#To not be able to escape the spector of death by simply watching television or listening to the radio

[sandymybeloved]

I haven't seen anyone say this yet, so my heart goes out to anyone who's lost someone recently, who's trying to grieve and mourn the loss of a loved one in a time when the media is full of talk of 'the nation greiving', memorial ceremonies and the like. I imagine that's incredibly had, and incredibly unfair.

#To have the death of a loved one overshadowed by this #To have people constantly stupidly saying they're greiving #To not be able to escape the spector of death by simply watching television or listening to the radio #My heart goes out to them #My mother and grandparents had a similar experience #The funeral of my great grandfather happened around the time Diana died #And I've always been told how awful that made things #To this day mentions of Diana's death remind her of his death #So this will certainly far worse for people who've recently experienced the death of a loved one

[multiverseforger]

Taskmaster is a mysterious figure believed to have been born in Bronx, New York City. He has the ability to mimic the physical movements of anyone he witnesses; writers differ on whether this counts as a "super power". He claims that he has had this ability since childhood. He works as a combat instructor and trains others to become lackeys for other villains by utilizing the techniques he has learned from his observation of superheroes and participates in mercenary jobs from time to time. Initially portrayed as a villain, he has also been shown training U.S. Agent and other neophyte superheroes at the behest of the US government. As a mercenary, he has no ideology except that of his employer. Due to his ability to imitate the techniques and armory of other heroes and villains, Taskmaster has occasionally been used to impersonate other characters.

Tony Masters first demonstrated unusual abilities during childhood. After watching a cowboy show on television, he found himself able to duplicate the sophisticated rope tricks he had just watched the cowboy perform. Psychiatrists, called in at the mother's request, determined that the boy had a form of photographic memory which they called "photographic reflexes". He employed his power several times during his youth for personal gain, most notably when he became a star quarterback of his high school football team after watching one pro football game. Upon graduation, he briefly considered a career as a crime fighter, but opted instead to be a professional criminal, which he perceived to be far more lucrative.[6]

He then began a program of observing the fighting techniques of numerous costumed heroes and villains (using archival television news broadcasts). He initially used his fighting skills to execute several successful grand larcenies, but he had not properly anticipated the dangers involved. He decided to use his stolen capital to establish a center for training aspiring criminals to turn into polished professionals. His goal was to become a supplier for criminal organizations around the world.

Designing a costume with a white cowl and skull mask, he took the name "Taskmaster" and began to train many thugs at criminal academies he had located around the United States. However, his existence was eventually revealed when Pernell Solomon of the Solomon Institute for the Criminally Insane (a front for one of these academies) used the school's resources to create a clone of himself when the administrator required an organ donation due to possessing an extremely rare blood type; the clone (learning of this fate) managed to contact the Avengers. Taskmaster captured Yellowjacket, the Wasp and Ant-Man when the Avengers invaded the premises;[7] but the Avengers followed, exposing his front operation. Taskmaster held his own against Captain America and Iron Man, however, was subsequently forced to flee after a confrontation with Jocasta since his lack of experience with Jocasta's abilities made it impossible to predict the robot's next move.[6] Taskmaster later established a new training academy in Manhattan, where he battled Spider-Man and Ant-Man, and then escaped.[8] He later used a traveling carnival as a mobile base, where he battled Hawkeye and Ant-Man, and then escaped again.[9] He next trained henchmen for the Black Abbott. Alongside Black Abbott, he battled Spider-Man and Nomad, and escaped yet again.[10]

Deciding to further explore the use of a circus as a front for his academy, Taskmaster took over yet another small outfit, and used it for many months to great success. However, while it was playing a small town in Ohio, the Thing and Vance Astrovik (who would later take the name Justice) assisted a government agent in foiling Taskmaster's activities. While escaping, Taskmaster was captured by a group of U.S. Secret Service agents and taken into custody.[11] There is reason to believe that Red Skull was behind the Taskmaster's capture, since a group of normal men were able to capture him.[citation needed] Through Douglas Rockwell (the head of the President's Commission on Superhuman Activities), Mr. Smith arranged for Taskmaster to train John Walker in order to make him appear to be the real Captain America.[12] In order to conceal Red Skull's involvement, Rockwell had the Commission work out a deal to have years taken off Taskmaster's sentence in return for training Walker. After Taskmaster successfully trained Walker, Red Skull arranged for him to escape from the Commission's detention center so he could continue training lackeys and Red Skull himself.[volume & issue needed]

