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241/365: Dashboard ducks
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sings Dashboard ducks! Let's get dangerous... wait, wrong duck. Anyway, this was a fun sight in the main car park in Bewdley this morning. An ordinary hatchback, except that the top of the dashboard shelf was full of plastic ducks. Because why not? Actually I think one of those ducks looks a bit dragonish, but who am I to judge that? I do wonder if the owner of this car has been to the Duck Store in Shrewsbury, since they have an entire wall of ducks. But who knows? It was just nice to see something light and silly and harmless and fun. We need more people doing things that are light and silly and harmless and fun.
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Marc Sheffler's cliff threat was a clear-cut case of targeted abuse of Sandra Peabody, committed in order to coerce a more emotional reaction out of her for the following scene. I've recently got hold of a DVD of The Last House on the Left which includes the full commentary track that features him telling a differently phrased version of it (I paid £5 in a CeX) which I'll come to in a future post, and what that's revealed is that the targeted abuse wasn't the only concern. Here's an example that seems quite wildly reckless to us looking at it in 2025, and would correctly be considered totally unacceptable in modern movie-making, but which wasn't targeted at Sandra Peabody alone:

In the film, there's a scene where Mari (Peabody) and her friend Phyllis (Lucy Grantham) are kidnapped by Krug's gang. Their hands are bound (in front) and they're gagged with cloths while drugged, then carried down the fire escape from the flat where they're caught, stuffed into a large car boot (=US trunk) and driven off to the Connecticut woods. I already knew from David Szulkin's book¹ that the fire escape scene wasn't done with camera tricks, dummies or stunt doubles. Peabody was genuinely carried over David Hess's (Krug) shoulder while tied and gagged as he ran down two storeys on a rather rickety fire escape and threw her into the car along with Phyllis who was already there.
¹ Wes Craven's Last House on the Left: The Making of a Cult Classic, 2nd edition 2000.

This kind of thing wouldn't have been shocking at all to people in the same world of ultra-low-budget exploitation. Doing your own stunts saved money, and that mattered. And bluntly, young women acting in this world were often seen more as props than partners. What I didn't know beforehand was what happened after the filmed scene ended. Here's Fred Lincoln, one of the villain actors, giving a brief comment about it on the DVD commentary track:

Transcript
LINCOLN: I thought we really pushed it because we really left ‘em in the car till we got to Connecticut. But that was because we didn’t have enough money to buy another car. We only had room for that many people.

As far as I know, that's the only time this fact is mentioned in a public source. The disc has a second, more conventional commentary from director Wes Craven and producer Sean S. Cunningham, and they say nothing at all over this scene. Szulkin's book doesn't mention it, either. So this is based on a single source, although one who was definitely there – you can see his character in the car in the movie. The details of exactly how this transport happened are not certain. But the impression Lincoln leaves is that they drove straight to their Connecticut location (about an hour's drive away) with the two women bound and gagged in the boot the whole time. Quite possibly without even a basic safety check (stop car, open boot, check women aren't in serious trouble, close boot, drive off) along the way – though that part is a possibly, not a probably.

This seems completely astonishing to us today – but 1971 exploitation was not us today. The crew didn't quite trust entirely to luck – Lincoln already knew Peabody to some extent from previous work together, and none of the personnel were at the level of callousness where they'd have accepted a significant risk of the actresses being seriously injured or worse at the end of the drive. But they probably didn't think much beyond "We'll get there in about an hour, and there's plenty of air for them in that trunk." Discomfort and anxiety were not widely considered unethical in that world of movie-making at that time.

So in the early 1970s, in ultra-low-budget exploitation movie filming by a crew who were mostly highly inexperienced, this wasn't astonishing. It wasn't absolutely routine, but "We didn't have the money for a second car" would have been accepted as a rationale for transporting the women in the boot, and "We needed to get out fast as we didn't have permits" (which was routine for such crews) would have been accepted as rationale for not stopping to untie them first. These would not have been modern prop restraints, so doing that wouldn't have been a near-instant task. Also, the route would have taken I-95 (already in existence) and stopping on that to take bound women out of the boot and untie them would have attracted a lot of attention, something they didn't want.

