How did Heath Ledger die, how old was he and what were his

Best run in terms of anything and only Male Actors
Jack Lemmon: Some Like it Hot, Mister Roberts, Three for the Show, Phffft, It Should Happen to You, Once Too Often, Cowboy, Hollywood Bronc Busters, You Can't Run Away from It, Fire Down Below, My Sister Eileen, It Happened to Jane, Operation Mad Ball, and Bell, Book and Candle.
Max von Sydow: The Seventh Seal, Miss Julie, Ingen mans kvinna, Rätten att älska, Wild Strawberries, Prästen i Uddarbo, Kvinnlig spion 503, The Magician, and Brink of Life.
Frank Sinatra: From Here to Eternity, The Man with the Golden Arm, Pal Joey, Suddenly, Double Dynamite, Meet Danny Wilson, Young at Heart, Not as a Stranger, Guys and Dolls, The Tender Trap, Meet Me in Las Vegas, High Society, Johnny Concho, Around the World in 80 Days, The Pride and the Passion, The Joker Is Wild, Kings Go Forth, Some Came Running, A Hole in the Head, and Never So Few.
Gene Kelly: Singing in the Rain, An American in Paris, Invitation to the Dance, It's Always Fair Weather, Summer Stock, It's a Big Country, Black Hand, Love Is Better Than Ever, The Devil Makes Three, Brigadoon, Seagulls Over Sorrento, Deep in My Heart, The Happy Road, Les Girls, and Marjorie Morningstar.
Ernest Borgnine: Marty, China Corsair, Vera Cruz, From Here to Eternity, Bad Day at Black Rock, The Mob, The Whistle at Eaton Falls, Treasure of the Golden Condor, The Stranger Wore a Gun, Johnny Guitar, The Bounty Hunter, Demetrius and the Gladiators, Violent Saturday, Jubal, The Catered Affair, Run for Cover, The Last Command, The Square Jungle, The Best Things in Life Are Free, The Vikings, Summer of the Seventeenth Doll, Torpedo Run, and The Rabbit Trap.
James Stewart: Bell, Book and Candle, Vertigo, Winchester '73, The Glenn Miller Story, The Man Who Knew Too Much, The Naked Spur, Rear Window, Harvey, The Greatest Show on Earth, The Man from Laramie, Strategic Air Command, Anatomy of a Murder, The Spirit of St. Louis, Bend of the River, Thunder Bay, Broken Arrow, No Highway in the Sky, The Jackpot, Carbine Williams, Night Passage, The FBI Story, and The Far Country.
Ward Bond: The Searchers, Mister Roberts, Johnny Guitar, Hondo, The Quiet Man, Singing Guns, Riding High, Wagon Master, Kiss Tomorrow Goodbye, Operation Pacific, The Great Missouri Raid, The Halliday Brand, Rio Bravo, On Dangerous Ground, Only the Valiant, Hellgate, Bullfighter and the Lady, Thunderbirds, The Moonlighter, Blowing Wild, Gypsy Colt, The Bob Mathias Story, The Long Gray Line, A Man Alone, Dakota Incident, Pillars of the Sky, The Wings of Eagles, China Doll, and Alias Jesse James.
John Wayne: The Searchers, Hondo, Rio Grande, The Quiet Man, Rio Bravo, Operation Pacific, The Wings of Eagles, Big Jim McLain, Flying Leathernecks, The Sea Chase, Trouble Along the Way, Island in the Sky, The High and the Mighty, Blood Alley, Jet Pilot, The Conqueror, Legend of the Lost, The Horse Soldiers, and The Barbarian and the Geisha.
Paul Newman: The Rack, The Silver Chalice, Somebody Up There Likes Me, The Long, Hot Summer, The Helen Morgan Story, Until They Sail, The Young Philadelphians, Rally Round the Flag, Boys!, The Left Handed Gun, and Cat on a Hot Tin Roof.
Marlon Brando: The Men, A Streetcar Named Desire, Viva Zapata!, Julius Caesar, The Wild One, On the Waterfront, Désirée, Guys and Dolls, The Teahouse of the August Moon, Sayonara, and The Young Lions.
Orson Welles: Othello, Touch of evil, Mr. Arkadin, Royal Affairs in Versailles, The Long, Hot Summer, The Vikings, High Journey, Ferry to Hong Kong, Compulsion, Masters of the Congo Jungle, South Seas Adventure, The Roots of Heaven, Napoléon, Man in the Shadow, Moby Dick, Three Cases of Murder, Trouble in the Glen, Disorder, The Black Rose, Return to Glennascaul, Little World of Don Camillo, Man, Beast and Virtue, and Trent's Last Case.
Montgomery Clift: The Big Lift, A Place in the Sun, I Confess, Indiscretion of an American Wife, From Here to Eternity, Raintree County, Lonelyhearts, The Young Lions, and Suddenly, Last Summer.
Tony Curtis: The Prince Who Was a Thief, Flesh and Fury, No Room for the Groom, Houdini, The Black Shield of Falworth, So This Is Paris, Six Bridges to Cross, The Square Jungle, Trapeze, Mister Cory, The Midnight Story, Sweet Smell of Success, The Vikings, Kings Go Forth, The Defiant Ones, Some Like It Hot, Operation Petticoat, Sierra, Winchester '73, Kansas Raiders, Forbidden, Son of Ali Baba, Meet Danny Wilson, All American, Beachhead, The Midnight Story, The Perfect Furlough, The Rawhide Years, The Purple Mask, Francis, Woman in Hiding, I Was a Shoplifter, and Johnny Dark.
James Dean: East of Eden, Has Anybody Seen My Gal?,Rebel Without a Cause, and Giant.
Kirk Douglas: Young Man With a Horn, The Glass Menagerie, Along the Great Divide, Ace in the Hole, Detective Story, The Big Sky, The Bad and the Beautiful, The Story of Three Loves, The Juggler, 20,000 Leagues Under the Sea, Man Without a Star, Lust for Life, Top Secret Affair, Gunfight at the O.K. Corral, Paths of Glory, The Vikings, Last Train from Gun Hill, and The Devil’s Disciple.
Alec Guinness: Last Holiday, The Mudlark, The Lavender Hill Mob, The Man in the White Suit, The Promoter, The Captain’s Paradise, Malta Story, The Detective, To Paris with Love, The Prison, The Ladykillers, The Swan, The Bridge on the River Kwai, All at Sea, The Horse’s Mouth, The Scapegoat, and Our Man in Havana.
Charlton Heston: Julius Caesar, Dark City, The Greatest Show on Earth, Ruby Gentry, The President’s Lady, Arrowhead, The Naked Jungle, The Private war of Major Benson, Lucy Gallant, The Ten Commandments, Touch of Evil, The Big Country, The Wreck of the Mary Deare, Ben-Hur, The Far Horizons, The Buccaneer, Three Violent People, Secret of the Incas, Bad for Each Other, The Savage, The President's Lady, and Pony Express
Rock Hudson: The Fat Man, Bend of the River, Scarlet Angel, Has Anyone Seen My Gal?, Magnificent Obsession, All that Heaven Allows, Never Say Goodbye, Giant, Written on the Wind, Something of Value, The Tarnished Angels, The Earth Is Mine, Pillow Talk, Winchester '73, Tomahawk, Horizons West, Twilight for the Gods, A Farewell to Arms, This Earth Is Mine, Captain Lightfoot, One Desire, Seminole, Bengal Brigade, Sea Devils, Gun Fury, Back to God's Country, The Golden Blade, Taza, Son of Cochise, The Lawless Breed, Peggy, The Desert Hawk, Iron Man, Here Come the Nelsons, Bright Victory, and Air Cadet.
Burt Lancaster: The Flame and the Arrow, Mister 880, Jim Thorpe—All-American, The Crimson Pirate, Come Back Little Sheba, From Here to Eternity, Apache, Vera Cruz, The Rose Tattoo, Trapeze, The Rainmaker, Gunfight at the O.K. Corral, Sweet Smell of Success, Run Silent Run Deep, The Devil’s Disciple, Ten Tall Men, South Sea Woman, and Three Sailors and a Girl.
Elvis Presley: Love Me Tender, Loving You, Jailhouse Rock, and King Creole.
William Holden: The Horse Soldiers, Sunset Boulevard, Sabrina, Stalag 17, Picnic, The Bridge on the River Kwai, Union Station, Father Is a Bachelor, Submarine Command, Born Yesterday, Force of Arms, Boots Malone, Executive Suite, Die Jungfrau auf dem Dach, The Moon Is Blue, The Bridges at Toko-Ri, Escape from Fort Bravo, Forever Female, Love Is a Many-Splendored Thing, The Country Girl, The Key, The Proud and Profane, and Toward the Unknown.
Cary Grant: An Affair to Remember, North by Northwest, The Pride and the Passion, Houseboat, To Catch a Thief, Indiscreet, Crisis, People Will Talk, Room for One More, Dream Wife, Monkey Business, Kiss Them for Me, and Operation Petticoat.
Toshiro Mifune: Samurai Trilogy, Seven Samurai, Rashomon, Throne of Blood, Scandal, The Hidden Fortress, Conduct Report on Professor Ishinaka, Engagement Ring, Elegy, Escape from Prison, Beyond Love and Hate, Pirates, Meeting of the Ghost Après-Guerre, Fog Horn, Conclusion of Kojiro Sasaki:Duel at Ganryu Island, The Life of a Horsetrader, Golden Girl, Who Knows a Woman's Heart, Vendetta for a Samurai, The Life of Oharu, Swift Current, Tokyo Sweetheart, Sword for Hire, The Man Who Came to Port, The Last Embrace, My Wonderful Yellow Car, Sunflower Girl, Eagle of the Pacific, The Black Fury, The Sound of Waves, All is Well part 1 & 2, The Merciless Boss: A Man Among Men, No Time for Tears, I Live in Fear, Rainy Night Duel, The Under World, Settlement of Love, Scoundrel, A Wife's Heart, Rebels on the High Seas, A Man in the Storm, Be Happy, These Two Lovers, A Dangerous Hero, Yagyu Secret Scrolls 1 & 2, Downtown, The Lower Depths, Holiday in Tokyo, Rickshaw Man, All About Marriage, Theater of Life, Yaji and Kita on the Road, The Three Treasures, Life of an Expert Swordsman, Boss of the Underworld, Desperado Outpost, and The Saga of the Vagabonds.
Henry Fonda: Mister Roberts, The Wrong Man, Pictura: An Adventure in Art, 12 Angry Men, Stage Struck, The Man Who Understood Women, Warlock, The Tin Star, and War and Peace
Dean Martin: Some Came Running, Rio Bravo, Career, Ten Thousand Bedrooms, The Young Lions, Little New Orleans Girl, Pardners, Hollywood or Bust, Artists and Models, Living It Up, You're Never Too Young, 3 Ring Circus, The Caddy, Road to Bali, Money from Home, Scared Stiff, The Stooge, That's My Boy, Sailor Beware, Jumping Jacks, My Friend Irma Goes West, and At War with the Army.
Anthony Perkins: The Tin Star, Friendly Persuasion, Fear Strikes Out, The Matchmaker, On the Beach, Desire Under the Elms, Green Mansions, The Actress, The Lonely Man, and This Angry Age.
Gregory Peck: Only the Valiant, Roman Holiday, Moby Dick, Captain Horatio Hornblower, Pork Chop Hill, Beloved Infidel, David and Bathsheba, The Gunfighter, Pictura: An Adventure in Art, The World in His Arms, The Snows of Kilimanjaro, Designing Woman, On the Beach, The Hidden World, The Bravados, The Big Country, Night People, Boum sur Paris, The Million Pound Note, The Man in the Gray Flannel Suit, and The Purple Plain.
Clark Gable: Mogambo, Run Silent, Run Deep, Teacher's Pet, Betrayed, Never Let Me Go, The Tall Men, Key to the City, Across the Wide Missouri, To Please a Lady, Lone Star, But Not for Me, Soldier of Fortune, The King and Four Queens, and Band of Angels.
Gary Cooper: It's a Big Country, Blowing Wild, High Noon, The Wreck of the Mary Deare, They Came to Cordura, Ten North Frederick, Love in the Afternoon, Man of the West, The Hanging Tree, Friendly Persuasion, Vera Cruz, The Court-Martial of Billy Mitchell, Garden of Evil, Springfield Rifle, Return to Paradise, Starlift, You're in the Navy Now, Distant Drums, and It's a Big Country.
Robert Mitchum: Not as a Stranger, His Kind of Woman, River of No Return, Fire Down Below, The Night of the Hunter, Macao, The Racket, Where Danger Lives, The Lusty Men, River of No Return, Angel Face, White Witch Doctor, My Forbidden Past, Second Chance, One Minute to Zero, She Couldn't Say No, Bandido, Track of the Cat, The Wonderful Country, The Hunters, Heaven Knows, Mr. Allison, The Enemy Below, Thunder Road, and The Angry Hills.
Humphrey Bogart: The African Queen, The Caine Mutiny, Road to Bali, Deadline – U.S.A., Sabrina, The Barefoot Contessa, In a Lonely Place, The Left Hand of God, Sirocco, Chain Lightning, The Enforcer, Battle Circus, We're No Angels, The Love Lottery, Beat the Devil, The Desperate Hours, and The Harder They Fall.
Sidney Poitier: Band of Angels, The Defiant Ones, Porgy and Bess, Edge of the City, Virgin Island, The Mark of the Hawk, Something of Value, No Way Out, Cry, the Beloved Country, Go Man Go, Red Ball Express, Good-bye, My Lady, and Blackboard Jungle.
Takashi Shimura: Seven Samurai, Ikiru, Rashomon, Scandal, Elegy, The Idiot, Ikari no machi, Boryōku no Machi, Ore wa yojinbo, Ma no Ogen, Shunsetsu, Tenya wanya, Ginza Sanshiro, Yoru no hibotan, Ginza Sanshiro, Ai to nikushimi no kanata e, Kedamono no yado, Mesu Inu, Aoi shinju, Nusumareta koi, Hopu-san: sarariiman no maki, Muteki, The Life of a Horsetrader, Vendetta for a Samurai, Nangoku no hada, The Life of Oharu, Bijo to touzoku, Sengoku burai, Oka wa hanazakari, Minato e kita otoko, Hoyo, Fuun senryobune, Tobō chitai, Yoru no owari, Godzilla, Taiheiyō no washi, Jirochō sangokushi: kaitō-ichi no abarenbō, Asakusa no yoru, Kimi shinitamo koto nakare, Haha no hatsukoi, Shin kurama tengu daiichi wa: Tengu shutsugen, Shin kurama tengu daini wa: Azuma-dera no ketto, Bazoku geisha, Mekura neko, Mugibue, Godzilla Raids Again, No Time for Tears, Sanjusan go sha otonashi, Shin kurama tengu daisanbu, Muttsuri Umon torimonocho, Sugata naki mokugekisha, Asagiri, Geisha Konatsu: Hitori neru yo no Konatsu, I Live in Fear, Samurai III: Duel at Ganryu Island, Shin, Heike monogatari: Yoshinaka o meguru sannin no onna, Wakai ki, Kyatsu o nigasuna, The Underworld, Godzilla, King of the Monsters!, Arakure, Narazu-mono, Tōkyō hanzai chizu, Bōkyaku no hanabira, Throne of Blood, Sanjūrokunin no jōkyaku, Kono futari ni sachi are, Yama to kawa no aru machi, Bōkyaku no hanabira: Kanketsuhen, Kiken na eiyu, Yuunagi, Dotanba, Aoi sanmyaku Shinko no maki, The Mysterians, Ohtori-jo no hanayome, Edokko matsuri, haha, Forty-seven rōnin, Seven from Edo, Ten to Sen, Uguisu-jō no hanayome, Jinsei gekijō, The Hidden Fortress, Nichiren to Mōko Daishūrai, Ken wa shitte ita, Sora kakeru hanayome, Tetsuwan tōshu Inao monogatari, Kotan no kuchibue, Taiyō ni somuku mono, Sengoku gunto-den, Kagero ezu, The Three Treasures, Beran me-e geisha, Shobushi to sono musume, and Kēdamonō no torū michi.
James Mason: 20,000 Leagues Under the Sea, A Star Is Born, The Desert Fox: The Story of Rommel, North by Northwest, Journey to the Center of the Earth, Bigger Than Life, Julius Caesar, A Touch of Larceny, The Decks Ran Red, Island in the Sun, Cry Terror!, Charade, Forever, Darling, The Desert Rats, Prince Valiant, The Man Between, The Tell-Tale Heart, Botany Bay, The Story of Three Loves, Face to Face, The Prisoner of Zenda, 5 Fingers, Lady Possessed, One Way Street, and Pandora and the Flying Dutchman.
Sterling Hayden: The Last Command, The Asphalt Jungle, The Killing, Johnny Guitar, Hellgate, The Star, Journey into Light, The Golden Hawk, Denver and Rio Grande, Flaming Feather, So Big, Flat Top, Crime Wave, Fighter Attack, Kansas Pacific, Take Me to Town, Suddenly, Naked Alibi, The Come On, Top Gun, Battle Taxi, Shotgun, Timberjack, The Eternal Sea, Arrow in the Dust, Ten Days to Tulara, 5 Steps to Danger, Crime of Passion, Valerie, Gun Battle at Monterey, Zero Hour!, Terror in a Texas Town, and The Iron Sheriff.
Harry Belafonte: Calypso, Carmen Jones, Island in the Sun, Odds Against Tomorrow, The World, the Flesh and the Devil, and Bright Road.
Laurence Olivier: Richard III, Carrie, Father's Little Dividend, The Magic Box, The Beggar's Opera, The Prince and the Showgirl, and The Devil's Disciple.
Jose Ferrer: Cyrano de Bergerac, Crisis, Anything Can Happen, Producers' Showcase: "Cyrano de Bergerac", Moulin Rouge, Miss Sadie Thompson, The Caine Mutiny, Deep in My Heart, I Accuse!, The High Cost of Loving, The Great Man, The Shrike, and The Cockleshell Heroes.
James Cagney: Mister Roberts, Run for Cover, Kiss Tomorrow Goodbye, The West Point Story, Come Fill the Cup, A Lion Is in the Streets, What Price Glory, Love Me or Leave Me, The Seven Little Foys, Tribute to a Bad Man, Man of a Thousand Faces, These Wilder Years, Never Steal Anything Small, and Shake Hands with the Devil.
