#@Cultdom

[causalityparadoxes]

Dune 2 actually for reals good!?!? damnn

[xoteajays]

okie so i intro’d kuina at least, but do i throw chishiya and tomi in before or after the beach traitors/card stealers incident?

69k words into paper flowers like …. at what point do i finally introduce chishiya and tomioka?

[spot-the-antisemitism]

Not sharing photos because I'd dox myself, my college is too small lmao but holy shit some people or whoever was in charge of setting it up turned my college's public Ofrenda into about ✨resistance✨. Like it's bad enough there's fake plastic food on it. They've added cardboard signs that say shit like "everything is political" and "resistance even in death" in cursive with hearts. One of the pictures explaining what it is has a person throwing a molotov cocktail as the bg. I doubt it's the same group as last year because one, they didn't do this, and two it was decorated better but yikes. Idk how much y'all know about Dia de los Muertos, but it's a celebration of life, not weird martyr cultdom.

-Soup

Dear Soup,

yeah Dias De Los Muertos from what I understand was once a celebration of the dead living again and honoring memory and is not related to Christ or Martyrdom in any way

it's about honoring YOUR ancestors not "the martyrs of the holy war", that's like making Easter about the Crusaders instead of about the Ressurection.

They're appopriating it because Dias de los Muertos is seen as a Latine holiday and they want their antisemitism to seem intersectional but they come off super racist in the process

could you throw it away and claim it was vandalism?

yours,

Cecil

[discussingwho]

via The Cultdom Collective

[dragonageconfessions]

CONFESSION:

The information about the Agents of Fen'Harel/Fen’Harel Cultists really bothers me as both sides of my family have family members in a cult. My twin brother was even granted full custody of my niece and nephew due to my former sister in law's activities in what can be described as a cult. My former sister in law is only allowed supervised visitation and so far she had never made an attempt tosee her kids. The judge basically said she posed a danger to her kids. My wife and I are essentially the mother figures for them which is something we not only take seriously...we love being there for them. I just hope the next game has more than just Solas and this agents of Fen'Harel/cultist stuff because it makes me uncomfortable. One of the definitions of a cult is "a system of religious veneration and devotion directed toward a particular figure or object." And when I read that Fen'Harel agents have to carry poison and kill themselves before being captured really upset me. That just reeks of cultdom and I just really hope the next game is not just about Solas and his followers.

[daveac]

Cultdom Epi. 362 News & Review Dr Who ‘Can You Hear Me?’ S12 E7

The Cultdom Collective Podcast

Cultdom Episode 362 – News & Review Dr Who ‘Can You Hear Me?’ S12 E7 (Spoilers!)

After News and a long chat our main topic, reviewing Doctor Who story ‘Can You Hear Me?’ gets underway – a full 88 minutes in which is another new record. Enjoy!

Stream on TalkShoe here: https://www.talkshoe.com/episode/8343501

Subscribe on iTunes: http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=324932943

Regards, Ian, Darth & Dave

[myrecordcollections]

Nilsson started going off the tracks at Pussy Cats, but his descent into sheer, unhinged lunacy became apparent with 1976's Sandman, his second album recorded in 1975. It was easy to view Duit on Mon Dei as transitory, but this proves that it was a transition to craziness and cultdom. At this point, he was abandoned by Lennon, left alone in L.A. and Nilsson just didn't care. He continued to roam, rampage, and record, ensconcing himself in his own world of in-jokes, Tin Pan Alley melodies, soft rock, clever wit, and sheer drunkenness. Check the cover: on the front, he has a bottle of wine between his legs, on the back he's overcome by a sand crab. On the album itself, he repudiates rock & roll, realizes "Pretty Soon There'll Be Nothing Left for Everybody," has a drunken conversation with himself (so extreme that he's thrown out of the bar), explains why he did not go to work today, writes an ode to flying saucers, offers cheekily literal instructions on how to write a song and then covers a song from the last album. Melodically, he's still strong, but the gleeful craziness overwhelms the pretty music and accessible production, resulting in an album that makes Son of Schmilsson and Pussy Cats seem normal, which may only signal just how far away from the mainstream Nilsson was at this point. But, in a way, he was still brilliant -- these are exceptional recordings, and his warped sense of humor is funnier than its ever been. That's not to say that Sandman is an easy record -- you have to not only accept Nilsson's quirks, but embrace them more than his talents to love this album -- but if your head is properly calibrated, this is one to treasure.