Lincoln's "really pushed it" comment may well also refer to a second factor that I as a Brit didn't initially think of. They were driving from the outskirts of New York City to Connecticut – crossing state lines. For that era's crews, the biggest risk might have been thought to be not that something would go disastrously wrong for the actresses bound in the boot (that risk was small, even if potentially catastrophic) but that they might be stopped by a patrol for some unrelated reason. A patrolman requiring to see in the boot and finding two bound and gagged women there, on an interstate trip, could mean huge trouble for the crew, since a suspected kidnapping crossing state lines becomes a suspected federal offence. It might even bring FBI involvement. That couldn't be smoothed over with "we're just making a film" in a way a purely state-level stop might have been.

The fact that Grantham was in the boot as well is important for this particular incident. She is consistently spoken of as being easy-going and popular with the crews, and there is no story anything like as serious as the Sheffler cliff one relating to her. That, together with Lincoln's quote on the commentary track, makes me pretty comfortable with believing that his explanation that extreme cost-cutting was the primary motivation was true. In this case, the men didn't aim to mistreat Sandra Peabody. They simply thought that leaving her (and Grantham) bound and gagged in the boot was acceptable in the context of the way they were operating – and that thinking wouldn't have been wildly out of line with how others thought at the time.

Finally, there's the issue of consent. In these productions, consent was often treated as a "one and done" thing: ie "You signed up for this film, you read the script, so if we need to make things a little rougher than we initially told you in order to get it done, then that's just part of this business." So long as nobody was actually seriously hurt, it was likely to be considered within the bounds of acceptability. And remember, in 1971 not merely social attitudes but the actual law supported this in some cases. A woman agreeing to marry a man had to say yes of her own free will – but after she was married, then she quite literally lost the ability to say no to her husband. Marital rape was not criminalised in all US states and the UK until the early 1990s.¹
¹ And some states still have glaring exceptions, eg Mississippi requires aggravated force to have been used.

So "one and done" was baked into the law in that case, meaning it was easier for film crews to rationalise it as being acceptable here as well. We can't be sure that the women explicitly consented to spending an hour like that, and there's at least a non-negligible chance that they didn't – that it would have been seen as being folded into the consent they were seen as having granted by signing up to this kind of movie. It's possible, for example, that they were told something like "We'll tie you up, carry you down the fire escape, throw you into the car trunk, close the lid and drive off" – but not the specific detail that they'd be in there for the full 40-mile drive. Again, this sounds astounding to us in 2025, but to people working in this part of the movie industry in 1971, far less so.

My point of writing all this is that this incident can be seen as a baseline in the Last House shoot. It wasn't absolutely routine, as Lincoln's "really pushed it" shows, but it wouldn't have inspired outrage, not within that world in the early 1970s. When I write about abuse on this set, I mean things that go beyond that, such as Marc Sheffler's cliff threat – where the actual physical danger lasted much less time but was much more severe and, crucially, was inflicted because of the effect on Peabody. "It was the 1970s" doesn't excuse that even if you understand the baseline of unsafe and degrading corner-cutting and risk tolerance that the car boot drive demonstrates. (Not that it excuses this either, but the two things are different kinds of unacceptable.) 

One final point. Sheffler's threat at the cliff was made in a place where just he and Peabody could hear. Wes Craven knew he was up to something, but didn't know the details – and Peabody might well have avoided telling him about it. But with this car boot trip? I find it very hard to believe he wouldn't have known. He was right there, as the director of a shoot with a tiny crew count. So Craven accepted the idea of these two young women being driven for an hour, quite possibly still bound and gagged, in a car boot. Yet as far as I know, he never acknowledged it publicly. That aspect is on him as the man in charge of the set (totally in charge on a non-union shoot that small), and I don't care how much of a horror icon he later became. That aspect is on him.

