#moloch matt frewer

[fancoloredglasses]

M-M-M-Max Head-Head-Head-Headroom

(Thanks to Keltik Danger)

[All images are owned by Lorimar-Telepictures. Please don’t sue or cancel me]

First, a bit of history...

In the early 80s, a sub-genre of science fiction known as “cyberpunk” was created. The overall theme of the genre was a dystopian future where corporations have more authority than the government (why does that sound eerily familiar?). Most of the more popular source material includes a world where all computers are connected via a nebulous network known as “cyberspace” (OK, this is getting a bit too close to home...) where artificially intelligent entities evolve and potentially begin to take over (Now hang on a minute!). Most stories revolve around a street-level “hero” struggling against the status quo to try to give some power back to the little guys.

Over the next few years, it started becoming more mainstream, including the films Blade Runner and The Terminator.

Which brings us to this review...after a bit of backstory.

The British network Channel Four wanted to create a music video show starring the first-ever “computer-generated host” known as Max Headroom (played by Matt Frewer, who would later play Moloch in Watchmen), but first they had to explain where this entity came from. So they produced a TV movie called Max Headroom, 20 Minuted Into the Future, where Frewer played Edison Carter, a reporter who was comatose after running his motorcycle into a sign labelled “max. headoom 2.3 meters” (in the UK, they use “maximum headroom” as opposed to “maximum height” in the US) The network uploaded his brainwave patterns in an attempt to gain whatever information Edison nearly died to obtain, and those brainwaves created...

Max Headroom (whose program glitches frequently, making him seem like he has a stutter and, despite being the intellectual property of whatever network created him, is very anti-establishment, often insulting the very sponsors who pay for his continued existence. Ironically, his image was heavily merchandised and he was the spokes-being for “New Coke” (nowadays known as “Coke II”)

After The Max Headroom Show was cancelled in the UK, US producers were eager to bring the concept to an American audience. However, instead of Max being a DJ, the producers decided to create a series around the concept of 20 Minutes Into the Future.

Max Headroom is set, naturally...

It is a world where there are a huge number of television stations, all vying for as big a slice of the rating pie as possible, keeping the masses as entertained so they stay docile (Now hang on!) while buying things their sponsors pay big money to advertise.

Frewer returns as Edison Carter, an investigative reporter for “Network 23″. Edison exposes social injustice on a daily basis on the Network 23 news, as well as his own show. His reports uncover a great deal and make many powerful entities nervous...yet Network 23 refuses to silence him (No, Network 23 isn’t morally better than the others; Edison’s broadcasts bring huge ratings (and huge ad dollars) so they give him a lot of leeway) Edison is constantly going out into the field to get his reports armed only with his video camera (and not even a cameraman for backup) In the pilot episode, Edison pissed off the wrong people and ran into a certain sign while escaping, which led to the chain of events that created Max.

Edison’s handler is Theora Jones (played by Amanda Pays, who would later play Tina McGee in the 90s version on The Flash.

Edison’s producer is Murray (not sure if that’s his first or last name), played by Jeffrey Tambor, who played the Director of the BPRD in Hellboy. Murray is constantly pushing Edison to get to the bottom of whatever story he’s chasing while trying to keep the Network execs off of Edison.

Speaking of Network execs...

The Chairman of the Network is Ben Cheviot. Unlike the rest of the Board, Cheviot tries to do the right thing, but ratings (and profits) are still a priority for him.

Bryce Lynch is a prodigy who is the head of R&D for Network 23 and the person responsible for creating Max after Edison’s accident.

The show tackles subject matter that is a cross between pure science fiction (advertisements that could make viewers explode) and totally plausible (terrorist organizations selling exclusive broadcast contracts to TV networks) to relevant even today (TV editing content to fit their narrative)

(Thanks to BRND MYR)

As always, if you would like to see an episode reviewed, please let me know!

[kaechan]

I watched Watchmen for the first time last night and spotted a familiar face .... Hello Matt Frewer my love .....

Edgar Jacobi / Moloch - Played by Matt Frewer

Watchmen (2009)

[the-desolated-quill]

Watchmen - Movie blog

(SPOILER WARNING: The following is an in-depth critical analysis. if you haven’t seen this movie yet, you may want to before reading this review)

A movie adaptation of Watchmen had been in development in some form or another since the graphic novel was first published back in 1987. Over the course of its two decade development cycle, being passed from filmmaker to filmmaker who each had their own vision of what a Watchmen movie should be, fans objected to the idea of a movie adaptation, describing Watchmen as ‘unfilmmable.’ Alan Moore himself condemned the effort to adapt his work, saying that Watchmen does things that can only be done in a comic book. But where there’s a will, there’s a way, and in 2009, Watchmen finally came to the big screen, directed by Zack Snyder.