[saltwukong]

Can one say that the RWBY fandom is approaching near-Jonestown levels of cultdom now?

I don’t know what Jonestown is but I know RWBY fandom’s willingness to disrespect dead men in favor of sucking the dicks of their favorite YouTube gamer personalities stresses me out every day of my life.

[ike-loves-men]

I am completly unsurprised that people from the RT cultdom see a fictional (badly written and butchered, but still) racial justice group and compare it to nazis. The RT cultdom, just like RT, is mainly composed by mediocre white racist pigs and white and lowkey racist ‘’uwu kwyrs uwu’’ people after all.

[knightofbalance-13]

Racism is not morally grey...Even if said racism is not their fault.

https://bluepulserjaime.tumblr.com/post/160973846701/racism-is-not-a-morally-grey-issue-homophobia

Racism is not a “morally grey” issue. Homophobia is not a “morally grey” issue. Discrimination against a disfranchized minority is not a “morally grey” issue. Why cant the RT/RWBY cultdom not understand that Bioware Discrimination is a fantasy designed to make the less amount of people uncomfortable, and not how those issues work in the real work? MKG, and even Monty, playing the morally grey game with Faunus racism is not deep, its just another faux ~woke~ racism allegory narrative, but with shittier writing.

Like I’m going to take opinions about racism and sexuality discrimination against a guy who can’t see past the color of Weiss’ skin or Jaune’s sexuality.

Listen up, both you and everyone else, because I am only saying this ONCE. This shouldn’t even need to BE said at all since this is common fucking knowledge but I will do you al this single favor:

No one has any right to judge another person without even taking a moment to look at where they are coming from. With the sole exception of an innocent life being taken, every issue in life is inherently grey. You cannot blame someone for being racist if they have had nothing but bad experiences with said race because all of their experiences and expectations are based around the worst possible outcome, therefore they will act with hostility. You also cannot blame them if the racism is inherent in the family because as a child they didn’t know any better and overcoming your programming from your childhood as an adult is a very difficult thing to do.

Does this mean you should let it pass? No. You just need to be patient and understanding while teach them that their way of thinking is destructive and unhealthy. Treat it as the grey area it is. Hardly is life as black and white as people make it out to be.

Just as well: Either ALL forms of Racism is bad or none are. Doesn’t matter if the group your being racist against oppressed anyone or enslaved anyone: Racism is an everything goes or nothing does thing. Not that this person understands, who judges people by whether or not their skin is white.

So suck it up, grow up and learn how the world works everyone. Or else you can be mocked and ridiculed like this idiot.

[companionsofthedoctor]

The Companions’ Guide to Doctor Who Podcasts (10th July 2017)

In our weekly roundup, Companions of the Doctor brings you a list of Doctor Who podcasts that were published the week and weekend before. This is by no means a complete or exhaustive list, but the podcasts listed are representative of those recommended and/or subscribed to by the Companions of the Doctor staff. If you don’t see your favorite Doctor Who podcast listed, just let us know via the form or email on our Contact Us page. Be sure to leave a link to the podcast, and we’ll try to add it next week.

All podcasts and content belong to their respective owners. Companions of the Doctor is not responsible for any of the podcast content you hear, and some podcasts contain content that may not be safe for work.

Latest Podcast Episodes:

The Cultdom Collective Podcast: EPISODE330 - Doctor Who Series 10 Review

Doctor Who: Radio Free Skaro: #590 – Blue Man Group 

Staggering Stories Podcast: Staggering Stories Commentary #195: Doctor Who – Thin Ice

Theta Sigma's Doctor Who Podcast: Episode 202 Theta's Season 10 Review

Flight Through Entirety: Episode 118: Bitter and Painful    

Beyond the Sofa Podcast:  BTS 27 - The Tenth Plummet

The Big Finish Podcast:  2017-07-10 The Prisoner 2 and Tom Baker too

Doctor Who: The BLUE BOX Podcast: Episode 265 : Some Sunshine For the Underdogs  

The Doctor Who Show: Doctor Who Series 10 - The Wrap

Zeus Plug: ZEUS PLUG - The Series 10 Review

The Cultdom Collective Podcast: Commentary: Doctor Who - The Doctor Falls  

The Ood Cast: The Ood One Out – The Doctor Falls

The Big Blue Box Podcast:  Doctor Who - Ep149: That’s a Wrap    

Traveling the Vortex: Episode 337 – Dancing With Myself

Discussing Who: Episode 59: Review of The Doctor Falls, Doctor Who Series 10 Episode 12   