I don't have an audio clip to link to for this specific incident, so I hope you'll accept my assertion that my transcript above is accurate: I made it myself after listening to Lincoln's comment several times.

Another late-night quick post

Sep. 29th, 2025 12:44 am
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240/365: Restored WW2 air raid shelter, Bewdley Museum
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Too tired to write more than a couple of lines tonight, but here's a photo from Bewdley Museum. Pleasant weather this afternoon.

Very quick late-night post

Sep. 28th, 2025 01:04 am
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Miniature road workers, Worcester, 27th September 2025
239/365: Miniature road workers, Worcester
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I was in Worcester today to see Pony fandom friends, and as usual a good time was had. This was the last Worcester meet before UK PonyCon next weekend, so there was a fair amount of chat about that. While I was in the city, I noticed this fun little artwork outside the Guildhall gates. The artist was nowhere to be seen, so I have no idea whether there was any specific reason for creating this collection of inches-high roadworkers, but I thought it was fun nevertheless.

The Walsall Concerto

Sep. 26th, 2025 11:44 pm
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Pedestrianised shopping street, Walsall, 26 Sep 25
238/365: Pedestrianised street, Walsall
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I went on what originally seemed like a bit of a wild goose chase today to find a particular product. That's something I'll talk about elsewhere, so I won't elaborate here – except to say that I did, in the end, find it. Anyway, I ended up in Walsall, which isn't the worst town in the Midlands but isn't the best either. There was, however, a very impressive guy in one of the main shopping streets playing an amplified. He was going for the sort of rocked-up classical sound that people like Lindsey Stirling are known for, and I think he did a very good job. Today's photo doesn't feature him, but it was taken in a Walsall street very like that one. As you can see, the dull weather wasn't exactly bringing out the crowds.
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It depends on who reads this from outside Dreamwidth World, but it's possible one or two will who may remember me, in a very different context a few weeks ago, being unusually if briefly vehement in my negative opinion of David Hess. Well, today you get to find out why. Some of it, at any rate. This isn't everything. I'll get there.

As for the details: to copy/paste my intro comment from last time, the forty-minute documentary Celluloid Crime of the Century, which has a copyright date of 2002 but was released in 2003, is included as an extra on many collectors' editions of the The Last House on the Left. That's the documentary featuring Marc Sheffler's cliff threat, which I've already covered. Well, in the very same video we get David Hess, who played Krug, the sadistic leader of the gang, talking about his actions in the rape scene. In which, let me remind you, he played the rapist and Peabody played Mari, his victim. Between the two segments of Hess's interview is a short section from producer Sean S. Cunningham, which is simply descriptive of Krug's terrifying nature, so I've left that out of the transcript. Here's what Hess said: 

Transcript
HESS: [Sandra was your] archetype upper-middle class Protestant – repressed Protestant – you know. And how do you deal with that? How do you deal with it? Well, you try to find ways of stabbing her and her repression.
[CUNNINGHAM comments briefly.]
HESS: I scared the living shit out of her, man. She really thought I might—I started to pull her pants down, and grab her tits and everything, and I mean she really, I mean... and I looked up at Wes [Craven] at one point and I said, "Can I?" And then she freaked.

And yes, you are reading that right. No, that was not in the script. Yes, he was improvising while filming a rape scene. Yes, like that. So, in this interview segment, does Hess apologise for doing this to Peabody? Does he say it was wrong? Does he go even as far as expressing mild regret and saying he maybe wouldn't have done the same these days (ie in 2002)? Well, what do you think? Of course he doesn't. He just tells the story as another "tale from the set".

One of my extremely rare content warnings for the below video: this one is not simply done with Hess on camera and little else. This segment is specifically about Mari's rape scene, and so there are several stills of her character in and around that part of the film. It's not possible to cut the video to avoid these. There is also a short video clip of part of the rape scene that ends immediately before Hess's comments begin. You don't actually need the visuals, though, so if you want to just listen to the audio you'll still hear everything that matters.