Farley Granger: Strangers on a Train, Our Very Own, Side Street, Behave Yourself!, Edge of Doom, O. Henry's Full House, I Want You, The Story of Three Loves, Hans Christian Andersen, Senso, Small Town Girl, The Girl in the Red Velvet Swing, and The Naked Street.
Bing Crosby: High Society, Alias Jesse James, Say One for Me, Anything Goes, The Joker Is Wild, Man on Fire, White Christmas, The Country Girl, Road to Bali, Scared Stiff, The Greatest Show on Earth, Little Boy Lost, Just for You, Son of Paleface, Angels in the Outfield, Riding High, Here Comes the Groom, and Mr. Music.
Chishū Ryū: Tokyo Story, The Munekata Sisters, Home Sweet Home, Early Summer, Carmen Comes Home, The Flavor of Green Tea over Rice, Arashi, Twenty-Four Eyes, Early Spring, Tokyo Twilight, Rickshaw Man, Floating Weeds, and Good Morning.
Ray Milland: Three Brave Men, A Man Alone, The Girl in the Red Velvet Swing, A Woman of Distinction, A Life of Her Own, Copper Canyon, Dial M for Murder, Lisbon, The Safecracker, The River's Edge, High Flight, Something to Live For, Jamaica Run, The Thief, Close to My Heart, Rhubarb, Bugles in the Afternoon, and Night into Morning.
Alan Ladd: The Badlanders, The Big Land, Branded, Captain Carey, U.S.A, Shane, Botany Bay, Boy on a Dolphin, A Cry in the Night, The Man in the Net, Island of Lost Women, The Deep Six, The Proud Rebel, Saskatchewan, Drum Beat, The McConnell Story, Desert Legion, The Red Beret, The Black Knight, Santiago, Hell on Frisco Bay, Red Mountain, Hell Below Zero, A Sporting Oasis, The Iron Mistress, Thunder in the East, and Appointment with Danger.
Ben Johnson: Wagon Master, Shane, Rio Grande, Fort Bowie, War Drums, Slim Carter, Wild Stallion, Oklahoma!, and Rebel in Town.
Walter Brennan: Rio Bravo, A Ticket to Tomahawk, Singing Guns, Bad Day at Black Rock, The Far Country, Good-bye, My Lady, The Way to the Gold, Tammy and the Bachelor, God Is My Partner, Glory, At Gunpoint, Sea of Lost Ships, Come Next Spring, The Proud Ones, Surrender, Curtain Call at Cactus Creek, The Showdown, Return of the Texan, Best of the Badmen, The Wild Blue Yonder, Lure of the Wilderness, Along the Great Divide, Four Guns to the Border, and Drums Across the River.
Ralph Meeker: Kiss Me Deadly, Paths of Glory, Jeopardy, A Woman's Devotion, Glory Alley, Somebody Loves Me, Teresa, 4 Num Jeep, The Naked Spur, Big House, U.S.A., Run of the Arrow, The Fuzzy Pink Nightgown, Code Two, and Desert Sands.
Edmond O’Brian: The Turning Point, The Hitch-Hiker, 1984, The Girl Can't Help It, Julius Caesar, The Barefoot Contessa, The Greatest Show on Earth, Denver and Rio Grande, Pete Kelly's Blues, The Rack, The Restless and the Damned, The World Was His Jury, Sing, Boy, Sing, A Cry in the Night, The Big Land, Stopover Tokyo, Up Periscope, D-Day the Sixth of June, The Shanghai Story, Shield for Murder, China Venture, The Bigamist, Cow Country, Man in the Dark, Backfire, 711 Ocean Drive, The Admiral Was a Lady, The Redhead and the Cowboy, Between Midnight and Dawn, Silver City, Warpath, and Two of a Kind.
Lee J. Cobb: The Left Hand of God, On the Waterfront, 12 Angry Men, The Brothers Karamazov, The Man in the Gray Flannel Suit, Party Girl, The Trap, Green Mansions, But not for me, Man of the West, The Garment Jungle, Miami Expose, The Three Faces of Eve, The Racers, Day of Triumph, The Road to Denver, The Fighter, The Family Secret, Yankee Pasha, Gorilla at Large, The Man Who Cheated Himself, and The Tall Texan.
Karl Malden: Baby Doll, A Streetcar Named Desire, On the Waterfront, The Hanging Tree, I Confess, The Gunfighter, Halls of Montezuma, Where the Sidewalk Ends, Diplomatic Courier, Time Limit, The Sellout, Bombers B-52, Ruby Gentry, Phantom of the Rue Morgue, Ruby Gentry, Take the High Ground!, and Operation Secret.
Rod Steiger: The Harder They Fall, Cry Terror!, Teresa, On the Waterfront, Oklahoma!, The Big Knife, Jubal, The Court-Martial of Billy Mitchell, Al Capone, Back from Eternity, Run of the Arrow, The Unholy Wife, and Across the Bridge.
Aldo Ray: The Marrying Kind, Pat and Mike, Let's Do It Again, Battle Cry, God's Little Acre, Nightfall, The Naked and the Dead, Men in War, The Siege of Pinchgut, Three Stripes in the Sun, The Barefoot Mailman, My True Story, and Never Trust a Gambler.
Richard Conte: I'll Cry Tomorrow, The Fighter, The Sleeping City, Hollywood Story, The Raging Tide, The Raiders, The Blue Gardenia, Desert Legion, Slaves of Babylon, Highway Dragnet, New York Confidential, The Big Combo, Mask of Dust, Full of Life, The Big Tip Off, Little Red Monkey, Bengazi, Target Zero, The Brothers Rico, This Angry Age, and They Came to Cordura.
Tab Hunter: They Came to Cordura, That Kind of Woman, Gunman's Walk, Damn Yankees, Lafayette Escadrille, The Lawless, Gun Belt, The Island of Desire, Battle Cry, Track of the Cat, While We're Young, The Steel Lady, Return to Treasure Island, The Sea Chase, Fear Strikes Out, The People Against McQuade, The Burning Hills, The Girl He Left Behind, Mask for the Devil, Forbidden Area, Hans Brinker and the and Silver Skates.
Robert Ryan: Born to Be Bad, The Secret Fury, Flying Leathernecks, Hard, Fast and Beautiful, Clash by Night, On Dangerous Ground, The Racket, Horizons West, Beware, My Lovely, Bad Day at Black Rock, The Naked Spur, Best of the Badmen, Inferno, City Beneath the Sea, About Mrs. Leslie, Alaska Seas, Back from Eternity, The Tall Men, House of Bamboo, The Proud Ones, Her Twelve Men, Escape to Burma, Men in War, Odds Against Tomorrow, Lonelyhearts, Day of the Outlaw, and God's Little Acre.
Charles Laughton: Witness for the Prosecution, The Blue Veil, O. Henry's Full House, The Strange Door, Salome, Abbott and Costello Meet Captain Kidd, Young Bess, and Hobson's Choice.
Lee Marvin: Teresa, You're in the Navy Now, The Big Heat, Gorilla at Large, The Caine Mutiny, The Glory Brigade, The Stranger Wore a Gun, Bad Day at Black Rock, Gun Fury, Attack, Seven Men from Now, Raintree County, The Rack, The Missouri Traveler, Violent Saturday, I Died a Thousand Times, Not as a Stranger, A Life in the Balance, Pillars of the Sky, Shack Out on 101, The Wild One, The Raid, Down Among the Sheltering Palms, The Duel at Silver Creek, Hangman's Knot, Eight Iron Men, Seminole, Diplomatic Courier, and We're Not Married!.
Marcello Mastroianni: Lulu, It's Never Too Late, Black Feathers, Sunday Heroes, The Mute of Portici, The Most Wonderful Moment, Fathers and Sons, Sand, Love and Salt, White Nights, Girls for the Summer, The Bigamist, Piece of the Sky, Three Girls from Rome, The Eternal Chain, Il viale della speranza, Schiava del peccato, Tom Toms of Mayumba, The Island Princess, The Miller's Beautiful Wife, Too Bad She's Bad, House of Ricordi, Lucky to Be a Woman, The Law, Ferdinando I, re di Napoli, My Wife's Enemy, Everyone's in Love, Love and Troubles, Big Deal on Madonna Street, Doctor and the Healer, Chronicle of Poor Lovers, A Slice of Life, Days of Love, Sunday in August, A Tale of Five Cities, The Accusation, Tragic Return, Eager to Live, Barefoot Savage, Paris Is Always Paris, La valigia dei sogni, Against the Law, A Dog's Life, and Hearts at Sea.
Glenn Ford: The Big Heat, Blackboard Jungle, 3:10 to Yuma, Appointment in Honduras, The Violent Men, The Man from the Alamo, Plunder of the Sun, The Americano, Cowboy, Don't Go Near the Water, Trial, Jubal, The Fastest Gun Alive, Ransom!, It Started with a Kiss, The Sheepman, The Teahouse of the August Moon, Imitation General, Torpedo Run, The Gazebo, Human Desire, Interrupted Melody, The White Tower, Convicted, The Redhead and the Cowboy, The Secret of Convict Lake, The Flying Missile, Follow the Sun, The Green Glove, Young Man with Ideas, Time Bomb, and Affair in Trinidad.
Walter Matthau: The Kentuckian, Bigger Than Life, The Indian Fighter, King Creole, A Face in the Crowd, Slaughter on Tenth Avenue, Onionhead, Voice in the Mirror, and Ride a Crooked Trail.
Jeff Chandler: Broken Arrow, Female on the Beach, Deported, Away All Boats, Abbott and Costello in the Foreign Legion, The Desert Hawk, Double Crossbones, Two Flags West, Sign of the Pagan, Taza, Son of Cochise, Drango, The Tattered Dress, Pillars of the Sky, The Lady Takes a Flyer, Man in the Shadow, Jeanne Eagels, Ten Seconds to Hell, Stranger in My Arms, The Jayhawkers!, Thunder in the Sun, Raw Wind in Eden, Foxfire, The Toy Tiger, The Spoilers, East of Sumatra, Yankee Pasha, Girls in the Night, War Arrow, The Great Sioux Uprising, Iron Man, The Battle at Apache Pass, Smuggler's Island, Meet Danny Wilson, Flame of Araby, Bird of Paradise, Son of Ali Baba, Because of You, Yankee Buccaneer, and Red Ball Express.
Vincent Price: While the City Sleeps, Serenade, The Ten Commandments, Son of Sinbad, The Fly, The Vagabond King, The Baron of Arizona, Adventures of Captain Fabian, Pictura: An Adventure in Art, Champagne for Caesar, His Kind of Woman, Curtain Call at Cactus Creek, Born in Freedom: The Story of Colonel Drake, Dangerous Mission, House of Wax, The Tingler, House on Haunted Hill, The Big Circus, The Story of Mankind, Return of the Fly, The Bat, Casanova's Big Night, The Mad Magician, and The Las Vegas Story.
Joel Mccrea: Wichita, Stranger on Horseback, Stars in My Crown, The Outriders, Frenchie, Saddle Tramp, The San Francisco Story, Hollywood Story, Cattle Drive, Rough Shoot, The Oklahoman, Black Horse Canyon, The First Texan, The Lone Hand, The Tall Stranger, The Gunfight at Dodge City, Fort Massacre, Trooper Hook, Gunsight Ridge, and Cattle Empire.
Van Heflin: 3:10 to Yuma, Shane, Gunman's Walk, The Prowler, Tomahawk, Week-End with Father, South of Algiers, Tanganyika, Black Widow, Woman's World, Wings of the Hawk, The Raid, They Came to Cordura, Tempest, Patterns, Count Three and Pray, My Son John, and Battle Cry.
Fred Macmurray: Woman's World, Borderline, Pushover, The Rains of Ranchipur, At Gunpoint, There's Always Tomorrow, Quantez, Gun for a Coward, The Oregon Trail, The Shaggy Dog, Good Day for a Hanging, Face of a Fugitive, Day of the Badman, Fair Wind to Java, The Caine Mutiny, Callaway Went Thataway, A Millionaire for Christy, Never a Dull Moment, The Far Horizons, and The Moonlighter.
Zbigniew Cybulski: A Generation, Ashes and Diamonds, Wraki, Kariera, Tajemnica dzikiego szybu, Trzy starty, Krzyż Walecznych, Night Train, and The Eighth Day of the Week.
Sam Jaffe: The Asphalt Jungle, Ben-Hur, The Day the Earth Stood Still, I Can Get It for You Wholesale, The Barbarian and the Geisha, Main Street to Broadway, and Les Espions.
Richard Widmark: Panic in the Streets, Hell and High Water, Warlock, The Tunnel of Love, Pickup on South Street, Don't Bother to Knock, Halls of Montezuma, Time Limit, Night and the City, Take the High Ground!, No Way Out, O. Henry's Full House, Destination Gobi, The Frogmen, Red Skies of Montana, My Pal Gus, Backlash, A Prize of Gold, The Trap, The Law and Jake Wade, The Last Wagon, Saint Joan, Garden of Evil, The Cobweb, Run for the Sun, and Broken Lance.
Yul Brynner: The King and I, The Ten Commandments, Anastasia, The Brothers Karamazov, The Buccaneer, Solomon and Sheba, The Sound and the Fury, and The Journey.
Jack Warden: The Asphalt Jungle, From Here to Eternity, 12 Angry Men, That Kind of Woman, Darby's Rangers, The Sound and the Fury, The Bachelor Party, The Man with My Face, Red Ball Express, Run Silent, Run Deep, Edge of the City, You're in the Navy Now, and The Frogmen.
Fred Astaire: The Band Wagon, Funny Face, Silk Stockings, On the Beach, Daddy Long Legs, The Belle of New York, and Royal Wedding.
Anthony Quinn: La Strada, Viva Zapata!, Lust for Life, Wild Is the Wind, The Brave Bulls, Mask of the Avenger, The World in His Arms, Funniest Show on Earth, Fatal Desire, East of Sumatra, The Magnificent Matador, Attila, Seven Cities of Gold, The Long Wait, City Beneath the Sea, Seminole, Ride, Vaquero!, Warlock, Last Train from Gun Hill, The Black Orchid, Hot Spell, Van Gogh: Darkness Into Light, The Hunchback of Notre Dame, The Ride Back, Man from Del Rio, The Naked Street, The River's Edge, Angels of Darkness, Ulysses, Ulysses, The Brigand, and The Wild Party.
Donald O'Connor: Francis, Curtain Call at Cactus Creek, Double Crossbones, The Milkman, Francis Covers the Big Town, There's No Business Like Show Business, Anything Goes, The Buster Keaton Story, Walking My Baby Back Home, Francis Joins the WACS, Singin' in the Rain, Francis Goes to the Races, I Love Melvin, Francis Goes to West Point, Call Me Madam, and Francis in the Navy.
John Gavin: Imitation of Life, A Time to Love and a Time to Die, Quantez, Behind the High Wall, Four Girls in Town, and Raw Edge.
Richard Basehart: Fourteen Hours, Time Limit, Moby Dick, Tension, Outside the Wall, The House on Telegraph Hill, Side Street, Titanic, Avanzi di galera, Le avventure di Cartouche, The Restless and the Damned, The Brothers Karamazov, Jons und Erdme, The Intimate Stranger, Love and Troubles, Golden Vein, The Stranger's Hand, La Strada, Canyon Crossroads, Miracles of Thursday, Il bidone, Decision Before Dawn, Angels of Darkness,Fixed Bayonets!, and The Extra Day.
Arthur Kennedy: Bright Victory, Peyton Place, The Lusty Men, Trial, Impulse, The Man from Laramie, The Ten Commandments, Twilight for the Gods, The Rawhide Years, Some Came Running, Home Is the Hero, The Desperate Hours, A Summer Place, The Glass Menagerie, Bend of the River, The Girl in White, Red Mountain, Crashout, and Rancho Notorious.
Andy Griffith: A Face in the Crowd, No Time for Sergeants, and Onionhead.
George Sanders: All About Eve, King Richard and the Crusaders, Ivanhoe, I Can Get It for You Wholesale, Black Jack, Assignment – Paris!, Call Me Madam, Journey to Italy, The King's Thief, That Certain Feeling, While the City Sleeps, Never Say Goodbye, Jupiter's Darling, The Scarlet Coat, Witness to Murder, The Light Touch, Moonfleet, From the Earth to the Moon, Rock-A-Bye Baby, The Seventh Sin, The Whole Truth, That Kind of Woman, and Solomon and Sheba.
Jack Hawkins: Mandy, Angels One Five, Twice Upon a Time, Fortune Is a Woman, The Prisoner, The Intruder, The Seekers, Front Page Story, The Bridge on the River Kwai, The Man in the Sky, Ben-Hur, Gideon's Day, The Two-Headed Spy, Touch and Go, The Long Arm, Land of the Pharaohs, The Cruel Sea, The Planter's Wife, Malta Story, The Elusive Pimpernel, The Black Rose, State Secret, No Highway in the Sky, The Adventurers, and Home at Seven.
Spencer Tracy: For Defense for Freedom for Humanity, The Actress, Bad Day at Black Rock, Broken Lance, The Old Man and the Sea, Desk Set, The Mountain, The Last Hurrah, The People Against O'Hara, Plymouth Adventure, Pat and Mike, Father's Little Dividend, and Father of the Bride.
Sonny Tufts: Gift Horse, Cat-Women of the Moon, Run for the Hills, The Seven Year Itch, Serpent Island, No Escape, The Parson and the Outlaw, and Come Next Spring.
David Niven: The Moon Is Blue, Separate Tables, Happy Anniversary, Ask Any Girl, My Man Godfrey, Bonjour Tristesse, Around the World in 80 Days, The Little Hut, Oh, Men! Oh, Women!, The Birds and the Bees, The King's Thief, The Silken Affair, Happy Ever After, Carrington V.C., The Love Lottery, The Toast of New Orleans, The Lady Says No, Appointment with Venus, Soldiers Three, Happy Go Lovely, and The Elusive Pimpernel.
Off of Personal Preference Glenn Ford, Gene Kelly, and William Holden are my top three.

