FRED Entertainment

October 27, 2007

QSE News: Week In Review – 10/26/2007

Filed under: Columns,News — UncaScroogeMcD @ 5:57 am

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Here are today’s top entertainment headlines:

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  • In one of the most shocking literary reveals of all time, author J.K. Rowling has admitted one of her most beloved characters from the wildly successful Harry Potter books is gay. During a stop at New York’s Carnegie Hall, Rowling told the gathered audience that master wizard Albus Dumbledore was a homosexual. Rowling was surprised that no one had picked up on what she thought were obvious clues throughout the series of books – including the fact that Dumbledore is constantly referred to in the book as “Albus ‘Reacharound’ Dumbledore.”
  • Kid Rock was arrested in Atlanta last weekend after an altercation at a Waffle House. Rock got into a fight with another Waffle House customer. Music insiders are arguing that the fight was premeditated to help further Rock’s “bad-boy” image. One of Rock’s own management team seemed to validate those rumors by saying “what’s more white-trash than getting in a fight over a girl at a Waffle House in the South? Nothing.”
  • The cast for the upcoming Star Trek reboot has been solidified with the addition of Chris Pine and Karl Urban. The two will play a young Captain James T. Kirk and Dr. Leonard McCoy, respectively. William Shatner offered some advice to Pine with regard to the approach to portraying Kirk, saying, “Forget… everything you’ve ever… learned… about acting. Instead… act like you’re… trying… to pass a giant kidney stone… out your wiener.”
  • Despite pleas from fans world-wide, Robert Plant has said the upcoming Led Zeppelin reunion show is not a precursor to a full-blown tour. Led Zeppelin will be performing November 26 at London’s O2 Arena. Plant went on to say, “If you want to see a bunch of geezers bouncin’ around and playin’ their oldies, go see the Stones or The Who.  Besides, all that bouncin’ around?  I might break me hip!!”
  • Casting has started for a live-action G.I. Joe film. The film’s producers are hoping to begin shooting in February. To stay true to the cartoon, casting agents are looking for one black person and 100 white people.
  • Actor Daniel Dae Kim was arrested in Hawaii on suspicion of drunken driving. Kim is a cast member of the show Lost. A spokesman for the actor claimed that Kim was trying to forget how boring the show had become and was only trying to “spice things up a bit.”

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That’s all for today’s news, stay tuned to this channel for all the news that matters least but you still care about.

(Compiled by J. Allen)

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October 26, 2007

Scrubs Blog: My 7×01 Table Read

Filed under: Production Blogs,Quickcasts,Scrubs Blog,Video — UncaScroogeMcD @ 12:24 am

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VIDEO BLOG #93, #94, #95: “My 7×01 Table Read” ““
The seventh season has arrived, and we kick things off with the table read of episode 7×01, “My Own Worst Enemy”, which can be found in 3 parts below.

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Download Scrubs Video Blog #93:

Large (560 x 420 – QuickTime – 91.13 MB)
Small (320 x 240 – QuickTime – 40.11 MB)

Download Scrubs Video Blog #94:

Large (560 x 420 – QuickTime – 81.03 MB)
Small (320 x 240 – QuickTime – 35.91 MB)

Download Scrubs Video Blog #95:

Large (560 x 420 – QuickTime – 80.81 MB)
Small (320 x 240 – QuickTime – 35.72 MB)
[display_podcast]

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Trailer Park: Henry Rollins

Filed under: Columns,Interviews,Trailer Park — admin @ 12:04 am

By Christopher Stipp

Archives? Right Here”¦

Instead of manning-up and actually going the emotionally hard route of being outrightly rejected by publishers, I’m rejecting them first and allowing you to give my entire book a preview, let you read the whole thing or, if you like, download the whole damn thing at no cost. Download and read my first book “Thank You, Goodnight” for FREE.

The first time I ever came across Henry Rollins was when I approached a co-worker who was listening to a cassette tape of Black Flag’s. I can’t remember the name of the album, the song or the rhythm or anything having to do with the band but I clearly remember being afraid, actually, of the aggression coming out of his headphones. The music was driving in a way that separated itself from the usual thrash metal I was accustomed to associating with punk. This was before I understood the intracity of lineages, styles and nuances of certain groups but one of the most appealing part of listening to Black Flag, as I would come to understand them, was that it gave rise to my interest in music that came from a visceral place. The message and thrust of the music was visceral.

And now, with his notable appearance in the recently released WRONG TURN 2: DEAD END where he plays, well, himself and does it extraordinarily well, to his program in IFC aptly enough titled THE HENRY ROLLINS SHOW, to his current spoken word tour which you can check out right here Henry is all about keeping things varied. Of all the criticisms that could be leveled at a man who would take constant aim at politicians and their dishonest politicking Henry knows how to stay true to what makes him tick; he gets involved with what makes him feel comfortable. There’s no rhyme or reason to what he chooses but it’s all Henry. To be able and pick and choose and not feel like there is a need to be in this or that seems like a liberating position to be in and, right now, Rollins is in control of his own manifest destiny. Consider me jealous.

Our conversation ranges from the political to the mundane but here’s the hook with any talk with Rollins: he has something to say. Too many times you can find yourself with someone who has nothing more than to chit-chat about irrelevancies. Henry has things on his mind and is not shy about taking them out of his wheelhouse to show you what he makes of them. He’s an absolute sharp fellow, one of the most well versed people I’ve ever had 20 minutes with, and he’s helped me understand my own ignorance about things with regard to the world around me.

CS: First let me say it is really an honor to be able to talk to you.

ROLLINS: Hey, thanks man.

CS: I’ve loved the show since season one. Frankly, it’s one of the freshest film and entertainment programs out there. At its most basic it’s at least an elevation from Jay Leno or Letterman.

ROLLINS: And I’ve been on Jay Leno before. Nice guy. But that’s not a pattern that interests me because it seems so contrived and so static. And, hopefully with our show, we are able to break out of that. We’re not sensitive and it’s a more laid back atmosphere. There’s no live audience so at least the guest can concentrate and so can I. And in a live audience you are always looking for the joke I guess and I’m so glad I’m not in that position. But, I wouldn’t do well in that environment.

CS: Well, I really want to get to the core because I know I only have 20 minutes and I want to hit it hard.

ROLLINS: Sure.

CS: Myself ““ let me give you a little background is I’m a salesman by day for a newspaper and by night I write. I don’t get anytime to do as much reading as you do. It’s hard to keep up with things and but when I’m able to catch up with what you are thinking I’m actually blown away so I’m absolutely intrigued to find out what your thoughts are on the latest with what’s been happening in the last couple weeks – with Alberto Gonzalez, Ted Haggard and of course the Larry Craig thing.

ROLLINS: It’s really interesting. But I think all that stuff it’s crazy. All these headlines coming across the papers, like, “Wow, this is an interesting week, tell me all about it.” But it’s not always the best news.

Larry Craig to me is a peripheral issue that speaks of a bigger issue in that here’s an adult man caught in a restroom, maybe or maybe not soliciting another man for a sexual encounter. I wasn’t there”¦I don’t know, but let’s just pretend he’s a homosexual looking to meet somebody in a bathroom. And it could be that that’s the case and he comes from that older school in the 50’s homosexual where it had to be in the park ““ this clandestine rendezvous. It just goes to show you, that this type of suppression is not good for people. They need to sneak around. And like I said, if he is gay, look at the lie he is living. Even if he’s not gay, there are many men in America watching who do exactly what he’s accused to doing. They are married, they are straight on the outside but on the inside they are something else and they have been living a lie since whenever it is they knew they were gay. And it’s too bad in this land of the free that someone would have to kind of eat that hand grenade and not be who they are because I’m sure you are how you are and you don’t hide it. I’m a heterosexual. I’m on the big team, you know. And ads are geared towards me. Look at all the women showing cleavage. Look at Sports Illustrated. That’s been made for me. That’s for a guy who loves women. And I went all the way through school and I remember a couple of guys saying, “Maybe he’s gay.” He can hide it but she can’t hide it as well. It was interesting watching students and teachers react. Some were cool and some weren’t so cool.

And it was too bad for the gay student when they weren’t so cool because you just had a bunch of guys staring at him calling him names. It must have been a really rotten way to go through school. The Larry Craig thing. No one seems to talk about the bigger problem: that we have a problem with homophobia in this country. But that was interesting.

Gonzalez ““ he was so carrying the letter for this administration that he was laughing through his testimony:”I can’t remember”, “I gotta say this”, “They got my kid in the trunk ready to drive her down to the river if I don’t do this right.” It’s just interesting to watch on that level in front of C-span cameras. The way he was using English: “Who called you? You don’t remember? The call came from the White House. Who called you? Wow, you are not answering very simple, very direct questions which is pretty obvious. ”

If you ever watch your girlfriend or whatever ““ everyone knows when you are lying. And then the fact that the country is watching and weren’t outraged on either side of he aisle. If it was some Democrat up there I’d be saying, “You bastard, tell the truth, man.”

CS: There actually was a news program that actually talked about the fact that every news organization used every other word but “liar”.

ROLLINS: Yeah, “You are not being truthful. You are not being clear.”

CS: Do you think that the word is a value judgment, as some reporters have said, or do you think it is OK to flat out call a spade a spade without it being perceived as a childish, cheap”¦..

ROLLINS: I think there is probably a great desire by the big news guys to not be so black and white to give themselves some wiggle room and to not offend these people they want to put on the Situation Room some day in the future. I also think the Bush administration is very cowed and intimidated by the US media. Because if you ever watch news or listen to news from other countries, like the BBC World News, they are just way more abrupt. They just go, look that, it looked like a lie to me. They just don’t have time to kiss ass like we do.

CS: Maybe this has always been a problem, maybe it’s me just getting older, but why don’t people care? Why doesn’t anybody care?

ROLLINS: Well, some people care. And I’ve been asked that before.

Here’s my answer: I think a lot of people who would be accused of not caring ““ they don’t have the time or the luxury of learning the information so they can be angry about it. And if you wanted to get into a conversation with someone who has three kids, not enough money and who works a shift and a half everyday trying to bring home the proverbial bacon. You say if you read this book or check out that book, the guy looks at you bleary eyed and says, “I got three kids and a wife, this is my crap car I don’t own, I don’t have time to read. I haven’t read a book for 5 years.”

“What do you think about the news? What do you think about what Seymour Hersh said in the Times…” and he says, “Pal, I look at the USA Today in the lunchroom and read the Sports section. ” If they get the news maybe on the radio while they are going through traffic if they listen to it…so they don’t have the time.

In this country, Americans are hard working people. And a lot of times, knowing a thing or two is almost coming from a vantage point of luxury. Like me, I guess I’m doing pretty good. I have the time to read those big books and chew through them the best I can. I study history and read this and that and download that article and I read it but I don’t have any kids or a dog and I will take the weekend and I’ll spend it reading this stuff because I can afford to. A lot of people can’t. So I think a lot of people ““ it’s not always apathy it’s like, “OK, nothing’s on fire, nothing’s blowing up, the President says the economy is strong and maybe that means me. And if I don’t want to do my job right now, I mean my kids crying and I think that’s the problem in America. ”

There is not enough time to know this stuff. That’s why people seem to be angry about gas prices than the things that’s chewing up their countrymen, that would be Iraq. And gas prices went up fifteen cents. When I see gas prices go up I think about what it means globally and what it means for America in the world a year from now. I don’t think today I just spent $4 more at the gas pump. Like it’s not an immediate concern. I look at the bigger picture because I’m privileged to have the vantage point. And to me, at this point, it is just a privilege. Which sucks. It should be if only the salt of the earth, the backbone of America people, you know, Wal-Mart enthusiasts, could be more conversant in global warming and water shortages in other countries then they could have a genuine concern about it because I don’t think any American wants any other person to suffer ““ themselves or strangers or anyone else ““ that’s not how America is wired, I don’t think.

I think people are absolutely altruistic if you give them the chance. But I think that’s what really plagues this country and I think some people have really jumped upon it and use it as an opportunity ““ to propagandize.

CS: Is that why a fifth of Americans can’t locate America on a map?

ROLLINS: Yeah, stuff like that. I love pulling out a map and finding countries. But you can catch me on a whole lot of stuff ““ I’m not any genius. But I work at it. I try to learn stuff everyday.

CS: You brought up a point about the people who are on the front line of this war. How did it affect you when you did the USO Tour when you go to these places and see these troops?

ROLLINS: The most emotionally affecting stuff of the USO Tour is the hospital visits at Walter Reed Medical Hospital in Bethesda. Those are the hardest visits I make. When we’re out amongst troops at a base, everything is moving , and “Hey man, couldn’t wait to see you” and all that but when you go to the hospital, it’s room after quiet room and you make these visits and this guy is missing two legs, this guy is missing an arm, this guy is missing an arm and a leg. It’s like very rare you meet someone who is completely intact who has a back injury. And you meet those people and it’s, “Yeah, I threw my back out I’m here recuperating.” Well, OK. Then in the next room the guy’s forehead has been replaced because it was blown off and those are the hardest visits because you see these people half your age. I’m 46. They are 20 something and sometimes the whole family is crammed into that room. Why can’t they stay in a hotel? They are trying to make it work ““ to be with their boy and keep the job and keep the home and you see what this is doing to their lives and how these people had to make these incredible adjustments to how they do their thing to live their lives because their son, their husband, their dad, is missing limbs or brutally mangled.

You see how amazing the cutting edge of technology is as far as what a surgeon can do re-constructively. These guys get the most amazing care and they deserve it, of course. But it’s hard to take. Do that for 5 to 6 hours and get back to me. And I’ve been to those hospitals many times and hopefully I’ll be there in early October. Whenever I’m in DC, where I come from, I’ll let the USO know a week in advance. “I can give you half the day here or here.” But if you need me, put me in coach, I’m ready to play. And sometimes they can arrange it sometimes they don’t need me. So it’s like a wait and see and they let me know a week before. So it’s made the military, all those voices, a very personal thing to me because now I get their letters. I meet them at shows. Like some guy will write me, “Hey, I met you in Iraq a few years ago and you are coming to my town” ““ hey, give me your name and I’ll put you on the guest list. I always put them on the guest list. But that military ““ of the fifty shows coming up I have military coming to at least 15 so far. And more will write as the tour goes on I’m sure. “Hey you hooked up my buddy man, can you hook me up? ” Yeah, sure. And I’ve been doing that for years now.

CS: This new tour for the fall ““ we can at least talk about that for a moment. Is there any sort of core ““ molten core – around which you are building this tour?

ROLLINS: I usually have one or two centerpiece stories but I have meat on the plate and I have the potato and the vegetable. So a lot of my big centerpiece stories are usually travel stories. Fly from this country to that country to that country and that was my big journey. Last tour the big centerpiece story was the Trans Siberian Express train ride I took from Moscow to Vladivostok. Again, it’s travel stories as it is usually. I get out there in the world, see a thing or two, learn a thing or two and this year it’s when I went to Iran earlier this year and recently I just returned from Syria and Lebanon. And those were interesting places to go.

At least one of them is on the Axis of Evil and when I came back from Syria and Lebanon the customs people at the San Francisco International Airport marched me into a room and asked me a whole lot of questions as to why I went to Damascus and Syria. “Why? I’m just curious. And if you notice, there is a legal visa in my passport and I’ve done nothing wrong.” And, after a while, I was asking them more questions than they were asking me. Basically, “What’s your problem?” “Why are you asking me these dopey questions?” And then, they were like, “OK, you can leave.” I said, “What’s with you guys?”

CS: What was the country like?

ROLLINS: Well, it’s a pretty hot country. You could melt butter on your head it’s so hot. Their government ““ is there a government. Want to get into that topic with me? No? Good, cause I’ll sit here ’til my next flight and talk about it. Don’t tell me we aren’t any better than some of these places. So it was just an interesting bit of language. “Here’s my suitcase, here’s my hard drive, search me”¦” So, they said, “You can go. ” I guess they researched me and said I’m no threat. Which I’m not. But the people I met in those countries were fantastic. Friendly. I’d ask, “What do you think of America? Syrinese and Lebanese are “Like America”¦like you guys.” Oh yeah. I walked all over Beirut and Damascus and no one said get out of here. No one looked at me twice. In Beirut I was invited by the cab driver to come over and meet his wife and join us for some coffee and we’ll hang out. That’s why I came here to meet someone like you. Just people. The whole family.

CS: Do you think that kind of openness that kind of laissez faire ““ come as you go – still exists in America or is this a culture that is now based on fear?

ROLLINS: No, I think you have some areas that are very stressed. Some cities that are very wound tight. But there’s a lot of parts of America where they don’t lock their doors. Essentially America is filled with very good people ““ some very trying times there is no doubt about that but by and large Americans are very cool. It’s just that cities perpetuate their own myths in a way and that’s what we’re up against. That’s why the bad neighborhoods are still pretty bad because some of the inhabitants groove on the fact that that it’s a bad neighborhood. And it might be somewhat resistant if you went in with your school books and your laptops.

So America, in my opinion ““ I’ve gotten arguments about this. I think America, at least parts of it, likes to perpetuate our own myths. We sometimes take the legend of ourselves as much as we like the reality or sometimes we go for the myth of ourselves quicker than what it really is. We have a culture that grew up in the movie theater. I think you can come and go as you please for the most part in America. I think it’s probably a little different than it used to be post 9/11. I’ve noticed America in some places there’s been a shift in the last 6 years. And when the going gets rough, the average gets conservative. You know that. And so there is a lot of good people who are sincerely terrified of things and make them jump to some stupid conclusions. Like we better take that Mosque down, yes, that will solve it.

CS: It’s almost like an adolescence…A phase that we’re going thorough?

ROLLINS: I don’t think America is used to getting attacked. That’s for sure. Every other country in the world can tell you, yea, we got invaded. Alexander came here, Attila the Hun came here, the IRA did this thing here. Every other country has been blown up, shot, raised, invaded, pilfered but not America. Then 9/11 happened and all of a sudden everyone said we got to…it was a wake up call. For those who travel abroad and have a sense of history 9/11 may not have been as surprising as it was to some.

CS: I don’t think it was. To be frankly honest, I don’t think it was. Like you said, people who pay attention to things that are happening in the world, there are other countries that have it a lot worse.

ROLLINS: And more often in the last century. And they can look back over centuries ““ this is our history. It goes back to…whatever. In America, the paint is still drying here. We are very new. And for a new country we sure seem to be hell bent on telling other cultures how it is. Like the young energetic kid at the dinner table with the grown ups saying, “Here’s how it’s going to be. ” And it’s amazing how tolerant the elders have been.

CS: But how does someone like yourself, and again I’m going back to yourself and how you get your own news in a day…A: How do you keep up with the most accurate things that are going on with Fox obviously having it’s own slant, CNN having it’s own slant, etc…how do you keep up with that and B) At the end of the day can you at least formulate for me if President Bush is the worst President we’ve ever had?

