Hellraiser: the film, the story, and (some of) the sequels

In 1986, a novella called The Hellbound Heart was published. It was published by a company called Dark Harvest in an anthology series called Night Visions. It pretty much would have came and went all by itself under these circumstances, but its author, Clive Barker, somehow managed to put together enough financing to shoot a film adaptation that was released the following year.

As requested, a musing on the films I have seen Lance Henriksen in

Dear Odin, it seems when I write some things, they leave such an impact that I cannot get away from them. So, after one polite request that I cannot really turn down, I am going to tell you all about some films that have Lance Henriksen in them in some capacity.

Please allow me to clarify (about Lance Henriksen, and other celebrities).

A couple of posts ago, I wrote something with the title “Lance Henriksen has done more to represent the autistic than Suzanne Wright ever will”. This resulted in some confusion in conversations I had elsewhere concerning what I write here.

Lance Henriksen has done more to represent the autistic than Suzanne Wright ever will

In many writings, I have gone on about actors, films, or bits of music that represent the autistic, especially autistic adults, than efforts that are deliberately promoted as such. Part of this, I will admit, has to do with resentment. Josh Hartnett was once quoted as claiming that the reason his then-recent film Mozart And The Whale was met with such complete indifference at the box orifice was because someone out there did not want “the cause” getting out in the open. Given that the film is basically a lot of exaggeration of one type and promotion of the idea that the autistic remain children forever, Hartnett has, much like Anthony Kiedis or Julia Roberts before him, become one of a list of public figures I will get on a Queensland bus in order to avoid hearing from.

Hypothetical situation: Autism Speaks has just ceased to exist. Now what?

I find it difficult, if not impossible, to imagine an organisation that is allowed to call itself a charity being hated by the people it claims to be working for to a greater extent than is the case with Autism Speaks. In fact, Autism Speaks’ behaviour in general reminds me of one of the few moments in RoboCop 2 that even comes close to working. During the MediaBreak segment that opens the film, we are told that the police in Detroit have gone on strike once again. In the accompanying interview footage, an officer states that the company that has taken control of the police service in the city has cut the force’s salaries by forty percent and cancelled their pensions. And now, he says, said company will not even talk to them. “God knows why,” the officer opines, “but they want this strike.”