#Peter Goodchild

[denimbex1986]

'LONG before Cillian Murphy there was Sam Waterston, and long before Christopher Nolan’s Oppenheimer there was Peter Goodchild’s Oppenheimer (BBC4, Friday), which is being reshown for the first time in decades.

Goodchild, who was interviewed by Variety last month to coincide with the film’s release, started his BBC producing career in radio drama and later moved to television with the science documentary series Horizon.

When Horizon diversified into science docudramas in the 1970s, Goodchild, who holds a chemistry degree, got to combine his two interests in a successful series about Marie Curie.

It was his idea to make a seven-part miniseries about J Robert Oppenheimer, the father of the atomic bomb, played by Waterston. First shown on BBC2 in 1980, Oppenheimer was a big hit with viewers and critics, winning three Bafta awards. It also garnered Emmy and Golden Globe nominations after it was shown on PBS in the United States.

The budget of £1.5m (about €7.5m today) – 90pc of it coming from the BBC, the rest from WGBH Boston – might seem like a grain of New Mexico sand compared with the £100m price tag of Nolan’s Imax epic.

Back then, however, it was a huge spend for a British drama.

A huge physical production, too, with scrupulous attention to detail. For maximum authenticity, Goodchild, now 83, told Variety, the Manhattan Project’s Los Alamos Laboratory was recreated on a purpose-built set in Colorado Springs, complete with water tower and replica bomb.

The supporting cast was made up almost entirely of American actors based in Britain.

Two notable exceptions were future Poirot star David Suchet as the excitable, voluble Hungarian physicist Edward Teller and Edward Hardwicke (Dr Watson to Jeremy Brett’s Sherlock Holmes) as his Italian colleague Enrico Fermi.

Viewers who have grown used to watching even modestly budgeted dramas shot on HD video that mimics celluloid film may find the switch from Oppenheimer’s interior scenes, which were mostly shot on videotape in a studio in the UK, to the ones shot on film in America a little jarring at first.

But the story is so engrossing you cease to be aware of the contrast after a while.

What’s remarkable is how well Oppenheimer, which was written by Peter Prince and directed by Barry Davis, holds up 43 years later.

There’s none of the slowness or staginess you sometimes see in dramas from the period. Friday’s opening two episodes positively zipped by.

They spanned the years 1938, when Oppenheimer was at the University of Berkley, to 1942, when Lieutenant General Leslie Groves (Manning Redwood), ignoring warnings about Oppenheimer’s long associations with active communists and championing of left-wing causes, put him in charge of the Manhattan Project, which was to be housed in a high-security facility in Los Alamos.

Waterston, just four years ahead of his best actor Oscar nomination for playing Siydney Schanberg in The Killing Fields, is fantastic as Oppenheimer.

You can see why the BBC was prepared to pay him well above the normal rate for appearing in one of its dramas and to put him up in a luxury hotel during filming.

He conveys Oppenheimer’s charisma, intelligence, brilliance and charm, especially to women.

But we also see his ruthlessness and arrogance.

When we meet him, he’s romantically involved with psychiatrist and communist Jean Tatlock (Kate Harper), who suffered from clinical depression (she died by suicide in 1944), yet thinks nothing of casting her aside when he sets eyes on his future wife Kitty Puening (Jana Shelden), who at that time is married to someone else.

They tumble into an affair. In one particularly cruel moment, he humiliates Jean by turning up at a dinner party at her home with Kitty on his arm.

Even at this stage, the seeds of Oppenheimer’s downfall are being sown. Naively unconcerned about the dangers of having communist friends, he doesn’t realise he’s already under FBI surveillance.

A terrific drama from a far more creative age of TV.'

[galtchild]

I am obsessed with Trevor Goodchild, but the name Goodchild is taken on every website and John Galt is almost as stupid and ridiculous, hence my name. I thought the double joke was funny until I realized I may be mistaken for an Objectivist. I thought that we had all read Watchmen/played bioshock and knew that that shit doesn't work.

Tldr: For all character judgement in perpetuity, Ayn Rand is a monster and Peter Chung is a genius.

