#Alan Cummin

[oldfilmsflicker]

new-to-me #561 - The Anniversary Party

[bidotorg]

From Floop to Dr. Dylan Reinhart, Alan Cumming always has a stunning #NewBIginning! 😈 https://bi.org/en/articles/famous-bis-alan-cumming

https://bi.org/en/articles/famous-bis-alan-cummin

[ulkaralakbarova]

The eccentric new manager of a UHF television channel tries to save the station from financial ruin with an odd array of programming. Credits: TheMovieDb. Film Cast: George Newman: ‘Weird Al’ Yankovic R.J. Fletcher: Kevin McCarthy Stanley Spadowski: Michael Richards Bob: David Bowe Harvey Bilchik: Stanley Brock Philo: Anthony Geary Raul Hernandez: Trinidad Silva Kuni: Gedde Watanabe Noodles MacIntosh: Billy Barty Richard Fletcher: John Paragon Pamela Finklestein: Fran Drescher Esther Bilchik: Sue Ane Langdon Head Thug: David Proval Killer Thug: Grant James Teri: Victoria Jackson Joe Earley: Emo Philips Gandhi: Jay Levey Cameraman: Lou B. Washington Bum: Vance Colvig FCC Man: Nik Hagler Bartender: Robert K. Weiss Spatula Husband: Eldon G. Hallum Spatula Wife: Sherry Engstrom Spatula Neighbor: Sara Allen Sy Greenblum: Bob Hungerford Crazy Ernie: John Cadenhead Blind Man: Francis M. Carlson Earl Ramsey: Ivan Green Joel Miller: Adam Maras Billy: Travis Knight Little Weasel: Joseph Witt Teri’s Father: Tony Frank Teri’s Mother: Billie Lee Thrash Fletcher Cronie #1: Barry Friedman Fletcher Cronie #2: Kevin Roden Phyllis Weaver: Lisa R. Stefanic Big Edna: Nancy Johnson Betty: Debbie Mathieu Little Old Lady: Wilma Jeanne Cummins Animal Deliveyman: Cliff Stephens Band: Guitar: Jim West Band: Bass Guitar: Steve Jay Band: Drums: Jon Schwartz Band: Keyboards: Kim Bullard Whipped Cream Eater: Barry Hansen Thug #3: Bob Maras Thug #4: George Fisher Guide #1: Tony Salome Guide #2: Joe Restivo Yodeler: Charles Marsh Mud Wrestler: Belinda Bauer Satan: Patrick Thomas O’Brien Conan the Librarian: Roger Callard Timid Man: Robert Frank Boy with Books: Jeff Maynard Promo Announcer (voice): M.G. Kelly Promo Announcer (voice): Jay Gardner Promo Announcer (voice): John Harlan Promo Announcer (voice): Jim Rose Film Crew: Production Manager: Gray Frederickson Original Music Composer: John Du Prez Editor: Dennis M. O’Connor Producer: Gene Kirkwood Producer: John W. Hyde Writer: Jay Levey Director of Photography: David Lewis Production Design: Ward Preston Set Decoration: Robert L. Zilliox Costume Design: Tom McKinley Makeup Effects: Allan A. Apone Special Effects Makeup Artist: Douglas J. White Sound Recordist: Ara Ashjian Sound Editor: Christopher Assells Sound Editor: Charles R. Beith Jr. Sound Recordist: Gregory Cheever Sound Editor: Clayton Collins Sound Re-Recording Mixer: Andy D’Addario Sound Editor: Dino DiMuro Sound Editor: G. Michael Graham Sound Re-Recording Mixer: Jeffrey J. Haboush Sound Mixer: Bo Harwood Sound Editor: Dan Hegeman Sound Editor: A. David Marshall Sound Editor: Diane Marshall Supervising Sound Editor: Dave McMoyler Sound Recordist: Art Schiro Sound Editor: Scott A. Tinsley Visual Effects Producer: John Coats Visual Effects Supervisor: William Mesa Visual Effects Art Director: Richard Kilroy Visual Effects Art Director: Ron Yates Post Production Supervisor: Susan Zwerman Production Supervisor: Bill Carroll Stunt Coordinator: George Fisher Stunts: Bob Maras Stunts: Brent Stice Stunts: T. Alan Kelly Stunts: J. Granville Moulder Stunts: Michael Steven Howl Stunts: Richard Drown Executive In Charge Of Production: Kate Morris Associate Producer: Becki Cross Trujillo Associate Producer: Joe M. Aguilar First Assistant Director: John R. Woodward Second Assistant Director: Benita Allen Casting Assistant: Gregory Raich Casting Assistant: Sandi Black Local Casting: Barbara Brinkley Henry Local Casting: Laurey Lummus Key Hair Stylist: Lynne K. Eagan Makeup & Hair: Roseanne McIlvane Wardrobe Supervisor: Ainslee Colt de Wolf Wardrobe Assistant: Phil O’Nan Boom Operator: Joel Racheff First Assistant Camera: Ed Giovanni Second Assistant Camera: Tiffanie Winton Second Assistant Camera: Brett Reynolds Second Assistant Camera: Cindi Pusheck Production Coordinator: Bonnie Macker Script Supervisor: Carol Stewart Second Second Assistant Director: Lorene M. Duran Third Assistant Director: Pam Whorton Additional Editing: Steve Polivka Assistant Editor: Lewis Schoenbrun Supervising ADR Editor: Karla Caldwell Music Supervisor:...

