#apparently he was also the billy's actor for that first TV adaptation

[chiseler]

Larger Than Life

In 1927, Albert Bertanzetti and his three-year-old son, William, were taking a stroll when they stopped to join a small crowd watching a film being shot on the streets of Los Angeles. During a break in the shoot, Albert suggested his son go show the director, Jules White, his little trick. So William toddled over to White and tugged on his pant leg. When he had White’s attention, William flipped over, went into a headstand and began spinning in circles. White was so taken with the trick he gave the young Bertanzetti a small uncredited role in the two-reel short, Wedded Blisters. Afterward, William earned a regular role in the popular Mickey McGuire series of shorts, where he played Mickey Rooney’s younger brother Billy. Taking prevailing anti-Italian sentiments into consideration, in the credits he was cited as “Billy Barty.”

Barty had been born in Millsboro, Pennsylvania in 1924, but when it was determined he had hay fever, Albert decided to move the family West, to the dry, clean air of Hollywood. Depending on how you look at it, hay fever was the least of Barty’s problems. Or maybe not, given how things worked out.

Apart from hay fever, Barty had also been born with cartilage–hair hypoplasia, a form of dwarfism. Being extremely small for his age at three (as an adult he stood three-foot-nine), when it came to early film roles he was almost exclusively relegated to playing diaper clad infants. It was a director’s dream—having an infant on set who could not only take direction, but could walk, run, talk and do tricks as well. As a result, along with the Mickey McGuire shorts, he played infants in everything from the all-star live action adaptation of Alice in Wonderland (1933) to Golddiggers of 1933 (1933) to Bride of Frankenstein (1935). In fact Barty, tiny as he was, would play diaper-clad infants until he hit puberty.

Over a career that would span seven decades, along with infants, Barty would play his share of elves, leprechauns, imps, Hobbits, trolls, assorted other fairy tale and fantasy characters, clowns, court jesters, pygmies, sideshow performers and mad scientist assistants. Ironically, for having appeared in over two hundred films and television shows, Barty did not appear in the three touchstones of American Dwarf-centric cinema: Tod Browning’s Freaks (1932), Sam Newfield’s The Terror of Tiny Town (1938), or Mervin LeRoy’s The Wizard of Oz (1939). No, although he would appear in the behind-the-scenes comedy Under the Rainbow (1981), contrary to the general assumption, Billy Barty was never an original Munchkin. There are reasons for this.

In 1932 when Browning was working on Freaks, Barty was only eight, he was not a professional carnival freak, and he was too busy with the Mickey McGuire shorts. And after the shorts’ seven-year run ended in 1934—two years before casting began on Tiny Town or The Wizard of Oz—Albert Bertanzetti, recognizing talent in all of his children, pulled Billy out of the movies and sent the whole family on the vaudeville circuit.

Now, 1935 was hardly the most opportune time to try and break into vaudeville. As an entertainment form it had been on life support for a decade already, with theaters either closing down or becoming movie palaces with performances, almost as a sad afterthought, taking place after that evening’s double feature had ended. Those performers who could were trying to break into pictures, and those who couldn’t were vanishing without a trace. Now here was Barty, who’d been working regularly in films for nearly ten years, trying to break into vaudeville. Nevertheless, Billy and Sisters, as they were touted, marched on, with a musical act featuring Barty’s sister Evelyn on piano and accordion, his other sister Dede playing violin, and Barty himself on drums. They all sang and danced a little, and the adolescent Barty told jokes and did impressions. In his later years he remembered the time fondly, mostly because it gave him a chance at that early age to see much of North America.

In 1942 Barty enrolled in college in Los Angeles and majored in journalism, hoping to become a sportswriter. While there, he joined the football and basketball teams, where he was both a novelty and a ringer. He also played second base on a semi-professional baseball team for a spell, where by his own account he was walked forty-five times.

Instead of pursuing work as a sports columnist after graduation, he returned to show business. Later he was quoted as saying, “You don’t see any little people doing newscasts, you don’t see any doing sports writing, you don’t see any sports announcing, you don’t see any coaches, but there are little people who are capable of doing these things, who have proven themselves.” You get the sense there was a little personal bitterness there, hinting he may have been forced back to Hollywood because that was the only place he could find work.

By 1947, now an adult with a gravelly but high-pitched voice, Barty sported a boxer’s face on a disproportionately large head. In many ways he resembled a diminutive William Demarest, and in many roles would adopt Demarest’s gruff but lovable demeanor. Shedding the diaper at last, he nevertheless picked up where he left off, playing assorted pygmies and leprechauns and elves, usually for cheap laughs.

In the early Fifties he became a regular member of Spike Jones musical comedy ensemble, The City Slickers, and was a big hit on Jones TV shows, where he became especially known for his slapstick, spot-on Liberace impression, and his ability to roll off his piano bench into a head spin, a trick which continued to serve him well.

Growing up, Barty said, he had no idea he was different, that his parents never told him there were things he couldn’t do because he was too short. By the time he was thirty, however, he’d come to learn the rest of the world was not quite as accepting as his parents. In 1957, Barty put out a call for little people from around the country to join him for a get together in Reno. Only twenty people showed up to that first convention, but it became the foundation for Little People of America, a support and advocacy group pushing for equitable treatment and civil rights for dwarfs, midgets and other people of unusually small stature. His aim was to ensure little people across the country would be treated fairly, would be able to get jobs, and would be granted the same accessibility rights afforded the normally-sized. It always struck me as a little odd that, for all his tireless efforts lobbying to normalize perceptions and treatment of little people throughout American culture, Barty, without much apparent gumption, would continue to take roles some might call demeaning, or at the very least helped cement those stereotypes he was fighting so hard to break. Perhaps to him it was simply paying work, it was showbiz, and he knew full well what his role was within that world. But the apparent ironic contrast between his activism and his work would lead to a public tiff in the Seventies with fellow small actor Hervé Villechaize of Fantasy Island. Barty, who’d appeared on the show, felt Villechaize was undercutting all his work when he said bluntly that people like him and Barty “were midgets, not actors.”

After the second annual Little People of America convention, Barty began courting Shirley Bolingbroke, a little person who had attended the meeting. When he proposed, however, she declined, telling him she was a devout Mormon, and so would never consider marrying anyone outside the faith. In 1962 Barty relented and converted to the church of Latter-day Saints, and the two were married. Although Mormon insiders and publicists have made a big deal of Barty’s enthusiastic True Believer status within LDS, it would be many years before he agreed to get baptized and receive full member status, and then only to participate in his son’s baptism.

Around the time of the marriage, as Barty was making regular TV appearances on various comedy and variety shows (including a recurring role on Peter Gunn), he also began hosting a weekday afternoon local kid’s show in Los Angeles which was called either Billy Barty’s Big Top or Billy Barty’s Big Show, depending on who’s doing the remembering. That stint may well have brought him to the attention of the sinister Sid and Marty Krofft, who in the late Sixties conscripted Barty to become a regular on several Krofft shows including H.R. Pufnstuf, The Bugaloos, and later Sigmund The Sea Monster, where he played the titular sea monster opposite Rip Taylor and aging child star Johnny Whittaker.

For all the low-brow antics and his uncredited roles in Elvis movies, it must be said Barty was always a compelling and charismatic screen presence, a, yes, larger than life character. In those few rare instances when he played roles that made no references at all to his height—like Abe Kusich, the shady drunken cockfighter in Day of the Locust or Ludwig, Rod Steiger’s sidekick in W.C. Fields and Me, he proved himself an electric onscreen presence who could dominate any scene.

(Just a quick aside, in 1980 Ralph Bakshi rotoscoped Barty to portray both Bilbo and Samwise Baggins in his animated version of Lord of the Rings. I wasn’t aware of that at the time, but thinking back on it now, the way both characters moved, it seems so obvious I was watching another Billy Barty performance.)

