#Kurtzman Family Collection | Explore Tumblr posts and blogs

dweemeister · 4 years ago

Photo

Mad Monster Party? (1967)

You may not be aware of who Rankin/Bass are, but if you have seen a Christmas television special in the last half-century, chances are you have seen one of their works. In an increasingly fragmented popular culture, those Christmas specials remain touchstones. Among those specials from animation director-producers Arthur Rankin Jr. and Jules Bass are Rudolph the Red-Nosed Reindeer (1964), Frosty the Snowman (1969), Santa Claus is Comin’ to Town (1970), The Year Without a Santa Claus (1974). Primarily known for their stop-motion animation television specials, Rankin/Bass also made theatrical films at the height of their popularity. Their third feature film, despite not being released in mind for Halloween, extended the studio’s stop-motion wizardry for the first time to all things spine-tingling and spooky.

Distributed by Embassy Pictures, Mad Monster Party? is a bizarre comedy that will delight the youngest set (frankly, I have never encountered a Rankin/Bass production that wasn’t bizarre), perhaps introducing some of them to the most famous monsters in film and literature. For Rankin/Bass’ older fans (or those not acquainted with their work), this film is one of their most ambitious projects; but it is underseen, rarely televised or programmed by independent movie theaters.

Residing in a castle on the Isle of Evil is Baron Boris von Frankenstein (voiced by Boris Karloff in his final Frankenstein-related work), who also cohabits the castle with his Monster (Alan Swift, who voices all other non-female characters in the film), the Monster’s more intelligent mate (Phyllis Diller), assistant Francesca (Gale Garnett; whose character might be the most buxom Rankin/Bass character ever), and the head zombie butler Yetch (who looks and, thanks to Swift, sounds like Peter Lorre). Baron Frankenstein has just successfully concocted a formula that can destroy any matter and, as the head of the Worldwide Organization of Monsters, wishes to announce his discovery and his retirement from the organization. A who’s who of monsters receive summons: Count Dracula, the Mummy, The Hunchback of Notre Dame, the Werewolf, the Invisible Man, Dr. Jekyll/Mr. Hyde, and “The Creature” (the Creature from the Black Lagoon). Francesca notices there is one name on the list who is not a member of the organization – a pharmacist named Felix Flanken (Swift impersonating James Stewart). There has been no mistake, assures the Baron, because Felix is his intended successor. Francesca, who wanted the Baron’s position, is upset and plots to disrupt the succession. But when Felix arrives late to the mad monster party, Francesca is surprised to find that the heir apparent is inept, asthmatic, astigmatic.

Due to the filmmakers not wishing to pay royalties, some of the monsters that appear are called alternate names, even though each one is recognizable. Occasionally, Frankenstein’s monster is referred to as “Fang” (a reference to Phyllis Diller’s comedy acts, as she referred to her husband by this name during those acts); the Bride of Frankenstein becomes “The Monster’s Mate”; the Creature from the Black Lagoon is simply the “Creature”; a well-known monster that will go unnamed here due to spoilers is “It”; et cetera.

The screenplay by Len Korobkin and Harvey Kurtzman (a writer for and the founding editor of Mad magazine) contains plenty of comedic padding. Thus, Mad Monster Party? feels like an hourlong Rankin/Bass special that cannot justify its additional half-hour. Not that I minded too much in this case, despite the redundant character introductions and overlong slapstick scenes. Felix’s cluelessness onboard the ship ferrying the Baron’s guests to the Isle of Evil is situational hilarity. The variety of characters attending Baron Frankenstein’s gathering provides plenty of opportunities for them to interact with each other as a collection of dysfunctional colleagues. Their factionalism and widespread distrust between each other result in scheming and dry one-liners (including double entendres!) that complement the signature surreal humor of Rankin/Bass productions.

In a decade where monsters were having a resurgence in American popular culture (capped off by Scooby-Doo, Where Are You!), the relationships between the monsters in Mad Monster Party? feel influenced by earlier television series like The Addams Family (1964-1966) and The Munsters (1964-1966). Other influences and references will pass over the heads of most under a certain age; behaviors such as slapping a hysterical woman to make her come to her senses is deeply rooted in outdated ‘60s behavioral norms. Mad Monster Party? is funnier if one understands that there are stand-ins for certain actors: Baron Frankenstein resembles and is voiced by Karloff, Felix sounds like and acts like a Jimmy Stewart character from every romantic comedy he starred in, Yetch is obviously Peter Lorre, and the Monster’s Mate looks like and acts like Phyllis Diller. The band that plays at Baron Frankenstein’s dinner party seems to be a parody of the Rolling Stones. Though these decisions may need explaining to younger viewers and draw out the film’s runtime, the film’s comedy is just as weird as anything Rudolph the Red-Nosed Reindeer offers. This is especially true in the final third of the film, defined by an out-of-left-field romance and an uninvited guest that wreaks havoc. These scenes give Rudolph’s “elf practice”, the reindeer’s interactions with each other, the Woodsman, and the Island of Misfit Toys a run for their money.

For almost all of Rankin/Bass’ television and film productions, the animation was entirely outsourced overseas. Such was the case for Mad Monster Party?. Using Rankin/Bass’ “Animagic” process, the film’s animation was spearheaded in Tokyo by Tadahito Mochinaga (Rudolph the Red-Nosed Reindeer, 1965’s The Daydreamer) of MOM Productions. In tandem with the character designs sketched by Jack Davis (an original artist for Mad magazine), the Japanese animators under Mochinaga meticulously moved the six-to-eight-inch puppets frame-by-frame – building open the advances pioneered by George Pal’s Puppetoons series of short films (1934-1947). The dolls’ realistic motions (or at least as realistic as such motion can be) were accomplished by using live actors standing nearby as reference. Mouth movements during dialogue was expressed using fine Japanese paper pasted for one frame and removed for the next. Each doll cost about $5,000 (just over $40,000 in 2020’s USD) to make and the animation itself was time-consuming.The production design for Mad Monster Party? represents some of the art direction in any stop-motion Rankin/Bass piece – especially the moody, cobweb-filled interior of the Baron’s castle.

youtube

Interspersed across Mad Monster Party? are several songs composed by Maury Laws (1964’s Return to Oz, The Year Without a Santa Claus) and lyrics by Jules Bass. Like almost all songs from Rankin/Bass pieces, the songs are not well-integrated into the story, but it is nevertheless difficult to imagine skipping any of them. The songs – though a vast majority are novelty songs – provide a bolt of energy where dialogue may have been trite. “Do the Mummy” by Little Tibia and the Fibias (reportedly real-life band Dyke and the Blazers) has absolutely zero lyrical interest along with its funk rock keyboard melody – but hey, we get the puppets to dance! “One Step Ahead” is just as repetitive, but arrives with the added benefit of Karloff speak-singing his parts (and who doesn’t want more Boris Karloff?). Phyllis Diller gets a solo number as the Monster’s Mate in “You’re Different” – a number to chastise Frankenstein’s Monster for his “roving eye[s]”.

But there are two songs by Laws and Bass in a different league than the rest. The first is the title song, “Mad Monster Party”, sung by jazz singer Ethel Ennis. On my first viewing of Mad Monster Party?, I never expected an opening tune as badass as this – replete with blaring brass, stabs of percussion, and string flourishes. It sounds like it was composed by John Barry for a James Bond movie; it makes a lyric like, “Did you sell your soul to Mephistopheles?” not feel awkward. “Mad Monster Party” is a snarling, unorthodox accompaniment to the monsters’ initial introductions over the opening credits – and the most pleasant surprise of the film. Almost as brilliant is a song for Francesca, with Gale Garnett singing the ballad “Never Was a Love Like Mine”. If only the context for that song (which I will not reveal to those who haven’t seen the film) was not so peculiar.

Upon viewing the final cut of Mad Monster Party?, executive producer and Embassy Pictures founder Joseph E. Levine expressed his disappointment in the picture and decided to limit the film’s theatrical release. The half-aborted theatrical release destined Mad Monster Party? to Rankin/Bass obscurity, even though it would be carried by select American television stations as a holiday special. The studio would remain focused on Christmas material, but would infrequently dabble in non-Yuletide projects. In 1972, Rankin/Bass directed a cel-animated television movie entitled Mad Mad Mad Monsters. The film is a “prequel of sorts” and includes many of the characters from Mad Monster Party?. To this day, Mad Monster Party? exists in the shadow of the better-known Christmas television specials. It also does not help that, since Rankin/Bass’ ultimate dissolution in 2001, the studio’s theatrical feature films have been separated from the rest of the Rankin/Bass library (pre-1974 specials are owned by Universal; specials from 1974 and after are owned by Warner Bros.). At the time of this review’s publication, Lionsgate holds the rights to Mad Monster Party?.

For a time, Rankin/Bass’ stop-motion animation films and television specials were popular in North America – their projects standing out from an animation industry beholden to cel animation perfected by Disney. Mad Monster Party? is Rankin/Bass craftsmanship (and lunacy) at a feature length, and necessary viewing for students of stop-motion animation. The film plays on the horror archetypes that audiences are now accustomed to, amid some of the most beautifully-designed sets in the studio’s history. It is an ideal Halloween viewing experience, but unfortunately it does not seem it has ever reached the audience that it deserves.

My rating: 6.5/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

#Mad Monster Party #Mad Monster Party?#Jules Bass #Arthur Rankin Jr.#Rankin Bass #Tadahito Mochinaga #Boris Karloff #Alan Swift #Phyllis Diller #Ethel Ennis #Gale Garnett #Len Korobkin #Jack Davis #Harvey Kurtzman #Maury Laws #stop motion #TCM #My Movie Odyssey

45 notes · View notes

paroxysmics-blog · 5 years ago

Text

❝ you can’t put the ocean in a box. she will shift, change, and retreat at will. ❞

( danielle campbell. 22. she/her. ) we spotted AIDEN QUINN-WRIGHT in the wilds today, just another gear in the machine of the apocalypse. i heard she chose to go ROGUE for the end of the world. i guess it fits, seeing as she is known to be + adaptable & + resourceful, as well as - distracted & - suspicious. they often have supposed by james arthur stuck in their head while they hunt. i wonder if they’re prepared for what’s coming ? ( it’s trashcan faye!! )

tw: parent death

Also, this is a LONG ass bio omg you’ve been warned. I can send basics if you’d rather not read it all!!

before the end of the world,

The Kurtzman family teetered the line between working class and poverty, and bringing a child into the world in such a low-income home wasn’t the brightest idea, but they had always wanted to start a family of their own. Born to a young couple with more love than money to give, from birth to childhood: Elizabeth had always been too much to handle. Too loud, hyperactive, lacking the filter and resolve expected of young ladies raised in the South. Her parents, try as they might, had never been able to understand their daughter’s oddities, but boy did they adore her. Her early life was perfectly normal, perfectly happy, and their family seemed like one straight out of a movie. This changes when she gets sick. She is five and running in her grandparents backyard when the first symptoms show, chest tight and breathing labored. Asthma, the doctors tell her parents. Fairly easy to keep under control provided she had the right materials, inhalers and breathing treatments to keep it under control. That’s fine, they assure themselves. They’re living paycheck to pay check as is, but their child’s health is priority. The Kurtzman’s manage the added cost and life goes on as usual.