Having escaped the authorities, he set up a base in a derelict graveyard in Brooklyn, where he battled Spider-Man and then escaped.[13] Taskmaster then competed in a contest against Tombstone, where he battled Daredevil and the Punisher.[14]

Taskmaster's more skilled, successful, and notable students include such characters as Crossbones and Cutthroat (both Red Skull's henchmen), U.S. Agent, Hauptmann Deutschland, Diamondback (Captain America's one-time girlfriend), Spymaster, Spider-Woman, and Agent X. On the other hand, Taskmaster also trains many of his students to serve as low-rent henchmen and cannon fodder. In his early appearances, Taskmaster mentions putting intellect-reducing drugs in the diet of his students. He also routinely sent groups of his more disappointing students to serve as "sparring partners" for Red Skull, routinely engaging several of them at a time and killing them all (Hauptmann Deutschland infiltrated the academy and used one such session as an opportunity to kidnap Red Skull). He has also employed other supervillains, such as when he hired Anaconda as his academy's calisthenics instructor.[volume & issue needed]

On another occasion, Taskmaster was hired by the Triune Understanding—a religious group secretly masterminding a smear campaign to paint the Avengers as being religiously and racially intolerant—to stage an attack on a Triune facility. Posing as Captain America, he contacted Warbird, Ant-Man, Silverclaw and Captain Marvel, claiming that he needed their help to destroy a Triune building containing a mind-control machine. Although they saw through his deception and subsequently defeated him—thanks to Captain Marvel transforming into Rick Jones mere milliseconds away from Taskmaster, thus causing a complete change of attack before Taskmaster could react—the building was destroyed in the ensuing battle and Taskmaster escaped, leaving the heroes lacking any evidence of their story.[15]

Taskmaster continued to train numerous villains and thugs until the Avengers began to search out and shut down some of his academies across the United States. Taskmaster began to spend more time working as a mercenary in order to make up for the loss of profit. This led him to join Agency X at the behest of his love interest Sandi Brandenberg, in missions from time to time, while continuing to teach at his academies around the world. More recently, Taskmaster is once again seen as a hired mercenary, contracted by the Committee to kill Moon Knight (Marc Spector). Taskmaster was misled with information that Moon Knight was broken, friendless and desiring death. During the conflict these factors all proved to be false as Marc's ex-girlfriend and butler came to Spector's defense and found the will to fight back. Despite his superior fighting abilities, Taskmaster was defeated. Moon Knight then carved off part of Taskmaster's facemask, though left him alive.[16]

Taskmaster also worked at training henchmen to copy fighting styles of specific heroes. Taskmaster unleashed Deathshield (trained to fight like Captain America), Jagged Bow (trained to fight like Hawkeye), and Blood Spider (trained to fight like Spider-Man) to face off against Spider-Man and Solo. The three were defeated, while Taskmaster escaped yet again.[17]

When the "Civil War" broke out, Taskmaster was hired by the government and enrolled into a team of Thunderbolts and given temporary amnesty to take down the Secret Avengers.[18] He later battles the Secret Avengers in New York. He attempts to kill Susan "Sue" Storm, only for Reed Richards to take the bullet. Enraged, Sue crushes him with an invisible telekinetic field, rendering him unconscious.[19] He was sent to the Negative Zone Prison with the other "Major-League" members of the Thunderbolts army such as Lady Deathstrike,[volume & issue needed] but was apparently freed by Deadpool.[20] In order to regain his own reputation as a mercenary, Deadpool frees Taskmaster from his imprisonment to have a showdown with him while potential merc contractors watched from their captive position in a nearby prison. Taskmaster is again referred to as Tasky by Deadpool, and a fight ensues between him and the manacled Deadpool. He mentions his professional ethics, but this simply comes down to deciding to simply maim his opponent rather than kill him. In the end, he is defeated by Deadpool who, in spite of the victory, fails to impress his captive audience. After being thanked for letting him win, Taskmaster tells Deadpool that he had not let him win, "The truth is... You're that good. You've always been that good. Which won't get you a cup of coffee until you figure out how to be a professional..."[21] Taskmaster was given a full presidential pardon for his efforts in testing the security of the S.H.I.E.L.D. Helicarrier, in which he was able to break in and place Deputy Director Maria Hill in his sights. Though he was allowed to leave, a threatening message left in Hill's private bathroom revealed that if he ever desired, infiltrating S.H.I.E.L.D. would be no difficult feat.[volume & issue needed]