[docrotten]

HOUSE (1982) – Episode 256 – Decades Of Horror 1980s

“Damn! Come out of the grave and run out of ammunition!” Resurrection without ordinance? Such a disappointment. Join your faithful Grue Crew – Crystal Cleveland, Chad Hunt, Bill Mulligan, and Jeff Mohr – as they discuss House (1986), a comedy horror picture with its acting roots in Eighties television.

Decades of Horror 1980s Episode 256 – House (1986)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! Click the alert to get notified of new content! https://youtube.com/gruesomemagazine

Gruesome Magazine is partnering with the WICKED HORROR TV CHANNEL (https://wickedhorrortv.com/) which now includes video episodes of Decades of Horror 1980s and is available on Roku, AppleTV, Amazon FireTV, AndroidTV, and its online website across all OTT platforms, as well as mobile, tablet, and desktop.

A Vietnam vet/horror novelist’s son disappears while visiting his aunt’s house. His search for his son destroys his marriage and his writing career. When the troubled writer moves into the haunted house after inheriting it from his aunt, the evil ghosts in the house force him to endure a harrowing journey into his past.

  Directed by: Steve Miner

Writing Credits: Ethan Wiley (screenplay); Fred Dekker (story)

Produced by: Sean S. Cunningham (producer)

Music by: Harry Manfredini

Cinematography by: Mac Ahlberg (director of photography)

Production Design by: Gregg Fonseca

Special Paintings by: William Stout (as Bill Stout), Richard Hescox

Special Effects by:

James Cummins (creature design/creature effects designer: Backwood Films)

Kirk R. Thatcher (creature designer: Backwood Films) (as Kirk Thatcher)

Visual Effects by:

Mark Sullivan (stop-motion animation)

William Reilly (motion control technician)

Stunt Coordinator: Kane Hodder

Selected Cast:

William Katt as Roger Cobb

George Wendt as Harold Gorton

Richard Moll as Big Ben

Kay Lenz as Sandy Sinclair

Mary Stavin as Tanya

Michael Ensign as Chet Parker

Erik Silver as Jimmy

Mark Silver as Jimmy

Susan French as Aunt Elizabeth

Alan Autry as Cop #3

Steven Williams as Cop #4

James Calvert as Grocery Boy (as Jim Calvert)

Mindy Sterling as Woman in Bookstore

Jayson Kane as Cheesy Stud

Billy Beck as Priest

Bill McLean as Mr. Jones

Steve Susskind as Frank McGraw

John William Young as Would-be Writer (as John Young)

Dwier Brown as Lieutenant

Joey Green as Fitzsimmons

Stephen Nichols as Scott

Donald Willis as Soldier

Ronn Carroll as Policeman

Robert Joseph as Robert

Curt Wilmot as Skeleton Big Ben

Peter Pitofsky as Witch

Elizabeth Barrington as Little Critter

Jerry Maren as Little Critter

Felix Silla as Little Critter

The rallying cry from the Grue Crew is, “Chad is back!” For his return episode, the crew picks an 80s movie that surely everyone has seen. Well, everyone but Jeff. The film is HOUSE, released in 1985… or is it 1986? Covered seven years ago by Doc Rotten, Christopher G. Moore, and Thomas Mariani in episode 105, the current crew decided to revisit this comedy-horror feature. Starring some 80s TV icons – William Katt (The Greatest American Hero, 1981-1983), George Wendt (Cheers, 1982-1993), Richard Moll (Night Court, 1984-1992) – the cast, crew, and effects give them plenty to talk about and there’s plenty of taglines for Chad’s return. Welcome back, brother!

At the time of this writing, House is available to stream from Tubi, PlutoTV, and Amazon Prime, as well as multiple PPV sources, and on physical media as a Blu-ray from Arrow Video.

Every two weeks, Gruesome Magazine’s Decades of Horror 1980s podcast will cover another horror film from the 1980s. The next episode’s film chosen by Chad, will be Spookies (1985), a film whose making-of story might be more interesting than the movie itself.

