#Malcom III

[mistylacrimosa]

Kinda Spoilers for st Enterprise S02

Okay seriously what the fuck was going on with Enterprise's opening back then? Just when I got used to the weirdness of having a star trek show opening with a (weird) song they changed it...and I can't believe I'm saying this but the original was better,this new one doesn't make sense at all! (Not that the other one bid but I digress)

Like last season ended with a devastating attack on earth, this season is opening with the Enterprise going into a very dangerous part of space to find those responsible, we even see the aliens that orchestrated the attack before the credits and then the opening is like:

LET'S CHANGE THE COMPOSITION TO AN UPBEAT BEACHY VIBE FOR NO APPARENT REASON! YEAH NO, KEEP THE SAME VOCAL TRACK NO ONE WILL NOTICE.

Yeah, that totally makes sense...

[zuskarumoto]

Harvestfest at the Landgraabs (p4)

Malcolm III invites Margaret to look for something in the closet in the lower level

It’s here

[tickldpnk8]

Destiny’s Gallery vs Sir Joshua Reynolds’ portraits

Dream and Delight/Delirium by Mike Dringenberg/Malcom Jones III

Although not a direct copy of a particular work, the portraits in Destiny’s Gallery are done in the style of Sir Joshua Reynolds:

Lieutenant-Colonel Banastre Tarleton by Sir Joshua Reynolds (1782)

Collina (Lady Gertrude Fitzpatrick) by Sir Joshua Reynolds (1779)

Reynolds was an influential British painter who lived and painted in the 18th century. He popularized these types of “Grand Style” portraits. His works were large in scale, and often used classical poses —similar to how Del was portrayed in Destiny’s garden. But he also had more dynamic compositions for groups of family members or individuals similar to how Dream was portrayed. I’ve included two works above that seemed the most similar to what Dringenberg drew for Season of Mists’ prologue.

I found this source to be an interesting write up on his life and influence. However, please note that they didn’t cite any sources. So here’s his bio page from The National Gallery.

[krafty1]

The Daily Panel 10/25/24

Image Credit: DC Comics

[germ-t-ripper]

04MAY24 Bunch of Freakin cutie pies!

[m-accost]

I've seen it suggested that the 1970 Doctor Who serial "The Ambassadors of Death" derives its title from Wilson G. Knight's essay on Hamlet "The Embassy of Death", and, while I doubt if the serial's name has any literary pedigree (it was originally titled "The Carriers of Death" and the production team at one point apparently considered calling it simply "The Ambassadors"), I think it's worth noting that the phrase "ambassadors of death" appears in the anonymous Elizabethan play Edward III, published in 1596:

"These iron-hearted navies,

"When last I was reporter to your grace,

"Both full of angry spleen, of hope and fear,

"Hasting to meet each other in the face,

"At last conjoined, and by their admiral,

"Our admiral encountered many shot.

"By this, the other, that beheld these twain

"Give earnest penny of a further wrack,

"Like fiery dragons took their haughty flight,

"And, likewise meeting, from their smoky wombs

"Sent many grim ambassadors of death."-Scene 5

[usafphantom2]

RAF Mustang Mk IIIs 🇬🇧 note: Malcom hoods installed (canopy)

@AcePilotAV via X

[writing-for-life]

Nada—Malcom Jones III

[splittersplack]

Panel of Death from The Sandman Vol. 4 Season of Mists 🌜

Written by Neil Gaiman

This issue illustrated by Mike Dringenberg and Malcom Jones III

-------------------------------------------------

An original photo I took from the volume that I'm borrowing from the library 📖

[splooosh]

Sweet Morpheus

Kelley Jones - Malcom Jones III

[mistylacrimosa]

OH MY DEVIL THE SONG WAS NOT A ONE TIME THING

WHY STAR TREK,WHY?

So I just finished the first episode ST Enterprise and it was... interesting. I'm trying (and failing) not to be too harsh. So far the only likable character is T'Pol (and Porthos obviously). I'm hoping that will change. Also I don't understand the title song... just why? What were they thinking?(Hopping it's an one time thing)

[zahri-melitor]

DC Artists Tournament - Round 4

Fan submitted propaganda below:

J.H. Williams III:

He is iconic. The best. The way that he takes full advantage of the medium of comics in his art is wonderful. The layouts are gorgeous. Go read Batwoman and see how he uses the art to advance the storytelling in new and cool ways.