In 1975, around the same time he opened a Southern California roller rink he called “Billy Barty’s Roller Fantasy, Barty established The Billy Barty Foundation. As an adjunct to Little People of America, the Foundation aimed to provide practical assistance—money, adaptive equipment, etc.—to little people in need, particularly children. And after campaigning for George H.W. Bush during the 1988 presidential campaign, he sat on a panel of advisors working to hammer out the details of the Americans with Disabilities Act, which President Bush signed into law in 1990.

At the same time he was sitting on that panel, Barty was also producing, directing and starring in Short Ribs, a syndicated sketch comedy series featuring an all-dwarf cast including Patty Maloney, Jimmy Briscoe and Joe Gieb. The show, which was modeled after SCTV and SNL, only aired in the Los Angeles area and ran thirteen weeks. After the show went off the air, Barty was slapped with two lawsuits, one from the show’s co-producer William Winckler and one from the show’s co-writer Warren Taylor, both of whom claimed Barty owed them money. The suits ended up, inevitably, in small claims court. Barty lost both suits, and even though few people had ever heard of, let alone seen the show, news of Barty in small claims court was too much for reporters to resist, and the case received smirking national attention.

After the suits were settled, Barty continued to work, but a bit more sporadically. He had one-off roles on Frasier, Jack’s Place, and a few low-budget quickies, and seemed to be edging more into voice roles, providing characterizations for a Batman cartoon and The Rescuers Down Under, to name a couple. But he was still working until the end, when he ended up in the hospital with cardiopulmonary issues in late 2000. He died on December 23rd of that year at age 73.

In the late Eighties he told an interviewer, “I’ve never looked at acting as ‘Ahhh!’ and ‘Gee!’ I started in vaudeville when I was five and for me it was just walking on a stage and I’m gonna perform. Later on I was impressed by many things, like when I worked with Burt Lancaster and Kirk Douglas in Tough Guys. That was an ‘Ahhh!’ for me. When I look back, even today, I guess I can go ‘Ahhh!’ because I worked with Ruby Keeler and Dick Powell in Gold Diggers of 1933 when I was nine. Then they were just grown-ups on the stage. As I look back, I’m more awed now than I was when I was actually doing it.”

Those who knew and worked with Barty always recall what a joy it was, how kind and enthusiastic and funny he was, a real spark who could enliven even the most questionable production. I would never deny that. I’ve always loved and admired Barty, and have sat through countless godawful films and TV shows simply because he had a role, no matter how small.

That said, I do have to wonder if at the end, after all his decades of work fighting for the dignity of little people everywhere, he felt like a bit of a hypocrite for spending those same years and more cementing the stereotype in the American consciousness. I also wonder if he died still wishing he’d become a sportswriter for a Des Moines daily instead.

by Jim Knipfel

[buzzdixonwriter]

Compare & Contrast: ONCE UPON A TIME IN HOLLYWOOD Movie vs Novel

Once Upon A Time In Hollywood is my favorite Quentin Tarantino film, a love letter to late 1960s Los Angeles / Hollywood, an alternate history where the wicked (or at least three of them) are punished and the virtuous are spared and rewarded.

Tarantino has since expanded his basic story into a new novel, Once Upon A Time In Hollywood and it’s interesting to compare & contrast the two approaches to the material.

Movie tie-in novelizations are not unusual, of course, but it’s the rare example when the original creator (writer or director) takes a whack at it.  Ian Fleming famously turned an unsold screenplay, James Bond Of The Secret Service, (written with Kevin McClory, Jack Whittingham, Ivar Bryce, and Ernest Cuneo) into the novel Thunderball and a busted TV pilot, Commander Jamaica, into Dr. No, while Ed McBain (a.k.a. Evan Hunter ne Salvatore Albert Lombino) adapted a couple of original 87th Precinct movie scripts into novels.  

Here Tarantino takes his stab at it, and the results are…well, let’s cut to the chase…

Which is better, movie or book?

Good movie, okay novel.

For those who want a more detailed analysis…

[SPOILERS GALORE]

Story Structure

Once Upon A Time In Hollywood the novel is just barely a standalone story; it’s really enhanced by seeing the movie first.

The story flow is roughly the same, and it’s clear a lot of the material in the book are from early drafts of the screenplay (with a few callbacks to earlier Tarantino films).  There’s also a lot of material missing that was in the movie (the immediate aftermath of Cliff visiting George Spahn, f’r instance).

However, the main plot and many major scenes from the movie are described as almost asides, hints at things seen on screen that aren’t elaborated on in the movie.

In one sense, this works to the novel’s advantage; there’s little point in reiterating already familiar scenes.  On the other hand, scenes in the book that expand on scenes from the movie can benefit only by seeing the movie first.

While Once Upon A Time In Hollywood the movie features a pretty clear if typically erratic Tarantino timeline, the book’s timeline is less easy to track (but more on that later).

This isn’t a deal breaker in terms of enjoyment, but it occasionally does get in the way of the story telling.

Characters

What I liked most about Once Upon A Time In Hollywood the movie was that the Rick Dalton character is presented as a self-involved / over anxious / ot-nay oo-tay ight-bray actor who, despite his very apparent shortcomings, also demonstrates a truly professional dedication to his craft and an ability to listen and learn and grow.

Taking part in the big fight at the end cements his hero status in the framework of the movie.

He’s not nearly as likeable or as admirable in the book.

A big hunk of this is leaving out those crucial action beats mentioned above.  Another hunk is letting us peek too deeply into Rick’s head, and learning what happens to him after the climax of the film.

Instead of moving into the quality artsy A-list movie world as the film version intimates at the end, Rick becomes a John Wayne-like figure with similar intolerant attitudes, popular with middle American audiences.

He does come across as clear headed when it comes to his career and his place in the Hollywood pecking order, as demonstrated in his own analysis of why he would never have gotten Steve McQueen’s role in The Great Escape.

Sharon Tate is still the delightfully airy character shown in the movie, though Tarantino gives her a broader emotional palette to play with.  She comes across as more fully rounded than the movie version but is still the wonderful, life-loving character of the film.

Cliff Booth, on the other hand, suffers badly.

First off, Cliff’s character in the film is already extremely problematic.  The movie deliberately makes the circumstances around his wife’s death vague enough to be read in a variety of ways:  He could have deliberately murdered her and got away with it, it could have been justifiable homicide in self-defense, it could have been an accident, it could have been something else.

We never know and that works to give Cliff a Schrodinger’s cat-like characterization:  We can’t know until we open the box and look in.

Well, Tarantino flings open the box and boy, what’s inside is stupid.

I can absolutely believe Cliff killed his wife in a momentary fit of rage, I do not believe the speargun cut her in half and he held the two halves together so they could have a long lovey-dovey talk until the Coast Guard shows up and she literally falls apart.

If Tarantino’s intent was to hint Cliff had a psychotic fugue after he killed his wife and thought he was holding her together and talking to her, he didn’t make that clear.

Considering how often Tarantino employs the omniscient third person point of view in this story, I don’t think it’s a failure style but of plotting.

That would be bad enough, but there’s a lot of other problems with Cliff in the book.

He flat out murders four people by the time of the novel:  Two petty gangsters back east, his wife, and the guy who offered him a share of Brandy’s prize money from dog fights.

Yeah, Cliff is plugged into the dog fighting world and really enjoys it.  He shows enough affection and appreciation for Brandy the pit bull to recognize when her career is over, and he’s ruthless enough to kill Brandy’s co-owner when the guy insists on sending her to her almost certain death in one last dog fight.

[Sidebar: Elsewhere Tarantino has told aspiring writers to leave morality out of their character’s motives and despite this sounding counterintuitive, it’s actually solid advice.  Morality forces good guys to act like good guys, it never gives the characters room to think and breathe and act as real people.  Tarantino isn’t saying characters can’t make moral choices, but those moral choices must come from who they are, not from some arbitrary code or editorial fiat.  To this degree the novel Once Upon A Time In Hollywood depicts Cliff in a wholly believable light, a natural born survivor who will do whatever’s necessary to stay alive.]