ROLLINS: OK, well where I get my information is I love to read printed journalism I like to read stuff on the Internet. I like to listen to the radio and hear other people talk, different politicians. I try to find non agenda journalists. I have to read and read between the lines. I cross reference and think “What’s the motivation? Why does America go into this country and do that? What’s the motivation?” Just follow the money and you can save yourself a lot of aggravation and a lot of time. So, with that in mind, that’s how I read the news. I put it all through a business filter.

Now, as far as how history will judge George W. Bush, I think he has shifted more funds and moved more mountains in his 6 years or soon to be 7 years in office than any president in my recollection. It was very different landscape of America before he came to town and America is a very different place. Americans live differently, he’s taken an amazing amount of money out of the public coffers and shifted to private companies, like billions of dollars, and on our watch and in your face so he’s been very successful and I think he’s done a lot of damage.

And, as far as the worst President, yeah, maybe that will be George W. Bush considering how many generations it’s going to take to undo what he has done. We can rectify a lot of problems quickly if we withdrew from some places in the world. If we pull out they say, “OK, cool”¦that’s all we want was for you to back off.” The genius thing about this administration is the phrase that if we don’t fight them over there we are going to have to fight them over here. And that just keeps the thing going and I think it’s completely untrue. If you stop fighting them over there the thing just kind of ends and drops off.

CS: Thank you, Henry, for your time. I look forward to seeing you perform live.

ROLLINS: I love doing these shows. I really love it. Love being up there. It’s fun.

Weekend Shopping Guide 10/26/07: The Future Has Arrived

Filed under: Shopping Guides — UncaScroogeMcD @ 12:02 am

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The weekend’s here. You’ve just been paid, and it’s burning a hole in your pocket. What’s a pop culture geek to do? In hopes of steering you in the right direction to blow some of that hard-earned cash, it’s time for the Quick Stop Weekend Shopping Guide – your spotlight on the things you didn’t even know you wanted…

Dismissed by many as a pale attempt at trying to do Pixar, Meet The Robinsons (Walt Disney, Rated G, DVD-$29.99 SRP) is actually a nice, amiable flick with enough sly humor and verve to keep even jaded ol’ me in the swing of it (much like another unexpectedly enjoyable flick a few years back about a boy genius, Jimmy Neutron). The story here is about a brilliant whiz-kid named Lewis who gets swept up into a journey into the future while trying to find the mother he never knew, only to find that he holds the fate of the future in his hands. While in the future, he encounters the eccentric members of the Robinson family, and… well… go se for yourself. Bonus features include an audio commentary, deleted scenes, featurettes, and the usual complement of crap music videos that have become de rigeur on Disney DVDs.

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My emotions about The Young Indiana Jones Chronicles (Paramount, Not Rated, DVD-$129.99 SRP) are a mixed bag. As a cinematic tool to excite a young audience about the personalities and events that shaped the early 20th century, I think it’s a success. The time-hopping adventures are fun and certainly instructional. I don’t, however, really see them as the juvenile tales of the Indiana Jones that we come to know and love in Raiders and its sequels – Indy is clearly just a hook to bring the audience in. Also, I have to say, my biggest gripe is that – in large part – much of the thematic simplification and visual shortcuts that Lucas would later bastardize the Star Wars franchise with had their roots here. If you divorce the series from those two drawbacks, what you’re left with is still a nice show for kids, and a pleasant diversion for adults. The series has been split into two volumes (volume 2 streets in December), with first 12-disc set featuring 7 feature-length episodes, plus 38 in-depth companion documentaries packed with more historical figures and luminaries than you can shake a stick at.

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Halloween fast approaches, and what better way to kick back and mark the holiday than with a big bowl of candy corn and a reading of the manga edition of The Nightmare Before Christmas (Disney Press, $8.99 SRP).

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They say that a dog is man’s best friend, but Fido (Lionsgate, Rated R, DVD-$28.99 SRP) makes quite a good case for a zombie replacing the family mutt. The best friend of young Timmy Robinson is a zombie named Fido (Billy Connolly) – but when Fido eats the neighbor, Timmy has to try everything he can to keep his beloved pet. Bonus materials include commentaries, behind-the-scenes featurettes, deleted scenes, galleries, the theatrical trailer, and more.

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Forty-nine issues in and the gloriously oversized Jack Kirby Collector (Twomorrows, $9.95 SRP) continues to unearth scores of wonderful Kirby art, rounded out with the usual complement of in-depth articles and analysis. I can’t wait to see what they have in store for the big 5-0.

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The 3-disc Mythbusters: Collection 2 (Image, Not Rated, DVD-$29.99 SRP) sports another 13 episodes of The Discovery Channel’s relentlessly addictive show. Personally, I think Jamie Hyneman’s mustache is a fearsome hypnotic device. Beware its power.

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It’s a shame that the 3rd (and final) season of Veronica Mars (Warner Bros., Not Rated, DVD-$59.98 SRP) dropped the ball in so many ways – largely forgoing the quirky charm of the loveable first seasons. If it had stuck to its guns and not lost its way, I’m sure the show would still be on the air today. The 6-disc box set features all 20 episodes, plus additional scenes, webisodes, the pitch for what would have been season 4, and a gag reel.

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Forever trying to put more distance between himself and Summer School, Mark Harmon is still front and center in the complete fourth season of NCIS (Paramount, Not Rated, DVD-$64.99 SRP). The 6-disc set features all 24 episodes, plus commentaries, interviews, featurettes, and more.

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For some reason, I was delighted that Studio 60 On The Sunset Strip (Warner Bros., Not Rated, DVD-$59.98 SRP) was cancelled. Maybe it was just how obnoxiously self-important it seemed, with absurdly “dramatic” situations and characters with more useless layers than a glass onion. The 6-disc box-set features all 20 episodes, plus commentary on the pilot episode and a documentary on the show itself.

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During the 60’s, Ken Mansfield was the US manager for a little pop act called The Beatles. You might have heard of them. In The White Book (Thomas Nelson, $22.95 SRP), he recounts those wild and wooly times, as well as all the talents, faces, and events he was party to in the ensuing years – and the roster is nothing if not impressive.

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It’s always a fascinating journey when you see behind-the-scenes of any venture, and such is the case with Show Business: The Road To Broadway (Genius, Not Rated, DVD-$28.95 SRP), which takes an inside look at four Broadway shows – Avenue Q, Wicked, Taboo, and Caroline, Or Change. From the earliest casting sessions to the first curtain call – and featuring interviews with all of the principals involved – it’s a great watch. Bonus materials include an audio commentary, deleted scenes, promo spots, and the trailer.

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James Gandolfini is a low-key presenter of the post-injury tales of 10 soldiers and marines who found their lives torn apart by combat and must sort out their futures in the documentary Alive Day Memories: Home From Iraq (HBO, Not Rated, DVD-$24.98 SRP). Just check it out.

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Sleuthing scribe Jessica Fletcher returns with the seventh season of Murder, She Wrote (Universal, Not Rated, DVD-$49.98 SRP), as the reaper of Cabot Cove solves a whole new batch of suspicious murders. The 5-disc set features all 22 episodes, plus a featurette containing all-new interviews with Lansbury and the cast & crew.

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Even if it’s largely unsuccessful, Mr. Brooks (MGM, Rated R, DVD-$29.98 SRP) is worth a spin just to see Kevin Costner try and stretch a little as the titular serial killer, whose domestic home life – wife, kids, career – hides his terrible secret – is threatened by the constant goading of his alter-ego (William Hurt). Sadly, Dane Cook is in the movie. Bonus features include an audio commentary, behind-the-scenes featurettes, deleted scenes, and the theatrical trailer.

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The days are getting shorter and the nights are getting colder, and I can think of no better time to dig into the second Mario Bava Collection (Starz, Not Rated, DVD-$49.98 SRP). The 6-disc set features Lisa & The Devil, House Of Exorcism, Bay Of Blood, Baron Blood, Kidnapped, Roy Colt And Winchester Jack, 5 Dolls For An August Moon, and Four Times That Night.

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Make programming the music for those all-night make-out sessions much easier by picking up a copy of the 4-disc Luther Vandross: Love, Luther collection (Sony Legacy, $49.98 SRP). Album cuts, rate tracks, live performances – the whole gamut of silky smooth grooves is here for the taking.

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I have absolutely no taste for the torture porn of the Hostel franchise, but I know there are enough of you out there that this has somehow become a going venture. For you, then, there are the director’s cut editions of both Hostel (Sony, Not Rated, DVD-$14.99 SRP) and Hostel Part II (Sony, Not Rated, DVD-$28.95 SRP). Both discs feature expanded cuts, as well as commentaries, deleted scenes, featurettes, interviews, and more.

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I’m also no fan of gore or horror, but I know that Halloween is right around the corner and you’re probably looking for some bloody filler for your own private filmfests. Buried Alive (Genius, Not Rated, DVD-$19.95 SRP) fits the bill, about a group of horny college kids who are foolish enough to spend quality time at a cabin in the middle of nowhere.

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Like most of the current crop of Adult Swim fare (minus the brilliant Venture Bros. & Lucy, Daughter Of the Devil), I get very few laughs from the self-indulgently bizarre Squidbillies (Warner Bros., Not Rated, DVD-$29.98 SRP). Comedy is subjective, and this show barely registers on my own personal funny meter. The 2-disc set features all 20 first season episodes, plus 6 pilot episodes (proving what a painful development process the show had), the one-off “Anime Talk Show”, Comic-Con 2004 footage, galleri4es, featurettes, and more.

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I didn’t think it was possible, but the third season of Mind Of Mencia (Paramount, Not Rated, DVD-$26.99 SRP) proves to be less funny than the cricket fields of season 2. This is like some kind of sad, bizarro version of Chappelle’s Show. Maybe they’ll put it out of its misery one day. The 2-disc set features deleted scenes and commentary.

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So there you have it… my humble suggestions for what to watch, listen to, play with, or waste money on this coming weekend. See ya next week…

-Ken Plume

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Quick Stop Thingamabobs: 10/26/2007

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 12:01 am

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The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

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  • Another one of those great Britcoms you should watch post haste is a little gem called Black Books. Think of it as Fawlty Towers in a book store, starring Dylan Moran, Bill Bailey, and Tamsin Greig. The entire three season run is being released in the US. Here’s the premiere episode, Part 1… (Thingamabob)

October 25, 2007

Party Favors: Turning Over A New Leif

Filed under: Columns,Joe Corey's Party Favors — UncaScroogeMcD @ 1:33 am

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RESEARCH TRIANGLE PARK, NC – You never know who you’ll meet at an airport Hooters when the clock hits midnight.

Dan Pawlowski and I were enjoying a fine night of teasing orange shorted women, when a large group of people straggled inside. Dan swore they were in a band. I didn’t care who they were. I was negotiating a hula-hoop demonstration with Amanda, our waitress. After the hip twirl, we paid the bill and said good night. As we headed out, we spotted one of the group on the front porch. He was a middle aged guy with a shaggy haircut. Dan asked what band he was in.

Turned out it was Ian Mitchell of the Bay City Rollers. He’s part of the Original Idols on Tour with The Cowsills, Bo Donaldson and the Heywoods, Leif Garret and Barry Williams (you’ll remember him as Greg Brady). They had just done a gig down in Fayetteville and were flying out of RDU. He shook my hand.

I got to touch a real Bay City Roller. (Insert montage of screaming girls in ’70s hairdos.) Back in the middle of Rollermania, the Vito sisters were rabid about the Scot group. Their bedroom back in 1976 was covered in a montage of Alan, Leslie, Derek and those other guys in plaid. The Vito sisters had made their own jumpsuits with various plaid patterns that I think signified which Roller was the cutest. When I mentioned the jumpsuits, Ian reminded us that in Scotland, they’re called Tartan. Do the people in Edinburgh put plaidan sauce on their fried fish? I wonder if the Vito Sister would get excited if I let them touch my hand that touched Ian’s hand?

My biggest memory of the band is when The Bay City Rollers Show debuted on NBC’s Saturday morning line up. The band that made us sing about “Saturday Night” were expected to wake up America’s youth with the help of H.R. Pufnstuf. They took over the slot from Kaptain Kool and the Kongs. Ian swears that Sid and Marty Krofft were not on drugs. How can no one have been high in Lidsville? Unlike other stars who have made pleas for their old shows to come out on DVD, Ian doesn’t have an online petition begging for The Krofft Superstar Hour with the Bay City Rollers to be released as a boxset.

Without any prompting, Ian asked, “Would you like to meet Leif?” We said sure, if it’s not a bother. Shortly thereafter we saw Leif approaching the door. We figured he’d come out, shake hands and head back inside to be with his crew. He shook our hands, joked about our haircuts and then sat down. He didn’t mind talking with us. It was like we were doing the pre-interview for Behind the Music – Nearly a Decade Later.

Leif doesn’t have cable so he had no clue how popular his pioneering episode of the VH1 series had or how many times they were rerunning it. Leif’s episode was more than just a series of clips. When he was 18, he got drunk and loaded on Quaaludes and wrecked his car leaving his best friend, Roland Winkler, a paraplegic. The two had become estranged and Winkler’s mom sued Leif for millions. The episode had Leif finally apologize to Winkler. It was a powerful moment. Leif promised that what was shown on Behind the Music was real and not dramatized for the camera. Since that time he’s appeared on numerous other reality shows which according to him, aren’t that real.

He was supposed to appear at the Reality Awards with Johnny Fairplay, but the tour kept him busy that night. Leif pointed out that Danny Bonaduce had no reason to toss Fairplay over his head and bust his teeth. Turns out Fairplay had jumped and humped Bonaduce twice before. It had become a routine with the two. Leif said if Danny didn’t want it to happen, he could have stepped aside or refused to turn around. This might turn out to be an interesting court case.

Leif was in good spirits for a guy who over the years has been noted for his self-destructive ways. Part of this calm might be from his recent sessions with various spiritual healers. His reunion with his estranged father led him to record Neil Young’s “Old Man.” Leif and his guitarist performed an acoustic version of the song for us on the Hooters’ patio. It sounded great. He reminded me of the classic quote, “Frank Sinatra never wrote a single lyric, but every word he sang came from his heart.” Leif’s Three Sides of… album is due out Nov. 6. It features his cover of Roxy Music’s “Love is the Drug.” And Leif has done good with love having dated Nicollette Sheridan, Justine Bateman, Bebe Buell and Kelly LeBrock, pre-Steven Seagal. While dating LeBrock, he never saw anyone hate her because she was beautiful.

The best performance story Leif described was a gig in front of 35,000 screaming girls at the Houston Astrodome. He rode a horse onto the stage and didn’t mess up his white shoes on the backstage cow patties. Ask him about the Guinness Book record he set on that night when he belted out “I Was Made for Dancin.'” For decades he has shied away from his Tiger Beat musical career. When he performed live, he only dished out his rock side. But for the Original Idols tour, Leif is dipping into his bubblegum songs for the ladies.

While he’s mostly remembered for his musical career, Leif got his start as a child actor. He was on Gunsmoke and Family Affair. Plus he was Buford Pusser’s son in Walking Tall. During the talk, I joked about having kids at 80 on the Tony Randall plan. Leif replied that he played Tony’s son on the final season of The Odd Couple. He only had praise for his time with Randall. He was the son of Felix and Buford.

He had a guest role on Wonder Woman. I’m jealous that he got so close to those golden eagle wings on Lyndia Carter’s chest. He’s a real actor in my book because if I had to do that role, there’s be no way I could stand up in front of her red white and blue outfit. I’d be needing the Burt Ward treatment. And I’d be begging her to use the golden lasso on me between takes.

Leif told many stories during his chat about Shaun Cassidy, David Cassidy and Danny Bonaduce. I’m not going to repeat them since he’ll probably use them in his autobiography. No need to spoil the book. He promised that his autobiography shall be more torrid and scandalous than both volumes on Motley Crue. While you won’t get Ozzy sniffing ants, there’s a strange moment in Switzerland with Michael Jackson that will make you feel buggy.

This was probably one of the best nights to hang out with Leif. He’s a man who over the decades has received more publicity for his troubles than his achievements. When Leif is in a mellow mood, he’s the coolest guy around. I hope he stays that way for a while.

MY SO-CALLED WEEKEND

Why do “smart” shows about high schoolers rarely survive a full season? Square Pegs and Freaks and Geeks were dumped before their students took final exams. And such was the fate of My So-Called Life. It lasted 19 episodes before the kids were assigned to hiatus detention.

My So-Called Life reminds us of an era when angst filled teens didn’t shop for black clothes at Hot Topic. This was a time before kids spent school days text messaging. There was no MP3 downloading. They were simpler times in 1994. All Angela Chase (Claire Danes) cared about was getting Jordan Catalano to notice her. How could he miss her deep red hair?

The fine folks at Shout! Factory have just released My So-Called Life: The Complete Series (SRP $69.99). Unlike the barebones collection that came out five years ago, this new edition is packed with enough bonus features to allow viewers to become fanatics. There’s a fresh interview with Claire Danes. A cast & crew panel discussion at Museum of Television and Radio from 1995 gives a sense how they viewed their show all those years ago. There’s a 40 page book that chronicles the series. Janeane Garofalo gives a testimonial about what the show meant to her.

My fondest memory of watching the series was during one of my significant birthdays. I was on a sofa in the student union flocked by a pack of teenage ballerinas watching a rerun of My So-Called Life on MTV. I explained to the girls that Jordan Catalano was no good for Angela since his primary relationship is with his hair gel. She needed to hook up with Brian cause he might be a putz, but he’d clean up nicely in a few years. I don’t think they believe me. The happy thought was I was a middle aged man hanging with teenage girls without fear of the cops slapping the cuffs on me. Good times.

My So-Called Life holds up as entertaining as it explores those traumatic times of moving up to high school and rubbing shoulders with the big kids. There’s a lot of heart in the characters. They don’t come off as teenage soap opera figures. Hopefully modern teens can relate to a show that doesn’t feature iPods.

HOW THEY ENDED

Tony Soprano didn’t get whacked at the end of the series. He moved to Fire Island with Dumbledore. Every morning they whip up a batch of Johnny Cakes.

TIM WAS RIGHT

Have you noticed that Tim Burton’s Nightmare Before Christmas predicted the Fall of 2007? Can I shop anywhere that doesn’t have Halloween and Christmas crap piled together in the aisles? The Home Depot had an inflatable skeleton riding a motorcycle positioned next to the fake Christmas trees. What sort of message is being sent to kids when merchants combine green faced witches with bearded Santas? Should kids be good to get presents or wicked to receive candy? You’ve got Dracula fighting for space with the Baby Jesus. That’s wrong. We need to have a little separation of commerce and holidays.

While shopping at the Home Depot, they already had Christmas music playing. Do we really need to hear “Jingle Bells” while there’s still leaves on the trees? If this was a Christmas shop at the beach, I could understand the early start on the holiday season. But we’re talking a mega-hardware store. I want paint not an inflatable snowman.

