off. But a buyer of assets generally receives a basis equal to the portion of the purchase price allocated to each asset, generating valuable tax write-offs.
The seller's form of business is another important consideration. If the seller is a C corporation, for example, a potential drawback of an asset sale is double taxation.
First, the business pays corporate tax on any gains from the sale. Then the shareholders are subject to a second tax when the sale proceeds are distributed to them as dividends. (Note: It may be possible to defer the second tax by having the corporation hold and invest the sale proceeds.) Double taxation isn't an issue for stock sales. The buyer acquires the stock directly from the shareholders, so there's no entity-level tax.
Double taxation usually isn't a concern for S corporations. As pass-through entities, their income is taxed directly to shareholders at their individual tax rates. So, there's no entity-level tax, even if the transaction is structured as an asset sale.
There's a possible exception for a business that had previously been taxed as a C corporation but later elected S corporation status. Depending on how much time has passed, asset appreciation during the business's time as a C corporation may be subject to two levels of tax.
Partnerships (including limited liability companies taxed as partnerships) don't have stock, but it's possible for the owners to sell their partnership or LLC membership interests to a buyer. It's important for the sellers to understand, however, that this isn't the same as selling stock for tax purposes. A sale of partnership or LLC interests is treated essentially as a sale of the underlying assets, typically resulting in a mix of ordinary income and capital gain to the sellers.
Allocation of the purchase price
When a transaction is structured as an asset sale, the allocation of the purchase price among various assets has significant tax implications for both buyer and seller. Often, the parties have conflicting interests, which can lead to intense negotiations on this issue. Keep in mind that the parties' allocation of the purchase price isn't binding on the IRS, though the IRS generally will respect the parties' agreement so long as it bears a reasonable relationship to asset values.
Sellers generally prefer to allocate as much of the purchase price as possible to goodwill and other intangible assets that generate lower-taxed long-term capital gains. And they prefer to allocate as little as possible to equipment and other depreciable assets. Why? Because previous depreciation deductions taken on these assets are subject to "recapture" at ordinary income tax rates. Buyers, on the other hand, prefer to allocate as much of the price as possible to these assets because they can depreciate them quickly or in some cases claim 100% bonus depreciation in the first year.
To successfully negotiate the sale of your manufacturing business, it's critical to understand all of the tax implications. Armed with this knowledge, you can assess the impact of various transaction structures and purchase price allocations on your net proceeds from the sale and potentially adjust the purchase price accordingly. We can help guide you through the sale of your business.
Manufacturers: Are you conducting productive employee reviews?
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To stay competitive, manufacturers must implement the right pricing strategy
Business owners: Now's the time to revisit buy-sell agreements January 26, 2023
A refresher on nonprofit endowment management January 25, 2023
Residential construction companies should get the word out about home energy tax credits January 24, 2023
Why you might want to file early and answers to other tax season questions January 24, 2023
Discounting vs. capitalizing: Common business valuation methods at a glance January 23, 2023
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Review: 'Let There Be Light'
by Andrew Parker February 9, 2018
written by Andrew Parker February 9, 2018
Everything a potential viewer might want to know about the faith based drama Let There Be Light – the feature directorial debut of actor and star Kevin Sorbo – can be gleaned from the first thirty seconds of the film. Over archival footage of various terrorist attacks and atrocities committed around the world, and sandwiched amid a slew of cast members with the last name Sorbo, one gets to see the name of third billed actor, Fox News blowhard Sean Hannity (who also serves as an Executive Producer), transposed over a shot of the Twin Towers on fire. Immediately settling into a tone that shouts "you're either with us or against us" right into the viewer's face, Let There Be Light then settles into a boring groove about one man's not terribly exciting, implausible, and horrifically clichéd tale of religious redemption.
Sorbo stars as that man, resolute atheist Dr. Sol Harkens, the best-selling writer of the hilariously titled "Aborting God," and an academic so pedantic that part of the film's opening debate against a clergyman finds the doctor (of what, we'll never know) explaining to a hooting and hollering university audience how punctuation works. Part of Sol – short for Solomon, because of course it is – denying the existence of Jesus and God stems from the death of one of his young sons from cancer several years earlier. The strain of such loss has sent Sol into a spiral of grief and shame that breaks up his marriage, finds him dating disinterested looking Russian models, living in a loft where only pictures of him adorn the walls, and drinking vodka like it's going out of style. After one of Sol's benders causes him to crash his car and have a near death experience, the doubter starts to question if he's been wrong about the power of Christ's love and mystery all along.