Book Cliff is depicted as a far more unpleasant person than Rick, lightyears more unpleasant than movie Cliff.  Part of this is a deliberate choice on Tarantino’s part as his omniscient third person point of view frequently mediates on the meaning of likeability vs believability in movie terms; he certainly strives to makes Rick and Cliff as unlikeable as possible (Sharon, too, but she’s basically too sweet a character for any negativity to rub off on her).

Cliff also demonstrates a considerable amount of bigotry and prejudice, in particular his opinions on Bruce Lee.  The substance of those opinions re Lee’s martial arts abilities is not the problem, it’s the way in which they are expressed.

Does this sound believable coming from a near 50 year old WWII vet?  Yeah, it does.  That doesn’t mean the book benefits from it.

Which leads to the single biggest problem with Cliff, however, is his age and background.

Tarantino envisions him as a WWII vet, a survivor of the Sicily campaign reassigned to the Philippines (as with Inglorious Basterds, Tarantino really doesn’t care about what actually happened in WWII), taken prisoner by the Japanese, escaping to the jungles to lead a guerilla force against the Imperial Army, recipient of two “Medals of Valor” (who knows what Tarantino means by this as no such award exists in the US military.  Medal of Honor?  Distinguished Service Cross?  Silver Star?  Bronze Star?), and record holder for the most confirmed Japanese killed by a single individual who wasn’t a crew member of the Enola Gay.

Okay, so that makes him what, mid-20s at the youngest in 1945?  

He’d be 49 at the time of Once Upon A Time In Hollywood, not an unheard of age for Hollywood stunt men but certainly pushing the edge of the envelope.

Playing Rick’s double?  That sounds quite a bit more farfetched.  Rick’s exact age is never mentioned but from the way others treat him, he’s somewhere between Cliff’s age and that of James Stacy, the real life actor who starred in the Lancer pilot Rick is filming in 1968 when Stacy would be 32 years old.

That would make Rick roughly 40 at the time, and there’s an aside in the book that reveals one of Rick’s early roles was in 1959’s  Away All Boats, the latter with Tom Laughlin (who in real life later directed and starred in Billy Jack), and since Rick and Laughlin are presented as contemporaries and Laughlin was born in 1931, this would make Rick 28 when Bounty Law started airing that same year and he and Cliff, then age 40, first started working together.

Cliff saves Rick’s life from a stunt gone wrong early in the filming of Bounty Law, so one understands how their bond formed and why Rick continues to keep Cliff around even after Cliff kills his wife.

Missing from the novel is the voice of Randy Miller, the stunt director (played by Kurt Russell in the film) who narrates much of the movie.  I can’t recall if Randy is even mentioned by name in the book, but he certainly isn’t featured prominently in it.  Sometimes the narrative voice of the novel seems to be his, sometimes it seems to be Tarantino’s (and we’ll discuss that below, too).

Not all the characters in the movie make it to the pages of the book, and likewise quite a few characters appear who never showed up in the film version of Once Upon A Time In Hollywood or any other Tarantino film.

Sharon Tate first appears in the book hitchhiking and accepting a ride from rodeo cowboy Ace Woody, originally slated to be one of the assorted baddies in Django Unchained but later melded into another character.

On the other hand, many minor and obscure real life Hollywood players and personalities and hangers on do appear in the novel.  Tarantino is careful to put dialog in the mouths of only certifiably dead personalities, however, and as we’ll go into down below, that’s a wise move.

(BTW, Tarantino works himself into his own story a couple of times, mentioning himself as the director of a remake of John Sayles’ The Lady In Red featuring a grown up Trudi Fraser a.k.a. Mirabella Lancer in the Lancer pilot Rick is starring in, and as the son of piano player Curt Zastoupil, Tarantino’s real life step-father, who asks Rick for an autographed photo for his son Quentin.)

The Hollywood Stuff

Which leads us to the real hook of the book, a glimpse behind the scenes of Hollywood circa 1969.

If, like me, you’re fascinated by this sort of stuff, Once Upon A Time In Hollywood is a fun read.

Tarantino is a devourer of pop culture and dedicates his book in part to Bruce Dern, David Carradine, Burt Reynolds, Robert Blake, Michael parks, Robert Forester, and Kurt Russell, thanking them for the stories they told him about “old time” Hollywood (i.e., the 1950s and 60s from Tarantino’s reckoning).

A lot of the book rings true in attitudes and opinions expressed back in that era, and some of the stories included are jaw-dropping (the Aldo Ray one especially).

The examinations of various maneuverings and strategies in the entertainment industry are also illuminating.

However, this raises a fair question about what the intent of any given work is, and how well documented a work of fiction needs to be.

There’s a trio of actors (all dead so none can sue Tarantino for libel) labeled in derogatory terms as homosexuals in two or three places in the book.

There’s some observations on race that sound absolutely authentic coming from the mouths of those particular characters at that particular time, but one questions the need for using those exact terms today; it’s not that difficult to show the character speaking is bigoted without letting them sling all the slurs they want.

Speaking of terms, I’ve never heard “ringer” used before in the film industry in the context of this book, so if it’s fake, Tarantino did an absolutely convincing job presenting it as real.

But here’s where we start heading into some problematic areas, not problematic in undermining the enjoyment of the book, but problematic in the sense of understanding what Tarantino is trying to convey.

Cliff’s story is awfully close to Robert Blake’s story, and you’d be hard pressed to find many people in town today who don’t think he got away with murder.

And of all the TV show’s to pick for Rick to be playing the villain in the pilot episode, why Lancer?

Few people today remember the series, and Tarantino taking liberties with the actual pilot episode plot isn’t noteworthy…

…or is it?

The actual series starred Andrew Duggan as Murdoch Lancer, patriarch of the Lancer family, with Wayne Maunder played Scott Lancer, the upscale older son, and James Stacy as his half-brother, gunslinger Johnny Madrid Lancer. Elizabeth Baur played Teresa O'Brien, Murdoch Lancer's teenage ward. 

For Once Upon A Time In Hollywood, Tarantino replaced the real life Elizabeth Baur / Teresa O’Brien with “8 year old” Trudi Frazer (in the book; Fraser in the movie) / Mirabella Lancer (played in the film by 10 year old Julia Butters).

Why Lancer?  Why this particular change?

Lancer’s Johnny Madrid Lancer was played by James Stacy, a brief appearance in the film, but far more substantial scenes in the book (as well as the reader getting to see what he’s thinking and feeling).  Tarantino uses these scenes in the book to explain a bit about on set etiquette.

James Stacy was an actual person, and he actually played Johnny Madrid Lancer in the series.

In September of 1973, he was maimed in a motorcycle accident, losing his left arm and leg.

He refused to let his disability sideline him, and in 1975 appeared in Posse as a newspaper man, then went on to play numerous supporting roles in films and TV shows until 1995.

That was the year he was arrested, tried, and convicted of molesting an 11 year old girl.

He didn’t show up for his sentencing hearing, choosing instead to fly to Hawaii and attempt suicide.  Arrested and returned to California, instead of probation he received a 6 year prison sentence when it was learned he’d been arrested twice after the first crime on prowling charges in which he approached two other young girls.

Quentin Tarantino, the all time grand master maven of pop culture didn’t know this?

And in the book, Trudi calls Rick for a later night conversation about their day on the set.

This is an 8 year old child calling an adult after midnight.

To their credit, Tarantino and Rick both tell Trudi up front this is not an appropriate thing to do…

…but the call continues.

It doesn’t veer off into creepy territory, and when it ends it actually puts Rick’s character back on an upward trajectory, one in which he no longer feels he’s screwed up his life.

But still…

This is a really weird context.

