Tag Archives: movies
‘Mr. Robot’ Review: ‘Don’t Delete Me’ is a Surreal, Cinematic Trip

mr. robot don't delete me review

(We’re going to kickstart our weekly discussion of USA’s Mr. Robot season 3 by answering one simple question: who had the biggest mental breakdown in this week’s episode?)

Following up last week’s dour episodeMr. Robot takes a trip down the cinematic rabbit hole. “Don’t Delete Me” has Elliot (Rami Malek) once again grappling with his guilt, but this time it’s not limited to the thousands of people who died in the E Corp explosions, but over Trenton and Mobley being framed for them. His ensuing depression results in him taking a subtle step back from reality — the entire episode is once again deeply embedded in his POV, shot in the widescreen 1.85:1 format.

It lends to the surreal quality of the episode, as Elliot wanders through New York cleaning up loose ends and trying to atone to Trenton and Mobley’s families. But their rejection of his efforts only sends him down a deeper spiral that finds him sitting alone at a deserted beach on Coney Island, with a bag of meth pills in hand. It’s a dark image for an episode that turns out to be one of the season’s most hopeful yet.

mr robot don't delete me 2

This Week’s Breakdown: Angela

I guess this one depends on whether you think Mobley’s brother Mohammed was real or not. I’m going believe that he did exist, though his filling in of the “pure soul guides our wayward hero back to the light” trope did come at stunningly convenient time for Elliot, who spends much of the episode contemplating suicide.

In that case — though we saw a flashback of the birth of Mr. Robot in an unsettling scene of young Elliot watching his father collapse at the movie theater — Angela (Portia Doubleday) takes the cake this week. But there’s a ray of hope for Angela, who has been in a delusional funk for weeks since the attacks happened. This breakdown is actually a positive one, with Elliot, who had been avoiding his best friend since she helped enact Stage 2, finally breaking through her mental barrier. They never see each other as Elliot calmly recounts their favorite childhood game on the other side of her door while Angela slides down in despair, but it’s enough. She cries as he reminisces about their “wishing game,” finally answering him when he asks what she would always say to him at the end of their game: “No matter what happens, everything will be okay.” The pop music swells at this emotional climax — the stellar needle drop of this episode is the funky Robbi Rob song “In Time” from Bill and Ted’s Excellent Adventures — and Angela is broken out of her numb shell.

This emotional zenith is the final cherry on top of the episode’s many allusions to time travel and alternate dimensions, which showrunner Sam Esmail has been cryptically teasing as well. With one episode left before the season finale, could Mr. Robot break the world go full sci-fi? Who knows.

Mr. Robot - Season 3

‘Something I Gotta Do’

“Deletion. When you make that decision, there’s always that moment of hesitation. Yes or no. Yes means ridding the world of Mr. Robot and myself forever. That includes you.”

“Don’t Delete Me” offers a lethargic, introspective break from some of this season’s more action-packed episodes, playing out Elliot’s suicidal contemplations in an out-of-body cinematic display. The credits rolling to a movie logo of Mr. Robot‘s title was proof enough that though we spend the episode embedded in Elliot’s mind, he’s not quite there himself. He robotically goes about the city “wiping down” his presence. Visiting Mobley and Trenton’s families to pay their respects, dropping off his dog at his neighbor’s house. Finally, after a particularly fragile encounter with Trenton’s parents and brother, he makes his way to Coney Island, sitting at the barren beach with a bag of pills. But he never get to do that horrible, unspoken deed — he’s interrupted by Trenton’s little brother, the precocious and stubborn Mohammed.