Video of Hess recounting this story
Celluloid Crime of the Century (YouTube) – time stamp set to start of Hess's anecdote at 18:23

My Bias Is Showing?! (2025)

Sep. 26th, 2025 06:57 am
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 I liked My Bias is Showing?! for the actors more than the story. I explain myself: both actors were quite good in letting me believe in their characters, plus Na Ae Joon was real cute and Choi Si Yeol real sexy. With just words they were able to convey all the steaminess I needed to believe in them as a couple. And that is the reason why I said I liked more the actors than the story: the story was sexy, the original manhwa as well is, but here the two men don't go over sweet kisses... In a way, you could say it was better like this cause in this way the betrayal of Choi Si Yeol is sort of less dark, he just played with Na Ae Joon's feelings (that is still a bad thing, but at least in this way Na Ae Joon is able to forgive him). So nice drama, it kept me hooked till the last episode. HEA. You can watch on GagaOOLala. Heath Level: 2/6.



Heat Level:
1/6: glances, caress, hugs, no kisses
2/6: kisses, closed mouth or camera angles
3/6: full kisses, clothes on
4/6: full kisses, some clothes off, hands above the waist, pants stay on
5/6: most clothes off, they have sex, but it’s masked, no sexy sounds
6/6: full nudity mostly hidden by camera angles, they have sex, sexy sounds

Cake by the rails

Sep. 25th, 2025 11:29 pm
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Tea and cake, Bridgnorth station, 25th September 2025
237/365: Tea and cake, Bridgnorth SVR station
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I don't want to dwell on this tonight, but in general? I'm neutral to mildly in favour of the principle of a universal ID card, physical or digital. From what I've heard so far, however, I don't trust this government as far as I could throw it to implement one fairly and safely.

Now, on to more fun matters. I was in Bridgnorth today (no E in that name, folks!) which was not for the most part very interesting – at least, the stuff I had to do was dull – but I did have half an hour or so free in the late morning. I pottered down to the SVR station as trains were running, and popped into the very nice 1930s-style refreshment room for a cup of tea and a cake. Jaffa orange and chocolate, since you ask! As the weather was nice, I sat outside, which was pleasant as I could watch some shunting and even see a steam-hauled service train arrive. It was annoying that an alarm started up after a while and didn't stop, but fortunately I was near time to go by then in any case. The framing of this photo makes it look like I was in a cage, but I assure you that they did let me out! ;)
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Mary Macarthur and women chainmakers, Cradley Heath, 24 Sep 25
236/365: Mary Macarthur statue, Cradley Heath
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I was in Cradley Heath today, which to be frank is not the most photogenic of towns. However, I did manage to find something interesting. This sculpture stands in Mary Macarthur Park and depicts her and several of her colleagues. They worked as chainmakers and in 1910 they were on the desperately low wage of five shillings per week. The charismatic Macarthur, a prominent campaigner for universal suffrage who had also been at the forefront of women's trade union activity for some years, led the workers out on strike. Her speeches attracted large crowds of supporters in and around Cradley. After ten weeks they won, and the minimum wage in the industry was increased to eleven shillings. Sadly, Macarthur died of cancer in 1921, aged only 40. This statue, by local sculpture Luke Perry, was unveiled in 2012.