(The scene was filmed for the movie but didn’t make the final cut.  Look closely on the movie poster under Brad Pitt’s chin and you’ll see an image of Julia Butters holding a teddy bear and talking on the phone.)

Style

Once Upon A Time In Hollywood the movie is consistent and spot on.  It uses cinematic language to maximum effect.

Once Upon A Time In Hollywood the book is all over the map.

It manages to stay entertaining even at its most erratic, but the inconsistency works against it.

As noted before, the point of view is constantly shifting, sometimes seen through a character’s eyes, sometimes through an omniscient third person point of view, sometimes in what appears to be uncredited narration from Randy, and in several chapters exploring the Lancer story-within-a-story as mediocre pulp fiction typical of movie and TV tie-ins of the era.

Tarantino does not stay consistent with his characters, either.  This indicates adapting scenes from earlier drafts without really smoothing out the fit.

Another point of view issue is Tarantino’s own.

Once Upon A Time In Hollywood the novel reads like the work of an older, very culturally conservative writer.

Many writers will argue that the evils their characters do in their books are not reflections on the author but simply the character acting consistently with who they are.

Kinda true…but that character comes from the writer’s imagination, and the writer needs to think up all those terrible things the character thinks and does and say, so somewhere deep down inside the dungeons of that writer’s mind…those things live and breed.

Rick is depicted as out of step with the new Hollywood and the hippie era in both film and book, but the book reinforces and rewards him for being out of step, unlike the movie whree he finds an entrance to the future.

Once Upon A Time In Hollywood the novel now makes me reexamine all of Tarantino’s earlier efforts, in particular Pulp Fiction and Django Unchained and The Hateful 8 and see if his world view has changed, or if its been there all the time only he concealed it better in the past.

Presentation

Once Upon A Time In Hollywood the book is packaged to look like a mass market paperback from the late 1960s to 1980s (in fact, very specifically 1980s style mass market paperbacks).

It even closes with ads for Oliver’s Story, Serpico, and The Switch, all bona fide movie tie-ins books, as well as Ride A Wild Bronc, a fictitious title, written by Marvin H. Albert.

Albert was a bona fide popular fiction writer under his own name and several pseudonyms, as well as screenplays based on his books for Duel At Diablo, Rough Night In Jericho, Lady In Cement, and The Don Is Dead.  Tony Rome, played by Frank Sinatra in two movies, is probably his best known character.  Several of the books he wrote were movie and TV tie-ins including The Pink Panther and The Untouchables.

The last ad is for the deluxe hardcover edition of Once Upon A Time In Hollywood, promising new material and previously unreleased photos.

The editing and copyediting of the book are subpar.  As noted above, tone and consistency fluctuate throughout the book.  A sharper editor would have removed redundancies, smoothed out clunky scenes.

Typographical errors abound throughout.  Early on they mention the Mannix TV show in italics (the book’s standard style for movie and TV show titles) then sloppily put the character’s name, Mannix, in italics as well and, to add further insult to injury, Mannix’ secretary Peggy also gets her name italicized.  Song titles are listed either in italics or unitalicized in quotes; pick a style and stick with it, guys…

Finally, Quentin baby, I gotta say ya missed a bet by not having a cardboard center insert ad for Red Apple cigarettes; that would have completely nailed the retro look.

  © Buzz Dixon

[beardycarrot]

Alright! Now that I’ve finished Aliens Ate My Homework (kids’ books really are just a couple hour read for an adult, huh?), I have in mind some things that I think are important for the movie adaptation to stick to.

The look of the characters should be the easiest thing to nail... their outfits probably won’t match what’s described in the book (movies always feel the need to change that in some capacity), but I don’t really care about that. What I’m more interested in is how they portray the less humanoid characters. Pong, Grakker, and Snout can all be played by actors in costumes, but Tar Gibbons is described as having a lemon-shaped body with four legs, a long neck, and a turtle-like head with bulging bug eyes; that’s gonna be a fully CG character.

The other is Phil, a potted plant. Basically a big stalk covered in leaves and vines, with a flower where a head would be, who moves around with thrusters on his pot. He has a symbiotic relationship with creature called Plink, described as kind of a blue cat-monkey. I really like how this illustration portrays it; even if it looks more like some kind of cartoonie bug, I would be perfectly happy if this is the design the movie goes for. These two are also going to be fully CG, so unless they base it entirely on the description provided for Plink, base its design on an illustration from another artist, or just do their own thing with it, I can’t imagine them finding a way to mess these designs up... but who knows.

BKR, the evil alien, should be interesting. He’s described as having blue skin, pale orange spikes covering his head (I was picturing maybe a dozen four-inch-long spikes, but the spike density could also be interpreted as covering his head like hair), and... otherwise, looking like Shirley Temple? That’s gonna be interesting, but this is also the character I expect them to take the most liberties with. I can’t say why... maybe just from experience with this kind of adaptation.

There are a few major plot points that I think they have to adhere to. First, that the good aliens’ ship is malfunctioning (the illustrations portray the ship as a traditional flying saucer, but I don’t think the design matters much) and they’re stuck shrunken to two inches tall until the end. That’s... basically the only reason for Rod, the protagonist, to be involved. The aliens need to repair their ship, so Rod has to carry them around to investigate BKR.

Secondly, they need to eat his homework. It doesn’t have to be the papier mache volcano and math assignment portrayed in the book, but, I mean, it IS the title of the movie.

Grakker and Snout have an unspecified relationship... Snout is very, VERY clearly based on Spock from Star Trek (in fact, I think the third book in this series is called The Search for Snout, a play on the third Star Trek movie, The Search for Spock), so it might just be a close friendship, but they share a room on the ship while everyone else has their own, so who knows. At one point it’s mentioned that they’re “bonded”. Potentially Gayliens. I don’t remember what their relationship is like in later books.

Next, Rod is incapable of lying. There definitely won’t be a flashback to the traumatizing-to-a-toddler reason for it, but that’s Rod’s defining characteristic: he doesn’t, and can’t, tell lies. Who knows whether that will be included.

Finally, Rod’s dad having been missing for quite a while isn’t a huge part of the story, but it does play an important role. Him lying to Rod’s mom strengthened Rod’s inability to lie (you’re not told what the lie was, but it’s implied that this was the night he left), and towards the end of the story BKR claims to know where he went, and implies that he’s no longer on Earth. I don’t remember if this is a plot point in future books, but Bruce Coville did something pretty similar in My Teacher Flunked The Planet, so it could be. This is the kind of thing that adaptations will just arbitrarily change, though, so who knows.

So! With all that out of the way, it’s time to watch the movie!

...Okay, first thing’s first, the opening credits of the movie are set to shots of a model solar system, so I’m assuming that’s the replacement for the volcano. I’ll allow it. Also, William Shatner is in this movie? What? As who?? The only adult male character in the story is an android of a man in his thirties, and he’s only there for what would amount to two minutes of screen time at the end. Rod’s grandfather is mentioned, but only once, in the context of “this is my grandfather’s farmland”.

Alright, definitely a modern setting. I guess the model isn’t for a science fair, instead being something Rod’s filming on his smartphone with his mom, twin siblings, and... his dad. Now, this looked like is was going to be an adaptation fail, but it turns out this was a flashback to the night he went missing. Clever!

Less clever is this abysmal color grading meant to represent a dark and stormy night, and the fact that they live in a cul-de-sac instead of being out in the middle of some farmland... but that’s not that significant of a change.

For some reason the story now takes place in the winter instead of mid-May, making me wonder where BKR (in the guise of Billy Becker) is getting the bugs to smash against Rod’s head. More importantly, as revealed at the end of the book, most intelligent life in the universe is about three feet tall, which is why BKR is pretending to be a kid while hiding on Earth. Instead of being a foot shorter than Rod, however, he’s now taller. Weird. Rod also now has his cousin Elspeth staying with his family for winter break, for... literally no reason that I can think of. Elspeth is a character from the second book in the series, but she wasn’t even mentioned in the first.