Taskmaster replaces Gauntlet as Camp Hammond's drill instructor and is tasked with training registered superheroes for the Fifty State Initiative. Taskmaster would also be involved in MVP's cloning process inputting (via technology) the original's move set for the Scarlet Spiders as well as the move set of Spider-Man.[22]

Taskmaster is hired by Deadpool to help his old enemy and occasional friend defeat the Thunderbolts. Being disguised as Deadpool, he gets captured and is about to be beheaded when the real Deadpool saves him. Deadpool finally pays him, but he expresses annoyance at being paid from an ATM due to his major villain status.[23]

During the "Dark Reign" storyline, Taskmaster is chosen to lead the Shadow Initiative after the Skrull invasion, with their first mission to take down Hardball's HYDRA cell in Madripoor.[24] Along with Constrictor, Bengal, Typhoid Mary and Komodo, Taskmaster stealthily leads the group into the country, but they are soon discovered by HYDRA.[25] Norman Osborn appoints Taskmaster to train criminals for the new Initiative, to behave like heroes. His first task is to retrain Penance.[26] Also, when Blastaar takes control of the Negative Zone prison 42, Taskmaster is ordered to lead a squad to take the prison back.[27] Later, he gives Night Thrasher a severe bullet wound to the head, allowing Osborn to take Night Thrasher prisoner.[28] When Emma Frost and Namor resign from the Cabal, Taskmaster is offered membership.[29] Taskmaster was present at a meeting when Osborn discusses about Asgard.[30][31] He is severely wounded at the meeting as a result of an attack by Doctor Doom. While recovering in a hospital, Taskmaster declined to join the Cabal. Osborn cut the oxygen tank next to Taskmaster's bed, reminding him that it was Osborn who plucked him from obscurity. Taskmaster then agrees to join in the siege of Asgard.[29] During the battle, he fights with both versions of Captain America (Steve Rogers and Bucky Barnes).[32] As Asgard falls, Taskmaster finds Constrictor and the two beat a hasty retreat, but not before Taskmaster taunts Osborn about how Taskmaster helped Deadpool. After Osborn's defeat by Captain America and Iron Man, Taskmaster and Constrictor went back to mercenary work.[33]

