8 Examples of Unusually, Overly Specific Typecasting in Hollywood Movies

"I, ugh, I ugh, I'm I'm stroking my chin now, right now, as a proper Jeff Goldblum should do, and I, I, I, um, am about to tell you some, some, um, disturbing FUBAR event that we will marginally escape..."

By: Peter Parker

Most movie goers are familiar with the phenomenon of typecasting, where a certain actor, be it by his or her own efforts or by the capricious whims of some Hollywood Executive, ends up playing the same basic role over and over again. Examples include John Wayne’s myriad performances as Cowboys, Arnold Schwarzenegger’s frequent portrayal of guys who’ll “be back” and Shia Labeouf’s endless depictions of people I want to repeatedly punch in the face. However, what has gone largely unnoticed by folks with so-called “real lives” is what I have labeled “U.O.S.T.” or Unusually Overly Specific Typecasting. U.O.S.T is often so bizarre that it seems more like some wonky Synchro-Mystic reincarnation across an actor’s career history rather than a reflection of the utter unoriginality of Hollywood casting directors but perhaps we should just let the examples of it speak for themselves.

Mary Steenburgen: The Girlfriend, Turned Wife of Guys Who Travel Between the Late 19th and Late 20th Centuries.

Other than playing Bride of Frankenstein to giant foreheaded hubby Ted Danson, Mary Steenburgen is probably best known for playing the part of Clara Clayton, a schoolmarm romanced by nutty scientists Emmett “Doc” Brown, when he travels back to the year 1885 in the third Back to the Future movie. After contemplating destroying his time machine on the grounds that it might fuck shit up on a galactic scale, Doc eventually says “screw the laws of causality,” marries Clara and returns with her to his own era.

"We named our kids Jules & Verne, so basically, we’re one of those annoying yuppie couples that makes you wanna barf! But at least, be thankful we didn’t pull a Will & Jada Smith & call em Clemet & Emra."

What’s less remembered, however, is Mary played almost this exact same part ten years earlier, with only one slight inversion. In the 1979 film Time After Time, Mary plays Amy Robbins a late 20th century woman who is romanced by a time traveler from the year 1893, specifically the pimp-daddy of time travel himself, H.G Wells, who came through time to pursue none other than Jack the Ripper. After saving Amy from “Saucy Jack” Wells decides he must return to his own time and destroy the machine. Proving the old adage “time machines are the ultimate pussy wagons,” Amy begs Wells to take her with him. They return to 1893 with the ending credits telling us that they later married.

Hell, both movies even feature scenes where Mary gets all pissy when her respective beaus, reveal that they are time travelers. Apparently, she believes “I’m a time traveling scientists” to be a sleazy con to get up under her hoop skirt and as we’ve already established, it’s definitely an angle that works!

Speaking of perfectly executed segues; our next example of U.O.S.T also involves another actress from Back to the Future.

Maybe this movie traveled through time to become “Back to the Future 3.”

Lea Thompson: Young Women in Sci-Fi Related, Deeply Disturbing, Sexual Relationships.

If you weren’t creeped out by the Steenburgen/Danson pairing, then this next segment probably won’t phase you one bit, however if your disturbo-threshold is that of a normal human, prepare to go “eeww!”

The lovely Lea Thompson has twice played parts that combine sci-fi and totally wrong sexual relationships. Many of us remember, mostly in therapy sessions, the scene in Back to the Future where Lea plays 1950s chick Lorrain Baines, who through the miracle of time travel, tries to get it on with her own son, Marty.

Hell, both movies even feature scenes where Mary gets all pissy when her respective beaus, reveal that they are time travelers. Apparently, she believes “I’m a time traveling scientists” to be a sleazy con to get up under her hoop skirt and as we’ve already established, it’s definitely an angle that works! Read more of this post

Batman Begins – Esoteric Analysis

Batman becomes the dark side.

By: Jay

See Also: Batman: The Dark Knight Rises – Esoteric Analysis

Batman Begins marks a substantive renewal for the popular franchise. Taking the story in a much more serious direction from the 90s version (replete with Prince flopping around, humping the ground), the new version is much more sophisticated. And, along with being much more sophisticated, it also calls for an esoteric analysis. Just as with Christopher Nolan’s Inception I analyzed, so his earlier Batman Begins was modeled along the same lines of Jungian psychoanalysis, mixed with occult and gnostic themes, as well as other prevalent popular conspiracy theories and secret societies, as we will see.

The film begins with Bruce Wayne experiencing childhood trauma where he falls down a well, breaks his leg, and is terrified by a sudden battalion of bats. Falling down wells and trips to the underworld are common in Jungian, gnostic and literary exploits. It’s an archetypal scheme for both the inner subconscious, as well as the exterior metaphysical realm of the dead. The “underworld” of Homer and Virgil, is also, by association the subconscious from which our dreams arise, manifesting archetypal patterns. Bruce Wayne’s falling down the well is also a window into his unconscious mind, just as are the several layers of dreams in Cobb’s subconscious in Inception.

Childhood traumas and fixations are often formed from this stage in development, as both Freud and Jung noted, and this is precisely where Bruce Wayne experiences the defining moment of his future existence—he will eventually become the thing he fears—the dark and the demonic. Now that may sound strange, given that Batman is a good guy, and the Joker and others villains, but once one understands the pagan and gnostic scheme of reality, these words end up purely relative denominators. “Good” as an actual, absolute category is non-existent in this relativistic scheme. This is why Bruce Wayne’s journey will be to become his “higher self,” the alter ego “Batman.” Batman is the embodiment of Bruce Wayne’s “shade” or shadow self, his dark side incarnate.

Batman is not bound by laws, but is instead a Nietzschian vigilante overman, beyond good and evil: rex lex. Since the normative social structure of Gotham City is corrupt, Batman is a law unto himself. This is why Bruce is the billionaire capitalist: he is the representation of elite capital, but which also provides Gotham its vast social programs and welfare system, as well as public transportation, etc. This is yet another hint at the actual system that runs the real world—it is controlled by those at the top who are neither capitalist nor socialist. They are elitist, and who (in their minds) transcend dialectics. The Cold War, for example, was a closely steered conflict that allowed a vast intelligence and surveillance grid to be established under the auspices of nuclear threat. Now, our threats are repackaged as environmentalism and the “global war on terror.” Bruce Wayne thus embodies the “third way” which is where we are headed—a global corporate financial system that is the synthesis of communism and capitalism, under the guise of world “democracy.”

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