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locusfandomtime · 4 months

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okay so with all the hermitcraft muppet stuff… i’m thinking… hermitcraft The Muppets (2011) au… it works beautifully hear me out…

y/n is an autistic person who is OBSESSED with hermitcraft. however by this point, hermitcraft has been disbanded for years. they visit the season 9 world - now under the ownership of some corporation - and accidentally overhear evil xisuma’s plans to purchase the original hermitcraft worlds and destroy them, and the hermits would be unable to stop him, unless they buy the world first for an even higher amount of money than ex is offering. y/n refuses to let this happen and tracks down xisuma, explaining the situation. xisuma doesn’t want to have all the things he worked on with his friends destroyed, so decides, in order to raise the money needed to stop ex, all the hermits must reunite and hold a twitch subathon.

starting with joe hills, y/n and xisuma track down the hermits and ask them to join, via montage. they’ve all moved on and have new jobs. hypno is doing some modded stuff, tango is an overworked game dev, doc is a tomato farmer, gem is a serial killer, mumbo is biking around europe, grian is procrastinating, cleo is a fashion director, zedaph is a gameshow host, etc etc. they all agree to help, with varying degrees of hesitance or eagerness

finally, they track down etho. he is now working for a big name company designing redstone machines full time. despite their best efforts, etho refuses to help, satisfied with his current job and lacking any motivation for hermitcraft projects. everyone is discouraged with etho not joining the project, especially bdubs. however gem calls etho washed up and then etho suddenly decides to join them to prove his worthiness

they have a day to try and build as many minigames and cool builds as possible. several “celebrity guests” show up for the event, including scott and martyn, and wilbur soot, because he’s enamoured with grian. the stream starts, and they try to do competitions and play games, however, the helsmits are there and are trying to sabotage the event. y/n has been questioning this entire time what type of player they are - redstoner, builder, etc - failing to succeed in any of those categories, however, after a heartful talk with joe hills, accepts that there are talents not recognised by the minecraft community at large but are still admirable, and they do a dramatic poetry reading together.

in the end, evil xisuma, refusing to accept defeat, cuts out the power to stop the stream 23 hours and 59 minutes in - a minute short of the time goal. the hermits are at first devastated but then remember that as with any stream like this, they already reached the monetary goal 5 minutes in. in fact, they reached double the goal the moment grian talked, and five times the goal the second etho was in frame. zedaph puts on his wormman costume and talks to ex, who reveals he has only been so focused on destroying hermitcraft because it made him sad to see the hermits celebrated but his favourite hermit of all - wormman - ignored. wormman explains that its okay, because of his nature of being a superhero, he needs to stay out of the limelight to best protect his identity, but he appreciates ex’s dedication to him. the other helsmits run away, plotting their revenge. a new season of hermitcraft is announced, and y/n is unanimously voted to be part of it. gem kills someone. scar proposes to grian. the crowd goes wild. everyone claps. the shot zooms out, revealing the entire thing to have been playing on a computer monitor. cut to zloyxp, pixlriffs, and lyarrah sitting in front of it, furiously taking notes for the first recap in many years

#i have rewatched that movie. so many times.#the y/n autistic main character thing isn’t a joke btw thats like hliterally the plot of the movie. and fucking sheldon bazinga plays him #y/n isn’t necessarily even the reader. skizz could be y/n with a few edits and more connection to impulse tbh #i did edit things around to make it more logically consistent in this au but basically everything written here legit happens in the movie #long post #locus fandom time #hermitcraft #joe hills #i think he is pretty relevant here. given this entire thing is inspired by him #hermitblr #the muppets

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cowboysimmer · 1 year

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New World for TS3: Welcome to Älskar

Download link is under the cut!

Hi simmers!

First, I want to say that this is quite an important journey for me, because after years I have dared to use the CAW tool, and im happy with the results. Please, keep in mind that it is still under development.

