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New Edition of Dracula Reveals Bram Stoker’s Original Publishing Contract

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The Hollywood Reporter

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http://www.hollywoodreporter.com/thr-esq/bram-stoker-dracula-contract-304155

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New Edition of Dracula Reveals Bram Stoker's Original Publishing ContractWe can’t get enough of our vampires. Whether you’re into the blood-dripping fangs of Stake Land; the slutty, sultry ones from “True Blood” or the sparkly kind from Twilight, we all love our vamps. Now there’s new info on how Bram Stoker got the whole thing going.

A new version of Dracula will soon be released and this one will contain images and details from Stoker’s actual 1897 publishing deal. Apparently, aside from being able to spin a wicked vampire tale, Stoker was pretty savvy at the bargaining table as well. The new book reveals that Stoker landed a deal which granted him 20 percent royalties on Dracula. Anyone who’s in the publishing business will tell you that’s one helluva deal…about double what an author could get by today’s standards. Although he never practiced law, Stoker studied it, giving himself the skills to work out this honey of a deal.

In an article published in The Independent, Nick Robinson, chairman Constable & Robinson, publishers of the new edition of Dracula, said “Stoker wrote the contract himself, which, from a publisher’s point of view, is rather extraordinary. The terms – roughly 20 percent royalties – are, again from a publisher’s point of view, pretty tough. But he clearly knew how to frame a contract and was able to dictate terms.” Bazinga!

However Stoker had less luck trying to swing a deal stateside, struggling with copyright laws that required serialization of work before going into effect. In the same article in The Independent, Bram Stoker’s great-grand-nephew, Dacre Stoker, explained, “The book wasn’t published in America until 1899. However, Dracula was serialized in American newspapers for a couple of years because there were very strange copyright laws in the US that required authors to serialize their work prior to them publishing. He then signed a contract with the publishers Doubleday, but they still won’t reveal the contract to this day. It’s one of those mysteries: why did Bram lose the copyright to the book? The party line is he apparently didn’t fulfill all the requirements, but he certainly didn’t have all the rights he should have had.”

Obviously these odd dealings didn’t sit well with Stoker, but it seems he was even less a fan of agents. The Independent quotes an interview with Stoker given around the time of the initial publishing of Dracula where he said, “Some men nowadays are making 10,000 a year by their novels, and it seems hardly fair that they should pay 10 or 5 per cent of this great sum to a middle man. By a dozen letters or so in the course of the year they could settle all their literary business on their own account.” And Hollywood shuddered.

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PG-13 or R? The Strangers: Prey at Night Gets Official MPAA Rating

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Earlier this week we let you guys know that there is a killer The Strangers: Prey at Night fan art competition going on and you can read all the details on that right HERE.

But today we have some cool (if expected) news that The Strangers: Prey At Night hs officially received an R-rating from the MPAA.

The sequel has been rated R for “horror violence and terror throughout, and for language” and I think that makes about as much sense as we could have expected.

For those who are interested in such bits of trivia, the original The Strangers was rated R for “violence/terror and language” so there you go! Impress your friends with MPAA trivia.

Would The Strangers: Prey at Night getting a PG-13 have affected your enthusiasm for the upcoming film? Let us know below!

The Stranger: Prey at Night is directed by Johannes Roberts (47 Meters Down) from a script by Bryan Bertino and Ben Ketai. It stars Martin Henderson, Christina Hendricks, Bailee Madison, and Lewis Pullman.

The film hits March 9, 2018.

Synopsis:
A family’s road trip takes a dangerous turn when they arrive at a secluded mobile home park to stay with some relatives and find it mysteriously deserted. Under the cover of darkness, three masked psychopaths pay them a visit to test the family’s every limit as they struggle to survive. Johannes Roberts directs this horror film inspired by the 2008 smash hit The Strangers.

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Artist Reimagines Superheroes as Tim Burton Illustrations

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The world of Tim Burton has always been full of imagination and wonder built on a surreal and often horrific foundation. Films like Beetlejuice and Sleepy Hollow capture the imagination with stunning visuals, all based on the mind of the visionary director. Burton’s artwork was also featured in his illustrated poetry book The Melancholy Death of Oyster Boy & Other Stories.

Burton’s work has not only amazed viewers for over three decades, it’s also been an inspiration to countless artists and creators. Enter Los Angeles-by-way-of-Russia artist and animator Andrew Tarusov, whose work has been used by companies such as Cosmopolitan, Disney, 20th Century Fox, Maxim, and more. In a series he simply calls “Tim Burton’s Superheros”, Tarusov took 10 of the biggest comic book characters and gave them a dark twist that is 100% befitting of Burton’s style.

You can see a gallery of these images below. To see more of Tarusov’s work, head on over to his official website.

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Totem Review – It’s Not Always A Bad Thing To Look Up From The Bottom Level, If You Like That View

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Starring Kerris Dorsey, James Tupper, Ahna O’Reilly

Directed by Marcel Sarmiento


Following the untimely death of a family’s matriarchal figure, a young woman finds out that managing to hold all of the pieces in place becomes increasingly more difficult when otherworldly infiltrators make their presence felt. We’re going to have to work our way up this Totem, as

17 year old Kellie is the leading lady of the home following the passing of her mother Lexy, and with a needy father and tiny tot of a baby sister, she still keeps things in working order, regardless of the rather large hole that’s been left in the dynamic due to the death. Kellie’s dad after a while decides to ask his lady-friend to move in with the family, so that everyone can move onto a more peaceful existence…yeah, because those types of instances always seem to work seamlessly. As fate would have it, Kellie’s sense of pride is now taking a beating with the new woman in the mix, and her little sister’s new “visitor” is even more disturbed by this intruder – only question is, exactly who is this supernatural pal of sorts? Is it the spirit of their dead mother standing by to keep watch over the family, or is it something that’s found its way to this group, and has much more evil intentions at hand?

What works here is the context of something innately malicious that has found its way into the home – there are only a couple moments that come off as unsettling, but the notion of having to weave through more than half the film acting as a sullen-teen drama is rather painful. The presentation of the “broken family” is one that’s been done to death, and with better results overall, and that’s not to say that the movie is a complete loss, it just takes far too much weeding through at times stale performances and even more stagnant pacing to get to a moderately decent late-stage conclusion to the film. Under the direction of Marcel Sarmiento (Deadgirl), I’d truly hoped for something a bit more along the lines of a disturbing project such as that one, but the only thing disturbing was the time I’d invested in checking this one out. My best advice is to tune into the Lifetime channel if you want a sulky teen-melodrama with a tinge of horror, or you could simply jump into this one and work your way up…but it’s a LONG way to the top.

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Sulky, moody, and ridden with teen-angst buried in the middle of a supernatural mystery – SOUNDS like a decent premise, doesn’t it?

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