Until problems arise at school, which results in her teacher recommending she be taken to a family doctor for evaluation. It’s then that she’s diagnosed with ADHD. Another bill, something else tacked onto the long list of expenses for a family barely managing. Desperate times call for desperate measures and this pushes her parents into making a reckless choice. They decide to rise above and provide for their daughter no matter the cost, involving themselves with very shady people as a means to make extra money. The occasional job turns into unrealistic expectations and eventually debts catch up to them. In over their heads and fearing for their lives, they’re given an ultimatum. They swear they’ll pay them back gradually, they’re good for it, but that isn’t enough. Loud banging startles a sleeping Elizabeth awake. Her mother ushers her to the linen closet at the head of the stairs, and before she shuts the door she tells her to cover her ears and not come out until help arrives. “You’ll know it’s them when you hear the sirens, baby girl. I love you.“ Are the last words she speaks to her as she pulls the door shut and rushes to join her husband downstairs. They’re there to collect money they don’t have. Muffled shouts are heard and she can tell they’re arguing with someone. She moves to peek out the door and then — BANG. BANG.

She screams. Heavy feet shuffle through the house to her hiding place, but she’s already taken off down the stairs. The bodies of her mother and father lay in pools of blood in the hallway, staining her bare feet and trailing in her wake. She stops for one horrific moment to look at their lifeless forms before running…and running… until her lungs give way and her legs can’t carry her any longer. Alone and scared, she takes up residence on a park bench overnight. The next morning she wakes to a pair of middle-aged women surrounding her. One dials a number and not long after the police show up. She doesn’t move or speak beyond telling them her name, she just observes as a deputy talks about her like she isn’t there. They discuss how her parents had been found shot at point-blank range in their home the night before. “Suspected gang activity.” He says, beckoning the child to speak, to share any information she may know. She knows nothing, so she says nothing. Not that she would’ve been able to anyways. Once she’s safely collected by child protective services they placed her in the system until such a time as they found a family willing to take her on. ”It is for your protection.” They tell her on a loop, as if the more times they say it the truer it will become. The rest of her life will be spent looking over her shoulder, watching and waiting for the people who killed her parents to find her and finish the job should she ever decide to testify. It’s one spent on edge, constantly wondering who she can trust and whether their intentions are pure. Elizabeth Kurtzman legally became Aiden Quinn, a new name for a girl looking to start a brand new life.

Her saving grace comes in the form the cop assigned to her case, a family looking to adopt the girl they’d bonded with so effortlessly. The family works hard to gain her trust and she eventually caves; they’re kind, they treat her like one of their own, and eventually she thinks maybe she is. Two years pass and she’s started calling them mom and dad, their kids her siblings. The move to Milam, Texas in the middle of her Freshman year came as a surprise, one that she ultimately struggled with, but the girl had nothing keeping her in Florida beyond sentimentality. Her parents had been dead for years, she wasn’t even allowed to visit their graves – her childhood home had likely been sold to someone new and painted over to hide the death. She wonders whether the new family knows what happened there, or if the house had even been left standing period. This doesn’t matter, she reminds herself, as she worked to adjust to another new home, a new town with people she wasn’t sure would accept her as she came.

The three and a half years spent at Buckholts School passed in a haze of fist fights, detentions, and never quite fitting in. She had friends, a handful of them, but actively ostracized herself from her peers so as to keep a healthy distance between them. To them, she was an enigma; one day she was quiet, and kind, the next she was pinning a bully twice her size up against a locker for picking on a defenseless target. If they wanted to take out their anger on someone, they could take it out on her. Loud, spazzy, and sarcastic didn’t exactly make for the ideal friend, most people finding her to be a bit too much to handle. She was never needlessly rude to the people around her though, they just seldom bothered seeing beyond what she presented at face value. Her tendency to talk in class and scarcely pay attention to what the teachers were actually saying painted a pretty obvious picture: Aiden was not smart, and she certainly was not making good grades. She made it by with relative ease, however her scattered attention span and general disregard of her intelligence level downed her confidence to approach school with nothing but a shrug. Even still, she did will enough to go to college if she really wanted to. The thing was, she wasn’t sure she did.

For the first time since she was a child, there were no limitations. She was free to be as reckless as she wanted, all she had to do was wait for the day she turned eighteen. As graduation came and went in a blur of its own, the girl watched on as all her friends went off to college or settled into cozy desk jobs handed to them by their parents. But that wasn’t the life she wanted for herself. Packing nothing but a duffle bag full of clothes and other basic necessities, the first year after High School is spent traveling the country in her beatup pickup. It felt almost like a rite of passage to her; there were no rules, no expectations, only her and the open road. Other than coming home for the holidays, she saw no point in returning. Eventually her parents begin wondering when she’s going to come home for good, to the place she belongs, so she does. Her decision to enroll in the Fire Academy not long after that was met with hesitation from all sides, each person more against it than the last; but she had finally found something she was passionate about. The next three years are spent working under their Fire Department and attending courses in chemistry, communications, and computer science at the local community college.

the end of the world,

News of the spreading outbreak falls on deaf ears, Aiden’s usual amount of sarcasm painting the situation in a humorous light. For someone who had consumed her fair share of zombie media, it just seemed to be a practical joke. A well thought out, deliberate joke. Her parents play the news on loop in the living room, her siblings share stories passed on by friends from school. Things grow more grim as days pass, but she continues her day-to-day, refusing to allow herself to get swept up into the madness like everyone else. Her first encounter with the undead comes that night at work. It’s the standard fare they’re told, a house fire on third. Suited up and on the way, a new alert comes in on her phone: VIRUS SPREADING. TAKE NECESSARY PRECAUTIONS. She never checks it. The woman whose house is on fire is inside, a bite in her neck, the rising flames lapping at her ankles as she reanimates before their eyes. At first they assume she’d passed out from a combination of stress and the fumes, but reality sets in as their questions are answered with groans and a nearly successful attempt at taking a bite out of her colleagues shoulder. The material on their suits is thick enough to keep them from easily being infected, but she doesn’t think twice as she buries the brunt of her axe in the woman’s skull.

It is her refusal to acknowledge that the virus was real that hurt the people she loved the most, the first wave of undead leaving only her, her mother, and two of her siblings in the wake of a disintegrating world. A family of ten turns to a family of four. Aiden’s mother is a proud woman who stops for no one. Before long, word spreads that groups were forming within their general area, survivors coming together to build a better tomorrow — or at the very least to give themselves a better shot at making it that long. Aiden is the first to suggest they go. She doesn’t want to take the chance that they run out of resources, get trapped within the confines of their own house, etc. but her mother is hesitant. It takes time, weeks even, to convince her, and when she finally agrees they end up setting their sights on the Ailton Tower. While not the safest place to take up residence, her siblings would always be entertained and have a better shot at having a somewhat normal childhood, whatever that may be. They make it about halfway when they’re ambushed by a pair of walkers that’d been tailing them through through the forest. Axe in hand and a determination to protect what’s left of her family, the woman steps up, but falls short. Her mother sacrifices herself for her children and she is left with yet another gaping hole in her heart.

Another loss, another family member taken from her. Believing her mother’s initial refusal to join a group to be a sign, Aiden gathers the kids and they return home without a second glance. There’s no grieving, not when you have two people to look after. Bit by bit she reassembles herself though this responsibility, and with that her will to live. Pushing through the pain, she pulls on the denim jacket her father always used to wear and sets to work fortifying their home. Already fenced and two stories, it makes for a decent place to stay. The only way in and out is over, which comes in handy when faced with people looking to loot their already low supplies. The defense on the property is holding up well enough, but only just, and all it would take was a group big enough coming through to crash through their main source of protection. From that, the majority of her days are spent picking the neighborhood clean, going house by house to take whatever she’s able to find. Most of their former occupants are gone, whether by choice to leave or because the dead got them — she suspects the ones that were foolish enough to leave weren’t much better off.

Beyond the typical issues of someone fighting for survival in the midst of the apocalypse, finding the medication she needs has become increasingly difficult. Adderall isn’t a necessity, no, but it does keep her focused. Lacking the resolve to keep her mind and body from being jittery without it, the woman worries for the day she’s no longer able to get her hands on it. Not to mention that being so active means burning through inhalers, which have become as valuable to her as gold in their new world. If she can’t take care of herself, there’s no hope for her siblings. Most pharmacy’s have been picked dry and very little remains from her own visits Because of this, she’s a frequent barterer among the Toledo Bend residents, mostly paying visits to the saints and camp Serotonin, hoping she’ll be able to get her hands on the things she needs. If this means going without food some days so that her siblings are well provided for, that’s a chance she’s willing to take. At the end of the day it’s her and them against the world, no matter the consequences.

misc,

Her bio was honestly too long, so I’m not gonna put too much in here as of right now, but she’s just!!!! my little trash baby and definitely my favorite character I’ve played to date.

MBTI: ENTP(-T)

MORAL ALIGNMENT: neutral

SIN: wrath

CHARACTER INSPO: Nick Miller, Chandler Bing, Rosita Espinosa, April Ludgate,

CHARACTER TROPES: Pint-sized powerhouse, brilliant, but lazy, defrosting ice queen, hidden heart of gold, sugar-and-ice personality, they’re just a handful lmao.

connections,

Uh, LITERALLY ANYTHING, but like here’s a few potential ideas!!

Friends/unlikely friends

Enemies/ex-friends/rivals

Ex(es)

Fwb or a fling

Good influence, lord knows the girl REALLY needs one

Alternately, a bad influence, someone who brings out the worst parts of her

Someone she just generally cares about, even if she won’t readily admit it to anyone but them

And honestly, i’d really love someone she trusts wholeheartedly, which in turn extends to her sharing the whereabouts or her twin brothers in the event that something happens to her ( this is a big, big one !!! )

Just anything, pls!!

#toxinintro #temp about tag.#i'm!!!! sorry for her she's a lot #this intro is too #jfc i tried but i couldn't cut the bio down much at all

8 notes · View notes

mostlysignssomeportents · 6 years ago

Text

#2yrsago In 1956, Hugh Hefner gave MAD's founding editor an unlimited budget for a new satire magazine called "TRUMP"

Harvey Kurtzman is a hero of satire, the guy who convinced Bill Gaines's mother to bankroll a comic book called MAD, then doubled down by turning MAD into a magazine -- only to jump ship five issues later after a bizarre fight with the Gaineses, finding refuge with Playboy founder Hugh Hefner who gave him an unlimited budget to start an all-star, high-quality satire magazine called TRUMP, which lasted for two legendary, prized issues, now collected in a gorgeous hardcover from Dark Horse.