Changes I hope could be made to the Legendary edition

Rewriting Titans Tv Show Part 1: Season 1

Yeah I’m surprised there isn’t enough people doing this, the titans show was a big disappointment even after the bad trailers I expected it to be somewhat decent but it’s just terrible. The first season is a mix bag with some decent episodes and character arcs however they lead to nothing and season 2 was awful. So I’ll just do what I think the entire show should’ve been in the first place, I don’t know what the writers have in mind for season 3 or even the series finale but I have an idea. But first I’ll do some recasting, Dick Grayson will not be 27 or 28 years old like in the original version, he will be younger like 23. So just cast a younger actor I don’t know but simply one that isn’t a complete adult. Star Fire will also be played by a different actress I would cast Kat McNamara she played Oliver Queens daughter in Arrow. I would also cast an older actress to play Raven. Beast boy would stay the same and I would add cyborg to the team, he would be played by the same actor in Doom Patrol.
•SEASON 1
1x01: Robin
The show begins with a 15 year dick Grayson driving a car he is supposedly looking for his parents murderer. This was a scene in the show already in a flashback where it’s revealed he will be adopted by Bruce Wayne, then in the present we have the same scene where Robin fights a group of criminals, however he will not kill and he isn’t as violent as the original show depicted him but he will say “fuck Batman”. After that scene we just show that his working as a bartender not a cop but a bartender in Detroit. The main plot of the episode will be Amanda Waller will contact Grayson to hijack a secret HIVE place where they’re supposedly experimenting on children, Robin at the beginning says no but since Batman can’t do it cause he has being emotionally compromised and Amanda doesn’t trust he’ll do the job. (That will be explained in another episode), the point is Robin agrees, he sneaks in and gets surrounded by HIVE agents and Raven appears kills a bunch of them and saves Grayson that’s where the episode ends.
1x02: Raven
In this episode we see basically the same scenes of Raven as in the original show, she leaves with her mom, gets bullied, comes home and a man kills her mom, she leaves, she has nightmares of Dick Grayson, she goes to Detroit, HIVE is hunting her, at the end they catch her, experiment on her and she manages to escape, she finds Robin, they both meet they keep going until they see a green tiger come out of a jail cell turning into Gar.
1x03: Beast Boy
Basically the first few episodes will be episodic introductions to each titans member explaining their origins. However in beast boys episode we won’t see the doom patrol just him and his family in Africa until his found by HIVE that experiments on him after his mutation when they try to cure him. We will also meet Sebastian Blood in this episode where he talks to Gar about why they’re experimenting on him, he also mentions the church of Blood and Trigon.
1x04: Cyborg
This one we will see Cyborgs origin and his father works in HIVE, at the end of the episode Cyborg is with his father when an alarm system goes off and he realizes that he isn’t the one being experimented on so he goes outside and helps, Robin, Raven and Gar. Sebastian Blood tells his people to release star fire from captivity.
1x05: StarFire
This episode will be about both Amanda Waller and HIVE hunting down Starfire after she arrives to earth, we will se Star simply discovering earth for the first time until she gets captured by HIVE and taken captive untold they release her to catch Robin, Cyborg and Raven. It is revealed that she wanted to kill the daughter of Trigon to be able to go back to her people but she couldn’t do it cause Raven is just a young girl so she decides to help them. Raven will also find out in this episode who she really is.
1x06: Together
This one will be similar to one in the show where they stay in a motel but Kory and Robin won’t have sex, they will get hunted by the nuclear family etc. At the end Robin will fight against a group of assassins until Tim Drake Sabra him. Yes Tim drake not Jason Todd.
1x07: A Tale of Two Robins
This episode will be the same as “Jason Todd 1x06” from the original show. Instead of Jason it’s Tim Drake. Dick will have flashbacks of Jason Todd, it turns out that two years after Bruce adopted Dick he also adopted Jason Todd, Dick and Grayson where both Robins until Jason died. Tim didn’t know about Jason at all. Apart from that the rest of the episode goes pretty much the same way.
1x08: The Beast Within
In this episode the main focus is on Beast Boy, he has been struggling with his powers and how he murdered a few scientist when he was being experimented, he will unlock the beast he will go full hulk and the titans have to stop him. They obviously do thanks to Raven who used her powers to calm him.
1x09: Homesick
Starfire will be struggling with her powers cause she’s sad about her home. Here it is revealed a little bit more of her backstory and she was sent to kill Raven daughter of Trigon, but she couldn’t do it. We will also see a hologram of Blackfire telling her to return and she will say no, the rest of the episode is mostly about that meanwhile Cyborg goes with his father who needs his help getting rid of HIVE who wants him to help Sebastian Blood kidnap the titans, Cyborg will feel betrayed he will try and warn the titans but ya too late. Red X appears at the end of the episode being told by Sebastian Blood to take down all the titans.
1x10: Red X
So yeah Red X is the villain this season along with Sebastian Blood. This episode is basically just Red X taking down the titans one by one, first beast boy, then Raven then Star fire and that’s it, Robin is the only one that gets away and Amanda Waller will help him stop Sebastian Blood.
1x11: Titans
The main purpose of Sebastian Blood is similar to the animated movie The Judas contract when Sebastian blood wants to to absorb titans powers. When Robin and Amanda Waller’s agents come to save them, along with Tim Drake. Titans fight with the church of Blood and Sebastian blood is burned presumed dead. The ending is Red X captured Tim Drake and reveals his Jason Todd
1x12: Jason Todd
This will be the final episode of the season where Jason has captured Tim Drake and has bombs around Gotham City. Robin asks for Bruce Wayne’s help, in my version Bruce Wayne should be played by someone way younger he should be in his 40s. Alfred is still alive. Batman works with the teen titans to find the bombs while Robin looks for red x, now in this episode there will be flashbacks to how Jason died, and instead of Joker killing him is was Ravager aka, Grant Wilson, Red X first mentions that he will get revenge on Gotham and then he will go for ravager. Robin and Red X fight, Robin wins, red x explodes the building and he escapes. The rest of the titans save the city and Tim drake survives.
The last scene is Bruce apologizing to Dick for pushing him away, basically after Jasons death Bruce pushed him away that made Robin go away, he also looked for Tim as a replacement but so far his done a pretty good job as Robin. Dick tells Bruce about forming a team with his friends that have nowhere else to go, and he wants a new superhero costume and name. The ending is titans arriving at the tower.