[petermot]

That which doesn't kill us, makes us misquoting

Het bekende citaat That which doesn’t kill us, makes us stranger wordt bijna altijd toegeschreven aan de Joker in de film The Dark Knight (2008) van Christopher Nolan. Eerst dit: het is een bekend citaat dat geen citaat is, want de Joker zegt in werkelijkheid: “I believe whatever doesn’t kill you simply makes you stranger”. Maar bovendien is de oorsprong van het citaat niét “The Dark Night”,…

[incorrect-oppenheimer]

Compiling a list of books everyone knows about. It's long so under the cut...

Novelty Books: Area 51 by Nick Redfern Los Alamos by Joseph Kanon Unleashing Oppenheimer by Jada Yuan Oppenheimer: The Complete Screenplay by Christopher Nolan Copenhagen by Michael Frayn The Oppenheimer Alternative by Robert J. Sawyer The Manhattan Projects by Jonathan Hickman

Books by others: The Advisors: Oppenheimer, Teller, and the Superbomb by Herbert F. York The Real Dr. Strangelove by Peter Goodchild The Tragedy of Edward Teller by István Hargittai Judging Teller by István Hargittai Martians of Science by István Hargittai Wisdom of the Martians of Science by István Hargittai Edward Teller: A Giant of the Golden Age of Physics by Stanley A. Blumberg and Louis G. Panos Energy and Conflict: The Life and Times of Edward Teller by Stanley A. Blumberg and Gwinn Owens Brotherhood of the Bomb by Gregg Herken The Making of the Atomic Bomb by Richard Rhodes Atomic Spy by Nancy Thorndike Greenspan The Spy Who Changed The World by Mike Rossiter Physics and Philosophy by Werner Heisenberg The Meaning of Relativity by Albert Einstein Now It Can Be Told by Leslie Groves (With introduction by Edward Teller, who tried to be nice.) Oppenheimer: The Story of a Friendship by Haakon Chevalier The Man Who Would Be God by Haakon Chevalier (This is weird.) American Prometheus by Kai Bird and Martin J. Sherwin Feynman by Ottaviani and Myrick Fallout by Ottaviani Trinity by Jonathan Fetter-Vorm Easton Press: Day of Trinity by Lansing Lamont The Man From The Future by Ananyo Bhattacharya The MANIAC by Benjamín Labatut Big Science by Michael Hiltzik Forks In The Road: A Life In Physics by Stanley Deser A Sense of the Mysterious: Science And The Human Spirit by Alan Lightman Pandora’s Keepers by Brian VanDeMark J Robert Oppenheimer by Abraham Pais An American Genius by Herbert Childs Lawrence and Oppenheimer by Nuel Pharr Davis The General And The Genius by James Kunetka J. Robert Oppenheimer And The American Century by David C. Cassidy Atoms In The Family by Laura Fermi Genius In The Shadows by William Lanouette Beyond Uncertainty by David C. Cassidy An Atomic Love Story by Patricia Klaus and Shriley Streshinsky 109 East Palace by Jennet Conant The Strangest Man by Graham Farmelo The Night of the Physicists by Richard von Schirach Oppenheimer and the American Century by David C. Cassidy Alvarez: Adventures of a Physicist by Luis W. Alvarez Oppenheimer by Isidor Isaac Rabi and more. Bomb by Steve Sheinkin Fallout by Steve Sheinkin Surely You’re Joking Mister Feynman by Richard Feynman The Feynman Lectures by Richard Feynman When We Cease To Understand The World by Benjamín Labatut Enrico Fermi: His Work And Legacy by Enrico Fermi Suspended In Language by Ottaviani

Oppenheimer: The Open Mind Atom and Void In The Matter of J. Robert Oppenheimer (By everyone else.) These are the transcripts of the trials. Robert Oppenheimer Letters and Recollections edited by Alice Kimball Smith and Charles Weiner Science and the Common Understanding City of the End of Things by Northrop Frye, J. Robert Oppenheimer, and Edward Togo Salmon Uncommon Sense Lectures On Electrodynamics

More added on reblog.