Aurora Skies is one of my favorite TS3 store worlds and has a lot of potential, so I decided to make a world based on a fictional island, named Älskar (which means "to love" in Swedish). The idea came to me when I returned back from the arctic, specifically Tromsø, where I went to see the Northern Lights and was lucky enough to appreciate them in the starry sky of the Arctic Circle.

(づ ◕‿◕ )づ

Technical stuff:

Small world

+ Than 40 lots (residential and community)

Requires all EPs and SPs (SPs is something I'm not sure about because I used what I liked, but it is recommended to have everything)

Requires certain sets, venues, store items from the Store (I'll list which ones below)

It is very smooth, too much, which I like. I have also added events generators to make the experience more dynamic.

Aurora Skies is required for rooftops (but this can be skipped)

Store Sets:

Bohemian Garden

Cow Corral

More Magic!

Killer Classics

Up the Ante Compilation

Lullabies and Nursery Rhymes

The Now and Then House (placed in the world)

Grandpa's Grove (placed in the world)

Skylight Studio (placed in the world as a gym)

Tiny Prodigies Early Learning (placed in the world)

Ultra Lounge

May 2011 Compilation

Lots from other creators:

Planet Wobbit by Napoleon Frost

Joe's Corner by Everlasting-Garden

Some houses by Pixelbots

The Craftsman House by the lovely Theplumdot

Disclaimer: Other sets were used but not as widely used as other sets. I will provide you the link so that you can obtain the store in .package so that you have the complete experience, but even without having some sets this experience would be perfect.

Now, if you want to sail the seven seas (this was possible thanks to bl00diedhell) like I did back then... here you go!! 🏴‍☠️

Please, do not hesitate to provide me with your feedback, that would be amazing!

♡♥💙

Download the World (Mediafire) here:

Älskar (V1) welcomes you.

xoxo,

Stuart!

(ﾉ◕ヮ◕)ﾉ*:･ﾟ✧

PS: As a simmer, I hate having to go through the launcher in order to install Worlds, so... the file is in .world, so in order to install it without using the launcher you have to follow this path:

– C:\Program Files (x86)\Origin Games\The Sims 3\GameData\Shared\NonPackaged\Worlds. -- Origin version

– C:\Program Files\Electronic Arts\The Sims 3\GameData\Shared\NonPackaged\Worlds -- Disc Version

#sims 3 custom world #ts3cc #ts3 download #ts3 gameplay #sims 3 simblr #sims 3 #ts3 worlds #ts3 caw #ts3 simmer #ts2 tumblr #ts2 custom content #ts3 scenery #ts3 edit #ts3 store #sims 3 worlds #sims 3 download

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brokehorrorfan · 5 months

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The Raid: Redemption will be released on 4K Ultra HD (with Blu-ray and Digital) on January 16 via Sony. The 2011 Indonesian action thriller is known internationally as The Raid.

Gareth Evans (V/H/S/2, Apostle) writes and directs. Iko Uwais, Joe Taslim, Donny Alamsyah, Ray Sahetapy, and Yayan Ruhian star.

The unrated version is presented in 4K with a new color grade, supervised by Evans, and Dolby Vision. It includes Indonesian Atmos and English 5.1 sound, along with the original and international scores. Special features are listed below.

Special features:

Audio commentary by writer-director Gareth Evans

Behind-the-scenes video blogs

Inside the Score

An Evening with Gareth Evans and composers Mike Shinoda and Joseph Trapanese

In Conversation with Gareth Evans and Mike Shinoda

Behind the Music with Mike Shinoda and Joseph Trapanese

Anatomy of a Scene with Gareth Evans

Claycat's The Raid

The Raid retro TV show faux ad

Theatrical trailer

Deep in the heart of Jakarta's slums lies an impenetrable safe house for the world's most dangerous killers and gangsters. Until now, the rundown apartment block has been considered untouchable. Cloaked under the cover of pre-dawn darkness and silence, an elite SWAT team is tasked with raiding the safe house in order to take down the notorious drug lord that runs it. But when a chance encounter with a spotter blows their cover and news of their assault reaches the drug lord, they find themselves stranded on the 6th floor with no way out. The unit must fight their way through the city's worst to survive their mission.