The first twenty minutes of Let There Be Light are so incredibly over the top thanks to Sorbo's scenery chewing performance that briefly the film becomes something so awful that it's unintentionally hilarious. Watching Sorbo ranting about how life is meaningless, God doesn't exist, and espousing his love for sex, drugs, and rock and roll – via a Wayne's World reference of all things – is goofy, fun, and I'm sure not at all what Sorbo the Director wants us to think about the character. It's very clear that unlike any number of recent faith based films that want to invite people into religions instead of pushing them away, Let There Be Light is aimed squarely at the converted masses that are chomping at the bit to boo and hiss an atheistic blowhard off the screen.
The script from Sam Sorbo – Kevin's wife, both on screen and off – and Dan Gordon (who has a career so varied that I almost don't believe it) could have dealt with themes of grief, loss, faith, and the delicate art of reconciliation with some degree of class, dignity, and nuance, but instead of developing characters naturally, the Sorbos decide to hit only the high spots and throwing any sort of storytelling acumen and logic to the wind in favour of easy to digest pabulum. There's no sense of pacing of escalation here. The events documenting Harkens' return to God could take place either over the course of days or years, but it all moves so quickly towards ham-fisted epiphanies that it's hard to tell. Things don't happen because they would logically happen, but because they need to happen in a certain amount of time.
Sol's questioning of where God was when he was at his lowest ends abruptly thanks to the addition of health problems that are raised once and never brought up again. It makes no sense that Sol's possibly gay-slash-possibly-British publisher (Daniel Roebuck) would fire his prized cow, especially when the writer's potential conversion opens up a previously untapped market of Christian consumers if it can be spun properly, making Roebuck's already cartoonish character the stupidest one in a cast full of over the top personalities. It only takes one meeting with an ex-con turned pastor (Michael Franzese) to make Sol believe again and almost immediately get baptized. Mere minutes after that scene, Sol mends the previously frosty relationship that he had with his wife, Katy, and his remaining sons (played by the Sorbos' real life kids, Braeden and Shane). Not long after Katy and Sol reconcile and hatch a multi-media plan to spread the gospel, a plot twist so manipulative and ill advised pops up to send the film headlong into a third act that's indistinguishable from every Hallmark Movie ever made, but one that also curiously forgets about the journey the characters had been on prior to that moment.
In short, Let There Be Light is narratively and performatively incompetent, repetitive, and so furiously focused on showing one man's conversion to Christianity that it forgets to convert the audience to its point of view. Instead of trying to tell a story that earns its emotional beats, it preaches only to those who already believe with the depth of Wal-Mart flyer. There's a way to tell this kind of story properly and patiently in a way where the religious underpinnings can remain intact, but no one involved with Let There Be Light is skilled enough to make such a film.
Perhaps most damning of all is the fact that I'm not sure if Sorbo even knows what kind of faith based film he has made. The film constantly forces itself to mention ISIS approximately every five minutes or so to remind people that there's evil in the world coming from other religious zealots, but Sorbo never stops to actually show what makes his branch of Christianity so much better than others. Even stranger, Let There Be Light also doesn't get hateful or racist enough to use ISIS as anything more than a buzz word and catchall shorthand for all the evil in the world. Even the religious baiting (which I can't say is racial, since Sorbo does populate the film with a fair number of actors of colour) just lies there, doing nothing, no matter how many times they say ISIS.
At about the halfway point when Sol has fully converted – which is way too early and causes the rest of the film to be a slog – any semblance of nay-saying has been dropped, save for Hannity's snarky, disingenuous cameo towards the end. A weird subplot involving a bunch of infomercial hawked cleaning supplies that Sol bought in a drunken stupor serves as a weird mirror for how many times the characters say the film's title (almost as many times as they say ISIS), which happens to be a phone app and product the main characters create to bring God's message to the people of the world. These aren't the techniques employed by a filmmaker keen on spreading the gospel, but rather the work of a pitchman forcing a hard sell on people who already own the product but want more of it in their lives. Let There Be Light won't teach Christians to be better Christians or bring atheists into the light because it wants to make pre-existing Christians MORE Christian.
