Hotel Transylvania - Wikipedia. Hotel Transylvania is a 2. American 3. Dcomputer- animatedfantasycomedy film produced by Sony Pictures Animation for Columbia Pictures. It was directed by Genndy Tartakovsky and produced by Michelle Murdocca, and stars the voices of Adam Sandler, Andy Samberg, Selena Gomez, Kevin James, Fran Drescher, Steve Buscemi, Molly Shannon, David Spade, and Cee.

Lo Green.[7] The film tells a story of Count Dracula, the owner of a hotel called Hotel Transylvania where the world's monsters can take a rest from human civilization. Dracula invites some of the most famous monsters to celebrate the 1. Mavis. When the "human- free hotel" is unexpectedly visited by an ordinary 2. Jonathan, Dracula must protect Mavis from falling in love with him before the hotel's guests learn that there is a human in the castle, which may jeopardize the hotel's future and his career. The film was released on September 2. Despite this, Hotel Transylvania earned a total of $3. The film was nominated for a Golden Globe Award for Best Animated Feature Film.

It launched a franchise with a sequel titled Hotel Transylvania 2, which takes place seven years after the film,[8] released in 2. A television series based on the film premiered on Disney Channel in June 2. Mavis and her friends at the Hotel Transylvania.[1. In the aftermath of the death of his wife Martha (Jackie Sandler) at the hands of an angry human mob, Count Dracula (Adam Sandler) commissions and builds a massive five- star, monsters- only hotel in Transylvania in which he raises his daughter Mavis (Selena Gomez) and to serve as a safe- place getaway for the world's monsters from fear of human persecution. Famous monsters such as Frank (Kevin James) and his wife Eunice (Fran Drescher), Wayne and Wanda Werewolf (Steve Buscemi and Molly Shannon) and their massive immediate family, Griffin The Invisible Man (David Spade), and Murray the Mummy (Cee. Lo Green) often come to stay at the hotel which is completely human- free and safe for monsters. On Mavis's 1. 18th birthday, Dracula allows his daughter to leave the castle in order to explore the human world, but he sets up an elaborate plan using his zombiebellhops disguised as humans to make them seem intimidating, but without her being in any danger, and frighten her home.

The plan works, but the zombies inadvertently lead a 2. Jonathan (Andy Samberg) back to the hotel. Dracula frantically disguises him as a Frankensteinesque Monster and passes him off as "Johnnystein", 'a distant cousin of Frank's right arm'. Jonathan soon encounters Mavis and the two "Zing" (a form of romantic attraction). Unable to get Johnny out of the hotel without notice, Drac quickly improvises that Jonathan is a party planner, brought in to bring a fresher approach to his own traditional and boring parties. Jonathan quickly becomes a hit to the other monsters, especially Mavis, but this disgusts and worries Dracula greatly. Drac orders Johnny to leave, but Johnny is brought back by Mavis.

After being shown the beauty of a sunrise by Johnny, Mavis is inspired to give humans another chance. Meanwhile, the hotel chef Quasimodo (Jon Lovitz) with the help of his pet rat Esmeralda learns that Johnny is a human and kidnaps him in order to cook him. Dracula intervenes and magically freezes Quasimodo to keep him from telling anyone that Jonathan is human.

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Dracula leads Jonathan to his quarters and shows him a painting of his wife. Much to Dracula's surprise, Jonathan knows the woman in the painting from a legend he has recently heard and relates a story about how she fell perfectly in love with a count, but died in a mysterious fire. Dracula reveals the full painting with himself in it and confirms the truth of the tale, and proceeds to tell the full version, thus explaining why Dracula built the hotel and the origin of his overprotective behaviour with Mavis. Jonathan is understanding and Dracula develops respect for his knowledge, and the two bond, recognising that Jonathan is a good person. Jonathan then tries to leave for good, but Dracula convinces him to stay for the time- being to avoid ruining Mavis's birthday. The party is a great success the next night, and Mavis looks forward to opening a gift from her deceased mother.

However, when Jonathan and Mavis share their first kiss, Dracula overreacts, and, in his outburst, inadvertently confesses to deceiving Mavis with the town. A still- frozen Quasimodo bursts in and the Fly (Chris Parnell) translates from his frozen speech that Johnny is a human disguised by Dracula. The guests are outraged by the deceit at play, but Mavis is undeterred and wants to be with Johnny, even knowing he is human. Jonathan feigns disinterest in Mavis and rejects her out of respect for her father and leaves the hotel. Mavis then angrily yells at Dracula and flies off. Dracula finds Mavis on the roof with her mother's present. He learns it is a book about how her mother and Dracula "Zinged" and fell in love.

