cross-posted from: https://feddit.uk/post/18915016

In 1964, two young academics clambered into a red Mini and, armed with a mountain of printed slips, set out to conduct what would become the definitive survey of English folklore and traditions for the next 60 years.

John Widdowson and Paul Smith went to town centres, ­community halls, Women’s Institute meetings. They handed the simple forms out to anyone who visited Sheffield University, where they were based. And they wanted to know the answer to one simple question: what do you know to be true?

Now held in the university’s archives, the thousands of replies make for illuminating reading, creating a patchwork of observances, superstitions and local legends, passed down through families and communities.

“Don’t bring hawthorn blossom into the house. It’s bad luck,” wrote David Smith of London, who had learned this from his mother, Molly, then living in Scarborough.

The story related by Florence Swaby of Hertfordshire was perhaps a little more dramatic: “Just outside the village, part of the road is called the white highway, and at that point there are two large open fields and the devil haunts there. This is the story handed down from my great grandmother and really happened …”

Exactly six decades on, the Survey of Language and Folklore is finally being updated, with a more scientific method than two men in a Mini handing out questionnaires almost at random. The Centre for Contemporary Legend, based at Sheffield Hallam University, is to conduct the National Folklore Survey, financed with £271,000 of government money from the UK Research and Innovation body.

The project will be led by David Clarke along with Diane Rodgers, also of Sheffield Hallam, and Ceri Houlbrook and Owen Davies who founded the MA Folklore Studies course at Hertfordshire University. It will be conducted by Ipsos-UK, ­polling almost 3,000 people in the first phase to create a clearer picture of what folklore means today.

The new survey aims to address “the lack of robust research evidence into the cultural value of folklore in post-Brexit, post-pandemic, multicultural England. It aims to create new data to answer two research questions: ‘How have folkloric beliefs and practices shaped England’s social, cultural and spiritual identity?’ and ‘To what extent are ideas of nationalism and colonial attitudes informed by contemporary notions of English folklore?’”

...

“You might think that in an increasingly technological world we have no place for folklore, but it seems to be the opposite. Technology and mobile phones create a kind of disenchantment in people’s lives, and I think they’ve started to realise that. The revival of interest in folklore is a wonderful thing, and long may it continue.”

Two of weekly sci-fi anthology 2000 AD's most famous creations unite for the first time later this month in a new one-off strip from The Boys and Preacher co-creator Garth Ennis. Robo-Hunter Vs Strontium Dog, which will be published in October 30's 2000 AD Prog 2406, is a fast and funny tale that finds bounty hunter Johnny Alpha take on a job that will throw him into conflict – and perhaps an alliance – with Robo-Hunter Sam Slade.

Both characters were originally created by John Wagner (who also devised 2000 AD's most famous star, Judge Dredd, alongside artist Carlos Ezquerra) in 1978, in the very early days of the comic's run. Slade, particularly, holds a special place in Ennis's heart, as he explains to Newsarama in an exclusive interview, which also includes a first look at some of artist Henry Flint's unlettered pages from the new story.

...

These characters share some similarities – they're both guns for hire, in a sense – but they also have some pretty stark differences in tone. So how do they get on?

What makes them similar comes from their roots – along with Dredd, they form the trio of all-time great 2000 AD characters created by John Wagner, and as such are born of the American pulp fiction/tough guy tradition that John loves so much. Really they're variations on that particular theme – the gunslinger, the private eye, the cop. That's why they work so well together (in terms of the narrative, not practical cooperation).

...

Both Johnny and Sam debuted in 1978, making them two very long-running characters! What do you think has made them so enduring

See above. Their pulp origins notwithstanding, John put enough original ideas into both characters that readers were constantly curious about them, we were always left wanting more. Their personalities, settings, supporting casts, technology and so on were endlessly intriguing, and their individual motivation meant we'd be getting plenty more – Johnny keeps on hunting bad guys because he doesn't know what else to do with his life, Sam will always take on another job because he's desperate for cash (even when he did eventually make his fortune and quit, bloody Hoagy and Stogie could be relied upon to ruin everything for him).

...

2000 AD Prog 2406 is published by Rebellion on October 30. The bumper-sized issue also includes new episodes of Judge Dredd, Rogue Trooper, The Out, Azimuth, and Brink.