Rami Malek may have showcased some of his latent comedic potential here: He spends the next few minutes baffled and stuttering at Mohammed’s refusal to leave his side, in an endearing performance that almost gets a chuckle out of me. But Elliot is eager to get rid of the boy, who keeps badgering him in a way that preteen boys can only do. “There’s something I gotta do,” Elliot monotonously repeats, only to be ignored by Mohammed, who insists he take him to the movies. And here’s where the episode takes on that surreal atmosphere that its cinematic presentation keeps promising.

mr. robot season 3

Back to the Movies

The day that Elliot takes Mohammed to the movies happens to be October 21, 2015, the illustrious Back to the Future day. It’s jarring to see the two of them stroll up to a small theater surrounded by Doc and Marty cosplayers — the theater itself is reminiscent of something you’d find on the set of Back to the Future. Elliot is suddenly excited to see the movie despite Mohammed’s protestations that he wants to see The Martian, and the two of them sit down at the theater in a scene that plays out in a eerily similar fashion to the opening scene of young Elliot creating Mr. Robot. Here is where you can question whether Mohammed exists or not — his empty seat is an exact parallel to Mr. Robot’s empty seat next to little Elliot in the flashback — but either way, it’s a bright prognosis of Elliot’s mental state. Either he dreamed up a young boy who blocked his suicidal attempts, or the universe intervened and Mohammed approached him of his own volition. He’s a heartening little plot device who acts as a nice litmus test of whether you believe in fate or an innate sense of self-preservation.

The episode never lets up on that surreal atmosphere. The passerby milling about in ’50s costumes and wild white wigs, the empty lounge except for two men kissing and a disgruntled Lorraine cosplayer, the friendly Jewish ice cream truck driver playing “War of the Worlds” on his radio — they all lend to that dreamlike quality that feels like watching a particularly trippy French New Wave movie. Even when he takes Mohammed home and the boy gives him a lollipop (“because you said you were sick”) and Elliot cries, it all feels so distant from the dark and broody Mr. Robot that we’ve come to know.

“That’s the thing about deletion, it’s never permanent,” Elliot says, ending the episode on one of the show’s most hopeful notes we’ve seen. Though the “Don’t Delete Me” goes in some dark places, its undercurrent of hope and redemption makes it one of my favorite episodes of the season. Maybe, like the Lorraine cosplayer says at the movie theater, the show is “about how one mistake can change the world.” But this episode seems to respond, it’s also about how those mistakes can be fixed.

The post ‘Mr. Robot’ Review: ‘Don’t Delete Me’ is a Surreal, Cinematic Trip appeared first on /Film.

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Source: http://www.slashfilm.com/mr-robot-dont-delete-me-review/

‘Channel Zero’ Season 3 Teaser Announces New Cast and New Premise

Channel Zero season 3

Channel Zero, one of the best horror TV shows you’re probably not watching, is about to wrap up its second season, No-End House, and it’s wasting no time getting to work on season 3. A new teaser for the next season just arrived, and with it comes a new plot synopsis and a new cast. Get the Channel Zero season 3 details below.

Like American Horror Story, Syfy’s Channel Zero is a horror anthology that tells a different story with a different set of characters each season. Unlike American Horror Story, however, it’s really good! Created by Nick AntoscaChannel Zero is inspired by internet tales of terror known as “Creepypasta“, which are the same types of scary stories that gave us the character of Slender Man. The latest season, Channel Zero: No-End House, wraps up this week, and if you’re already itching for more Channel Zero, you’re in a luck. A new teaser for season 3 just arrived, complete with a title, cast, and synopsis.

Channel Zero Season 3 teaser

Season 3, titled Channel Zero: Butcher’s Block, is based on the Creepypasta tale Search and Rescue Woods, by Kerry Hammond. Per Deadline, season 3 follows “a young woman named Alice (Olivia Luccardi, It Follows) who moves to a new city and learns about a series of disappearances that may be connected to a baffling rumor about mysterious staircases in the city’s worst neighborhoods. With help from her sister, she discovers that something is preying on the city’s residents.”

Deadline also has the following breakdown of the new cast, which includes both the incredible Rutger Hauer and Krisha Fairchild, star of the intense indie drama Krisha. 