What the hell will happen to Thanksgiving now that these two holidays have been joined at the hip? Will it get squeezed out of existence like Columbus Day? We’ve been so guilted out of celebrating Columbus Day that it took three trips to the mail box on that day to realize it was a post office holiday. Now that Christmas sales are starting around Labor Day, will the Friday after Thanksgiving maintain its luster? Next year they’ll be selling fake Christmas trees and inflatable snowmen with the 4th of July fireworks. People are jumping the gun like states pushing their presidential primaries forward. Every morning I wake up and check the news to make sure I’m not expected to vote. By the way, I’m still holding out hope for the Ben Gazzara and Robert Loggia ticket. Rumor has it that John Saxon has agreed to be their Secretary of State. Bet Ben Gazzara would put a stop to this Christmas before Halloween crap.

John Gibson’s “War on Christmas” attack has now turned into a consumer siege. You’ll be so burned out on December 25th that you’ll merely be thankful that you survived the Christmas marketing assault as you eat candy corn with your turkey.

TRANSFORMERS COME ALIVE

My brother Russ caught Bumblebee at the corner of La Brea and Santa Monica.

Remember – Transformers is out on DVD. It’s a small art film so hopefully your town is large enough to have a store that carries it.

Next year they’ll have Transformers on Ice coming to a rink near you.

DING!

Criss Angel has gone from mystifying to irritating. Him and Uri Geller are now hosting Phenomenon, a search for the next great mentalist. See if any of them can predict when I’ll give a rat’s ass. And I want the color of the fur on that rat’s ass.

NOT IN THE EYES!

Rumors are circulating that another sex tape featuring Kim Kardashian will be released. Please let this be a cruel lie. The world would be better off with a director’s cut of Van Helsing than seeing Bruce Jenner’s stepdaughter being humped one more time.

Normally watching a celebrity sex tape makes me feel a little bit guilty that I had to peek into their extreme private life. After watching “Kim K. Superstar,” I felt guilty that I wasted bandwidth. If suicide notes are a cry for help. Kim’s porn tape was a cry for attention. She didn’t want attention from mommy or daddy, but from casting agents and people who think Nicole Ritchie is a star. This wasn’t pornography of the flesh, but of dreams. Mainly her dream to become a national sensation with less talent than William Hung. But there’s a difference between her and Mr. Hung. What he lacks in range, he makes up in enthusiasm. Kim has a nice curvy body, but she doesn’t come close to using it. She keeps her bra on for most of the action. Maybe in this rumored sequel, she’ll keep her socks on. Heaven forbid she shows ankle while being pounded from behind.

My sofa was more involved when Jake the Wonderdog humped its cushions. Kim doesn’t merely lie there. She just seems lost. It’s not about the passion of sex for her. She’s screwing for Q points. Perhaps this video was meant to be her screentest for Lars and the Real Girl? Although she dose a poor job of keeping her mouth in the “O” position.

She almost makes me think that Andrea Dworkin was right.

A pal who does occasional work for Vivid Video said if that tape had shown up on his desk and Kim was merely a farmer’s daughter in Iowa, he wouldn’t even slide it over to his worst friend. “Not worth a Kleenex,” he said. If she wanted to be the next Sunny Lane, she’d starve to death. Her path to fame would collapse.

But E! is treating America to the next level of Kim’s road to stardom with Keeping Up with the Kardashians. Why? Blame Ryan Seacrest. She must be sleeping with him. Kim has to share the spotlight with her large family. Somehow we’re supposed to care that they run a little boutique. Judging from the lack of customers, it seems to be an excuse to get clothes at a discount.

The horrifying part of the show is Bruce Jenner. He’s the man who “gave us” The Princes of Malibu. Now we must suffer through more of his offspring. Bruce’s plastic surgery face makes him look like he’s transitioning into being a middle age woman. Seeing Jenner whore his Olympic gold medal ass for fame makes me appreciate the noble pursuits of Eric Heiden.

The first episode shows a family that is so ready to ham it up for the camera and willing to say anything during the interview set ups. These people seem too ready to share their drama with America. They’re worse than the Hogans and Simmons clans. Kim gets upset when she’s invited to go on the Tyra Banks Show and the supermodel kept going on about her porn tape. Kim was under the impression that Tyra would want to know about all of Kim’s other projects. Who cares? And how is Kim going to overcome the stigma of her porn tape? By posing nude for Playboy Magazine! Nothing proves that you’ve moved beyond porn star aspirations than showing your ass for Hef’s crowd. Maybe they’ll get her to remove her bra. At least in the pages of Playboy, she doesn’t have to worry about doing anything, except being naked, staying still and holding an expression. She’s got experience with that.

Maybe next season Ryan Seacrest will create a reality show around Sunny Lane and her parents.

BOWL ME OVER

How come the National Defense University doesn’t have a football team?

A SHOT IN THE HEAD

Why hasn’t the universe collapsed on itself in the wake of an MTV black hole called A Shot At Love with Tila Tequila? Why exactly are dozens of boys and girls lining up to date this woman? She has a million Myspace friends. Why? She looks like a living bobblehead. She was on a cover of Maxim! Wow. That’s a career right there. None of the “contestants” should be allowed to mate with organic matter. Although non-organic seems to describe most of Tila’s body. This is what happens when starfuckers are left to screw each others fame whore asses. This crew is worse than the suitors on I Love New York. This is pornography of the soul.

The worst part of the show is that she’s claiming she’s bisexual, but her final choice will either be a boy or a lesbian. Shouldn’t she be putting together a bisexual harem like Monique Gabrielle? Where’s the Big Love for a little lady? Why must she eliminate rather than accumulate?

I flipped over to watch a minute of the show and it was two guy beating each other up. Why does MTV need to exploit violence caused by women? Doesn’t anyone at MTV want their kids to be proud of their work?

One hopes that the people who don’t win their shot of love, will receive numerous other shots after this experience. Odds are that the beds in Tila’s reality house were the breeding grounds for the super bugs.

This show reminds me of the evil brought unto the world by Myspace’s Tom – who still owes me money. Tom isn’t my friend.

MUSTARD TEARS

Jim McKay must shed a tear everytime he hears, “You’re watching ESPN on ABC.” The network with the most honored sports division let the cable operation brand their broadcasts as if somehow they’ve sold that time block. Once men wore those yellow sports coats with pride as they reported for The Wide World of Sports. Now they have to bow their heads whenever Tony Kornheiser enters the room. It’s a good thing Howard Cosell is dead cause otherwise he’d never stop bitching about how the legacy of Roone Arlege has been desecrated in the name of Mouse Synergy.

Remember that ESPN was where sportscasters clustered when they couldn’t cut it in the mustard blazer.

Speaking of tears, what’s more annoying during the baseball playoffs this season: Frank Caliendo’s Frank TV spots, Dane Cook’s holding back a fart promos or Joe Buck and Tim McCarver’s booth action? You have to truly be a devoted baseball fan to suffer through this quartet to capture the action.

Jacoby Ellbury of the Boston Redsox is about to challenge Tom Brady for hottest hunk in Beantown. Wasn’t it ironic that a Navajo outfielder would deny the Cleveland Indians a World Series shot? At least the tribe’s Ryan Garko can spend this offseason corking more bottles of road champagne.

IT’S NOT NEW

Why are they still “presenting Blue from American Express” as if it’s a new credit card? This piece of plastic has been out since 1999. Nothing from the 20th century should be treated as brand new.

Quick Stop Thingamabobs: 10/25/2007

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 12:01 am

thingamabobs.jpg

The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

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  • Currently running for London mayor, Boris Johnson is one of the most fascinating verbal and manneristic trainwrecks you’ll ever witness. He’s a daft, absurd, and utterly lovable example of British eccentricity. Here he is hosting a 2005 episode of Have I Got News For You, Part 1… (Thingamabob)
  • How together is Boris? Here’s a news interview… (Thingamabob)

October 24, 2007

Toy Box: Star Wars Mini-Bust – Dengar

Filed under: Columns,Toy Box — admin @ 3:39 am

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In every universe, there’s a Rodney Dangerfield, some poor schlupp that just can’t get any respect. In the Star Wars universe, that would be Dengar. While his colleague’s Boba Fett, Bossk, Zuckuss and even IG-88 were treated with admiration by fans for their cruel bravery, old Dengar was just some fat guy with a towel on his head. And the towel wasn’t even wrapped very neatly.

It should be no suprise then that all the aforementioned characters have been treated to mini-busts by Gentle Giant, and yet poor Dengar has been the excluded bounty hunter. That situation has finally been rectified however, and Dengar’s bust is now available online and perhaps at your LCS. He’s a limited edition of 4000 (although you could argue that it’s not particularly ‘limited’ at that kind of quantity), and will run around $45.

“Dengar – Gentle Giant Mini-bust”

While he might not get much respect, Dengar is definitely one of the crueler and rougher bounty hunters. Capturing the cold, emotionless danger was GG’s real challenge. How’d they do? Let’s see!

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Packaging – ***
When you’ve seen one recent GG Star Wars box, you’ve pretty much seen them all. While the basic look is still rather plain, this one benefits from having the window (occasionally they do not) which allows you to inspect your particular purchase. It also includes the cool baseball card style COA, which I’ve always thought was a bright move on GG’s part.

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Sculpting – ****
Yep, this is Dengar alright. He has enough of a unique look that he’ll be instantaneously recognized by any Star Wars fan, but isn’t a popular enough character to end up being scrutinized on every detail for screen accuracy.

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The head sculpt is excellent with the scarring etched realisticly into his face. He has Han Solo to thank for that. And GG of course. The cloth has a nice texturing added to it to differentiate it, and in fact, this bust has appropriate textures added everywhere. One of the flaws of some GG mini-busts is the lack of realistic texturing on clothing and skin, making the overall appearance too consistent. Here we see a nice break from that, with unique textures on the various pieces of cloth, the skin, and the leather pieces. It’s not perfect yet, and some of the areas still tend to blend in together, but it’s a big step forward.

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Some of the best sculpting on this bust is in back, where you rarely look. Dengar has his backpack, which I believe also worked with his cybernetic parts to help keep him alive. There’s tons of detail here, with a nice use of both the sculpt and paint to add visual pop to the basic character. Gentle Giant seems to take extra care with all the bounty hunters, and it’s nice to see Dengar get the same level of treatment.

Paint – ***
While the paint isn’t bad, there were a couple distinct issues I had that held him back from a higher score. The overall quality of the paint operations is solid, with clean cuts between colors and a nice, consistent application. There’s also a nice mix of color, which is a surprise considering how bland most folks assume this character is.

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My two issues revolve around the eyes and the lips. The eyes lack the shiny gloss application that gives them that wet, alive look. With a flat finish, the character looks more like a mannequinn than an actual person.

The other issue is the lips, which are a very bright red. The lines are also very clean, which actually adds to the appearance of lipstick. They needed to back off a bit on this dark color, giving him a more natural color.

Design – ***1/2
Dengar’s expression is well designed, giving him a cold, emotionless look. The poor guy had his emotions all mucked up with the surgeries on his brain, making him a pure killing machine. There’s just enough mean in his look to get the point across, and a feel of impending violence. The overall design isn’t overly dynamic, but has just the right style for the character.

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Value – **1/2
At an SRP of $50, with street prices closer to $40 – $45, these are about an average price for the current market. Considering how much other pop culture collectibles have risen over the last few years, it’s nice to see that mini-busts have remained fairly constant. Let’s hope that continues!

Things to Watch Out For –
As I mentioned, the hand/gun piece comes separate in the package and must be attached. To do so, you need to put the gun in between his posed left hand and body, and get the post for the right hand in *just* the right spot to slide it on. Once in place, it’s going to stay there, but you don’t want to get too impatient or you could damage the gun pretty easily.

Overall – ***1/2
Gee, with those scores above, do you think this is a ***1/2 star figure overall? Solid sculpting, clean paint and a terrific design all add up to a much nicer version of Dengar than we usually get. My only real quibble here is that they didn’t give his eyes that coat of shine that adds so much life and realism to the bust. Had they added that touch, this would have been a near perfect representation of a much ignored character.

Score Recap –
Packaging – ***
Sculpting – ****
Paint – ***
Design – ***1/2
Value – **1/2
Overall – ***1/2

Where to Buy –
There’s plenty of great options online:

– Urban-Collector has this bust at just $38, and they have some of the new pre-orders like Shaak Ti and Aayla Secura at just $39! That’s an excellent price all around.

– Fireside Collectibles has him at just $40.

– Alter Ego Comics has him at $42.50.

– Amazing Toyz has him at $43.

– CornerStoreComics also has him at $43.

– Andrews Toyz has him at $45.

Related Links:
I’ve reviewed plenty of Star Wars mini-busts, including:

– recently, I checked out Zuckuss right here at QSE.

– Other Star Wars mini-busts I’ve covered include Chewbacca and Darth Maul, Jedi Luke, Qui-Gon Jinn, Palpatine and Skiff Lando.

Quick Stop Thingamabobs: 10/24/2007

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 3:35 am

thingamabobs.jpg

The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

————————————————

  • It seems that, at one time or another, Hanna-Barbera did a cartoon for everything. Here’s the opening to the animated Abbott & Costello… (Thingamabob)

October 23, 2007

Interview: Monty Python’s Terry Jones

Filed under: Interviews — UncaScroogeMcD @ 9:19 am

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-by Ken Plume

terryjones-02.jpgOccasionally, an interview will – for various timing and scheduling issues – sit on the shelf for far too long a time. Over the next few months here at FRED, we’ll be dusting off those “too good to let sit any longer” pieces and letting them finally see the light of day. First up is an interview from last year featuring Monty Python alumnus, director, writer, and historian Terry Jones – conducted a few weeks into his documentary series on the Barbarians on BBC2. Barbarians is due to be released on DVD in the US this January, from Koch Lorber.

As a Python, Terry co-directed Monty Python and the Holy Grail with Terry Gilliam before assuming full directorial duties for The Life of Brian and The Meaning of Life .

As an ex-Python, he wrote Jim Henson’s Labyrinth and wrote and directed Erik the Viking (a “Director’s Son’s Cut” of which is currently available in the UK from Arrow Films) and the recent adaptation of Wind in the Willows.

Just as fellow ex-Python Michael Palin has become associated with his frequent travel documentaries, so too Jones has also been connected with the documentary form in recent years – first with his miniseries about the Crusades, followed by a series of programs on ancient inventions, the hidden history of Rome and Egypt, and Medieval Lives, which examined the myths surrounding such historical archetypes as the knight, the damsel, the minstrel, and the monk.

His documentaries present a healthy dose of history within an entertaining (and often humorous) vehicle. As they say, “a spoonful of sugar…”

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KEN PLUME: I suppose the first thing I have to say is how much I’ve been enjoying your Barbarians series…

TERRY JONES: Are you in the States?

KP: I’m in the States.

JONES: Then how are you seeing it?

KP: The joys of the internet.

JONES: Amazing. I never knew.

KP: So on Friday evenings I’ll watch Have I Got News For You, and then the new Barbarians. In fact, I just watched your appearance on The Paul O’Grady Show…

JONES: Amazing!

KP: Well, it’s a shrinking world.

JONES: Yeah…

terryjones-03.jpgKP: It’s quite interesting to get a glimpse into UK life via television, and it goes to show that people are becoming more worldly – if they actually take a chance to look at what’s out there. Barbarians, I think in some ways even tops Crusades as my favorite piece you’ve done so far.

JONES: Really…

KP: It certainly seems that there’s a real love and vitality that you’ve brought to the subject matter.

JONES: Yeah.

KP: At what point did that strike you as a kernel of an idea that you wanted to explore? Because you said in the past that something has to really interest you for you to want to explore it…

JONES: Yeah. Well, partly it was because I didn’t know anything about the classical world. I didn’t know anything about the subject. So that was quite interesting, anyway. But I kind of had a suspicion that the story of the Roman Empire must have some relevance to the world today, and to the sort of situation we have today. So I was kind of looking out for that, in a way, when we started – but it certainly became very clear as we got there was a very curious parallel. Nothing is absolutely the same, of course – history doesn’t really repeat itself, but the same people and the same motivations go on and…

KP: Human nature remains the same.

JONES: Rome was considering itself as the sole superpower for a long time, and it embarked on this policy of preemptive strike to neutralize states around its borders. But it was driven by fear. Their 9/11 happened in 390 BC, when the Celts overran Rome. So, you know, it was different, but there are similarities.

KP: I think the great thing about the pieces that you do is that it really shows that for all the differences there might be, the one thing that does remain constant is human nature.

JONES: Yeah.

KP: And humans will react in certain ways to certain circumstances across the board, no matter what time period you’re in.

JONES: I think that’s right. I think people don’t change. And I think people were the same in 500 BC and 1000 BC, but we just don’t know about them. You had the same kind of people seeking power, and using very similar methods to gain power. I mean, it was laughable when Caesar, driven by political considerations at home – he wants power, and he needs money, so he declares himself Protector of the Gauls. By the time he’s finished protecting them, he’s killed a million of them, and enslaved another million, and he owned all of Gaul and was very rich, thank you very much. Well, it’s not a million miles away from saving the Iraqis from their dreadful dictator, Saddam Hussein. By the time we’ve finished with them… So far, we must have killed about a quarter of a million of them and destroyed their society.

KP: But we bring freedom!

JONES: Right! Freedom! Yeah. But Halliburton and Kellogg Brown and all that lot, they’ve all done extremely well out of it.

KP: I found it fascinating – in the episode last night – regarding the Visigoths…

JONES: Oh yeah…

KP: And the description of… what was the society that was completely wiped out in Germania?

JONES: The Dacians…

KP: Yes. And the gold, and that pursuit of a coffer…

JONES: Yeah, that’s absolutely right. I mean they’re just wiping out the Dacians because they wanted their gold. They built Rome on the proceeds, really. Or what we regard as Rome.

KP: And it’s amazing how many military actions in history have such a base desire that are covered up in loftier stated goals. Although that one was pretty blatant as to what the goal was.

JONES: I mean, to do the Romans justice, they weren’t mealy mouthed about celebrating their acts of violence. I think that was one of the things that became very clear – Trajan celebrates by having his column show all of these pictures of Romans killing Dacians. And there’s a big celebration of an act of genocide.

KP: I found it even more fascinating what was done for the corresponding monument…

JONES: Oh yes, the one at Adamclisi, in Romania…

KP: Which was a threefold statement – that you’ll never pose a threat again, we’ll protect you, and I’m great.

JONES: (laughing) That’s the big difference between the Roman sort of carvings and monuments – which are usually you’re showing Romans killing people in one form or another – and, for instance, the Persian monuments in Persepolis, which are all sort of celebrating peace, and it’s people coming to present the emperor with gifts, and they’re all walking hand in hand. Or they’ve got their hand on the back. It’s not hands around the wrist, which is always the symbol of having captured somebody. But walking hand in hand and so there’s all that celebrating, friendship, and partnership.

KP: Well, peace doesn’t keep people in line!

JONES: (laughing) That’s true!

KP: In the research you’ve done, is there any society that is that forthright and celebratory of conquering as the Romans were?