Check out this episode!

[sbknews]

A new star rises at record breaking Pre-TT Classic.

The final day of racing at the Pre-TT Classic meeting brought some great racing and saw the emergence of a new star. The weather was kind; with bright sunshine, tempered by a light breeze. There was a good crowd at the final corner; Castletown Corner; to watch the action unfold. First race was the Greystones LLC Senior Classic. There was more drama before the race began that during it. On the warm-up lap Dominic Herbertson had an engine blow up at Ballabeg; this brought him off and deposited oil on the track. It was back to the paddock whilst the clear up took place. Then after the second warm up lap Jamie Coward was forced to pull off the line with a broken clutch cable. This robbed us of a repeat of the tight battle seen in the previous day’s 1100cc race. Adam McLean (Royal Enfield) was quickest to react to the lights and led into Ballakeighan; it was a lead that he was never to lose. At Castletown Corner on the opening lap, he had a couple of seconds lead from Mike Hose (Yamaha); with third being contested by Alan Oversby (Honda) and Andy Hornby (MV Agusta). Lap 2 saw McLean well clear of Oversby; whilst he had pulled clear of the battle for third in which Hornby had taken a slender advantage. With a clear lead, McLean eased his pace and rode to his boards coming home to win by 11.6s at 93.884mph. Oversby rode a lonely race to second place; whilst the battle for third that saw many positional changes was eventually settled in favour of Andy Hornby by just 0.54s. Russ Mountford took 5th; with Will Loder completing the top 6. The next race was the Quine & Cubbon 250cc Classic and 125cc Post Classic Race. Keith Shannon (Suzuki) was quickest away from the lights, and he was never headed. In a repeat of the previous race, he set his best time on lap 2; then eased his pace to ensure that he finished. Second onto the bridge at Castletown Corner on the opening lap was Richard Ford (Suzuki); but that was to be the only time that we saw him. In third, and leading the 125cc class was promising newcomer Owen Monaghan (Honda); sadly, he too was to be forced out with machine problems. Behind them was a battle that lasted for the race distance; it was between Andy Hunt (Ducati), Barry Davidson (Honda) and Billy Cummins (Suzuki). They changed positions many times; but finished in this order. Behind them came the eventual 125cc class winner, Jeff Smith. Third race of the afternoon was the VMCC Junior Classic. The first lap charge into Castletown Corner was headed by Alan Oversby (Honda), from Russ Mountford (Honda); riding his final race before retiring from the sport; Dominic Herbertson (Honda) and Adam McLean (Royal Enfield). Barry Davidson (Honda) and Andy Hornby (MV Agusta) completed the top 6. It was not to be Oversby’s day, he suffered machine problems and limped home to retire at the end of lap 2. Herbertson was out to make up for his earlier disappointment and was the leader by a couple of metres from Mountford; Davidson. McLean with 20m adrift with Hornby 50m further back. Herbertson was gradually easing away from the chasers; Davidson had passed Mountford who was being closed by McLean. Hornby was in fifth; but he was soon to retire the MV. Herbertson controlled the race and duly came home to win by 4.4s from McLean who had taken second from Davidson on the penultimate lap; McLean’s best lap of 89.688mph was simply amazing for a 350cc single. Davison took another podium finish; with Russ Mountford settling for fourth in his last race. What a rider he has been over the years; we wish him a long, healthy and happy retirement. The top 6 was completed by Will Loder; who made up for a slow start with some fast laps on his Greeves; with sixth taken by newcomer Harley Rushton on his Honda. Next event was the Consolation race for the riders who missed out on the main races. Terence Sansom controlled the race and duly won 4.85s from Richard ford, with rod Graham third. The eagerly awaited UGGLY Senior Superbike race was next, and it provided great racing with the lap and race records being beaten. The first lap saw Paul Jordan in the lead as the riders accelerated hard away towards the start and finish line; he was just a couple of metres ahead of Joe Yeardsley; with lap record holder Jamie Coward a similar distance behind. Rhys Hardisty was fourth on his lovely RG Suzuki; one of the few non-Kawasaki machines in the race. Marc Colvin and Aaron Hughes completed the top 6. Hughes was to retire on lap 3; allowing Mike Hose to take 6th; Hose was recovering from a slow start. On lap 2, the leader was Coward; he led by 10m from Yeardsley and Jordan who were side by side going down the bypass. On lap 3 the leader was Coward; but Yeardsley was right on his tail and learning as they went along. The pace had gone up and Jordan was unable to match it; he dropped back as he race progressed but was safe in third; lapping 2 mph faster than the chasing trio of Colvin, Hardisty and Hose. On lap 4, Yeardsley led as they powered out of the tight bend and charged away to start lap 5. Coward was in the slipstream and duly retook the lead. The pace increased as they fought for the laurels. The lap record was broken on lap 5 and again on lap 6; Yeardsley setting the new mark at 106.535mph; with Coward raising his best to 106.412mph. Coward was still the leader as they began the final lap; however, Yeardsley was not going to concede and managed to be the first to come into our view from Stadium Bend. He had a 10m gap and that was enough to allow him to ensure that Coward could not try a demon dive on the brakes into Castletown Corner. He gained good drive out the corner and despite the best efforts of Coward he took victory by 0.6s; much to the delight of the locals in the crowd. His performance was stellar given that his first ever road race was in this race last year. He gave praise to Coward at the end saying that he had learned a lot from Jamie. Jordan completed his race 27s down on Coward. Mike Hose, Andy Sailor and Marc Colvin completed the top 6; the three were covered by just 4.3s. The second 3 Wheeling Sidecar Race was the final one on the programme. Lap record holders Kieran Clarke / Andrew Johnson made a better start than in race 1 and led the field through Ballakeighan on lap 1. They were 10m ahead of Bob Dawson / Matthew Sims, with Jack Gristwood / Alice Smith holding third as they went through Castletown Corner. The order was the same on lap 2; but just after they left us the red flag ended proceedings and the result was declared at the end of lap 1. Danny Quirk / Dylan Weston crashed on the exit to Stadium. Quirk has broken a collarbone; but has been released from hospital. Weston has suffered leg fractures and has been flown to the UK for specialist treatment. We wish him a full and speedy recovery. This superbly run and very friendly meeting provided an excellent curtain raiser for the TT Festival. Read the full article