First Time Watching Doctor Who - Series 8 REVIEW

EPISODE 1 - DEEP BREATH - 9/10
What an introduction to Peter Capaldi’s Doctor. The TARDIS is coughed up by a gigantic dinosaur in Victorian London and the newly regenerated Doctor comes crashing out. Also, I LOVE the new design of the titles. Peter Capaldi’s Doctor already feels so distinguished from the others, that bubbling anger mixed with the struggle to understand human emotion that was touched upon at times by Matt Smith’s Doctor (particularly during “The Beast Below” or “Flesh and Stone”). The whole interaction between the Doctor and the homeless man was brilliant, especially when you see him wearing the coat.
The restaurant scene with the Doctor and Clara develops both of their characters so beautifully, the relationship between them feels so different from any other Doctocompanion relationship we’ve had so far and the chemistry flows wonderfully. The half-face man villain is a terrifying concept and the design is great, I love the practical effect of the moving eyeball and ticking robot - it reminded me a little of the clockwork robots from “The Girl in the Fireplace”. We get another great restaurant conversation between the Doctor and the half-face man. I adore the little moment when the Doctor holds up the plate as a mirror but is also looking at himself on the other side whilst explaining his changing face. The ambiguity of whether the Doctor pushed him was so unnerving, particularly that shot of the Doctor looking straight to camera.
Clara’s phone call with Matt Smith’s Doctor was a very sweet and quiet moment that wrapped up her relationship with Smith’s Doctor beautifully. I like the idea of this Doctor needing a companion as a bridge between human emotion and his cocktail of confusing feelings, instead of the usual Doctor heralding his superior intellect over an unimportant human person that is in awe of him. Both Peter Capaldi and Jenna Coleman (no Louise now?) give fantastic performances, and Clara’s character feels different but so much better in this episode than all of Series 7.
EPISODE 2 - INTO THE DALEK - 8/10
We’re finally getting another Dalek story that isn’t just them cropping up randomly. Even the opening moment with Peter Capaldi making Blue ask him politely instead of threatening him, already such a great little insight into his character. Then we get the main premise being shrinking a team of people to go inside a patient and cure them from inside our. It’s a concept that’s been used many times but I like the twist of the “patient” being the Doctor’s greatest enemy; a Dalek.
The Doctor and Clara’s relationship continues to develop and I like that they’re still figuring each other out, not just jumping straight into being super close like Tennant and Rose when he last regenerated with a companion. It’s an interesting contrast with Danny Pink and the Doctor and the idea of soldiers that’s cropped up a few times over the series. The Doctor and Clara, inevitably, join the team entering the Dalek and the effects of them entering in that void space was beautiful. I don’t know if the show suddenly got a higher budget but the show is already so much more cinematic and beautifully shot.
Capaldi’s Doctor is already more ruthless, giving that soldier a false sense of hope before he dies and basically all his interactions with the soldiers. The slime made of dead people was disgusting and made me think of the tongue from “The Beast Below”. Clara calling out the Doctor for being pleased that he was right was a very valid point. I feel like that whole point has been better explored in this episode than the whole of “Victory of the Daleks”. The Doctor meeting the big goopy Dalek thing was another great design and I actually quite liked the CGI heavy design of the Doctor projecting himself inside the mind of the Dalek. The idea of the Doctor being a “good Dalek” is such a nuanced line given the show’s history. And then the moment of Blue wanting to travel with the Doctor compared to Clara’s budding relationship with Pink isn’t very subtle but I still found it quite interesting.
EPISODE 3 - ROBOT OF SHERWOOD - 8/10
I must confess that I LOVE Robin Hood so when I saw the beginning and title of this episode I was already excited. Clara looks adorable in her costume, I also really like that Robin Hood and the merry men are wearing the fun campy outfits. The cheesiness of old Robin Hood films and shows is honoured wonderfully and I could understand if someone didn’t like or wasn’t familiar with them and disliked this episode but, as I said, this is right up my street. I like the Doctor’s obsession with proving Robin Hood isn’t real, it reminds me a bit of Ross from Friends trying to convince Phoebe about evolution but less annoying. I liked how they filmed the arrows being shot, this series definitely feels really well crafted.
Clara continues to be developed brilliantly, I like the touches of her being a natural teacher telling off the Doctor and Robin like naught schoolboys. The Doctor being petty was very silly but Peter Capaldi does snarky so well. I wasn’t sure about Tom Riley as Robin Hood at first but I warmed up to him as the episode went on. The conclusion of the episode was a little silly firing the golden arrow but it fitted in with the overall campy feeling of the episode. The setting of the episode was done brilliantly, the castle and the forest and the contrast with the metallic-looking spaceship was gorgeous. My favourite Mark Gatiss episode since “The Unquiet Dead” and, weirdly, the weakest of his titles.
EPISODE 4 - LISTEN - 10/10
I love the idea of exploring what the Doctor does when he’s alone. It’s like the other end of what David Tennant did in his sort of “victory tour” episodes and what could’ve happened in between. I love the small episodes of character exploration, and this episode explored both the Doctor and Clara as people so beautifully. The concept of someone hiding under the bed is so simple but so scary and, like a lot of the ideas in this series so far, a concept that is so simple but surprising it hasn’t been done before. I feel like this series has done a great job of not overdoing ideas like it has in the past, and this episode feels like a fantastic example of exploring one idea in depth.
The episode is shot beautifully, I particularly loved the shot of Peter Capaldi sat on top of the TARDIS. This episode felt like it was shot like an old school horror film. We get a sort of side-by-side exploration of the Doctor and then Clara’s character through her disastrous date with Danny. I’m already liking Danny. Mickey and Rory felt like they were cut from the same cloth at times and Danny definitely feels like his own person when Rory at times wasn’t given much of a character and was treated as just Amy’s boyfriend. We even get a very sweet exploration into Danny’s character through his childhood. Actually I think we get more insight into Danny in this episode than we got in 3 series worth of Rory in my opinion. The child actor playing Rupert is great, especially when good child actors feel quite rare on Doctor Who. The idea or Rupert changing his name to Danny felt similar to Amy changing her name from Amelia - letting go of a sad childhood.
I really felt for Clara this episode, having to deal with the young Rupert then contrasting him with present day Danny and then her future ancestor that looks like him. Jenna Coleman does a great job of conveying all that panic and emotion without going over the top. She and Capaldi are both spectacular this episode, both apart and together. I loved the little moments of the Doctor being pessimistic and Clara telling him off like the schoolteacher she is.
The spaceship was very simple and not particularly different but it worked really well in the dark colour palette and feel of the episode. I really loved the red lighting in the parts they travel to the future as well, such a beautifully designed episode. The whole episode links the whole show together with that moment with Clara and the very young Doctor. I loved the little nod with John Hurt and how it answers so many questions with nuance and elegance. I loved everything about this episode, I like the idea of being a sort of companion piece to “Midnight” as it explores similar ideas.
EPISODE 5 - TIME HEIST - 8/10
The memory worm is back and in spectacular fashion. I really enjoyed the domestic opening with the Doctor and Clara and the hints of them just trying to figure out each other and what their relationship is. Another great episode concept with the memory wipe, and the “monster” of the Teller that can detect guilt is fascinating. The design of the bank is also great, it reminded me of Gringotts from Harry Potter.
The spoonhead people are just creepy enough without being too graphic. I’m glad they didn’t go too graphic because it wouldn’t have fit the fun action movie feel of the episode. The supporting characters or Psy and Saibra were fun, maybe a little underused, but the camaraderie between the four of them felt earned by the end. I liked the moment of the Doctor refusing to allow himself to feel guilt when Psy gets cross at him because of the Teller.
I loved Keeley Hawes as Mrs Delphox, another in a long line of respected British actresses guest starring in Doctor Who. The reveal of the Teller felt very reminiscent of the monsters in “Hide” but I think worked a bit better, the Teller always felt like a prisoner itself similar to the Star Whale from “The Beast Below”. The reveal of Mrs Delphox being two people was a little bit of a cop out but Keeley Hawes pulled it off very well. I liked the moment of the older Mrs Delphox calling the Doctor on her deathbed, a bit of a call back to Matt Smith’s phone call in “Deep Breath”. The ending was very “The Wizard of Oz'' but it was the sort of episode that had to have a happy ending.
EPISODE 6 - THE CARETAKER - 7/10
This is the sort of episode that we used to get when Russell T. Davies wrote the show where the companion would have an adventure on Earth that would lead to their family discovering the world of time travel. We got a kind of version of this with Rory’s dad but it took 3 series, and whilst Amy was said to have parents the show seemed to have completely forgot they even existed after that one episode. Clara’s family isn’t touched upon this episode, her ties to Earth seems to only be Danny and her job as a schoolteacher despite some mentions of her dad. Angie and Artie seem to have disappeared entirely. I like Capaldi’s version of the Doctor’s childish traits being straight-up obliviousness like the coat being a disguise or Clara’s boyfriend must be the man with the bow tie and suspenders.
The idea of Clara being stuck in the middle of the Doctor and Danny was explored in a way they never did with Rose and Mickey or Amy and Rory. I like that it explored just how emotionally tolling it is on Clara to balance a life with two different men she has different relationships with where both men don’t quite understand the importance of her relationship with the other. I do like that Danny has a whole other reaction to the TARDIS and the Doctor’s world to other people, he doesn’t just accept it straight away and join them happily (that was always something that bothered me about Rory).
The monster of the week is a bit of a weak point. I get the idea of a character study being not very Doctor Who but for an episode set in a school it was a bit of a weak villain that didn’t quite fit with the rest of the premise. I thought “School Reunion” did a better job at using the school premise. I didn’t like the addition of Courtney being a bigger character, the small moments of the annoying schoolgirl worked at times but she was a little overused - her seeing inside the TARDIS felt a little annoying.
EPISODE 7 - KILL THE MOON - 9/10
This episode felt very reminiscent of “The Waters of Mars” to me, I think just the space station setting and eerie atmosphere. The tone of it felt quite familiar. I LOVED the aesthetic of the moon’s surface and they found a way to make the design of the space station a little different, as I’ve noticed there’s been a few space stations this series already. I really didn’t like Courtney as a companion this episode, she brought absolutely nothing to the story and was just a pointless pain. It would have worked so much better had it been a way of doing the trope I explained in the last episode of introducing the companion’s family to the Doctor’s world. If the show remembered Clara had a dad and used him in Courtney’s place it could have been an interesting insight into Clara and who she was before the Doctor.
The design of the spider is very clever in that we never see it in perfect lighting. As someone with a fear of spiders I found this episode very creepy, the whole feeling of this episode was incredibly creepy. The moon being an egg is such a Doctor Who idea (like Queen Victoria being a werewolf or Stonehenge being made by aliens).
Another deep insight into character, leaving Clara alone to become the Doctor. It’s sort of an interesting parallel to “The Beast Below” in the decision to save one creatures at the expense of another. We get such an interesting development of the Doctor’s character in the section that he’s absent from the story, exploring the effect of the aftermath of his interference through Clara’s eyes. Her angry reaction is very earned and brilliantly executed by Jenna Coleman. The writers have done a fabulous job, as has Coleman, of adding so much depth to Clara and developing her as a character that feels so different to other companions. I love that Clara is not blindly in awe of the Doctor the way people like Rose and Amy and even Donna were.
EPISODE 8 - MUMMY ON THE ORIENT EXPRESS - 10/10
Clara wants to have one last adventure with the Doctor before they part ways. I like the idea of travelling with the Doctor being like an addiction and with all we’ve learnt about Clara through Series 8 it feels right that she’s one of the companions that dips in and out of the Doctor’s adventures. It’s sort of like how Jack pops in and out but then he always seemed like he wanted to stay.
The design of the Orient Express is gorgeous, this series has had spectacular production design. The shot of the train floating through space was also gorgeous. The mummy is a fantastic design and a great use of the mummy concept, using the best parts of mummy mythology (probably the best use after the way the show used vampires and werewolves). I loved the idea of the passengers being gathered as experts in their fields to solve the mystery of the mummy - and the Doctor being the smartest and yet only there by chance. The small insights into the supporting characters through their interactions with the mummy, like the Captain who uses all reason but in his last moments tries to bargain in a fit of fear. So beautifully done.
Perkins was a great supporting character, his journey from awe to anger to distrust of the Doctor was interesting and just subtle enough to fit with an already packed episode. Gus was a great villain, a great little bit of voice acting from the legendary John Sessions. It’s an interesting conclusion that we don’t get some big reveal about who Gus is and I really like that. Also such a great way to explore the idea that the Doctor is heartless, what’s felt like an underlying theme of Capaldi’s Doctor ever since “Deep Breath”. Their conversation on the beach in which it’s left somewhat ambiguous is a lovely touch. Again, similar to the ambiguity of the Doctor pushing the Half-Face man in “Deep Breath”. Fabulous episode. Gorgeous costumes and production design, and continued fantastic performances. The best acted series so far.
EPISODE 9 - FLATLINE - 9/10
In a series in which I’ve noted the stories have used quite simple somewhat obvious ideas but executed them well, this episode used a whole new concept but executed it with just as much skill. The TARDIS is shrinking, with the Doctor stuck inside, leaving Clara to play Doctor whilst carrying around the small TARDIS in her handbag. It’s so silly but just works. It’s amazing that Coleman and Capaldi can have such great chemistry and banter without even being in the same room, sort of similar to Oswin and the Doctor in “Asylum of the Daleks”.
The story feels sort of like let’s do a better version of “Fear Her” with the idea of drawings whilst at the same time feeling completely separate. Clara recruiting Biggsy as her own companion was a really fun idea, and he’s a great companion. I like the moments of her dismissing him asking if she liked his graffiti being similar to the Doctor’s dismissal of people.
I wasn’t sure about the graffiti then coming to life out of the walls but then I did really like the effect of them being static-like instead of fully formed. The moment where the Doctor uses his hand to crawl along the train tracks was the silliest thing ever and I LOVED it! The Doctor spends the whole episode stuck inside the TARDIS instructing Clara and in a way is sort of a no-Doctor episode like “Love and Monsters” and “Blink” but with an already established character taking the lead. I like the idea that Clara is trying too hard to be like the Doctor. Missy crops up again, she’s been collecting all the dead people throughout the series and it’s definitely leading up to her being the villain in the finale which I’m excited about because I adore Michelle Gomez.
EPISODE 10 - IN THE FOREST OF THE NIGHT - 4/10
This episode brings back one of my least favourite Doctor Who tropes of annoying children played by bad child actors. It’s a sweet idea to make Maeve a primary character to the story but it doesn’t really work as she’s not very interesting or important to the story overall, a bit like the child Queen from “The Rings of Akhaten”. Again, it does the Clara being tied to Earth but, again, not by her family who she doesn’t seem to ever see.
It’s an interesting concept for an episode, and the comparison between the ice age just happening was interesting. The conclusion of Maeve’s sister hiding in a bush the whole time makes no sense and is one of the stupidest things the show has done. Another episode in a long line of great titles of not great episodes. The forest looked really great, all the green was really beautiful, and it was an interesting concept that I just don’t think explored the full potential of what the story could have been.
It’s another episode that is really exploring Clara’s dynamic with the Doctor and Danny but it doesn’t really add anything new to the dynamic as all it really does is re-iterate what previous episodes have stated as if we haven’t understood, the only thing it adds is Danny finding out Clara is still travelling with the Doctor. The Doctor and Clara have a similar, but less effective, argument as they did in “Kill the Moon” but here it just feels like a rehash.
EPISODE 11 - DARK WATER - 9/10
It’s the first two-parter of the series. I like the idea of a series of single adventures leading up to a bit two-part finale. The Cybermen are back and FINALLY a good villain again. The main premise of the episode is Danny dying a human death in a car accident, and Clara trying to use the Doctor to bring him back. It’s an interesting comment on Clara that her first thought is to threaten the Doctor beside a volcano instead of just simply asking him. Peter Capaldi does a fantastic job of conveying silent anger and his line about Clara betraying him not changing how he cares for her is fantastic. Actually the whole conversation between them in the TARDIS is beautifully written dialogue.
Danny has been sent to “heaven” but we soon learn it’s a ruse and the dead bodies are being turned into Cybermen by Missy. The moment it’s revealed to the audience through the doors closing is brilliantly done, and then the dark water thinning to reveal the skeletons as Cybermen is equally chilling. Clara, again, is playing Doctor and it’s interesting how her conversation with Danny the Cybermen says so much about how dangerous it is for her and those around her. THEN we get a second big reveal that puts the Cybermen to shame. Missy is really the Master. It’s a great reveal, in fact much better than both River Song and the Impossible Girl because it actually makes sense and is very satisfying. Michelle Gomez is deliciously camp and has hints of both Mary Poppins and the Joker but makes it work so seamlessly.
EPISODE 12 - DEATH IN HEAVEN - 9/10
The series finale (only 12 episodes, I don’t know if this was done on purpose because Peter Capaldi is the 12th Doctor but I like it as a theory). I love the reintroduction of Osgood and Kate, they were both fabulous in “The Day of the Doctor”. I liked the little bit with the Doctor and Kate asking about the payroll. The Doctor being the President of Earth is a little silly but I like how it ties into River name dropping it in a past episode (I don’t remember which).
Again, Clara is trying to be the Doctor and her conversation with the Cybermen Danny shows why that’s so bad and so dangerous for both her and everyone around her. The Doctor and Missy work brilliantly together, I loved the bit of the Doctor gloating over Missy how he’s got all the power she wanted. And the little moments with Osgood were very sad but so well done, Missy going from singing “Oh Missy” to shooting her then dancing around was fantastic and I can’t imagine anyone but Michelle Gomez doing it with such conviction. And then she reveals herself as the woman in the shop that brought the Doctor and Clara together in the first place was a great little tidbit.
I find graveyards incredibly creepy anyway, and they utilised the creepiness in this episode to the full. The comparison of the soldier storyline between the Doctor and Danny finally comes to a conclusion, and Danny’s point about the Doctor keeping his hands clean hit hard. Jenna Coleman broke my heart when she deactivated Danny then wouldn’t let him go, she did a fantastic job playing the human part next to Peter Capaldi and Michelle Gomez giving brilliantly big performances. Capaldi just fabulously delivers a cocktail of emotions with great conviction, and the moments of Mission: Impossible action scenes were cheesy but brilliant.
This has definitely been my favourite series of the show so far. Capaldi had been excellent, already my favourite Doctor. Jenna Coleman upped her game and Clara is fast becoming my favourite companion, maybe tying with Donna for that top spot at the moment. Michelle Gomez was also fabulously mad, and Samuel Anderson also gave a great nuanced but quiet performance as Danny. Steven Moffat really upped his game in writing, there were some incredible episodes this series. The only dud for me was “In the Forest of the Night”.
EDIT: Somehow managed to miss out my review for “In the Forest of the Night”. I like the idea someone said that I hated it so much I didn’t even review it!