JONES: To tell the truth, I think all of the societies would be, given the chance. But there is a really huge difference between the Persians – in what is now Iran – and the Romans. There is a cylinder in the British Museum that was uncovered beneath the ruins of Babylon, and it’s in cuneiform. It’s got cuneiform all over it, and the cylinder celebrates Cyrus the Great’s conquest of Babylon. But in it, he says, “I came as a friend.” And he said, “I didn’t allow my troops to terrorize anybody. We didn’t have to carry weapons. We were able to walk around the streets without weapons. And I freed all the slaves, and allowed them to return to their homeland. And I was celebrated as a great benefactor.” It’s almost called the world’s first statement of human rights. You might think, “Well, it’s the kind of thing a tyrant might put on, a bit of spin doctoring…”

KP: Right.

JONES: Except that it’s born out by the Bible. And in Isaiah… and I can’t remember the other book… but in Isaiah, Cyrus the Great is celebrated as the Lord’s anointed. I mean, he was Persian. He has nothing to do with the Israelis. But the slaves he freed are the Israelites. And he sends them back to Israel to rebuild their temple. And he’s a hero to the Jews. So there is corroboration about that. And then Cyrus’s successors – Darius, and then Xerxes – they leave records of what they’ve done, and any monument always starts with, “God is great, who created the world and created yonder skies, who created man, who created happiness for man, and who made Darius or Xerxes king.” But the idea that happiness for man is on the political agenda and there’s a statement of intent from the emperor, it’s kind of something I think we could do with nowadays.

terryjones-07.jpgKP: It’s odd… It’s almost a celebration of philanthropy.

JONES: It is, in a way. I mean, I don’t really know that much about the Persian empire, but certainly it’s got these statements, and there is some corroboration that it was a fairly benign kind of empire. The Persian emperor was king of kings at this time, and so he allowed other kings to stay as long as they paid tribute to him… Not like Rome, trying to turn everybody into Romans…. Into a new image of themselves.

KP: It’s amazing, as you see the deterioration of the empire, how many civilizations – and the people within them – used the Roman system of acclimation against the Romans themselves…

JONES: Yeah.

KP: By playing the double agent…

JONES: In the first two programs you probably noticed a lot of the people who rebel against them, like Arminius, have been brought up by the Romans and they’ve learned Roman military tactics. Because Rome’s big weapon really was the fact that it had this standing army. It had a professional army, and the others didn’t – so the others all had to go off at harvest time. They couldn’t stay the whole year. The Roman army was a professional army and could just hang in there and just win by sheer bloody minded hanging in, which is only what Trajan did in Dacia – he just hung in there and the Datians eventually just couldn’t carry on. So it was that. But then, of course, the army kept on swallowing more and more of the money, and it got costlier and costlier to run for the empire.

KP: Let’s look at a born and bred Roman that rebelled and was later celebrated as a home grown hero, like Herman the German. What is it about history that tends to erase those Roman ties? Is it just a desire to make them fully a home grown hero?

JONES: I think it’s that history changes because we want to tell each other different stories. It’s all part of our critique of the present day, really. And so, as we want to tell a different story, so we look at history differently. I think during the 19th century in England, the stories were very keen to celebrate the British Empire. And they look back to Rome as the great sort of justification, and that the British Empire was going to be greater than the Roman Empire. So they loved the Roman Empire. And I think, you know, that in the Renaissance they loved everything Roman because they were trying to revive Latin, and wanted to go back to Latin. So maybe it’s time for a more critical critique on the Romans.

KP: In Medieval Lives, you went into the myth that the people in the Middle Ages believed the world was flat – which was actually a Washington Irving invention meant to rewrite a bit of history…

JONES: Yeah.

KP: Honestly, after – what is it, four programs that you presented? You’ve done Crusades, Medieval Lives, Ancient Inventions…

JONES: Well, I did quite a few for Discovery actually. Ancient Inventions, and then another short series called Surprising Histories. We did The Surprising History of Rome, and The Surprising History of Sex and Love, which has never been shown in the States because I think Discovery Channel found it too disturbing.

KP: I think I have a screener tape of that that they sent out before they decided not to air it.

JONES: Oh really? I think the Sex and Love one is one of the most interesting programs, actually, and it’s sort of about looking at the relationship between love and… I’m sorry, not love. It was really about sex. It was about the relationship between sex and power. And sort of why do you have periods of liberation – liberal sexual morays – and periods of repression. It all seems to be sort of tied up with politics, and particularly with men wanting to take over, to run the roost, and to cut women out – and when you have that happen, you get those periods of heavy sexual repression.

KP: It’s fascinating how often men feel threatened by women. Again and again – and I’ve told you this before – there’s one program I would love for you to do… and it’s a recurring theme in all the programs you’ve done… would just be Terry Jones’s History of History.

JONES: (laughing) That’s interesting.

KP: Analyzing who actually shapes history.

JONES: That’s a pretty good idea.

KP: Because you keep touching on certain accounts – like, “Here’s the Roman version of this…” or, “This Roman historian said this, but here is the opposing view.” So who actually crafts history?

JONES: Yeah…

KP: It’s become a bit of a joke on the program QI about the documents of Pliny the Elder, and the statements that he had made in his chronicles about various subjects, and how laughable they’ve turned out to be when it comes to historical accuracy.

JONES: Yeah.

KP: And then Washington Irving, and how these things become popular knowledge when they are, in fact, myths…

JONES: Yeah…

KP: It’s just one of those things that keeps niggling every time I see one of your programs.

JONES: (laughing) I think it’s a very good idea, Ken. I might have to get back to you…

KP: Well, my fingers are crossed that I eventually get to see it.

JONES: Okay.

terryjones-04.jpgKP: It goes back to the first book that I ever seriously contemplated stealing from a library, I hate to admit… because it was impossible to find, and I found it in my first year in college… which was your Chaucer’s Knight…

JONES: Oh right, yeah.

KP: It was that weird sort of eye-opening moment when you realize that your teachers were wrong. ‘Cause I still have my notes about the “Knight’s Tale” from high school, where we were instructed that the Knight was a noble, heroic man… And then you point out that, no, Chaucer was saying the Knight was a less-than-noble mercenary, and the it was all satire…

JONES: Yeah, yeah.

KP: I actually sent a copy of the book to my English teacher, saying, “You might want to read this for future lectures.”

JONES: (laughing)

KP: Do you think understanding history requires certain perspectives to be able to uncover certain aspects? I mean, here you have a 400 year-old joke that scholars could never spot, but you – as a comedy writer – could clearly see…

terryjones-05.jpgJONES: I think it’s all about attitude. For example, I’ve been looking at the Ellesmere illustrations, in the Ellesmere manuscript of The Canterbury Tales, which is in the Huntington Museum. And I wrote to Mary Robinson, who’s the curator of the Huntington Library there, and asked her if she could have a look at the illumination of the monk under a microscope. And she very, very kindly agreed to look at it, and she said, “Well, we backlit it and we could see around the head, but it might just be what the artist was drawing to place the hat on.” And she really didn’t look any more. But then eventually, very kindly, she came and heard me talk about the illumination in Los Angeles, and invited me to come look at the illumination again, in the manuscript. And we went to look at it, and then we looked at its backlit version, and then we put some lights on the front, and as soon as we put lights on the front, you saw this gold under the monk’s chin, and elsewhere. And it’s quite clear that it had been blotted out. The point about the illumination is it doesn’t look anything like the description in the text, because in the text he’s large and mighty, he’s got a bald head, a red nose, he’s very jolly, and wears this gold pin, and all that sort of thing. He has hounds and he loves hunting. And in the illumination, there are the hounds there, but the illumination is of a man covered in black. He’s just covered in black. He’s got, like, a veil over his head. But when you looked at it through the microscope, you could see that he wasn’t jolly. You could see he’s got a gray wash over his face to calm it down – but with a microscope, you could see he’s got rosy cheeks and a red nose, but he’s also got this gold. I thought clearly that the illumination had been blotted out. And the reason why I tell you that, is that Mary Robinson didn’t see those things herself, because she wasn’t looking for that. And she didn’t see it. And it’s just that I was looking for that, and I thought there must be something there. So it was easy for me to see.

KP: It seems that also a certain mindset… I mean, you’ve had centuries of scholars analyzing The Canterbury Tales…

JONES: Yeah…

KP: … and coming to the same straightforward, straight laced conclusion about the Knight, but you coming from the perspective of knowing comedy and satire…

JONES: Yeah… I think, yeah… I mean, that’s what I’d like to think about that, because that’s exactly it. That I kind of… you could see where there were joke shapes, and you could tell in the text that that ought to be a joke there, ’cause that’s how Chaucer told a joke very often. He said something every one line and then undercuts it in the next.

KP: So he was the first of the Peter Cook school of fine literature…

JONES: (laughing) I don’t know whether he was that, but you could certainly see that sort of thing going on, yes!

KP: One of the things that’s been remarked on before, and Paul O’Grady mentioned it in the interview that you did, was how there is humor that you bring to the historical programs and books that you do, in analyzing history. And you’d made the comment that people tend to ignore the fact that people have always liked to laugh, and that there is humor in these things. What is the thing that struck you as… and I hesitate to characterize it as such… but what is the greatest joke you’ve run across in historical accounts?

JONES: Oh god, um, ha! Um… I’m sorry, I can’t think…

KP: Certainly, irony abounds everywhere…

JONES: Yeah, but I think the irony… I think the idea is that Trajan’s Column is a monument to genocide is pretty ludicrous. I mean, I quite like the Germans hoodwinking Varus and concocting fictitious lawsuits to keep him busy. That’s a good one.

KP: I can imagine the strategy sessions about who they should send in next…

JONES: Yeah! (laughing)

KP: I thought the story of Attila the Hun’s motivation…

JONES: Yeah, that’s a great one too, the fact that he’s going to rescue a damsel in distress! That’s wonderful…

KP: Who essentially has sent him a missive meant to free her…

JONES: She said, “Please come and rescue me, and if you marry me, I’ll give you half the empire as a dowry.” It was quite a genuine offer. Talk about flimsy excuses for a war. I think Attila’s excuse about rescuing a damsel in distress had a lot more going for it than WMD in Iraq.

KP: See, that’s why men through the centuries have been so fearful of women…

JONES: (laughing)!

KP: Here they have the power to bring on the Huns.

JONES: (laughing)!

KP: You return to certain time periods more often than others. It seems like the Medieval period really fascinates you.

JONES: Well, I think that’s the sort of period I know a little bit about, so I’ve been sort of inhabiting that world, because of Chaucer, for a while. It fascinates me. It’s like with, you know – the more you know about something, the more interested you get sometimes.

KP: And I thought your Chaucer book was wonderful…

terryjones-06.jpgJONES: Oh, Who Murdered Chaucer?… I think that’s one of my favorites, actually.

KP: Has there been any thoughts of turning that into a program?

JONES: I did try the BBC on it when it came out, but they’d done two half hour cartoon versions of The Canterbury Tales, and they said, “No no, that was enough. Enough Chaucer for one year,” you know?

KP: Well, there’s always another year…

JONES: Yeah! (laughing)

KP: I thought it was really engrossing. And again, I think the great thing about what you bring to it is the investigative approach from a humanist point of view.
What was the germ that launched Who Murdered Chaucer?…

JONES: I always thought it was odd that he just disappeared and nobody really knows what happened to him. And the fact that he disappeared so soon after Richard II, who I’d always been told was his protector – or he was closely associated with him. I always thought it was odd, so I thought maybe there could be some connection. And especially when an idea like the actual burning of heretics was brought in so soon after Henry IV takes over. And so it does really seem like a turbulent time. And it was sort of like, I could quite imagine Chaucer having sort of gone down in it. I just really wondered whether there was some connection. And I’m sure – I’m absolutely positive – there is, now. I don’t think there can be any doubt about it. Chaucer had just survived the coup of 1387 when the Barons took over, basically. They call it the Appellant Period, but it was actually the Barons taking over this government for about 18 months, I think it was. And Chaucer just disappeared during that time, and doesn’t really reappear until Richard takes over command again in 1389. And then Richard suddenly comes back and Chaucer suddenly gets appointed Clerkship of the King’s works, and things like that. But he got out of it, and survived – whereas a lot of people in his position – sort of civil servants in the regime – they were executed. Eleven of Chaucer’s closest friends were executed during the Appellant Period. So he just survived that, but the coup of 1399 was much more serious business.

KP: And obviously, having survived the first, he had a much higher profile when the field had been cleared a bit, I’m assuming…

JONES: Well, he certainly had a high profile anyway. Chaucer represents Richard’s age, and that’s why Hoccleve was so keen to have a picture of Chaucer in his book, Regiment of Princes – it’s a book of rules for princes on how to rule. And so it’s important to have Chaucer there because he represents Richard’s age.

KP: In which time period was it most dangerous to be a political humorist?

JONES: Well, I suspect it was very dangerous in Henry IV’s rule. I think anybody who had any sort of doubts didn’t muck around with Henry at that point. (laughing) I don’t really know about other periods, really, but you can see what happens to English literature in the 15th century. It’s just destroyed, really. I mean, there’s nothing… you know, you’ve got things really flowering at the end of the 14th century, and then a period of nothing in the early 15th century when, I think, people shut up, basically. The only people who keep writing are the really dull, wordy, non-controversial types.

KP: You touch upon it in most of your series, the sort of history of political comedy and commentary.

JONES: Yeah.

KP: And just how it sort of morphs. Post-Chaucer, it seemed like there was a bit of a lull in any real humor…

JONES: There is, really. I mean, I don’t know much about 15th century literature, but certainly you look at the writings and oh god, it’s so dull. Gower keeps writing until the first ten years of Henry IV’s life, and I’m afraid my good friend Robert Yeager – who worked on the book with me – is a great Gower scholar. He does his best to revive Gower as, but it just kills me.

KP: There’s a reason why it rhymes with dour.

JONES: (laughing)I think could be, yes.

KP: When we spoke previously, you had talked about the anti-Renaissance show that you had done for the radio…

JONES: Oh that’s right, yeah.

KP: And I know one of the suggestions I had made, that you seemed keen on at the time, was including that on the eventual DVD release of Medieval Lives.

JONES: I just think these great ideas go in one ear and out the other. I’ll make a note here… Anti-Renaissance…

KP: And I’ll keep my fingers crossed for The History of History…

JONES: Okay! (laughing)

KP: Which begs the question, now that Michael has gotten this huge DVD set chronicling his journeys, where is the Terry Jones set?

JONES: That’s a good point, yeah. I mean, the one thing is whether the BBC can pull their act together. They didn’t put out a DVD of Medieval Lives. Maybe lump the two together, or something like that.

KP: In fact, the only thing that’s really been released of yours is Crusades…

JONES: Crusades, yeah. It’s that time. They are talking about that. Actually, we’re talking about at the moment, well they’re not quite sure what’s gonna happen in the States, but because it’s funny, we’re going to put over a new DVD of Erik the Viking.

terryjones-08.jpgKP: Which is a long time coming.

JONES: What’s happened over here is that an English company, Arrow Films… I happened to be doing the director’s commentary, and I was saying I’d really like to re-edit the film – because I was never happy with the edit – and they put up money to re-edit it.

KP: Who says complaining doesn’t get you anything?

JONES: Exactly. Unfortunately, all the original material is lost, so we can’t change the cut – we can reduce it, we can take things out and we can change scenes, but can’t sort of do the way the dialogue goes, because we haven’t got the materials, and we can’t put any other bits in. We can’t put in things.

KP: Where is all that material? Was it just destroyed over the years, or lost?

JONES: I think it’s just been junked by somebody. Whoever owned the library at some point said, “Well, we don’t need that.” But it’s this great pleasure – a threefold pleasure, because A, I’ve been wanting to do it for a long time; B, I was working with the best editor I’ve ever worked with; and C, it was my son. They’re re-releasing “The Director’s Son’s Cut.” It’s down from about 101 minutes to 77 minutes. It really gallops along. I think it’s a really good… it’s getting much more like the movie it was supposed to be.

KP: What are the elements that really niggled you about the original cut?

JONES: Well, it’s just too long. The whole thing had been cut… it was one of those things where… What had happened in the film was that for some reason, I thought – as an experiment, I think it was – I thought I’d keep out of the cutting room and just… and the editor was really keen to keep me out. And I go, “Let’s see what happens…” And I thought, “Oh, this seems to be easy…” Because I’ve always been very hands-on in the editing. I’ve always got really involved in it. And I’ve always edited myself, really – all the Python movies and everything. And it was only about two weeks before it was due to open over here, I said, “No, I really ought to put this on the screen and look at it myself,” and I did it, and as soon as I did it my blood ran cold, because it was just wrong. It was just long. And I could just see… I managed to take out about 10 minutes for the English release, but the American was already printing 250 copies or something, so they didn’t want to change or junk them. So the long version went out in the States and the shorter version went out over here. But I’d really like to change a lot of the way the dialogue’s shot. You know, it’s like, for some reason the editor always cuts off halfway through a line, so somebody starts a line and then it cuts to the person they’re talking to, and when you really start seeing it, you often miss crucial words. I mean, I’d really like to change the whole thing.

KP: It really didn’t seem like it was cut for comedy.

JONES: Well, I think that was the trouble. I mean, what I realized was that the editor didn’t cut in to leave gaps for the laughs. “Oh, what?”

KP: It undercut any of the satire and comedy you were trying to play in the situation. I mean, it’s interesting how certain themes recur in your work. You can see a lot of what you did in Erik the Viking, particularly with the Christian character, play out in the documentary work you’ve done since.

JONES: (laughing) He really was one of my favorite characters, I think. And for him to be a missionary…

KP: Oh, it was brilliant. Then so blind.

JONES: Saved at the end because he was blind.

KP: It’s odd – and obviously you can explain this – the fact that for the most part, that was your last fiction film…

JONES: I did the Wind in the Willows…

KP: Which was done for TV though, wasn’t it?

terryjones-09.jpgJONES: No, it was a feature film. It was released over here. But very badly. I’m really pleased with Wind in the Willows. I think that’s the best film I’ve made, in many ways. It’s a really lovely film. It’s won various awards in America, the Chicago Children’s Film Festival, and something else… I can’t remember what it was. It wasn’t distributed. It was just sort of… Disney never really wanted to do it, and they kind of had their arms twisted by Jake Eberts, who’d put the money up for it. And they didn’t really like it, and kind of deliberately lost it.

KP: I remember getting the VHS screener of that as a direct-to-video.

JONES: Oh yeah…

KP: I guess that would be around ’97.

JONES: Yeah. I think they called it Mr. Toad’s Wild Ride in America.

KP: Well, you have to make it like the theme park ride. Otherwise people won’t see it. I thought it was interesting that the one question you got from the audience on The Paul O’Grady Show was someone asking you for a sequel to that.