A false rumor is spread that Taskmaster is leaking information about the criminal underworld to Rogers's new 'heroic' regime. A bounty of $1,000,000,000 is placed on the Taskmaster's head by the mysterious Org. The hordes of AIM, HYDRA, the Secret Empire, ULTIMATUM, the Cyber Ninjas, the Black Choppers, the Trenchcoat Mafia, the Legions of the Living Lightning, the Militiamen, the Sons of the Serpent, and the Inquisition take up the chase to claim the money. Taskmaster, ambushed in a small diner, manages to best his opponents. But the diner's waitress, Mercedes Merced, gets entangled in the saga and is included in the bounty. Taskmaster reveals to Mercedes that his powers cause him to lose his explicit memory, meaning that he cannot remember anything about his personal life, and the only way for the whole ordeal to be over is to re-discover Taskmaster's origins.[34] Taskmaster and Mercedes' quest takes them to Mexico to battle the Don of the Dead,[35] and then to Bolivia to the village where everyone is Hitler. Inside an exact replica of Himmler's Wewelsburg Castle, Taskmaster regains his memories. He remembers being S.H.I.E.L.D. agent Tony Masters that had been sent to Bolivia to terminate Horst Gorscht, the Nazi scientist responsible for a corrupted version of the super-soldier serum. Gorscht had developed a new serum that could unlock the mind's potential to absorb knowledge instantaneously. With Gorscht's serum and test notes destroyed, Masters injected the last of the serum into himself. Having regained these memories, Taskmaster recognizes Mercedes' voice as being the same as 'The Hub', a mysterious voice who works for the Org. Taskmaster shoots Mercedes in the shoulder and threatens to kill her if she doesn't start talking. Mercedes reveals that the Org is a S.H.I.E.L.D. front, and that she is not only an agent, but also Taskmaster's wife. Miles above the Wewelsburg castle in an airship, the Minions' International Liberation Front (a secret group composed of henchmen from all of the major terrorist organizations), led by Redshirt the Uber-Henchman, reveal their deception and plot to rule the criminal underground by using Taskmaster to lead them straight to the Org.[1] Redshirt leads the Minions' International Liberation Front (or the acronym MILF for short) into battle against the Taskmaster and Mercedes. Mercedes convinces the Taskmaster to trust her and work together to fend off the forces of MILF. During the battle, Taskmaster regains his memories of Mercedes and how he fell in love with her. Before they can reconcile, Taskmaster is attacked from behind by Redshirt who has genetically altered his body and mastered superior fighting skills to those of Taskmaster. Redshirt gains the upper hand as the pair push each other to the limits. Mercedes tries to intervene to protect her husband, but is quickly and effortlessly cast to one side. Enraged, Taskmaster attacks Redshirt and delivers a killing blow using Redshirt's own fighting style (which causes Taskmaster to lose his memories once more). Taskmaster, not recognizing Mercedes or his reasons for being there, flees and leaves Mercedes alone once more.[volume & issue needed]

Avengers Academy student Finesse later seeks out Taskmaster, thinking that he may be her long-lost father. When she finds Taskmaster, Finesse ends up sparring with him. After much sparring, Taskmaster finally relents to tell Finesse that he very well might be her father, but that the powers to learn so much about others’ movements and techniques have caused him to forget important things in life. Knowing he likely will not remember the conversation in a couple days, Taskmaster tells Finesse that he wanted to fight her so he might remember her.[36]

During the 2011 "Fear Itself" storyline, Taskmaster comes to the aid of Alpha Flight when it comes to forming a resistance against the Unity Party that was formed by Master of the World.[37]

In order for the Masters of Evil to obtain the Crown of Wolves for the Shadow Council, Max Fury hired Taskmaster to retrieve it only for Taskmaster to demand more money for the job and he hid in the Hole. The Secret Avengers went to the Hole in order to get the Crown of Wolves before Fury got his hands on it. This led to a fight between Taskmaster and Agent Venom.[38] However, Taskmaster escaped and returned the crown to Fury, only for Max to apparently kill Taskmaster when he asks for payment. When the crown's effects don't function for Max, Taskmaster takes the crown for himself, which saves his life by making him the Avatar for the Abyss.[39] As the Abyss spreads, the Secret Avengers members Venom and Ant-Man are able to remove the crown and stop the spread, while Taskmaster and the Masters of Evil are left behind when the Avengers leave with Max in their custody.[40]

The criminals of Bagalia imprison Taskmaster and are preparing to offer him up to the highest bidder. S.H.I.E.L.D. and the Secret Avengers come to rescue him and offer him a position. As their inside man, Taskmaster is part of the new High Council of A.I.M. as the Minister of Defense.[41] Mockingbird later goes to A.I.M. Island to assist Taskmaster in helping make contact between the Iron Patriot A.I. drones and James Rhodes.[42] After the mission goes south and Mockingbird is left stranded on AIM Island,[volume & issue needed] Taskmaster works undercover to free her.[volume & issue needed] But when he gets the chance to get her off the island, she doesn't respond to anything he says until both are captured. While being interrogated, Taskmaster is shot and seemingly killed by Mockingbird apparently under the control of Scientist Supreme (Andrew Forson).[43] However, Mentallo discovered that Mockingbird purposely missed any vitals and Taskmaster survived.[44]

At the time when Captain America was brainwashed into being a Hydra sleeper agent by Red Skull's clone using the powers of Kobik, Taskmaster later relocated to Bagalia where he became its sheriff.[45]