Dracula realizes humankind has become tolerant of monsters, and manages to convince Frank, Wayne, Griffin, and Murray to head out into the human world to help him find Jonathan, and with the scent- tracking ability of Wayne's daughter, Winnie, they learn that he is bound on a flight to America soon. The four head to the airport, but are held up in a town celebrating a Monster Festival along the way. Instead of being frightened by the appearance and powers of real monsters, the humans admire the group, and a team of men dressed as vampires help Dracula by providing him shelter from the sunlight while he rushes to the airport. Drac arrives to see Jonathan's plane taking off, and he gives chase in bat form, burning in the sunlight. After getting Jonathan's attention, Dracula makes his way to the front of the plane and uses his mind- controlling power on the pilot (Brian Stack) to help him apologize for his actions. Jonathan accepts his apology; Dracula then manipulates the pilot to return to the Transylvanian airport for a "refuel". Dracula returns Jonathan to Mavis.

Jonathan confesses that their 'Zing' was mutual and the two kiss, making Dracula realize his daughter has grown up and can make her own decisions. The monsters finish celebrating Mavis's party as Dracula, Mavis, Jonathan and their monster friends sing "The Zing" to the audience of hotel guests. Voice cast[edit]Adam Sandler as Count Dracula, the 5. Watch See You In Valhalla Vioz more. Hotel Transylvania, and Mavis' over- protective father.[1.

Andy Samberg as Jonathan ("Johnnystein"), a 2. Hotel Transylvania in his travels.[1. Selena Gomez as Mavis, Dracula's 1.

Johnny.[1. 3]Sadie Sandler voices Mavis as a child, as well as Wayne's daughter Winnie. Kevin James as Frank/Frankenstein, Eunice's husband and one of Dracula's best friends who acts as an uncle to Mavis and mostly hangs out with Murray. Fran Drescher as Eunice, Frankenstein's wife and Wanda's best friend.[1.

Steve Buscemi as Wayne, a male werewolf who is also one of Dracula's best friends and Wanda's husband.[1. Molly Shannon as Wanda, a female werewolf, Wayne's heavily- pregnant wife and Eunice's best friend.[1. David Spade as Griffin the Invisible Man, one of Dracula's best friends.[7]Cee.

Lo Green as Murray the Mummy, a short fat mummy who is one of Dracula's best friends and mostly hangs out with Frankenstein.[7]Jon Lovitz as Quasimodo Wilson, a Hunchback gourmet chef and the former Bell- ringerof Notre Dame who desires to make a dish with human as the main ingredient.[1. Luenell as a wisecracking shrunken head that serves as a "Do Not Disturb" sign on the door of Mavis's room.[1. Chris Parnell as Mr.

Fly, Hotel Transylvania's fitness coordinator who can also translate any speech. Brian George as a Suit of Animated Armor, the head of Hotel Transylvania's security guards. Brian Stack as the pilot of Jonathan's airplane back to America. Jackie Sandler as Martha, Dracula's wife and Mavis's mother who was killed by an angry mob when Mavis was young.

Rob Riggle as Skeleton Husband. Paul Brittain as a Zombie.

The Terror of Deep Time. Back in the 1. 95. C. Wright Mills wrote cogently about what he called “crackpot realism”—the use of rational, scientific, utilitarian means to pursue irrational, unscientific, or floridly delusional goals. It was a massive feature of American life in Mills’ time, and if anything, it’s become more common since then.

Since it plays a central role in the corner of contemporary culture I want to discuss this week, I want to put a few moments into discussing where crackpot realism comes from, and how it wriggles its way into the apple barrel of modern life and rots the apples from skin to core. Let’s start with the concept of the division of labor. One of the great distinctions between a modern industrial society and other modes of human social organization is that in the former, very few activities are taken from beginning to end by the same person.

A woman in a hunter- gatherer community, as she is getting ready for the autumn tuber- digging season, chooses a piece of wood, cuts it, shapes it into a digging stick, carefully hardens the business end in hot coals, and then puts it to work getting tubers out of the ground. Once she carries the tubers back to camp, what’s more, she’s far more likely than not to take part in cleaning them, roasting them, and sharing them out to the members of the band. A woman in a modern industrial society who wants to have potatoes for dinner, by contrast, may do no more of the total labor involved in that process than sticking a package in the microwave. Even if she has potatoes growing in a container garden out back, say, and serves up potatoes she grew, harvested, and cooked herself, odds are she didn’t make the gardening tools, the cookware, or the stove she uses.

