Fire & Sky

The Informer (2019) dir. Andrea Di Stefano

EMILY BRONTË'S WUTHERING HEIGHTS (1992) dir. Peter Kosminsky

When the play first was performed, JM Barrie et al were so concerned this might happen that they instructed the orchestra to drop their instruments and clap at this point, just in case

(Tink was revived each time anyway)

You slipped this note underneath my door night before last. I did? I wanted to help you. For Laura.

1x02 | HARD SALT BEEF A KNIGHT OF THE SEVEN KINGDOMS (2026-)

“Okay, Chief, take 'em away. I'm gonna go home and sleep with my wife.”

you might not like it but this is the guy who can probably pull the sword from the stone

Dingo (Alpine) | Michelle J Photography

Singin' in the Rain (1952) dir. Stanley Donen & Gene Kelly

music video for "tonight, tonight" (1995) by the smashing pumpkins

A Knight of The Seven Kingdoms | "Seven"

YOUR MONSTER (2024) dir. Caroline Lindy

“When [Juraj Herz's] Panna a netvor was released the main tenor of the reception seems to be one of respect for it as a genre experiment. The Aberdeen Evening Express called it “haunting”. Cambridge Daily News called it “menacing,” and the Huddersfield Daily Examiner called it “a little frightening.” However, I think, to reduce this film merely to an experiment in turning a fantastical romance into a horror picture does this masterpiece no service, and a masterpiece it is. There were of course some people who saw this in the day, the Huddersfield Daily Examiner also called the film “spell-binding”, Senses of Cinema wrote “Panna a netvor has the capacity to horrify in the best and the worst of ways. Yet like any true fairy tale, it is unlikely ever to leave its audience bored or indifferent”, and to be honest I couldn’t agree more. The strength of this film is that it doesn’t shy away from the threat of the premise but inside it is a deeply beautiful film. It is shameless in its authenticity and truly gets the appeal of its fairytale nature, to the extent that the climax brought me to tears, possibly the first time any film written about in this column has achieved that. What this film understands is that you need to not just have no irony in telling the story, but to capture the appeal of the fairytale that Cocteau talked of, you need to strip back all of your layers of detachment so it comes from a place of total sincerity, which this film definitely does. Letterboxd amongst many other sites lists this primarily as a horror film, and I was drawn to it on the basis of that genre experiment, but it’s so much more.” — Saoirse’s Cult Corner #45: Beauty and The Beast (Panna a netvor) (1978)