Pre-order The Raid: Redemption.

#the raid #the raid: redemption #gareth evans #iko uwais #joe taslim #yayan ruhian #dvd #gift #the raid 2 #mike shinoda #joseph trapanese #the raid redemption #indonesian #4k uhd #xyz films

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josefksays · 9 months

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RIP William Friedkin (1935-2023) - Oscar winning director known for the classics The French Connection (1971), The Exorcist (1973) and To Live and Die in L.A. (1985) has died today. Other credits include The Boys in the Band (1970), Sorcerer (1977), Rampage (1987), the TV remake of 12 Angry Men (1997), Hunted (2003), Bug (2006), and Killer Joe (2011). His final film The Caine Munity Court-Martial is expected to get a release on late 2023.

#William Friedkin #In Memoriam #directors #The Exorcist #The French Connection #Sorcerer #To Live and Die in L.A.#The Boys in the Band #Jade

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mtonino · 9 months

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Not only The Exorcist,

Goodbye William Friedkin

The French Connection (1971)

The Sorcerer (1977)

Bug (2006)

Killer Joe (2011)

#william friedkin #dotd #07/08/2023 #rip #the french connection #the sorcerer #bug #killer joe

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madsmilfelsen · 1 month

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class was cancelled today and there was no one to stop me :( https://archiveofourown.org/series/4045729

#killer joe #killer joe 2011 #I’ve been staring at a wall for a week with poprocks for brains if I haven’t gotten this out my system I’m doomed #I see now it’s actually been five days but its felt like nineteen years

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injoymalepics2 · 26 days

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Matt McConaughey in Killer Joe (2011)

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justforbooks · 9 months

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The film director William Friedkin, who has died aged 87, was slightly older than the “movie brats” group (Steven Spielberg, Martin Scorsese and so on) credited with revolutionising US cinema in the late 1960s and early 70s.

Like Robert Altman and Sidney Lumet, Friedkin had come to cinema through TV and documentary, but made a vital contribution to the American new wave. His double-whammy in the first half of the 1970s, The French Connection (1971) and The Exorcist (1973), met with critical acclaim and a level of box-office success that elevated them into pop-culture phenomena. They also managed to overshadow everything else he did.

Nevertheless it would be wrong to characterise his career as a rise and fall. His finest hour was arguably the 1985 cop-and-counterfeiters thriller To Live and Die in LA, while he scored a modest triumph late in the day with his 2011 adaptation of Tracy Letts’s southern-fried noir play Killer Joe. But his steady hand, his timing and his commercial savvy were evident in those early hits. The French Connection, with its preference for hand-held, vérité-style camerawork and on-the-hoof sound recording, sometimes at the expense of intelligibility, took the American policier to a level of authenticity and grittiness to which the genre still aspires today.

Friedkin was never shy of owning up to his mistakes; his 2013 memoir, The Friedkin Connection, opens with an account of various regrettable errors, including passing up the chance to buy an ownership stake in Mike Tyson and throwing away some sketches by the then-unknown artist Jean-Michel Basquiat. To these can be added his reluctance to cast Gene Hackman as The French Connection’s dishevelled antihero, “Popeye” Doyle.

Actor and director fought regularly. “His outbursts [onscreen] were aimed directly at me … more than the drug smugglers.” Among the film’s five Academy Awards was a best actor prize for Hackman’s snarling performance, and one for Friedkin as best director.

The Exorcist followed Roman Polanski’s Rosemary’s Baby (1968) in bestowing upon the modern horror movie a new sheen of class and respectability. Friedkin integrated serious themes with extreme gore and intense terror, but rejected the idea that The Exorcist belonged to the horror genre. “I think it deals with issues far more profound than what you find in the average horror film. To be frank with you, Bill [the writer William Peter Blatty] and I never set out to make a horror film. The idea never crossed our minds. To me, The Exorcist was a story about the mystery of faith, and I tried to depict that as realistically as possible.”