Grakker isn’t quite book-accurate, but not entirely inaccurate either... except for the color of his skin. He’s supposed to be green. What the hell. They whitewashed an alien. On the upside, the dialog in this scene is all pretty book-accurate. Unfortunately, they lose a lot of points with Madame Pong, who is supposed to be a very calm, understanding, zen character... but comes across as a little condescending. Also, this:

What? What?? Why did they keep this book dialog, when the house is VERY CLEARLY part of some kind of housing development area? I legitimately have no idea what they were thinking.

I also have no idea what’s going on here. Elspeth is... I guess looking through family photos on a computer? Ignore the subtitles, that’s from a weather report on tv. What I’m curious about is what exactly is going on in the photo. That’s clearly Rod’s dad, from three years ago... but recent pictures of the twins? Did Rod’s mom, who apparently runs a pet photography business, Photoshop a family ski trip that never happened? Is that what’s being implied here??

We’re then introduced to the rest of the aliens, and... wow, I can’t describe my disappointment. Remember how I said Tar Gibbons and Phil would be fully CG characters? Yeah, that, uhh... that didn’t happen. I was hoping they would do as much of this movie with practical effects as possible, but I meant that in the “get good SFX people” way, not the “do everything as cheaply as possible” way. They’re literally both just guys in suits.

Yeah sure eye stalks and a thick neck are absolutely the same thing as bulging eyes and a long neck. More importantly, look at that clearly human body with extra legs just kinda hanging off the hips. Phil is just as bad. You can’t really tell from still frames, but yeah, he has two vines with leaves coming off of his human-body-proportioned stalk at shoulder level and moves like a guy in a suit... and for some reason, his flower is split into halves so that it can be puppeteered to move like a mouth. Despite the fact that in the book his flower doesn’t even play a part in communication. They could’ve easily just installed a light inside the flower and explained that he communicates through pod burps, and would’ve been perfectly book-accurate. Why make this specific change. Also, if you’ve read this far, you’re probably wondering where Snout is. Yeah, uh. Me too.

Anyway, they appear to have combined the characters of BKR and Arnie into one person to simplify things (but then why introduce Elspeth??), and for no readily apparent reason, changed BKR, which is pronounced how you would expect, into B’KR, pronounced... b’car. For no reason.

Good GOD is this movie cheap. I appreciate the set they created for the top of Rod’s desk, with the giant pencil and such, and obviously they’re going to use a green screen for scenes like this... but it looks SO bad in motion. Like, see how the shot ends at his knees? That’s because he’s very obviously running in place, in front of a green screen. Also, why are sixth graders learning about the Drake Equation, which concerns the statistics relevant to intelligent alien life in the universe, in math class? I guess it’s technically a math topic, but not the kind of thing you’d learn in pre-algebra...and for comparison, Rod’s math homework consisted of single-digit multiplication tables, the kind of thing you do in like, second grade.

I’m also not fond of the degree to which Grakker is a comic relief character. Like... throughout the book, he’s completely strict and serious, and most of the comedy comes from Phil, Gibbons, and Rod. The first time you see genuine emotion from him is when Rod accidentally injures Snout, causing Grakker to hold him tenderly and shed a tear (again, potential Gayliens).

This is supposed to be the inside of a thick black canvas backpack. Am I crazy? Did I not see the Universal Studios logo at the start of this movie? Why does it look like the cheapest of cheap made-for-tv movies? Anyway. They appear to have given Snout’s ability to slow time to Madame Pong, which is worrying. Did they just... remove Snout, one of most important characters in the entire book series? To what end? To fit in all the stupid pointless Elspeth stuff? If they were hoping to make sequels to this movie, well... bad news, because again, the third book in the series is called The Search for Snout. Okay, I gotta know, is he actually cut from the movie or just a surprise reveal for later?

Alright, I am now officially dragging this movie. Also, I guess we now know where William Shatner fits in... I hadn’t even noticed it was him. Also Also, is that furry pink lump with one eye supposed to be Plink? Why all the arbitrary changes? Did they just decide that since they couldn’t fit a person inside of it, they would give it no limbs at all? Why is it pink??

Eyyy. Roll credits! Yeah, I wish... I’m only halfway through this thing.

They made Rod’s best friend Mickey Asian, which is fine, he’s a very minor character and never really described in the book... but unfortunately, they also decided to make him Data from The Goonies. He’s an inventor. Because he’s Asian. Coooool character, movie. So far it’s lead to an unfunny Coke and Mentos gag and an unfunny Pop Rocks and soda gag (which resulted in projectile vomiting). They cut Snout out of the movie to make room for this stuff, mind you. I’m sure this is building up to some kind of payoff, but I’m pretty sure I’m not going to enjoy it.

Speaking of payoffs, there seems to be an implication that there’s some kind of paranormal activity at Seldom Seen, the hidden field on Rod’s grandfather’s property, and at Rod’s school. I can understand the field, in this version Rod’s dad definitely seems to be involved with aliens in some capacity, and that’s probably where he was keeping a ship or something... but the school is kinda inexplicable. Like, it’s covered in snow... and it’s the only place in town that’s seeing snow. I can only assume it’s BKR’s... sorry, B’KR’s doing, but I’m not sure why. Did they decide that being blue means he’s from a cold planet, and requires it to be cold wherever he is?

No idea what’s up with some of these changes. Instead of BKR’s house being like an unlived-in model home, it’s... a complete sty. The exact opposite of the book. Why. Also, that coffee table is completely covered in video game consoles... GameCube, Dreamcast, PS2, N64... but Rod says he’s got “all the latest video games”. Does he? Does he really? Was that line in the script, so the crew just bought whatever they could find? As for BKR himself...

I mean, I don’t see Shirley Temple, but it’s not bad! Rod wasn’t trapped inside a pocket dimension inside a CRT tv when he took his mask off, but they wouldn’t have been able to manage that scene with this budget anyway. So far, this is the only alien design I fully endorse. There WAS a point to him having a cherubic face in the book, but it’s never addressed, only implied, and I get why they would make him look more menacing.

In the book, BKR didn’t really have any goals. He just enjoyed being cruel for the sake of being cruel, and was hiding out on Earth because it was unlikely they’d find him there. In the movie, B’KR intends to destroy Earth by opening a wormhole (which is what’s causing the snow), and the good guys have about an hour to save the planet.

They kept another of Snout’s abilities, the Vulcan Mind Mel-- er, knowledge transferal, but gave it to Tar Gibbons. This is literally the only thing he’s done in the entire movie. For the record, this was originally the scene where Snout connects their minds, but Rod is startled by it and pulls back, causing Snout severe psychic harm and prompting the aforementioned emotional response from Grakker.

...They just had to get William Shatner to say Klingon, didn’t they. The climax of the movie is all him flying around spouting (sprouting?) plant puns, then Rod throws a banana cream pie (which was, apparently, part of someone’s science project) at BKR’s face... and finishes him off with foam shot from his papier mache volcano. I guess the shrunken spaceship expanding inside of a house, causing the roof to collapse and knock BKR unconscious, was too expensive violent for the movie... but why is getting him messy a solution to anything? Ah well.

Bruce Coville himself has a cameo as the judge for the science fair, which is nice. I think he might be the principal of the school... I didn’t really notice in the scene featuring the principal earlier, since that happened to be the projectile vomiting scene. I can only imagine he was honored to have his work recognized in this capacity... he’s a good dude, I’m sure he wouldn’t be as horrified as I am with the writing and quality of it.

Also the movie ends with the reveal of the actual size of the aliens... which is, uhh. About the size of adult humans. Hrm. Guess they just straight up decided not to get anything right, huh? Oh, and they reveal that Rod’s father actually is a member of the Galactic Patrol. So, that’s a thing.