Rewriting Titans Tv Show Part 1: Season 1

After several viewings of Con Air that involved strategic pausing and staring way too closely at the TV, I came up with two Con Air seating charts. The first is for the Oakland Airport convicts, and the second is for the Carson City convicts.

I HAVE SO MANY (logic) QUESTIONS. Epic Designated Survivor breakdown ahead...

UPDATED AFTER FINISHING SEASON 3 (see below)
So after years of being curious about the show, I finally dove in a couple weeks ago. At this posting, I'm just finishing season 2. It's been entertaining enough for me to keep watching, but it wants to be The West Wing, 24, Homeland and House of Cards at the same time, which is an impossible thing to attempt creatively. I'm enjoying it, but I needed to write down all the logic questions I've had as I notice the show's storytelling patterns. I'm sure you'll recognize some of these.
-How many insane national emergencies/major events can possibly occur in this short a period of time? Any one of these would likely be the only thing that happens during one presidency:
-Capitol is bombed, killing the entire government
-new Vice President, a traitor, all of 18 years old, is murdered by his wife, who kills herself
-former one-term president agrees to become Secretary of State
-new President is shot in an assassination attempt
-new government is elected at all once AND amidst an orchestrated biological attack
-show's first National Security Advisor turns out to be a mole for a domestic terrorism organization
-they pass a federal gun control bill (which may be the least realistic thing on this list)
-they stop a major virus outbreak
-a member of British Parliament is murdered on American soil
-murdered Parliament member is revealed to have been romantically involved with former US president
-First Lady is killed in a random car accident
-USA goes to war with a small Middle Eastern nation, and it doesn't last 18 years
-ambassador from small Middle Eastern nation is arrested for staging the events leading to the war so that he could become the new leader of his country
-Washington DC mayor is nominated for Vice President after doing an okay job handling one crisis in the city
-new President's therapist is hacked and his therapy notes released to the public
-new President's cabinet invokes the 25th amendment to try and remove him from office due to mental health issues, which would make the brand new Vice President the President (a VP who admitted in the previous episode she didn't want to be president)
-foreign diplomat is poisoned and collapses & dies at a White House event
-tech billionaire arrested for a wide range of conspiracies
-White House Chief of Staff is shot
-tsunami strikes small island nation where two main characters are negotiating with that nation's leader
And I'm sure I've left some out. Can we confirm season 4 wouldn't have had an alien invasion?
-Why is Chuck written as a one-man NSA? He singlehandedly does the work that 1,000 people would be doing in real life to unravel these mysteries. It's like the federal government has zero people other than him looking into any of this stuff.
-Why is Hannah Wells (the show's Jack Bauer) so annoying? And why is she the only field agent investigating every single major crime for the federal government? Other than "we need to give this actor something to do", it is absurd that she's the lead investigator on every single case. The US government has no other investigators, no other operatives. They really lost me on this one when she gets embedded with a SEAL team overseas. THEY DON'T NEED SKINNY JEANS' HELP! She is so clearly Jack Bauer it hurts. Doing whatever the hell she wants. Acting outside the law. Threatening to shoot every person she interrogates. Convincing people who know they should say no to her to continue investigating things that will get her into trouble. Hannah Wells might be even crazier than Bauer.
-What are the FBI, CIA and NSA doing while all of these cases are being solved by two people in a closet office in the basement of the White House?
-How many times does Kirkman need to be reassured he's doing a good job? Because after the 98th time, it became tiresome.
-Other than "we need to give this actor something to do", why is Aaron involved in political strategy as the National Security Advisor? The things he's doing for the White House literally don't change at all, even though in reality the National Security Advisor has nothing to do with half of this stuff. They're not negotiating federal budgets, they're not acting as diplomats, they're not consulting on staff hires. They probably don't work intimately with individual agents chasing down leads.
-I lost count, but how many times has Kirkman done a national address? This happens maybe a handful of times in a president's entire term, yet it seems like Kirkman has done it 15 times in 45 episodes thus far.
-How many "pesky journalists of the week" have there been? You know, the one who smells something fishy based on a few random pieces of information, pesters Seth during a briefing with questions that force him to slam his binder shut and run off the podium, and then bursts into his office 2 minutes later demanding answers or they're going with the story!
-Why doesn't Kirkman's BROTHER have Secret Service protection?
-Why do most episodes begin with everyone watching a TV news story that introduces the episode's main plot? This is really lazy writing.
-Why does Kirkman spend so much time in this secondary office? Is the Oval Office not comfortable enough? Was that Oval set frequently being used by another production?
-Why can't Kirkman decide whether or not he needs glasses? Seriously, you could do a David Caruso-like supercut of him putting on or removing his glasses.
-Does Wells have ANY other moves during questioning other than making a threatening statement then pretending to leave the room before her subject yells, "Wait!"
-Pretty sure it's not legal for Chuck to be using government surveillance resources to help Psycho Hannah's further investigations after she resigned from the FBI.
-We've got all these fake foreign countries, including stand-ins for North and South Korea, yet for some reason I don't think China has been mentioned even once. As usual in Hollywood, it's okay for Russia to be the bad guys, but to have all this stuff go down with zero involvement or mention of China is...strange.
Other than that, Designated Survivor makes complete sense and is entirely realistic.
SEASON 3 NOTES
So I finished the 10-episode Netflix finale of the show. Wow. To say it changed a bit is an understatement.
-Disappearing characters. Not that I missed Kirkman's son or the White House counsel (I can't even remember her name), but to make Lyor (maybe the most interesting character on the show) disappear was a damn shame. I'm curious to know why that happened. Also, even though he was an unrealistic Secret Service agent, I did miss Bald Mike and his random wisdom. I even missed Chuck a little bit. What a shame for these characters to get no resolution or even a mention in the final season.
-New characters I feel like I hated before they even showed up. Anthony Edwards' Chief of Staff Mars. Mars? He seemed like he was from Mars just being dropped into the show like this. And this Dontae kid. Cuz we just had to have somebody who was tech-savvy and super young. Nobody over the age of 30 could possibly understand how social media works.
-The frequent cursing was a bit jarring. It was just so different from the first two seasons that it felt out of place. Censorship is one of the worst things about network television, but to go from one extreme to the other was a lot to take in.
-Who dictated that the show had to become so woke all of a sudden? WE GET IT. I'm black, okay? Did I need to see a scene where a black man, Indian man and Latina sit around a table at a bar bemoaning how unfair the world is as minorities? No, the fuck I didn't. Maximum cringe. I don't care that there's a gay romance, but to have a romance between two previously non-existent characters be one of the major subplots? It felt completely unnecessary and tacked on for Twitter applause. And poor Aaron, whose entire character arc became about how well he was or wasn't embracing his heritage. And OF COURSE Kirkman's trans sister-in-law becomes a major plot point. And every white male, including Kirkman, winds up being a piece of shit at one point or another. Did we miss any checkmarks, guys? All of this stuff at once was so inyourface that it became distracting.
-Bye bye, Psycho Hannah Wells! Is it bad I felt absolutely nothing at her demise? Cuz I didn't. Somebody had to put that lunatic out of her misery. In the end, her illegal snooping is what did her in, and to quote Joaquin Phoenix in Joker: "You get what ya fuckin deserve!!!"
-I also got a good LOL when the ridiculous, Dr. Strangelove-sized "Command Ops" from the first two seasons became simply the regular old Situation Room in season 3.
Unfortunately, the show ended at a spot that clearly wasn't intended to be a series finale. I thought the final episode was actually pretty good. It is what it is. The show was a fun experiment. I don't regret the time investment.