[therevengeoffrankenstein]

60s/70s hammer aeon flux cast:

aeon flux - caroline munro

trevor goodchild - peter cushing

vindictive male hero/aeon's love interest that she ditches by the end - ralph bates

lady in a troubled relationship with ralph bates - pippa steel

trevor's assistant who deserts after realizing bregna is shitty/guy aeon helps escape bc he's being forced to work for trevor - shane briant

trevor's other numbered assistants - christopher neame, oliver reed, stephanie beacham (they r like team rocket 2 me)

older man who is plot relevant, probably a scientist or politician of some kind - andre morell

[ulkaralakbarova]

Sherlock Holmes and Dr. Watson meet as boys in an English Boarding school. Holmes is known for his deductive ability even as a youth, amazing his classmates with his abilities. When they discover a plot to murder a series of British business men by an Egyptian cult, they move to stop it. Credits: TheMovieDb. Film Cast: Sherlock Holmes: Nicholas Rowe John Watson: Alan Cox Elizabeth Hardy: Sophie Ward Professor Rathe: Anthony Higgins Mrs. Dribb: Susan Fleetwood Det. Sgt. Lestrade: Roger Ashton-Griffiths Dudley’s Friend: Matthew Ryan Dudley: Earl Rhodes Chester Cragwitch: Freddie Jones Bentley Booster: Patrick Newell Khasek – Lower Nile Tavern Owner: Nadim Sawalha Rupert T. Waxflatter: Nigel Stock Master Snelgrove: Brian Oulton The Reverend Duncan Nesbitt: Donald Eccles Dudley’s Friend: Matthew Blakstad Dudley’s Friend: Jonathan Lacey Ethan Engel: Walter Sparrow Mr. Holmes: Roger Brierley Mrs. Holmes: Vivienne Chandler Curio Shop Owner: Lockwood West Cemetery Caretaker: John Scott Martin School Porter: George Malpas School Reverend: Willoughby Goddard Policeman with Lestrade: Michael Cule Policeman in Shop Window: Ralph Tabakin Hotel Receptionist: Nancy Nevinson Older Watson (voice): Michael Hordern Schoolboy (uncredited): Grant Burns Acolyte (uncredited): George Lane Cooper Chestnut Seller (uncredited): Salo Gardner Restaurant Patron (uncredited): Lew Hooper Footman (uncredited): Royston Munt School Master (uncredited): Henry Roberts Patron (Lower Nile Tavern) (uncredited): Fred Wood Film Crew: Animation: John Lasseter Casting: Irene Lamb Executive Producer: Steven Spielberg Executive Producer: Kathleen Kennedy Executive Producer: Frank Marshall Production Design: Norman Reynolds Visual Effects Supervisor: Dennis Muren Producer: Roger Birnbaum Director: Barry Levinson Producer: Mark Johnson Editor: Stu Linder Director of Photography: Stephen Goldblatt Animation: Eben Ostby Animation: Don Conway Animation: David DiFrancesco Set Decoration: Michael Ford Screenplay: Chris Columbus Makeup Artist: Nick Dudman Art Direction: Fred Hole Makeup Supervisor: Peter Robb-King Art Direction: Charles Bishop Assistant Art Director: Gavin Bocquet Original Music Composer: Bruce Broughton Associate Producer: Harry Benn Characters: Arthur Conan Doyle Costume Design: Raymond Hughes Producer: Henry Winkler Visual Effects Supervisor: David Allen Animation: Craig Good Second Unit Director: Andrew Grieve Visual Effects: Robert Cooper Assistant Art Director: George Djurkovic Third Assistant Director: Peter Heslop Visual Effects Camera: Jay Riddle Visual Effects: Blair Clark First Assistant Director: Michael Murray Animation Supervisor: Bruce Walters Art Direction: Dave Carson Visual Effects: Sean M. Casey Second Assistant Director: Ian Hickinbotham Makeup Artist: Jane Royle Animation: William Reeves Visual Effects: Tony Hudson Visual Effects: Jay Davis Animation: Barbara Brennan Animation: David Salesin Animation Supervisor: Ellen Lichtwardt Goodchild Dressing Prop: Paul Cheesman Art Designer: Michael Ploog Draughtsman: Reg Bream Rotoscoping Artist: Donna K. Baker Draughtsman: Peter Childs Animation: Robert L. Cook Animation: Gordon Baker Animation: Jack Mongovan Visual Effects: Tony Laudati Visual Effects: Marghi McMahon Movie Reviews:

[boxingnewsnetwork]