JONES: Oh yeah. It’s a really lovely film, I think. On the big screen it really works. I just don’t know why they didn’t distribute it over here. What happened was, because it didn’t do anything here, because they didn’t put it out in afternoons, everywhere else, Columbia said the world said, “Well, it’s not gonna work anyway,” so nobody advertised it. What happened, I was in… I was actually doing one of the Ancient Inventions programs, I think. Or something else. I can’t remember. And I was in New York, and John Goldstone, my producer, rang up and said, “They’re showing Wind in the Willows in a couple of cinemas in LA and New York.” And it turned out that Columbia, who had the rest of the world, had got the theatrical rights off Disney. Because they’d realized that some of their deals around the world had to have a theatrical distribution in the States first. Disney didn’t want the theatrical rights, anyway. They just gave them to Columbia for nearly nothing. And so Columbia put it out in a couple of cinemas in LA and a couple of cinemas in New York, with no publicity, really. So I rushed over to the cinema where it was, and it was one of those porno cinemas in Times Square with an awning, and it had Wind in the Willows -m or Mr. Toad’s Wild Ride, I can’t remember – put up in those letters. So I rushed off to get a camera, buy a camera to take a photo of it. By the time I got back, it was gone! (laughing)

KP: And yet oddly, it was replaced by a porno called Mr. Toad’s Wild Ride…

JONES: (laughing) And then it got reviewed, like, in The New York Times. It got the best review of any film I’ve ever done. They gave it a whole page. And then Variety gave it a review, and they had editorials two weeks running saying, “Why are Columbia TriStar dumping this lovely film?” But it didn’t do anything, because nobody had any intentions of actually releasing it. So it never got released again.

KP: So has it just been circumstantial that there’s only been two fiction projects in the past 16 years?

JONES: Well, you get disheartened, I suppose, by that. And, you know, I thought I’d made a really nice movie. With Erik, I’d taken my eye off the ball during the editing, stupidly, and with that one, I thought I’d saw it right the way through it. I relaxed when I thought that we’d made a good film, and I should have been pushing when it came to the distribution. I hadn’t really realized that’s what I needed to do. So anyway, then I sort of… I got involved with documentary projects, really. They all seemed very interesting. I guess maybe I didn’t have time to write anything. You can spend time writing things and nothing happens. But I wrote some things that are cooking at the moment. I hope to get some films going.

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Quick Stop Thingamabobs: 10/23/2007

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 4:15 am

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The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

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  • For the past couple of weeks (longer, if you’ve been paying attention), I’ve been posting clips of one of my favorite shows that’s never aired in the US but damn well ought to – QI. If you find these clips (and the show itself) as funny as I do, please head over and sign the petition to get the show played over here. After all, we can’t let the Brits have all the fun. Now, here’s the 7th episode from the 4th series of QI, Part 1… (Thingamabob)

October 22, 2007

Cabin Fever #06: Penance Whip

Filed under: Cabin Fever — UncaScroogeMcD @ 1:47 pm

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Oh no! Just when you thought it was safe to hang out at the Quick Stop…

cabin.jpgCabin Fever (hosted by the twisted souls Brian Fitzpatrick and Aaron Poole) is the result of having too much time on your hands and access to your local community radio station.

Over the course of an hour, they manage to trawl the depths of good taste, plus throw some music in. How much more could you want from a podcast?… Quality? Oh… we didn’t think of that.

Enjoy! And we hope our cross Atlantic friends can understand the Irish accent 😉

Hugs and Kisses,
Aaron P. + Rev. Fitzy

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CABIN FEVER #06: Penance Whip – Yes, despite being about 2 weeks late, the show is here! Sound isn’t amazing, quality isn’t amazing. But you know what? It’s f—ing here! The issues with putting them up turned out to be a simple click of a button too many. Aaron will be whipped mercilessly for penance. So as long as you don’t forget that what we’re talking about happened last month, I think you might enjoy this one. Expect another show soon to make up for our tardiness.

[CONTENT WARNING]: Explicit contents! We say every naughty word you can think of. You have been warned!

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SModcast 34

Filed under: SModcast — UncaScroogeMcD @ 12:14 am

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SModcast is the meandering palaver of a pair of dudes whose voices are so dull, they don’t deserve to be on the radio (and, hence, aren’t). Kevin Smith and Scott Mosier are SModcast.

The best thing about SModcast? It don’t cost nothing.

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SModcast 34: Jersey Justice League –

The Heroes of the East convene for a special Jersey roundtable, featuring epic tales of early friendship, “Star Wars” summers, a fecal tooth and a mother’s love, a fecal ring quest and a decided lack of love, a friend’s betrayal, how old is too old to attend a high school party, how to creep out an elementary school class whilst proposing to your wife, and the misfit zoo. TECHNICAL NOTE: Due to malfunctioning equipment, the sound quality may be a bit wonky – but the stories were just too good to lose.

[CONTENT WARNING] SModcast features harsh language and even harsher notions of propriety. Listener discretion is advised.

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SModcast 34 (MP3 format) – 46.83 MB

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Comics in Context #199: The Forgotten Ones

Filed under: Columns,Comics in Context — admin @ 12:03 am

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cic2007-09-17.jpgChapter Six of Neil Gaiman’s Eternals series begins by forging the first known connection between the works of Jack Kirby and the collaborations of W. S. Gilbert and Arthur Sullivan. Kirby created the original Eternals series in the 1970s, and Chapter Six’s title, “Modified Rapture,” is a famous line from Gilbert and Sullivan’s 1885 comic opera The Mikado.

Presumably Gaiman is alluding to the concept of the “rapture,” whereby at some point in the future, Christians will be transported into the sky to join with the returned Christ. The parallel in the Eternals mythos is the Uni-Mind, created when Eternals rise into the sky and merge together into a single being that represents their collective consciousness.

On the first page various people, most of them asleep, speak what appears to be the words of the awakening Dreaming Celestial, with the repeated declaration, “I am” (Gaiman issue 6 p. 1). This alludes to Yahweh or Jehovah, the Hebrew name for God, which is commonly believed to mean “I am.” The Dreaming Celestial is asserting his claim to be God, and through Thena’s son Joey, he even says, “Let there be light” (Gaiman issue 6 p. 4), the words with which the Biblical God began the creation of the universe in the Book of Genesis. Readers should remember that he is only one of an unknown number of Celestials, and that the Dreaming Celestial also seems to be based on Lucifer and Cthulhu. If the Dreaming Celestial is a God with a capital G, he is opposition to the other “space gods,” his fellow Celestials. As his blackened armor signifies, the Dreaming Celestial represents darkness, not light, even though the armor regains its original golden color as dawn approaches.

Note that Thena tells Ikaris that “I couldn’t fly well even when I was at full power” (Gaiman issue 6 p. 5). That seems unlikely, considering that she had thousands of years to practice self-levitation; based on the goddess of wisdom, Thena should be capable of mastering such mental feats, and there’s no indication in past Eternals series that she has trouble flying. But Thena’s statement is a reminder that, not having undergone a death and resurrection, she has not been restored to full Eternal status.

The Deviant Morjak captures and threatens to kill Joey. When Thena shows parental concern, Morjak sneers, “He’s not your son. He’s not even the same species as you. He’s your pet” (Gaiman issue 6 p. 9 panel 3). Well, ordinary humans (Homo sapiens), Deviants and Eternals are probably both separate species within the same genus, Homo: Zuras later refers to the Eternals as Homo immortalis (Gaiman issue 7 p. 9). The Deviants are driven by racial prejudices that, in the Kirby series, even led them to condemn other Deviants whose genetic makeup violated certain unstated standards. It is no surprise, then, that the Deviants have contempt for ordinary humans, and even regard them as potential food (see Gaiman issue 6 p. 9 panel 1).

As the Dreaming Celestial’s armor reverts to its original golden color, “the universe shudders and shifts” (Gaiman issue 6 p. 12). This dramatically indicates just how powerful a Celestial, the Dreaming Celestial in particular, can be. Miniscule as a Celestial’s physical armor may be in comparison to the unimaginable vastness of the universe, Gaiman is indicating that the Dreaming Celestial is enough of a “God” to endanger the entire cosmos. I appreciate the inclusion of cameos by Uatu the Watcher (the only character to appear in both Gaiman’s Eternals and 1602) and Galactus, which further establish the Eternals mythos as part of the Marvel universe, and also may allude to Stan Lee and Jack Kirby’s monumental “Galactus trilogy” in Fantastic Four #48-50 (March-May, 1966). Uatu and Galactus’s reactions to the awakening of the Dreaming Celestial reinforce the impression of the latter’s universe-threatening might. Possibly Gaiman is also alluding to Walter Simonson’s story about a final clash between Galactus and the Dreaming Celestial in an alternate future in Fantastic Four #339-340 (April-May, 1990). Since he refers to the universe “shuddering” as if it were alive, Gaiman could have even worked in Eternity, the living embodiment of the universe, but perhaps including the occult aspects of the Marvel Universe would not quite fit a science fiction/superhero series like Eternals.

Ikaris asks Thena if she is “ready” to help form a Uni-Mind, but Sersi replies that “I don’t think I want to be part of this. . . .I’m not even sure I like changing things into [other] things,” referring to her Eternal super-power (Gaiman issue 6 p. 17). Later she rejects her Eternal identity, declaring, “I’m nort on of you. Please just leave me alone” (Gaiman issue 6, p. 26).

Back when I began my critique of this series in “Comics in Context” #193, I pointed out that the dilemma of these apparent humans like Mark Curry and Sersi who are awakening to their true, godlike selves, was comparable to that of various other characters in fiction, such as Jesus in The Last Temptation of Christ and even the Doctor in the 2007 Doctor Who two-parter “Human Nature” and “The Family of Blood,” in which he has been transformed into an ordinary human with no memory of his true identity. A recurring theme in such stories is the protagonist’s need to choose between the potential happiness of an ordinary human life and the lonely, more difficult path of the hero or even of a godlike being. Jesus’s “last temptation” is the fast-forward vision of his future as a happily married man with children, ending in his peaceful demise; significantly, the Doctor has a similar vision in “The Family of Blood.”

The initial issues of Gaiman’s Eternals show that Mark Curry’s life has reached a dead end, so it’s not surprising that in the final issues Mark has no regrets about resuming his Eternal identity as Makkari. Sersi, though, clings to her life as a human even when she learns of her Eternal identity, powers and responsibilities. Perhaps Gaiman believes this is true to Sersi’s personality in the Kirby Eternals. KIrby’s Sersi does seem at first glance to be the ultimate hedonist, who devotes her millennia-long life to continual partying.

But I think that this is an incomplete view of the character. Gaiman portrays Sersi as a much more subdued, quieter character than the one in the Kirby series. Kirby portrayed Sersi as uninhibited and passionate in whatever she did. Sersi makes her entrance in the original series by literally dancing (Kirby Eternals hardcover p. 51). She speaks of “the joy of living” and says that Eternals “love a good laugh” (Kirby p. 97). Certainly she does, and she is willing to party at any opportunity, and she clearly loves using her powers to transform atomic structures: as soon as Ikaris and Thena leave her alone with Dr. Samuel Holden, she transforms Holden’s furniture into what appears to be a BIg Band out of the days of Kirby’s youth. “Shall we dance??” she asks Holden (Kirby p. 133).

What readers may overlook is that Kirby shows that Sersi is equally passionate about waging battle when the need arises. She erupts in fury against those party-pooping Deviants in Kirby’s stories. At the end of Kirby’s Eternals #16, the narrator asserts that “In a battle between males, the deciding factor is always an angry woman. . .Next–Sersi the Terrible” (Kirby p. 323), which is the title of the next issue (Kirby p. 325).

So it seems to me that in Gaiman’s series, as Sersi’s powers reemerge, she should be delighted by them, not frightened, and that she should discover that there is a side of her personality that enjoys combat. In Kirby’s version, Sersi was the Eternal who most enjoyed being an Eternal.

In a trance Joey continues to voice the thoughts of the Dreaming Celestial, who says that he once intended to reward whoever freed him by endowing him with “the power of a Celestial,” but then, as his imprisonment wore on, decided to reward his rescuer instead by sparing him “when I destroyed this part of the universe,” and finally, hundreds of millennia later, vowed that “whoever freed me would perish first, and that would be my only gift” (Gaiman issue 6, pgs. 22-23). Here the Dreaming Celestial seems like a genie, who will grant a reward to the person who frees him; instead of three wishes, there are three different versions of the “reward.” Once again, we are reminded that though the other Celestials’ motives are unknowable, the Dreaming Celestial’s passion for destruction is evident.

Ikaris, Thena, Zuras, Ajak and Druig form a Uni-Mind, and here is the greatest visual disappointment in the entire series. John Romita, Jr. draws the Uni-Mind as a glowing humanoid figure (Gaiman issue 6 p. 28), but this is a visual cliche. Kirby’s Silver Surfer is a superior version of the same image. Kirby visualized the Uni-Mind as a colossal floating brain, complete with brows, as if it had eyes (see Kirby p. 198). It may be grotesque, but it is unforgettable, and powerfully conveys in visual terms that it is the collective consciousness of an entire race. Radically altering a Jack Kirby design is usually a mistake, as it is here.

As the Celestials did to the Uni-Mind in Thor #300 (October 1980), the Dreaming Celestial causes this Uni-Mind to dissolve back into its component beings. So, you see, this “rapture” did not last long: it was only a “modified rapture.”

From there Gaiman and Romita shift into a sequence that takes place within Mark Curry/Makkari’s mind, as the Dreaming Celestial, in the guise of Sersi, converses with him. “Sersi” tells him that “I am a tiny part of the mind (a subroutine/a demon/the smallest circuit) of one of the order of beings you call Celestials” (Gaiman issue 6 p. 32).

In the interview in the back of the hardcover collection of this series, Neil Gaiman says that he was attempting to “remain true to the Kirbyness of it all. And that includes. . .making the Celestials rather more unknowable than they have been.” That’s surely why Gaiman specifies that only “a tiny part of the mind” of the Dreaming Celestial communicates with Makkari and, presumably, communicates through the minds of the various humans who voiced his thoughts earlier in issue six. Neither ordinary humans nor Deviants nor even Eternals can comprehend more than this “tiny” part of a Celestial’s consciousness, by which Gaiman probably means the simplest level of a Celestial’s inconceivably complex mind. I’d speculate that Ajak, whose specialty is communicating with Celestials, likewise only communicates with “tiny” parts of their minds. If God exists, humans like ourselves could not fathom what God’s consciousness, capable of monitoring all of time and space while existing beyond both, is like; presumably when God speaks to people in the Bible, it is only a “tiny” part of God’s mind that communicates with them.

Even so, I feel that it’s wrong to have the Dreaming Celestial speak, even in this allegedly limited fashion. Although Gaiman tells us that we perceive only a miniscule portion of the Celestial’s mind, we are nonetheless reading the Celestial’s thoughts. And one of the most important themes of the Kirby Eternals is the absolute inscrutability of the Celestials’ minds and motivations. Remember, in the Kirby series, we did not even know why the Dreaming Celestial was “destroyed.” (Kirby’s narrator even calls it a “tragedy”; it was later stories that established the Dreaming Celestial as a sinister rebel guilty of a “crime against life.”) In the final dialogue in Kirby’s Eternals, Ikaris declares that “The space gods remain an unconquerable enigma–mysterious and majestic among the creatures of the cosmos!” (Kirby p. 377).

When Kirby depicted rival images of God in the “Galactus trilogy,” both Galactus and the Watcher spoke. But in his Fourth World books for DC, the Source, who represents God, communicates only with Highfather, who resembles an Old Testament prophet, and only through “handwriting on the wall,” in an allusion to an episode from the Bible (see Rembrandt’s depiction here). In his Eternals Kirby went further: only Ajak could communicate with Celestials, but, significantly, Kirby never showed us the thoughts that the Celestials conveyed to Ajak. Nor did Celestials literally speak through Ajak the way that the Dreaming Celestial speaks through various people in Gaiman’s Eternals #6. Thus Kirby kept the thoughts and motives of the Celestials mysterious.

At the outset I linked Kirby to Gilbert and Sullivan in part as a joke. But I am serious now in linking Kirby’s Eternals with the works of the late filmmaker Ingmar Bergman. One of Bergman’s themes was the silence of God, and this is one of the principal themes of Kirby’s Eternals as well. Bergman may not have known if God existed or not; Kirby brings his “space gods” onstage but makes the point that we do not and cannot understand them or what they want. We are at the mercy of the judgment of the space gods–or the real God, if God exists–but do not know what they–or God–want from us.

As far as I’m concerned, it is always a misjudgment to portray Celestials as speaking at all. Marvel writers have made this error in the past, for example, with Ashema, the Celestial who took human form.

It no longer seems right to call the Dreaming Celestial by that name since he has woken up. He can’t be the Black Celestial now that his armor has changed color; maybe now he should be called the Golden Celestial. But I will continue to refer to him as the Dreaming Celestial until such time as Marvel gives him a new official name. (So he’s the Dreaming Celestial–with the initials “D. C.”–who threatens to destroy Marvel-Earth. Nah, that’s just a coincidence.)

The Dreaming Celestial claims to have personally created Makkari. But when? Kirby established that Makkari was a comparatively young Eternal, so he’s not a first generation Eternal like Zuras, who would have been created by the First Host. Gaiman and Romita show Makkari battling Deviants just before the arrival of the Second Host (Gaiman issue 1, p. 29). Then again, that’s part of Ikaris’s faulty memories, and also shows Sersi, who was a child at the time of Gilgamesh (see Captain America Annual #11, 1992), long after the Great Cataclysm that sunk Deviant Lemuria. Certainly the Dreaming Celestial has a reason to lie to Makkari, whom he is attempting to enlist as his willing servant. But perhaps, whenever Makkari was conceived, the Dreaming Celestial somehow manipulated his genetic structure from afar to endow him with super-speed.

The Dreaming Celestial instructs Makkari to bring a “message” from him to the ordinary humans, Eternals and Deviants of Earth. It makes sense that Makkari should be a messenger, since Jack Kirby based him on Mercury, the messenger of the Roman gods. Kirby established Ajak as the Eternal who communicated with the “space gods,” so arguably Neil Gaiman has made Ajak’s principal role redundant. Then again, a future writer could have Ajak conveying messages from the other Celestials while Makkari acts as spokesman for the Dreaming Celestial. In the original series Kirby seemed to be setting up the Forgotten One to serve as an agent of the One Above All, and in Thor #287 (September 1979), Roy Thomas brought the Forgotten One back, conveying a message from the Celestials. Now this may be one messenger too many.

So at the beginning of Gaiman’s Eternals, Ikaris was a Campbellian “herald,” delivering a message, a “call to adventure,” that Mark Curry/Makkari refused to heed. Now, as the series draws to an end, Curry has not only accepted his Eternal identity but has become a messenger himself, a herald for the Dreaming Celestial, who warns him that Makkari’s message will also be met with resistance and disbelief: “it is not a good thing to be a prophet, Makkari” (Gaiman issue 6 p. 33).

And what is the Dreaming Celestial’s message? He directs Makkari to proclaim “that I will (watch/listen} and that once I have seen enough, I shall judge” (Gaiman issue 6 p. 34). Thus Neil Gaiman restores a version of the status quo from Kirby’s Eternals series: once again a Celestial stands upon Earth, eventually to deliver a judgment upon it that could lead to the end of humanity.