I confess it took me a lot longer to write this review than I intended and that’s largely because I wasn’t sure how best to approach it. Snyder clearly has a lot of love and respect for the source material and tried his best to honour it as best he could. Snyder himself even said that he considers the film to be an advert for the book, hoping to get newcomers interested in the material. So how should I be looking at this film? As an adaptation or as an artistic tribute? More to the point, which of the three versions of the film should I be reviewing? The original theatrical cut, the director’s cut or the ultimate cut? Which best reflects Snyder’s artistic vision?

After much pondering, I decided to go with the director’s cut. The theatrical release was clearly done to make studio execs happy by keeping the runtime under three hours, but it comes at the cost of major plot points and character moments being chucked away. The ultimate cut however comes in at a whopping four hours and is arguably the most accurate to the source material as it also contains the animated Tales Of The Black Freighter scenes. However these scenes break the narrative flow of the film and were clearly not intended to be part of the final product, being inserted only to appease the fans. The director’s cut feels most like Snyder’s vision, clocking in at three and half hours and following the graphic novel fairly closely whilst leaving room for artistic licence.

Now as some of you may know, while I’m not exactly what you would call a fan of Zack Snyder’s work, I do have something of a begrudging respect for him due to his willingness to take creative risks and attempt to tell more complex, thought provoking narratives that don’t necessarily adhere to the blockbuster formula. Films like Watchmen and Batman Vs Superman prove to me that the man clearly has a lot of good ideas and a drive to really make an audience think about what they’re watching and question certain things about the characters. The problem is that he never seems to know how best to convey those ideas on screen. In my review of Batman Vs Superman, I likened him to a fire hose. Extremely powerful, but unless you’ve got someone holding onto the thing with both hands and pointing it in the right direction, it’s just going to go all over the place. I admire Snyder’s dedication and thought process, but I think the fact that his most successful film, Man Of Steel, also happens to be the one he had the least creative influence on speaks volumes. When he’s got someone to work with and bounce ideas off of, he can be a creative force to be reckoned with. Left to his own devices however, and his films tend to go off the rails very quickly.

Watchmen is very much Snyder’s passion project. You can tell a lot of care and effort went into this. The accuracy of the costumes, staging and set designs speak for themselves. However there is an underlying problem with Snyder trying to painstakingly recreate the graphic novel on film. While I don’t agree with the purists who say that Watchmen is ‘unfilmmable’, I do agree with Alan Moore’s statement that there are certain aspects of the graphic novel that can only work in a graphic novel. A key example of this is its structure. Watchmen has the luxury of telling its non-linear narrative over twelve issues in creative and unorthodox ways. A structure that’s incredibly hard to translate into any other medium. A twelve episode TV mini-series might come close, but a movie, even a three hour movie, is going to struggle due to the sheer density of the material and the unconventional structure. Whereas the structure of the graphic novel allowed Alan Moore to dedicate whole chapters to the origin stories of Doctor Manhattan and Rorschach and filling in the gaps of this alternate history, the structure of a movie doesn’t really allow for that. And yet Snyder tries really hard to follow the structure of the book even though it simply doesn’t work on film, which results in the movie coming to a screeching halt as the numerous flashbacks and origin stories disrupt the flow of the narrative, causing it to stop and start constantly at random intervals, like someone kangarooing in a rundown car.

Just as Watchmen the graphic novel played around with the common tropes and framing devices of comics, Watchmen the movie needed to play around with the common tropes and framing devices of comic book movies. To Snyder’s credit, there are moments where he does do that. The most notable being the first five minutes where we see the entire history of the world of Watchmen during the opening credits while ‘The Times They Are A-Changing’ is played in the background. This is legitimately good. It depicts the rise and fall of the superhero in a way only a movie can. I wish Snyder did more stuff like this rather than restricting himself to just recreating panels from the graphic novel.