Because what would Batwoman have been without his layouts? So striking, so unique

Denys Cowan:

The Question (1987). My definitive Vic Sage artist. Everyone in this comic looks so good, and so aggressively from the 80s. I would like to give a special shout-out to the specific team of Cowan's pencils, Malcom Jones III's ink, and Tatjana Wood's colours making Shiva look insanely good in issue #29.

[zuskarumoto]

Matthew Landgraab

Traits: Mean, Music Lover, Loyal

Likes: Video Gaming, Deception, Rascals

Parents: Marion & Malcolm Landgraab II

Siblings: Bradly, Emily & Malcolm Landgraab III [ Twins ]

Other Family: Mom Newbie and Malcom Landgraab I(Grandparents) Mimi Goth (Deceased), Dudley (Deceased), Patricia, & Adrien Landgraab (Aunts and Uncles) Gianna Goth-Mori, Frannie Baxter-Watson, Ralph & Frankie Baxter, Lauren, Brantley & Maximillian Landgraab (First Cousins) Melissa Landgraab (Niece)

Toddler:

Child:

Teen:

Young Adult:

[tickldpnk8]

Destiny’s Gallery x Pinkie

Delight/Delirium by Mike Dringenberg/Malcom Jones III vs Sarah Barrett Moulton (Pinkie) by Thomas Lawrence (1794)

The painting is an elegant depiction of Sarah Barrett Moulton, who was about eleven years old when painted. Her direct gaze and the loose, highly-movemented brushwork give the portrait a lively immediacy.

Linking to this story about the subject of the painting who died a year after sitting for it. This style of portraiture (big, full length portraits meant for public display) was common for the time period — As popularized by Sir Joshua Reynolds. I went into the parallels between his work and the comic in my last post about Destiny’s Gallery.

[isimchi]

My game's Landgraab lore that no one asked for:

Malcolm Landgraab IV exists, but as the son of Malcolm Landgraab III and Nancy Landgraab. Both of his parents come from money, Nancy's family earned their simoleons from oil sales, and the Landgraab lineage is one of infamous land barons. Nancy and Malcolm Sr. only interacted with their son regarding his studies and accomplishments. Playful behavior and laughter was discouraged within the walls of the estate.

Mom isn't his ex-wife (at least not yet), she's his secondary school sweetheart and arranged marriage partner. She comes from a wealthy background as well: her mother, Madre, descends from generations of agricultural export giants while her father, Ricardo, is an esteemed diplomat. Madre was very caring with her daughter, but they grew apart as Mom aged and expressed disinterest in politics and work.

Malcolm and Mom got married right after graduating Académie Le Tour. It was an elegant but conservative event. Malcolm took over the family businesses right away, and his father retired. The twins were born soon after, and Mom's parents moved closer by to help raise their only grandchildren; Mom had no maternal instincts yet believed nannies were not to be trusted.

The twins, Mimi and Dudley, grew up well into childhood thanks to grandmother Madre. She and grandfather Ricardo taught them nursery rhymes, how to dance, and the importance of seasoned food. Their maternal grandparents also spoiled them rotten to try to make up for the cold attitudes of the twin's parents and paternal grandparents. Unfortunately both Ricardo and Madre passed away before the end of the twin's primary schooling.

Without the loving guidance of their recently deceased grandparents, Mimi grew up just okay, and Dudley was constantly failing to keep up. If it weren’t for their father’s generous donations to Académie Le Tour, neither twin may have graduated, or even been accepted! Malcolm's parents passed away as well, but inheriting estate and Landgraab fortune helped soften the blow.

Today, Malcom and Mom are growing more distant from the family and each other; they can't reconcile having two useless, unmotivated, and shortsighted heirs. To maintain her sanity, Mom now requires daily therapy of the retail variety, and Malcolm has been out of the home as much as possible to avoid the stench of failure. Mimi threatens to move out to O-City every time her parents tell her being a socialite isn't a real job, and the perpetually hungover Dudley seems content to return to his cushy room every morning and dodge the job hunt like his grandpappy dodged the draft.