I can understand why Gaiman did not bring Kirby’s Arishem the Judge back, as if he had changed his mind about the “thumbs up” he gave Earth back in Thor #300. Yet having the Dreaming Celestial serve as judge still weakens the original Kirby theme. Interestingly, Gaiman has Makkari say that he is not certain just what the Dreaming Celestial is judging: “Maybe judge the people on it, but that didn’t seem to be what it meant.” No, I think that Kirby meant for us to think of Arishem as judging the human race: Kirby was evoking the image of the Last Judgment, and even of a harvest: “They planted intelligent life on this planet–the crop has matured. . .the Celestials will test it and weigh its value” (Kirby p. 37).

Moreover, post-Kirby stories about the Eternals mythos made it clear that the Dreaming Celestial is predisposed towards destruction: the Dreaming Celestial tells Makkari that when he woke, he intended to “terminate this (Earth/Planet/Place) and all that walk upon it” (Gaiman issue 6 p. 33). Now the sentient denizens of Earth have to persuade the Dreaming Celestial not to carry out his original plan to annihilate him. It is like trying to persuade Satan or Cthulhu to mellow out: the odds don’t look good. But what made Arishem’s fifty year judgment a more powerful concept is that Kirby gave us no hint of what Arishem thought or what he wanted. How can you persuade a judge when you don’t know the standards by which he judges you? Arishem was utterly unknowable to human minds, just as God might be. “Inside the impregnable armor,” Kirby wrote about Arishem, “is a mind incomprehensible to man” (Kirby p. 123).

Insisting that Zuras and his fellow Eternals register as superheroes, Iron Man and Yellowjacket miss a rather significant point. Sersi is definitely a New Yorker, but the other Eternals in this series, as far as I know, are not American citizens (not unless Sprite legally established them as such when he gave them human identities). If Zuras were a citizen of any human nation, it would be Greece. But perhaps that doesn’t matter to Iron Man or to others with a post-9/11 you’re-with-us-or-you’re-against-us mindset. “Whose side are you on?” demands Iron Man. Drawn by Romita as if he is staring the Avengers down, Zuras points out that the immortal Eternals don’t take sides, that from their perspective countries are merely “lines in the sand” and empires (like the United States?) are transitory. Zuras seems to agree with Sersi, who indicated earlier that the superhero registration act really amounted to forcing persons to take a loyalty oath (Gaiman issue 5 p. 17). When Yellowjacket persists in telling Zuras to register, Zuras gets tougher and sternly informs the Avengers that to the Eternals humans–including Iron Man and Yellowjacket–are merely “children” (Gaiman issue 6 p. 39).

Earlier on that same page Makkari, smiling, informed Iron Man that the Dreaming Celestial “likes you.” Since the Dreaming Celestial is the Satan or Cthulhu of the Eternals mythos, this is not a compliment. It would be nice if that induced Iron Man to reconsider some of his recent Civil War-related behavior.

At the start of issue 7 Gaiman and Romita show us a caricatured family of tourists staring, unafraid, up at the Dreaming Celestial as it looms, unmoving, above San Francisco’s Golden Gate Park. Gaiman’s point is that people quickly grow blase even about a “miracle” in their midst (Gaiman issue 7 p. 1). This makes the necessary point that the presence of the Dreaming Celestial (who the public does not know is a menace) does not prevent other Marvel series from continuing as before: life goes on.

But I think that Gaiman is being too cynical here, even considering that extraterrestrials are nothing new in the Marvel Universe. (Gaiman establishes through the tourists that the public does not know that the Dreaming Celestial is alive, but they know that his armor is alien in origin.). Besides, I think that any Marvel story in which, say, a costumed superhero walks into a bar, and nobody pays much attention, is subverting what makes the superhero genre work. Superheroes aren’t just like normal people, and normal people should react–with awe and wonder, or with fear and distrust, but with some strong emotion– when a superhero flies by. In Kirby’s Eternals people were awestruck or frightened by the sight of the Celestials appearing in their midst; SHIELD attempted to take action against them. Kirby was also wise to put Arishem the Judge in a place far from civilization, where his presence could be kept relatively secret. Perhaps the Dreaming Celestial should stand in some similarly remote place. (Will any Marvel story set in San Francisco now have the Dreaming Celestial drawn into the background?)

Zuras and Iron Man resolve their staring contest through compromise. Zuras drops his superior attitude, conceding that “I’m not” a “god.” although Zuras declares that the Eternals “defend humanity,” he makes it clear that the Eternals intend to “return to Olympia” and find the missing members of their race (Gaiman issue 7 p. 10). In other words, Zuras indicates that he has no current plans of intervening in human affairs. Since the Eternals are leaving America for Olympia, Iron Man need not insist on forcing them to register, and he and Zuras shake hands. What might happen if, say, the Eternals wend up battling a menace to Earth on American soil remains to be seen.

So in the final issue Iron Man/Tony Stark ends up being more open-minded and lenient in enforcing the registration law, and more like the character I remember and admire. Although Sersi, as noted, is definitely a Manhattanite, he does not insist that she register, either, at least in part because she has no intention of resuming her superhero career. Sersi still cannot remember her stint as a member of the Avengers. (She’s lucky. Sersi was written so far out of character in those early 1990s Avengers stories about Proctor that I wish I could forget them, too.) Stark’s sympathy for Sersi has grown to such an extent that Gaiman and Romita even subtly hint that he is growing attracted to her, and feels hurt when she goes off on her own (Gaiman issue 7 pages 9-11).

Then comes what I expect is the most controversial segment of the series. Zuras finds Sprite on a bus and kills him by snapping his neck (Gaiman issue 7 pgs. 15-17). Yes, it’s another child star who has come to a bad end. Sprite had a death wish, and you know what they say about being careful what you wish for. Last week I observed that, despite his adolescent ambitions, Sprite was like an adult trapped in a child’s body. Here Zuras tells Sprite, “You haven’t been a kid for a million years.”

But Sprite was a child emotionally, and it is downright creepy (as Gaiman surely intended) to watch Zuras murder him. Was this the only possible solution? If Sprite had indeed turned into a normal human boy, couldn’t Zuras have simply imprisoned him somewhere to live out his life, which is all too brief by Eternal standards? (Of course we can’t be certain that Sprite won’t be resurrected by an Olympian reactivation chamber.)

Despite my qualms about Sprite’s characterization and fate, I’m quite pleased with the Gaiman-Romita Eternals, whose richness becomes more apparent on rereading. I wish that it had gone on longer. Neil Gaiman has said in interviews that he felt he had too large a cast in 1602 and did not want to face the same problem in Eternals. But there are many memorable characters from the Eternals mythos whom Gaiman did not use yet who are well worth reviving in the proper hands.

The Forgotten One: He only appeared in a single issue of the original series, yet Jack Kirby told us just enough about him so that this mysterious Eternal remains intriguing, even tragic, three decades later. He was a hero who overthrew tyrants and battled “beasts,” yet, Sprite tells him, “Zuras banished you for your pride! Your will to meddle in human affairs!” Just what did the Forgotten One do to provoke Zuras’s wrath, and was he right, or was Zuras? Confined to an isolated part of Olympia, the Forgotten One was even stripped of his name. Yet later writers established that he was Gilgamesh, the hero of the ancient Babylonian epic, that he was responsible for some of the feats attributed to Hercules, and that he was mistaken for the Biblical Samson. (Hey, Neil, maybe in the Marvel Universe, the Forgotten One was Beowulf, and Grendel and his mom were Deviants.) No writer after Kirby has treated the Forgotten One satisfactorily, but he remain a character of great, untapped potential.

Kro: Recently I brought up Kirby’s Eternals in conversation with a friend, who asserted that the greatest character in the series was Kro, the Deviant warlord. He may well be right, so it’s surprising that he’s missing from the Gaiman series. Kro can serve as the villain in the Kirby series, in which he even takes delight in masquerading as the devil by sprouting horns on his forehead to terrify superstitious humans. Yet for millennia Kro has been in love with the Eternal Thena, who recognizes he is “noble, wise and brave” (Kirby p. 131), values that seem to separate him from the rest of Deviant society. In the Kirby series Kro invites Thena to accompany him to the Deviants’ undersea city of Lemuria. It is a symbolic descent into the underworld. Thena tells him, “Once before I went beneath the waves with you. Mythology records it as an unhappy story” (Kirby p. 131). I believe she is referring to the myth of Hades and Persephone. Thinking about Kro’s undersea home today, I realized that the relationship of Kro and Thena echoes the sexual attraction between the Sub-Mariner and Susan Storm in the early issues of Fantastic Four. Unable to remain together as lovers, Kro and Thena are also unable to remain eternally apart from one another.

The Reject: His fellow Deviants regard him as physically repulsive because he looks exactly like a “normal” human being, who is so handsome that Thena calls him “sweet prince.” But she’s also being ironic. Kirby introduced the Reject (later dubbed Ransak) as a combatant in the Deviants’ gladiatorial ring, “I am what I am,” the Reject once explained: “A thing taught only to make its kill–and prepare for the next” (Kirby p. 244). Never having known love, having trained only to destroy, the Reject can suddenly become like a savage beast. “At that moment,” Kirby’s narrator states at one point, “the Reject’s eyes glaze and his jaws distend like a carnivore at the kill! A snarl escapes his lips!” (Kirby, p. 156). A little later the narrator tells us, “the killing frenzy is upon Reject! Combat is the only life he knows!” (Kirby p. 157).

Years earlier, Kirby had created Orion of The New Gods, a hero who was capable of savage violence, reflected by his cruel, bestial face. Orion needed his living computer, the “Mother Box,” to hide his true face, transforming his ugly features into handsome ones. Similarly, the Reject’s outer handsomeness conceals the beast within.

With his “animal instincts” (Kirby p. 224) and “killing frenzy,” the Reject reminds me of Wolverine and his berserker rages. The Eternals debuted in 1976, two years after Wolverine made his first appearance. I doubt that Kirby was paying any attention to the “new” X-Men at the time. Rather, I see the similarities between the Reject and Wolverine as further evidence of Kirby’s ability to tap into the zeitgeist. His Eternals may not have been a commercial success, but Kirby was still pioneering new developments in the evolution of the superhero genre.

The Reject’s handsome exterior hid his inner savagery, but Thena seemed to sense that perhaps he really had the potential, buried deep inside him, to be a “sweet prince.” She recognizes that his destructive urges are a form ofd self-destruction: “Poor Reject,” she says, “he has the death-wish!” (Kirby p. 204). So she takes the Reject under her protection, attempting to civilize him and even to teach him the meaning of love (Kirby p. 203). So perhaps Kirby was consciously or unconsciously tapping into another myth: Pygmalion and Galatea, with the sexes reversed?

But again, no one has successfully exploited the potential with which Jack Kirby endowed this character.

Karkas: You could regard this gigantic, grotesque Deviant “mutate” as a variation on the Thing in Kirby’s Fantastic Four. Outwardly Karkas appeared to be a ferocious monster, just as his opponent in the gladiatorial arena, the reject, looked like a handsome storybook prince. Yet it is the Reject who can become a monster of savagery, while, when not engaged in combat, Karkas is actually a sensitive intellectual. “Your intellect far exceeds your talents as a monster,” Thena tells Karkas (Kirby p. 202). Karkas even hopes that “I may yet become a philosopher of note!” (Kirby p. 204). Kirby paired these two paradoxical characters, Karkas and the Reject, as a team, mentored by Thena. But among subsequent Eternals writers, only Peter B. Gillis, a former academic, has demonstrated an understanding of Karkas’s personality.

Dr. Samuel Holden: One reason that Gaiman did not use Dr. Holden may be that he claims that even in “Marvel time” thirty years have elapsed between the events of the Kirby series and those of his own. But as I pointed out in column 194, that just doesn’t work: in “Marvel time” less than a decade would separate the events of the two series.

There’s something appealing, charming and even touching about the romantic relationship between Sam Holden, this rather proper academic, and the beautiful, uninhibited Sersi. Jack Kirby could depict their relationship with surprising subtlety: look at how Sersi places her hand affectionately on Holden’s chest on page 279 of the hardcover collection. Peter B. Gillis further developed the Sam and Sersi relationship in the second Eternals series, but other writers didn’t get it and didn’t follow it up.

Ghaur: This is the potentially great villain of the Eternals mythos, yet he was created not by Jack Kirby, but by Peter Gillis and artist Sal Buscema in the second Eternals series. (Ghaur’s name, by the way, is pronounced as “gore,” and I should point out that it was not intended as a reference to Al, who was much less famous in 1985.) As the Deviant priestlord, Ghaur should be even more relevant today, when the toxic mixture of religious fanaticism, violence, and lust for power poses such dangers around the world.

My favorite scene with Ghaur is his first appearance, which takes place in Eternals Vol. 2 #2 (November 1985). It is a meeting between Lord Ghaur and another Deviant, Ranar. On the surface Ghaur speaks quietly and politely, but everything he says has a sinister subtext, a lethal edge like a dagger’s: Ghaur is cutting Ranar to pieces with words that foreshadow his doom.

Stan Lee had a flair for heightened, melodramatic language: back in the 1960s he could make Doctor Doom’s boasts and threats work brilliantly. But in lesser hands, the standard Marvel style for villains’ dialogue degenerated into empty bombast. Gillis’s Ghaur was a new kind of Marvel villain, who spoke in a more sophisticated manner, and whose cunning seemed credible and real.

Many writers used Ghaur after Gillis, but once again, none of them understood what was revolutionary about the character, and they turned him into yet another Marvel villain given to pompous ranting. But in the 1980s first Alan Moore, and then Neil Gaiman brought a more realistic and sophisticated style to comic book dialogue, and a new generation of writers followed in their path. So perhaps today Ghaur could find writers who would understand and recreate the distinctive voice with which Gillis endowed him.

Here is a major problem with the ongoing continuity of the DC and Marvel Universes. Great writers and artists can create brilliant concepts and characters, which are then misunderstood and mistreated by lesser talents who follow on the same series. It is a cause for celebration when another major talent comes along on the series who not only grasps what its creators intended but builds important new work upon it.

This is the case with the Gaiman-Romita Eternals. It’s not perfect, but Gaiman and Romita “get” most of what Jack Kirby intended, and have created a worthy sequel to this underrated Kirby classic, that successfully revitalizes The Eternals for a new century.

And thus I bring my six-part critique of the new Eternals to a close. Please come back next week for a landmark event: the two hundredth edition of “Comics in Context”!

–Copyright 2007 Peter Sanderson

Keneteph’s Corner: An Interview With Sarah Barrable-Tishauer

Filed under: Columns,Interviews,Keneteph's Korner — UncaScroogeMcD @ 12:02 am

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Sarah Barrable-Tishauer: Making A Difference in Many Ways

keneteph2007-10-22-01.jpgI often times notice that artists with the most depth to them hardly get the recognition they deserve. The media would rather inundate us with stories on who is the most flashy, rather than people who have been able advance others lives because of the current place they are in. When I first got turned onto the show Degrassi some two years ago, the character “Liberty” played by actress Sarah Barrable-Tishauer really caught my attention. I sensed there was a certain depth the actress possessed I don’t see too much with young people in the entertainment business. I felt she had a true knowledge of self that she portrayed in her character that stood out. When interviewing Miss Sarah Barrable-Tishauer I smiled in knowing my intuition about her was right. She’s a young woman with a true sense of depth and vision, which will take her far.

One of the things she likes about being on the show is diversity in the cast, and the dynamic changes the characters go through throughout the seasons. “It’s such an amazing opportunity to be written this skeletal character and be able to give her dimension over seven years,” Sarah said. “Before filming, the writers will have ‘read-throughs’ with us so that we can give feedback on how realistic our characters’ actions and development are, so that our audience can better relate to our performance.” Flexibility is key on the set as Sarah originally auditioned for the part of Manny, who was written a bit different at the time. However the writers wrote the character Liberty after initial auditions had taken place and auditioning a girl who had had often pretentious and very organized characteristics. The girl didn’t end up getting cast, instead, they cast Sarah for the new part they wrote. “The joke on set for a while was that I out-Libertied Liberty.” Her self awareness enhanced her ability to tap into that character and further bring Liberty to life. “We are both strong minded, independent people, however I think I have more fun than her and I’m not as jealous as she can be. Being able to break down her characteristics helps me better portray her in front of the camera.”

Sarah’s openness to learn from many mentors has helped her fine tune her craft during her career. The first acting job she had was as the character Young Nala in the Toronto production of the play The Lion King, in which she got to work with some of the creators of the original. She also got to work with the late legend Gregory Hines in The Red Sneakers, which was his directorial debut. “I was the youngest cast member, so I learned a lot from the more experienced actors and crew. I even had the humbling experience of getting a dance class from Gregory Hines himself!” All this experience has made her lean towards wanting to produce her own shows in the future, as she said even Degrassi creator Linda Schuyler, mentioned to her that she would be a good producer one day. Sarah continues to advance herself through her pursuit of a communications and journalism degree at a local university in Canada. “I would like to eventually have my own travel television show. But for now I’m working with the university television station on a collective project where we interview up and coming local bands who are making an impact in music in their own way.” Her interests in traveling stems from seeing many marvelous sites she’s seen across the globe. “The reason why I love to travel is because I like to experience all the cultures that make our world a beautiful mosaic. It also allows me to put my own life in perspective.”

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Even at her young age, while advancing herself in the acting and academic world, she still makes time to help others. She’s very active in the community, and contributes to many different charitable organizations. “I’ve been very blessed to have parents who instilled in me the strong belief that it is each of our duty to make a difference in the world and the best way to do so is through community activism.” One of the organizations she’s involved with is Dignitas International, which sets up community-based programs and health care systems for those living with HIV/AIDS in Malawi. She also co-founded a project called the Toronto Schools Snowsuit Challenge with Windfall Clothing Service, which encourages children to raise money for winter clothes for their less fortunate peers.

keneteph2007-10-22-03.jpgPositive change is something Sarah always moves towards in all aspects of her life. “I love what I do for a living because it gives me the chance to meet and learn from people I otherwise would not get the chance to encounter.” She owes her open-mindedness to parents who, she says, always encouraged her to consider new ideas and accept others. Not only is she bi-racial, but her parents have different spiritual backgrounds as well. “My mom and dad named me Sarah because it is a name represented by both the Jewish and Christian faiths.” Being raised in a home where differences were looked at as a way to understand others and bring people together has made Sarah eager to see more acceptance and understanding in her profession as well. “One of the more frustrating things about being in the entertainment business is seeing there are still a lot of cultural and racial stereotypes that need to be broken. The media creates stereotypes that reflect only a small portion of a racial group, and yet we are lead to believe that this is a representation of the entire culture. I’d like to see the industry become more color blind and start looking clearly at the world around them to see the diversity and individuality that exists.”

Be on the lookout for many great things to come from Sarah. She’s definitely one whose stardom shines inside and out!

For more information on her show Degrassi, go to www.ctv.com and
www.the-n.com.

Quick Stop Thingamabobs: 10/22/2007

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 12:01 am

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The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

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  • A sketch with the great Chuck McCann… (Thingamabob)
  • More QI – here’s the 5th episode of series 1 – featuring Stephen Fry, Alan Davies, Rob Brydon, Rich Hall, and Gyles Brandreth – Part 1… (Thingamabob)

October 19, 2007

Win Meet the Robinsons on DVD!