Batman' Astrology

· Capricorn Sun:- If Batman was real, there is a lot of speculation about his Zodiac Sun Sign. Many have made a technical guess on various information provided about his fictional birthday and even real events and have come to zodiac signs like Aquarius, Taurus, Scorpio, Gemini and in some cases Leo, among which former 3 are most popular with Taurus and Scorpio even making sense. But both fail to explain some key and opposite traits of batman. The only sign to be able to completely make justice to the character graph is of Capricorn and that too in its uniqueness of being born in late December. I mean let’s be honest the people who can change the world have ever only born in December (Jesus Christ himself).
Traits:- Workaholic, detached, lonely, introvert, sarcastic, ambitious and perseverance ,determination, will& Grit, strategist, intellectual.
· Capricorn Moon:-This is a rather popular opinion in contrast with that of this sun placement of batman. There are really only two that come close which are Scorpio moon and Capricorn moon. But there are enough reasons to choose a Capricorn Moon. While Scorpio moon does justify his detective skills, they could be attributed to other placements as well . Moon placements must justify the emotions of the subject. Bad past, Conflicted moral compass, Vengeance, insecure, untrusting , secretiveness, cunningness, kinkiness (Let’s admit it the bad boy is into BDSM),sadness ,loneliness and courage are some of the things that batman has and both signs may explain well, but Capricorn moon gives better reasons. Daddy-mommy issues of batman, his inability to express himself but most importantly his complicated no kill rule, I mean this is where the difference is right, it requires a Capricorn’s discipline to look into the abyss and not blink, to survive space war lords like darkseid, ruthless assassins like deathstroke and not get corrupted by the joker and that too without killing and only on the emotional support of his butler. I mean if batman were a scorpion moon, he would have killed. And then he is more into technical then magic. Scorpio moon may go better with Dr Doom.
· Scorpio Rising:- I think this is the only sign placement that is going to go unchallenged. Batman is Scorpio rising period. He is damn courageous and a risk taker and not afraid of odds, He owns darkness and stealth, he is motivated by vengeance , he is intimidating, magnetic and though I have not ever saw him having sex, I am sure Talia and selina will comply this guy is an animal in bed whenever and how rarely he has sex. He is detached, cruel but really he is mysterious, and damn intimidating, he radiates fear wherever he goes. He lives with powerful aliens, magical beings, gods and they all fear him and respect him. Scorpio rising is what differentiates a batman from a green arrow (a wannabe robin hood). In simple terms with all his insecurities and flaws he is perceived as invincible. Only an evolved Scorpio rising can manage to do that( This guy strong armed darkseid into a negotiation once). The only character who ever comes close is deathstroke, and he too maybe a Scorpio rising.
· MC Leo:- To understand this we need to understand his goals, what he wants to achieve, what he really wants is to put fear into the mind of criminals so that they never even attempt to commit a crime. This symbol of fear that he wants to become is in a very dark way he’s way of saying I want to get so famous in criminals that when they should always be scared of committing a crime because of my fear. Strategically speaking maybe that’s why he lets his victims live, to advertise his feats and promote his scary image to scare others. And he has definitely rose to that reputation rather quickly. Look at how amazingly and with ease he portrays the playboy persona of Bruce Wayne, telling us that he is a great actor who can manage to convey what he wants from audience. In simple terms you can love him or hate him but you cannot ignore him.
· **Saturn Aries:-**This could be conflicted for Capricorn, Aquarius and Libra but… even though he is not a people’s person he is a leader a influencer and an inspirer. Firstly he is the patriarch of Bat –family. To lead such talented individuals you need to have Saturn in Aries. He is also a founding member and one of the DC trinity. If justice league was an organization , he would not have been the chairman ,that is more of superman actually (Face of the league, embodies values, he is more people friendly simply better placed to do that with his god like powers) but Batman is definitely the CEO of the JL. He is the strategist ,he understands the members better and he is the only one who can keep this god like creatures in check. I think it is pretty natural for him because he is simply operating with more information than anybody else.
· Mercury Sagittarius:- Mercury in Sagittarius tells us about a guy being an adventurer in terms of his intellect. Basically a polymath. He is not the best scientist/inventor or best magician, best business man but he is second best or third best in most of the things and yes he is the best detective undisputedly . He may not know the magic to fight a guy with, but knows enough to make strategic decisions to send which magician in a particular situation would flair best. He has acquired skills in a range of areas form criminal psychology, detective skills and torture, fighting, mind and body training, stealth, magic, chemistry, alien biology, science and inventions , medicine , you name it. People with mercury in Sagittarius are often expected to study more than normal and for often longer periods and different subjects.
· Venus Aquarius:- Batman’s Love life is as complicated as the man himself. It is conflicted, but has its movements of highs and lows with extreme passions. From sacrificing themselves to kill him, his lovers have done everything for him. Venus in Aquarius also explains how he has so many love interests in spite of his workaholic and detached IDGAF attitude. And his lovers are extreme, the choices within themselves, I mean from Talia –the daughter of demon to Wonder woman the daughter of gods. He has a complicated relationship with all as he cannot settle down, he knows that but he still manages to fall for girls, coming close to marrying selina Kyle and Talia on different occasions. He even has children with many of them in many alternate universes but he does not want to settle. Variety is the first word that comes in mind when we talk about a Venus in Aquarius, and he has it. Also, nature of going against social traditions of conceiving children without marriage and be okay about it( he publicly accepted Damien Wayne as his biological son). He’s basic outlook of family is untraditional and is not conserved to blood relations. Why he accepts them (Bat woman, Damien Wayne), he has place for others who are not his relatives (Night wing, Alfred, Gordon, Barbara, Jason , luscious fox and all of them). He has had his fare shares of heartbreak only deepening his pain. Venus in Aquarius is not considered a good placement. It is said ,that only after a lot of sacrifice can a Venus in Aquarius have his soul mate. Sometimes the possibility of relationship with the person’s soul mate itself is the sacrifice. Batman has many lovers, but we all know that his soul mate is cat woman. He too knows it, and so does she, but they both know they cannot be together.
· **Mars Aquarius:-**Mars in Aquarius is a placement that keeps the person at extremes of both ends. On one hand he can go celibate for years ,almost asexual and in others he can be into Dark, kinky BDSM marathon sex satisfying the lover to a point that the partner will never find another person as satisfactory. They could be animals in bed ,enjoying the act like no other and still go celibate because they simply prioritize other things in life over sex. This can be frustrating to partners. This placement also tells us how unorthodox the person satisfies their own high sexual needs. Having sex, without marriage. Strictly speaking only a Venus in Scorpio and mars has the power to match the intensity of those sensual marathon runs on one day and then not have sex for weeks (they are open to other ways-alternate partners, porn etc).
· Pluto Sagittarius:- Pluto in Sagittarius explains the persons’ acceptance towards more darker and sensitive topics. Pluto in Sagittarius are astrologically best placements to accepting truths as they are in every situations. They have problems when they do discover their own limitations and insecurities and they will, and they will be hurt when they do but will survive with it, and in a way that it makes them more accepting of others as well. Batman has been more accepting and capable of absorbing pain more than anyone else. His complicated philosophy and conflicted ideas , in general he’s very complex. He is untrusting of people’s character but mostly accepting of them with their flaws in general. Maybe that’s the reason why he has not gone insane even after dealing with the idealists like superman and wonder woman and anarchist like joker. There could not have been any other guy having an equation with both without getting mad. It needs a Pluto in Sagittarius for this.
· Jupiter Aquarius:- Jupiter in Aquarius native can be best described with one word-unique. Batman was always going to have Aquarius influence in him. And Jupiter in Aquarius does the job. While it does support his mercury in Sagittarius in becoming a polymath and absorbing knowledge from everywhere, Jupiter at times allows him to accept ideas and solutions that other times may seem too big. He’s out of the box thinking is what has enabled him to come up with a plan to take down all of JL members if the need arose. While he is a perfect strategist, he is quick thinker who has many times displayed he can be spontaneous. Jupiter in Aquarius’s greatest contribution to his character is best seen in his decision to take path of vigilantism to fight crime and doing so with the no kill rule. Other decisions where it is visible is in him choosing children as his sidekicks, or his plans to take down JLA, and etc.
· **Uranus Aquarius:-**Another planet in Aquarius ,and we are wondering why this man is a genius or a rebel, I think we should have been more surprised if any native with that much of Aquarius is not either of the above. This placement majorly supports batman’s inclination towards technology and being more open about people. All in all since Uranus is in home sign it is being positive here
· Neptune Capricorn:- Neptune tells us about one’s desire and batman’s desire though seems to be vengeance (Neptune Scorpio, it is strictly speaking his motivation.) He goes every night out to extract his revenge ,he many times even encounters situations where he can , but he chooses not too. Because if he will, then he will lose the motivation to come back next night and his goals ,his true desire will not be accomplished. Capricorn is a sign which provides batman with the focus he needs to achieve his rather unrealistic goals. With whatever pain and abilities his fate due to other planet holds, it is Neptune in Capricorn that allows him to go out and work irrespective of the complications in hand.
· Lilith Libra:- Lilith deals with demons within oneself, one’s relationship with one self. Batman does not have a very healthy relationship with himself. In simpler terms we may like what he is, but he himself is disappointed in himself. Many will argue that this is not true, but it actually is. He has once said “Deep down inside Clark is a good person , and deep down inside I am not”. Batman does not consider himself a good person, worthy of his parents. He takes very little care of himself, is highly self-critical and angry with himself. Batman’s many issues are with his disappointment within himself. Maybe that’s why he has so hard time making relations, he simply does not feel he deserves a true love like cat woman or wonder woman. Lilith in Libra also indicate problems in relations and he does have them with all his lovers. Considering his self-criticizing nature ,problems in self-acceptance and dark love angles he seems perfect for Lilith in Libra. He is tested on ethics, personal relationships and Lilith in Libra also gives a hint of kinkiness.
· North Node Virgo:- north node in Virgo means south node in Pisces. This takes care of one more important shade of batman which has not been discussed above. His struggle to balance order and chaos. His ideological enemy joker is the agent of chaos, and he himself is the knight of order. Batman’s this war of order vs. chaos definitely explains his complicated relationship with the clown.

Batman other characters:- astrology

· Bane- sun in cancemoon in Taurus/ascendant in Aries:- Bane has influence of water sign along with his tough earth appearance, personally he is caring. He cared for his mother, he cared for his father so much that he was looking for him after he got out of jail. Bane personally is an anti-hero, and that is because he cares. He is capable of making friends, Sinister six storylines have covered this part about bane in detail. I even suspect his mars in cancer. Ascendant in Aries is undisputed, that body , baldness he is an Aries ascendant . What makes the character what he is will be his moon in Taurus. This man has jealeaousy issues and he is ambitious to the point of obsession with the batman . He does not want to rule Gotham, he wants to beat Batman. That is his greatest feat, breaking the bat. He is like “everything you can do batman, I can do better”. That is the only goal in his life. From the time he heard of batman in the prison in Pena Dura (Santa Prisca).
· Talia Al Ghul:- **Virgo Sun/Moon in Taurus/ascendant in Aries:-**Talia was tricky. I had to choose by elimination. She is not too much in justice so no Libra, not too caring so no cancer, not too strong minded to be Aries (she could be influenced), cap, Pisces, Gemini ,Leo ,Sagittarius are not even close. That leaves Scorpio,Taurus,virgo and Aquarius. She is not a Scorpio, because Scorpios are anything but confused. They are decisive and usually one’s to manipulate. Scorpio could be at other places, in fact it may be both her Venus and mars are in Scorpio. I mean ,this explains why she is sexually compatible with batman (her interests in kink).And as I realized this I knew she is not an Aquarius. Taurus and Virgo were tough. Taurus enjoys pleasure, but Virgo can become one’s pleasure. Talia never choose batman for the pleasure ,she choose him because he was the best. Her decision was analytical, practical and not motivated by pleasure. And this explains it. Also, it needs a Virgo influence for Talia to become batman ‘s sub(Capricorn) They are into BDSM, and she is his most obedient sub, (at least in the bed). Her moon is in taurus.I truly believe that Taurus is why While she never choose him for pleasure, after choosing it she has derived it from him, and many times. She is jealous of cat woman, and many other lovers of batman. She is ambitious (being leader of league of assassins is her destiny, but that leader being batman is her ambition.) And in doing so she go to such lengths that she had a baby with him. Taurus moon made her so ambitious and ruthless, that she kills, but also that she made her own 8 year old son into a killing machine. Ascendant in Aries, goes with her. She does have a perfectly sensual figure . But under her clothes on her bare skin she has her share of cuts and bullet marks , which is to extreme for a girl. She is confident in who she is, but delusional and of course confused. But Sensual, while on the surface, batman and she look compatible, even sexually, she simply lacks self control against lust and killing due to strong Scorpio in Venus and mars, which is the root cause of her problems with batman.
· Night wing - Pisces sun, Taurus moon, Gemini ascendant :- against batman,nightwing is rather a less complicated person. He is more friendly and sorted. He has retained a certain innocence and cool persona against batman’s. He is neither extreme nor obsessed with anything. He sees his life as an act of his contribution against the bad, unlike batman who feels he had too. Pisces sun and Gemini ascendant explain his much better social abilities. Taurus moon makes him ambitious, may be to simply be the next batman. But Pisces sun gives him the wisdom and humility to understand that he can’t. Taurus moon makes him lusty ,and fortunate to have two beautiful and sexy women in his life (Kori and Barbara)
·**Cat woman-Scorpio sun, Capricorn moon and Capricorn ascendant:-** Cat woman is a tough placement. You know there is a Scorpio there, but so is a cancer, Pisces and Capricorn. But then you feel why not a Leo ,Libra or a Gemini. But in the end I came to a conclusion and the repo she shares with batman. If he truly is a Capricorn, then only a Scorpio can do that. Scorpio sun goes with her. She is dark, mysterious and sensual. But unlike how a Libra would, she uses her sensuality as a weapon. She is deceiving, manipulative she is complex but calm as well. What makes her a Scorpio the most is her ability to absorb batman’s darkness completely. She is the only person in this world, who loves him for exactly what he is:-a broken child whose parents were killed in front of him, and since that day he has endured only pain and suffering. Talia loves batman for his strength, and for what he could be. Zattana feels she could repair this broken man, and then he will become the ultimate love. Ivy thinks of batman in a similar fashion as Talia, wonder woman is impressed by how this man beats the odds , his courage and thinks may be the world today needs a man like him. But only cat woman truly cares and understands the man he is within. Only she has ever told him like Alfred has, that in spite of his methods being wrong, whatever Bruce does, he has too. Otherwise he will die, in his own guilt. She is not critical of it, but rather understanding of it as is Alfred. Only a person equally complex can understand this, how batman’s existence is justified. And this gives her Capricorn moon. Scorpio moons are power hungry, she is not. Though she does cross the line and kills, it is not because of Capricorn moon’s inability to control her, it is rather a collective control of her Capricorn ascendant and Capricorn moon that she can kill and still stay sane. She unlike batman knows that some people have to die. She is decisive, and is not scared of this truth( like captain America). Her Venus is in Libra, making her beautiful and at the same time compatible with batman and mars in either Aquarius or Gemini to not giving sleeping with a lover that much of importance. I am betting on Gemini since she falls in love when she is being taught, After all She was in a relationship with wildcat who taught her how to fight.

Others:-

· Poison Ivy:- Aquarius Sun, cancer moon, Taurus ascendant
· Superman:- Scorpio Sun, Capricorn moon and Leo ascendant
· Wonder woman:- Leo sun, Aquarius moon, Capricorn/Sagittarius ascendant