That’s division of labor: the social process by which most members of an industrial society specialize in one or another narrow economic niche, and use the money they earn from their work in that niche to buy the products of other economic niches. Let’s say it up front: there are huge advantages to the division of labor.  It’s more efficient in almost every sense, whether you’re measuring efficiency in terms of output per person per hour, skill level per dollar invested in education, or what have you. What’s more, when it’s combined with a social structure that isn’t too rigidly deterministic, it’s at least possible for people to find their way to occupational specialties for which they’re actually suited, and in which they will be more productive than otherwise. Yet it bears recalling that every good thing has its downsides, especially when it’s pushed to extremes, and the division of labor is no exception. Crackpot realism is one of the downsides of the division of labor. It emerges reliably whenever two conditions are in effect. The first condition is that the task of choosing goals for an activity is assigned to one group of people and the task of finding means to achieve those goals is left to a different group of people.

The second condition is that the first group needs to be enough higher in social status than the second group that members of the first group need pay no attention to the concerns of the second group. Consider, as an example, the plight of a team of engineers tasked with designing a flying car.  People have been trying to do this for more than a century now, and the results are in: it’s a really dumb idea.

It so happens that a great many of the engineering features that make a good car make a bad aircraft, and vice versa; for instance, an auto engine needs to be optimized for torque rather than speed, while an aircraft engine needs to be optimized for speed rather than torque. Thus every flying car ever built—and there have been plenty of them—performed just as poorly as a car as it did as a plane, and cost so much that for the same price you could buy a good car, a good airplane, and enough fuel to keep both of them running for a good long time. Engineers know this. Still, if you’re an engineer and you’ve been hired by some clueless tech- industry godzillionaire who wants a flying car, you probably don’t have the option of telling your employer the truth about his pet project—that is, that no matter how much of his money he plows into the project, he’s going to get a clunker of a vehicle that won’t be any good at either of its two incompatible roles—because he’ll simply fire you and hire someone who will tell him what he wants to hear. Nor do you have the option of sitting him down and getting him to face what’s behind his own unexamined desires and expectations, so that he might notice that his fixation on having a flying car is an emotionally charged hangover from age eight, when he daydreamed about having one to help him cope with the miserable, bully- ridden public school system in which he was trapped for so many wretched years. So you devote your working hours to finding the most rational, scientific, and utilitarian means to accomplish a pointless, useless, and self- defeating end.

That’s crackpot realism. You can make a great party game out of identifying crackpot realism—try it sometime—but I’ll leave that to my more enterprising readers. What I want to talk about right now is one of the most glaring examples of crackpot realism in contemporary industrial society. Yes, we’re going to talk about space travel again. No question, a fantastic amount of scientific, technological, and engineering brilliance went into the quest to insert a handful of human beings for a little while into the lethal environment of deep space and bring them back alive. Visit one of the handful of places on the planet where you can get a sense of the sheer scale of a Saturn V rocket, and the raw immensity of the effort that put a small number of human bootprints on the Moon is hard to miss. What’s much easier to miss is the whopping irrationality of the project itself.(I probably need to insert a parenthetical note here.

Every time I blog about the space program, I can count on fielding at least one comment from some troll who insists that the Moon landings never happened. It so happens that I’ve known quite a few people who worked on the Apollo project; some of them have told me their stories and shown me memorabilia from what was one of the proudest times of their lives; and given a choice between believing them, and believing some troll who uses a pseudonym to hide his identity but can’t hide his ignorance of basic historical and scientific facts, well, let’s just say the troll isn’t going to come in first place.

Nor is his comment going to go anywhere but the trash. Nuf said.)Outer space simply isn’t an environment where human beings can survive for long.

It’s near- perfect vacuum at a temperature a few degrees above absolute zero; it’s full of hard radiation streaming out from the huge unshielded fusion reactor at the center of our solar system; it’s also got chunks of rock, lots of them, whizzing through it at better than rifle- bullet speeds; and the human body is the product of two billion years of evolutionary adaptation to environments that have the gravity, atmospheric pressure, temperature ranges, and other features that are found on the Earth’s surface and, as far as we know, nowhere else in the universe. A simple thought experiment will show how irrational the dream of human expansion into space really is. Consider the harshest natural environments on this planet—the stark summits of the Himalayas; the middle of the East Antarctic ice sheet in winter; the bleak Takla Makan desert of central Asia, the place caravans go to die; the bottom of the Marianas Trench, where the water pressure will reduce a human body to paste in seconds. Nowhere in the solar system, or on any of the exoplanets yet discovered by astronomers, is there a place that’s even as well suited to human life as the places I’ve just named.