Kurtzman shepherded MAD through the darkest days of comics' trumped-up moral panic, securing finances to continue the comic-book, then converting MAD to a more expensive magazine that found an even larger audience. Kurtzman's bold editorial vision brought in some of satire's greatest writers and illustrators, despite MAD's lousy pay, but he fretted that his bosses, the Gaines family, would inevitably start to jostle his elbow -- or sell the magazine out from under him -- so he demanded an unrealistic 51% of the shares in their publishing company, precipitating an abrupt parting of ways.

But Kurtzman was scooped up by Hugh Hefner, riding high on the success of Playboy, who offered Kurtzman a literally unlimited budget to pay the greatest satirical writers and illustrators to run wild with their imaginations, even when that meant gatefold "centerfolds," color interiors, and the kind of high-end printing that could display the most fiendishly detailed illustration down to the finest comic cross-hatch.

The resulting magazine was called TRUMP, and it ran for two glorious issues before it was laid low by a combination of Kurtzman's unrestrained spending, the collapse of Playboy's distributor (the print edition of Boing Boing was also felled by the collapse of its distributor!), and an economic downturn that shut down Playboy's line of credit.

Both issues are collected in a $16 hardcover anthology -- a steal when you consider that the original issues go for $50-100! -- along with all the known surviving roughs for the third issue, which was in progress when Heff pulled the plug.

The reproductions are accompanied by Denis Kitchen's excellent annotations, which present the whole story of TRUMP, along with contextual notes for the gags, many of which reference current events, media, and ads that are largely lost in the mists of time.

The anthology is timely, thanks in part to the accidental confluence of its name with the self-satirizing President of the USA. But there's a timelessness to many of these pieces, like the spread of clickbait titles for classic literature (lampooning the day's vogue for cheap paperbacks of "worthy" novels):

And the section on debullshitifying corporatese, which would be very much at home in today's online satiresphere:

And the gorgeously staged photospread making fun of gorgeously staged photospreads:

Of course, there's loads of anachronistic stuff, like this Onion-style piece about an uprising in Brooklyn over the Gowanus canal:

Or this double-spread, making fun of the then-absurd idea of "planned obsolescence":

Not all the anachronisms are this pleasant: 1956 was not a good year for racial or gender justice, and the fact that this was being targeted to Playboy's audience meant that there was more than a little casual racism and misogyny, stuff that MAD, with its younger audience, steered largely clear of.

That said, this really is all-star, vintage satire, with material from the then-unknown Mel Brooks, Wally Wood, Will Elder, and MAD stalwarts like Al Jaffee.

Kurtzman was heartbroken by the collapse of TRUMP, but before and after, he produced the satire that defined the era.

This volume fills in a gap in the Kurtzman historical record, and it brought me immeasurable joy -- something that few TRUMPs can claim to have done this decade.

Trump: The Complete Collection [Harvey Kurtzman/Dark Horse]

https://boingboing.net/2017/06/17/alfred-e-heffner.html

13 notes · View notes

disneytva · 6 years ago

Photo

Disney Television Studios Makes Splashy Debut at Walt Disney Television Upfront

Upfronts week always revolves around big reveals and highly anticipated first looks. This year, one of the most talked-about contenders to emerge was not a show but a studio.

The newly minted Disney Television Studios made a splashy debut as three of the industry’s large production entities – 20th Century Fox Television, ABC Studios and Fox 21 Television Studios – have come together under one roof following Disney’s acquisition of 21st Century Fox.

The mantra on the Century City and Burbank lots is collaboration and cross-pollination of talent. The three companies will continue to be run with autonomy as distinct labels under the Disney Television Studios umbrella. But there is a clear expectation that the labels will share resources and information as warranted to support the larger cause of feeding successful shows to Disney’s suite of platforms.

Executives at the DTS studios have spent the past few weeks on a whirlwind get-to-know-your-colleagues tour. There have been meetings and presentations galore – perhaps a few too many all at once, some have noted.

But the goal has been for the studio executives to get to know one another and for the company’s production engines to be aware of the programming needs of the various networks and platforms from Disney Plus to FX to Freeform to Nat Geo, from ABC News to ESPN to Disney Channel. Face time is important in part because 20th TV and Fox 21, still housed on the Fox lot, remain physically separate from ABC Studios’ outpost on Disney’s Burbank lot.

On May 14, the announcement that Disney has taken full operational control of Hulu added more wind to DTS’ sails as it clears the path for Disney to manage the growing streaming platform as it sees fit. The closer association with Hulu will greatly benefit FX Networks, which isn’t part of the Disney Plus family friendly streaming platform, as well as the studios geared toward producing adult-focused primetime fare.

Among the high-profile new offerings from DTS are NBC’s Bradley Whitford comedy “Perfect Harmony,” from 20th TV, and ABC’s Cobie Smulders drama “Stumptown,” from ABC Studios.

On May 13, as Team Disney assembled in New York for upfronts, a group of about 30 senior studio executives assembled at Benno restaurant in Chelsea for a mixer that left attendees energized. Dana Walden, chairman of Disney Television Studios and ABC Entertainment, reinforced the collaboration message to the crowd and detailed how she courted Warner Bros. alum Craig Hunegs for months to take the leadership role as DTS president.

Leadership of the three labels has remained intact, with Jonathan Davis and Howard Kurtzman running 20th TV as presidents, Patrick Moran heading ABC Studios as president and Bert Salke at the helm of Fox 21 as president. The fact that the studio leaders and many other executives know each other well from professional and social circles has also helped the integration process. Moran spent seven years as a development executive at 20th Century Fox TV before joining ABC Studios in 2010 – which gives him an invaluable level of familiarity with his counterparts.

“You can’t look at the combination of these two companies and not feel a lot of excitement about a great future ahead,” said Kurtzman.

In planning for the integration of Disney and 21st Century Fox, Walden and her boss, Disney Television chairman Peter Rice, determined that the creative process would be best served by maintaining multiple labels rather than creating one overarching studio. “The messaging has been consistent,” Moran said. “They felt it was better to have three labels to service all of the (production needs) rather than to try to do it all under one platform.”

An early example of the all-for-one attitude was the move of former “Star” showrunner Karin Gist, who has an overall deal with 20th Century Fox TV, to become co-showrunner with Kenya Barris of ABC’s upcoming comedy “Mixed-ish,” which hails from ABC Studios. The deal came together quickly at Barris’ instigation.

“A win is a win is a win for everybody,” said Davis. “When Patrick called us, we said ‘We love Karen. We love Kenya. This would be great.’ We want everyone involved with ‘Mixed-ish’ to succeed. It’s imperative that we all work together to get the right creatives to the right shows at the right place.”

Moran credited Hunegs with setting a tone from the start that a sincere spirit of esprit de corps was essential to fulfilling the expansive vision outlined by Disney chairman-CEO Bob Iger in bringing together the formidable collection of TV-related assets through the Fox transaction.

“Craig’s done a good job of making sure we’re all connected,” Moran said. “If it feels like a win for one of us it should be a win for everybody. The realignment of the studios has not been tricky. We’re all still pursuing our own projects with our own creative partners because we all bring our own histories with our producers. But if you look at the total roster of talent it’s a pretty impressive list across the three studios.”

Salke noted that after the 18-month period of waiting for the Disney-Fox deal to close, there is renewed energy in the hallways, in part because the studios are seeing the promised additional resources to make deals, chase IP and court talent.

“This is an incredible universe that Disney has put together,” Salke said. “When you see it all put together, it makes incredible sense. Hulu was the final piece.”

The studio leaders say they are all under pressure to increase their output to feed Disney’s voracious appetite for content for Disney Plus, ABC, Freeform, FX and other outlets. At same time, the three banners all intend to continue fielding shows to non-Disney networks and platforms. Both 20th TV and ABC Studios have long balanced a directive to supply hits to internal networks with the desire to maintain a diverse portfolio of business all over town.

The marching orders are daunting, but the growth initiative has been backed by bigger budgets for the three banners.

“We have been handed a very large early Christmas present in terms of financial support to be able to build something pretty great,” Salke said.

Outside of Disney’s enlarged walls, there is concern among rival networks and studios about the market heft that Disney Television Studios will command. There’s also curiosity about whether Disney will be a big enough buyer and employer of creative talent to counter the inflationary effects of the eye-popping talent deals handed out in recent years by Netflix, Amazon and the nascent Apple streaming effort.

The trio of banners in Disney Television Studios closed out upfront week with 14 new broadcast series orders and 24 returning series. All told, DTS at present produces 69 series across 16 broadcast, cable and digital platforms. But even more important than a strong tally of new shows this year was demonstrating how the company aims to make DTS more than the sum of its parts.

“This was our first development season as a collective and our results already demonstrate the scope and power of our studios,” said Hunegs. “We are committed to making Disney Television Studios the best home for creative talent in our industry, and we’re enormously encouraged by these early returns.”

#Walt Disney Television #Disney Television Studios #20th Century Fox Television #20th Century Fox Television Animation #ABC Studios #Fox21 Television Studios #Fox 21 Studios

21 notes · View notes

studentsofshield · 6 years ago

Text

A Rambling Chronicle of Marvel’s Western Comics

By Vincent Faust - November 27, 2018

Marvel Comics is the most prolific comic book publisher of the Western genre. Despite their near ubiquity in today’s culture with billion dollar box office receipts, even their diehard fans may not know this part of their past.

I may be missing a few scattered things, but by my count Marvel has published 1,192 issues of Western comics through their history. Marvel had published Western stories from their very beginnings with the Masked Raider in 1939′s Marvel (Mystery) Comics 1-12. Though the genre didn't explode until the late 1940s following the war, while superheroes were declining. Timely (Marvel’s name at the time) launched 7 western titles in 1948.

The "Big Three" of Marvel westerns are Kid Colt Outlaw, Rawhide Kid, and Two-Gun Kid. Each lasting an impressive 229, 151, and 136 issues respectively.

The star artist of Kid Colt was Jack Keller. Who drew most of the character's stories from 1953-1967. An impressive run. Some have argued he has the honor of drawing the most individual stories for one specific Marvel character. Many of these books had 3-5 short stories per issue, so I wouldn't argue against that. If we only count full issue stories, I'm not sure who would take that title. Probably Mark Bagley for Spider-Man, combining his lengthy 1990s run on Amazing and his history making 2000s run with Bendis on Ultimate.

In 1960, right before the Fantastic Four, Stan Lee and Jack Kirby reinvented Rawhide Kid. After a publishing hiatus the title was brought back with issue 17. The character was now Jonathan Clay and his costume changed. Over two and a half years, their run was revered as the cream of the crop in a waning genre as their own superheroes began to explode.