Please don’t say that. God, was this movie bad. I would understand if they were passionate about bringing the story to more people and just didn’t have much of a budget, or if they made changes to better suit a visual medium, but that... is not what they did. I’m not the kind of person that demands an adaptation remains 100% faithful; if you want the experience of the book, you can just read the book. This, however, changes so many things. Like, in the book, BKR’s crime is cruelty. That’s the message of the book... that in truly civilized societies, kindness is the norm, and needless cruelty is a criminal act.

The characters in the book all either have depth to them or are interesting as sci-fi concepts, but the movie... Gakker is Mr. Slapstick, Madame Pong is Cool Collected Female, Tar Gibbons is... I dunno, wisdom obscured by things that just don’t translate into English and saying Warrior Science a lot (honestly the closest to his book counterpart, though HE was more interesting and actually did stuff), and Phil... yeah, just William Shatner saying plant puns. Bleagh.

Well, despite that end screen, it’s good to know that we won’t be getting any sequels. I mean, like I’ve already mentioned, Snout going missing is a major plot point in the second book, and the third is literally called The Search For Snout. What are they going to do, just skip to the fourth book?

...Oh hey, George Takei.

[fulltimereviewer]

50+ Interesting Power Rangers Fanfiction 2020

Mighty Morphin Power Rangers Fanfiction

Eternaldarkness3166 I Know I never knew one of the actors from mmpr had died but I found out about it a couple of years ago due to the fact that it happened and everybody was still little kids at the time damn it blew my mind when I first found out r.i.p

Caitlin Lopez All the episodes featuring the romance between Tommy and Kimberly plus the bromance of Tommy and Jason followed by the bromance of Tommy, Rocky, Adam, and Billy in addition to Kimberly's friendship with Aisha and Trini

Anta Kumari Mahato Legendary Power Rangers game is on for tomorrow at work so I can go to your place and time to you and the bato phrkiske so we can either do a few things that

kagomecc46 Legendary Power Rangers The moment they brought Tommy back.for good...we even got a Tommy Kimberly (?first) kiss scene. Teenage guy actually admits he waiting a (power rangers fanfiction) long time just for that sweet kiss. He keeper ;) Then theres all the creative ways coming from Billy with alien technology lol .thx from this fans heart this recap of the 1st season is what was needed to jog forgotten tv watching memories

asmio's alt 373638 I love the episodes but when the power rangers lost the thunder megazord it was hard for them to form the dino megazord they couldn't form it cause the dinosaurs were connected with the thunder megazord so when they were on a quest to find ninjor he gives them new zords to fight monsters in season3 when they get (power rangers fanfiction)the ninja zords another megazord was given to them it was called showgun megazord when they called for the showgun zords when they form the megazord and when they are in a copit billy called for the ninja zords and then ninjor comes and helps them

master drew t Legendary Power Rangers well I guess you could say that it might’ve been the season final, cause it was actually quiet epic to say the least

Brother Grimace Ransik's surrender in the 'Time Force' finale. The only Big Bad to score a complete and undeniable final victory against a full team of Rangers without trickery or assistance... but surrendered because he learned that he was wrong(power rangers fanfiction) and willingly gave up to face justice. It's an awesome scene where you actually feel sorry for him, a great warrior who has surrendered his sword. It's also why the Wild Force/Time Force team up is so awesome - because he pays in full for his crimes and gets an actual 'second chance' at a better life.

Paul Verner MMPR Season 1 was a great start for the Power Rangers franchise. Sure the one-liners and the jokes were cheesy, but they worked. First you have Jason Lee Scott, the Red Ranger and the fearless leader of the Power Rangers. He was awesome all the way. Not only was he a leader, he was also like a big brother. (power rangers fanfiction)Not to mention that he's an expert Martial Artist. Next you have Zack Taylor, the Black Ranger and second in command of the Rangers. He was pretty cool too and I like his custom fighting style as well. Then there's Billy Cranston, the Blue Ranger. He's smart and logical, not to mention that he loves inventing things. I liked how Billy was adapting to defending the world slowly but surely despite relying on his powers a lot. He was pretty good. Next there's Trini Kwan, the Yellow Ranger. She's equally smart and expert at Martial Arts and Kung Fu. Trini was good. Not only was she caring, but she was also tough when she need to be. Kimberly Ann Hart, the Pink Ranger. She's the valley girl who loves shopping at the mall and expert of gymnastics. Kimberly was great even though some of her valley girl attitudes was pretty annoying at times. And last, but certainly not least, Tommy Oliver, the Green Ranger. He's just as much of an expert at Martial Arts like Jason is. Tommy was awesome. The only problem I had was that his green powers were thrown under the bus. I thought he was better as the Green Ranger. Overall, all six rangers were great. And again, despite the cheesy one-liners and jokes, Season 1 was great(power rangers fanfiction)

Sticky a fun fact is Amy and David (Kim and Billy) helped the other rangers with agility like flips, Austin and Jason (the actor) helped the others with martial arts, so they all had amazing skills that helped each other (so in this case Kim whose into gymnastics would be given lessons in combat, and she would teach others how to properly move(power rangers fanfiction)) , but a side effect of having people with skills that others have as well ends to create competitive nature's and this created an infamous real life rivalry between Austin and Jason as they were hardcore into martial arts and gym, and apparently Austin bragged he could do stuff, Jason would call Austins bluff and never do what he said he could

UltimaKeyMaste MMPR also did pretty much everything to separate the human side of things from Zyuranger, high schoolers compared to awkward ancient warriors in modern times. Megaforce, while the idea of copying MMPR seems better than Samurai copy-pasting the Sentai into a Western show, was an utterly soulless copy MMPR and made even worse. At least Samurai didn't insult the original show in the process.(power rangers fanfiction) So Mighty Morphin Power Rangers is the first part entry into the power rangers franchise, if i am not wrong this season is totally adapted or is similar to the Japanese tv show Kyuryu Sentai Zyuranger. people still love this Mighty Morphine Power Rangers fanfiction, because this shows costume resembles that of the Japanese Tv Show mentioned above. This power rangers fanfiction is about mighty morphine. Read the full article

[aion-rsa]

Watchmen Episode 4 Easter Eggs Explained

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Watchmen episode 4 introduces Lady Trieu and deepens the Adrian Veidt mystery. Here's all the Easter eggs and references we could find.

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This article contains Watchmen episode 4 spoilers.

HBO’s Watchmen did most of its comic book referencing, additional worldbuilding, and character introductions in its first three episodes. So you would think that by the time we got to Watchmen episode 4, they’d be done mining the book for little flourishes of backstory to reference or use to make this new world even richer. You’d be wrong. There’s still plenty of Easter eggs to hunt in Watchmen episode 4, and we’re here to try and find all of ‘em.

Let’s start at the beginning...

THE FARM

The Superman vibes are strong in this episode once again. Just as episode one felt like it snuck elements of Kal-El’s escape from Krypton as it was destroyed into young Will Reeves’ escape during the Black Wall Street Massacre in 1921, “If You Don’t Like My Story Write Your Own” plays with other elements of the Superman origin story, particularly his adoptive Earth parents, the Kents.

Let’s start with their names: the farmers we meet are the Clarks, and they own Clark Acres Farms. Of course, Superman adopted the human identity of Clark Kent, but there’s a reason Jonathan and Martha Kent chose that first name: Clark was Martha’s maiden name. Perhaps not coincidentally, the husband here is named Jon (his wife is named Katie, and I’m having trouble finding any additional significance for that name, but there you go).

The “egg” theme that has been recurring through all of these episodes is once again present here, as that seems to be one of the primary products of Clark Acres. That also plays into the matter of fertility, as the Clarks are unable to have children of their own, just as the Kents were, and have a child miraculously brought to them via super science. Here, the Clarks get their child thanks to advanced genetic technology pioneered by Lady Trieu, while the Kents got theirs via an interstellar rocket.