Debating Doctor Who: Episode 65: “The Doctor Falls”  

Tim’s Take On: Episode 391 (40 Years of Panopticon at The Capitol II)

MarkWHO42: Episode 188 – The Doctor Fell on MarkWHO42 & Gallifrey Stands

Wanderers in the 4th Dimension: Episode 275b: The Doctor Falls    

Doctor Whooch: Episode 120 - Bill Deserved More

Earth Station Who: Earth Station Who Podcast Episode 163 – The Doctor Falls  

The Big Finish Podcast: Toby Hadoke's Who's Round 207 

The Impossible Girls Podcast: Episode #69: Unkill Bill

Gallifrey Stands Podcast: Ep169- Series 10, Part 2. With Paul Gee, MarkWho42 & Jeremy Radick    

Progtor WHO: EP 90.2 Bonus Mini-Ep ‘Our Lovely Listeners Feedback’ for THE DOCTOR FALLS   

Progtor WHO: EPISODE 90: THE DOCTOR FALLS review 

Verity! Podcast: Episode 144 – The Doctor Falls Over

Who’s He? Podcast: #276 Even the hero gets a bullet in the chest 

Tin Dog Podcast: TDP 689: TV DOCTOR WHO Doctor Falls 

Gallifrey Public Radio: The Doctor Falls

Doctor Who: The PodKast with a K: 281: The Doctor Falls, Gets Up Again, Falls, Gets Up, etc.  

Who Back When - A Doctor Who Podcast: B035 Fourth Anniversary Blooper Reel

The Podcastica: Episode 98: The Doctor Falls OR You Only Changed ONE Number?

The Five(ish) Fangirls Podcast: Episode #145: The Doctor Falls

This Week in Time Travel: Many, Many Feels (Episode 14)

Doctor Who: The BLUE BOX Podcast: Episode 264 : Dead Alive, or Dead Alive

The 20MB Doctor Who Podcast: Episode #347 Season 10 Finale 

The Untempered Schism Podcast: #165 – Victory of the Daleks

Mutter’s Spiral Podcast: MUTTER’S SPIRAL Podcast 136 – “The Doctor Falls”

Previous Week(s)

TARDISblend: 110: The Doctor Falls 

Staggering Stories Podcast: #266: Tenth Podcast Anniversary

The Sonic Toolbox: Episode 241: The Doctor Falls - Review 

Strangeness in Space: Finale Part 1: “Home is Where the Heart Is” (Episode Five)  

WHO 37 - A Doctor Who Podcast: #109 Beam Me Out Scotty

The Doctor Who Show: S10E12 The Doctor Falls (Doctor Who Series 10)

TeeVee’s Doctor Who Flashcast: 266 Doctor Who S10E12 Review: “The Doctor Falls”

Discussing Who: Episode 58: Mississippi Comic Con 2017 Interviews and More 

The Doctor Who Show: You and Who Talking 014

Earth Station Who: Podcast Special – Gareth David-Lloyd

Arrow of Time Podcast: 139 – Everything’s Relative   

Tin Dog Podcast: TDP 682: Main Range 226 SHADOW PLANET WORLD APART from @BigFinish 

The Cultdom Collective Podcast: Commentary: Doctor Who - World Enough and Time

Outpost Skaro Podcast: Episode 127 – Spare Potts

Doctor Who: The PodKast with a K:   280: World Enough and Time, CyberBill, and More!  

Doctor Who: The Pharos Project Podcast: Pharos Project 218: The Eaters of Mars

[chiseler]

An Interview with Joyce Meadows

In 1957, a then 22-year-old Joyce Meadows starred in her second feature, and what would turn out to be her only foray into science fiction. In the Nathan Juran-directed The Brain from Planet Arous, Meadows was cast as Sally Fallon, the high-spirited but long-suffering fiancee of an atomic scientist (genre stalwart John Agar) who finds himself possessed by an evil alien brain with some mighty diabolical plans for world domination. Things only grow stranger with the arrival of a benevolent alien brain from the same planet, who, in an effort to track down and capture the evil brain, possesses Meadows’ dog.