[whileiamdying]

James Earl Jones, Distinguished Actor and Voice of Darth Vader, Dies at 93

Getty Images

James Earl Jones, the prolific film, TV and theater actor whose resonant, unmistakable baritone was most widely known as the voice of “Star Wars” villain Darth Vader, died Monday morning at his home in Dutchess County, N.Y., his rep confirmed to Variety. He was 93.

After overcoming a profound stutter as a child, Jones established himself as one of the pioneering Black actors of his generation, amassing a bountiful and versatile career spanning over 60 years, from his debut on Broadway in 1958 at the Cort Theatre — renamed the James Earl Jones Theatre in 2022 — to his most recent performance in 2021’s “Coming 2 America.” For that film, Jones reprised his role as King Jaffe Joffer from the 1988 Eddie Murphy comedy “Coming to America” — one of several roles, along with Darth Vader, that Jones revisited, including the voice of King Mufasa in Disney’s animated feature “The Lion King” in 1994, the 1998 direct-to-video sequel and the 2019 remake, and CIA deputy director Vice Admiral James Greer in three Jack Ryan movies, 1990’s “The Hunt for Red October,” 1992’s “Patriot Games” and 1994’s “Clear and Present Danger.” 

Among his more than 80 film credits, Jones’ other notable movies include as a B-52 bombardier in Stanley Kubrick’s 1964 Cold War satire “Dr. Strangelove” (his feature film debut), as the first Black president of the United States in 1972’s “The Man,” as the fearsome villain in 1982’s “Conan the Barbarian,” as a reclusive author in 1989’s “Field of Dreams,” as a blind former baseball star in 1993’s “The Sandlot,” and as a minister living in apartheid South Africa in 1995’s “Cry, the Beloved Country.”

Jones was nominated for four Tony Awards, and won two, in 1969 for playing boxer Jack Johnson in “The Great White Hope” (which he reprised on film in 1970, receiving his only Oscar nomination), and in 1987 for originating the role of Troy Maxson in August Wilson’s Pulitzer Prize-winning drama “Fences.” He was nominated for eight primetime Emmy awards, winning twice in 1991, for supporting actor in the miniseries “Heat Wave,” about the 1965 Watts riots, and for lead actor in the drama series “Gabriel’s Fire,” about a wrongfully imprisoned ex-cop who becomes a private detective. It was the first time an actor won two Emmys in the same year.

Jones earned a Kennedy Center Honor in 2002, the Screen Actors Guild Life Achievement award in 2009, an honorary Oscar in 2011 and a lifetime achievement Tony Award in 2017. His Grammy award in 1977 for spoken word album makes Jones only one a handful of actors to receive an EGOT.

Jones’ looming yet ultimately affable presence and rich speaking voice made him a natural for Shakespeare, and he played some of the great roles, such as Macbeth and Othello, for Joseph Papp’s American Shakespeare Festival. Jones narrated several documentaries, from 1972’s “Malcom X” to the 2007 Disneynature doc “Earth,” and, famously, he intoned the tagline “This is CNN” for the cable news channel.

His television credits, which number over 70, including many movies and miniseries such as “Roots” and “The Atlanta Child Murders,” recurring roles on “L.A. Law,” “Homicide: Life on the Street” and “Everwood,” and guest roles on shows like “The Simpsons,” “Picket Fences,” “Law & Order,” “Frasier” and “House.” 

As for his most famous role, Jones was paid $7,000 to lend his voice to Darth Vader in 1977’s “Star Wars: A New Hope,” but he declined screen credit for that film and its sequel, 1980’s “The Empire Strikes Back,” out of deference to the actor who played the role on screen, David Prowse. By 1983’s “Return of the Jedi,” however, Jones had become fully synonymous with one of the most memorable and terrifying villains in cinema history, and received credit for his work. He returned to Vader’s voice again for 2005’s “Episode III — Revenge of the Sith” and 2016’s “Rogue One: A Star Wars Story,” but for the 2022 Disney+ series “Obi-Wan Kenobi,” Jones instead authorized Lucasfilm to use archival recordings and AI technology to recreate Vader’s voice.

