A coming of RAGE love story from acclaimed writer Diablo Cody (Jennifer’s Body) about a misunderstood teenager and her high school crush, who happens to be a handsome corpse. After a set of playfully horrific circumstances bring him back to life, the two embark on a murderous journey to find love, happiness… and a few missing body parts along the way.
Starring Kathryn Newton and Cole Sprouse. ❤️🩹 LISA FRANKENSTEIN. Written by Diablo Cody & directed by Zelda Williams.
thoughtportal reblogged
creature in fiction: *is portrayed as bad and mean*
8 year old me: but what if there was a good and nice one :0
there’s no age limit for this
youre right…………..
me at 8: but what if you gave it a hug?
me at 31: but what if you gave it a hug?
The neurodivergent reaction to bad and mean creatures: but what if someone loved this unlovable thing? Maybe it would be possible for me, also a strange and burdensome and unlovable thing, to be loved as well?
it makes me think of that part in Frankenstein when the monster asks that a friend, one fucked up like he, be made for him. He’s hurt because everyone he has encountered has treated him like shit.
“There was none among the myriads of men who existed who would pity or assist me; and should I feel kindness towards my enemies? No: from that moment I declared everlasting war against the species, and, more than all, against him who had formed me, and sent me forth to this insupportable misery.”
Who were the Romantics? And how did they shake up society and culture at the turn of the 19th century? Speaking to Ellie Cawthorne, Daisy Hay answers your top questions on the rebellious literary movement whose members’ lives were as unconventional as their art, touching on the intense but difficult collaboration between Wordsworth and Coleridge, the outrageous reputation of Lord Byron, and the literary significance of Mary Shelley’s Frankenstein.
thoughtportal reblogged
Frankeinstein is always fertile ground for what-if scenarios because, okay, supposing for the sake of argument that Victor doesn’t immediately freak out and run away, what was his plan? Even if everything had gone perfectly, how exactly was he going to explain the nine-foot-tall giant in his dorm room without immediately outing himself as a necromancer? There is no conceivable sequence of events following the Creature’s reanimation that doesn’t go horribly wrong.
“so, your new roommate is a bit, uh-”
“He’s Dutch”
I was thinking about the power of Frankenstein not to raise the dead and become like god, but to redress the unjust nature of death (femicide in particular) to make god irrelevant. I was thinking about how not all women bear children, and some of us make people in other ways. How we all make each other. How we’re all riding the lightning, just staying alive. And then there was a poem.
—ME
Frankenstein [1931] and Young Frankenstein are about mad scientists who have to come to terms with their creations, sure, but is it possible that movies about men who create monsters have daddy issues to dissect?
Frankenstein is about a man who tries to figure out how to create life without the involvement of his fiancée and—surprise!—he becomes an absentee dad. Young Frankenstein is about a dad who tries the opposite.
Join Sarah and Alex as they discuss.
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In Why Are Dads, Sarah Marshall and Alex Steed attempt to understand what the hell it means to be the grown children of dads and other dad-like figures. And, as they do with all difficult subject matter, they do so by looking through a pop culture lens.
It was on a dreary night of November, that I beheld the accomplishment of my toils. With an anxiety that almost amounted to agony, I collected the instruments of life around me, that I might infuse a spark of being into the lifeless thing that lay at my feet. It was already one in the morning; the rain pattered dismally against the panes, and my candle was nearly burnt out, when, by the glimmer of the half-extinguished light, I saw the dull yellow eye of the creature open; it breathed hard, and a convulsive motion agitated its limbs. (38)
Mary Shelley’s Frankenstein is a story that seems familiar to everyone—even people who haven’t read the novel (or seen any of the movie adaptations). But the novel fleshes out the story that everyone is familiar with (a scientist creates a creature out of dead parts, releasing a force of havoc and destruction upon the world) in a number of intriguing ways. Suzanne and Chris discuss how the novel tackles creation, parenting, corporeality, nature, and death—as well as how thoroughly it is connected to Paradise Lost, and why it has inspired so many adaptations.
Show Notes.
We read the original 1818 text of Frankenstein. It‘s also available on Project Gutenberg or as a free audiobook on Librivox.
The Strange and Twisted Life of Frankenstein, which includes some information about racialized imaginings of the creature.
Next time: Walt Whitman, Leaves of Grass. Also on Gutenberg and Librivox.
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It’s the 222nd anniversary of Mary Wollstonecraft’s death. She died giving birth to Mary Shelley. Learn about her in this episode of In Our Time.
But it is Moby-Dick’s premonitory brilliance that continues to make it relevant. Melville predicts mass extinction and climate breakdown, and foresees a drowned planet from which the whale would “spout his frothed defiance to the skies”. And in its worldwide pursuit of a finite resource, the whaling industry is an augury of our globalised state.
Moby-Dick may be the first work of western fiction to feature a same-sex marriage: Ishmael, the loner narrator (famous for the most ambiguous opening line in literature) gets hitched – in bed – to the omni-tattooed Pacific islander, Queequeg: “He pressed his forehead against mine, clasped me round the waist, and said that henceforth we were married.” Other scenes are deeply homoerotic: sailors massage each others’ hands in a tub of sperm oil and there is an entire chapter devoted to foreskins (albeit of the whalish variety).
The alluring figure of Queequeg is one of the first persons of colour in western fiction, and the Pequod carries a multicultural crew of Native Americans, African Americans and Asians (evocatively reflected in the paintings of the contemporary black American artist Ellen Gallagher). It is a metaphor for a new republic already falling apart, with the pursuit of the white whale as a bitter analogy for the slave-owning states. It is why, in 1952, the Trinidadian writer CLR James called Moby-Dick “the greatest portrayal of despair in literature”, seeing an indictment of imperialism in Ahab’s desire for revenge on the whale.
acclaimed for his sensual books about the “exotic” inhabitants of the Marquesas islands. But by 1849, his output had become increasingly obscure, and that October, he arrived in London, seeking inspiration. Installed in lodgings overlooking the Thames at Charing Cross, he spent his time visiting publishers and getting drunk. Stumbling home, he saw whales swimming down Oxford Street. It was if they were haunting him.
A month later, after a diversion to Paris, he returned to New York with a new book he had been given: Mary Shelley’s Frankenstein. Its tale of perverted nature and overweening ambition fed into Moby-Dick. The first version of the book was published in Britain in 1851, entitled The Whale. It came out in the US later that year as Moby-Dick – and failed, miserably. When Melville died 40 years later, he and his book were long forgotten.
this is the best way to describe the difference between the book and ALL the horrible adaptations of the book.