  • Holland Roden (Teen Wolf) as Zoe Woods, Alice’s sharp, tough older sister whose struggles with mental illness have worn her down over the years;
  • Rutger Hauer (Blade Runner) as Joseph Peach, a 1950s meatpacking magnate who grew increasingly reclusive and then disappeared after his beloved daughters were murdered;
  • Brandon Scott (Wreck-It Ralph) as Officer Luke Vanczyk, a young but already jaded cop, living in the shadow of his father, the Chief of Police.
  • Krisha Fairchild (Krisha) as Louise Lispector, a retired journalist who has lived in Garrett, Michigan her whole life. Now she spends her days doing taxidermy and working on her personal project: A book about a pattern of disappearances in the city’s worst neighborhood.

It’s exciting to think that Antosca and company aren’t wasting any time jumping right into season 3, and adding Rutger Hauer to the cast is an excellent move. Channel Zero obviously has somewhat of a following, but not nearly as big of a following as it deserves. It may not be as splashy as some other shows, but it excels at creating dread and tension. If you’ve never seen the show, I highly recommend catching up with it.

Channel Zero season 3 will air in early 2018.

The post ‘Channel Zero’ Season 3 Teaser Announces New Cast and New Premise appeared first on /Film.

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Source: http://www.slashfilm.com/channel-zero-season-3-teaser-announces-new-cast-and-new-premise/

Danny Elfman Does Not Approve of Studios Scrapping Classic Superhero Themes

When you take over a famous franchise, like, oh, say, a line of superhero movies, the first thing you likely want to do is put your own stamp on things. It can be tempting to wipe away all the ideas, motifs, and images used by the old creators, in favor of seeking out the new, the fresh, the exciting.


Source: https://io9.gizmodo.com/danny-elfman-does-not-approve-of-studios-scrapping-clas-1820574029

Geek Trivia: The Best Selling Movie Soundtrack Of All Time Was For The Movie?


Think you know the answer? Click through to see if you're right!

Source: https://www.howtogeek.com/trivia/the-best-selling-movie-soundtrack-of-all-time-was-for-the-movie/

‘Game of Thrones’ Marathon: Every Episode Will Play in a Movie Theater

Game of Thrones marathon

Marvel Studios has been hosting marathons of their superhero movies for years. Back in 2015, watching every film released up until that point (including Avengers: Age of Ultron) took 29 hours. Adding up the runtime of the movies released since then, including Thor: Ragnarok extends the length to over 41 hours. But even that staggering commitment would pale in comparison to watching every single episode of HBO’s Game of Thrones, and one movie theater has decided to give fans the opportunity to see their favorite show play on the big screen all in one massive chunk. Get the details about this upcoming Game of Thrones marathon below.

Game of Thrones fan site WinterIsComing noticed that the Facebook page of the Prince Charles Theater in London is celebrating the home video release of the seventh season with this mind-boggling event in which all 67 episodes of the world’s biggest fantasy series will air over the course of four days:

To mark the release of Game of Thrones: THE COMPLETE SEVENTH SEASON and THE COMPLETE SEASONS 1 – 7 BOXSET on Blu-ray™ and DVD, die-hard fans of the record-breaking show can view it all in its entirety on the big screen for the very first time for four days and nights. The non-stop, cinematic takeover will begin at 7pm on Monday 27th until 6pm on Thursday 30th of November 2017, when lucky Game of Thrones fans will be able to experience this unique one off event.

Game of Thrones has played on the big screen before. The series made headlines a couple of years ago by being the first show to play in IMAX theaters, but that was just for two episodes of season 4. This is the first time I’ve heard of a series of this length playing in its entirety (well, minus the eighth season, which hasn’t aired yet) in a theater.


It’s worth pointing out that all of the episodes won’t be played uninterrupted with no breaks. A site called BingeClock says that if you were to watch the entirety of the series as it stands right now, it would only take 63 hours, which is a little over two and a half days. But HBO partnered with a company called MOD Pizza, and they’ll be providing pizza to the audience during dinner breaks throughout the event and offering the chance to win a year of free pizza for anyone who stays for the entire marathon. So those dinner breaks sound like the source of the extra time gaps in there.