[quoteoftheweekblog]

QUOTE OF THE WEEK 24/4/23 - FRANCES HODGSON BURNETT (AND ANNE PERRY)

'Nothing in the world is quite as adorably lovely as a robin … ‘ (Hodgson Burnett, 2018, p.107).

REFERENCE

Hodgson Burnett, F. (2018 [1911] ) 'The secret garden'. Illustrated by MinaLima Ltd.  New York: Harper Design.

*****

‘This book was a beautiful one …

… with superb coloured illustrations ... ‘ (Hodgson Burnett, 2018, p.192).

*****

FOR BOOK GROUP

THIS MONTH ONE OF OUR EQUAL TOP READERS IS CONTINUING WITH CLASSIC CHILDREN’S LITERATURE

https://www.waterstones.com/book/heidi/johanna-spyri/marcus-clapham/9781509842926

‘LOVED IT. Brought back so many good memories from reading it as a child. I had not remembered how horrid Peter is a lot of the time!’

https://www.waterstones.com/book/the-water-babies/charles-kingsley/christina-hardyment/9781909621404

‘What a load of drivel!! I had this as a child, with beautiful colour plate illustrations, but I think it must have been a seriously abridged version because I would never have waded through all the superfluous boring bits.’

&

https://www.waterstones.com/book/the-sawtooth-slayer/nathan-dylan-goodwin/9798844327537

‘This goes on from The Chester Creek Murders. It is usually solving cold case mystery using DNA, but this one was an active serial killer.’

&

https://www.waterstones.com/book/murder-under-the-tuscan-sun/rachel-rhys/9781529176575

‘It is a bit slow at the moment.’

…

PLUS

OTHER MEMBERS HAVE ALSO READ (OR ARE READING) …

https://www.waterstones.com/book/american-dirt/jeanine-cummins/9781472261403

‘ … an extraordinary story of a mother and her young son travelling along illegal routes and sometimes sitting on top of trains to escape from South America … ‘

&

https://www.waterstones.com/book/the-constant-princess/philippa-gregory/9780007190317

‘ … about Katherine of Aragon, really enjoyable and interesting. It ends with her about to be questioned in court, probably about her lies that she was a virgin when she married Henry V111, having been married first to his older brother Arthur, who died quite young.’

…

‘I have been listening to several Jane Austen books as I enjoy these and know them very well....like old friends....Persuasion, Pride and Prejudice and Sense and Sensibility.’

https://www.waterstones.com/audiobook/persuasion/jane-austen/geraldine-mcewan/9780141804569

https://www.waterstones.com/audiobook/pride-and-prejudice/jane-austen/joanna-david/9780141804453

https://www.waters-tones.com/audiobook/sense-and-sensibility/jane-austen/julie-christie/9780141804576 …

https://www.waterstones.com/book/whatever-next/anne-glenconner/9781529395754

‘It's her second autobiography and is a bit inclined to be repetetive about the role of wives within marriages - in her day. Clearly her husband Colin was a handful and challenging to live with, but very charming too and there's the whole abuse aspect. And two of her children died young, so plenty of tragedy.’