When Taskmaster and Black Ant (Eric O'Grady's Life Model Decoy counterpart) found out what was done to Captain America to be made into a Hydra sleeper agent, they planned to have a parley with Maria Hill to discuss this with only for the new Madame Hydra (Elisa Sinclair) to get to them first.[46] Impressed with the fighting skills of the two of them, Madame Hydra made them bodyguards.[47]

During the "Secret Empire" storyline, Taskmaster appears as a member of Hydra's Avengers.[48] During the battle in Washington DC, Taskmaster and Black Ant witness their teammate Odinson having enough of working for Hydra and striking them down. The two of them defect from Hydra and free the captive Champions. When Taskmaster and Black Ant asks for them to put in a good word for them, Spider-Man webs them up anyway.[49]

Taskmaster and Black Ant later attack Empire State University where Dr. Curt Connors was teaching a class. As the inhibitor chip prevents Connors into turning into Lizard, Peter Parker sneaks off to become Spider-Man. During his fight with Black Ant and Taskmaster, Spider-Man is exposed to the Isotope Genome Accelerator that splits him from his Peter Parker side.[50]

In a prelude to "Hunted", Taskmaster and Black Ant work with Kraven the Hunter and Arcade in capturing some animal-themed characters for his upcoming hunt.[51] Black Ant and Taskmaster are talking about the Hunt. Taskmaster betrays Black Ant saying that Black Ant is an animal-themed villain and tasers Black Ant to get more money.[52] Lizard finds Taskmaster at the Pop-Up with No Name. Lizard proceeds to poisons him by slipping a poison into her beer. Lizard offers Taskmaster the antidote if he can take Lizard to Central Park. While traveling there, Lizard and Taskmaster defeat Vermin, freeing innocent bystanders. Taskmaster helps put a taser chip in Lizard's body, and takes him to Arcade.[53] Taskmaster frees Lizard from his binds and Lizard tells Taskmaster that the poison will wear off in 24 hours.[54] Taskmaster makes off with Black Ant before Yellowjacket, Human Fly, Razorback, Toad, and White Rabbit can take revenge on him. As they leave, Taskmaster states that Black Ant would've done the same for him. When Black Ant asks "Do you mean the betrayal part or the rescue part?" All Taskmaster can say is "yeah!"[55]

During the "King in Black" storyline, Taskmaster is among the villains recruited by Mayor Wilson Fisk to be part of his Thunderbolts at the time of Knull's invasion. While having argued with Mister Fear over who was the first villain to wear a skull mask, Taskmaster becomes the de facto field leader of the group. Following the deaths of Ampere and Snakehead, Taskmaster couldn't stop Rhino from walking off and tells the remaining members not to help the Manhattan Defenders. He and the Thunderbolts arrive at Ravencroft to meet with Norman Osborn who Mayor Fisk claims can help them defeat Knull.[56]

[chiseler]

The Last Light

There is a moment in David Lynch's Twin Peaks: The Return that on its incandescent surface could have been lifted, weightless, from the great post-war dream of materialist deliverance: The top on the convertible is down, the radio on; The Paris Sisters are singing I Love How You Love Me as a reincarnated Laura Palmer lifts her face to a cloudless sky. Within the tapestry of this early Phil Spector production — his trademark reverb eternally associated with Romance and Death (two conditions Spector knew all too well) — the voice of Priscilla Paris is a siren sound from the American Beyond. We could be hearing a dream goddess lullaby from the whispering gallery, or sweet nothings from the crypt. We don't know. We'll never know. Just as Quentin Tarantino’s Once Upon a Time... in Hollywood keeps us guessing with the elusive murmur that “Sharon Tate will never die,” granting her a gaudy, wondrous L.A. to cavort in where it's 1969 forever and movie stars still matter, so we find ourselves in Tarantino’s version of paradise (complete with flame throwers to the face). In this oneiric echo chamber, momentarily shared by Lynch and Tarantino, Surrealism smiles down upon a vision of American blondness; muscle cars soaked in sunlight; the terrible ecstasy of unending motion; candy for the eye and ear.