The event is free, but as you might have expected, it’s already booked solid. Still, the venue will be offering some free tickets at the door, so stay tuned to their Twitter page for more info if you’re interested in making the trek and braving what’s sure to be an overpowering stench in the theater. I’m not sure if even Tormund Giantsbane could put up with circumstances that intense.

Still, there’s something intriguing about the idea of starting at the beginning and watching the whole show in one colossal burst, seeing how the characters grow and change (both physically and emotionally – those Stark kids used to be tiny!) and watching fan favorites pop up only to be killed off later. Would you be willing to drop everything and watch the whole show in a marathon form like this?

The post ‘Game of Thrones’ Marathon: Every Episode Will Play in a Movie Theater appeared first on /Film.

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Source: http://www.slashfilm.com/game-of-thrones-marathon/

A ‘Labyrinth’ Origins Comic Book Will Remind You of the Babe, Jareth the Goblin King

labyrinth comic book

Say it with me: dance, magic, dance, the Goblin King is returning to our lives! This time, Jareth — the original Babe with the power of voodoo (over my heart) — will be casting his spell over readers of a new Labyrinth comic book from writer Simon Spurrier and artist Daniel Bayliss. The comic book series, titled Jim Henson’s Labyrinth, will explore the origin story of Jareth the Goblin King and how he came to reside over the titular mystical labyrinth.

Lisa Henson, Henson’s daughter and the CEO and president of the Jim Henson Company, described to Entertainment Weekly the story of the ongoing comic book series, which would trace the Goblin King’s origins all the way back to 18th century Venice:

“It’s the backstory of how Jareth came to be in the Labyrinth himself. The Goblin King, he’s not a goblin, he’s human. Many people have asked, ‘Well, how did he get there?’ So, that’s something that we thought we would explore.”

EW also provided a sneak peek at cover and variant covers of the comic book series under Boom! Studios imprint Archaia. The cover is by Fiona Staples, with a subscription cover by Rebekah Isaacs, and variant covers by Laurent Durieux, Jill Thompson, and Bill Sienkiewicz.

labyrinth comic book 2 labyrinth comic book 3 labyrinth comic book 4

Spurrier described the influences that David Bowie, the late musician and actor who originally brought Jareth to life in the 1986 fantasy film, had on the comic book. But that didn’t stop Spurrier from taking creative license with the story, adding his own spin on a character who helped bring leather pants back into fashion (this can’t be confirmed, the movie just personally made me love leather pants):

“We’re sort of having our cake and eating it. The ‘Bowie form’ version of the character is very much present in our story. But there’s a huge amount of stuff about the people who loved him and he loved. What happened to them? How did this all shake out? How did he come to be who he is? I hope that by exercising both sides of that picture, as well as leaning into all the other amazing things that are fantastic about the Labyrinth as a concept, we should hopefully get our Bowie itch scratched while also enjoying the fantastical, surreal wonder of this world.”

I received a battered copy of Jim Henson’s cult 1986 fantasy film on VHS for Christmas as a kid, and it forever imprinted upon me the image of David Bowie in glorious feathered hair and too-tight pants. The story of a Goblin King kidnapping a baby Toby at the behest of the impudent teen Sarah, leading her on a quest to retrieve her baby brother, at first traumatized me but soon became one of my favorite forgotten fantasy films — with a song that acts as a great litmus test for finding likeminded fans. The Goblin King was a source of many a young girl’s childhood crush, so there will definitely be a built-in fanbase when this comic book origin series hits bookshelves.

Issue #1 of Jim Henson’s Labyrinth in February 2018.


The post A ‘Labyrinth’ Origins Comic Book Will Remind You of the Babe, Jareth the Goblin King appeared first on /Film.

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Source: http://www.slashfilm.com/labyrinth-comic-book/

It Only Took 56 Years, But Now You Can Actually Have Breakfast At Tiffany’s

If you often sit back and think…


#IndieNews, #MusicNews #IndieBrew


Numerology Goes to the Movies

By Ciara Wardlow

More accurately, it never left.

