Much, perhaps most, of Barker's appeal was and is his ability to pluck beauty from the Why his teen daughter Carys is a junky, and other unsavory facts about a world of woe just a whisper's breath away. What follows is Marty learning the truth of Whitehead's wealth, Toy and a menagerie of dogs, from the mysterious Mamoulian, aka The Last European-the fellow from the Is hiding out in his vast, well-secured London estate, with laconic bodyguard Mr. World famous industrialist Joseph Whitehead, Marty accepts, wary though he is. Offered parole if heĪccepts the could-be-more-dangerous-than-prison job of bodyguard for Robbery, debts owed from gambling, life lost, security van empty. Then the narrative shifts to the 1980s, where we meet protagonist Marty Strauss, a thirty-something prisoner doing In his mind this faceless gambler began to take on something of the force of legend. Opponent-ideas Barker returns to again and again. Games, chancing fate, plying one's wits against a devilish In fact, a remake of Barker’s 1987 horror classic Hellraiser featuring trans actress Jamie Clayton as Pinhead was released on Hulu back in October.The opening chapter, set in bombed-out Warsaw, crackle with dread andĮnormity, yet with a strange sense of freedom to be gained from playing While the TV and film industry continues to struggle to successfully portray trans stories and centring trans characters, the queer community’s close affiliation with the horror genre provides a bit of hope that a trans version of The Mummy could one day be on the cards. A 2017 reboot featuring Tom Cruise, however, was a monstrous commercial flop. The Mummy went on to be successfully remade in 1999 starring Brendan Fraser and Rachel Weisz, with several follow-up films and a spin-off series, The Scorpion King, following. Garris responded by saying that he thought they would “never” make the movie they pitched, with Barker adding: “I think I’ve had a slightly naïve attitude the suits.”īarker also revealed that his remake would have been more “sexual” and “dark”, focusing on the owner of a museum who is a cultist trying to revive the mummies. How could we ever have thought, in 1989, when we turned this in, that they would say, ‘Ah, great!'” And a major part of a modern-day narrative about The Mummy.
He went on: “The little boy… who is born at the beginning of the narrative… has become this exquisite woman. Clive Barker said he was “ahead of the curve” when pitching an idea for a remake of The Mummy in 1989. “There is a wonderfully strange, mysterious woman who is part of the narrative, a very important part of the narrative – I don’t want to say too much because we’re gonna make this one day… I hope… we should talk to Netflix,” Barker continued.
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