And I'm certainly not suggesting that films expressly aimed at Christian audiences shouldn't give them some warm feelings about their chosen religion, or that all such films are bad. I'm saying that Let There Be Light is a terrible film and a terrible example of the genre because it's an awful film by any standard or metric, with the exception of the cinematography and lighting, which is actually very well done. Redemption stories – regardless of what the character is seeking redemption for – need an arc that earns its catharsis, not spikes designed to just get on with things and rush into conclusions the audience already knows are coming.
Let There Be Light opens in select Canadian cities on Friday, February 9, 2018.
Check out the trailer for Let There Be Light:
Kevin SorboLet There Be Light


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FIFTY SHADES OF GREY – Review by Susan Granger
February 12, 2015 October 28, 2018 Susan Granger	0 Comments
Cleverly timed for Valentine's Day, this film adaptation of E.L. James' provocative novel revolves around a man's desire for kinky sex and a woman's determination to achieve emotional satisfaction. "I don't do romance. My tastes are very singular," dapper Seattle billionaire Christian Grey (Jamie Dorman) explains to naïve, virginal Anastasia Steele (Dakota Johnson), who wants love and commitment. Read on…
They 'met cute,' when Anastasia's journalist roommate (Eloise Mumford) gets sick and she's dispatched to interview him for the college paper. An English Lit major, she's clumsy and flustered; he's icily formal and arrogant. But they connect, even though he asks her to sign a nondisclosure agreement over their first glass of white wine.
Flirtatiously batting her big blue eyes and curious about what being a sex slave means, lithe Anastasia willingly enters Christian's locked "playroom," where she learns about Dominance and Submission, Bondage and Discipline, Sadism and Masochism – in a sanitized way.
Less shocking than "Last Tango in Paris" (1972), it combines "9½ Weeks" with the luxurious enticements of "Pretty Woman" – and doesn't get torrid for the first 40 minutes. Even then, when Anastasia's spanked, blindfolded, and smacked with a riding crop, the soft-core sex scenes are choreographed into stylized sterility, as atmosphere triumphs over action.
That's overwhelmingly evident when Christian plays melancholy, post-coital sonatas on the piano, giving Anastasia momentary glimpses into his traumatic childhood.
Adroitly adapted by Kelly Marcel ("Saving Mr. Banks") and directed by Sam Taylor-Johnson "Nowhere Boy), it's been criticized by domestic violence organizations and banned in Malaysia for "scenes that are not of natural sexual content."
Exuding natural playfulness, Dakota Johnson is the daughter of Melanie Griffith and Don Johnson; previously she was Justin Timberlake's one-night stand in "The Social Network." Former British model Jamie Dornan – a.k.a. "The Golden Torso"- plays a serial killer on the BBC-TV series "The Fall."
Problem is: they have no erotic chemistry – and the supporting cast, including Marcia Gay Harden and Jennifer Ehle, is wasted.
On the Granger Movie Gauge of 1 to 10, "Fifty Shades of Grey" is a fetishistic 5 – with two future installments on the way.
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Susan Granger
Susan Granger is a product of Hollywood. Her natural father, S. Sylvan Simon, was a director and producer at R.K.O., M.G.M. and Columbia Pictures; her adoptive father, Armand Deutsch, produced movies at M.G.M. As a child, Susan appeared in movies with Abbott & Costello, Red Skelton, Lucille Ball, Margaret O'Brien and Lassie. She attended Mills College in California, studying journalism with Pierre Salinger, and graduated from the University of Pennsylvania, Phi Beta Kappa, with highest honors in journalism. During her adult life, Susan has been on radio and television as an anchorwoman and movie/drama critic. Her newspaper reviews have been syndicated around the world, and she has appeared on American Movie Classics cable television. In addition, her celebrity interviews and articles have been published in REDBOOK, PLAYBOY, FAMILY CIRCLE, COSMOPOLITAN, WORKING WOMAN and THE NEW YORK TIMES, as well as in PARIS MATCH, ELLE, HELLO, CARIBBEAN WORLD, ISLAND LIFE, MACO DESTINATIONS, NEWS LIMITED NEWSPAPERS (Australia), UK DAILY MAIL, UK SUNDAY MIRROR, DS (France), LA REPUBBLICA (Italy), BUNTE (Germany), VIP TRAVELLER (Krisworld) and many other international publications through SSG Syndicate. Susan also lectures on the "Magic and Mythology of Hollywood" and "Don't Take It Personally: Conquering Criticism and other Survival Skills," originally published on tape by Dove Audio.