As Kirby was needed more and more on the superhero titles selling like hotcakes, a tiny run by Jack Davis followed. Davis was an EC Comics legend who took a pit stop at Marvel before becoming even more of a legend at Mad Magazine. Unfortunately, practically the only classic Marvel Westerns to be reprinted in collections is this span of Rawhide Kid. With issues 17-35 reprinted across two hardcover Marvel Masterworks.

Here is Stan Lee talking to Jack Davis and fellow EC/Mad/minor Marvel contributor Harvey Kurtzman. For Marvel, the legendary Kurtzman did 150 episodes of a one-page filler strip titled Hey Look! from 1946 to 1949.

youtube

Especially as Marvel was finally able to publish more titles, Stan Lee's efforts were being stretched too thin as well. So, Rawhide Kid was handed over to his younger brother Larry Lieber to write and draw. Which he did for almost a decade, to minor acclaim from genre fans. Sounds very reminiscent of the hidden gem Gary Friedrich/Dick Ayers/John Severin run on Sgt. Fury and His Howling Commandos.

"I don't remember why I wanted to do it, particularly. I think I wanted a little more freedom. I didn't do enough of the superheroes to know whether I'd like them. What I didn't prefer was the style that was developing. It didn't appeal to me. Maybe there was just too much humor in it, or too much something. I remember, at the time, I wanted to make everything serious. I didn't want to give a light tone to it. When I did Rawhide Kid, I wanted people to cry as if they were watching High Noon or something." - Larry Lieber

Lee and Kirby also reinvented Two-Gun Kid for the early 60s, but didn't stick around as long on that one.

Other artists who made a mark on Marvel's western titles include Fred Kida, a notable Golden Age Japanese-American artist known primarily for Airboy. Also Russ Heath, who passed away only recently, and the frequent collaborators John Severin and Dick Ayers. Most of these artists were also prolific in the war genre. The genre is also to thank for the introduction of Herb Trimpe, who would go on to become the definitive Hulk artist.

The true star of the show though was one Joe Maneely. Who Stan considered his best artist before Jack Kirby returned in 1958. The Philadelphia native was skilled and fast, pumping out tons of westerns as well as the Black Knight and Yellow Claw titles, which retroactively tie his work to Marvel continuity. Unlike Kirby, Keller, and Lieber he was not particularly linked to one western title, but his most consistent would be Ringo Kid.

Meanwhile, outside of the genre one of Stan Lee's other top artists was Matt Baker. Considered to be the first African American professional in the field. Also there are reliable reports from friends and family that Baker may have been a gay man. He was one of the primary innovators of the "good girl" art style on Fox Feature Syndicate’s Phantom Lady and countless romance titles. Another milestone was drawing arguably the first graphic novel - It Rhymes with Lust.

Due to some business factors in and out of publisher Martin Goodman’s control, Marvel (at this point known as Atlas Comics) nearly imploded in 1957. The bullpen was completely disbanded, leaving Stan Lee in an empty office. They went from regularly publishing almost 70 titles to only 16. Many of which were filled with inventory stories and reprints as long as Stan could manage not paying freelancers. This situation was further complicated by their new distributor having way too close of a relationship with market share leader National (now DC Comics).

Joe Maneely stepped in front of a train in 1958 at only the age of 32. It may have been a suicide. Matt Baker died of a heart attack in 1959 at 37. As stated above, Jack Kirby comes back to Marvel right around that time and Steve Ditko was quickly growing as an artist. It's tragic how close these two masters were to being on the ground floor of the Marvel Universe as we know it today. What heroes could Maneely and Baker have drawn or created?

The 1970s sees lots of reprints of classic genre comics. An exception is the original title Gunhawks (though an unrelated The Gunhawk title predated it). Though only lasting seven issues, Gunhawks has an interesting distinction. Originally starring Kid Cassidy and Reno Jones, a good ol’ plantation boy and his buddy slave. Who fought willingly for the Confederacy because some Yankees kidnapped his girlfriend. That makes sense... In the sixth issue, Cassidy is shot and killed. The finale was technically retitled to Reno Jones, Gunhawk. Making that 1973 comic book only the second at Marvel to be named after a Black protagonist, following Luke Cage. Black Panther had ongoing adventures, but had taken over the anthology title Jungle Action and wouldn’t get his own series until later. DC lagged behind Marvel in this regard.

In 1979 the western genre at Marvel was basically declared dead, with Rawhide Kid and Kid Colt finally canceled. The latter after over 30 years of continuous publication. Two Gun Kid had been canceled two years earlier. Though for a few years already, almost all of Marvel's westerns (and war books) had been turned into reprint titles.

Of those aforementioned 1,192 issues, 1,146 of them are from 1979 or earlier. Leaving less than 50 across the last 40 years.

A 1980 tryout issue with a new character (and a Frank Miller cover) goes nowhere.

A 1985 miniseries by genre veterans Trimpe and Severin depicts the Rawhide Kid now as a middle aged man, as the West is in its final days. It is kind of depressing.

Backpedaling a bit. As the Marvel superheroes dominate, the western heroes occasionally make crazy guest appearances through the means of time travel. Most notably the Two-Gun Kid becomes an all-but-official member of the Avengers and a close friend of Hawkeye. He gets tied up with time travel generally for years to follow. Later becoming a She-Hulk supporting character and Avengers Initiative leader circa Civil War

With that cover, let's now take another aside to untangle Ghost Rider. Ghost Rider is not originally a Marvel property. The vigilante was created by Gardner Fox (Justice League of America) and Dick Ayers for Magazine Enterprises in 1949 as a horror themed western character. The feature spent time as a backup in Tim Holt and eventually broke out into its own short lived title.

Magazine Enterprises went kapoof alongside the slump in the industry around the implementation of the Comics Code Authority in 1954. The regulation agency set up by industry leaders to avoid government intrusion following moral panic. The over-cautious guidelines severely neutered the crime and horror genres, while superheroes were already dormant, gutting many publishers. The Ghost Rider trademark expired. Marvel picked it up in 1967 for a series drawn by original creator Dick Ayers. Motivated in equal toxic parts by Martin Goodman's obsession with securing trademarks (practically every character Stan Lee created can be traced to an earlier one) and then rising writer Roy Thomas's history nerd leanings.

Obviously the name would be repurposed for the more recognizable Johnny Blaze in 1972. Marvel retroactively renamed Carter Slade as the Phantom Rider. The modern demonic versions of Ghost Rider do rarely touch on western themes. Johnny spent some time as a nomad and Garth Ennis brought in some western connections to expand the GR lore.

The western genre is basically passed over through the whole 1990s.

In 2000, John Ostrander and Leonardo Manco come around for a miniseries integrating all the Marvel western heroes together. Followed by a 2002 sequel. With revelations and deaths. The kind of lore retconning series that tickles the fancy of comic history nerds like yours truly. Ostrander also did Justice League: Incarnations around this time, tracing through the history of the JLA.

2003 comes around and it all that heavy lifting revitalization goes in the toilet. Ron Zimmerman writes a Marvel Max Rawhide Kid series. Zimmerman is some kind of comedy writer and Howard Stern regular. Well, within comics he wrote this and the god awful Ultimate Adventures - the only wholly original Ultimate Universe book, a Batman and Robin parody that was part of the U-Decide bet with Marville and PAD's Captain Marvel.

Marvel Max was a new imprint established in the early 2000s to break away from the aforementioned Comics Code and tell more daring, mature stories. Occasionally this resulted in gold like Jessica Jones. However, most of the time it was cringe inducing dreck.

So what's so bad about Rawhide Kid Max? He's now gay. Umm...OK, as long as it's handled well, maybe? Nope, constant cringey sexual innuendos which border on the protagonist coming off as a sexual predator. Some idiot gave it a sequel years later too.

Since then, we've gotten a bunch of one-shots in 2006, a weird Andy Diggle miniseries in 2012, and then the surprisingly great Marvel 1872 from Gerry Duggan during the patchwork reality crossover event Secret Wars. Which set up the Red Wolf series which was doomed by bad optics surrounding the writer and Marvel's spaghetti on the wall strategy of the time.

One of those 2006 one-shots ended up being legend Marshall Rogers's final published work. He and longtime collaborator Steve Englehart did it while waiting for DC to greenlight Dark Detective III, the second spiritual sequel to their influential 1970s run on Batman.

Here’s hoping we get to see some of these legendary heroes on the trail once more. At the very least we will get another tiny snippet in 2019 with a Gunhawks one-shot being brought back in celebration of Marvel’s 80th anniversary. Written by crime comics duo David and Maria Lapham.

This concludes a rambling chronicle of Marvel's history with the western genre and considerable tangents touching more generally on the history of Marvel and the comic book industry.

5 notes · View notes

theresabookforthat · 6 years ago

Photo

Friday Reads: Photography

With the 21st century’s advent of smart phone cameras and social media sharing, we have certainly become tourists in our own lives like never before… snapping and posting photos whenever inspiration strikes. Thusly, vicarious travel is at an all-time high in the summer. Depending on the trips of your circle of “friends”, you may visit Japan, Giverny, Maine, Greenland, etcetera through their photos. In that vein, we’ve turned our lens to some of the best photography books for the summer – from instruction to stunning works of art to pictorial travelogues:

THE BEGINNER’S PHOTOGRAPHY GUIDE, 2ND EDITION by Chris Gatcum

Fully updated to reflect all the latest developments in technology and creative trends in digital image-making, The Beginner’s Photography Guide, 2nd Edition is DK’s bestselling manual for any novice photographer who wants to unlock the potential of their new digital camera.

COASTAL CALIFORNIA: THE PACIFIC COAST HIGHWAY AND BEYONDby Jake Rajs; Foreword by Governor Edmund G. Brown, Jr.

An unprecedented book showcasing the California coast via the Pacific Coast Highway and beyond. As America stands to the rest of the world, so stands California to America—a shining promise of endless possibility. California is both dream and reality. Coastal California is for anyone who has felt the lure of a Pacific sunset. From the physical beauty of Monterey to the grandeur of Southern California, photographer Jake Rajs displays his skillful command of capturing the coastline and Pacific Ocean in every season and the land that is affected by it.

ZEN CAMERA: CREATIVE AWAKENING WITH A DAILY PRACTICE IN PHOTOGRAPHY by David Ulrich

A beautifully illustrated guide to developing a daily photography practice that draws on mindfulness and Zen Buddhism, featuring accessible lessons on the mechanics of photography, in order to tap into one’s unique, innate creativity.

NEW YORK CITY ON INSTAGRAM by Dan Kurtzman

From gorgeous skylines and jaw-dropping aerials to hidden treasures, this timely collection showcases 300 striking images of NYC by more than 40 acclaimed Instagram photographers. New York City has become the most photographed city in the world on Instagram, and at no time has its humming energy been more passionately and extensively captured than right now. This first-of-its-kind book brings the Instagram experience into a beautifully curated collection that reveals New York City in a vivid, new light.

