April 3rd, 2007

wonder woman

Ads for Captivity

Elisha Cuthbert is in a new horror flick on the HOSTEL model, called CAPTIVITY. The company charged with promoting it whipped up a truly gruesome women-in-refrigerators poster campaign, which you can see here. The ads were summarily rejected by the MPAA, and the producers put ‘em on billboards anyway.

A lot of folks in LA and the show business community got upset at having to look at these billboards while driving to work or walking down the street, and called for the MPAA to provide sanctions that would have financial effect. Put whatever you want in the movie, they’re saying, but have a little care in what you put up on a public street. The MPAA is withholding certification, which means the movie isn’t going to be getting rated till the MPAA is good and ready. A lot of theaters won’t show unrated films, so the delay and possible lack of rating is a major impediment to the guys who made the movie making money from a theatrical release.

Interesting to note: one of the signatories against the flick is Marti Noxon, who, as a BUFFY writer/producer, had the ghost of a woman murdered by her lover tell the ghost of said lover that she loved him with her last breath, even after he gunned her down, and had Buffy Summers go into a downward spiral that saw the One Girl in All the World let a soulless psychopathic vampire bend her over a railing and fuck her from behind in the middle of a crowded club. I’m glad to see some concern from her with how women are presented in the media; I just wish she’d had it a few years ago.
spidey and mj

catching up: vids, strange fruit, and faith in prison

Haven't had much LJ time this week, so when I get the chance, I type out a sketch of a post. Consider this catch-up.


“You Know My Name” is the best James Bond title song since Tina Turner belted out GOLDENEYE, and those two are the best Bond songs since… wow, I don’t even want to think about it, because it’s kind of depressing. The Bond producers don’t always choose well: witness TOMORROW NEVER DIES where they picked Sheryl Crow’s anemic, unmemorable title track over k.d. lang’s AWESOME from-the-gut delivery of the song that ran over the end credits and used the exact same title. But even though I hate the electronically distorted vocals thing, "You Know My Name" gets inside my head and doesn’t want to leave. It’s also a great song for a character video, because it’s *intended* to be a hero song: "I am so bad-ass that I don’t have to tell you who I am, *because you already know.*"

The problem is, various of its lyrics are appropriate for different fandoms. I started out thinking it would be a good SUPERNATURAL song ("the merciless eyes of deceit" being a good yellow-eyed demon cue), then decided it was really a BUFFY song (c’mon: "I’ve seen angels fall from blinding heights" is freaking *perfect.* although "if you come inside, things will not be the same" is a little too, er, on the nose.). I even realized it wouldn’t be bad for HIGHLANDER (“the Prize, it may not fulfill you”) – it could be a really good Kurgan song, except for the fact that, um, we *don’t* actually know his name. So there’s that.

If I had the time, I would be sorely tempted to make a Buffy vid to it, just so I could use footage of the AmyRat running in her cage as Chris Cornell belts out, "life is gone with just a spin of the wheel / SPIN OF THE WHEEL!!!"


Is there a scarier song, ever, than Billie Holliday’s “Strange Fruit?” If there is, I’d probably be happier not knowing about it. The music is eerie enough, but the lyrics are just relentlessly terrifying, and by the time she gets to “the twisted mouth,” my arms are covered in gooseflesh and I just want to run away and hide.


A while back, somewhere I saw a meme or a post asking people what spin-off of a show you always wanted to see.

I really wanted a “Faith in prison” spin-off of BUFFY, with Ethan Rayne as the prison librarian and Faith’s not-exactly-Watcher. The idea is that it would be the place where the justice system throws all the really freaky criminals, the ones with touches of weirdness or magick or what have you, so they can be safely locked away and forgotten. The idea is that the Warden doesn’t know how to deal with these inmates, hears about Faith, and gets the idea to have her transferred in so she can be the enforcer. Faith, being Faith, is not entirely on board with this plan.

(In the first episode: to establish her bona fides as a bad-ass, Faith beats the crap out of everybody in gen. pop. AT THE SAME TIME.)