Do you remember where you were at 11:11 on 11/11/11?

I was sitting in a high school assembly. I don’t remember what for, who was talking, or whom I was sitting with. But I remember the sound of a bunch of phone alarms going off at the same time all across the auditorium. After a few seconds, it hit me: people had set alarms for 11:11 in order to make wishes.

Just to be clear, I did not attend a school full of superstitious people. It was a STEM magnet school, kind of like Peter Parker’s high school in Spider-Man: Homecoming, only we lived there; the sort of place where telling people you gave any credence to horoscopes would probably earn you a comparable look to saying you gave credence to Santa Claus.

Yet at least a few of them set alarms for 11:11 nonetheless.

The roots of wishing at 11:11 are a mystery, but it seems fair to assume it’s rooted in numerology—the use of numbers (and names converted into numbers) to, in the words of the Encyclopedia Britannica, “interpret a person’s character or to divine the future” via a system that assigns particular metaphysical and preternatural significance to various integer values. The term can also refer more generally to the study of the “hidden meaning” of numbers.

Though the term “numerology” only goes back to 1907, the general ideas behind it (in Western thought, at least) trace back to Pythagoras of right triangle a2 +b2 = c2 fame, who purportedly said that “all is number” and “the world is built upon the power of numbers” and really, really meant it.

Since Pythagoras’s day, the “proof” of this power has come through the perceived pattern and repetition of numbers to a degree that believers say exceeds the bounds of random chance. Though numerology might be generally considered astrology’s lesser-known cousin, numerology crops up in modern thought a lot more than it might first appear, frequently in subtle ways. It can often even wear a mask of legitimacy. One of the reasons that the scientific method is so careful and specific about how information is collected from data and the sorts of tests and thresholds results have to meet in order to be deemed significant is because of how easy it is for even the most rational minds to slip into numerological territory. After all, numerology is also about finding patterns in numbers.

Just look at Wilhelm Fliess, a German physician who lived around the turn of the 20th century. As forensic biologist Mark Benecke explains in an article for Skeptical Inquirer magazine, Fleiss was convinced that “each and every repetitive growth or decay process in human, animal, and plant life was deconstructable and understandable” through various equations and tabulations revolving around 23 and 28. He spent decades of his life and untold hours of number-crunching attempting to prove this. Though he remained convinced until his death, his arguments, controversial in his lifetime, have been completely and repeatedly disproven. The only thing that has really kept Fleiss from fading into total obscurity is his close friendship and extensive written correspondence with Sigmund Freud.

Which finally brings us to movies.

Movies love having repeated arc numbers.

Every once in a while a film will actually give its favorite numbers a special meaning within the narrative, but a lot of times it’s just a number that shows up repeatedly within a film or series or across a creator’s oeuvre in a variety of contexts: George Lucas’s beloved “1138” (apparently derived from his college phone number), Douglas Adam’s “42” of origins unknown, now a relatively ubiquitous science fiction reference point, and Kevin Smith’s “37” are just a few examples.

But some repetitive movie numbers are just a little bit weirder. Take the fake phone number 555-0134. Marla Singer’s number in Fight Club and Teddy’s number in Memento, it has also appeared in the films Harriet the Spy, Someone Like You, and the TV show Millennium. Numbers gain significance through such repetition, even without being given a specific meaning. They become open-ended symbols, if you will. Their “power” remains mysterious.

Numbers with mysterious power—though few films actually suggest numbers have divinatory capabilities, there is something at least vaguely numerological about arc numbers. And that’s without even getting into films like Darren Aronofsky’s π, Ron Howard’s A Beautiful Mind, or Joel Schumaker’s The Number 23, that explicitly explore numerology and how easily the boundaries between mathematics and numerology can be blurred.

But switching gears to more typical numerology—divinatory readings done through adding up the digits of people’s birth dates and converting the letters of their names to numbers and doing the same thing—a stroll down history lane reveals that numerology and the movies go way back. Broadway and Hollywood Movies magazine considered a numerological profile of Clark Gable worthy of being their December 1932 cover story.

