Do you ever wish Jeff Goldblum could serve as your mystical guide in life? It’s now possible—well, sort of. His Alistair Hennessey character from The Life Aquatic with Steve Zissou (2004) appears on one of the new Wes Anderson-inspired tarot cards sold by Champion Productions.
As spotted by Nerdist, the “Wes Oracles” set includes 32 illustrated tarot cards designed by UK-based illustrator Brett Jones. Each of the characters from Anderson’s oeuvre denotes a different theme that will supposedly pop up in one’s future. Hennessey’s card represents success, obviously. (He has a pretty sweet boat and is a knight in Portugal, after all.)
Atari Kobayashi from Isle of Dogs (2018) stands for faith, M. Gustave from The Grand Budapest Hotel (2014) represents escape, and Richie Tenenbaum from The Royal Tenenbaums (2001) gets the not-so-coveted depression card. No word yet on who was chosen to represent death and lust, among other symbols—some ominous, some fortuitous. However, we are happy to report that Steve Zissou, one of Anderson’s most beloved characters, will be included (on the revenge card, of course). The cards, priced at about $13, are available for purchase on the company’s website.
Champion Productions, a new gift-making company, previously released a few jigsaw puzzles with different Goldblum characters on them (including his famous shirtless scene from Jurassic Park). Sadly, those puzzles sold out. We can only hope that the company will keep the Goldblum theme going as it continues to release new products.
Millie Bobby Brown‘s Eleven has always been the best character in Stranger Things—so much so that even when the story focuses on one of the series’ other characters, audiences still can’t help but wonder what’s going on with Eleven. It didn’t take long for the Duffer Brothers, the show’s creators, to realize this—which meant they had to change their plans for her story arc.
In Stranger Things: World Turned Upside Down, a new companion book, the Duffer Brothers explain in the foreword that both Eleven and Steve Harrington, another beloved character, were originally going to be killed off in the first season.
“Eleven was going to sacrifice herself to save the day,” Ross Duffer reveals in the book, according to Esquire. “That was always the end game.
“But once we realized that the show was potentially going to go on longer than one season, we needed to leave it more up in the air, because deep down we knew the show just wouldn’t really work without Eleven,” Duffer continues. “And at that point, we knew how special Millie was. If there was going to be more Stranger Things, Eleven had to come back.”
As for Steve, the book explains how his character was just supposed to be a bad guy who died in Season 1, but actor Joe Keery‘s popularity in the show made the creators change their minds.
The Duffer Brothers also reveal other major details about the series, such as that the original script for the pilot being called “Montauk,” and the Upside-Down first being referred to as the Nether.
Stanley Kubrick’s The Shining is a masterclass of cinematic art and a defining chapter in the horror genre in and of itself (even if Stephen King thinks otherwise). Since its release in 1980, the film has become something of a cultural milestone, with its iconic and terrifying visuals being referenced in every facet of pop mythology.
Everything from the creepy twins to the memorable rug decor has become famous, but there is perhaps no image as instantly horrifying as the elevator doors of the Overlook Hotel opening to reveal a river of blood rushing down the halls. It’s an image that has haunted the nightmares of many a filmgoer and was so impressive that the studio focused the film’s marketing almost exclusively around the shot.
Kubrick’s longtime assistant, Leon Vitali, recently revealed in an interview just how the shot was managed. “We spent weeks and weeks and weeks trying to get the quality and of the blood as natural as it could be,” the 70-year-old filmmaker told Yahoo!.
“The consistency was also quite important, because we were pouring out hundreds of gallons of the stuff,” Vitali continued. “And then, of course, there were the mechanics of it, because if you have that much pressure inside something like an elevator, it’s going to blow if you’re not careful … I tell you, it worked in a way we never thought it would work… It was such a violent volume of this red liquid coming at you; those of us who were in there thought, ‘My God—we’re doing to drown!'”
Kubrick himself was apparently so anxious about the exhausting shot that he helped construct the elevator mechanism and positioned four cameras with different focuses and different frame rates, but left the room before the actual shot was done, unable to watch if something were to go wrong.
Miraculously, the shoot went off without a hitch and it became Kubrick’s favorite scene. He reportedly watched it over and over in glee afterwards.