Which is not to say I think the film is bad. On the contrary, I think it’s pretty damn good. There’s a lot of things to like about this movie. The biggest, shiniest gold star has to go to Jackie Earle Haley as Rorschach. While the movie itself was divisive at the time, Haley’s portrayal of Rorschach was universally praised as he did an excellent job bringing this extreme right wing bigot to life. He has become to Rorschach what Ryan Reynolds is to Deadpool or what Mark Hamill is to the Joker. He is the character (rather tragically. LOL). To the point where it’s actually scary how similar Haley looks to Walter Kovacs from the graphic novel. The resemblance is uncanny.

Another standout performance is Jeffery Dean Morgan as the Comedian. Just as depraved and unsavoury as the comic version, but Morgan is also able to inject some real charm and pathos into the character. You believe that Sally Jupiter would have consensual sex with him despite everything he did to her before. But his best scene I think was his scene with Moloch (played by Matt Frewer) where the Comedian expresses regret for all the terrible things he did. It’s a genuinely emotional and impactful scene and Morgan manages to wring some sympathy out of the audience even though the character doesn’t really deserve it. But that’s what makes Rorschach and the Comedian such great characters. Yes they’re both depraved individuals, but they’re also fully realised and three dimensional. They feel like real people, which is what makes their actions and morals all the more shocking.

Then there’s Doctor Manhattan, who in my opinion stands as a unique technical achievement in film. The number of departments that had to work together to bring him to life is staggering. Visual effects, a body double, lighting, sound, it’s a truly impressive collaborative effort, all tied together by Billy Crudup’s exceptional performance. He arguably had the hardest job out of the whole cast. How do you portray an all powerful, emotionless, quantum entity without him coming across as a robot? Crudup manages this by portraying Manhattan as being less emotionless and more emotionally numb, which makes his rare displays of emotion, such as his shock and anger during the TV interview, stand out all the more. It’s a great depiction that I don’t think is given the credit it so richly deserves.

Which leads into something else about the movie, which will no doubt be extremely controversial, but I’m going to say it anyway. I much prefer the ending in the film to the ending in the book.

Hear me out.

In my review of the final issue of Watchmen, I said I didn’t like the squid because of its utter randomness. The plot of the movie however works so much better both from a narrative and thematic perspective. Ozymandias framing Doctor Manhattan makes a hell of a lot more sense than the squid. For one thing, it doesn’t dump a massive amount of new info on us all at once. It’s merely an extension of previously known facts. We know Ozymandias framed Manhattan for giving people cancer to get him off world. It’s not much of a stretch to imagine the world could also buy that Manhattan would retaliate after being ostracised. We also see Adrian and Manhattan working together to create perpetual energy generators, which turn out to be bombs. It marries up perfectly with the history of Watchmen as well as providing an explanation for why there’s an intrinsic field generator in Adrian’s Antarctic base. It also provides a better explanation for why Manhattan leaves Earth at the end despite gaining a newfound respect for humanity. But what I love most of all is how it links to Watchmen’s central themes. 

Thanks to the existence of Doctor Manhattan, America has become the most powerful nation in the world to the point where its disrupted the global balance of power. This has led to the escalation of the Cold War with Russia as well as other countries like Vietnam being at the mercy of the United States. It also allowed Nixon to stay in office long after his two terms had expired. The reason the squid from the book is so unsatisfying as a conclusion is because you don’t buy that anyone would be willing to help America after the New York attack. In fact it would be more likely that Russia and other countries might take advantage of America’s vulnerability. Manhattan’s global attack however not only gives the whole world motivation to work together, it also puts America in a position where they have no choice but to ask for help because it was they that effectively created this mess in the first place. So seeing President Nixon pleading for a global alliance feels incredibly satisfying because we’re seeing a corrupt individual hoist by his own petard and trying to save his own skin, even if it comes at the cost of his power. America is now like a wounded animal, and while world peace is ultimately achieved, the US is now a shadow of its former self. It fits in so perfectly with the overall story of Watchmen, frankly I’m amazed Alan Moore didn’t come up with this himself.