Now available to book at the Odeon, so should be on in a range of multiplexes.

cross-posted from: https://feddit.uk/post/18831293

At the Lucasfilm Publishing: Star Wars: Stories From a Galaxy Far, Far Away panel at New York Comic Con, attendees learned about an all-new ongoing Star Wars comic series coming this March from Marvel Comics as part of their next phase of Star Wars comics, Star Wars: Jedi Knights from Marc Guggenheim and Madibek Musabekov.

"Marvel's first series focusing on the guardians of peace and justice in the galaxy will be brought to you by Emmy Award-winning screenwriter and acclaimed Star Wars comics writer Marc Guggenheim (Star Wars: Han Solo & Chewbacca, Star Wars: Yoda) and drawn by rising star artist Madibek Musabekov (Star Wars, X-Men Red). "Taking place before The Phantom Menace, STAR WARS: JEDI KNIGHTS stars the Jedi Order as fans came to know it during the Prequel Trilogy including legendary characters like Qui-Gon Jinn, Obi-Wan Kenobi, Yoda, Count Dooku, Mace Windu, and many more. In addition to featuring iconic and fan-favorite Jedi, the series will introduce all new Jedi characters that served the Republic during this pivotal era. Each issue will spotlight a different Jedi duo on a different mission throughout the galaxy, but an overarching threat binds them together. Who is the mysterious new villain targeting Qui-Gon Jinn for death and how will it force the Jedi Order to evolve for a new age? Marc and Madibek deliver a blockbuster first issue with a cliffhanger that kicks off one action-packed issue after another featuring your favorite Jedi," Editor Mark Paniccia teased. "You've literally never seen so much lightsaber action in a comic book!"

At the Lucasfilm Publishing: Star Wars: Stories From a Galaxy Far, Far Away panel at New York Comic Con, attendees learned about an all-new ongoing Star Wars comic series coming this March from Marvel Comics as part of their next phase of Star Wars comics, Star Wars: Jedi Knights from Marc Guggenheim and Madibek Musabekov.

"Marvel's first series focusing on the guardians of peace and justice in the galaxy will be brought to you by Emmy Award-winning screenwriter and acclaimed Star Wars comics writer Marc Guggenheim (Star Wars: Han Solo & Chewbacca, Star Wars: Yoda) and drawn by rising star artist Madibek Musabekov (Star Wars, X-Men Red). "Taking place before The Phantom Menace, STAR WARS: JEDI KNIGHTS stars the Jedi Order as fans came to know it during the Prequel Trilogy including legendary characters like Qui-Gon Jinn, Obi-Wan Kenobi, Yoda, Count Dooku, Mace Windu, and many more. In addition to featuring iconic and fan-favorite Jedi, the series will introduce all new Jedi characters that served the Republic during this pivotal era. Each issue will spotlight a different Jedi duo on a different mission throughout the galaxy, but an overarching threat binds them together. Who is the mysterious new villain targeting Qui-Gon Jinn for death and how will it force the Jedi Order to evolve for a new age? Marc and Madibek deliver a blockbuster first issue with a cliffhanger that kicks off one action-packed issue after another featuring your favorite Jedi," Editor Mark Paniccia teased. "You've literally never seen so much lightsaber action in a comic book!"

In October 1964, a young man was driving to a dance in Hamburg, Pennsylvania, when his radio began to pick up a strange frequency. At first he thought it was just tuning in to a local channel, but then voices came through discussing some kind of nuclear war – and issuing bomb reports.

Recalling the incident decades later, the driver described the simultaneous appearance of a star overhead followed by the sudden realisation that he could see through the floor of his car.

‘I hadn’t done any dope, I wasn’t doing any beer,’ he adds so casually that you feel inclined to believe him. And yet his body felt like jelly. The episode only lasted what seemed like five or ten minutes, but on arriving at the dance, the man realised that the half-hour journey had actually taken nearly two hours. He never found a logical explanation for what had happened.