They Never Stop Laughing

When I was a kid, I was on this show called Jerry's Place. The show has basically been erased from the public consciousness, so don't wrack your brain if you can't remember it. We were working for a small Canadian studio hoping to market the show to an American audience, but half of season one never even aired.
The show followed a fairly typical formula. There was a father and a mother character, wise yet silly parents who dispensed advise and hugs in equal parts, an older teenage sibling who was aloof and angsty but also brought friends over to add color to a small cast, and two younger siblings, one of them very young and the other of around nine or ten, who are there to make hijinks and generally move the story along. The latter was my niche, I was the middle child, and I was usually responsible for comic relief or having some part in the problem of the week's story.
The two adult characters were Linda and Mike, and they were actually pretty cool too. Mike was a lifelong actor that always had a word of advice or a smile if you were feeling scared. As someone who grew up without a father, Mike was the person I used as a model for what a man should be, though it's probably become intertwined with his character on the show to a certain degree. Linda was great too, a mom with kids of her own who was always looking after us when we weren't shooting on set and making sure that we got enough to eat. My own mother was working two jobs to keep the lights on at home, so there were evenings when I would join Linda and her family for dinner until my mom could pick me up. Linda and Mike were almost like surrogate parents for me during that year of my life, and Rachel and Mark became almost like adopted siblings. Rachel was the older sister, angsty and above it all on camera, but she was always very nice off-screen. Rachel would run lines with me when I was scared and always helped me when I needed something. She was actually nineteen, though she played a sixteen-year-old, and on the nights when Linda couldn't take me, I would hang out with Rachel until mom came to pick me up. Mark, the younger brother, was six, and we weren't too far off in age, really. We had similar interests. We would sit around between scenes and talk about Ninja Turtles or Power Rangers or play Gameboy together.
In many ways, those five people became family to me for that year, and a half of my life.
It makes the rest of this story all the harder to tell.
It was a typical day of shooting. We had finished what would have been season 1 and were shooting some scenes for season 2. The network had been pleased with our viewership so far, so a second season seemed to be in the cards. With the second season, though, came a live studio audience. This was the 90's, and live studio audiences were all the rage. The first season had been live a few times, for special episodes, but this season would have a live audience throughout. The presence of an audience was a bit distracting and often led to Mark and I playing it up a little to get their attention. We had been asked to ignore them, but we were young, and the laughter of adults meant a lot to us.
We were on episode six of season two when they brought in a very different audience.
I remember it perfectly, the event gouged into my mind surgically. We were setting up for the opening scene when the stage door opened, and a crowd of people filled in. There were about twenty of them, our audiences tended to be slow, and I can remember not seeing any children or strollers as they filled into the dark rows of seats. Usually, they brought the house lights up for this, allowing us to see the audience, but today the crowd sat in shadow. Mark whispered to me about it, saying they looked a little creepy all huddled up in the dark, but I told him it was probably just something new the director was doing to make us ignore them. We set up for the shot, and I felt myself looking out to the crowd out of the corner of my eye. It wasn't that dark out there, not really, but the whole audience sat in a small sea of darkness that seemed to crowd around them. They didn't talk, they didn't shuffle, they just hunched there and waited for us to begin.
We rolled the opening "Jerry's Place is Filmed Before a Live Studio Audience" and began.
As Mike came on stage, the titular Jerry, I had expected the crowd to clap as they usually did when a character came on scene. They didn't though they just sat there and waited. The director looked back at them but shrugged and whispered something to his assistant. Mike looked out at the audience strangely too, but he was a pro and didn't let it mess him up. Linda and Rachel, Megan and Bonnie on the show were watching TV as Mike walked in from the kitchen and delivered his lines. They cued Mark and I to run downstairs and begin the show's problem, a broken toy that was important to me. By the end of the show, Mark would have saved enough money to buy me a new one, and I would learn a lesson about sharing, and everyone at home would feel warm and fuzzy as my brother, and I hugged it out.
At least that's how it should have gone.
I came downstairs yelling about my toy, a model airplane, and Mark was right behind me in typical little brother fashion. Mike looked at the plane and asked if I couldn't just use it like this? I hit my mark and prepared to deliver my characters catchphrase. Catchphrases were prominent in the '90s. They were also very marketable, and my catchphrase was supposed to elicit laughs from the audience. Until then, they had just been sitting quietly.
I wish they had stayed quiet.
"Play with a broken toy? That's gonna be a deal-breaker for me, pops!" I said, looking at the audience as I did so.
That's when they started to laugh. I was expecting a chuckle, maybe even a full-fledged laugh or two, but the audience emitted that hearty, canned laughter that you hear on sitcoms when a real audience might be too much. Mike started to give his next line, but the audience just kept laughing. I looked at them, my face still holding that mischievous smile that it always did after my catchphrase, and saw that the shadowy crowd was laughing and heaving in unison. The shadowy mod was hitching and chuckling as one being, and as I watched, I felt my smile faltering. Mike tried to give his next line again, but the laughter overtopped him. The director said something to his assistant and the man brought out cardboard cards that read "Quiet Please". He held them high, right in front of the audience, but the audience just kept laughing.
Their laughter had begun to sound sick. The longer they laughed, the more painful and crazed it began to sound. Someone in the crowd was clearly choking, but they continued to laugh through it. The laughter never rose or fell in volume, just the mad canned laughter I would become so familiar with later in life. It was emotionless and inhuman, and it just continued to pour out of them as they sat huddled in the shadows.
The assistant shouted at the crowd then, the director calling for the cameras to be cut. One of the cameramen, I can't remember his name, but he was always kind of a joker, turned his camera to film the crowd. Maybe he thought it would be great for a gag real or something, perhaps he thought the studio was playing a joke on us, but whatever he was thinking, he had an excellent seat for what happened next. When the assistant's shouts failed to gain their attention, he walked into the seats and started yelling at the crowd.
That was when his angry shouts turned into underwhelmed laughs, and he too started chuckling.
The director turned and started shouting at the crowd to be quiet even as he shouted at his assistant to come down. By this point, we had all started milling about close to our marks so we could start again. I couldn't help but notice Rachel and Linda on the couch and how Linda had a protective arm around Rachel. They looked scared, and despite being trained to stay close to our marks, I went over and sat with them, wanting to be in that protective bubble. A stagehand had gone into the audience to get the assistant back, but now he was sitting and chuckling right along with the rest. It was that same canned laughter, but it sounded like lunatics now. They were consistent, unchanging in pitch or fervor, and it was all becoming too spooky for me. Mark came to sit beside me as well, and I wrapped a brotherly arm around him just as Linda had.
"I don't like this," Mark cried as big tears rolled down his cheeks, "they're scaring me."
I told him that I was pretty scared too, and when Mike came up to put his hands on the back of the couch, I felt safe knowing he was there.
As we sat, another stagehand went up. He grasped the first by the arm, pulling at him and trying to get him to leave, but soon he too was laughing and grinning as he took a seat net to him. The director forbade anyone else to go up after that. The crew sat huddled together on the edge of the set as they tried to figure out what this was. There seemed to be a barrier between them and us, none of them came into our little circle of protection on the couch, and none of us felt the need to go to them.
The director sent a stagehand to get security after the third member of the crew joined them. The stagehand found the doors to be locked, and none of his keys would open them. He came back white-faced, skirting the audience seats as though whatever they had might be airborne. The director sent someone to see if the roof access was open, but they discovered the same thing; keys didn't work, and the hatch was locked. Someone tried a landline in the back but found no dial tone. This was before cell phones had become the norm, but the director had a bag phone that he tried. Same thing, no dial tone, and no calls would go out.
And all the while, they laughed.
After an hour, they were still laughing.
The director and some of the crew had broken the distance and came to sit around our couch. They had brought items from the foodservice table over, and we all just kind of had a picnic. It would have been nice, had the creepy laughing shadow people not been staring at us the whole time. As we ate, I noticed that some of the crew had stayed away and seemed to be eating on the set's outskirts. They kept looking at the crowd, some of them were starring, and when I asked the director about them, he shook his head.
"One of them claims that his father is sitting in the audience."
"What?" Mike asked, his mouth full of sandwich.
"He says that the man in the front row near the middle is his father. He says it can't be him because he died of lung cancer last year, but that it definitely looks like him. He says that every now and again, the laughing man will look at him and try to wave him over. He knows he shouldn't go, but he says that every time the guy waves him over, it's hard not to go."
"That's nuts," Linda breathes.
"Each of them has a story like that," the director said, "for Carey," he pointed to the redhead with a ponytail, "it's her girlfriend who left for New Mexico and never came back. For Steve," he pointed to a man with a salt and pepper crew cut, "it's his sister who stopped talking to him after his parents left him everything in their will. They all have someone, and all of them think they might…" but as he spoke, we saw Carey get up and take a step towards the chuckling crowd.
One of the others grabbed at her, but she shrugged them off and walked towards the crowd like someone in a dream.
She embraced one of the shadow masses and then sat next to them, chuckling and smiling as his butt pressed the seat.
After Steve left too, the director decided to take action.
He told one of the hands near us to turn up the house light. He wanted lights on the crowd so we could see who they were. Maybe they would stop laughing if their cover was blown, and this could all be over, and we could all get back to work. He still seemed to think that this might be a prank, though not a very funny one, and wanted an end to it already.
Some of the stagehands went to get things set up, but we all kept looking at that quietly chuckling behemoth. Mark had fallen asleep somehow, and I kept my arm wrapped around him as though I might stand between him and the tide should they charge. I was still munching absentmindedly at fruit from the food table, and I didn't notice Rachel getting up until my bowl of honeydew almost tipped over. Linda grabbed her wrist, anchoring her to the couch, but when I looked up, I could see that her eyes were big and starry. Her blonde ponytail bobbed a little as she scanned the crowd, and Linda started asking her what she was looking for.
"I thought I saw someone up there, someone I haven't seen in a very long..." but she gasped harshly then, "It's him! Oh my God, it's him!"
She was pulling against Linda's hand, but Linda refused to let go.
"Who Rache, who is it?" Linda asked, trying to restrain the girl as Mike moved to help.
"It's my dad, my dads up there. He looks just like he did in the photo my mom has in her dresser drawer. He hasn't changed a bit."
I looked at the crowd, trying to see who she was looking at but failing.
"Rache, your dad died before you were born. You're mother told me about his accident. It can't be him."
"But it is," Rachel almost screamed, pitching her body from side to side as she tried to break free. Mike and Linda held her tightly, and I scooted closer to Mark so Mike could sit on the couch. The two of them sat there and held her as she sobbed for them to let her go. She used a lot of swear words as she thrashed about, but they refused to let her go. When she finally stopped, she sat crying into Linda's shoulder as the two of them hugged her tightly.
Someone yelled down from the catwalk then, and the stage was suddenly awash with light. The overheads were unbearably bright, and as they all lit at once, I remember tinting my eyes with my hand, so they didn't blind me. We had used them for beach scenes a few times when rain caused us to not shoot on location, and I can remember thinking that they were so much brighter than the real sun. They lit up every corner of the set, but as I squinted at the seats, I realized I'd been wrong.
Every corner but that one it seemed.
The seats were still a pool of shadows, but when the light hit them, everything changed.
The low chuckling became a strange hybrid of screaming and deep booming laughter.
The kind of laughter you heard in an insane asylum.
The kind of laughter you heard in Hell.
The people in the seats never moved, but the darkness did. It plumed out like a fog and started rolling towards us. Those sitting near the seats were hit, and we could hear their laughter starting as they fell to their knees and clutched their stomachs. The director shouted at the crew to kill the lights, but it was much too late. The darkness was angry now, and it was no longer satisfied with the few people it had in the seats.
It was coming for us.
Mike grabbed Mark and me, lifted us up in his strong arms, and started running backstage. He turned to yell for Linda, but she was fighting with Rachel as the girl tried to free herself again. She was straining towards the fog, and it was creeping in to get both of them. Mike yelled for her to let Rachel go if she wouldn't come, but Linda refused to leave her there. She strained and pulled at the girl, but Rachel was apparently stronger than she looked.
It didn't matter a moment later as the fog rolled in, and they were both little more than chuckling shadows.
Mike ran to the back, Mark crying and asking him what was going on. He had woken up when Mike picked him up, and Mike was looking frantically for some way to escape. He saw a window and lifted a piece of wood to smash it against it. As he brought the wood down, however, he might as well have been hitting concrete because the board bounced off, splinters flying. The dark fog was rolling past the set wall now, and Mike was almost out of options. Mark and I just stood against a wall, eyes roving around like scared dogs, trying to make sense of what was happening.
Finally, Mike settled on a closet.
It was full of brooms and mops, but we didn't have time to move them by that point. Mike pushed us in and sighed as he saw how much room we took up. As the fog plumed behind him, he slammed the door and left us in total darkness. His laughter started a few seconds later, and the sound nearly drove us mad as we huddled in the tiny closet. Mark and I hunched, arms wrapped around each other, expecting that we would both begin to laugh at any minute. We sat like that for a long time, I have no idea how long until we both must have fallen asleep to the sound of Mike's choking laughter.
When I woke up, I was in a hospital, and my mother was asleep in the chair next to my bed.
I got the whole story a few days later. My mother didn't know much, she had come to the set only to find all the doors locked and police trying to get in. Once they had gotten in, some of them started laughing and couldn't stop. The paramedics and the fire department had come. After searching the place with breathing equipment, they found Mark and I and brought us to safety. There was nothing wrong with either of us, not physically, but the two of us had been catatonic for nearly three days.
The man from the studio, the one in the pristine suit and the oiled hair, had told me a different story. He said there had been some kind of gas leak and claimed that most of those present had been hallucinating due to gas. The audience, cast, and crew had all died due to gas inhalation, and Mark and I had been lucky to survive. Our parents would both sign nondisclosure agreements, we would promise not to talk about anything we had seen, and in exchange for a large amount of financial compensation.
My mother and I needed the money now that the show was going to be canceled.
Both our parents signed, and Mark and I went our separate ways.
The whole event was deemed a tragic accident, and I never worked in show biz again.
That would be the end of this story if it weren't for the email I received a week ago.
I'm in my thirties now, and about a week ago, I got a Facebook request from Mark. I had expected that he wanted to catch up, have a beer, and share some old stories, but his first message was far from what I had expected. He sent me a messenger request a few seconds later, and after accepting, he sent me seven words.
"Are they still laughing for you too?"
We met up for that beer the next day.
Mark was older but far from doing well. The guy looked rough, borderline homeless, and seemed eternally looking around to see who was near him. He asked if I still heard the laughter. I told him I hadn't, not since that day all those years ago. He said that for him, it had never stopped. He would wake up to see shadowy figures at the end of his bed, that canned laughter bubbling from their dark lips. He said Rachel and Linda and Mike were right out front, too white teeth smiling as they laughed and laughed. His parents hadn't believed him, they'd thought it was just bad dreams because of the incident. The drugs the shrinks gave him just meant he was a drooling zombie as the laughing apparitions chuckled on and on.
He started using young. It was alcohol at first, his dad had a cabinet in the living room, then drugs when he was in high school. He stole prescription drugs, used blends of different drugs, drank himself into oblivion, but nothing helped. Every night they were waiting for him, and every night he screamed until they disappeared with the light of day or the arrival of someone else.
"Just wanted to see if you'd found a way to make them stop too, big brother," he said sadly, as he left the bar.
He killed himself a week later.
He put a gun in his mouth, and the rest is pretty easy to figure out.
I envy him now, I envy that he had the strength to do what needed to be done.
About a week ago, I woke up to the sound of that canned laughter that always creeped me out in sitcoms. I fumbled for the remote, thinking I'd just left the TV on, but as the TV came to life, I saw them. They were arrayed at the foot of my bed, their bodies made of living darkness made all the murkier by the light of the tv, and their laughter went on and on. Mark was amongst them, his unkempt hair now a raven mane of living darkness. Mike was there too, and Linda and Rachel, all of them laughing and laughing as I lay in bed, frozen in terror.
They left with the sun, and I got up to write this.
I don't know how long I can take this. I'm afraid to go to sleep, afraid to see them, but I'm too afraid to take Mark's way out either. I see him amongst them, laughing and laughing like an audience in hell, and I wonder if I will join them too in the end? I'm afraid to go to sleep, afraid to be awake, afraid to see their faces, and afraid of running into them again.
My eyes are getting heavy.
The fourth cup of coffee is jittering in my hand.
I wonder if it hurts to laugh forever?
Perhaps I'll find out soon.