Aichaku (2024)

Sep. 24th, 2025 04:58 pm
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 Considering all the rumors around this movie, Aichaku, I have to say I was expecting something more sexy. Said that, the movie, even without basically sex, is really nice, really sweet, and, I don't know, real? These are just four days in the life of two strangers, but in those four days their life will be completed overturned. Despite the tought men appeareance of both men, Lucas, an American teacher living in Japan, is actually really sweet, really cute, and totally gay. Probably living in rural Japan, him being gay is not so clear to the villagers, but the people who need to know, do. On the other hand, Ken, half American/half Japanese, has lost all his Western traits, probably since he was abandoned by his American mother when he was just one month old. He wants to learn English, and his sort of attracted by Lucas, I think right because Lucas is part of those roots Ken has lost. As I said their meeting is a big event in their life, and it's also very physical from the very first night, but we don't "see" it: they kiss, deeply, and then they wake up in bed together the morning after. I sort of feel like I wanted something more, because the director wasn't shy in showing as naked showers and baths in an onsen, so I really don't understand why suddenly becoming shy when they are intimate. Anyway, it's an HEA, and it was not a given. You can watch on GagaOOLala and Prime (amzn.to/4gF1xHz). Heat Level: 3/6.



Heat Level:
1/6: glances, caress, hugs, no kisses
2/6: kisses, closed mouth or camera angles
3/6: full kisses, clothes on
4/6: full kisses, some clothes off, hands above the waist, pants stay on
5/6: most clothes off, they have sex, but it’s masked, no sexy sounds
6/6: full nudity mostly hidden by camera angles, they have sex, sexy sounds

Setting the stage

Sep. 23rd, 2025 11:52 pm
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Green Theatre, Bewdley, 23rd September 2025
235/365: The Green Theatre, Bewdley
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Today was much like yesterday, really. I didn't do anything especially interesting, and today there wasn't even a pink Cadillac to gawp at in Load Street. As such, you get a quiet photo this time around. This is the Green Theatre in Jubilee Gardens, which is pretty much what it says. From time to time you get various performances on here – some free, some ticketed – and it makes a nice performance space. Well, when it's not raining it does! A back entrance to Bewdley Museum is just out of sight where the path on the far left leads.

Sadness

Sep. 22nd, 2025 10:30 pm
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It's been a rough 72 (or so) hours.

On Saturday, I woke up to the news that the Baroness of Storvik, officially Gracia but known to all as Gracie, died most unexpectedly of an apparent heart attack. I think she was 53.

I was trying to process the shock and sadness, while I was also trying to get my cat Julia to eat food and drink water all weekend.

Then, early this morning, Julia D*****, First of Her Name, Serene Princess of the Household, traveled to the Rainbow Bridge.

Julia's health had been declining in the last few weeks; I took her to the vet for euthanasia just after Labor Day weekend, but she meowed and purred so strongly in my arms that I just couldn't go through with the deed.

Her appetite was slowly declining, and she took in barely any food this weekend. I know that's a bad sign in cats. Last night, after the baronial business meeting, I meant to reread parts of a book on pet loss that I've owned since I had to face the death of my dog in 2001. But I ended up dozing off in front of the football game on TV (just to have some noise in the house). I woke up after midnight and put Julia on my lap (on top of a towel because of her general funkiness) and I brushed her and told her what a pretty kitty she was and repeated her name and felt her weakened purr. (During the Zoom meeting, she had crawled out of her bed and over to my chair for pettings, but she could manage only a few steps at a time.) I kept petting her until about 2:30 a.m., and then I told her I really needed sleep, and I put her in her bed with her head pointing away from me. While I was in the bathroom, she managed to turn around with her head pointing toward me and my bed.

That's how I found her this morning. Already getting cold and stiff.

Herveus and I dug a grave in the backyard and I laid Julia on the old towel and sprinkled a few of Nick's cremains on her still body. She missed her human Daddy so much since he died, and I wanted her to spend eternity with a little part of him.

You probably all know the story about our pets waiting for us at the Rainbow Bridge so they can cross it together with us. I want to think that Nick was waiting for Julia at the Rainbow Bridge, so that they can now enjoy each other's company again.