Well, today's easy to write about!
I spent all friggin' day editing the pictures from yesterday until I could hardly see. Seriously, I literally spent from about 9 am to 6 pm. I would've done longer but Amanda's parents picked up my niece and nephew (That's Nichole and Robbie to you) and brought them up to Thompson where Amanda met them and brought the "kids" on back. By the time they got back I was a mess between working so hard and being so tired from yesterday. I couldn't even focus my eyes.
And thanks to Amanda's parents for picking up the slack and bringing the kids most of the way. 'Tis appreciated beyond words.
Alright, today was the big day. I'm back on the job FOR REAL this time. I'm trying to not go into as much detail as I have been for the sake of getting it caught back up so here's the bullet points.
- After about 10 minutes in the heat and humidity I felt faint from being out of condition (now I remember why I build up to these all day things).
- Sought out air conditioning in the Star 94 broadcast area.
- Amanda started helping out by getting sponsor shots, etc.
- Hung out with The Whigs for a while. Got candids of them, chatted more than I ever have with them.
- Ran around trying to figure out what Pink was up to. Was she doing the meet and greet? Was she not? She moved it. Really? Where to?
- Managed to figure out Pink's deal. She cancelled her interview but the meet & greet was on. It was moved to right beside her bus. Got it.
- Got there just in time. Played by the tour manager's exact orders (unlike the other photogs) so he not only let me get everything I needed, he allowed me to get a pic with her and an autograph on one of my old pics of her.
- Shot Aqualung signing autographs for the crowd.
- Waited for her to go on. Got a lot of good crowd shots. Managed to get more exclusive stuff of Pink backstage as she was heading for the stage. Shot Pink's set. Watched how a real pro deals with P.A. system breakdowns (a capella Janis Joplin with ad libbed lyrics).
- Took off back to the other stage. Chowed down on some amazing Japanese food that was being catered to the Star 94 radio crew.
- Started to pace myself a bit more as set times got longer.
- Shot Nickel Creek's set.
- Got over to Train's tour bus a little late and had some camera problems. Resolved them just in time to do the official trade shots with the Star 94 staff. I also shot their meet and greet.
- Wound up spending a few intense minutes with Train's Johnny Colt talking about his "other band" Asphalt Blaster. Johnny's a cool guy. I've met him a few times and it's always been a pleasure.
- Stood on stage while Train began their set. Johnny chose to bump fists with me for good luck just before starting.
- Amanda reminded me that I had to get Beyond Tomorrow on the side stage. Hung out with Alex, Steve and Hodar for a little while. It's good seeing 'em. I still think they need to have us open for them sometime. Alex seems to agree. I don't believe the others do.
- Ran back, did some more onstage stuff with Train. The lighting wasn't all that agreeable. Wound up with some more temporary camera problems.
-Amanda reminded me that I had to get the headliners of the second stage. So back up 3 flights and 3 blocks to get 13 Stories. At least they gave me something to shoot.
- Ran back yet again to shoot Train's finale. Decided to take off when they launched into a cover of Aerosmith's "Dream On".
- Wound up stuck at a stupid, stupid pay on your way out thing for parking.
- Hit the road and managed to get out in relatively good time.
- I felt tired, dehydrated, a bit out of it and successful.
- We got home a bit after 1 am.
Today Joe came over to start working on material in earnest. I'm impressed at the homework he's already done. Of course, he's learned a lot of my parts because those are often times the ones you actually hear but I think we're musically very compatible. By that, I mean, our tastes are different enough to not be redundant but similar enough to where we speak the same musical language. I can't wait 'til we break these guitar parts into pieces and rebuild the guitar army that I've missed so much.
Of course, I wound up overloading him at the end with other bands he's not familiar with. I introduced him to Jellyfish, MUSE, Drive-By Truckers, King's X and a few others that I thought might aid explaining what we're going for in places. I've got to be more careful with that. He was a good sport about it and seemed genuinely interested in each. It was just a matter of too much at once (especially when he's still trying to learn all of these songs of ours).