We update boxing fans with the finalized undercard bouts on the upcoming Probellum Liverpool II event, headlined by Peter McGrail, and then highlight a variety of up 'n coming UK boxers, including Roman Fury, and a trio of fighters set to enter the ring in Birmingham: Connor Goodchild, Troy Jones and Tommy Collins, before concluding with a statement from the promoters of Beltway Battles regarding the third installment of their pro boxing series taking place in Washington, DC. https://talkinfight.com/todays-boxing-news-headlines-ep249-boxing-news-today/ Watch live on TalkinFight.com and more episodes on YouTube.com/c/TalkinFight @The World of Boxing! @Your Boxing Guide @Matchroom Boxing @Top Rank Boxing @Mayweather Promotions @BT Sport @DAZN Boxing #talkinfight #Boxen247 #boxingnews #wba #wbc #ibf #wbo #ibo #ubo

[curatorofthisdigitalmorass]

Aeon Flux and Trevor Goodchild - Art by Peter Chung

[loo-nuh-tik]

AEON FLUX

[remembersaturday]

Series Review-Æon Flux (1991-1995) Summary: Æon Flux is a mysterious and amoral secret agent from the country of Monica. Her motives or background are left unexplained, as are those of her antagonist/love, Trevor Goodchild. On her missions, she deals swift, bloody "justice" to all that oppose her. The second season episodes of this series were unique in that Aeon died at the end of every single episode. Genre: Adventure, Avant-garde, Science Fiction Created by: Peter Chung Composer: Drew Neumann Country of origin: United States No. of seasons: 3 No. of episodes: 21 (list of episodes) Executive producers: Japhet Asher, Abby Terkuhle Producer: Catherine Winder Production companies: Colossal Pictures, MTV Animation Distributor: MTV Networks Original network: MTV Picture format: NTSC Audio format: Stereo Original Release: November 30, 1991 – October 10, 1995 Voice cast: (list of cast members) Æon Flux ; at this point, for me, just exists as a piece of nostalgia. It's a piece of art that I didn't know I wanted until I had it and couldn't really appreciate until it was out of the MTV line-up. At the time when it first aired, it was unlike anything I had ever seen but because I was only about 9 or 10, I wasn't allowed to watch it. The episodes I was able to sneak and watch left me wanting more. I didn't really understand the show, it wasn't for my age group. The writing and the themes were too "grown up" and each episode seemed like it's own universe unto itself; but there was something special about it, something intriguing. The art style was weird and the characters had exaggerated features. It doesn't seem to be one continuous story but a bunch of stories centered around the main character; Æon Flux , and her arch-enemy/lover...Trevor Goodchild. They remain pretty much the same between episodes but the supporting cast and the overall scenario changes. I think that's why today it still sticks out in my memory. It was ahead of it's time. Nobody was really doing anything similar and even today there really aren't many shows I could even compare it to. Our first introduction to Æon Flux was part of the Liquid Television program on MTV. It was an animation showcase where you might have seen another classic...Bevis & Butthead. The first few episodes were extremely short and contained little or no dialogue during it's run time. Peter Chung was able to convey all the emotion, character motivation and information the viewers needed to stay on the channel with a silent protagonist, which impressive. The way the show is setup, it would have you believe that because Æon is the focal point of the show and Trevor Goodchild is presented as her counter-balance that she is the hero, she's the "good guy" and that he's the "bad guy", but it's not always that cut and dry in every scenario. Some times you will fight with what you're actually rooting for, you'll wonder if you've had their alignments backwards the whole time. They have kind of a Batman/Joker dynamic. They need each other. His totalitarian empire needs terrorism to justify his methods and she needs that empire to rebel against for her own selfish needs. The setting of this show is a dystopian society and some scenes are hard to watch even as an adult. Peter Chung seemingly didn't just want to you to see a dystopia and take you on a tour of a world unlike your own, he wanted you to feel it. He perfectly captures the pain and brutality of of such an environment which is often translated through ever changing supporting cast. For example; in episode 3, a woman named Sybil and her lover, Onan seek to cross the border from Bregna into Monica. Sybil makes an attempt but she is shot in the back by a turret completely destroying one of her vertebrae. She can now only stand up right by way of Goodchild's technology. Sybil discovers how Æon has been crossing the border but Goodchild warns her that Æon has been allowed to do this. Sybil doesn't listen and she makes a second attempt, she dodges the turrets but has her legs amputated by robots she helped manufacture. It's a heartbreaking view of what life is like for some people under Trevor’s tyranny. THE GOOD

The aesthetic of the show is maybe it’s most intriguing asset. I had never seen anything like it, I had never felt anything like this show. There was an ambiance too it. It wasn’t just an atypical art style, there was a whole atmosphere built around these stories. I didn’t just watch Æon Flux , I experienced it. It’s almost hard to put into words what watching this show is like.