David Lynch’s favorite film, to this day, remains Otto e Mezzo, directed by Western Europe's sorcerer of confectionary delights, Federico Fellini; the man who put the “dolce” in La Dolce Vita. And here you have a fleeting taste of ideologies swirled together and spun like ribbon candy: a blur of four-wheeled luxury from the New World, zooming past regional splendor into that fraternity of man: the socio-economic nirvana imagined by Karl Marx.

Careening from one via to another at harrowing, white-knuckle speeds, Fellini was heard to lament that “Some of the neo-realists seem to think that they cannot make a film unless they have a man in old clothes in front of the camera.” George Bluestone, recording these words in 1957 for the pages of Film Culture, was sittings in the literal passenger seat of the ideal metaphor of post-war ebullience in action: that famous Black Chevy skirting the Italian Scylla (the Vatican) and its equally dogmatic Charybdis (the Party); expert, 20th century precision guiding them through Roman streets with graffiti-scrawled churches proudly bearing the hammer and sickle. At those velocities, anything could make sense.

“What for you is the greatest human quality?”, Bluestone asks. Fellini responds, “Love of one’s fellows,” a period-appropriate oath that rings true to his brand of ecumenical solidarity.

“The greatest fault?”

“Egoism.”

Try, if you will, to imagine our more locally sourced egoists nodding along with Fellini in soulful agreement on that one. As a kind of compatriot of Edgar Allan Poe, David Lynch (and, to some extent, Tarantino) spawns from his abiding axiom that “The death of a beautiful woman is, unquestionably, the most poetic topic in the world.” In Lynch’s hands, American television has become a brightly lit seance for Poe’s ethereal dead. Immortal creatures afflicted with the dream of physical existence, then afflicting the dreamers. Twin Peaks: The Return modifies Poe's axiomatic truth with great help from Amanda Seyfried's Becky and her pair of visionary's eyes, melting Spector's dark edifice of sugar in deathless, Sternbergian close-up — iridescent search lights, ever more urgently scanning the sky above for a sun to swallow her whole. We can only witness and internalize this shimmering ingenue trading places with Old Sol, as if the drugs she's consumed have entered our system and not hers.

Filmmakers like Fellini and Lynch celebrate bodily extremes in intriguing, if differing ways that should naturally gallop right beyond the pale but nevertheless become wholly, weirdly digestible. It is perhaps the innocent glee, even wonderment, of these artists in the vast variety of shapes the human body can assume; innocence which acts as a giant eraser for every awareness on our part of how physical representation in the age of political correctness is meant to function. Lynch is able to present the disabled as by turns childlike, mysterious or magical beings without ever worrying about lending them agency (The Elephant Man's John Merrick is a passive whipping boy for seemingly the whole of Victorian London) or the lie of adult sophistication (the latest Twin Peaks iteration includes a pint-sized hitman who whines like a puppy when his icepick is broken).

Fellini's dwarfs and grotesques, on the other hand, emerge from the struggle of a one-time Marc'Aurelio cartoonist willing one-dimensional images into three-dimensional embodiment. His big women, of course, are fetish figures. They always were. Gargantuan beauties, evidence of a sexual ideal formed in infancy: the big Italian mammissima, seen from below. As Fellini grew into a rather large adult himself, this ideal was simply re-scaled accordingly (even the icy mountain of Anita Ekberg takes on new implication). Goddesses all, they are, however, not meant for conventional movie stardom.

And what of Tarantino? Once Upon a Time's Margot Robbie IS the no-longer-doomed Sharon Tate as she watches herself on the big screen; enjoying a thrill that few have ever known so guilelessly that any half-baked charges of narcissism shrivel to nullity before they can escape a single throat. Here before us is an essential glimpse into the vanishing phenomenon of movie stardom itself, reflexive handwringing from the woke balconies notwithstanding. Tarantino has at last achieved something transcendental: even his grotesques — slack-jawed, gap-toothed, gormless members of the Manson Family conflated with more contemporary Identitarian cultists on the lookout for 'Lookism', knives unsheathed — are downright mythic. Robbie's Tate is a visage both generically perfect and possessed by the angels, every one of them a blond resident of LA County, sincere and unknowable as desert light.  