Filed under: Contests — widge @ 2:42 am

In conjunction with Walt Disney Home Video, we’re giving away four (4) copies of MEET THE ROBINSONS to a quartet of lucky winners.

All you have to do to enter is fill out the entry form below”¦

Contest ends at midnight EST on Tuesday, October 23rd.

Enter the contest!
Email:
First name:
Last name:
Street Address:
Address Line 2 (if needed):
City:
State/Province/Whatever:
Zip Code/Postal Code:
Country:
Birth Month:
Birth Day:
Birth Year:

Official Rules

No member of Quick Stop Entertainment or their immediate families may enter.

No Purchase necessary to win.

Must be 18 years of age or older to enter.

All submitted entries must be received by 11:59pm EST on Tuesday, October 23rd.

The winner must allow 4-6 weeks after announcement of win to receive the product.

Scrubs Blog: A Guided Tour – Part 5

Filed under: Production Blogs,Quickcasts,Scrubs Blog,Video — UncaScroogeMcD @ 12:05 am

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VIDEO BLOG #92: “A Guided Tour – Part 5″ ““
The final installment of the Scrubs set tour, with special tour guides Production Manager Richard Wells, Ken Jenkins, and Neil Flynn.

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Download Scrubs Video Blog #92:

Large (560 x 420 – QuickTime – 115.45 MB)
Small (320 x 240 – QuickTime – 49.77 MB)
[display_podcast]

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Weekend Shopping Guide 10/19/07: How I Love Ya

Filed under: Shopping Guides — UncaScroogeMcD @ 12:04 am

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The weekend’s here. You’ve just been paid, and it’s burning a hole in your pocket. What’s a pop culture geek to do? In hopes of steering you in the right direction to blow some of that hard-earned cash, it’s time for the Quick Stop Weekend Shopping Guide – your spotlight on the things you didn’t even know you wanted…

Its place in film history as the first “talkie” firmly established, Warners has given the full-tilt special edition and restoration treatment to The Jazz Singer (Warner Bros., Not Rated, DVD-$39.92 SRP). The Al Jolson story gets a snazzy 3-disc affair, with the first disc devoted to the stunningly restored feature itself, plus an audio commentary, vintage Jolson shorts, a trailer gallery, and Tex Avery’s classic animated homage “I Love To Singa”. Disc 2 features a feature-length documentary on the history of sound in motion pictures, surviving sound samples from 1929’s Gold Diggers Of Broadway, and studio shorts from or celebrating the early sound era. Finally, disc 3 sports over 3 1/2 hours worth of rare Vitaphone comedy and music shorts that will make cinephiles and comedy fans drool, as many of them feature vaudeville legends. If that weren’t enough, Warners has also included a nice complement of printed materials, including reproductions of photos, lobby cards, the original souvenir program, and more.

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For Disney fans – and fans of Disney ephemera – The Mickey Mouse Treasures (Disney Editions, $60.00 SRP) is a must-have tome. Written by the manager of Disney’s archives, Robert Tieman, the oversized volume contains recreations of various advertising and promotional materials, cels, merchandise, and much more from the Mouse’s 66 year history. Get this. Now.

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While I wish they’d just release full season sets, I guess I should be happy that we’re getting any Whose Line Is It Anyway? (Warner Bros., Not Rated, DVD-$26.98 SRP) at all. The second volume of season one features the final 10 episodes of that inaugural outing, completely uncensored, with unaired games and gag reels. Bring on season two!

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It was a good ride while it lasted, and the end of That 70’s Show (Fox, Not Rated, DVD-$49.98 SRP) is nigh in the penultimate season (seven, if you’re keeping track). How do you know for sure that a long-running show is on its last legs? When your lead actor decides to move on and become a semi-recurring in the final season (Hello, Topher!). The 4-disc set features all 25 episodes, plus audio commentaries, a trio of featurettes, and promos.

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As much as I dug the extended version of Quentin Tarantino’s half of the Grindhouse equation, I couldn’t get into Robert Rodriguez’s ode to John Carpenter, Planet Terror (Genius, Not Rated, DVD-$29.95 SRP). Its everyday people versus zombie mutants story tries to push every last genre button it can – and then some more – but it never really seems to get past an over-calculated vibe. The 2-disc set features an audio commentary, an audience reaction track, behind-the-scenes featurettes, a 10-minute film school, trailers, and more.

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For the first time in a very long while, I got a glimpse of Angelina Jolie truly sinking deep into a character – and she couldn’t have picked a better venue than as Mariane Pearl, the wife of murdered journalist Daniel Pearl, in A Mighty Heart (Paramount, Rated R, DVD-$29.99 SRP). The film chronicles the disappearance of Pearl when he was kidnapped, and Mariane’s desperate search for clues to his location and attempts to save him before his ultimately grisly fate. Bonus features include a PSA and a making-of featurette.

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I was curious in a “Can they possibly screw this up again” kind of way when it came to Fantastic Four: Rise of the Silver Surfer (Fox, Rated PG, DVD-$34.98 SRP). I thought the first film was a tonal mess, with a shit script, poor directions, and zero respect for the characters or the fans (like myself). Could they get it all wrong the second time around, with one of the greatest supporting characters ever to grace a comic book page – the enigmatic, cosmically-powered Silver Surfer? Yes, Virginia, they can botch it all over again. The script is still piss-poor, and there’s nothing of the magic that made the Fantastic Four the “World’s Greatest Comic Magazine.” The 2-disc set features audio commentaries, deleted/extended scenes, behind-the-scenes featurettes, a making-of documentary, a documentary on the comic book origins of the Silver Surfer (which makes this poor film translation seem all the worse by comparison), still galleries, trailers, and more.

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Though it’s one of those flicks destined to remain cult due to its inside-the-industry nature, for those that do have an inkling about what goes on behind-the-scenes of making a prime time television series, The TV Set (Fox, Rated R, DVD-$27.98 SRP) is a funny portrait of the often soulless meat grinder that it is. David Duchovny is the writer whose dreams of bringing a creatively fulfilling show to prime time are dashed upon the rocks of a network president (Sigourney Weaver) intent on bringing her own vision to fruition. Bonus features include an audio commentary, a making-of featurette, deleted scenes, and more.

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If you’re a bona fide recluse who never appears in public and speaks with no one but a select group of handlers, I suppose it was only a matter of time before a clever con man would take advantage of that. Such was the case with famed tycoon Howard Hughes, who fell victim to just such a con man – one Clifford Irving (Richard Gere), who sold a manuscript he claimed was the authorized autobiography of Hughes. The story of his scam – and attempts to prevent its discovery – are the focus of The Hoax (Miramax, Rated R, DVD-$29.99 SRP). Bonus features include audio commentaries, deleted scenes, interviews, and featurettes.

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If I had a glove in hand and the opportunity, I’d slap Michael Bay across the face. Then I’d sucker punch him and kick him a few times. Why, when you have a concept as simple as “giant robots with the ability to transform into everyday vehicles bring their intergalactic war to Earth”, do we get the poorly designed, badly scripted, ineptly overdirected, live action big screen version of Transformers (Dreamworks, Rated PG-13, DVD-$36.99 SRP)? I mean, is it such a difficult thing to pull off? Maybe if you have an ego as massive as Bay’s. It’s a shame, really. For all of you sad fanboys who lapped up this cinematic golden shower, the 2-disc edition features a commentary and a trio of featurette collections breaking down the production.

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I try, and try, and try, but I just don’t find much funny in How I Met Your Mother (Fox, Not Rated, DVD-$39.98 SRP). I mean, I know it’s supposed to be funny – that’s what everyone says – and the actors are gifted, but the writing always seems less-than-sharp. Still, I know there are those out there that think it’s the second coming, and they’ll be snapping up the second season. The 3-disc set features all 22 episodes, plus audio commentaries, music videos, a behind-the-scenes featurette, additional scenes, and a gag reel.

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If you can get past the intense, almost greasy smarminess of James Lipton, there’s plenty of interesting conversation and the occasional insight in the latest Inside The Actors Studio set, Leading Men (Shout! Factory, Not Rated, DVD-$39.99 SRP). The four leading men in question are Robert DeNiro, Al Pacino, Sean Penn, and Russell Crowe. Bonus features include reflection pieces from Lipton, plus deleted footage.

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Now that TV has become fertile waters for movie stars wishing to settle in for long runs, it was inevitable that James Woods would eventually take the plunge – and you can’t find a better vehicle than Shark (Fox, Not Rated, DVD-$59.98 SRP), playing a slick, ruthless attorney who suddenly shifts gears after the death of a young woman and enters the DA’s office. The 6-disc box set features all 22 episodes, plus commentaries, deleted scenes, a behind-the-scenes featurette, and a gag reel.

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The genre of films about predatory hybrid aliens intent on mating with unsuspecting human males owes its existence to the original Species (MGM, Rated R, DVD-$19.98 SRP) – a schlock flick if there ever was one, which now gets a 2-disc special edition featuring audio commentaries, behind-the-scenes featurettes, an alternate ending, and more.

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In many ways more sweeping than the original landmark miniseries, I found a certain spark missing from the sequel, Roots: The Next Generations (Warner Bros., Not Rated, DVD-$59.98 SRP). It certainly aspires to – and nearly reaches – the same lofty heights, but I just got worn down by the time the 11-hour miniseries was finished. The 4-disc set features a brand-new behind-the-scenes documentary.

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If the first 8 seasons of Roseanne were Superman, then the 9th and final season (Starz, Not Rated, DVD-$39.98 SRP) was Bizarro. Focusing on the radically different lives of the Conner clan after they win the lottery, the show lost its working class charm and became some kind of odd fantasy world mixed with a nouveau riche Beverly Hillbillies thing. At least we still have the golden 8 seasons that preceded it. The set is worth picking up – not just for completionists – for the two candid Roseanne interviews featured within.

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Before celebrity went straight o her head and her ego began a mediocre recording career, an unaffected Jennifer Lopez was pretty darn good as the Latin pop star Selena (Warner Bros., Rated PG, DVD-$20.98 SRP), whose career came to a tragically premature end at the hands of her fan club president. The 2-disc special edition features both the original theatrical and an extended cut, a making-of featurette, additional scenes, and more.

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As innocuous as it is, I really don’t think that the Arnold Schwarzenegger holiday flick Jingle All The Way (Fox, Rated PG, DVD-$19.98 SRP) is in need of an extended director’s cut, or a special edition DVD. Fox seems to think otherwise, so here we get that longer cut, plus a trio of behind-the-scenes featurettes.

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As much as I loved Home Movies and wanted to follow Brendon Small to his next project – Metalocalypse (Warner Bros., Not Rated, DVD-$29.98 SRP) – I couldn’t find a thing to latch onto. I know there’s a fanbase, though, that will probably want to snap up the complete first season set, sporting 20 episodes, with bonus materials including interviews, a murder reel and more.

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So there you have it… my humble suggestions for what to watch, listen to, play with, or waste money on this coming weekend. See ya next week…

-Ken Plume

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Trailer Park: Chris Ryall

Filed under: Columns,Interviews,Trailer Park — admin @ 12:03 am

By Christopher Stipp

Archives? Right Here”¦

Instead of manning-up and actually going the emotionally hard route of being outrightly rejected by publishers, I’m rejecting them first and allowing you to give my entire book a preview, let you read the whole thing or, if you like, download the whole damn thing at no cost. Download and read my first book “Thank You, Goodnight” for FREE.

He gave me my first opportunity to write.

Apart from the clever quips that I could make regarding whether Chris Ryall’s decision to allow me to talk at great length about the one thing I still love about making the trek to see a movie, the trailers, was a good one I cannot help but just feel in awe of the level of intelligence Chris brought to a site called MoviePoopShoot.com.

Whether it was his One Hand Clapping columns or his weekly quest to skewer all things television there was a quality control about the site that always made me want to be a better writer. It didn’t help that when I tried to spread out a little bit in the column that PR flunkies would ostensibly hang up on a guy saying he was from a place called Poop Shoot but Chris was always there to offer advice and was always physically quick to turn around every…single…e-mail with blazing quickness.

Chris has now found himself in the envious job of being the Editor-In-Chief of IDW Publishing which, among other things, has put out 30 DAYS OF NIGHT, POPBOT, SCARFACE: DEVIL IN DISGUISE, TRANSFORMERS and scads of other titles that aren’t your daddy’s superhero books. He’s made it great to be a fan of comic books that aren’t nearly as obtuse as the stranger, art for art’s sake, independents that you can find choking any respectable comic book stand. I’ve found more hits than misses coming out of the IDW showroom and the level of artistry that graces some of its pages is genuinely top shelf.

I was able to talk to Chris prior to his appearance at the San Diego Comic-Con and it was a conversation that certainly spans many of the titles that IDW has been publishing lately but this was a conversation that I hope illuminates a little about the day-to-day operations an EIC has to go through in making sure the product that is released is good and how it’s fun to be king when you’re able to visit the set of 30 DAYS OF NIGHT on the underside of the world and witness the comic book finally coming to life.

We got to the point of talking about how the Comic-Con has inflated to a gigantic, almost sentient, beast:

RYALL: It’s all getting really ridiculous.

Christopher Stipp: It is. And you’re obviously going to be part of the ridiculousness. What’s your schedule like?

RYALL: My schedule is horrible. I’m doing a couple signings but I’m doing three different panels and have non-stop meetings for four to five days. The usual….Nonstop hustle from one to the next.

CS: Is it an enjoyable experience for you at this point?

RYALL: Well, it’s fun being there and everything but”¦it’s fun talking to people and I like doing signings and all but you just don’t have enough time to see some of the things I want to see. There’s not enough time to talk to people. I’m able to talk to people for 30 seconds then I have to run off. I don’t like that. That’s why nights are more fun. You can spend more time with people. You don’t have to run from meeting to meeting. It’s alright. It should be a good one for us because we are just coming off Transformers and we have some big announcements to make while we’re there as well.

CS: I have a whole lot of questions for you. And that’s one of them. Are you benefiting from how well TRANSFORMERS has done in the past weeks?

RYALL: Yes, it’s been great for us. It’s been our best year ever. We got to go into places that we’ve never been to before like Target with our book which is pretty cool. Transformers has been pretty good for everybody so far.

CS: I read that in previous interviews….you guys seemed to be able to leverage that ““ the properties being attached to films ““ 30 DAYS OF NIGHT really took off when people were starting to get attached to it and the same thing with TRANSFORMERS. In your opinion, if the movie didn’t do as well, would this”¦.were things in place before or is the book doing as well it is because of the success of TRANSFORMERS?

RYALL: They were in place before. Like when you buy a book at bookstores like Borders or Barnes and Noble ““ those books are returnable. So if the movie didn’t do that well then those books would have come back to us. I think because the movie did do so well, made people want to actually pick them up. We did a special one for Target and that one actually sold out in a couple weeks…We gave away a million and a half copies of the comic of the video game and gave away millions at movie theaters. So, yeah, all those things have just been stuff that we never really had an opportunity to do before on that scale. It’s kinda nice.

CS: Absolutley. And I’m curious to know on that level, when you are taking a property as wide as you have on uncharted waters, how do you tip toe into it and determine what would work or try ““ how do those decisions get made in the end?

RYALL: I think the cool thing is that we didn’t even over think anything. We were like, hey, the movie is coming. Let’s do a prequel and explain some things that were referenced in the screen play or allude to in the movie but don’t necessarily have time to cover in the movie. Let’s do a whole prequel that will answer these questions and explain why Bumblebee can only talk to the radio and that kind of stuff. We sorta jumped in from there. If we do this four part epic story that leads into the movie and then do the movie itself it just creates a huge massive epic Transformers story. And the cool thing about that was we were in the stores in February for the start of the prequel so you got the first official look at the characters and the story line.

CS: It was weeks and weeks before”¦It was a nice little push to at least get people ready for it.

RYALL: And I think it paid off a bit more after you saw the movie and saw the stuff we referenced in the movie but then if you go back and read the prequel after you see the movie, it’s like “Oh yeah…that’s what that was””¦.that’s what they were talking about.

CS: So you were using the screenplay in small bites, here and there, to help bolster the storyline?

RYALL: Yeah. They gave us the screenplay then I went through and developed this four part plan on what we’d like to do with the prequel. Got on the phone with Miramax and got the screen writers involved so everyone had their input involved, do this do that, make sure this happens”¦it was very collaborative which was cool for a project on that scale it can be difficult but it wasn’t the case this time. It was fairly smoothly done for as big a project as it was. You have Hasbro on one side, then you have Paramount, then you have the filmmakers and the writers”¦.there is potential for all that to be egos or different things people want to happen but there was none of that. Everybody was just working toward telling a story. It was pretty fun and very gratifying thing to do.

CS: That’s amazing. Do you credit that to anything in particular why everyone was just able to go forward instead of having Hasbro being a bureaucratic pain in the ass or the screen writers taking umbrage with something nitpicky?

RYALL: I would like to think it was because the proposed outline was so solidly done, but I have no idea. We were just so excited about getting stuff out there and making it work on every level. And I think at some point because we had been doing it for a year and a half there was some trust level, at least with Hasbro and also with Paramount”¦..as far as the comics go it was always our thing so having that previous history, doing the books gave us a trust that we never had before.

CS: And I think during the proposal stage you said before there were other people with more money than you had in getting a licensing agreement and it was all about the quality of the work that made you guys the obvious choice to pick”¦is that the way you approach the proposal process? I mean do you have to play up to your strengths and hope that money just isn’t the bottom line?

RYALL: Yeah, I think just even getting the licenses we’ve shown that we’ve done things like this before and even though we weren’t the biggest publisher we could show that, unlike a huge publisher we could make the property our flagship title whereas Transformers was never going to be a priority for someone making all the Batman, Spider-Man books first. We could, though, put all our energy into it to make it the best we can. So, all those things combined, I think, a year and a half later, Hasbro seems pretty happy at the things that we’ve done so it’s worked out much better than you would have assumed it would from the start.

CS: As Editor-In-Chief, when you have a property like that, myself growing up in comics I’ve been privy to a whole bunch of crappy comic adaptations of films, what’s important to you when you get a property in your hands ““ what’s at the forefront of your mind? What are you thinking?

RYALL: First thing always is, “Do we like it?”

I would never want to do…I don’t want to single anything out that I hate, like American Idol…A big easy money making kind of thing that I can’t stand because it would just take over your life. It’s just work. So we think, “OK, do we like it, do we have an idea for it, what do we think we can do with it?” Like, with Transformers, we have the luxury of looking at what’s been done before. What do we think worked before? What did the fans think worked before? What didn’t work? Then we can just base our plan off of not only what we think that we’d like to do with it but what the fans said they want to see.

CS: So you’ve actually taken that into account as well?

RYALL: Oh yeah. Before we put our whole plan together for Transformers I spent two months lurking on some of the bigger Transformers message boards just learning what they had to say, what they like and what they don’t like. It’s certainly an opinionated crowd. But that’s cool. What mass comics worked for them. It was a good basis ““ a good starting point.

CS: I liked the GI Joe and Transformers story arc circa 1980 something…

(Laughs)

RYALL: Some of it was done well some not so well but”¦.