And I'm happy to say that I managed to rehearse no less than 4 days out of the last week. If I could only find a whole band to do it, we'd be untouchable. At least I'm starting to feel like I'm back on the right track.
Well, I finally got the diary uploaded for public consumption and I linked it up through MySpace also. Some of the stuff that I posted has me concerned that it'll be taken wrong as text doesn't always display the good intent behind it but it's a diary and these are the things on my mind. Therefore, I'll let it stand.
I know there are several people who think I should not be putting my thoughts online. Of course, those people don't have the guts to tell me themselves but they know that the info will filter back to me and that's their intention when they leak it. It's OK. To each his own. I know this isn't something for everyone. It works for me. It's 2006 and fad or not, this is what we do right now. I'm proud of it. If you wanna know, it's there. It's transparent.
Speaking of what we do, I got the CD of my potential debut release from Side B today. Jerry took the time to compile a list of my songs that he thought would fit his company's modus operandi and fit nicely together. I've gotta say that this compilation is definitely something I never, ever would've conceived. It's so strange to hear tracks from Nowhere Society to Q-Sign to Perpetual Motion Machine to Center Of The Universe to more recent home demos back to back. And somehow it all works. Jerry even took it upon himself to edit one of the songs so it segues into another. He also did some mastering that makes some of the demos shine enough to stand up to the studio tracks. I don't want to mention the track listing here yet as there still may be some tweaking done but if this is a hint, it looks like the title of the album will be Second Sight . It'll be interesting for me to see what Side B can do with the project. Jerry done good.
I gotta tell you. I love being able to sit back and do my job of making music while someone else is doing theirs of making it accessible and available. I love that Jerry conceived of this idea and is seeing it through. I love that when I told him to "make it so", he's doing just that. I love that he believes. As I keep saying, it's contagious and I need as many believers and things to believe in as possible.
Speaking of which, in the evening I got together with (yet another) Jerry and Aaron. I went out to Aaron's place; we all 3 talked shop for a while, and then sat around with our acoustics "jamming". I joined in on a couple of their songs, then Jerry started pulling a few covers. And what strange, intriguing and wonderful covers some of them were. Keep in mind that HE chose these, not me. We ran through Alice Cooper's "Long Way To Go", "Ballad Of Dwight Frye", "Desperado", "Dead Babies" and "Generation Landslide", then The Who's "Tattoo", "A Quick One While He's Away", "Heaven & Hell", "Young Man Blues", then Zeppelin's "The Rover" and "Achilles Last Stand". I also joined in with them (writing my own new part) for Radiohead's "Lucky".
Now neither Aaron, Jerry nor I'm well-versed in the art of the jam but we did okay. I'm quite intrigued to see what the three of us can do. It's weird to be in a situation where everyone can sing lead and play lead or bass. It's what I've been dreaming of. The two of them are also killer drummers if you can judge by the demos they played me. AND they've got a great home studio set up that sounds better than a lot of the pro studios in Athens .
They asked me about Frank and if he'd be willing to join in. I told 'em I'd talk to him and that he'd probably be interested. In the meantime, it looks like Aaron, Jerry and I may be forming something completely new and we'll all be switching off the lead vocal mic as well as the other instruments. We may raid our back catalogs (and I may go WAAAAYYY back for this project) but it's the potential for new material with these guys that I'm most excited about.
Now if only the Darlings could kick into gear, I'd be a happy man (from a creative standpoint) for the first time in over a year. And thanks to Joe stepping in, that just may happen too.
The only thing that's bugging me is that my next week is pretty much spoken for so I won't have as much time to get together. But after that, if I can be rehearsing or playing every night, I will be.
So it's Wednesday, July 19, 2006.
I'm waiting for a plumber to come over and take care of a couple of around the house problems. How exciting is that?
Well, how 'bout this? I don't expect anyone else to truly care but I'm jubilant over it.
I have finally, after months and months and months gotten this diary caught up. It's 2:54 pm EST. I'm sitting here listening to Stevie Wonder perform for Berkeley, CA in 1973. Life is good. Another weight has been lifted.