The vampires, creatures of night slain by sunlight, infiltrated the movie theaters in the 1920s and never left. They sit next to us in the dark, having ceded the power to hypnotize us to the glowing screen itself. Photochemical vagaries invariably allow movie darkness to behave in impossible ways; as if the physical properties of film itself knew no rules, and thus invited us to accept its essential anarchy without question. Before us is a darkness that GLOWS.

A Black & White image flipped into negative can produce black fire, or the black sunlight which illuminated the Transylvanian forests of Nosferatu, through which a box-like carriage rattles at Mack Sennett speed. But with only the smallest underexposure, a little dupey degradation of the print, or even a little imagination (such collaboration is not discouraged), this liquid blackness will spread anywhere, everywhere; the most luminous pestilence known to creation. Be it in the laughing nightmare of Fleischer cartoons of old (Out of the Inkwell, indeed) or Jean Epstein's photogenie phantasmagoria, we're left to wonder. Is daylight burning out the corner of a building, or is it the blackness of the building which is eating into the sky? As with so many such questions, film permits us no answer. We are to simply watch as characters smudge, their shadows emanating out beyond themselves, pulsing and flickering with an obsidian internal flame.

By the time Jean Epstein adapted The Fall of the House of Usher in 1928, it could wisely be said that Poe had been already aggrandized through the mechanism of carbon-arc projection; which is but one way to say that the vision that once seemed unharnessable, had at last been industrialized. Dragooned. Pressed into an ever more modern service at a pace to be measured in frames-per-second. Artists like Epstein and Chomon were the first generation to wield an immense cultural and commercial instrument; at once abidingly real and totally incomprehensible. No medium of expression predating cinema could so thoroughly lift audiences from linear time, or could as convincingly, in the words of Jean Epstein, render death as a conscious state.

Transcendentalism barely scratches the surface here. A more apposite term — the one he nuances in his film theory, “photogenie” (a genesis out of light) — pulls transitory moments, otherwise escaping human perception, into focus. If Poe engrosses us in Romantic conceptions of death as a means to visionary truth, Epstein reveals that same supposedly “elusive” end in our earthly world of telephones, sports cars, Kodak cameras for the every-man and moderne manicures for up-to-the-minute dandies.

The Victorians were falling away. And with them a system of reality contained in narrow, overwrought performances. Withered technique as a means of reflecting Nature — or, to quote Balzac, the “conjugation of objects with light” — was displaced, uncrowned by Jean Delville’s Death (1890), which embodies an altogether different kind of virtuosity, one no Academy could ever comprehend. The charcoal drawing and ode to Edgar Allan Poe’s Masque of the Red Death yearns with a combination of verve and starkness toward a capital “G” Gloom destined to escape salons.

Coming of age in a series of shady elsewheres — the fairgrounds, nickelodeon parlors and movie palaces of an Edwardian America — nitrate and its twinkling mineral essence gave Poe's crepuscular light its time to shine and  thereby illuminate the world. No longer held in the solitary confinement of a page of reproduced text or an image, however still, rendered in paint or ink. Poe's singularly tormented vision was finally written alchemically, in cinematographic rays beamed through silver salts; into moving images of such aggressive vitality as to blast every rational thing from one's mind.

All hail magic mirrors! Celestial mandalas! Giant eggs and butterfly women! Segundo de Chomón's The Red Spectre (1907) ruthlessly invades our eyes with a wraith-magician dissolving through his coffin lid in a red, hand-tinted, flame-flickering hell. His caped, skull-masked presence was to herald the manic new thespic truth that, from this moment forward, the art of acting is in how you respond to light, and how light responds to you. The Specter of Chomon's dark bauble is in every element Poe's Red Death — japing and performing tricks for us, his adoring fans and welcome guests, before announcing our doom — literary metaphor slammed against a literal backdrop of amber stalactites, pellucid as an ossuary.

Doctor Pretorius might have been musing on the history of cinema in 1935’s The Bride of Frankenstein when he said: “Sometimes I have wondered whether life wouldn't be much more amusing if we were all devils, no nonsense about angels and being good.”

by Daniel Riccuito, Tom Sutpen and David Cairns