The unorthodox approach storytelling is a hard sell, especially in an animated series and in the 90′s at that but in the general sense, it’s a breath of fresh air. It’s not linear, I don’t know where every episode is going. The writer doesn’t hold my hand or insult my intelligence. He doesn’t explain everything and he doesn’t need to. That’s part of what makes this show great, breaking it down and processing what i’m seeing for myself and drawing my own conclusions as to what everything means.

Because of the narrative structure of the show, characters have to be more expressive and more information has to be provided through facial expressions and subtle details. Some of the shorts don’t have any dialogue so the fact that people were so interested in those shorts that it became an actual series, says a lot about what Peter Chung is capable of. 

THE BAD

The approach to storytelling isn’t for everyone. They don’t really build this ongoing story about Æon. It’s kind of hard to follow. You have to see every episode too because if you miss one then you missed a scenario completely, they won’t revisit it in another episode. 

I give Æon Flux an 8.9 out of 10 CULT CLASSIC

[denimbex1986]

'Decades before Christopher Nolan set his sights on a movie about J. Robert Oppenheimer, a science-obsessed BBC executive ventured to America in 1979 to make a $1.5 million TV show about the father of the atom bomb.

Peter Goodchild began his career at the BBC in radio drama, but eventually migrated to the storied “Horizon” science unit to put his chemistry degree to some use. The division began experimenting with factual dramas in the 1970s, and after delivering a hit series on French-Polish physicist Marie Curie, Goodchild set his sights on the New York-born Oppenheimer.

“I’d seen a play on J. Robert Oppenheimer at the Hampstead Theatre Club way back in 1966,” the 83-year-old tells Variety from his home in Exeter, southwest England, where his Zoom background reveals a room teeming with books on heaving shelves.

“It was an amazing story, and I’d always wanted to do it,” Goodchild continues. “Someone suddenly presented me with a book about Oppenheimer and his relationship with one of his other scientific colleagues, which was an excellent story. I said, ‘I’d love to take it further.’ And we did.”

Goodchild’s seven-part 1980 BBC series “Oppenheimer” — with the physicist played by 40-year-old Sam Waterston, just years away from his Oscar-nominated performance for “The Killing Fields” — received seven BAFTA nominations and took home three golden masks, including best drama series. The show, which was co-produced with WGBH Boston (which contributed just $100,000), also picked up a Golden Globe nod for Waterston along with two Primetime Emmy nominations.

Viewed through a contemporary lens, “Oppenheimer” is astonishing. A BBC-produced series telling an American story, featuring a predominantly American cast? It simply would never happen now. The broadcaster’s ongoing fight to justify its license fee-based funding model — in which every BBC-watching household in the U.K. pays £159 ($204) a year to fund its content — means that most original dramas on the Beeb have a distinctly British flavor.

But back then, “the sheer volume of drama that was happening was extraordinary,” explains Ruth Caleb, then a plucky line producer on “Oppenheimer.” “It went beyond the insular; it was much more outward-looking.” BBC drama still is, in some ways, she hastens to add. “But for different reasons that are often commercial reasons. Back then, they were creative reasons.”

“When Peter put up ‘Oppenheimer’ as an idea, it was clearly an important subject matter, because it’s not just about the country we live in, but about the world that we live in,” says Caleb, who is still producing films and scripted series under her own banner. “I think they trusted that Peter would come up with something pretty special.”

“Oppenheimer” introduces the nuclear physicist during his time with the University of Berkeley physics department — a halcyon period for the listless scientist, who surrounded himself with card-carrying Communists (though never fully subscribed himself) and carried on with the troubled Jean Tatlock while falling for Kitty Puening, a married woman.

The bulk of its seven hours focused on the formation of the Manhattan Project and the Los Alamos settlement in New Mexico, with special attention paid to Oppenheimer’s tumultuous relationship with General Leslie Groves and other scientists such as Edward Teller (played by “Poirot” star David Suchet). A masterful depiction of the Trinity test in Episode 5 used archival material to convey the actual blast, but also relied on a huge, arid Colorado Springs set. The final two episodes focused on Oppenheimer’s post-war troubles, and the U.S. Atomic Energy Commission hearing that stripped him of his security clearance, effectively severing his ties to U.S. government.