Between 1980 and 1992, a Cornell graduate from Ohio named John P. Timmerman travelled across America with a recorder and case of cassette tapes. Diversifying from his day job as the owner of an air-conditioning business, he spent his weekends conducting interviews in shopping malls as a volunteer for the Center for UFO Studies. In each mall he visited, he asked shoppers whether they had ever experienced anything inexplicable. The jellified driver was just one of nearly 1,200 people he spoke to across the course of his peculiar career.

We Are Not Alone, which airs on BBC Radio 4 this Sunday evening, replays a selection of these interviews in one continuous stream. There is no introduction – and no explanation – and the only interruptions during the programme are the clicks of a tape ending, the ‘this is side two, cassette one’, type markers made by Timmerman himself and, in the final three minutes, some appreciative reflections from Timmerman’s son. I became quickly hooked.

What struck me, in particular, was how many of the close encounters described took place when people were travelling. Aliens, it would seem, are fascinated by human transport. One woman spoke of a saucer-like object with multi-coloured lights zooming towards her car and disappearing only when another car came into sight. A man with 40 years’ experience in the aviation industry assessed that the sophisticated flying object he saw had no jet engine and was manifestly ‘not from this Earth’.

Many reports released in recent years offer more comprehensive descriptions of sightings than those gathered by Timmerman. But the raw beauty of some of the latter nevertheless astounds.

The captain of a commercial jet summoned the most striking image of the glow he observed while flying north of the Grand Canyon. It was ‘something like the light of the Aurora Borealis’, he recalled, ‘only it was encompassing most of the western sky’. Within it appeared a sphere ‘about the size of a moon when it comes over the horizon’. The moon itself was half-full and directly overhead.

On his journey, Timmerman inevitably encountered some cranks. Top marks go to the woman who informed him that UFOs live inside mountains and only come out at night. ‘How did you know this?’ Timmerman asked her. ‘A lady told me on the bus,’ she replied.

But for the most part, the people recorded were characterised by their wonder and yearning for something beyond what the eye usually sees. The fascination you hear in their voices is as captivating as the stories themselves. The programme will leave you gazing skywards.

You can listen on Radio 4.

A man has been discovered to have two extra penises by medical students dissecting his body, marking only the second time ever someone has been found to have three penises.

This incredibly rare triple penis phenomenon was found by students at the University of Birmingham Medical School in the U.K. during a dissection of a 78-year-old man who had donated his body to science, according to a new paper in the publication Journal of Medical Case Reports.

According to the researchers, the man may never have known he had three penises.

This condition, known as triphallia, was only seen in a human for the very first time in 2020 in a newborn, and is thought to affect one in every 5 to 6 million live births.

"Triphallia, a rare congenital anomaly describing the presence of three distinct penile shafts, has been reported only once in the literature," the researchers wrote in the new paper. "Without dissection, this anatomical variation would have remained undiscovered, suggesting the prevalence of polyphallia may be greater than expected."

Having two penises, known as diphallia, has been seen in around 100 human cases, and occurs once in every 5.5 million live births. Usually, doctors remove the extra penises at birth if they are externally visible, but they are often left alone or go unnoticed entirely if hidden inside the body.

The 78-year-old man appeared to have normal genitals externally, but once his penis was dissected, the students discovered two other tiny duplicate penises hidden inside his scrotum.

Described as The Purge with werewolves, Steven C. Miller‘s (Silent Night) Werewolves is headed our way this December, and the crazy official trailer has arrived this morning

The insanely cool premise? “One year ago, a Supermoon turned millions into werewolves. This December, it’s happening again.” Watch the Werewolves official trailer below!

Trailer

cross-posted from: https://feddit.uk/post/18769198

Sean Astin may not be getting the Goonies sequel he’s hoping for, but he does have a role in an upcoming movie that has a shot at achieving cult classic status: a horror comedy called The Invisible Raptor, which will be receiving a theatrical and digital release (courtesy of Well Go USA) on December 6th. The film had its world premiere at the 2023 Sitges Film Festival and currently, with seven reviews, has a 100% fresh score on Rotten Tomatoes.