When asked in 2014 by the New York Times about how he’d kept his career alive for so long, Jones’ response evoked the kind of plainspoken humility that he had so often brought to his performances as well.

“The secret is never forgetting that you’re a journeyman actor and that nothing is your final thing, nothing is your greatest thing, nothing is your worst thing,” Jones said. “I still consider myself a novice.”

James Earl Jones was born in 1931 on a farm in in Arkabutla, Miss. His father, Robert Earl Jones, left home soon after to pursue his own acting career (the two more-or-less reconciled when the younger Jones was in his 20s, and they even performed together). When Jones was 5, he moved with his maternal grandparents to Michigan. The shock of the relocation induced a stammer so severe that he often could communicate only in writing. It wasn’t until high school when he started to overcome his stutter, when his English teacher, upon learning that Jones composed poetry, encouraged him to read his writing aloud in class.

As an undergraduate student at the University of Michigan, Jones initially set out to study medicine, but wound up more interested in drama. His first stage role was a small part in the 1957 Off Broadway production “Wedding in Japan.” He took side jobs to supplement occasional theater work in Broadway’s “Sunrise at Campobello,” “The Cool World” and “The Pretender.” He also appeared in summer stock.

In 1960, Jones joined Papp’s New York Shakespeare Festival. The following year he made his first serious impact in a landmark Off Broadway production of Jean Genet’s “The Blacks” as the protagonist Deodatus. Afterwards, for Papp, he played Oberon in “A Midsummer Night’s Dream,” the first of many heralded Shakespearean turns. His masterful 1964 performance as Othello for Papp was moved Off Broadway, where the production ran for almost a year. 

Jones’ first big break into cinema came by way of Papp’s production of “The Merchant of Venice,” in which Jones played the Prince of Morocco to George C. Scott’s Shylock. When Stanley Kubrick came to see Scott, whom he was considering for one of the leads in “Dr. Strangelove,” the film director was so impressed that he cast Jones in the film, too. In 1966, Jones had the title role in “Macbeth” at the New York Shakespeare Festival, again to great acclaim. He also booked a recurring role on “As the World Turns” in 1966, marking the first time a Black actor had a continuing role on a daytime soap opera

Still, he was almost one of Broadway’s best-kept secrets until 1968 with his performance in Howard Sackler’s “The Great White Hope” as Jack Johnson, the first Black man to win the world heavyweight boxing championship. The Tony, the acclaim and its timing in the late ’60s propelled Jones into the spotlight at a time when it was difficult for Black actors to secure quality roles. The actor, however, has said that the accolades he received for for both the play and its film adaptation did not do that much for his career.

It wasn’t until 1977, when Jones’ voice terrified audiences for the first time as Darth Vader, that things truly began to shift for him. That same year, Jones also appeared in ABC’s “Roots” playing the author Alex Haley, whose genealogical novel of the same title inspired the groundbreaking miniseries. He never quite became an outright star in the classic sense of the word, but the back-to-back successes that year did ultimately make Jones a household name, whose presence connoted a stature and gravitas to projects that might otherwise be lacking.

Theatre is where Jones most frequently was a box office draw in his own right — and well into his 80s. He returned to Broadway in 2005 for a production of “On Golden Pond” opposite Leslie Uggams, drawing another Tony nomination. In 2008, he played Big Daddy in a production of Tennessee Williams’ “Cat on a Hot Tin Roof” that featured an all-Black cast including Terrence Howard, Anika Noni Rose and Phylicia Rashad. 

Two years later, he returned to Broadway in a revival of “Driving Miss Daisy” opposite Vanessa Redgrave; the production’s move to London in 2011 meant he had to miss the Honorary Oscars ceremony in Los Angeles. Instead, Sir Ben Kingsley surprised Jones with his statuette in person after he’d concluded a matinee performance of the show. 

Jones was first married to actress-singer Julienne Marie. His second wife of 34 years, actress Cecilia Hart, died in 2016. He is survived his son, Flynn Earl Jones.