The Brain from Planet Arous is a delightful and wildly entertaining bit of Fifties sci-fi cultdom with some solid performances and a remarkable score. It’s the film for which Meadows is best remembered, and the reason she continues to be invited to science fiction conventions to this day. Although she was a film and television fixture in the Fifties and Sixties, looking back on an acting career that has now spanned over six decades, her onscreen work isn’t central in Meadows’ own mind.

Born Joyce Burger in Alberta, Canada in 1935, she spent her earliest years on the family farm, where the nights were often marked by music, singing, and dancing on the back porch. It was on that porch that a three-year-old Meadows would sing her first song in front of an audience, but dreams of becoming a professional performer were still years away.

“You have to understand,” explains Meadows, still vibrant, sharp and charismatic at eighty-three. ���My mother’s side of the family came over from Europe. She was first generation. They were Russian and Romanian, and they were very musical. Grandpa played the squeezebox, my mother sang and danced, and my auntie taught me to sing when I was two, as soon as I could talk. There was no thought of showbiz, this was just who they were. Music was a part of life. It’s just what you did on the back porch at the end of the day after all the chores were done.

Not long after that, the family moved to the States, settling first in Montana, then in Oregon. It was in Montana, when she was eight, that Meadows saw her first motion picture.

“It was that one with Glen Ford and Rita Hayworth,” she recalls. “Gilda I think it was called. They usually showed two films back then, double features, but I forget what the second one was. An older cousin took me. She was fifteen or sixteen. After she sat me down in the seat, she told me to wait, because she was going to go get some popcorn. As I sat there I started wondering how these people on the screen could be talking. When my cousin came back, I wasn’t in my seat. I was very curious. I stood up and went to the front of the theater, then up the steps to the stage they had there. I was standing by the screen. I think the newsreel had come on. I reached out and touched the screen and thought, ‘This is just paper. How can they make paper talk?’ That’s how I was thinking. By then my cousin saw where I was, and the people in the audience were getting a little upset. You have to understand we had moved from a farm where we had no electricity, no running water. The house was lit with kerosene lamps, there was an outhouse. When we moved to the United States, I was just beginning to learn about all these high-tech things.”

A year later, when she was nine, the Burgers settled in Sacramento, California. It was in high school, after joining the thespian club, starring in several school plays, and forming a song and dance duo with a friend that Meadows first began looking ahead.

“That’s when I became interested in performing as a career. I realized you could make a living at it. You could get paid.”

The years following her graduation from high school were busy and tumultuous. She started acting in local theaters (sometimes by lying about her age), including an early turn as Juliet in Romeo and Juliet. The local Chamber of Commerce also nudged her to enter the Miss Sacramento pageant.

“It wasn’t something I was considering, but it was suggested to me. I looked into it and saw there were a lot of opportunities, like free modeling lessons, so I entered.”

It was her singing as well as her looks that caught the judges’ attention in the Miss Sacramento pageant, and after winning that she was contacted by the owner of The Wagon Wheel in Lake Tahoe.

“He started bringing me up there on weekends to sing in the lounge. I was a kind of opening act for a lot of big names. Every weekend he would put a couple hundred dollars in an envelope and hand it to me. I was paid in cash, and it was a lot more than I was making working for the telephone company. My father was opposed to the idea of show business as a career, so arranged to get me a decent stable job. I worked for the telephone company during the week, then went to the Wagon Wheel on weekends, but had to be back in Sacramento in time for work Monday morning.”

At nineteen, after working in assorted theaters and singing in small venues around Sacramento, she set her sights higher. Leaving the phone company behind, Meadows moved to Hollywood, changing her name from Burger to Meadows somewhere along the line. She earned a scholarship to the famed Pasadena Playhouse, and later studied acting with the legendary Stella Adler.

“She was so good,” Meadows says of Adler. “I adored her. I studied acting with a lot of people, but she was my favorite. She’d gone to Russia and studied with Stanislavsky himself, then brought his technique back to the United States. She taught so many people, and changed the whole nature of stage acting here. People always talk about how Marlon Brando was a method actor—I guess some people use that term—and how he’d studied at The Actor’s Studio. But when his autobiography came out, he said he’d never been to The Actor’s Studio, that he learned everything from Stella Adler. Of course Brando had been born in a trunk. His mother was an actress. But I learned so much from Stella, and liked her much more than the others.”

Around 1954, Meadows career took another turn.