Of course, it looks like I'll be celebrating this monumentous occasion differently than I had thought. I've just been told that Paul Simon has revoked all photo credentials for tonight. I'm not surprised. He did the same thing last time he came through with Mr. Garfunkel.
We also got invited to Butch Walker's private aftershow party in Atlanta via those fancy schmancy personal e-vites. I'm proud that we're wanted there and I thank 'em for the invitation but instead of heading out to the "secret location" and being out 'til dawn, I'm going to relax at home. I'll be thinking about all that's going on around me and trying to make sense of a week's worth of amazing personal developments and triumphs that totally seem to be flowing from nothing more than a positive attitude. Even the few bad things that have happened have wound up leading me to something better that I wouldn't have otherwise found.
I'm inspired and hopeful again. I'm excited because I've been in contact with others who are excited. It's contagious. I'm ready to get at it.
Of course, I've still gotta get Concert Shots caught up. It'll be the biggest update EVER when it's done. That may take another week. I'll try to get it done faster or maybe just update in increments but there's a lotta work left there.
When that's done, the new chapter of my life and experience will begin in earnest. I wonder who's going to write it with me?
Then home for a rare relaxing evening.
Now that Syd Barrett is gone, his sister has lifted the veil. For those of us who have ever wondered, this is a comfort and a revelation.
I got my camera back today. I don't know whether to be happy or not. I've got that massive shoot coming up this weekend as the official photog for StarFest and it's good to have the option of the D-200 but I'm certainly hesitant to depend on it. I tested it around the house and it did seem improved. I can't say it's cured yet, though. Soon enough - soon enough, I'll know.
Oh - I got an email from Jerry Boyd from Side B today, too. He needs my address. The email had the subject "Album is finished". He says he's gone through the 42 "lost songs" that I offered him and he's sequenced and mastered an album from it. He's going to send it to me for my approval and / or suggestions.
Have you any idea how cool it feels to be told my album's finished by someone whose opinion I trust and hold in high regard? Even if I disagree with his choices, I believe I'm going to let him "make it so." I may make a couple of suggestions but if he's convinced, I am. In other words, it looks like there will be a "new" Chris McKay solo CD coming out (on a real record label) within the next few months as well as whatever else the band(s) will release.
In a not-totally-unrelated turn of events (especially since the thought just entered my own head yesterday), I got another response from my ad today. Jerry and Aaron recently moved here from Connecticut. I talked to Jerry at length this afternoon. They're multi-instrumentalists, singer-songwriters with their own rehearsal space and studio. From what Jerry said, they've been looking for me as I've been looking for them.
I can't believe how the tide is turning.
As if to underline the "coincidence / synchronicity / divine hand / whatever", their band is currently called Weird Beard. Yeah - it's goofy and good natured but that ain't the thing. You see, Weird Beard was the name of the first DJ to ever play my music on the air way back when in South Carolina. Weird was also the first to interview me (and Mike) live on the air. Of course, Jerry and Aaron lived in Connecticut. They'd never heard of our Weird. Weird.
What are the odds, really? C'mon, you naysayers. Keep saying nay. That's the answer that you'll get in return. I'm looking toward the positive response.
I'm starting to believe in everything...even if I still doubt it all.
One last thing - I need to give a special thanks to my brother-in-law Dwayne for helping my Grandmother out today. She took her car in for some checking up where he works. Not only did he look after her, he saw to it that she got a nice discount. She went home with a working air-conditioner and she'll be a lot more comfortable now when she does all the things she has to do. Thanks to that little bit of effort he expended, another person's life has been improved greatly.
So Dwayne's my MVP for today! Thanks, man.
Confirm or deny your geekdom here. How many of these do you have? I've got three. Can you guess which ones?
I got a call from Joe really early this morning. He prefaced the conversation with "I don't know how you're going to take this but..." I was worried. He put it in baseball terms. He said "On the album, (the Critical Darlings) are the Yankees but live (judging from rehearsal), you're the Orioles. You're still major league but..."
"So what do we do to fix it?"
"You need to put yourself up front more. You need harmony vocals and rhythm guitar."
"Yeah - I know that. I agree completely. So how do we do that?"
The bottom line is that he offered his services. I'm taking him up on it. This could be the shot of adrenaline that the Darlings need. Joe could be this band's saving grace. He could also be the ingredient to take us to the next level.