And whatever it is that crash lands on Clark Acres sure feels like it could be a vessel from another world. The rocket containing baby Kal-El in the comics always landed in the fields of Kansas, while here, whatever it is that Lady Trieu is so interested in, comes to the fields of Oklahoma.

- At one point in the opening montage (set to “Islands in the Stream” by Kenny Rogers and Dolly Parton), Katie Clark can be spotted reading a novel. That novel is Fogdancing by Max Shea. Shea was the author of the Tales of the Black Freighter comic book story that runs parallel through the Watchmen book. Shea disappeared in 1983, but was in actuality sent to an island to help design the giant squid that Adrian Veidt used to kill millions of New Yorkers on Nov. 2, 1985. You can spot another novel on Katie’s bedside table, and while I can’t make out the title, it has a similar jacket design to her copy of Fogdancing. Presumably, it’s a copy of Shea’s other novel, The Hooded Basilisk.

DOCTOR MANHATTAN

- Cal displays an incredibly atheism with the kids. He tells them “heaven is pretend,” as matter-of-factly as he might tell children that Santa Claus isn’t real. This isn’t met with much more than a raised eyebrow by Angela. Is an almost complete lack of religion in the Watchmen universe perhaps another byproduct of the existence of Dr. Manhattan? I’m having trouble thinking of much in the way of appeals to the divine or even the presence of churches in the book.

- Laurie Blake refers to a “thermodynamic miracle” to explain (and even intimidate) Angela about all of the coincidences that keep popping up around her. Dr. Manhattan had told Laurie that her very existence, being that it was a product of a consensual union between two people who had every reason to dislike each other (as Dale Petey points out, Edward Blake had previously sexually assaulted Laurie’s mother, Sally Jupiter). 

LOOKING GLASS

Once again, the Rorschach parallels with Wade Tillman/Detective Looking Glass are somewhat unavoidable. Looking Glass seems to keep a genuine survivalist’s bunker in his yard, the kind of weird reactionary behavior that would make Rorschach proud. On the other hand, Tillman has a sense of humor, and is clearly capable of having genuine friendships, and even romantic relationships, as we learn here that he has been married.

But who was his wife? Apparently she was some kind of scientific mind. Is it possible that she was also a costumed police officer?

- Looking Glass has a hobby, though, and that’s studying the squid rain that periodically falls on the Watchmen universe. You can see the photos he takes and develops in his darkroom (again, note the lack of widespread use of digital technology in this world), and up close, they do indeed look exactly like the giant psychic squid that killed millions of New Yorkers in 1985.

- Looking Glass is wearing a Tulsa Tornados hat. The only reference I can find to a sports team like that was for a professional soccer team that existed for exactly one season...in 1985, the year the original book takes place. Is it possible that one other detail of Watchmen’s alternate history is that soccer is far more popular in the United States than it is in OUR America today? And if so, did this team that struggled to eke out an existence in 1985 continue to thrive into modern day Tulsa sportsfandom?

NITE OWL

We’re now four for four in Nite Owl references on this show, even though we seem no closer to having Dan Dreiberg actually appear in the hooded flesh. Nevertheless, while it’s far less overt than what we saw in the previous three episodes, Nite Owl is once again here in spirit. How, you ask?

When Laurie is driving Angela and Dale Petey to Lady Trieu’s headquarters, the song playing in her car is Billie Holiday’s rendition of “You’re My Thrill.” That was a favorite of Dan’s, and it was the song playing in the Owlship when they had their first costumed hookup (we will never, ever speak of the horrid and unsexy abuse of Leonard Cohen’s “Hallelujah” in the misguided movie adaptation of the book). Laurie is still dealing with feelings for Dan, just as she is for Dr. Manhattan.

We wrote more about the possible whereabouts of Nite Owl right here.

WILL REEVES

Our mysterious old man now has a full name: William Reeves. That last name seems significant, as it ties him to the real life fictional lawman he idolized as a child: Bass Reeves. But “Reeves” also brings up those Superman vibes again. George Reeves was an actor who played Superman for seven seasons of the (excellent and available on the DC Universe app) The Adventures of Superman TV series in the 1950s. And young Will escaped the Black Wall Street Massacre just as baby Kal-El escaped Krypton.

But as we’ve surely all noticed by now, Will is fond of Hooded Justice’s preferred colors of purple and red (just as Will’s possible ancestor, Bass Reeves, looked suspiciously like Hooded Justice in that silent film portrayal in Watchmen episode one). Will was apparently a police officer in the 1940s and ‘50s, but “retired young and fell off the grid.” Could that have happened around the same time Hooded Justice stopped adventuring?

We wrote more about the history of Hooded Justice right here.

LADY TRIEU

While we still don’t know much about Lady Trieu, she certainly seems to idolize Adrian Veidt. In fact, it’s possible that she holds Veidt in the same kind of regard that Veidt held Alexander the Great. She purchased his old company, dedicated her mysterious Millennium Clock project with a quote from Percy Bysshe Shelley’s “Ozymandias” (which, of course, was Veidt’s superhero name), and keeps a statue of him in full superhero regalia in her vivarium.

In fact, just the fact that she has a domed vivarium at all is a nod to Veidt, who had one in his arctic fortress, Karnak. There it was to prove that he could keep tropical flora and fauna alive in the most inhospitable environment. Here, Lady Trieu has brought a little of Vietnam into America’s heartland.

Veidt was fascinated with the old world, particularly the exploits of Alexander the Great. Trieu seems focused on creating “the first wonder of the new world” with the Millennium Clock. Veidt felt that Alexander the Great, despite conquering roughly half the known world, had fallen short of a truly lasting impact. Is it possible that Lady Trieu feels the same way about Veidt?

Anyway, speaking of Adrian Veidt...

ADRIAN VEIDT

Veidt confirms in this episode that he has been wherever he is for four years. So any speculation I may have had that time passes differently wherever he is appears to be nonsense. Instead, those “anniversaries” are indeed real, and each episode we’ve seen has indeed taken place one year apart for him. But keep in mind that Veidt has been missing since 2012, so unless additional anniversaries are going to be marked in upcoming episodes, that doesn’t necessarily mean that he has been in his mysterious “prison” since 2012.

Veidt also makes it clear he was “sent here” so he is absolutely in some kind of prison, and the lake and “baby microwave” stuff should be enough to make it obvious that “here” isn’t our usual earthly realm.

He also makes comments indicating that he knows who created where he is, referring to Mr. Phillips and Miss Crookshanks as “flaws in this thoughtless design” (as opposed to “intelligent design” nonsense) and that he is “not your maker.” At the conclusion of the book, Dr. Manhattan claimed to be departing our galaxy, and seemed to contemplate the possibility of creating human life. Are we witnessing the result here with Adrian Veidt?

There’s also this continued weirdness about how he seems to need to get these “flaws” to perform a set of actions in a certain sequence in order to make his mistake. In this episode, it’s a horseshoe that he doesn’t “need yet.”

MISCELLANEOUS STUFF

- Who is the weird silver runner? Red calls him Lube Man. This show absolutely gets the quaint, weird vibes of the regular people who try to be superheroes in this world.

- Can anyone make out Keene’s lapel pin? It looks like it could almost have elements of the Comedian’s badge in it, but I can’t seem to get a close enough look.

- Cal is reading Things Fall Apart by Chinua Achebe. This episode’s title, “If You Don’t Like My Story, Write Your Own” is a quote from that book.

- The lamp in the Abar household living room looks like the face of the squid.

- Petey’s fandom shows pretty strongly with his “that show is garbage” critique of American Hero Story: Minutemen.

- The episode closes with Irma Thomas’ powerful 1964 rendition of “Time is on My Side.” It was Thomas’ arrangement that the Rolling Stones rode to considerable success a few years later.

Did you spot anything we missed? If so, drop it in the comments or let me know on Twitter!