Pink Cadillac

Sep. 22nd, 2025 11:48 pm
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Cadillac Sixty Special, Bewdley, 22nd September 2025
234/365: 1956 Cadillac Sixty Special
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A reasonably pleasant day today, with no unwelcome surprises and acceptable weather – once again, it was fairly chilly but bright. I noticed this car in front of the Guildhall/Museum entrance around lunchtime. It's a 1956 Cadillac Sixty Special, and it was here because someone was getting married and having this as their wedding car! Not the most practical car around Bewdley, and I doubt its six-litre engine would help much here either, but I don't imagine it was being used for practicality's sake! Anyway, a fun little sight as I walked home. Okay, not so much of the "little"...

Georgians on my mind

Sep. 21st, 2025 11:42 pm
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Georgian Weekend re-enactors, Bewdley, 21st September 2025
233/365: Georgian Weekend re-enactors, Bewdley
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There's another post over on the addme community which lists under Dealbreakers "no centrists or Republicans". I will never get over this weird American habit of seeing "centrist" as a term of abuse. Actually, I find it a tad offensive if it's being used to mean "really right-winger but won't admit it" since in the UK at least that's gibberish – though I'm not certain in the relevant poster's context, and I'm not going to go and nag them about it. We wouldn't click anyway, based on the rest of their post.

To more everyday matters, then. The weather was enormously better today than yesterday: it was rather cool, but that was moderated by plenty of sunshine. This was good news for the second half of Bewdley's Georgian Weekend, which had been rather compromised by all the grotty weather yesterday. I didn't hang around to see things like the drinking chocolate demonstration, but I did spot this group of well-dressed ladies in High Street! Note authentic Georgian double yellow lines. ;)
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I really liked 10 Things I Want to Do Before I Turn 40, on comparison to the manga it's very sweet, there is basically no sexual interaction between the two men, but nevertheless there is an undertune corrent that makes the relationship really nice. It's strange because both men are adults and actually Keishi approached Suzume in a really strong way at first, but then it's like Keishi reined his instict and we have to arrive to the 12th and last episode to see a sweet kiss between them. I have the feeling the drama was really Japanese like, meaning both men seemed real characters, both in public and private life. I liked for example the look of Keishi, office like in a suit, that in anyway made him stand out among his colleagues, and then going fully grunge when out in his free time. I liked that Keishi was open about his homosexuality, but very reserved about it in his work life: without lying but neither discussing it... I felt like this was a quite ordinary way to deal with the matter in Japanese culture. HEA. You can watch on GagaOOLala. Heat Level: 2/6.


Manga:
amzn.to/45rB4K6

Heat Level:
1/6: glances, caress, hugs, no kisses
2/6: kisses, closed mouth or camera angles
3/6: full kisses, clothes on
4/6: full kisses, some clothes off, hands above the waist, pants stay on
5/6: most clothes off, they have sex, but it’s masked, no sexy sounds
6/6: full nudity mostly hidden by camera angles, they have sex, sexy sounds

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One of the most serious incidents concerning Sandra Peabody's treatment on the set of The Last House on the Left in autumn 1971 is this one. To avoid people here seeing things they'd rather not, whenever I provide a YouTube video as evidence as I have here, I'll link rather than embedding. I'll also place the links at the end of posts, so that you can read the description and transcript I give before choosing whether to view/hear the comments from their originator.

So, to what is one of the most disturbing stories from the set. This is told by Marc Sheffler, who played Junior, one of the subordinate members of the violent gang who abduct and brutalise Mari (Peabody's character) and her friend Phyllis (Lucy Grantham). At one point there's a scene in which Mari, in desperation, attempts to befriend the slow-witted and drug-addled Junior, who has been left to guard her, and persuade him to take her back to her home, which is close by.