And if it happens, I'll attribute it to my little experiment. It'll all come from a little piece of paper asking for something that had nothing to do with the Darlings.
I'm feeling good about the possibilities for the first time in months. This could be it!
Speaking of the experiment, I sent out a package to a fellow trader whose brother died last week. I know my old TV shows and stuff really helped me to cope after my Dad died. I hope this helps him get through the day.
When I got home from mailing, I had about a dozen new DVD's waiting. If I start gushing about 'em I won't be able to stop. It's unbelievable stuff. I swear to you, whenever I offer what I have, unrelated offers come to me. And they come in droves.
We also got asked to play on August 17 in Conyers. It's another Thursday. If we can get Joe in by then (or maybe even by the 3rd for Tasty World), I'll be one happy guy.
And I also got the new mid-year special issue of Pollstar with Madonna on the cover. What's the lead news photo item in it? Well, I'm glad you asked. It's the KISS Coffeehouse opening and a certain photog's image was used to get the point across.
I decided in the afternoon to take my guitar over to the guitar surgeon that some call Danny Esposito. I went to his house, he looked it over and there was nothing wrong with it. Simple enough!
On the way home, to celebrate this good fortune, I went by Best Buy to pick up the limited edition MUSE CD / DVD that I wasn't meant to buy last week. And guess what, I wound up getting $5 off of the price.
You tell me what's going on here.
I don't want to know. I just want it to continue!


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text:
SC church raising money to build Harriet Tubman monument in Beaufort
by: Martin Staunton
Posted: Nov 27, 2019 / 08:21 AM EST / Updated: Nov 27, 2019 / 08:21 AM EST
BEAUFORT, S.C. (WSAV) – A church where Harriet Tubman gathered hundreds of slaves she helped liberate in a daring raid on plantations along the Combahee River is taking donations to build a monument.
Rev. Kenneth Hodges, Pastor of Tabernacle Baptist Church on Craven Road in Beaufort, says the monument honors a little-known history about Tubman taking up residence in the Lowcountry.
"During the Civil War, Harriet Tubman came to Beaufort in the spring of 1862 and lived in Beaufort for almost three years," Hodges said. "While she was here she served in many capacities, as a spy, a scout, a nurse, but she also organized what is known as the Combahee River Raid."
The raid freed more than 700 slaves on June 2, 1863, and the gathering of the newly liberated people was lead by Tubman in Tabernacle's church.
"Even people when they come into the area from out-of-town, and they're assembled in the church, they say there is a unique spirit here," Hodges said.
"After they assembled in the church in Beaufort, Harriet Tubman says personally, that she marched over a hundred of them to the recruiter's office," he added. Many joined the Union fight.
Now the church is working on a monument to honor the Lowcountry's connection to the greatest conductor on the Underground Railroad.
"When people begin to realize that Harriet Tubman actually spent time here, then they too will be coming," Hodges said. "People are already beginning to follow the Harriet Tubman sites, places where she spent time."
"In Auburn, her home site is a part of the National Park Service, and they're other cities where she spent a brief period of time, who are beginning to do some things for Harriet Tubman," he added. "So it is certainly significant for South Carolina, definitely Beaufort, to honor Harriet Tubman."
The pastor says he believes Tubman's place in history should inspire everyone.
"Anybody who thinks about a person like Harriet Tubman, who sacrificed and gave so much, should want to say 'Thank You Harriet for what you've done' and 'I want to be a part of placing a monument in a city like Beaufort where you spent three years and offered so much,'" he said.
The hope is to gather enough donations to complete the Tubman Monument in Beaufort sometime in 2020.
Look here to learn more about the project or if you're interested in giving. Hodges says donations are tax-deductible.


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Many kids or teens spend their after school hours in martial arts school today to lead an active lifestyle. Oriental style martial arts are well known to the western community.
Hsing Yi, though less well known than both Tai Chi and Kung Fu by the general public, has consistently produced the most revered martial artists in China, artists known for dominating opponents in full contact challenges.It is also a good exercise for kids' wellness as it practices the meridian system according to the ancient philosophy of " five elements" in TCM. Children normally start their study of Hsing-yi from the age of 6 as it is the best time for the "chi" to develop.
Below is the demo clip for traditional 5 Xing Hsing Yi exercise in slow flow.


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