It’s not perfect however. Since the whole genetic engineering stuff no longer exists, it makes the existence of Adrian’s pet lynx Bubastis rather perplexing. Also the whole tachyons screwing with Doctor Manhattan’s omniscience thing still doesn’t make a pixel of sense. But the biggest flaw is in Adrian Veidt’s characterisation. For one thing, Matthew Goode’s performance isn’t remotely subtle. He practically screams ‘bad guy’ the moment he appears on screen. He has none of the charm or charisma that the source material’s Ozymandias had. But it’s worse than that because Snyder seems to be going out of his way to uncomplicate and de-politicise the story and characters. There’s no mention of Adrian’s liberalism or his disdain for Nixon and right wing politics. The film never explores his obsession with displaying his own power and superiority over right wing superheroes like Rorschach and the Comedian. He’s just the generic bad guy. And I do mean bad guy. Whereas the graphic novel left everything up to the reader to decide who was morally in the right, the film takes a very firm stance on who the audience should be siding with. Don’t believe me? Just look at how Rorschach’s death is presented to us.

It’s very clear while watching the film that Zack Snyder is a big Rorschach fan. He gets the most screen time and there’s a lot of effort dedicated to his portrayal and depiction. And that’s fine. There’s nothing necessarily wrong with that. As I’ve mentioned before in previous blogs, Rorschach is my favourite character too. However it’s important not to lose sight of who the character is and what he’s supposed to represent, otherwise you run the risk of romanticising him, which is exactly what the film ends up doing. Rorschach’s death in the graphic novel wasn’t some heroic sacrifice. It was a realisation that he has no place in the world that Ozymandias has created, as well as revealing the hypocrisy of the character. In the extra material provided in The Abyss Gazes Also, we learn that, as a child, Walter supported President Truman’s use of the atomic bomb in Hiroshima and Nagasaki, and yet, in his adult life, he opposes Adrian’s plan. Why? What’s the difference? Well the people who died in Hiroshima and Nagasaki weren’t American. They were Japanese. The enemy. In Rorschach’s mind, they deserved to die, whereas the people in New York didn’t. It signifies the flawed nature of Rorschach’s black and white view of the world as well as displaying the racist double standards of the character. Without the context of Hiroshima and Nagasaki, Rorschach’s death becomes skewed. This is what ends up happening in the movie. Rorschach removes his mask and makes a bold declaration to Doctor Manhattan, the music swells as he is disintegrated, defiant to the last, and his best friend Nite Owl screams in anguish and despair.

In fact the film takes it one step further by having Nite Owl punch Adrian repeatedly in the face and accuse him of deforming humanity, which completely contradicts the point of Dan Dreiberg as a character. He’s no longer the pathetic centrist who requires a superhero identity to feel any sort of power or validation. He’s now the everyman representing the views of the audience, which just feels utterly wrong.

This links in with arguably the film’s biggest problem of all. The way it portrays superheroes in general. The use of slow motion, cinematography and fight choreography frames the superheroes and vigilantes of Watchmen as being powerful, impressive individuals, when really the exact opposite should be conveyed. The costumes give the characters a feeling of power, but that power is an illusion. Nite Owl is really an impotent failure. Rorschach is an angry bigot lashing out at the world. The Comedian is a depraved old man who has let his morals fall by the way side so he can indulge in his own perverse fantasies. They’re not people to be idealised. They’re to be at pitied at best and reviled at worst. So seeing them jump through windows and beating up several thugs single handed through various forms of martial arts ultimately confuses the message, as does the use of gratuitous gore and violence. Are we supposed to be shocked by these individuals or in awe? 

Costumes too have a similar problem. Nite Owl and Ozymandias’ costumes have been updated so they look more imposing, which kind of defeats the purpose of them. The point is they look silly to us, the outside observers, but they make the characters feel powerful. That juxtaposition is lost in the film. And then there’s the Silk Spectre. In the graphic novel, both Sally and Laurie represent the changing attitudes of women in comics and in society. Both Silk Spectres are sexually objectified, but whereas Sally accepts it as part of the reality of being a woman, Laurie resists it, seeing it as demeaning. The only reason she wore her revealing costume in A Brother To Dragons was because she knew that Dan found it sexually attractive and she wanted to indulge his power fantasy. None of this is touched upon in the film, other than one passing mention of the Silk Spectre porn magazine near the beginning of the film. There’s not even any mention of how impractical her costume is, like the graphic novel does. Yes the film changes her look drastically, but it’s still just as impractical and could have been used to make a point on how women are perceived in comic book films, but it never seems to hinder her in anyway. It’s never even brought up, which is ridiculous. Zack Snyder’s reinterpretation of Silk Spectre is clearly meant to inject some form of girl power into the proceedings, as she’s presented as being just as impressive and kick-ass as the others, when the whole point of her character was to expose the misogyny of the comics industry at the time and how they cater to the male gaze. Now don’t get me wrong, I’m not saying the graphic novel did it perfectly, but it did it a hell of a lot better than this.