The forty-minute documentary Celluloid Crime of the Century, which has a copyright date of 2002 but was released in 2003, is included as an extra on many collectors' editions of the film. Multiple members of cast and crew are interviewed about various aspects of the movie. One that stands out, and not in a good way, is the aforementioned anecdote about the shoot told by Sheffler. He's on camera almost throughout – there's one short segment of the scene he's talking about, but it doesn't include any violent or sexual imagery. As for the details:

Transcript
SHEFFLER: I had one scene with her, if you recall in the film, where we're sitting over the ledge, there's a ledge and there's water underneath it. And we had done, like I don't know, more takes than I— I was getting really upset, because I was hitting it all the time and she wasn't getting it. So I recall turning to Wes [Craven] and saying, 'Give me two minutes with her.' And what happened was, I grabbed her, and I put her head over the cliff, and I said, 'If you don't get it right the next time, I'm gonna throw you over here. And Wes will shoot it, and it'll be great footage, and you'll get hurt, and they'll call an ambulance, and that'll be that. But you really need to do this 'cause I will throw you over.' And she got it on the next take! [grins, laughs slightly]

Immediately after this anecdote ends, we see a short clip from the scene in question, in which Mari is visibly frightened. The strong implication from the way Sheffler tells his story is that Peabody herself was scared in real life as she acted it, as a direct result of Sheffler's threat.

Video of Sheffler recounting this story
Celluloid Crime of the Century (YouTube) – time stamp set to start of Sheffler's anecdote at 20:38
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Dusk at Bewdley station, 20th September 2025
232/365: Dusk at Bewdley station
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It rained a hay of a lot today, mostly in the afternoon and early evening. As such, I didn't do much in the way of walking. Indeed, I spent most of the day indoors. However, there was one exception. A friend was visiting the SVR as I had done yesterday, and although we weren't coinciding on the trains we agreed to meet for a pub meal in the evening. I ended up going to Bewdley station to meet him, and despite some close calls with catching trains it worked out very nicely. The pub was busy without being unpleasant, still a few families around at tables close to ours near the bar at 7:30pm or whatever it was. The food and drink came quickly and was tasty, and by the time we left a bit over an hour later the rain had mostly stopped. For what it's worth, I had sausages, chips and baked beans for the first course and ice cream with cookie crumble for the second. I chose to stick to soft drinks, so I had a pint of Pepsi Max Cherry and then half a glass of water.

I barely took any photos all day, so today's 365 is a very basic phone photo taken in the gathering gloom of dusk at Bewdley station. That's Camelot, the same locomotive in my picture from yesterday and indeed the one my friend arrived on. :)

Sixways is back!

Sep. 20th, 2025 04:01 pm
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With the United States administration apparently determined to make the rest of us simply assume that what it says can't be trusted on anything at all, I think we could all do with some good news. So here's some from the world of rugby union: Worcester Warriors have played their first game at Sixways since they went into administration three years ago. It was only a pre-season friendly, and they lost 19-33 to Bath, but that was nowhere near the most important thing for the club's fans. Worcester had become something of a "rugby city" before the collapse, and maybe something of that spirit can be rekindled from here on. I'm only a casual rugby fan and I wasn't at Sixways, but it is a small bright spot in the news, and right now we could do with those.

Canterlot! Well, nearly...

Sep. 19th, 2025 11:37 pm
loganberrybunny: From an old station seat (GWR)
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73082 Camelot, Kidderminster SVR station, 19th September 2025
231/365: 73082 Camelot, Kidderminster Town
Click for a larger, sharper image

I spent today at the SVR's Autumn Steam Gala. By some miracle the weather was kind, dry and even slightly warm at times. I got to do pretty much everything I'd set out to do, and I did a lot of walking (just over 22,000 steps). I didn't actually realise I'd done that many until I got home! Anyway, here's one of the four visiting locomotives: BR Standard Class 5 no. 73082 Camelot. This engine was built at Derby Works in 1955 and withdrawn from British Railways service just over a decade later. It was eventually rescued and restored, and it first ran in preservation in 1995. The loco had never been to the SVR before, something that was true of all four visiting engines. This was one of the few occasions on which hazy sunshine broke through at -- in this case -- Kidderminster Town, the southern terminus of the 16-mile line.

That subject line? Canterlot is the capital city? of Equestria in My Little Pony: Friendship is Magic.