“It was pretty straightforward and technical,” she says. “This was about two years before the film came out. A casting director saw me in a play. He said he had a part in an independent film, and that I should come down an audition.”

Although she would always remain a stage actor at heart, Meadows went for the audition and got the role. The picture in question was the American International Western, Flesh and the Spur, directed by Edward L. Cahn. Released in 1956, the revenge picture starred Mike Conners (who at the time was going by the name “Touch”) and meadows’ future Brain from Planet Arous co-star John Agar.

“It wasn’t a very big role,” Meadows says in retrospect. “And I think I get killed off pretty early.”

I asked her about the learning curve involved in switching from theater to film.

“Oh, sure,” she says.”It’s a different process, but I think I learned a lot more on Brain.”

Less than a year following her debut feature, and after appearing in episodes of the TV series’ Highway Patrol and The Web, Meadows was offered the lead in The Brain from Planet Arous.

“You need to reign things in a little,” she continued about the transition from stage to film. “You need to learn about camera placement and where your mark is. ‘Mark? What’s a mark?’ And you need to keep moving. But with my background in theater that wasn’t an issue, because in the theater you’re moving all the time.”

And what about having to act with a talking dog who’d been possessed by an alien brain?

“Talking to the dog was not a big deal. My mother always had a dog and a cat on the farm, and used to talk to them all the time. When we moved to California, the dog was just another member of the family, and we all talked to him as if he could understand us and respond.”

The decade between 1956 and 1965 was an incredibly busy one for Meadows. She appeared in a string of films ranging from Frontier Gun, in which she once again co-starred with Agar, to Walk Tall to Back Street to Breakfast at Tiffany’s. In that same period, a quick scan through her filmography might give the impression she appeared in every TV show on the air at the time: 77 Sunset Strip, Wagon Train, Sea Hunt, Perry Mason, Alfred Hitchcock Presents, Tales of Wells Fargo, Maverick, and on and on, often appearing on these shows more than once. I asked what the atmosphere in Hollywood was like for a young and attractive female actor in the late Fifties and early Sixties.

“You mean creatively or the business end? The business was much tougher. There was a lot of politics involved, and back then…how do I put this? Let’s just say ‘sexual harassment’ didn’t exist. You couldn’t sue people for sexual harassment. So there were a lot of those ‘chasing around the desk’ scenes. But I was tough. I was surrounded by acting coaches and singing coaches and agents, and they knew people. It got to where casting directors would call my agent and say, ‘I have a role here I think would be perfect. It’s not a big role and it’s a new show, but it’s a way to get your foot in the door.”

“Back then,” she went on, “a lot of TV shows only had two or three main actors, so for every episode they had to bring in a lot of other actors who were prepared to play leads, which I was. That’s how I ended up on shows like Perry Mason or M Squad or 77 Sunset Strip three or four times. You look at TV shows nowadays, and they have eight or ten or twelve regular actors. The people they bring on are only going to get a small role—just one scene, or a few lines. A ‘Five or Under,’ they call it. I saw a show not long ago where Glenn Close had just one scene. And she’s a big actor! So in that way I feel fortunate to have been involved with the industry when I was.”

At the same time she was doing television, Meadows was also a member of The West Coast Ensemble , an L.A.-based theater troupe. It was an Equity waiver group, meaning they performed plays in theaters with fewer than ninety-nine seats, the actors were paid less than Equity scale, and non-union actors were welcome.

“I knew so many amazing actors there,” Meadows says. But few of them ever made the move to films or TV. There was one young woman, we were great friends. She was a great actor, a female Marlon Brando, but ended up becoming a mathematician at the Jet Propulsion Laboratories. A lot of these people just couldn’t take the rejection. If you were an actor in a troupe like that, you were working. It was harder with TV, and they couldn’t deal with the rejection. If I had a lot of money and was producing, I wouldn’t even bother with a casting director. I’d just hand the scripts out to all these people.”

I asked if, after appearing in over 200 films and TV shows, any particular shows or productions were especially memorable.

“People ask me that,” she said, sighing a little. “But not really. I got to work with some very good people. I became good friends with John Agar and his wife. He was a wonderful man. Chuck Connors, too. I was a little scared of him at first, but when he saw I came prepared and knew my lines, we got along fine. One day this really beautiful woman walked on the set, not an actress. It turned out to be his girlfriend. They were the cutest couple of kids you’ve ever seen. I was a little scared of Lee Marvin, too, because he had this reputation for being really mean to other actors. But again, when he saw I knew my lines and was professional, we got along well. Just two actors working together.”