Broadway and Hollywood Movies, December 1932

Earlier in 1932 that very same magazine felt the need to publish a rather irritated-sounding PSA about how they were the first one to run celebrity numerology articles and deserved due credit:

“Now several [other] publications are tumbling all over each other to copy our idea. Imitation is the highest form of flattery, but if you want to get it first you’ll have to read the right magazine, one with the courage to tell the truth. We don’t use soft soap for printing ink!”

It was not just the fan magazines that were bitten by the numerology bug, but the stars themselves as well. While we all know stories of actors changing their names or using stage names for the sake of marketability (Marilyn Monroe) or because their name was already taken (John Hawkes), a Warner Bros. directory of “Stars, Players, and Directors” published in 1937 includes no less than two examples of actresses who reportedly changed their names for numerological reasons. Sheila Bromley’s biography begins, “When the numerologists were halfway through with Sheila Fulton, she was Sheila Manners: when they were all done, she was Sheila Bromley.” A similar scenario is described in the case of Anne Nagel, who was apparently was not superstitious “except for adding an “E” to her name Ann, the better to conform with numerology.”

Covering the whole history of numerology and number symbolism in films and television is the makings of an encyclopedia-sized book as opposed to an article. With that in mind, now that we’ve laid out the groundwork, let’s narrow our focus to the number 11. It’s November, tomorrow is the 11th, and if Stranger Things were a weekly television show, we would all be really excited about seeing episode 3 right now. Eleven is also a particularly significant number in numerology—at least when looking at what sources related to what I’ve previously described as “typical” numerology. Going into other texts on number symbolism, the picture painted regarding the significance of the number 11 is sparse and somewhat contradictory—which, of course, only makes it more interesting.

According to the Chambers Dictionary of the Unexplained (as well as a number of online sources I came across), 11 is considered a “master number” because it’s a repeated digit integer. This is significant enough that it gets special treatment. When calculating numerological profiles, the digits of larger numbers are repeatedly added until they are reduced down to a single digit—unless they add up to 11. Instead of being added again to end up with 2, it remains 11. This is also the case for the other two master numbers, 22 and 33.

So, what traits are supposed to be associated with 11? Going back to the Chambers Dictionary, 11 represents intuition, as well as “illumination, psychic awareness, and idealism.” It’s associated with “old souls” and therefore linked to reincarnation and the existence of previous lives. On the less positive side, the influence of 2, 11’s “root number,” makes those associated with 11 prone to inner conflict—“an 11 may walk a fine line between greatness and self-destruction.” They also tend to be full of “nervous energy” and prone to “intense emotions.” Though several numerology websites elaborate further in sometimes contradictory ways, the features mentioned above seem relatively consistent. Outside of describing personality traits, a numerologist consulted by USA Today for an article published on 11/11/11 described the number 11 as a kind of doorway, and therefore a good starting date/time, because it consists of two 1s and one signifies beginning.

It’s when looking at texts that more generally describe the significance of the number 11 that things get confusing. In Numbers: Their Meaning and Magic, first published in 1912, author Isidore Kozminsky cites one 17th century astrologer who classes the number as “prosperous,” and a lot of other figures who have far more negative things to say. He quotes occultist Francis Barrett, who refers to eleven as the “number of sins and the penitent” and a Wescott (perhaps Brooke Foss Westcott) who says that 11 is “a number with an evil reputation among all peoples.” Kozminsky also claims that 11 used to be known in Jewish folklore symbolic of Lilith, Adam’s evil demonic first wife and ret-con rationalizing why Genesis features two seemingly conflicting origin of womankind stories. He then lists the occult symbols associated with the number 11 as a clenched fist, a muzzled lion, and “Force” as pictured by a young girl closing the jaws of a lion. The chapter on 11 concludes by saying that its a number of “violence, power, bravery, energy, success in fearless ventures, liberty, [and] the knowledge of how to ‘rule the stars.’”