His parents and grandparents had fled Kiev (Kyiv) in the early 1900s, making the passage to the US by hiding on freighter ships. William was born and raised in Chicago, the son of Rachel (nee Green), who gave up her job as an operating-room nurse when he was born, and Louis, a former semi-professional softball player turned cigar maker and men’s clothing salesman. Friedkin characterised his own adolescence as one of frustration and thwarted dreams: “From an early age, my ambitions overwhelmed my abilities,” he wrote. “It’s a miracle I didn’t end up in jail or on the streets.”

He graduated from Senn high school in 1953 and got a job in the post-room of a local Chicago television station, WGN-TV. He worked his way up through various positions, acting as floor manager on several hundred shows before a vacancy opened for a director of live drama.

But it was a cinematic experience around the same time that proved formative. One afternoon in the early 60s, Friedkin went to see Orson Welles’s Citizen Kane for the first time, entering the cinema at noon and not leaving until late that evening, having watched the movie five times back-to-back: “No film I’ve seen before or since meant so much to me. I thought, ‘Whatever that is, that’s what I want to do…’ On that Saturday, just three years younger than Welles when he created Kane, I resolved to become a film-maker.”

In 1962, he made The People vs Paul Crump, an award-winning documentary about a man on death row, and also directed an episode of The Alfred Hitchcock Hour, before knocking out four features: Good Times (1965), a vehicle for the musical duo Sonny & Cher; the comedy The Night They Raided Minsky’s and an intermittently electrifying screen version of Harold Pinter’s The Birthday Party (both 1968); and another theatre adaptation, The Boys in the Band (1970), about a group of gay friends.

In his 1998 book Easy Riders, Raging Bulls, the film historian Peter Biskind wrote that on the basis of those last two films, Friedkin had acquired a “reputation for being an art film director, the kiss of death. He was depressed, afraid he would never work again.”

Salvation came in the shape of a screenplay adapted from a factual bestseller about the NYPD’s campaign to smash a drug ring. Friedkin brought an unprecedented level of realism to The French Connection. A key sequence, thrillingly executed by Friedkin, features a seven-minute chase through Brooklyn, with Popeye (in a stolen car) trying to outrun and intercept his quarry, who has hijacked the train speeding along the elevated track above him.

Friedkin was not bashful about his Oscar win: Biskind reported that the director had his chair on the set of The Exorcist emblazoned with the words “An Oscar for The French Connection”. His behaviour had also become harsher and unrulier, even if there was usually a method to his madness (such as slapping a real priest, who had been hired to play an absolution scene, in order to produce the required nervous energy).

The Exorcist was a calculating combination of the portentous and the shrill, mixing highfalutin religious inquiry with brazenly shocking scenes showing Regan (played by the 13-year-old Linda Blair) masturbating with a crucifix, growling obscenities and projectile vomiting. Friedkin’s grasp of tone was sure, though the movie sometimes seemed to be in denial about its own carnivalesque tactics.

These two defining peaks of Friedkin’s career were followed in 1977 by his most conspicuous commercial flop: Sorcerer, a thriller about four men driving a combustible cargo of dynamite through the rainforest. It was based on the same source material as Henri-Georges Clouzot’s masterpiece The Wages of Fear, and while not in the same league it was nonetheless undeserving of its box-office fate.

Various factors were blamed, ranging from Friedkin’s hubris to a release date adjacent to Star Wars. It would not be until a remastered print of Sorcerer was screened at the Venice film festival in 2013 that it would begin to lose its unwarranted taint of failure. He insisted it was the work of his which remained closest to his original vision: “The way I saw the film in my mind’s eye, that is the one that’s pretty much there.”

His usual bluster was absent from his next film, the low-key comedy-thriller The Brink’s Job (1978), a dramatisation of the $3m Brink’s robbery in Boston, which Friedkin made when his proposed film of Born on the Fourth of July (later shot by Oliver Stone) fell through.