While much had been written by the late 1970s about Oppenheimer, who died of throat cancer in 1967, Goodchild and screenwriter Peter Prince spent a month in America researching the scientist. In addition to meeting a number of his academic peers — “They were happy to talk and talk!” says Goodchild — the duo also located Oppenheimer’s son Peter, his brother Frank and sister-in-law. (Kitty had died a few years prior, in 1972, while his daughter Toni died by suicide in 1977.)

“We got very, very strong images from his brother,” says Goodchild. “And then we went one Sunday morning to meet Peter. But when we arrived, he wasn’t there. Someone said he’s gone, but that he has these moods and may feel differently in an hour.”

So, Goodchild and Prince “hung out and wandered about” until he returned. “And he turned up,” the producer exclaims. “He wouldn’t let us in the house. He talked in a very—” Goodchild falters. “It was obvious life has not been straightforward for him.”

When the team began casting, they hired U.K.-based American actors, which helped to save money. A lead, however, proved elusive. All sorts of ideas were thrown at the wall — at one point, even “Psycho” star Anthony Perkins was in the mix — until Caleb suggested Waterston, who would need to be flown in from the U.S. where he’d been shooting a movie in Wisconsin.

“He was a dreamboat,” says Caleb. “Just the loveliest guy.”

Adds Goodchild: “I think we were paying him £1,200 a program. He liked the scripts, and said, ‘Yes, I’ll do it’ … We put him up in a house in Chelsea, which was around £1,200 a month, which seemed astronomical to us.” (Calculating for inflation, that’s roughly £6,500 per month.)

Waterston was worth the eye-watering Chelsea rent. His casting was considered to be a masterstroke due to his complex, unsentimental portrayal of Oppenheimer. One Manhattan Project scientist even remarked at the time that Waterston was “more Oppenheimer than Oppenheimer ever was.”

“My abiding memory of the production is how nice Sam Waterston was to work with,” screenwriter Peter Prince tells Variety over an email. “I re-watched a couple of episodes to refresh my memory and was reminded again how good Sam was as the actor: he was the complex Oppenheimer — charming, conflicted and driven.”

The show filmed between a studio in the U.K. for interior shots, and in Colorado Springs, where the Los Alamos project was constructed along with the vast tower that housed the atom bomb (pictured). “Everyone [tried] to be as authentic and near the actuality as possible,” says Caleb, who always had one eye on the $1.5 million budget — the equivalent of around $5.5 million today.

“When we were setting up Trinity, we hired this guy to make the bomb. And I knew that when we film, what you see in it is not the detail. But he did that bomb, which was hugely expensive, and every single detail of it was accurate — not that you ever saw it,” says Caleb. “I wasn’t pleased, yet he was so delighted that he managed to make this bomb exactly as it was. And all he got from me was a rather sour face saying ‘Yes, but you’ve gone over your budget!’”

Trinity was shot in three parts, with the American shoot completed over four weeks, followed by the studio work — which encompassed several control room scenes — and then other extraneous shots. Goodchild and Caleb detail a “pretty smooth” production that was primarily the work of the show’s gifted late director, Barry Davis, whom they describe as “fearsome” but someone who “knew what he wanted.” They also credit their editor Tariq Anwar, “who was brilliant,” adds Caleb.

Despite the show’s heavy subject matter, the team managed to eke out some fun on set. Toward the end of the shoot, when Suchet wrapped his final scenes as Teller and stepped out of the studio, “they delivered a cream pie into his face,” laughs Caleb. “I can’t remember whether it was Sam or someone else. But that demonstrates the good nature on the production. It was a happy production.”

Yet as one of Hollywood’s most visionary directors returns the A-bomb’s formidable creator to the cultural consciousness, the BBC’s “Oppenheimer” has become a largely forgotten production.

Goodchild — who used his research to write a book on Oppenheimer that published alongside the series in 1980 — had some interaction with Kai Bird, co-author of the 2005 Oppenheimer biography “American Prometheus” that Nolan’s film is based on. However, neither he nor Caleb were contacted by the “Tenet” director or Universal Studios as the new film came together. In fact, the pair are full of questions about how the movie turned out, and how it compares to the series. “I wonder what attracted [Nolan] to Oppenheimer,” Caleb says.

Goodchild, meanwhile, is shocked to hear the film will open on the same day as Greta Gerwig’s “Barbie.” “Wow,” he mutters. “I’m going to be very interested to see how well it goes down.”