Annemarie Schimmel’s much more recent book on number symbolism, The Mystery of Numbers, published in 1993, also touches on more negative than positive connotations and that 11 was a number connected to sin which often featured in Medieval theological works as “the 11 heads of error,” but then goes on to discuss the Muslim Brethren of Purity, who apparently regarded it as a “mute” number. What that is supposed to actually mean is not clarified, but it hardly seems to align with Kozminsky’s violence and power thing.

Beyond these two books, though, it is quite difficult to find sources about the historical symbolism of eleven, especially in comparison to numbers one through nine.

Of course, no discussion of 11 and numerology would be complete without mentioning 9/11, but putting together 9/11 and numerology leads down a conspiracy theory rabbit hole to an alternate universe that I have no particular desire to visit, so I’m going to just leave it at that.

Below, I’ve listed some numerological elevens—that is, 11 or numbers whose digits add up to 11—in movies and TV shows and looked at how they connect (or don’t) with the characteristics listed above. There are some interesting connections, but admittedly it basically feels like finding shapes in clouds. (Then again, that’s a fun thing to do.)

The bottom line: numbers are weird. The usage of numbers in movies and television is arguably even weirder. Perhaps it all means something or perhaps it doesn’t, but more than one person has gone more than a little insane trying to put all the pieces together. Proceed with caution.

“11” Numerology Case Studies

Stranger Things

Number: 11

Usage: Eleven (Millie Bobby Brown)

The show may be trying to call Eleven “Jane” now, but while “Jane” has the pleasant but relatively bland meaning of “God is gracious,” even many of the seemingly incompatible definitions of 11 fit with Eleven’s character. Powerful, brave, and capable of violence? Absolutely. “Young girl closing the jaws of a lion”? Turn “closing the jaws” to “obliterating” and “lion” to “evil demon creature from a parallel dimension” and it’s a match. Psychic awareness? How about super-fancy psychic powers. Success in fearless ventures? See demon story. “Evil reputation”? Definitely an issue she has to deal with, even if it’s largely undeserved. Mute? Check, at least at the beginning. (I knew there had to be a reason I couldn’t convince myself to get on board with the whole “Jane” thing…)


Number: 528491 (5+2+8+4+9+1=29; 2+9=11)

Usage: Combination to open a safe

528491 is the number Robert Fischer (Cillian Murphy) comes up with at gunpoint in the first dream layer which he ultimately uses to unlock the safe at his dream-father’s bedside. Inside is the alternate will outlining the plan Fischer needs to take to heart in order for the inception to be successful. Thankfully for Cobb, Fischer does. As such, the number is an integral part to the whole inception scheme. How well do the connotations of 11 fit? Well, “power” definitely applies. Fischer at least thinks he’s being illuminated and gaining the liberty to create a legacy of his own. Success remains to be determined, especially considering the film doesn’t really give any indication whether or not Fischer is a good businessman when Leonardo DiCaprio’s not messing with his head. Considering that inception/extraction is a crime, some of the negative connotations of 11 listed above also arguably apply, but admittedly overall this is not a narrative or a character where the various connotations of 11 fit particularly well.

Doctor Who Seasons 5 – 7

Number: 11

Usage: Eleventh Doctor (Matt Smith)

While fans have long referred to various iterations of the Doctor by numbers in order to tell them apart, once Steven Moffat took over the reigns from Russel T. Davies—that is, at the start of Eleven’s term—the number of references to the Doctor’s number skyrocketed, as can even be seen in the title of the Eleventh Doctor’s first episode, “The Eleventh Hour”. If we look at Kozminsky’s “violence, power, bravery, energy, success in fearless ventures, liberty, [and] the knowledge of how to ‘rule the stars,’” we find a good description of the Doctor, who happens to be an alien known as a Time Lord, so the ruling-the-stars bit is accurate in quite a literal way. Looking at the specifically numerological side, “illumination, psychic awareness, and idealism” also seem quite appropriate, especially since the Eleventh Doctor was, at least at times, one of the more child-like iterations of the Doctor, and not just because Matt Smith remains the youngest actor to have taken on the role. The old soul/reincarnation bit also works, for obvious reasons. On the other hand, the “mute” thing doesn’t fit. At all.