After appearing in 1970’s The Christine Jorgensen Story, about the world’s first sex-change operation, Meadows seemed to completely vanish from film and TV for nearly two decades.

People thought that since they didn’t see me on TV I wasn’t doing anything,” she explains. “I was having a difficult time in Hollywood back then. So in the Seventies I teamed up with a group of musicians, and we toured everywhere. All over the country. They had a female singer lined up, but it didn’t work out, so they contacted me. I have no idea how they found me, because they were all based in Vegas. We were called The New Ideas, we toured for most of the decade, and it was a wonderful time.

Meadows returned to acting in the early Eighties, joining The Company of Angels, LA’s first Equity waiver theater troupe, which had been formed in 1959 by Vic Morrow. Leonard Nimoy, Vic Tayback, and Richard Chamberlain. In the second half of the decade she stepped back in front of the cameras, appearing on episodes of Punky Brewster, L.A. Law, and Lois and Clark: The New Adventures of Superman, among others.

I got in touch with my agent, and he said ‘I thought you were dead.’ What a nice thing to say. But the roles were pretty good. I did a couple soaps. I was on Days of Our Lives, a five-episode storyline, and I was on another one that isn’t on anymore. I think it was called Santa Barbara. And then that other big one—it’s still around but I forget the name right now. And I gotta hand it to these soap actors. When you’re doing a film, you shoot maybe two pages a day, but these people are doing an entire script every day. I wasn’t having a very good time, so thought, ‘I don’t think I’ll do any more soaps.’ I did a lot of commercials, a few shows now and again, then quietly began to retire.

Having removed herself from the film and TV industry by the late Nineties, Meadows and a close friend, Shakespearean actor David Sage, just for fun, took it upon themselves to study and analyze all of Shakespeare’s sonnets.

“We would get together once a week and take the sonnets apart, trying to figure out where they’d come from. We did this for two years, and it was one of the best times of my life. When we were finished, his wife asked us if we were planning on turning it into a show. Well, that idea had never occurred to us, but it was a wonderful idea. We wrote back stories for all the sonnets, stories about where they’d come from, and turned it into a two-person show. We’d perform the back stories, and the sonnets themselves were done as monologues. We had to memorize thirty Sonnets. And we began touring with that. We called it Will Will Fulfill: The Shakespeare’s Sonnets, the title coming directly from Shakespeare. We did that for about ten years. When David got too ill to go onstage, I did it myself. Turned it into a one-woman show and did it for a few more years.

Following that, she said, she heard from a friend who worked in a vocational center for the mentally disabled.

“If Universal had a few hundred envelopes that needed stuffing, they’d send them down there,” she says of the center. “It was work they could do, it was a job, and they’d be paid for it. She told me one day that a lot of the people down there  were interested in acting. They were from all ages, about sixteen to maybe forty-three.”

Meadows, who has also taught acting, could sense the potential there. At the time she was involved with another Equity waiver troupe.

“We rounded up some actors, had some scripts written, and we began working together. We did a Western melodrama, a vaudeville show, and a detective show. I had never had any dealings with the mentally disabled before—there were people with Down’s Syndrome and all sorts of things—but they were acting with us and we were acting with them.”

Under the name “The Meridian Theatre Academy Presents…,” the mix of professional and developmentally disabled actors staged productions in Burbank, Glendale, Newport Beach and elsewhere, usually before audiences of two or three hundred.

More recently, Meadows has become involved with a new ensemble, A Cup of Water, which she describes as “senior citizen actors performing for senior citizens.” But to Meadows personally, it’s much more than that.

“I always regretted not going to New York when I was younger,” she admits, “That was my real dream—to do musical theater on Broadway—but instead I stayed in Hollywood. Now we’re getting permission to cut these plays, like Guys and Dolls and South Pacific, down to an hour. And I’m finally getting the chance to sing all these songs I’ve always wanted to sing! I never had the chance to sing when I was doing television.”

She added that she was a little amazed at the sound that came out when she opened her mouth to sing for the first time after so many years. “It was pretty good. I didn’t sound like an old person. So I’m going to keep doing it. When the day comes I open my mouth and it’s just {growling} ‘rah-rah-rahr,’ then I’ll stop.