Sequel idea. Bit of a long read but hopefully some people might find it interesting :)

SPOILER: The Queen's Gambit and Us -- Part 1

I've recently watched this show and obsessed over it for awhile. As I literally lost much sleep over it, thought I'd just use it for a New Year writing. If people enjoyed this segment, I would probably post everything else I wrote. Lemme know your thoughts!
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So I’ve finally hit the big craze on Netflix this Christmas season. That’s right, over the lack of celebrations and awkward reunions, I watched the Queen’s Gambit with my mom, nearly in one sitting. To be fair, I regard anything bingeable as a worthy creation but there’s slightly more credit due here than the mere fact an unemployed had enough time and patience to watch the miniseries. Indeed, the Queen’s Gambit is more than a showbiz spectacle: “Competitive chess on Netflix?! Bravo! First of a kind and probably better as the only one of its kind.” No, I would go so far as to say, The Queen’s Gambit is one of the most tasteful coming of age shows ever created. For one, it is far more reasonable and relatable than things like Sabrina the Teenage Witch and its associated contemporaries. For another, it is far more profound and valuable than the likes of Mean Girls (a film but very comparable). Of course I know the word on the street, The Queen’s Gambit boosted interest in chess so I would seem like a madman if I say this film is never about chess. But humor me, having watched the show, do you even know what a Queen’s Gambit means in chess if you hadn’t known before hand? Or the Sicilian Defense? If this film really were about chess, I can almost guarantee there’d be far less interest in chess and far more mockery towards competitive board-gaming. If you hadn’t caught the subtle hints of substance abuse and the lack of healthy relationships that loitered rather liberally throughout the film, then let me catch you up. This Netflix miniseries was so attractive not because it managed to miraculously elevate the topicality of chess by adding pensive fanfare during tournaments but because through the metaphor of chess, this series put on a fascinating display of growth in Elizabeth Hermon the person, the unfortunate, the outsider, and the exceptional.
I think the show, and by extension the book, has done an incredible job of excavating the artistic potential of interlacing the game of life with the game of chess. There’s not a moment where anyone could miss the irony that despite Harmon’s ability to see with such clarity into the future if said future were confined to one chessboard with a clearly defined opponent, she handles her real future like a kid at her pinata party: blindfolded, discombobulated, not to mention dangerous to the point of lethality. In fact, the explicit consistency of this theme throughout the show made me wonder why the series did not start with the Russian tournament opening sequence where all the players are sat at the lobby and a rather banal broadcaster recited the Huxley quote. You know, “the chessboard is the world, the pieces…” blah, blah, blah. I mean in terms of grandiosity, profundity, and tension, this scene has got what it takes to make a strong first impression. But I’m pleased to figure out why it wasn’t a first impression, if any impression at all. Sure, the audience loves a story where it opens with a Mexican stand-off and then rewinds. But it’s such a cliché and worse yet, this trick merely tells the audience that there’s about to be a climax without showing us its inherent appeal, almost like a Hollywood sex scene. Of course, The Queen’s Gambit isn’t about popular expectation. Knowing that Harmon’s struggle in the game of life is the centrepiece of the story, the director refused to hook the audience with some old white man repeating the words of a dead white man as if such pretentious claims about nature, the world, and God were about to bring wisdom and insight into our understanding of Elizabeth Harmon’s life. No, this stunning prodigy with unforgettable orange hair was portrayed exactly as she is. The opening scene was dark, naked, and hustled. And in the mere moments of descending to the hotel lobby from her room, Harmon manages to be the disruption in every single environment she comes across. Without a doubt, the opening scene is the very definition of the directors’ mastery over their craft.
And I’m not just blowing the directors’ trumpets here because the book, which is the foundation of this show, began with Beth finding out the death of her mother at the Methuen Home rather than at Paris. Besides, both the book and the show, excluding the aforementioned opening, follow a strictly linear narrative. Therefore, it is no outlandish assumption to say the exceptional (and I mean every sense of that word) opening was entirely the brainchild of the directors. I would deduce that there’s a certain statement to be found in the opening scene whether it be wisdom or folly. And if I may be so bold to venture a guess, this makeover demonstrates an awareness on the part of the directors that like a game of chess, the way you open a narrative will define how the story gets progressed and perceived. So now the question begs, “how did the opening define the plot and our understanding of it?”
Well, quite simply, the opening scene bid us to view Harmon as a competitor in the game of chess which then translates into a competitor against her own fate as the plot unravels from her childhood. That’s how the directors funnel us into her anger and fear so we understand her desire to win and her determination to be better. I mean, you do not need a film major nor any artistic talent to understand that part. It’s meant to be intuitive, almost like offering a one-sided trade of pawn for your opponent. It might seem like a pedantic, forced interpretation of the opening sequence. You know, “oh the title refers to the Queen’s Gambit therefore the opening of the show must also be a gambit,” I want to make it clear that I am not the kind of person who believes every choice in art needs to embody a meaning. In fact, I reckon art is often the opposite of purposeful wisdom, for better or for worse. No, I am merely exploring something I found unusual about this show. You know, for a show promising conflict and competition at its core, there are so rarely any bursts of self-righteous indignation, raucous display of rage, and bitter outcry of pent-up emotions. I don’t mean to stereotype but how comes an American film-production embraces a nearly Swedish aversion to outright aggression in its narrative? Let’s just take the first episode as a whole for example since we are talking about openings. Of course, while the directors never shy away from stacking one horrible fact after another on the audiences’ plates, they approached the portrayal of the young Harmon with a calmness that reminds me of Camus’ L’Etranger. Given the traumatic nature of being orphaned by car crash, not once did Harmon demonstrate a desire to reject the orphanage nor any attempt to grieve for her mother. In fact, she showed more anger and sadness over a game of chess with Mr. Shaibel than any emotional reflection upon her history.
One of the most striking moment of that whole episode is undoubtedly the moment when Mrs. Deardorff asked Harmon to surrender her old clothing for the Methuen uniform. I use the word surrender with no exaggeration either as we observe for a brief moment just how delicately Harmon stroked the embroidery on her gown. Then Mrs. Deardorff turns around with the Methuen uniform and extends her hand. And no, rather than snatching the gown out of Harmon’s hands, she pauses, again just for a brief moment. And this pause is a statement, a question, a command. Give me. And the response from Harmon? Nothing. No struggle nor sadness. She observes and refrains even as Mrs. Deardorff so callously commented that “I’ll just burn this” after seizing the gown. It’s so extraordinary that this moment of tremendous tension is so orderly and tenderly delivered, not in so much proclamations as in gestures: one move after another, developing characters, relationships, as well as the plot. And this iconic moment will define the narrative throughout the episode, where even the most intense moments are masterfully circumnavigated. For example, when Harmon appears to be on the verge of a tantrum calling Mr. Shaibel a cocksucker, he simply shuts Harmon out, for days. Likewise, the ending scene when Harmon was caught stealing drugs from the Home. I mean it simply can’t be a coincidence that Harmon passes out right as Mrs. Deardorff led the entire congregation of the Home to witness her crime and ultimately to chastise her for it. And really, there’s literally nothing else in a show like a cliff-hanger that signals to the audience that the directors are withholding something.
Anyways, I might be catching on to a pattern but so what? The directors have a style of illustrating tension which may seem quite contrary to the atmosphere and the purpose of the film but can’t it just be deadpan and absurd humor so the atmosphere lighten up a bit? Sure, you can see it as such but keep in mind, this perceived deadpan is commonplace throughout the show. Yet it’s so far from the likes of A Series of Unfortunate Events that we can safely rule out this contrast serves only a comedic effect. My theory for the prevalent avoidance of tension is that this method allows the directors to dilute the catharsis of resolving these slightly less confrontational problems in the plot. I mean, this is not a crazy notion that the bigger and messier the problem, the more catharsis we should feel when the whole ordeal is over. Perfectly balanced, as all things should be, little one. Jokes aside, If we take some moments of serious conflicts from other theatrical endeavors like The Crucible, in a moment of life and death struggle for morality and favor of the Almighty, we get the main character screaming out in pain and anguish, “leave me my name!” and the associated soliloquy about cosmic valor and other romantic stuff about philosophy of life. That particular scene is so pompously cathartic as our man lay somewhat ruined in a jail cell but nonetheless rose against his tormentors to rattle such goodness that was still left in his soul. Contrast that with the kind of resolutions to confrontations in The Queen’s Gambit. Revisiting Harmon’s moment of conflict with Mr. Shaibel, we notice that the resolution of that fight was so subtle. Forgiveness was given by the unlocking of a door and then chess as usual. Same players, same disposition as always. I don’t think I need too many examples but I feel as though the Mexico City sequence are iconic enough to fully illustrate my point. When Harmon encounters Borgov and his seconds in the elevator, there was a scene of incredible tension as Harmon hears them saying really cruel things about her background. This attack upon Harmon received no immediate response but in the following scene, we see Harmon’s symmetrical defense where the twins stand on either side of her and then Harmon going, “reserve a seat for my Mother”. In that instant I laughed because it was so surreal like something out of a classical Batman movie. You know, Batman and Robin versus Joker and Harley Quinn, what do we do now Batman? Get my mum will you. Jokes aside, this moment was definitely outstanding in the way that it broke the hostility of the previous scene. The following sequence, when we learnt that Mrs. Wheatley didn’t make it to Harmon’s match because she died, the directors broke our emotional fall by rather shocking use of deadpan “my mother did mention the Tequila tasted off”, then we get the pills, but ultimately, we get the most wonderful shot where Harmon returned to the house and spent the first night alone on her mother’s favorite spot on the couch, watching the TV just like she used to do, and then falling asleep in that familiar blanket. Not a word in that scene but it says far more than enough about loneliness and solace. Truly if the show has a more appropriate name, consider calling it “Killing You Softly”.
And here I feel as though I should interject with my ignorant two cents about the casting choice for this show. Because every scene is done with such subtlety to the point of risking obscurity, I just felt that it was a wonderful idea to find actors and actresses who have really captivating physical features. I mean, Anya Taylor-Joy had such pronounced facial structure with large round eyes that are a true force of nature. Put that face next to Harry Melling whose facial features are crunched and sunken. Now let them have a go at a relationship and watch the mismatched dynamic unfold itself without any words or even actions. There’s also the incredible feat of finding the most beautiful 13-year-old cowboy on the street for Benny Watt’s role. Put bland beauty in exotic costume and voila we get a character who everyone wants to know more about regardless of what they really have to offer. I mean, Benny Watts was supposed to be the mouthiest, the most irritating character of the show but because of the shock value associated with Thomas Brodie-Singer in cowboy, we come to accept the character with far less annoyance than we should have had. I mean, I’m not the only one who gets hung up on the characters’ appearances. Remember that scene where Harmon asked Watts about his knife despite his incessant ramble and narcissistic advice on how to get better at chess? Yeah, what Watt did to Harmon, Thomas Brodie-Singer did for me. Of course, nothing sexual, yet. There’s more winning picks like Bill Camp on Mr. Shaibel, Christiene Seidel on Mrs. Deardorff, Marielle Heller on Mrs. Wheatley, I mean I’ll stop right here before it looks like the end credit and it should be noted that these actors are not just perfect in their roles because of the look but also because they delivered truly worthwhile performances so power to them. Still can’t believe they put TBS in cowboy, never gets old. Yeah, sorry, been sitting on that pun for twenty years.
Hopefully you’ve had a laugh because we are about to plunge into the depth of the show’s subject matter which may or may not deserve as much sobriety and gravity as I will give it but do stay with me...

joker actor name who died video

Heath Ledger died on January 22nd, 2008 from an accidental overdose of prescription drugs and later won the Academy Award for Best Supporting Actor for his role as the Joker in The Dark Knight To date, out of all the voice actors, stunt doubles, live-action portrayals, and such to have played The Joker both on and off the screen, only two have died and both unrelated from The Joker role. These two are Cesar Romero from the 1966 Adam West Batman series and Heath Ledger from the Dark Knight. Heath Ledger kept a chilling diary in preparation for his Oscar-winning portrayal of the Joker in The Dark Knight. The Australian actor died of an accidental overdose of a combination of Updated: 29 Mar 2018, 11:43. HEATH Ledger was a bold, imaginative actor who continuously defied expectations through the relatively small number of movies he got to make in his 28 years. Heath Ledger was an Academy Award-winning, Australian actor best known for his roles in 'Brokeback Mountain' and 'The Dark Knight.' He died of an accidental prescription drug overdose in 2008. Jack Nicholson, who played the Joker in 1989 - and who was furious he wasn't consulted about the creepy role - offered a cryptic comment when told Ledger was dead. However, the common belief that Ledger died because of some inherent darkness in the Joker role, or a "Joker curse," is false. As his sister later explained, he loved playing the Joker, had an amazing sense of humor, and certainly wasn't depressed about it. Ledger died on January 22, 2008 after a toxicology report revealed a fatal mix of prescription drugs in his system. An avid method actor, he committed several weeks to getting into the mindset of... Ledger is the only actor to receive an Academy Award for his portrayal of the Joker, which was awarded shortly after his death at the age of 28. Director Christopher Nolan has said that Ledger's striking performance came from his strong interest in the character . Cesar Romero (Batman [1966-1968]) ABC. Makeup and outfit aside, this version of The Joker is almost unrecognizable from the character we've come to expect today. With goofy plots and as a frequent...

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Actors Who've Sadly Died In 2020 - YouTube

Sadly, 2020 has already proven to be a year in which we've lost some big names, even in just a few short months. From founding fathers of comedy and veteran ... If you're new, Subscribe! → http://bit.ly/Subscribe-to-GrungeWhile the idea of a performer collapsing into the arms of a loving audience has a certain romant... who died today,who died today in bollywood,who died today in india,who died today 2018,who died today in pakistan,who died today in hollywood,who died today ... Snagging a role like the Joker is something that can make or break your career. It's a daunting task and easy to mess up. But what happens after you wash all... When a beloved actor dies, millions of people who didn't even know them grieve in their own way. But for their co-stars, showing up to work without the perso... How do you break the craziest crook in Gotham?https://whatculture.com/comics/8-comic-book-characters-who-broke-the-jokerFor more awesome content, check out: ... List of 45 actors who committed suicide - celebrities who took their own lives. Taking your own life is an act that according to the Bible, for example, is f... Let's take a look at the actors who portrayed the "Clown Prince of Crime" in celebration for this summer's Suicide Squad: 0:05 Cesar Romero (1966-1968) 2:24 ... We all cheer great films, imagining ourselves as the protagonists. Unfortunately, there are instances where people took that silver screen inspiration too li...

How did Heath Ledger die, how old was he and what were his

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Which Actor had the best run in the 50s?

Changes I hope could be made to the Legendary edition

Rewriting Titans Tv Show Part 1: Season 1

First Time Watching Doctor Who - Series 8 REVIEW

Rewriting Titans Tv Show Part 1: Season 1

After several viewings of Con Air that involved strategic pausing and staring way too closely at the TV, I came up with two Con Air seating charts. The first is for the Oakland Airport convicts, and the second is for the Carson City convicts.

I HAVE SO MANY (logic) QUESTIONS. Epic Designated Survivor breakdown ahead...

Batman' Astrology

Batman other characters:- astrology

Others:-

They Never Stop Laughing

Sequel idea. Bit of a long read but hopefully some people might find it interesting :)

SPOILER: The Queen's Gambit and Us -- Part 1

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Actors Who've Sadly Died In 2020 - YouTube