THE ATLAS OF BEAUTY: WOMEN OF THE WORLD IN 500 PORTRAITSby Mihaela Noroc

Based on the hugely popular website, and finally brought together in book format, this collection features 350 photographs of women from more than 50 countries, with captions that reveal each woman’s unique story and environment. The book features new and unpublished photographs, as well as favorites from the site, many with commentary from the author about her travels and stories about the amazing women she has encountered.

NATIONAL GEOGRAPHIC VISUAL ATLAS OF THE WORLD, 2ND EDITION

Featuring more than 200 fascinating maps, 350 new photos, and state-of-the-art cartography and satellite imagery, this is an essential reference for families, travelers, students, librarians, and scholars. Each page, created in collaboration with the world’s premier scientists, geographers, and cartographers, is packed with up-to-the-minute information, making this book the most beautiful and authoritative visual atlas available today.

100 GREAT STREET PHOTOGRAPHS by David Gibson

This celebration of contemporary street photography—in all its edgy, strange, beautiful, haunting, colorful, and humorous glory—brings together the work of a new generation of talented artists. The Curated by David Gibson, a street photographer and expert in the genre, this stunning book offers a truly global collection of images. Gibson’s insightful introduction gives an insider’s overview of street photography, illuminating its historic importance and its renaissance in the digital age.

PHOTOGRAPHY: THE DEFINITIVE VISUAL HISTORY by Tom Ang

Written by world-renowned photographer, writer, and broadcaster Tom Ang, Photography lavishly celebrates the most iconic photographs and photographers of the past 200 years.

Dissecting classics such as Daguerre’s Boulevard de Temple, Stieglitz’s The Steerage, Rosenthal’s Raising the Flag on Iwo Jima, and McCurry’s Afghan Girl, this amazing reference not only showcases incredible photographs, but tells their stories, in-depth, and is a must-have for anyone who appreciates the beauty of photography.

THE BEST LOVED VILLAGES OF FRANCE by Stephane Bern

An insider’s tour of France’s most beloved and beautiful villages uncovers the country’s hidden treasures. The Best Loved Villages of France brings the reader on a tour of forty-four of the country’s most treasured destinations. This book offers an illustrated tour around all twenty-two regions of France, from Provence and the Alps, to Normandy and the Loire. Aerial and intimate photographs invite the reader to explore these splendid locales, while the descriptions, anecdotes, and interviews with local village-dwellers plunge you into the individual history and character of France’s diverse regions. The villages featured in the book were selected in a popular vote by the French public and they represent an authentic journey into the heart of France.

THE COAST OF MAINE by Carl Heilman II

With a coastline that rivals California’s, Maine attracts millions of visitors each year who come to swim, fish, hike, or just enjoy the views. Many of the images present a near panoramic scope, placing the viewer in the middle of a wilderness splendor. The photographs capture the region’s famous sandy beaches, tree-covered mountains, tidepools brimming with life, and secluded harbors, as well as quaint villages, historic lighthouses, cranberry bogs, and lobster boats. The book also celebrates offshore Maine, with images of whales, puffins, and other elusive sea creatures. The Coast of Maine makes an affordable and charming gift for anyone planning, or dreaming of, a visit to this glorious region.

THE ADVANCED PHOTOGRAPHY GUIDE (DK)

Packed with practical advice, handy equipment and settings checklists, and hundreds of inspirational and instructive images, The Advanced Photography Guide gives you the know-how and confidence to produce truly stunning images and develop your own style.

For more on these and other stunning photography books, visit Photography

#penguin random house #photography #dorling kindersley #rizzolibooks #there's a book for that #friday reads

7 notes · View notes

aion-rsa · 4 years ago

Text

Star Trek: Discovery Season 3 Finale Easter Eggs & References

https://ift.tt/3nt1HVw

This Star Trek: Discovery article contains spoilers for the Season 3 finale.

Would you believe that the finale of Star Trek: Discovery Season references everything from Star Trek: Voyager, to the TOS episode “The Doomsday Machine?” Throughout the entire thrilling DISCO season, 3 finale — “That Hope Is You Part 2,” the series managed to deliver yet another love-letter to Trekkies everywhere. This episode may not have been as overtly nostalgic as “Unification III,” or any given episode of Lower Decks, but it still managed to deliver on a slew of Easter eggs and callbacks; some obvious, and some obscure.

From Burnham’s Kirk-like boasts, to a weapon used by the Emerald Chain that references TOS, to hearing the word “Voyager” several times, here are all the Easter eggs and references in Star Trek: Discovery Season 3, Episode 13, “That Hope Is You Part 2.”

Gormagander

While exploring the holo-environment, Dr. Culber (Wilson Cruz) sees an image of those flying monsters from episode 11, and yes, the educational computer confirms this is a Gormagander. We first met the Gormagander in the Discovery Season 1 episode “Magic To Make the Sanest Man Go Mad.” The computer mentions that this lovely space whale “spent the longest time on the Federation endangered species list.” It also says what we are seeing is a recording of Gormagander “pup in 3052,” implying it’s possible the Gormagander is not on the endangered species in 3189. Maybe?

Adira’s Xehean holographic guise

When Adira arrives in the holo-environment, the computer has made them look like a Xehean. We first saw the Xeheans in the form of Queen Po in the very first Short Treks episode ever, “Runaway.” We also saw a Xehean in the first episode of Picard, “Remembrance.”

“Vulcan” Gray

Everyone’s species gets changed in the holo-environment! Now that Culber, Saru can see Gray thanks to the holo, Gray doesn’t appear Trill, but instead Vulcan. Or is he Romulan? Or is he just a “Ni’Var?” Either way, Ian Alexander looks great as a Vulcan!

Voyager takes point

Admiral Vance says that the new USS Voyager will “take point” in attacking the Emerald Chain forces. This makes it seem like the Voyager is a pretty big deal in the contemporary Federation. Could it be the flagship? And…where is the 32nd Century USS Enterprise?

“Discovery’s lower decks”

At one point, we’re told that “life support was shut-off on Discovery’s lower decks.” Obviously, this is meant to literally tell us that you know, life support was shut-off on Discovery’s lower decks. But, we did get to hear the word “lower decks,” which is kind of funny, considering that’s the name of the Trek series that aired previous to Discovery Season 3. And, like “That Hope Is You Part 2,” the Lower Decks finale also featured a plot to take-over the “hero” starship. And, also like the Lower Decks finale, at one point, the ship briefly has a warp nacelle broken! It’s like Star Trek poetry! It rhymes!

Ni’Var Razors

This piece of dialogue could get missed pretty quickly, but with the Ni’Var fleet arrives to defend the Federation, one of Osyraa’s goons describes the fleet of starships as “Razors.” Cool name for spaceships, right? This almost certainly feels like a Romulan influence.

Orion hearts

Osyraa says the Orion heat “has six valves.” It appears that this is the first time this detail has been revealed in Star Trek canon. Could this have something to do with the infamous Orion pheromones?

“This is what’s called a no-win situation”

Tauntingly, Zayreh tells Burnham that “this is what’s called a no-win situation.” Burnham fires-back, “I don’t believe in those.” Somewhat obviously, this references Star Trek II: The Wrath of Khan, and the Starfleet test known as the Kobayashi Maru. Here’s the question: Did Burnham actually take the Kobayashi Maru? Because she was given a Starfleet commission by directly serving on the USS Shenzhou, it’s possible Burnham’s training was a little different. Even so, chronologically, Burnham’s Starfleet education technically predates Kirk’s. Is it at all possible that the Kobayashi Maru scenario wasn’t a part of the Starfleet curriculum in 2249?

Why can Owo hold her breath for so long?

Owo mentions she’s been holding her breath for up to 10-minutes since she was a little kid. What’s up with that? Is Owo a super-human? Nope! As we learned back in the Season 2 episode “New Eden,” Owosekun was raised in a “luddite collective,” meaning she grew up with limited technology. Presumably, this means her family and her community fostered a bunch of attention to naturalist survival skills.

Lt. Ina

Fans may have been wondering about this new bridge officer who is hanging out with the rest of the regular crew. The character’s name is Lt. Ina, and she’s played by Avaah Blackwell. She’s actually not a new cast member though. Blackwell has played several characters before, notably all of the Osnullus species. Confused as to what that means? Well, the Osnullus are those big-headed aliens you’ve seen in Avaah Blackwell since season 1. For the most part, these aliens are usually played by Avaah Blackwell.

Star Trek: Discovery Season 3 Finale Ending Explained

By Kayti Burt

Star Trek: Discovery Just Challenged the Federation’s Fiscal Hypocrisy

By Ryan Britt

New turbolifts

When Book and Burnham battle their way through the turbolifts of the ship, fans will notice that these turbolifts are wildly different from anything we’ve seen on Trek before. Apparently, the Discovery’s new turbolifts were fully upgraded, and now, don’t exist inside of turbolift “shafts,” but instead, seem to be free-floating pods that can move about the ship to nearly anywhere you want to take them. Why do you need this feature when everyone has instant transporters? Well, as demonstrated earlier in the season, transporter tech can still be thwarted by shields and certain kinds of dampening fields. The new turbolifts, however, don’t seem to have that problem.

The big question is: Does Discovery seem bigger-on-the-inside than we expected? Is some of that “morphing” tech that Book has on his ship present now on Discovery? In other words, can the ship subtly change its shape with programmable matter? There’s not a clear answer, but it kind of seems like it.

Computer voice

After Burnham reboots the Discovery computer, the voice returns to that of Julianne Grossman, who has voiced the Discovery computer since Season 1. Note, this voice is different from Annabelle Wallis who voices the “sphere data” and “Zora.”

Antiproton cannons

Burnham says that the Verdian is firing on Discovery using “antiproton cannons.” In the TOS episode “The Doomsday Machine,” Commodore Decker told Kirk that the planet-killer used a beam composed of “pure anti-proton.” In the time of TOS, that kind of tech seemed rowdy. But, in the 32nd Century future of Discovery, apparently, it’s no-big-whoop.

Discovery’s warp core

In addition to the computer core, this episode marks the first time we’ve actually seen the warp core of the USS Discovery. It looks similar to other warp cores we’ve seen throughout the history of Trek. The idea of ejecting the warp core in a desperate situation was broached several times throughout the canon, but the way this actually occurs in this episode seems to reference the 2009 reboot film Star Trek, co-written by Discovery producer Alex Kurtzman.

Federation ship line-up references “Endgame”

When Discovery returns to Federation headquarters at the end of the episode, several other ships seem to line-up in honor of the ship coming home. This seems to visually reference the finale of Star Trek: Voyager — “Endgame” — in which several other Starfleet ships seemed to serve as an honor guard, as Voyager returned to Earth.

