The Twitterverse was abuzz Tuesday evening after the New York City Police Department made what it thought was a harmless request to its followers: post pictures that include NYPD officers and use the #MyNYPD hashtag.
Much to the NYPD’s surprise and chagrin, the simple tweet brought on a torrent of criticism from the Internet. The result was national coverage of hundreds of photos depicting apparent police brutality by NYPD officers, which individuals diligently tweeted with the hashtag #myNYPD.
Eli Roth‘s latest film, The Green Inferno, is still awaiting release but the director behind the Hostel series has already lined up his next thing. It’s called Knock Knock, and the story follows two young girls who seduce a married man and then make his life a living hell. Roth will direct and co-write the screenplay with Nicolas Lopez and Guillermo Amoedo, who collaborated with him on Aftershock.
The Wrap broke the news of the film, which reportedly will be budgeted under $10 million and start shooting in April.
Roth had a bit of a hiatus directing between 2007′s Hostel Part II and The Green Inferno, which started doing festival stops last year, but kept busy in that time not only acting (most notably in Inglourious Basterds) but producing tons of films, such as two Last Exorcism movies and The Man With the Iron Fists.
The plot of Knock Knock is particularly intriguing because it flips classic horror tropes on their head. It would be so easy for a man to abduct and terrorize two girls. For two girls to do it to a man, is a situation that has been explored to a much lesser degree.
Roth is also developing a sequel to The Green Inferno and is attached to a Dracula film called Harker. Knock Knock should be next, though.
Stephen King is a universe, and I don’t just mean that he contains multitudes or that his bibliography is really big. He is a universe in the sense that he operates under his own physical laws. Two of the underlying forces that underpin his existence are described in his introduction to Nightmares and Dreamscapes, his third collection of short stories.
One force is his desire to sprawl, his tendency towards what he calls generosity. “The leap of faith necessary to make the short stories happen,” he writes, “has gotten particularly tough in the last few years; these days it seems that everything wants to be a novel, and every novel wants to be approximately four thousand pages long.” The opposing force is his desire to please the reader by presenting only his best material when it would be so easy to coast or to repeat himself. “What I’ve tried hardest to do is to steer clear of the old chestnuts, the trunk stories, and the bottom-of-the-drawer stuff,” he writes two pages later. These two forces pull him in opposite directions, and the result is, as he describes it, “an uneven Aladdin’s cave of a book.” With the emphasis on “uneven.”
Spun, Seung Mo Park