Directed by Mike Hermosa from a screenplay by Mike Capes and Johnny Wickham, The Invisible Raptor has the following synopsis: After a top-secret experiment goes wrong, a hyper-intelligent invisible raptor escapes the lab and begins wreaking havoc in the surrounding neighborhood. When the creature’s identity is uncovered, it soon becomes clear that a disgraced paleontologist—alongside his ex-girlfriend, an unhinged amusement park security guard, and a local celebrity chicken farmer—is the town’s only hope for surviving the raptor’s ravenous rampage.

...

The positive reviews of The Invisible Raptor have described it as “the smart version of a stupid movie,” “hilariously dumb,” “downright batshit,” “joyously silly,” and “inventive throughout,” and it’s said to have “likeable characters” and some “genuinely entertaining gore.” That sounds like a good time to me, so hopefully a trailer will be dropping online soon.

Thankfully, there are new projects on the horizon, including a new comic book series which sounds like it's set to be a sure-fire hit with fans.

It's set to bring fan-favourite characters back to the fray. Almost a decade since the Star Wars universe burst onto the comic book scene, some of its most well-loved series, such as Star Wars and Star Wars: Darth Vader, have come to an end.

With such important series finding their conclusions, fans have been speculating as to what they can expect next from Marvel Comics.

Luckily, the future is looking bright.

Last week saw Marvel Comics announce that an upcoming one-shot story was set to release in January 2025.

Titled Star Wars: A New Legacy, it will be the brainchild of many veteran writers and will also welcome back some much-loved characters such as Doctor Aphra and Beilert Valance.

“This is the monumental moment we’ve been waiting for: celebrating a decade of the re-union of Marvel Comics and Star Wars,” editor Mark Paniccia exclaimed.

To quote Heath Ledger’s version of the clown prince of crime, maybe some wag should be scrawling “Why so serious?” on glass-fronted offices at Warner Bros Discovery this week, as executives there contemplate the box-office implosion of Joker: Folie à Deux. A catastrophic $37.7m opening weekend, the largest second-weekend drop for a DC film (81%), a worldwide take currently standing at a piddling $165m … how has the studio gone from the 2019 original, a billion-grosser that was then the highest earning R-rated film, to this?

...

With bubonic word of mouth, Joker: Folie à Deux is now projected to lose $125m-200m, depending on whose budget estimate you believe. If it’s the $300m figure being generally touted for production and marketing, then this is clearly what has hobbled the film; it would leave it needing as much as $475m to break even. Risky reinventions of hallowed pop-cultural icons are a lot more feasible on the first film’s sensible $60m budget.

$300m is a shocking amount. The money is up on the screen in the sense that director Todd Phillips and star Joaquin Phoenix were both paid $20m and supporting actor Lady Gaga $12m; over a quarter of the $200m production budget. But other than beautiful lighting and cinematography, and the climactic sequence, the film doesn’t look outrageously lavish. A cloistered affair set largely in Arkham State Hospital and the courtroom, there’s virtually nothing in the way of extended CGI pyrotechnics to explain the spend. The likeliest explanation is that it was a big bet born out of pandemic desperation for a surefire hit when cinemas reopened.

...

Phillips evidently wanted to course-correct after accusations that he had indulged toxic fandom in the first film. Having Arthur Fleck definitively dismiss the Joker as a pathetic psychological crutch certainly gets his point across.

But chastising the fanbase so openly is tantamount to box office self-harm (probably why the director refused to test-screen Joker: Folie à Deux). The impunity of a $300m budget seems to have led Phillips to mistake this for an auteur film, and shooting during a period of regime change at both Warner and DC reportedly allowed him to operate with weak oversight. According to Variety, he refused to liaise with new DC heads James Gunn and Peter Safran, saying: “With all due respect to them, this is kind of a Warner Bros movie.” But he also pushed back on new Warner president David Zaslav’s suggestions for lowering the budget, including moving the shoot to London rather than Los Angeles.

...

The film’s nosedive will have repercussions for the still-floundering DC and beyond. This kind of overly conceptual punt will surely become verboten in blockbusters for some time, and you wonder if it will force more conservative reimaginings of other returning icons, particularly Bond. It’s another question whether this almighty flop will give pause for thought in Hollywood about squeezing beloved IP until it has no more juice to give. Could Phillips’ sluggishness in converting realism into expressionism be something to do with the fact that this is the fifth major outing for the Joker in just over 15 years?