New Uniforms

Throughout the season, we’ve been seeing these new Starfleet uniforms on Admiral Vance and the rest of the officers at Federation HQ. But, clearly, this is the first time we’re seeing these on the DISCO crew. Because the colors seem to follow the department designations from the TNG era, Burnham’s uniform is naturally given a red stripe. In the first shot before she exits the turbolift, we also see that the shoulder epaulet has four small pips, indicating she is the captain. Tilly is notably wearing a uniform with a blue stripe, which makes it seem like Tilly’s job is closer to the sciences than the command department, which makes sense.

Also, for the first time, Adira is given a Starfleet Uniform, which again, makes sense. Adira has certainly done enough to prove they are ready for a Starfleet uniform. Not to mention, several previous hosts of Tal were very clearly members of Starfleet.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Burnham rocking a command-red uniform, and sitting in the captain’s chair, marks the first time since Voyager’s “Endgame” that a live-action Starfleet captain was rocking red. It looks good on her, don’t you think? Let’s fly!

The post Star Trek: Discovery Season 3 Finale Easter Eggs & References appeared first on Den of Geek.

from Den of Geek https://ift.tt/38psUE4

#aion-rsa #Den of Geek

1 note · View note

arg-machine · 5 years ago

Text

Comics at machine HQ

Wham! After a lengthy hiatus of over a year, arg returns with a post about comics being read here at machine HQ. Regular readers will notice that arg has discarded the traditional look of the previous posts – they can be found on these pages, though you may have to scroll down a bit – in favour of a new one.

These changes are more than just cosmetic – this is a shorter post featuring fewer titles, which means arg will be able to publish more such posts in future, instead of a single monolithic one annually. And now, let’s look at some of the funky comic books and/or graphic novels that have been read and enjoyed here at machine HQ…

The funny pages… It is customary at this point to mention that no, this isn’t an exhaustive list of all the terrific titles have been published since machine HQ’s last comics-related post: it includes only those that arg has had the good fortune to read [and enjoy]. The titles are listed below in alphabetical order.

A humongously-gigantic – just look at the size of that thing! – ship that is possessed, not by ghosts, but by... a demon from Hell! Lost at sea for decades, the people on board the aptly-named Leviathan experience strange and horrifying realities. Will the ship ever return to the known – and normal – world?

Also recommended: Smashed [Junji Ito Story Collection], Dark Country, Fraternity, Veil, Abe Sapien, the Rivers of London series and Spill Zone.

Comics aficionados know Harvey Kurtzman as the man behind that icon of popular culture – Mad magazine. Before that, however, he worked on a lot of excellent stories at EC Comics, some of which have been collected in this fine anthology. Horror, SF, crime, westerns – Harvey did ’em all. Note: another neat Harvey Kurtzman anthology was featured in this previously-published comics post.

Also recommended: Enki Bilal’s Monster, Strange and Stranger - The World of Steve Ditko, Concrete, The Woods, Echoes, Aion, Bordeline, Star Wars: Darth Maul and Elysium Online.

Metal Hurlant was an acclaimed French comics anthology/magazine of SF and horror founded back in the 1970s by the legendary artist/creator Jean Giraud [a.k.a Mœbius] along with a couple of like-minded friends. It ceased publication in 1987, but was revived for a couple of years in the early 2000s. The magazine’s impact on popular culture is well-known, and this excellent collection brings together several stories – including the funky werewolf tale excerpted above! – from the its archives.

Also recommended: The Marquis - Inferno, Rumble, Grendel - Devil's Odyssey, Fiends of the Eastern Front, Judge Dredd: Trifecta and Oblivion Song.

“From his Barcelona studio in 1939, an aging Spanish painter shares with his model the mystery of his best friend Vidal Balaguer, ‘the forgotten genius’ of Spanish Modernism, who vanished on the eve of 1900. His story his linked to the disappearance a few months earlier of Mar, the young girl/model, who was subject of his most famous painting, Young Lady in a Mantón…

…and there are other disappearances, too, of people, a corpse, some oranges, and a stubbornly silent canary named Stradivarius. A police detective is convinced that Balaguer murdered his model but by the end of the story we may come to believe that, as the painter himself reflects, ‘the murder weapon is not always what you might think!’”

Also recommended: Gauguin - Off the Beaten Track, Seeing Things, My New York Marathon, Springtime in Chernobyl, Berlin, The Realist and The Anthology of Mind.

From the acclaimed writer-artist team of Ed Brubaker and Sean Phillips comes this tale of young people, love, betrayal and, given that it is set in the duo’s popular Criminal universe, crime. A fine addition to the aforementioned Criminal series of comics/graphic novels.

Also recommended: Diabolical Summer, A sickness in the family, Lodger, The Coldest City, Bottled, Brian Michael Bendis: Crime Noir Omnibus, Tango, Stern, Zaroff, Black Cotton Star and The Jewish Brigade.

And that’s it for this new Comics at machine HQ post. Do visit – if you haven’t already, that is – The Apocalypse Project on twitter and also on tumblr, and stay tuned, as always, to machine HQ blog for more stuff…

Header image features art by Dave Stevens and Darwyn Cooke.

#comics #reviews

0 notes

mostlysignssomeportents · 6 years ago

Text

#1yrago In 1956, Hugh Hefner gave MAD's founding editor an unlimited budget for a new satire magazine called "TRUMP"

And the section on debullshitifying corporatese, which would be very much at home in today's online satiresphere:

And the gorgeously staged photospread making fun of gorgeously staged photospreads:

Of course, there's loads of anachronistic stuff, like this Onion-style piece about an uprising in Brooklyn over the Gowanus canal:

Or this double-spread, making fun of the then-absurd idea of "planned obsolescence":

That said, this really is all-star, vintage satire, with material from the then-unknown Mel Brooks, Wally Wood, Will Elder, and MAD stalwarts like Al Jaffee.

Kurtzman was heartbroken by the collapse of TRUMP, but before and after, he produced the satire that defined the era.

This volume fills in a gap in the Kurtzman historical record, and it brought me immeasurable joy -- something that few TRUMPs can claim to have done this decade.

Trump: The Complete Collection [Harvey Kurtzman/Dark Horse]

https://boingboing.net/2017/06/17/alfred-e-heffner.html

13 notes · View notes

ethanalter · 8 years ago

Text

Sundance Report: Gloomy 'Where Is Kyra?' Marks Michelle Pfeiffer's Latest Big Screen Comeback

Michelle Pfeiffer in ‘Where is Kyra?” (Photo: Courtesy Sundance Institute)

Once a prominent fixture on movie screens, Michelle Pfeiffer sightings have become increasingly rare in recent years. It’s not that the three time Oscar-nominated actress — whose string of ‘80s and ‘90s hits include Married to the Mob, The Fabulous Baker Boys, Batman Returns and Dangerous Minds — has stopped performing; it’s more that she tends to work in batches, appearing in several films in a compressed time frame and then taking a prolonged break. The last time we were treated to multiple Pfeiffer features was 2012-2013, with back-to-back appearances in Tim Burton’s Dark Shadows, Alex Kurtzman’s People Like Us and Luc Besson’s The Family.

Now, after a four-year break, 2017 is shaping up to be a four-film Pfeiffersance, one that kicks off with her Sundance debut, Where is Kyra?, a psychological drama directed by festival veteran Andrew Dosunmu, whose previous features, 2011’s Restless City and 2013’s Mother of George, both premiered in Park City. Her big year continues in May with The Wizard of Lies, HBO’s dramatization of the infamous Bernie Madoff case, with Pfeiffer playing Madoff’s wife Ruth opposite Robert De Niro. She’s also a part of two end-of-year Oscar hopefuls, Kenneth Branagh’s adaptation of the Agatha Christie classic Murder on the Orient Express and Darren Aronofsky’s mysterious new film Mother, also starring Jennifer Lawrence and Javier Bardem.

Related: Read all of our Sundance coverage

Taken as a whole, it’s a diverse slate of movies that should highlight Pfeiffer’s rich range as a performer — and make us miss her all over again if she opts to take another multi-year break when 2018 rolls around. She’s certainly the driving force of Kyra, a stridently glum movie where the oppressive style frequently threatens to overwhelm her subtly shaded work. Pfeiffer plays the title character, a middle-aged woman living in in a gloomy Queens apartment two years after losing her job and leaving her marriage. Initially certain that she’ll be able to support herself, a steady stream of rejections even for menial day gigs has dealt a massive blow to her self-confidence. When we meet her, she’s a virtual shut-in whose main job is caring for her infirm mother. And even that small piece of stability is abruptly pulled away when her mom dies, leaving Kyra with mounting debts and no way to begin paying them off.

Pfeiffer and Kiefer Sutherland in ‘Where Is Kyra’ (Photo: Sundance Institute)

Well…no way, save one. Due to a filing mistake on the death certificate, Kyra is still receiving her mother’s pension checks, though she can’t cash them on Mom’s behalf. So she dons a grey wig and dark sunglasses and picks up a cane to impersonate her mother in order to collect the meager amounts that just barely cover her expenses. Clearly, this is a plan doomed to fail: Kyra knows it, her new boyfriend — reformed troublemaker Doug (Kiefer Sutherland) — knows it, and the audience knows it, too. So the question that underlines the movie isn’t “Will Kyra be caught,” but rather, “When will Kyra be caught…and how much of her mind will be left intact?”

Working with celebrated cinematographer Bradford Young — who just received an Oscar nomination for his terrific lensing of Arrival — Dosunmu pursues a photographic style that’s heavy on shadows, a visual metaphor for Kyra’s descent into increasingly dark places. It’s an appropriate thematic conceit in theory, but in execution, the film’s severe gloom has the unwelcome impact of obscuring the actors’ faces in key dramatic moments, threatening to blunt the full impact of their performances. If you’re film is primarily a character study, it helps for the audience to be able to see the characters.

‘Where is Kyra?’ (Photo: Courtesy Sundance Institute)

Fortunately, Pfeiffer resourcefully communicates Kyra’s increasing desperation through the other tools in her arsenal including voice, posture and gesture. (Sutherland, meanwhile, relies mainly on that gravelly voice that served him so well while running hither and yon on 24 for all those years.) Perhaps it helps that she’s played a variation this role before: in some ways, Kyra feels like who Pfeiffer’s buttoned-up Selina Kyle might have become had she not found a new lease on life by donning that infamous rubber catsuit. Selina went from introvert to extrovert, whereas Kyra withdraws further and further into herself until she can’t find a way out of her self-designed trap. Where is Kyra? itself may be a non-starter, but Pfeiffer begins her comeback year on solid footing.