&

https://www.waterstones.com/book/food-for-life/tim-spector/9781787330498

‘ … to find out how wrong our diet is!’

WHILST THE OTHER HALF …

https://www.waterstones.com/book/the-romantic/william-boyd/9780241994078

‘ … which he enjoyed.’

&

https://www.waterstones.com/book/any-human-heart/william-boyd/9780141044170

‘ … which is apparently like a diary and he's not sure if he likes.’

…

https://www.waterstones.com/book/why-didnt-they-ask-evans/agatha-christie/9780008196288

‘It’s funnier than the TV adaptation.’

&

https://www.waterstones.com/book/great-expectations/charles-dickens/margaret-cardwell/9780199219766

‘It’s much funnier than the TV adaptation … ooo err.’

…

OUR LEADER AND THIS MONTH’S EQUAL TOP READER

https://www.waterstones.com/book/love-in-a-cold-climate/nancy-mitford/alan-cumming/9780241974698

‘I have read the next Nancy Mitford book: Love in a Cold Climate. Same narrator, different characters.’

&

https://www.waterstones.com/book/the-blessing/nancy-mitford/alex-kapranos/9780241974728

‘Now almost finished the third book: The Blessing. Completely different characters but another dishy French man.’

&

https://www.waterstones.com/book/the-canterbury-tales/geoffrey-chaucer/nevill-coghill/9780140424386

‘ … still reading The Canterbury Tales irregularly … ‘

&

https://www.goodreads.com/en/book/show/344972

‘ … and have just begun a biography of Chaucer: The Life and Times of Geoffrey Chaucer by John Gardner.’

&

https://www.waterstones.com/book/the-book-of-joy/dalai-lama/desmond-tutu/9781786330444

‘ … dialogues between Archbishop Desmond Tutu and the Dalai Lama. I am reading and discussing this with a friend, a couple of chapters a month.’ 

*****

RIP

https://href.li/?https://www.nicolaflorist.co.uk/

ANNE PERRY DIED 10/4/23

OBITUARY

https://www.theguardian.com/books/2023/apr/18/anne-perry-obituary

*****

RIP 2023

ANNE PERRY - 10/4/23

https://quoteoftheweekblog.tumblr.com/post/715330809248235520/quote-of-the-week-24423-frances-hodgson

MARY RAYNOR - 27/2/23

https://quoteoftheweekblog.tumblr.com/post/714200067677077505/quote-of-the-week-10423-m-pardoe-and-mary

ISABEL COLEGATE - 12/3/23

https://quoteoftheweekblog.tumblr.com/post/713473518041448448/quote-of-the-week-%C2%BE23-chimamanda-ngozi-adichie

CHRISTOPHER FOWLER - 3/3/23

https://quoteoftheweekblog.tumblr.com/post/710982321252220928/quote-of-the-week-6323-hallie-rubenhold-and

LEWIS CARROLL - 14/1/1898

https://quoteoftheweekblog.tumblr.com/post/709065919000903680/quote-of-the-week-13223-lewis-carroll-she

RONALD BLYTHE - 14/1/23

https://quoteoftheweekblog.tumblr.com/post/707162386989219840/quote-of-the-week-23123-jodi-picoult-and

FAY WELDON - 4/1/23

https://quoteoftheweekblog.tumblr.com/post/706061735432486912/quote-of-the-week-9123-fay-weldon

*****

RIP

https://quoteoftheweekblog.tumblr.com/rip

*****

BOOK GROUP 2023

JANUARY - JODI PICOULT - ‘WISH YOU WERE HERE’

https://quoteoftheweekblog.tumblr.com/post/707162386989219840/quote-of-the-week-23123-jodi-picoult-and FEBRUARY - LUCY WORSLEY - ‘JANE AUSTEN AT HOME - A BIOGRAPHY’

https://quoteoftheweekblog.tumblr.com/post/709807520542277632/quote-of-the-week-20223-lucy-worsley-there

MARCH - NANCY MITFORD - 'THE PURSUIT OF LOVE’

https://quoteoftheweekblog.tumblr.com/post/712878877446373376/quote-of-the-week-27323-nancy-mitford

APRIL - FRANCES HODGSON BURNETT - 'THE SECRET GARDEN’

https://quoteoftheweekblog.tumblr.com/post/715330809248235520/quote-of-the-week-24423-frances-hodgson MAY - EDITH WHARTON - 'THE HOUSE OF MIRTH’ JUNE - TRACEY CHEVALIER - 'A SINGLE THREAD’ JULY - E.M. FORSTER - 'A ROOM WITH A VIEW’ AUGUST - DAMON GALGUT - 'THE PROMISE’ SEPTEMBER - ALEXANDER MCCALL SMITH - 'THE HOUSE OF UNEXPECTED SISTERS’ OCTOBER - ARAVIND ADIGA - 'SELECTION DAY’ NOVEMBER - BONNIE GARMUS - 'LESSONS IN CHEMISTRY’ DECEMBER - JULES VERNE - 'AROUND THE WORLD IN EIGHTY DAYS’