Die hard fans have described the film over the years as shallow and ‘style over substance.’ I don’t think that’s entirely fair. It’s clear that Zack Snyder has a huge respect for the graphic novel and wanted to do it justice. Overall the film has a lot of good ideas and is generally well made. However, as much as Snyder seems to love Watchmen, it does seem like he only has a surface level understanding of it, hence why the attention and effort seems to be going into the visuals and the faithfulness to Alan Moore’s attention to detail rather than the Watchmen’s story and themes. While the film at times makes some good points about power, corruption and morality, it doesn’t go nearly as far as the source material does and seems to shy away from really getting into the meat of any particular topic. Part of that I suspect is to do with marketability, not wanting to alienate casual viewers, but I think a lot of it is to do with it simply being in the wrong medium. I personally don’t think you can really do a story as complex and intricate as Watchmen’s justice in a Hollywood film. In my opinion, this really should have been a TV mini-series or something.

So on the whole, while I appreciate Snyder’s attempt at bringing the story of Watchmen to life and can see that he has the best intentions in mind, I don’t think this film holds a candle to the original source material. 

[tellusepisode]

Watchmen (2009)

Action, Drama, Mystery |

Watchmen is a American neo-noir superhero film based on the 1986–87 DC Comics limited series of the same name by Alan Moore and Dave Gibbons. Directed by Zack Snyder.

A dark and dystopian deconstruction of the superhero genre, the film is set in an alternate history in the year 1985 at the height of the Cold War between the United States and the Soviet Union, as a group of mostly retired American superheroes investigates the murder of one of their own before uncovering an elaborate and deadly conspiracy, while their moral limitations are challenged by the complex nature of the circumstances.

In an alternate United States, beginning in 1939 during the fading Interwar period, a team of costumed crime-fighters is formed – the ”Minutemen”. The 1960s Vietnam War era through the mid-1980s Cold War sees the rise of the “Watchmen” team of heroes, whose existence dramatically affects world events. In 1959, after his apparent death in an Intrinsic Field Generator accident, Dr. Jon Osterman remakes his body as a god-like being dubbed “Doctor Manhattan”. The U.S. government utilizes his powers to win the Vietnam War and gain a strategic advantage over the Soviet Union which, by 1985, threatens thermonuclear war. The Comedian suppresses evidence of the Watergate scandal. By overwhelming public support, the 22nd Amendment is repealed, allowing President Richard Nixon to win a third term.

As anti-vigilante sentiment sweeps the nation, coupled with a nationwide police strike, the Keene Act is passed in 1977, declaring all “costumed adventuring” and “vigilantism” illegal. While most heroes like Daniel Dreiberg and Laurie Jupiter retire, Doctor Manhattan and the Comedian become government agents, and Rorschach continues to operate outside the law.

Director: Zack Snyder

Writers: David Hayter (screenplay), Alex Tse (screenplay), Dave Gibbons (graphic novel illustrator), Alan Moore (graphic novel)

Stars: Malin Åkerman, Billy Crudup, Matthew Goode, Carla Gugino, Jackie Earle Haley, Jeffrey Dean Morgan, Patrick Wilson

►Cast:

Malin Akerman…Laurie Jupiter / Silk Spectre IIBilly Crudup…Dr. Manhattan / Jon OstermanMatthew Goode…Adrian Veidt / OzymandiasJackie Earle Haley…RorschachJeffrey Dean Morgan…Edward Blake / ComedianPatrick Wilson…Dan Dreiberg / Nite OwlCarla Gugino…Sally Jupiter / Silk SpectreMatt Frewer…MolochStephen McHattie…Hollis MasonLaura Mennell…Janey SlaterRob LaBelle…Wally WeaverGary Houston…John McLaughlinJames M. Connor…Pat Buchanan (as James Micheal Connor)Mary Ann Burger…Eleanor CliftJohn Shaw…Doug RothRobert Wisden…Richard NixonJerry Wasserman…Detective FineDon Thompson…Detective GallagherFrank Novak…Henry KissingerSean Allan…NORAD GeneralGarry Chalk…NORAD GeneralRon Fassler…Ted KoppelStephanie Belding…Janet BlackMichael Kopsa…Paul KleinWilliam S. Taylor…Prison Psychiatrist (as William Taylor)Chris Burns…Dumb ThugMalcolm Scott…Fat ThugDanny Wattley…Huge PrisonerNhi Do…Vietnamese GirlWalter Addison…Lee IacoccaKeith Martin Gordey…Auto CEODavid MacKay…Child Murderer (as David Mackay)Fulvio Cecere…Agent ForbesTed Cole…Dick CavettMark Acheson…Large Man At Happy Harry’sJohn Destry…Happy Harry’s BartenderChris Gauthier…Seymour (as Christopher Gauthier)L. Harvey Gold…New Frontiersman EditorJay Brazeau…News VendorJesse Reid…Teenager at NewsstandManoj Sood…Karnak ScientistDan Payne…Dollar BillNiall Matter…MothmanApollonia Vanova…SilhouetteGlenn Ennis…Hooded JusticeDarryl Scheelar…Captain MetropolisClint Carleton…Young Hollis MasonMike Carpenter…Young MolochLeah Gibson…Silhouette’s GirlfriendBrett Stimely…John F. KennedyCarrie Genzel…Jackie KennedyGreg Travis…Andy WarholGreg Armstrong-Morris…Truman CapoteAndrew Colthart…Naked Man At Warhol PartyBruce Crawford…Bank RobberSal Sortino…1940 Watchmen PhotographerEli Snyder…Young RorschachLori Watt…Rorschach’s MotherTony Bardach…John With Rorschach’s MotherJohn Kobylka…Fidel CastroCarmen Lavigne…Anti War ProtesterJ.R. Killigrew…David BowieSteven Stojkovic…Mick JaggerMartin Reiss…BrezhnevFrank Cassini…Sally’s HusbandJohn R. Taylor…PriestTara Frederick…Aggressive HookerDaryl Shuttleworth…Jon’s FatherJaryd Heidrick…Young JonRon Chartier…Carnival PhotographerCarly Bentall…Wally’s GirlfriendMatt Drake…Older Boy BullyHaley Guiel…Laurie – 13 Years (as Haley Adrianna Guiel)Sonya Salomaa…Adrian Veidt’s AssistantTyler McClendon…Veidt Enterprises Security GuardSalli Saffioti…Annie LeibovitzNeil Schell…Man In Riot CrowdMichael Eklund…Man In Riot CrowdDeborah Finkel…Woman In Riot CrowdLouis Chirillo…Face To Face TV ProducerMarsha Regis…Face To Face TV ReceptionistPatrick Sabongui…Knot Top Gang LeaderJohn Tench…Knot Top Gang MemberSanto Lombardo…Knot Top Gang MemberJason Schombing…NY SWATDarren Shahlavi…NY SWATMarshall Virtue…NY SWATColin Lawrence…Officer KirkpatrickChris Weber…Officer O’BrienAlessandro Juliani…Rockefeller Military Base TechnicianAlison Araya…Foreign NewscasterSahar Biniaz…Foreign Newscaster (as Sahar)Matthew Harrison…Foreign NewscasterBernadeta Wrobel…Foreign NewscasterYouri Obryvtchenko…Foreign NewscasterHeidi Iro…Foreign NewscasterKit Koon…Foreign NewscasterParm Soor…Foreign NewscasterCristina Menz…Foreign NewscasterLynn Colliar…Foreign Newscaster

Sources: imdb & wikipedia

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[sidewalkstv]

Matt Frewer: He played “Sherlock Holmes,” The White Knight in SyFy’s “Alice,” Moloch the Mystic in “Watchmen,” the next door neighbor in “Honey, I Shrunk the Kids,” and, of course, the 1980s icon “Max Headroom.” From SVCC, @tvhostrichard talks to the actor about his amazing acting career. Watch the interview on our TV show and online at SIDEWALKSTV.COM. #mattfrewer #edisoncarter #maxheadroom #actor #sherlockhomes #whiteknight #watchmen #honeyishrunkthekids #icon #celebrity #celebrityinterview #svcc #svcc2017 #comiccon #twoshot

[sidewalkstv]

Interview: Matt Frewer

He played “Sherlock Holmes,” The White Knight in SyFy’s “Alice,” Moloch the Mystic in “Watchmen,” the next door neighbor in “Honey, I Shrunk the Kids,” and, of course, the 1980s icon “Max Headroom.” From SVCC, our host Richard talks to actor Matt Frewer about his amazing acting career.

(more…)