Related: Sundance 2017: See All the Biggest Stars Making the Park City Scene

#sundance film festival #michelle pfeiffer #_revsp:wp.yahoo.movies.us #_author:Ethan Alter #_uuid:010ec5dc-8b66-3cc1-a349-17416f333305 #_lmsid:a0Vd000000AE7lXEAT

6 notes · View notes

barbosaasouza · 5 years ago

Text

The Origins Of 'Thirteen Ghosts': The Spirits Of The Black Zodiac

Thirteen Ghosts, the 2001 remake of William Castle's 1960 film, packs a lot of big ideas into its 90-minute runtime, not the least of which is the "Black Zodiac," which provides the origin of its titular ghosts. In the 1960 original, 13 Ghosts, Dr. Plato Zorba perishes and leaves a large house to his struggling nephew Cyrus. Unfortunately for Cyrus and his family, the house also contains the uncle's collection of a dozen ghosts - including a lion tamer and his lion; an Italian chef; a flaming skeleton; and others - all waiting for the arrival of a 13th ghost that will free them. The film's claim to fame was its use of colored filters to make the ghosts "invisible" unless viewed through special "ghost viewers" that were handed out to members of the audience. The remake follows the same basic plot - an eccentric uncle wills a house full of ghosts that can only be seen through special glasses to his nephew's impoverished family - but with an entirely new roster of ghosts. Their presence is also much more integral to the plot. Whereas the ghosts in the original are mostly a MacGuffin (the plot actually revolves around a human villain looking for a fortune hidden in the house), the ghosts in the 2001 version are what powers the uncle's infernal machine. Thirteen Ghosts also features a character named Cyrus (played by F. Murray Abraham), but this time he's the sinister uncle and his bizarre house is actually a gateway to Hell. "Designed by the devil and powered by the dead," Basileus's Machine is said to have been conceived by a 15th-century astrologer while he was possessed by a demon. The plans for the machine are in a book called The Arcanum, which also describes the ghosts needed to power it. The house itself is an enormous ghost trap, complete with transparent walls etched with spells and made of "ectobar glass." (Behind the scenes, the set was designed and fabricated by production designer Sean Hargreaves, who has also worked as an illustrator on many of the movies in the Marvel Cinematic Universe.) Why does Cyrus want to crank up this machine? Apparently, because it's the only way to gain access to the Ocularis Infernum, an "eye in Hell that sees everything," including the past and the future. "If knowledge is power, then the man who controls the Ocularis would be the most powerful man on Earth," Cyrus says. According to The Arcanum, there are 13 ghosts necessary to access the Ocularis Infernum: 12 needed to power it, and a 13th to shut it down if necessary (though that last part proves to be a lie). These ghosts align with the "Black Zodiac," which was created for the movie. Besides maybe the elaborate puzzle box of the house itself, these ghosts are the most memorable part of this oddball film. They are brought to (un)life thanks to the special effects work of Robert Kurtzman and Greg Nicotero, and each one matches one of the entries in this mythical "Black Zodiac." The Origins Of 'Thirteen Ghosts': The Spirits Of The Black Zodiac published first on https://superworldrom.tumblr.com/

0 notes

captainkrishmashah · 5 years ago

Text

Best Free Movie Streaming Sites

Almost every Indian has grown up on a strong diet of cinema Bollywood movies. Movies can provide an escape from the harsh reality as well as give us a reality check. It makes us forget our troubles momentarily as we become a part of someone else’s life learning their secrets and concerns.

The sites listed below have vast collections of free movies in high quality that you can enjoy sitting in comfort at your home. You don’t need to waste time signing up either. Advertisements can be a bit annoying, but that is the only drawback of watching free movies. All the sites are regularly updated especially the English sites that bring you movies of other countries as well besides Hollywood. Whether you watch movies for learning, entertainment, stress release, bonding or to spend time simply, now you have an opportunity to binge-watch to your heart’s content. Recently, some of the top torrenting sites also started the service of free movie streaming. So, you can also use them as an alternative.

Final Verdict: 9 Best Free Movie Streaming Sites

1. Hotstar — Hotstar is one of the biggest sources of all Bollywood movies. It has a vast collection of movies that are systematically categorized into popular in romance, action, family, etc. You can also watch Tamil, Telegu, Malayalam and Bengali movies all in one place. Some of the popular movies in Hotstar include Jolly LLB 2, Baahubali, Raja Rani, 2 states and M.S. Dhoni: The Untold Story.

2. Voot — Voot is the digital arm of Viacom 18. It is like Hotstar, and though the collection might not be much yet, it has some good films that are worth a watch. Some of the movies available on the site include Bajirao Mastani, Queen, Vicky Donor, and Airlift. The buffering and the number of ads are relatively less here which means less waste of time.

3. Zee5 — A strong competitor to Hotstar, Ozee too has numerous movies for your day at home. Though the site tends to freeze a bit at times yet the extensive collection of movies makes up for it. The languages present include Hindi, Kannada, Marathi, Tamil, Telegu, and Bengali. Some of the must-watch movies available on this site are English Vinglish, Tanu Weds Manu Returns, and Delhi Belly.

4. Fmovies — This sophisticated looking site has one of the largest collection of movies online. It has a nice GUI and includes films from distant countries like Hungary, Romania, Israel, Norway, and South Africa among others. Some of the interesting categories include costume, game shows, kung fu, and music. It gets brownie points for the request feature where viewers can ask for the films that are not available on the site. The movies that are currently popular include Beauty and the Beast, Wonder Woman, Spider-Man: Homecoming and Logan.

5. Gomovies — It’s one of the best sites to watch movies of different languages and different countries like Japan, China, Korea, South Korea, and Thailand. The website has a stylish GUI with white and black themes. Some of the categories available include war, sci-fi, and history. It has an excellent collection of classics, and the quality is promising. Watch movies in 1080p on this reliable website.

6. Crackle — Crackle is a service by Sony Pictures Entertainment. Free stream movies from different genres like comedy, thriller and even fandom and anime. It also has watch lists to assist you in finding a movie to watch. Some of its many content partners include Paramount Pictures, Fox Digital, 20th Century Fox, Columbia Pictures and Sony Pictures Classics. You can further download the app for Android or iPhone.

7. Cmovieshd — This is easy to use website with appropriate content and distinct categories like Most Viewed; Most Watched Today, Recommended, Top Rating and Top IMDb besides the general catalog of movies. This site has a lot to offer for your lazy day. Watch movies from Poland, Denmark, Italy, Netherlands, Philippines and many other countries on this site.

8. Xmovies8 — This website has a cool GUI and content that is regularly updated. The quality of the videos is also good. The movies are categorized according to directors such as Steven Spielberg and Clint Eastwood, writers like Alex Kurtzman and Chuck Lorre and actors besides the general genres. Have fun watching some of the latest additions like Dunkirk, Valerian and the City of a Thousand Planets and War for the Planet of Apes.

9. TopDocumentaryFilms — This site has a vast collection of documentaries and short films that are sure to attract you. Some of the engaging categories include religion, psychology, conspiracy, sexuality and performing arts. Documentaries are also categorized according to shares, votes, and comments. Some of the notable documentaries that you can watch on this site are The Internet’s Boy; Black Lives Matter, Tashi and the Monk, John Pilger’s Breaking the Silence and Frontline: A Class Divided. The site provides a detailed synopsis of every documentary. Give it a try to acquire more knowledge and be exposed to different perspectives.

Final Verdict: These were some of the best websites which allows you to stream movies, tv shows for free.

These websites are working and absolutely free without paying anything you can watch a lot of stuff for free. These were the list of some of the top 9 best streaming websites which you can use it on your phone and your browser.

Don’t forget to share this article with your friends and let them know about this amazing list which helps them to enjoy these features for free. Read more at DroidRax — https://droidrax.com

0 notes

wesonerdy · 7 years ago

Text

CBS has huge plans for this year’s SDCC, including the world premieres of Charmed, Magnum P.I., and more!

Courtesy of CBS Television Studios

Happy July Friends! Besides the fact that summer is speeding right along (*cries*), it’s officially Comic-Con month! That means more and more details will be on the way and we can’t wait to learn more about all the events.

Today, CBS Television Studios revealed that they’ll be presenting the exclusive world premiere screenings of The CW’s upcoming Charmed reboot and Magnum P.I. Fans will also be treated to a special sneak peek of CBS All Access’ new psychological thriller Tell Me a Story, followed by a panel discussion with EP Kevin Williamson and cast members.

The producers of Star Trek: Discovery will beam into Hall H for a look back on season one and tease what’s ahead for season two. Plus, Crazy Ex-Girlfriend will make its SDCC debut, ahead of the show’s final season.

In addition, CBS TV Studios will also be hosting a marathon screening of The Twilight Zone, plus several fan activations for our enjoyment.

Check out the details here!

THURSDAY, JULY 19

CHARMED EXCLUSIVE SCREENING AND PANEL, 11:15 AM–12:15 PM, BALLROOM 20 – The iconic CHARMED is back just in time to celebrate its 20th anniversary. This reboot of the original series centers on three sisters in a college town who, after the tragic loss of their mother, discover they are powerful witches. Between vanquishing supernatural demons, tearing down the patriarchy and maintaining familial bonds, a witch’s work is never done. Please join series stars Melonie Diaz, Sarah Jeffery, Madeleine Mantock and Rupert Evans, along with producers Jennie Snyder Urman, Jessica O’Toole and Amy Rardin, for an exclusive sneak peek of the first episode of The CW series followed by a panel discussion.

TELL ME A STORY, 12:15–12:45 PM, BALLROOM 20 – Step into the world of TELL ME A STORY, the latest project from the brilliant mind of Kevin Williamson. In this reimagining of the world’s most beloved fairy tales, see “The Three Little Pigs,” “Little Red Riding Hood” and “Hansel and Gretel” come to life as dark and twisted psychological thrillers interweaving with each other against the backdrop of modern day New York City. Join executive producer Kevin Williamson, as well as series stars Paul Wesley and James Wolk, for an exclusive sneak peek of the CBS All Access series followed by a panel discussion. Moderated by the editor-in-chief of Entertainment Weekly, Henry Goldblatt.

MAGNUM P.I. EXCLUSIVE SCREENING AND PANEL, 4:15–5:30 PM, ROOM 6A – MAGNUM P.I. is a modern take on the classic series starring Jay Hernandez as Thomas Magnum, a decorated former Navy SEAL who, upon returning home from Afghanistan, repurposes his military skills to become a private investigator. A charming rogue, an American hero and a die-hard Detroit Tigers fan, Magnum has Juliet Higgins and her Dobermans to keep him in line, as well as his trusted buddies and fellow POW survivors TC and Rick when he needs backup on a job. With keys to a vintage Ferrari in one hand, aviator sunglasses in the other, and an Old Düsseldorf longneck chilling in the fridge, Thomas Magnum is back on the case! Please join series stars Jay Hernandez and Perdita Weeks and executive producers Peter Lenkov and Eric Guggenheim for an exclusive sneak peak of the premiere episode of the new CBS series followed by a panel discussion.