*****

AND THIS IS WHAT WE READ EARLIER

https://quoteoftheweekblog.tumblr.com/bookgroup

*****

QUOTE OF THE WEEK 2011 - 2023

11 EPIC YEARS

https://quoteoftheweekblog.tumblr.com/references FROM THE ARCHIVE

https://quoteoftheweekblog.tumblr.com/post/628597916430368768/quote-of-the-week-7920-jerome-k-jerome-to

*****

[tvln]

in the doghouse (uk, conyers 61)

[gottagobackintime]

Ofc people are complaining about Supernova because two “straight” people are playing gay characters (I’m putting straight in quotations, because honestly. We can’t know for sure that they actually are). And I am once again sat here being annoyed. Yes ofc gay/bi actors should get the chance to play gay/bi characters if they want to but the thing is, that doesn’t mean that it will turn out good. “But they know what it’s like to be gay/bi”. I mean, yeah sure. But not all gay/bi people have the exact same experience. It’s acting, you do your research and ACT.

Also do you know how many gay/bi people that have played gay/bi characters before they came out? Many.

Lee Pace (Angels in America)

Nathan Lane (The birdcage)

Sean Hayes (Will & Grace)

Clea DuVall (But I’m a cheerleader)

Nikki Blonsky (Geography club)

Taylor Schilling (Orange is the new black)

Tyler Blackburn (Roswell New Mexico)

These are just ones I can think of at the top of my head.

Like I said, yes. If gay/bi people want to play gay/bi characters they should get a fair audition. But I don’t like the implication that out actors should be rewarded for being out. There are still stigmas in the acting world and no one should be forced to come out. There have been actors/famous people who has felt the need to come out because people are calling them out for “taking” things/roles from gay/bi people. Lee Pace and Jameela Jamil for example. This is not okay. People should come out when THEY want to. Or not at all if that’s what they prefer. Just stop.

[kenetijamesupdates]

KJ gives big love to Easton Schirra for the shoot. 

KJ makes sure to give everyone credit, and even make full posts dedicated to the photographer. This is so so cool.

Also, the photos are downright adorable. 

[wandering-astray]

So in love with this whole album! Someone Like the Edge of Firework // Alan Cumming

[thecraggus]

Cliffhanger (1993) 25th Anniversary Review

After an ill-judged foray into comedy, Sylvester Stallone’s career was To Be Continued in action movie comeback Cliffhanger (1993) #Review

Celebrating its UK release’s 25th Anniversary, “Cliffhanger” saw Sylvester Stallone return to the genre which had nurtured him after the critical and artistic losing streak which started with “Rocky V” and hit rock bottom with “Stop! Or My Mom Will Shoot”. Teaming up with action director for hire Renny Harlin, Stallone delivered a stripped-back high concept, low tech action adventure with…

[arukime]

the point is,i've never noticed there are medical box,crutches,iv bottle and..is that a hospital bed?on the stage before.i thought the girls were groupies.when i finally noticed it,the first thing came to my mind was"oh u drove again.didnt u chris"😂😂

[movieometer]

Psycho III (1986)

Another unnecessary sequel. This time a nun who tried to commit suicide comes to stay at the motel, along with a reporter trying to figure out what happened to a woman from the last film. Norman falls in love with the nun, and the reporter finds out what happened. A handful of other people die. It’s only interesting in that it’s a movie from the mid 80s that appears to mimic movies from the 60s in filming style and lighting. It’s a bad movie.

Rating: F. Baaaaaaad movie.

[thecxllective]

thinking about adding a third double muse sideblog… but who would be the two?

- noah and oliver? brother tag team duo (taron egerton & derek theler) - tucker and tyson? the athlete and his coach (alan ritchson & dean geyer) - porter and richard? duo daddy power couple (josh dallas & martin cummins) - julian and maddox? co-depedent survivors (aaron tviet & russell tovey)

Any thoughts y’all? 👀

[airmanisr]