Star Trek

Number: 47

Usage: Here is a video. And that’s only a partial list.

In this case, the usage of 47 can be traced back to Joe Menosky, who wrote for both The Next Generation and Voyager and graduated from Pomona College, where 47 is kind of a big deal. It even has its own society. However, with this in mind, 47 is used primarily as an inside joke and therefore kind of thrown in randomly wherever there’s room, so there’s not much there in terms of thematic consistency.\

The Collected Works of J. J. Abrams

Number: 47

Usage: Fringe (numerous), Alias (numerous, including Room 47), Super 8 (Building 47), Star Trek XI (Enterprise built in Sector 47, Nero destroys 47 Klingon ships), Star Wars: The Force Awakens (Precinct 47, location of the thermal oscillator) *Weirdly, 47 is not one of the many arc numbers in Lost.*

If Abrams has addressed why 47 is his number of choice, the knowledge has remained quite obscure. I found one reference to a Tumblr post that has since ceased to exist which apparently said that Abrams claims it represents “the mysteries of life” in a bonus feature on an Alias DVD collector’s set, but I couldn’t find further mention of such a quote elsewhere, so take that with a grain of salt. If it is true, though, it would befit the “psychic awareness” connotation quite well.

I Origins

Number: 11.

Usage: The IMDb trivia page for the film is basically just a list of references to 11.

Considering the film’s reincarnation-centric rationality-vs.-spirituality narrative, this is the only film on the list where the use of 11 was definitely intended to reference the numerological “master number” connotations.

Other Noteworthy Uses of Eleven: Code Geass: Lelouch of the Rebellion, Ocean’s Eleven

The article Numerology Goes to the Movies appeared first on Film School Rejects.

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See David Bowie Behind the Scenes on ‘The Man Who Fell to Earth’

Courtesy of Taschen

It’s been more than 40 years since the late rock star David Bowie’s film debut in the 1976 science fiction thriller The Man Who Fell to Earth, in which the musician stars as a humanoid extra-terrestrial who comes to Earth and builds a billion-dollar conglomerate so that he can return to his drought-stricken home planet (as TIME once described the plot).

A new book — released ahead of the final stop in the touring exhibition David Bowie Is, which opens on March 2, 2018, at the Brooklyn Museum — sheds light on the making of the movie with behind-the-scenes images by David James.

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While TIME’s original review of the film called it director Nicholas Roeg’s “least successful effort” (with “a yarn that carries dank traces of Twilight Zone”), it ranked as one of Bowie’s most successful efforts by the time the magazine looked back on his career after his death on Jan. 10, 2016.

Here’s how film critic Stephanie Zacharek described his performance in his obituary:

As Thomas Jerome Newton, an alien who has come to Earth disguised as a human being, desperate to save his waterless home planet, Bowie radiates an otherworldly coolness — it seems to pour off his body the way we humans, made of regular flesh and blood, give off heat… It’s in this performance that Bowie’s magnificent eyes — one with a pupil perpetually dilated, caused when a childhood friend landed a punch that hit terribly right — cast their biggest spell. They’re haunting in the number of secrets they reveal, but also in what they hold close. His Thomas is a man who’s not a man at all. Yet by being forced to play one in his strange new landscape, he inches closer to knowing what it means to be human — and the more we watch him, the less alien he seems to us as well.

Tributes such as that — plus the album chart records set in the wake of his death — seem to affirm something the film’s director Roeg told TIME in 1983: “That’s what makes him spectacular. He goes away and re-emerges bigger than before,” Roem said. “He doesn’t have a fashion, he’s just constantly expanding. It’s the world that has to stop occasionally and say, ‘My God, he’s still going on.’”

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