CRAZY EX-GIRLFRIEND: THE FINAL CURTAIN CALL, 5:45–6:30 PM, ROOM 6A – As the critically acclaimed CW series enters its final season, come celebrate and take a trip down memory lane with co-creators Rachel Bloom and Aline Brosh McKenna as they look back on some of the series’ most memorable moments and talk about what’s ahead for Rebecca Bunch. The panel will be moderated by series guest star Michael McMillian and will include a special performance and never-before-seen footage.

FRIDAY, JULY 20

STAR TREK: DISCOVERY PANEL, 1:30–2:30 PM, HALL H – Over 50 years ago, the world was first introduced to what would quickly become a cultural phenomenon. “Star Trek” inspired developments in science and technology, broke social barriers, and transported viewers around the globe to new adventures and uncharted frontiers. Last fall, STAR TREK: DISCOVERY continued that tradition and followed the voyages of Starfleet aboard the U.S.S. Discovery. Join the cast and producers of this CBS All Access series to look back on season one and find out where the crew is headed as it transports into its second season. Cast members scheduled to appear include Sonequa Martin-Green, Doug Jones, Shazad Latif, Mary Wiseman, Anthony Rapp, Wilson Cruz, Mary Chieffo and Anson Mount alongside executive producers Alex Kurtzman and Heather Kadin. The panel will be moderated by series guest star Tig Notaro, who will appear as Chief Engineer Reno.

THE TWILIGHT ZONE MARATHON SCREENING, 7:15–9:15 PM, ROOM 6A – THE TWILIGHT ZONE new original series will be coming soon to CBS All Access in a modern reimagining of the iconic series that took viewers to another dimension, a dimension not only of sight and sound but of mind. It was a journey into a wondrous land of imagination for five years on CBS, from 1959-1964. The godfather of sci-fi series, the show explored humanity’s hopes, despairs, pride and prejudice in metaphoric ways conventional dramas could not. Please join us for a special marathon screening and a look back at some of the fan-favorite episodes from the original series. Concessions and an exclusive giveaway item will be provided.

SATURDAY, JULY 20

CRAZY EX-GIRLFRIEND LIVE STARRING RACHEL BLOOM, 7:30 PM, BALBOA THEATRE – The cast of the CW’s award-winning musical dramedy CRAZY EX-GIRLFRIEND is taking their show on the road in this live tour. Join Rachel Bloom, the rest of the cast and the CRAZY EX-GIRLFRIEND songwriters as they bring the show’s songs to life in this very special live concert event. This is a ticketed event and is currently sold out. For more info, please visit: https://sandiegotheatres.org/rachel-bloom/

FAN ACTIVATIONS & GIVEAWAYS

Courtesy of CBS Television Studios

CBS COMEDY CARS – From Thursday, July 19 through Sunday, July 22, CBS will offer complimentary rides throughout the Gaslamp District in branded electric cars. Featured shows will include the new fall comedies THE NEIGHBORHOOD and HAPPY TOGETHER. Trailers of the series will be screened for the passengers in those cars as well. Brand ambassadors will distribute giveaways making their debut at Comic-Con, including a variety of collectable emoji squeezies for THE NEIGHBORHOOD and HAPPY TOGETHER.

MAGNUM P.I. TAKEOVER – On Thursday, July 19, CBS will cruise the streets of Comic-Con in a branded Ferrari 488 to promote the return of MAGNUM P.I. Brand ambassadors will distribute red sunglasses and Hawaiian leis.

STAR TREK: DISCOVERY PEDICABS – From Thursday, July 19 through Sunday, July 22, CBS will offer free “intergalactic” rides throughout San Diego’s Gaslamp District in pedicabs inspired by the design of the U.S.S. Discovery’s captain’s chair. The pedicabs will feature the chair’s distinctive stitched black seats as well as video monitors built into its armrests, which in this case will screen trailers for the highly anticipated second season of the show. As an added touch, each vehicle will display an illuminated U.S.S. Discovery delta shield on the back.

STAR TREK: DISCOVERY MIRROR UNIVERSE GALLERY TAKEOVER – CBS is creating a fully immersive STAR TREK: DISCOVERY Mirror Universe experience at the Michael J. Wolf Fine Arts Gallery (363 Fifth Avenue, San Diego); Comic-Con badges are not required for entry. The exhibit, scheduled to run from Thursday, July 19 through Sunday, July 22, will feature a photo opportunity with Emperor Georgiou’s throne and will showcase props and costumes from the series’ Terran Empire. The gallery will also house an official “Star Trek” shop with Comic-Con exclusives.

Exhibit Hours: Thursday = 11:00 AM to 9:00 PM Friday = 11:00 AM to 9:00 PM Saturday = 11:00 AM to 9:00 PM Sunday = 11:00 AM to 5:00 PM

CBS TV Studios Coming to SDCC 2018 CBS has huge plans for this year's SDCC, including the world premieres of Charmed, Magnum P.I.

#CBS #CBS All Access #CBS Television Studios #Charmed #Comic Con International 2018: San Diego #Comic-Con 2018 #Crazy Ex-Girlfriend #Magnum P.I.#SDCC #SDCC 2018 #Star Trek: Discovery #Tell Me a Story #The CW #The Twilight Zone

0 notes

humanoid-lovers · 7 years ago

Photo

As good as comics get! Very well done. Great color. Go to Amazon

MAD What can you say about acquiring a collection of the first MAD comics. This first issue of the MAD Archive series is a great buy and introductory point for all late comers to the MAD magazine family. A must have for all MAD collectors. Go to Amazon

Just what it says Just what it says..Just what it says.I gave this for a Christmas present and the recipient started reading it before dinner, he loved it. Go to Amazon

Lovely The content speaks for itself here. This is a beautiful, finely detailed reproduction on high quality paper, in a first class binding. Go to Amazon

Really Great! I collect Mad mags now and then, but the first issues are too expensive for my tastes. With these mad archives, you get the first 6 mags in great reproductions and original size for a bargain price. Go to Amazon

Mad What can you say about Mad that hasn't been said. For me it brings back a time when I was young and never missed an issue. This is a wonderful reproduction of those comics and a lot of fun going through them again. Go to Amazon

The original comic book satire series Collects MAD (the comic version) #1-6. Extras include a dedication to the great Harvey Kurtzman, biographies on the artists (Jack Davis, Jerry DeFuccio, Will Elder, Bill Gaines, John Severin, Harvey Kurtzman, Marie Severin, and Wally Wood. We also get "Mad Mumblings" letters pages, the text stories, and a few house ads. Go to Amazon

REPLACES MY MAD COMICS, BEAUTIFULLY MAD can do no wrong. This book is a wonderful collection of some great issues. I've always loved the artwork, and it's here in full, original color. Go to Amazon

A radical, subversive magazine in its day! VERY important format change for MAD reprint - here's why Please please please release the next 3 volumes! HUMOR THAT STILL HOLDS UP TO THIS DAY best stuff ever

0 notes

cheapshop247 · 8 years ago

Text

Recommendations For Locating Indispensable Factors Of Freelance Filmmaker Business

Dark Drama Indie Film HOLME Wraps Production Out of the Box Productions are wrapping up production on Holmé, a dark drama about the deconstruction and salvation (through unique means) of an American family. What makes Holmé groundbreaking is its use of the surreal and real. As each member of THE FAMILY creates a new way to heal from the traumas that were all around them, they descend deeper into their psyches and create new realities. After a pivotal scene of simply cooking dinner, THE FAMILY and the film descend into a new “surreality” that is both their salvation and their prison. The screenplay, written by acclaimed UNDERGROUND French auteur, Jean-Luc Depardu II, based on themes from “Le Spleen de Paris” by Charles Baudelaire , a collection of 51 short prose poems, and associated with the surrealist literary movement, Holmé explores the dichotomy of twin sisters and their adopted brother (Katelyn Leveille, Erica Twiss, Jason W.D. Morris) and what they did to live through a totalitarian father. Theresa McCarthy appears as their semi-delusional mother. Scheduled to premiere as early as Fall 2017, Holmé is already gathering attention from film distributors and art houses. Sporting both an American and foreign cast and crew, Holmé serves as both a commercial and artistic masterpiece. What Do You Think? Tell Us In The Comments!

For the original version including any supplementary images or video, visit http://www.broadwayworld.com/bwwtv/article/Dark-Drama-Indie-Film-HOLME-Wraps-Production-20170613

SARAFINA IS AN AWESOME STAGE AND FILM PRODUCTION!!!!

<a href="https://twitter.com//_DiegoZA" target="_blank" rel="Vibez ✨" style=”text-decoration: none;font-size: 14px; color: #256bbe; float: left;”>Vibez ✨ desiree gruber

<a href="https://twitter.com//_DiegoZA" target="_blank" rel="Vibez ✨" style=”font-size: 12px;line-height: 14px;color: #999; clear: both;”>@Vibez ✨

Oliver, Henry & Kristen are at this finals @uniofglos film production evening scouting new talent to recruit! Are you #PassionateAboutFilm

<a href="https://twitter.com//PinPointUK" target="_blank" rel="PinPointMedia" style=”text-decoration: none;font-size: 14px; color: #256bbe; float: left;”>PinPointMedia

<a href="https://twitter.com//PinPointUK" target="_blank" rel="PinPointMedia" style=”font-size: 12px;line-height: 14px;color: #999; clear: both;”>@PinPointMedia

A Detailed Breakdown Of Clear-cut Programs

Ringling College of Art and Design students are getting a once in a lifetime chance to work on a film set with professionals right in their own backyard. They’ve had the opportunity to work with filmmakers before, but this time they’re working with Kevin Smith (“Jay and Silent Bob Strike Back”), who co-wrote what will become the horror anthology film with Andy McElfresh, and they are teaming up with Robert Kurtzman for effects and Semkhor Productions. Smith and the crew are working on “Killroy Was Here,” what will be a four-part horror anthology film that’s filming this week in Sarasota and St. Petersburg that he compares to “Creepshow.” Details of the film are still very much under wraps, but Smith described it as a “monster movie in the sense of a classic morality tale.” There will be separate stories with the monster — who travels to Florida by water — as a binding device, Smith said. The idea for “Killroy Was Here” came from a podcast that Smith is a part of. He and Andy McElfresh made a movie on that podcast that is identical to that of “Killroy Was Here,” but with a different “monster.” The title comes from graffiti on tanks during World War II showing that a unit had inspected the marked tanks that spread. Smith met with the media Wednesday night at Nathan Benderson Park in Sarasota, where the crew was filming a scene. Smith tentatively plans to return in December to finish the project. “So far it’s been really cool,” Smith said. “You know when I went to film school, I wanted to make a film. So let’s make a film with them and take that film out into the world. It’s charming. …

For the original version including any supplementary images or video, visit http://www.bradenton.com/news/local/article156271949.html

desiree gruber

Filed under: Cheap Shopping Store

0 notes