M-50 Super Sherman ‘3017091’ “GABRIEL” by Alan Wilson Via Flickr: s/n 17091 Built in December 1942 by Chrysler at the Detroit Tank Arsenal where she was completed as a standard M4A4 with a 75mm M3 tank gun. She was delivered to the UK under lend-lease agreements and served in Europe until the end of WW2. She was then transferred to France for their post-war Army. She was sold to the Israeli Army in the late 1950s and upgraded to M-50 standard with a French CN 75-50 75mm gun, which required a counterweight fitting to the rear of the turret. In the late 1960s the original petrol engine was replaced with a 460hp Cummins VT8-460 diesel, which made her what is generally known as a Super Sherman Mark II, although in Israel she was still just an M-50. She fought in both the 1967 Six-Day War and the 1973 Yom Kippur War before being sold off in the late 1980s. She was returned to the USA and has since been painted in WW2 US Army markings. Since 2007 she has been part of the Cavanaugh Flight Museum and is seen on display at the Commemorative Air Force’s ‘Wings Over Dallas’ WWII Airshow. Dallas Executive Airport, Redbird, Dallas, Texas. 27th October 2019

[aion-rsa]

Back to the Future Not Being Planned as a Trilogy Is What Makes It Great

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In the last decade, it’s become a common refrain among fans and industry players alike: the filmmakers should’ve “planned it better.” This trilogy could’ve been mapped out; those five sequels needed to be outlined first. Perhaps this is inevitable in an era where “shared universe” is part of the everyday vernacular, yet I cannot help but be amused when folks grow wistful over sequels with allegedly concrete roadmaps: franchises like Star Wars, Godfather… and the Back to the Future trilogy.

Whenever social media discussions about sequels or franchises that most smoothly told their sagas rear, Robert Zemeckis and Bob Gale’s little trio of time traveling adventures always spring to the forefront. With their economy of storytelling and strong fixation on characters, particularly lovable Marty McFly (Michael J. Fox) and eccentric Doc Brown (Christopher Lloyd), the three movies’ narrative is as stainless as the steel doors on the DeLorean. Even innocuous, seemingly throwaway details in the first movie turn out to have unexpectedly delightful payoffs in the sequels, such as the Doc’s interest in discovering who will win the next 25 years’ worth of World Series games.

Of course the irony in this is that Back to the Future was not planned as a trilogy; this was a “universe” structured around only one story, with its sequels acting as mere expansions on those initial foundations. Even the “cliffhanger” ending of the first movie, with Marty, Doc, and the original Jennifer Parker (Claudia Wells) piling into a now flying DeLorean to “do something about your kids,” was never meant to be more than a gag.

“We never designed the first Back to the Future to have a sequel,” director Zemeckis confirmed on the 2002 DVD release of Back to the Future Part II. “The flying car at the end was a joke, and it worked as a great joke and a great payoff. Everyone assumed we had this grand design like George Lucas did about Star Wars and had all these sequels. My only hope for Back to the Future ever was that it would make its money back.”

He goes on to say that if he had planned on doing a sequel, he would’ve never put Jennifer in the final scene—hence why in the sequel, the character (recast with Elisabeth Shue) spends most of the film asleep on a front porch.

Said Zemeckis, “I would’ve had only the Doc and Marty be in the car, and then I could’ve put them on any adventure. But what happens when you make a movie this successful is it becomes a piece of real estate, it becomes a franchise. And the reality comes at you very quickly, which is ‘we’re making a sequel. You can either help us or not, but the sequel is going to be made.’”

Fortunately, that sequel was made with most of the key players who turned the 1985 film into an enduring classic still in place, including Zemeckis and his co-writer/producer, Bob Gale, at the top of that list. Indeed, it’s even fair to look at the success of the trilogy and conclude that world-building is overrated. What makes Back to the Future shine all these decades later, both as a singular film and an appealing trilogy, is it was always about developing an intriguing story, as opposed to an open-ended milieu of content.

The first movie was originally conceived of by Gale based on a simple epiphany. While going through his father’s old high school yearbook, he came across a photograph of the old man that revealed he’d been elected class president.

“I had no idea,” Gale told Den of Geek last year. “And I’m looking at this picture of my dad, and he’s very proper and straight. And I’m thinking about the president of my graduating class who was just somebody I would have nothing to do with. We were just in completely different circles.”

This raised a million-dollar question: Would he have been friends with his dad in high school?

The dawning realization every young person must come upon, when they realize their parents and authority figures really were young folks like themselves once upon a time, had never been captured on screen before, much less in a mainstream movie through the prism of science fiction. But that’s what the original Back to the Future script did with its yarn about an ‘80s teenager inadvertently traveling 30 years into the past to spend the week with his mother and father in high school.

Granted, it’s more than the premise that makes Back to the Future so winsome. While the movie unquestionably benefits from the striking social distance between 1950s teenagers and their ‘80s counterparts—with the sexual revolution, Vietnam, civil rights, and second wave feminism between the two eras—it still plays to kids another 30-plus years later because of its intelligence and timeless universality. Taking the concept of “Chekhov’s gun” to its breaking point, there is not a single element, character, or detail set up in the first act in 1985 that isn’t paid off once Marty travels back to 1955, and then paid off again when he returns home in the denouement.