Though there are 43 years between the TV show and the movie, the similarities in approach to scenes between Oppenheimer and the main players in his orbit are striking, particularly certain conversations between the scientist and Groves and Teller. The BBC series may be of its time — devoid of Ludwig Göransson’s feverish score, Nolan’s propulsive direction and a massive IMAX canvas — and made for around 5% of the movie’s budget in real terms, but in many ways, its narrative structure and use of sub-plots that delve deeper into Oppenheimer’s inner circle make it a more holistic portrait of an unpredictable character.

Caleb at one point asks whether the BBC will bring “Oppenheimer” out of the archives to air alongside the movie hitting cinemas. With an estimated opening of $50 million this weekend and clear public interest, it’s a good question.

But for all its critical success, “Oppenheimer” appears to have been all but lost in the annals of TV history. In the U.K., it’s not even on the BBC’s streaming service iPlayer; instead, it’s available for purchase on Prime Video for around £10. BBC Studios owns the rights to the series, but Variety understands a “complicated” rights situation means the show may not be rerun anytime soon.

Those who do uncover the series, of course, don’t tend to regret it. When Goodchild’s neighbors visited New Mexico several years back, he suggested they visit the National Museum of Nuclear Science and History.

“Not only did they do that, but they bought a DVD [of ‘Oppenheimer’] and took it home and watched it,” says Goodchild. “They came back and quite seriously said, ‘That was wonderful.’ After 42 years, it wasn’t something that got thrown at you very often.”'

[theseventhveil1945]

Aeon Flux 3.02 “Isthmus Crypticus” (Original air date August 15, 1995)

[eflaw]

aeon flux “gravity” original air date (september 22, 1992)

[dariiy]

Aeon Flux and Trevor Goodchild sketchy ❤

commission info | tip-jar|redbubble

[artofthetitle]

New this week! Skate the edge and learn the story behind MTV’s avant-garde animated series AEON FLUX (1991) with creator Peter Chung and composer Drew Neumann! Read more on Art of the Title: http://www.artofthetitle.com/title/aeon-flux/

[lovingsylvia]

Today marks the 59th anniversary of Sylvia Plath’s death! RIP! 27 October 1932 Jamaica Plain, Boston, Massachusetts, USA - 11 February 1963, Primrose Hill, London, England, United Kingdom ***

“I can't deceive myself out of the bare stark realization that no matter how enthusiastic you are, no matter how sure that character is fate, nothing is real, past or future, when you are alone in your room with the clock ticking loudly into the false cheerful brilliance of the electric light. And if you have no past or future which, after all, is all that the present is made of, why then you may as well dispose of the empty shell of present and commit suicide. But the cold reasoning mass of gray entrail in my cranium which parrots "I think, therefore I am," whispers that there is always the turning, the upgrade, the new slant. And so I wait.”

-–The Unabridged Journals of Sylvia Plath, diary entry no. 36, 1950

...

59 years ago today:

Sylvia Plath commited suicide on Monday, 11 February 1963 at approximately 4:30 a.m. in her appartment at 23 Fitzroy Road, near Primrose Hill, London, where she moved in with her two children in December 1962 after separating from Ted Hughes; a house William Butler Yeats used to live in from 1867 till 1873.

She was 30 years, 3 months, 2 weeks and 1 day old. Her death certificate states that the cause of her death was “Carbon Monoxide Poisoning (domestic gas) whilst suffering from depression. Did kill herself”.

She left some bread and milk in her children’s (Frieda, almost 3 and Nicholas, 1 year old) room, opened their window and sealed their door off with tape to prevent the gas from entering. She also sealed the kitchen door with wet towels.Sylvia Plath’s dead body was discovered less than five hours later. Her children were unharmed.

Jillian Becker wrote in her memoir Giving Up: The Last Days of Sylvia Plath that “According to Mr. Goodchild, a police officer attached to the coroner’s office … [Plath] had thrust her head far into the gas oven… [and] had really meant to die.”Sylvia Plath is buried in Heptonstall’s parish churchyard of St Thomas the Apostle, the new St Thomas á Becket’s churchyard; near Ted Hughes’ birthplace Mytholmroyd in  West Yorkshire, England.

...

Photo info: Studio portrait of Sylvia Plath holding with a glass ball, 1945-55

Photo source: Peter K. Steiberg’s Twitter @sylviaplathinfo