While for decades now, The Brain from Planet Arous has remained a perennial cult favorite among fans of classic low-budget sci-fi, more recently the resurrection of old TV shows on DVD, cable and the internet has cast a new light on Meadows extensive screen career.

“Someone told me the other day, ‘you had ten shows on last night,’ and I couldn’t believe it.”

The re-emergence and rekindled interest in vintage TV has also earned Meadows a new generation of fans.

“I get hundreds and hundreds of letters from all over the world,” she says. “Germany, Greece, Russia, Japan, even China. All these young people who have such nice things to say about my work. It’s very gratifying. It’s so cute to see them write, ‘I really love what you did in this movie or that TV show, and I’m sure you’re going to have a wonderful career.’”

For more information about Joyce Meadows, as well as autographed photos and other merchandise, please visit:

http://joycemeadows.net/

by Jim Knipfel

[gritsms]

We return to the Third Doctor’s Era after reviewing Doctor Who Series Three (2007) to witness the Master’s first story in ‘The Terror of the Autons’.  Katy Manning makes her first appearance as Jo Grant in this story. Plus, we give our best regards to Alan Siler and the WHOLanta convention team on what may be the final WHOLanta. Hosted by Kyle Jones, Clarence Brown, and Lee Shackleford.

    The Discussing Network

Discussing Who is part of the Discussing Network. Find out more about the network and other shows on the network by visiting http://discussingnetwork.com.  

Become a Patreon Supporter! By becoming a Patreon, you can support the show while receiving exclusive perks made available for Patreon Supporters.  Visit Patreon.com/DiscussingNetwork for more information, to follow us on Patreon, and – should you choose – support the show.

You can how subscribe to Discussing Network on SPOTIFY!

Connect with us by liking us on Facebook, following us on Twitter, find us on Instagram, and more!

Subscribe to the show on Apple Podcasts, Google Play, PlayerFM, Stitcher, and others! Help others discover us by giving star ratings and/or recommending us on Apple Podcasts and Stitcher.

Feedback

Let us know what you think! Send your feedback via email to discussingwho@gmail.com or leave us a voicemail message on the Discussing Who Call Line. Simply dial (805)850-DWHO (3946). (Airtime and/or long distance rates apply, if applicable.) Already following us on Facebook? Simply send a message on there.

Like the show? Want to contribute?  Send us your feedback! We want to hear from you!

This episode of Discussing Who is brought to you by Audible – get a FREE audiobook download and 30 day free trial at www.audibletrial.com/DiscussingWho.  Check out over 180,000 titles to choose from for your iPhone, iPad, Android, Kindle or mp3 player.

Our Hosts on Other Shows

Want more from the Discussing Who co-hosts? Our hosts can be found on the following:

Doctor Who: Podshock (Kyle & Lee)

The TechPedition Podcast (Clarence)

The Relativity Podcast (Lee & Clarence)

Discussing Trek: A Star Trek Discovery Podcast (Clarence & Kyle)

Additional Information

Listen to the Cultdom Collective at http://cultdom.com

Find out more about WHOlanta at WHOLANTA.COM

Interested in more Doctor Who Comics? Visit our friends at Titan Comics. Titan publishes comics featuring the Ninth, Tenth, Eleventh, and Twelfth Doctors. They also publish comics featuring Sherlock, Penny Dreadful, and more! Check them out and tell them that Discussing Who sent you.

    via Geeks Recording In The South Super Feed

[discussingwho]

via The Cultdom Collective

[suzannemsabol]

Heathers

Let’s refresh. For those of you who don’t know what Heathers is…SHAME! This is morbid, wonderfully dark, and one of the best teen movies there is. It also has one of the best “fuck me” lines there is: fuck me gently with a chainsaw. What?! That’s an amazing play on imagery and a delightful use of profanity that really just takes this movie to the next level of cultdom (there’s another made up…

[daveac]

Cultdom Epi. 361 News & Review Dr Who ‘Praxeus’

The Cultdom Collective Podcast

Cultdom Episode 361 – News & Review Dr Who ‘Praxeus’ S12 E6 (Spoilers!)

After News and much chat covering ‘Kirk Douglas’ The Oscars & ‘Picard’ our main topic, a review of the Doctor Who story ‘Praxeus’ gets underway! That’s a new record I think – Enjoy!

Stream on TalkShoe here: https://www.talkshoe.com/episode/8282379

Subscribe on iTunes: http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=324932943

Regards, Ian, Darth & Dave