WATCH: THE MACHINE

 
It’s inevitable that the idea of what defines humanity appears in every film about robots. The most famous robot movie of all time, The Terminator, would not even explore this idea until its superior sequel. And Blade Runner, perhaps one of the most divisive films of all time, had already beaten it to the punch.

The Machine is more like Blade Runner than any other film that also explores this idea of organic versus synthetic life, while bringing with it a hypo-technical style recently modernized by director Joseph Kosinksi in his films TRON: Legacy and Oblivion, but only after the look had already been established in Kubrick’s 2001.

Vincent (Toby Stephens, "Black Sails"), a scientist experimenting in synthetic life, is in a tough spot. Though he’s willingly working for and accepting money from the defense department of a very future government to work toward recycling fallen human soldiers and turning them into warfare robots, he’s actually doing so to try to find a way to help his young daughter, trapped inside herself by a severe cerebral palsy-like condition. Ava (The Pact’s Caity Lotz) is Vincent’s new hire and someone whose own previous experimentation in synthetic life has made Vincent sure she’s going to be the one who helps to realize his theories and brings them to fruition. Well, that she does – after she’s killed and resurrected as a sentient robot.

It’s here we ask that question again. What is humanity? Is it flesh and blood, the brain, the heart, or the soul? All of that? None of it?

Wait a minute! Robots?? Run!

The Machine is a great little film, aided by beautiful cinematography, great performances, genuine emotions, an awesome retro synth score by composer Tom Raybould, and a refreshingly serious non-Will Smith take on the sub-genre. If you’re looking for balls-to-the-wall action, then you’re going to be waiting until the last ten minutes. If you’re looking for some kind of horror/thriller hybrid, then you’re not going to get that really whatsoever. But if you’re looking for a philosophical discussion on what humanity is, wrapped around a familiar but not overdone story, you haven’t been able to do better than The Machine since Terminator 2: Judgment Day.

CANNIBALLESSE

In 2011, Indonesian police arrested a 29-year-old cannibalistic woman who admitted to killing and eating up to 30 girls and then her husband. She kept the human meat in her refrigerator to eat when she pleased. The woman also confessed to cooking human meat for her friends and relatives at dinner parties held at her house. She blamed her inner desires for killing and eating the people and said she would do it again if she had the chance.

Story and image source. 

(In case you missed the joke...Happy Thanksgiving.)

RECKONING

THE MAD AND THE MACABRE

 

"My family's always been in meat."

DEATH STAIN

A stain, shaped like a human body, can be found on the concrete floor of the Athens Mental Health and Retardation Center in Athens, Ohio. According to legend, this stain marks the location where the body of a patient, Margaret Schilling, lay undiscovered for several weeks back in 1979.

A team of forensic scientists recently tested the stain to determine whether it’s a genuine human decomposition stain, or if it was created artificially. They published the results of their investigation in the Nov 2008 issue of the Journal of Forensic Sciences (vol 53, no. 6), “Analysis of Suspected Trace Human Remains from an Indoor Concrete Surface.”

Their conclusion: Yes, it’s a human decomposition stain, although the stain has been made more prominent over the years by attempts to remove it:

Margaret’s body was probably in contact with the area of the stain for a period of 4–5 weeks. During this time, significant decomposition is known to have occurred, indicating that the room was apparently warm enough to facilitate bacterial degradation. During this time, anaerobic bacterial decomposition could have taken place in the contact areas between the concrete and the heavier, fatty areas of Margaret’s body, such as the buttocks, back and shoulders. Bacterial action is supported by the odd-numbered fatty acids found in the residues. Such decomposition, facilitated by the moisture naturally present in Margaret’s body, formed free fatty acids from the lipids in her subcutaneous tissue. This process may have been accompanied, in part or in whole, by the basic conditions provided through contact with the concrete. During the 4- to 5-week period in which the free fatty acids were being formed, and in any subsequent washing over the years, at least half of the sodium ions were displaced by calcium ions from the concrete. The result is a waxy residue of mostly calcium palmitate which is up to 2 mm thick in certain areas of the stain. In most areas of the stain, the waxy residue also resides in surface pores in the concrete, consistent with the suggestion that removal of the stain was attempted on at least one occasion.

At some point since the removal of Margaret’s remains in January of 1979, the floor has likely been treated with an acidic chemical— probably Blu-Lite (20.5% phosphoric acid)—to lighten the color of the waxy residue and of the concrete. The chemical etching was not uniform across the entire floor surface, however, but was selectively restricted to a shape that resembled the apparent outline of a human body.

Original source unknown.

YOUR FRIEND TILL THE END

THE SOAP MAKER

Leonarda Cianciulli (November 14, 1893, Montella, Province of Avellino – October 15, 1970) was an Italian serial killer. Better known as the “Soap-Maker of Correggio,” she murdered three women in Correggio between 1939 and 1940, and turned their bodies into soap. Having been born the child of a rape, she led a sad childhood with a hateful mother. 

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In 1939, Cianciulli heard that her eldest son, Giuseppe, was to join the Italian army in preparation for World War II. Giuseppe was her favorite child, and she was determined to protect him at all costs. She came to the conclusion that his safety required human sacrifices. She found her victims in three middle-aged women, all neighbors. After murdering her first victim with an axe she got rid of the body in this way (her own words):

“I threw the pieces into a pot, added seven kilos of caustic soda, which I had bought to make soap, and stirred the whole mixture until the pieces dissolved in a thick, dark mush that I poured into several buckets and emptied in a nearby septic tank. As for the blood in the basin, I waited until it had coagulated, dried it in the oven, ground it and mixed it with flour, sugar, chocolate, milk and eggs, as well as a bit of margarine, kneading all the ingredients together. I made lots of crunchy tea cakes and served them to the ladies who came to visit, though Giuseppe and I also ate them.”

Cianciulli’s second victim was killed in exactly the same manner. Her final victim, opera singer Virginia Cacioppo was killed in the same way but with one twist:

“She ended up in the pot, like the other two…her flesh was fat and white, when it had melted I added a bottle of cologne, and after a long time on the boil I was able to make some most acceptable creamy soap. I gave bars to neighbors and acquaintances. The cakes, too, were better: that woman was really sweet.”

Cianciulli was caught due to an eyewitness and found guilty of murder. She was sentenced to thirty years in jail where she died of a brain hemorrhage.

Story source.