Marty’s mom, Lorraine (Lea Thompson), attempting to micromanage her children’s love lives with apparent 1950s social values? Well, in the actual ‘50s, she was smoking, drinking, and had no problem “parking” in cars with boys. Mayor Goldie Wilson running for reelection in 1985? He’s a young ambitious man on the make in ’55 (and with a keen eye for a good campaign slogan). The clock tower that hasn’t worked since it was struck by lightning 30 years ago? It becomes the gosh darn centerpiece of Back to the Future’s climax.

Everything flowed together with the precision of an actual, working clock tower, and it worked in service to the self-awareness which springs from young people seeing their parents in a different light. Plus, Alan Silvestri’s musical score just made everything Marty and Doc did seem to have the import of charging across the frontlines.

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So this proverbial little ‘80s teen comedy overperformed at the box office after ending on a teasing note that left viewers hanging. Zemeckis and Gale did not write Back to the Future to lead anywhere but the line “where we’re going, we don’t need roads,” but audiences (and the studio) wanted to see what was at the end of that skyway.

Thus Back to the Future Part II and Part III came into existence—but with the ambition of its creators to make them every bit as narratively complex as the first film they were borne out from. While the sequels were very much designed on the conventional wisdom that audiences want to see their favorite characters get up to the same shenanigans, Back to the Future Part II particularly subverts this. The sequences of the film set in the future of 2015 plays into “the same but different” by bringing nearly every actor from the first film back to play their same character at a more advanced age—or younger in the unnerving case of Fox being asked to play all of Marty and Jennifer’s children—but that sequence is then quickly jettisoned for something closer to It’s a Wonderful Life than Back to the Future.

Even when Gale first began conceiving of the sequels, he imagined Marty and Doc winding up in 1967 to “correct” the future. There Marty would again see his parents, George and Lorraine McFly, in shocking ways: George would be a college professor while Lorraine would’ve become a flower child, joining the hippie movement.

However, it was Zemeckis’ input that had the story fold into itself. Instead of just playing with different time periods and doing the same setup again, the director suggested using the third act of the sequel to enter the first movie from a different vantage point. He actually did what mainstream audiences supposedly want—basically remakes of the same story—but with a much more skewed sensibility with two Martys and two Docs running around, and all of them converging on a plot that involves further cliffhangers and switchbacks on the first movie, like an ending where the sequel’s Marty surprises 1955’s Doc Brown moments after Doc had sent Marty home. Now the Marty we’ve followed for the whole second film runs up behind the Doc to say, “I’m back from the future.”

Also in a quaint departure from how sequels are conceived today, the absence of Crispin Glover as George McFly in Part II and Part III stemmed from Universal Pictures and Amblin Entertainment failing to lock actors into sequel clauses. Back then, it was assumed movies were a one-off experience, and when Glover decided he didn’t want to appear in a sequel… well, there’s a reason George McFly had to die in the alternative 1985 ruled over by a Trumpian Biff Tannen (Thomas F. Wilson).

All of these concessions and choices made on the fly were not preordained or sketched out, but the talent involved was so keen on connecting their limitations to previous successes that they made a satisfying three-part whole out of a one-off, and without getting bogged down by fan service or further world-building. Nearly every choice made in the Back to the Future sequels—with exception to the inexplicable development of Marty being unable to withstand the insult of “chicken”—organically built off character traits or story concepts in the first one, flowing into a self-perpetuating circle.

Sure, there are inconsistencies. Consider the way the third movie is seeded into the second; it betrays a looseness to the world-building when Buford “Mad Dog” Tannen’s photo in Part II looks nothing like the character design in Part III. But it doesn’t ultimately matter. The elements that really determine the films’ quality, such as character, structure, and dialogue, are airtight across all three pictures.

Strangely though, this connective tissue was hidden at the time of release. As Gale told Den of Geek last year, there was a resistance at Universal to let general audiences know a third movie was on the way until after they’d seen the second one. There was even a fight to exclude the trailer of scenes from the third film at the end of Part II (at Gale’s suggestion).

“The biggest fight that I had with the president of Universal when we were planning the release of Part II is that I was adamant that I wanted to advertise this as part two of the three-part Back to the Future series, part two of the trilogy, and he didn’t want to do that,” Gale said. “He just wanted to say, ‘This is part two. Let them find out about part three later.’”

Gale is convinced that lack of understanding that Part II was setting up Part III led to both films being somewhat underappreciated during their releases. Now their legacy is as tightly woven with the first film, as well, those early Star Wars movies are. To the point where Back to the Future is often singled out as this rare thing—a near perfect film trilogy. That might be true, but it wasn’t set up that way. There’s a lesson in that.

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