CS: I was going to ask working in the medium now being Editor-In-Chief are you more critical of the products being sold to kids ““ not even just to kids ““ to comic consumers being more critical of what’s out there?

RYALL: Completely. It’s hard because I know a lot of the people that are creating that stuff too so now I would be more inclined to say hey he’s a nice guy …he probably didn’t mean to hack it. But some of the stuff is so shameless. I’m sure people could look at us and say the same type of things. But it does give you a more critical eye for that type of things.

CS: And you are “hands-on” especially with your adaptations of LAND OF THE DEAD, SHAUN OF THE DEAD, Great Big Secret Show, and now with BEOWULF, I’m curious to know I have not seen an editor in chief take on such an active role with adapting as you have. What’s it been like to try and translate a lot of these projects into actual comic books themselves.

RYALL: The cool thing of just being in this role is allows me the luxury of picking and choosing what I really want. So if something comes along that I just love and I really want to do, I can opt to do it. I do try and make sure not to take work away from other people because I don’t want to be selfish and just do things myself. But some of them ““ like Transformers was pretty cool and Clive Barker, I have a relationship with him ““ it just makes more sense when you are dealing constantly with the studios like Transformers…it’s just easier to deal with it yourself than try and explain it after the fact to writers so that’s kind of my thought process.

I got to say the Clive Barker thing was a bit daunting because it was almost an 800 page book to adapt to 20 comic book pages ““ I guess it’s more than that ““ 22 pages times 12 so I guess 240 pages. But anyway, it’s a lot to condense a novel into a comic book. Movies are a bit more easier because they are set up more visually and the scenes kind of follow the same, whether it’s a movie, screen play or comic book. Try to figure out the breaking point ““ the cliff hangers is the challenge of comic books. Books are a bit more of challenge because the visuals aren’t fully developed and you have to be a bit more presumptuous, like I’m going to cut out the Clive Barker’s dialog because it’s not needed here but then who the heck am I to decide to cut out Clive Barker’s words?

But like anything you have to adapt it to the form that it’s going to be presented and he understands that more than anyone because he’s had his works adapted to comics and moves and each one is different you have to make sure it works for the format. The books, the comics we can condense things here and there and if he’s happy with it then I am and hopefully others will be to. We try not to disrespect the material.

CS: But now you don’t have the author of Beowulf to go back to. How’s that been?

RYALL: Neil Gaiman and Roger Avery are the authors of the screen play.

CS: So, you are basing it on the screenplay then?

RYALL: Yes. Fully movie based.

CS: How’s that been? Have you been working with Gaiman back and forth on your adaptation?

RYALL: Not so much back and forth. I did send over some of the art and showed him what we were doing and he said he loved what we’re doing so that’s good enough for me. If I don’t disappoint the people who originated the material then I feel like I’ve done my job. And he’s the captain of it. 200,000 copies of an 8 page promo to give everybody at the show for free so they can see how it starts anyway. And it’s fun. I’ve never really done any sword and sorcerer stuff before.

CS: Is it difficult to switch mediums? I’m not a big sci-fi guy myself but when you get into an area that you’ve never dabbled in before is there any time when you say, oh I’d be good enough to do this or”¦.

RYALL: I never really thought that. I’m not steeped in it in the way some of the fans are so, in a way, I hope I handle the dialog properly. Especially with the prequel because we developed it on our end and not based on an adaptation so it was like uncharted territory there. But I will say that Zombies Vs. Robots is such a different world. It’s so much easier. Because it’s mine. I don’t have to worry about disappointing anybody if I screw it up.

CS: I read that when you do at something, when you take control of a project, you are really personally invested. You are not just writing for the sheer joy of writing and you are really concerned about getting things right. Do you think that that’s something that people have said about your work that at the very least it’s an honest adaptation?

RYALL: I don’t know. I’ve never really heard that from people ““ but I guess I have with the Clive Barker stuff that I was true to the material and I handled it the way they wanted to see it handled. With that Clive book, it came out in ’89, it’s been some people’s favorite book for 20 years or what have you. Those people have seen that book in their heads for two decades so now we are actually putting a definitive visual down on paper, if it doesn’t measure up to what they expect it to be you really have a chance to disappoint them.

But, so far, everyone seems to be pretty happy. I try not to do too many of these because I really want to take the time and be sure it’s up to the best of my ability. Plus I try to hand-pick the best artist on these things which also helps. It helps carry a script if you got Gabriel Rodriquez or Ashley Wood working for you.

CS: Did you ever make it to the TRANSFORMERS set?

RYALL: No.

CS: No, as in, they didn’t let you go?

RYALL: No, I tried to go but it didn’t work out.

CS: Well, one that you did make it on that I’m really interested about is 30 DAYS OF NIGHT.

RYALL: Yeah, that was cool. That was a lot of fun.

CS: Was it just as a spectator or did you get to offer any input into anything?

RYALL: No. They were well into the shoot at that point. Who am I to be telling David Slade what he should be doing? He was showing up and being respectful to the material. So we just were able to sit back and watch the process without getting involved or anything like that. He had it well in hand anyway so he didn’t really need me getting in the way I think.

CS: And what was that experience like seeing something that year’s ago was just ink and paper. It must have been ““ this stuff being right in front of you live and people trying to bring it to live action. How was that?

RYALL: The coolest part was watching with Ben Templesmith…Because he was there with me and it was his book. He did the visuals and everything like that. It was kind of like bringing your kids to Disneyland for the first time ““ watching through they eyes. Just watching him and seeing how amazed he was by seeing his talent come to life and seeing character shirt designs come to life, he was so ecstatic to see something he did come to life. It was cool for me to see it but I would imagine it would be more fun for him to see something he created brought to life like that.

CS: And David is a curious choice as a director. I think he can be credited with capturing the most agonizing castration scene ever put to cellular.

RYALL: There’s a horror movie for you.

CS: So who ultimately gave that green light to him?

RYALL: Oh, I don’t know. I know somebody talked to him but I wasn’t involved in that part of the process. But I know somebody really liked his work on HARD CANDY.

CS: Great movie.

RYALL: Yeah, it was a pretty uncomfortable movie.

CS: But I think that’s the kind of guy you want. The guy who can make something out of something that’s not really there.

RYALL: Yeah, he also built characters in that movie too. So his ability to handle characters and work with actors to that degree, the thing’s got more potential to be more than just a slasher horror movie. Good characters.

CS: It’s also has a great trailer. I’ve been wanting something good and it’s the little little things. It’s the finger on the record…the little details. And the vampire’s face ““ the actual physicality of a vampire is something I have not seen before.

RYALL: Yeah, it was fun to watch that on the set. Danny Houston was so in character as the lead vampire. It was fun to watch the makeup after they are just sitting there all eating salads with their fangs”¦.

(Laughs)

CS: I listen to Michael Chabon talking about ““ this is a lengthy question so sit down for just a moment. Michael was talking about his new book and somehow they got on the topic of comic books and he has mentioned that one of the best stories he read growing up are the ones that took like Superman what have you and put another type of reality on top of that. Superman goes to bizarre world or dual layered and it got me thinking that when I saw that Ben is coming back with the WWII 30 Days of Night that he’s taking the already fictional world of these vampires and he’s putting on an additional reality of WWII ““ any reason why Ben went with that time period with these vampires or is it just something he’s always been thinking about doing?

RYALL: Well, I know that he’s been talking about that for years. He’s sort of a history buff ““ he’ll tell you about thousands and thousands of troops that marched into Russia and just disappeared. They say because of extreme cold and everything else they faced but there was a chance that vampires had killed them so he thought that playing off the fact that it was based in the circle of fact and the story paralleled the original 30 Days so it was a fun idea for him. I know he didn’t want to do something different. He’s turned into quite a good writer. He’s got a good wicked sense of humor. He’s turned in some good stuff now.

CS: How does Ben try to keep the genre fresh? You talk about vampires ““ just look at how many comic books out there are based on vampires. How does he look at his role as a creator to keep these things from becoming just ho-hum?

RYALL: I think he stepped back from doing the 30 Days the last two to three years because he was worried about that too. He didn’t want to get to the point where he did so much of that that people just take it for granted or only did it for the vampire guy. So he was trying to do other things like Hatter M and Wormwood to try and break out a bit. I think now he can go back and revisit this world and be effective especially when he has a good idea, like he did in this one. People won’t take it for granted. He’ll put something different out there ““ something exciting and new.

CS: I read in a recent interview about the proliferation of people who are downloading scanned comics files ““ is it really something that companies should be moving toward or investigating or is it something that is almost like Chicken Little”¦the sky’s is falling because people aren’t buying the comics, they’re reading them on-line. Are people really downloading at an incredible pace for publishers to start thinking about”¦

RYALL: I just want to say no because I personally don’t want to read comics on-line ““ anything more than just a page strip I find obnoxious to read but I think you can’t ignore big numbers like big torrent sites where there are hundreds and thousands of people downloading comics. So I certainly think it is something that some of us will have to figure out what to do with it.

I don’t know that there is a quick settle ““ I know we’ve all gambled here and there as far as offering up downloadable content but I think it’s still not formatted in a way that is all that palatable, so I don’t know. It something that people just shouldn’t ignore but it’s hard for me because I like to have something tangible in my hands. I’d like to think that they wouldn’t replace the comics themselves any more than they would replace books or magazines but I know there is a growing number of people out there that don’t think along the same lines so we are looking into that, as to what the best kind of approach would be.

CS: And certainly in your job as Editor-in-Chief for the last couple years.

RYALL: It’s been three years now.

CS: How have you ““ what has been your keys to success these last three years? You’ve obviously never run a comic book company before ““ how did you learn as you go?

RYALL: It’s not a whole lot different ““ there’s a lot more deadline pressure but I’ve always kept deadline pressure on myself to come up with new content everyday. That did help a lot as far as just dealing with a lot of different people, a lot of different deadlines, so all that is on a grander scale now. It helps to have a background in comics. I think I have an affinity for it so it makes it a lot less feel like work.

CS: And certainly one of the things that I will publicly say that I admire about you is that you were constantly producing on a deadline whether it was One Hand Clapping or the TV listings that you set the example for everyone else on MoviePoopShoot.com that deadlines can be hit no matter how busy you think you are. Do you think that’s translated to what you are doing over at IDW?

RYALL: I hope so. The one thing that I realize here is that it’s no longer a 9 to 5 job. I pretty much work day and night, and mornings and weekends, year round. But the reason I do it is to stay ahead of these things but also because of the freelancers are working at all times during the day trying to get things done on deadline. I don’t want them out there alone. I want to be accessible to them. I want them to know that we are all doing stuff together no matter what time of the day. So, I try to do the same thing ““ try to set the example. I’m right there with you. Even though no one but me would know that I’m late, I make it a point to never be late just because I think people might be telling somebody else to get there stuff in on time – on deadline. But yes, I put all this undue pressure on myself that I probably don’t have to but it helps me anyway.

CS: And the final question to people out there, you have seen some great success in the last few years but looking ahead where does IDW see itself evolving or does it need to evolve at all, just happy being what it is?

RYALL: I think you have to evolve. When I first started here we did some license stuff and we did a lot of horror stuff that I’ve tried the last three years to help us branch out more than just pigeon holed and I think we need to keep doing that sort of thing. Stuff that’s more kid friendly make sure that we have stuff for different audiences. If you’re ready for horror, we’ve got that, if you’re younger and your sensibilities are younger then we have stuff for you there. Just proceeding that way and vary the content for different people. I want to write more creative rock stuff ““ that’s my big goal. I like to do adaptation but I have some other stuff that I want to try and get to next year.

QSE News: Week In Review – 10/19/2007

Filed under: Columns,News — UncaScroogeMcD @ 12:02 am

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Here are today’s top entertainment headlines:

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  • Fans of the TV show Buffy The Vampire Slayer will have to dress up and sing somewhere else, as Twentieth Century Fox Television has issued a cease and desist order to planned sing-along events. Organizers have been running Buffy sing-along events in several cities across the country where fans come dressed as their favorite characters and act out parts of the show ala Rocky Horror Picture Show. In the letter, Fox lawyers stated that fans of the show will “have to creep out normal people and wear their virginity on the outside some other way… or pay us a billion dollars because we are greedy shit heads.”
  • Deborah Harry has given the OK for Kirsten Dunst to star as the former Blondie front woman in an upcoming bio-flick. The film, while still in the planning stages, is set to be directed by Michel Gondry and will follow the life and times of the singer.  When asked about her feelings regarding playing Harry, Dunst replied “Harry?  No, I like to keep it nice and tidy down there.”
  • Family members of Charles M. Schulz are upset with the author of a new biography of the man behind the Peanuts gang. The book, Schulz and Peanuts by author David Michaelis, claims Schulz used the characters he wrote and drew as an outlet for his different personalities, both good and bad. Michaelis claims everything in the book is 100% true, “especially the part where he made his wife dress up like Snoopy while he dressed as Woodstock.”
  • Mock-pundit Stephen Colbert has announced that he will be running for the office of President of the United States. Making the announcement on his show, The Colbert Report, Colbert said he will run as both a Democrat and a Republican. The only current Presidential candidate to comment so far on Colbert’s announcement is Mitt Romney, who said, “At least (Colbert) isn’t black or a woman.”
  • With his work winding down on the upcoming Indiana Jones movie, George Lucas is turning his attention back to Star Wars. Lucas is planning a live action TV show and an animated cartoon based on the popular franchise. Fans are hoping that at least one of the series will focus on Jar Jar, as “that character just wasn’t given enough screen time in the prequels.”
  • The upcoming Spice Girls “best of” CD will be available at Victoria’s Secret months before it’s available at record stores. The new album will be a collection of the group’s biggest hits, as well as two new songs. Industry insiders have commented on the Victoria’s Secret deal, noting that only one of the members can wear anything produced by the company as most of the members “have let themselves go a little.”

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That’s all for today’s news, stay tuned to this channel for all the news that matters least but you still care about.

(Compiled by J. Allen)

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Quick Stop Thingamabobs: 10/19/2007

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 12:01 am

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The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

————————————————

  • More QI goodness to wrap up the week – here’s the 7th episode of series 3 – featuring Stephen Fry, Alan Davies, Jeremy Clarkson, Sean Lock, and Rich Hall – Part 1… (Thingamabob)
  • Mitchell & Webb – “The Green Clarinet”… (Thingamabob)

October 18, 2007

Quick Stop Thingamabobs: 10/18/2007

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 2:37 am

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The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

————————————————

  • QI Series 5, Episode 5 – with Stephen Fry, Alan Davies, David Mitchell, Dara O’Briain, and Phill Jupitus – Part 1… (Thingamabob)
  • David Mitchell discusses televised religion… (Thingamabob)
  • Mitchell & Webb – “Hole In The Ring”… (Thingamabob)

October 17, 2007

Toy Box: Robocop 3D Wall Art

Filed under: Columns,Toy Box — admin @ 12:02 am

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Robocop is a true cult classic film, combining a cool futuristic story line with some great acting and special effects. It was such a hit in 1987, that it spawned two sequels (and a third is in production) as well as a television series. And let’s not forget all the classic one liners that people continue to use at inappropriate times to this very day.

Robocop had a terrific cast, including Peter Weller of course, but several other folks that have had long careers as character actors like Ray Wise (currently the devil on Reaper) or Miquel Ferrer (currently on Bionic Woman). But it’s perhaps best known as an ultra-violent film, even by today’s standards, twenty years later. The death of Officer Murphy is not for the squeamish, and relatively unknown (at the time) director Paul Verhoeven made sure it wasn’t a scene you’d soon forget.

Robocop 3D Wall Art

McFarlane Toys started producing three dimensional versions of classic movie posters and album covers a few years ago. I’m not into vinyl, so the album covers didn’t do a lot for me, but I’m a huge fan of great poster artwork and have been picking up the majority of their ‘3D Wall Art’. The latest release is based on the classic Robocop movie poster, and is now hitting stores. Expect to pay around $20 or so, depending on the retailer.

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Packaging – **
The package only covers the edges and back of the poster, not the front. That means that the poster can get damaged on the shelf fairly easily. I cut them some slack in this area in the past, but with all the complex three dimensional sections, scratching or damaging the paint is a real possibility.

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Sculpting – ****
If you haven’t seen one of these in person yet, be prepared for a visual treat. They take the basic concept of the original iconic poster, and produce a sculpted, three dimensional version. This works much better for some posters than others, and the amount of the image that’s brought out varies, but the Robocop poster was an excellent choice.

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They’ve managed to sculpt the small details with an appropriate level of accuracy, staying with the appearance of the original print and yet giving it a new life. There’s probably more here in 3-D than any of the other posters theyve’ done so far, including the entire Robocop, almost every aspect of the police car, and the main logo. By placing the rest of the credits on a flat surface that is actually brought out to the front of the box, they’ve provided the perfect step for Robocop’s left foot, and with proper paint work still given it a poster-like appearance.

These are actually fairly large, at about 8 1/2″ by almost 13″ tall and a couple inches deep. They’ve actually reused the basic exterior box from the Alien 3-D poster, and still have the battery compartment (glued shut) on the back.

Paint – ***1/2
The paint work here is solid, with almost no slop or poor definition. The choice of colors matches the original well, and in some cases they’ve even flattened some of the 3-D appearance of the sculpt with the paint. That creates an interesting effect, tricking the eye and making you not quite sure what you’re seeing at first.

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There’s a few cut lines that aren’t quite perfect, but these issues are very minor compared to the overall exceptional appearance.

Design – ****
Obvioiusly, the design is based on the poster and follows it almost to an exact reproduction. That’s a good thing though, since the image is so iconic. They also created the three dimensional areas in sensible and attractive ways, bringing out the beauty of the poster.

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Value – ***
These are about $20 each online, and that’s what I’m grading them at. The size of these is more impressive in person, and the price point is actually pretty good considering the varied licenses.

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Things to Watch Out For –
Not much. Obviously, with no protection for the front of the poster in the package, you’ll want to watch out for any possible shelf damage that might have occurred to the paint or sculpt. But if you have a good one in your hands, what you see is what you’ll get once it’s out of the box.

Overall – ***1/2
This is one of the best of the posters they’ve done so far, and that’s saying a lot considering how well past releases have turned out. These make terrific decorations for a movie or home media room, or a ‘rec room’ for those of us old enough to remember what those were. They aren’t intended to take the place of normal posters, but to be their own unique entity, and in that they succeed quite well.

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Where to Buy –
There’s a number of online options:

– Amazing Toyz has him listed at $19, and they have many of the past releases as well.

– Cornerstorecomics has him at $19 as well, with others available.

Related Links –
I’ve covered a number of the other releases as well:

– there’s my review of the Jaws and Friday the 13th posters, as well as the Rocky Horror Picture Show poster and Nightmare on Elm Street.

Quick Stop Thingamabobs: 10/17/2007

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 12:01 am

thingamabobs.jpg

The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

————————————————

  • In the “From The Vaults” department, here’s news footage of Kevin Smith protesting his own film, Dogma… (Thingamabob)
  • Bill Bailey & Billy Bragg sing “Unisex Chip Shop”… (Thingamabob)
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