The mixture of sensational subject matter and po-faced tone that had served him so well on The Exorcist did not prove so successful with Cruising (1980), a lurid and occasionally objectionable thriller starring Al Pacino as a cop who goes undercover in the gay S&M subculture to catch a murderer.

An early draft of the script had been leaked, prompting an onslaught of objections from the gay press, and by the time the film emerged heavily trimmed by the censor’s scissors, it was something of a tarnished cause célèbre. Though Cruising is more complex and conflicted than some of its detractors would allow, it looks unlikely to undergo the same critical rehabilitation as Sorcerer.

To Live and Die in LA showed that not only had Friedkin’s French Connection-era knack for dynamic action sequences not deserted him, but he could combine it with a slicker, stylised aesthetic. The rest of the 80s, however, was not a fertile time for him. He made Deal of the Century (1983), a listless comedy about the arms race, the TV movie C.A.T. Squad (1986) and the thriller Rampage (1987), which he adapted himself from William P Wood’s book.

The Guardian (1990) returned him to the horror genre. Blue Chips (1994), a drama about the politics of college basketball, was subtle and powerful, with an uncompromising lead performance by Nick Nolte, but it foundered commercially (it went straight to video in the UK). The thriller Jade (1995) earned some notoriety when its extravagantly paid screenwriter Joe Eszterhas complained of the changes made to his script; Friedkin, who was responsible for the rewrites, later named it as his favourite of his own movies.

Rules of Engagement (2000) was a mediocre drama with reactionary overtones, about a court-martial following the massacre of civilians in Yemen. The star of that film, Tommy Lee Jones, was reunited with the director in another thriller, The Hunted (2003). But Friedkin found new momentum of sorts in two adaptations of claustrophobic thrillers by Letts – Bug (2006) and Killer Joe.

In 2013, he returned to Pinter’s The Birthday Party, directing the play for the stage in Los Angeles, with Tim Roth and Steven Berkoff among the cast. However, this was postponed at the 11th hour when Friedkin decided to replace Berkoff in the part of the intimidating inquisitor Goldberg (though Berkoff claimed to have resigned). The production did not find a replacement and was never staged.

In 2018, he was the subject of Friedkin Uncut, which combed through his career and featured interviews with collaborators, celebrity fans and the director himself, who is heard confirming that he only ever asks for one or two takes: “I’m not looking for perfection,” he says.

His final films were The Devil and Father Amorth (2017), a documentary about a real-life exorcist, and The Caine Mutiny Court-Martial (2023), an updated adaptation of the Herman Wouk novel first filmed in 1954, starring Kiefer Sutherland. It will premiere next month at the Venice film festival, where the director was honoured in 2013 with a lifetime achievement award.

Friedkin’s reputation as bullish extended to all areas of his life and work. As an interviewee he was comically blunt. Responding to an Independent journalist who complained that the prologue to The Exorcist was baffling, he said: “I don’t have to explain it. You’re free to think of it, or to dismiss it, in any way that you want. It’s called mystery … Jackie Collins writes crisp narrative. I suggest you read all of her books. You will never be in doubt about where the story is going.”

And he rebuffed a Guardian reporter’s suggestion that he subscribed to the auteur theory, which prizes the director as the ultimate author of a film: “Didn’t you hear what I said? Am I talking to deaf ears? No! No! ... The auteur theory is a load of bollocks!”

His first three marriages ended in divorce: that to the actor Jeanne Moreau lasted from 1977 to 1979; that to another actor, Lesley-Anne Down, from 1982 to 1985; and that to the journalist Kelly Lange from 1987 to 1990. The following year he married the former chief executive of Paramount, Sherry Lansing.

She survives him, along with a son, Cedric, from a relationship with Jennifer Nairn-Smith, and a son, Jack (Jackson), from his second marriage.

🔔 William Friedkin, film director, producer and screenwriter, born 29 August 1935; died 7 August 2023

Daily inspiration. Discover more photos at Just for Books…?

#JUST FOR BOOKS #William Friedkin #in memoriam

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