Mike Cecchini is the Editor in Chief of Den of Geek. You can read more of his work here. Follow him on Twitter @wayoutstuff.

Read and download the Den of Geek NYCC 2019 Special Edition Magazine right here!

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Feature

Books

Mike Cecchini

Nov 10, 2019

Watchmen

HBO

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[furederiko]

It's the first post for the month of June, and it's a Random-News-Digest! Thanks to my internet, the previous one was 3 weeks ago though. That means, it's catching up time... and there's a lot of it. Here goes nothing...

Disney Live Action

Another live action reimagining has potentially been added to the list of upcoming releases. Director Sam Mendes, who did James Bond's "Skyfall" and "Spectre", apparently entered early talks to work on "Pinocchio"! Mendes was previously attached to adapt "James and the Giant Peach". But according to Variety, that project is officially not happening, so the chances of Mendes moving on to "Pinocchio" is really high. With Guy Ritchie's "Aladdin" about to start production real soon, possibly followed by Niki Caro's "Mulan" as well as Jon Favreau's "The Lion King", Disney Pictures is currently sitting on a remake comfort-zone. No official casting news have been announced for neither of those projects those, but as we get closer and closer to Disney D23, I suspect things are going to come to light pretty soon. Let's just hope these movies will be as good and successful as what we've gotten so far...

Saint Seiya

Well, this news was truly a surprising one! According to Eiga.com (via Anime News Network), TOEI Animation and Chinese distribution company called A Really Good Film Company (that's the real name) are co-producing a live action movie based on the franchise. Tomek Baginski, a Polish director will be directing the movie. Jeffrey Chan, Yoshi Ikezawa, Joseph Chou will produce, while original manga writer Masami Kurumada, Kozo Morishita, Tim Kwok, and Miguel Faura are serving as executive producers.

Truth be told, I had mixed reaction about this, and that sentiment has remained the same until now. I've always thought that the "Saint Seiya" franchise is PERFECT for Hollywood adaptations, considering most of the characters, especially the Gold Saints... are practically Greek guys with a story that takes place in a Greecian setting as well. The cloths, especially the Gold Saints ones, would easily look amazing as real life armors. Heck, TOEI recently held an exhibition where they showcased the Gold Cloths in 1:1 scale, and that idea worked! So this sounded like a great news already. On the other hand, at the same time, I'm not sure whether they will pull it off. Particularly with the failure that was "Ghost in the Shell" back in March. Not to mention, a Chinese company, instead of a Japanese, or at least Hollywood is working on it. Not trying to be racist, but I don't have a lot of faith in Chinese companies.

My biggest concern is that they might go the "Dragon Ball Evolution" and "Ghost in the Shell" mishap, by altering the core Bronze Saints to be white teenagers instead of Japanese. That would instantly become a huge WTH for me. IMHO, at least the cast for Seiya, Shun, and Ikki should be Japanese. If they need exception, both Hyouga and Shiryu can easily be one. The former can be reimagined as European, since the character is partially Russian anyway (hence the blonde hair), while the latter, can naturally be rewritten as Chinese (still needs to be Asian though). A lesser concern, is the fact that the series never really took off in the US, as much as it was hugely popular in South American region. Once again, if "Ghost in the Shell" couldn't sell well, I honestly doubt the same would happen to "Saint Seiya". So it's already a big question mark. But let's keep an open mind, and well... we'll see.

Charlie's Angels

I didn't realize that the last "Charlie's Angels" movie was released back in 2003! That's more than a decade, and precisely 14 years ago. Which means, the movie (not TV) franchise has entered the right age for reboot, remake, reimagining, or the likes. It's Hollywood folks, so what do you expect? And I'll be damned, because that IS the case. Elizabeth Banks is set to direct a reboot movie for the franchise, and it will arrive on June 7th, 2019. That's legit release date, so yeah, it IS happening. There aren't any detailed information about it yet, but I think we can expect to hear one by summer. Now I can't tell if this is a good or bad news, but I'm always game to see tough and powerful women kick some bums on screen. Who knows, perhaps we might get Jennifer Lawrence, Anne Hathaway, Lupita Nyong'o, and other Oscar winners as the lead characters. THAT would be wake af!

Hellboy

Not unlike "Charlie's Angels", the same is happening to "Hellboy" franchise as well. While fans have been asking director Guillermo del Toro and/or actor Ron Perlman for a third movie... to relatively zero success, Millennium instead has decided to go on another route: REBOOT. Yes, in a report released precisely a day after my previous R-N-D went up (meaning, it's close to a month ago XD), the studio has gone into negotiations with producer Larry Gordon and Lloyd Levin for an R-rated relaunch of the franchise. The working title is "Hellboy: Rise of the Blood Queen", and Neil Marshall is set to direct from a script by Andrew Cosby, Christopher Golden, and Mike Mignola. That last one is the creator of "Hellboy" himself, and he was the one who first broke the news. Marshall would then develop a new script with Aron Coleite.

I'm never a fan of the first two movies, so I can't really say anything good about this. I don't know how I feel, to be frank! LOL. Yet the news somehow got better, when I read the name of the actor who was in talks for the titular role. David Harbour! Yes, that Sheriff of the hit Netflix series "Stranger Things", who was considered to play Cable. I don't know about you, but Harbour sounds like the younger more charming-looking version of Perlman, so this news made me perked up! Okay, that was honestly hyperbole. I'm still unsure about this franchise, but I can safely say that I will at least give it a try... just because Harbour is starring. Ahahaha! But you know what? Perhaps rebooting might indeed be the right decision. There's definitely potentials to be HUGE. It can start fresh without the burden of continuity. And also... attracts new audience who was previously unaware or couldn't care less of the title, right? Like yours truly... *grins*.

DC Films

While it's unclear when we will ever see Dwayne Johnson finally fulfilling his dream to play supervillain "Black Adam", the actor has gone on record to propose an actor to play the protagonist counterpart of his character. And that actor is... Armie Hammer. Okay, HUH? I liked Hammer, so it COULD work. But is he the right man for Shazam? Nope, I really don't think so. Perhaps an Oliver Queen or Hal Jordan, but definitely not as a jacked-up Billy Batson. By the way, Johnson's "Baywatch" recently failed to even make a dent in the box office. Does this mean his popularity is fading? How will this affect his DC movies then? Hmmm...

Fresh from angsty "Power Rangers", and into the murky waters of "Aquaman"! Young chinese actor Ludi Lin, has joined the cast to play Murk. A character who is supposed to be Jason Momoa's Arthur Curry's trusted ally. How on Earth does a Hawaiian and Chinese became Atlantean is beyond me, but this was clearly a nice act to push diversity. Director James Wan also proudly showcased a really WET Amber Heard's Mera via his Twitter. I was still indifferent about it, and still won't be seeing the movie, but looks like many liked it. So that's... good, right? "Aquaman" is set to arrive on December 21st, 2018.

If there's a title that's been going on and off in a seemingly concerning state, it's none other than "The Flash". But perhaps, things are slowly running towards a better track. Why? Assuming that Entertainment Weekly report could be hold accountable, then Robert Zemeckis is indeed in talks to take over the movie after Rick Famuyiwa walked out. And guess the other name being on the contender list? The helmer of "Kingsman" himself, Matthew Vaughn! Not just him, both Sam Raimi and Marc Webb apparently were frontrunners as well, but have since passed. Oddly, the news arrived alongside a rumor of actor Billy Crudup walking out of the movie. One that has been debunked, considering he would be showing up in "The Justice League".

Speaking of the League, it became one of the most talked about news last month. Why? Because shockingly, director Zack Snyder alongside wife and producer Deborah had officially stepped down from the movie's post production and reshoots. He's taking some time off to deal with personal family loss/tragedy (my condolences to the Snyders). This has prompted mixed reactions from movie fans, particularly DC ones with their... insensitive and disturbing remarks regarding the situation. And here I thought they couldn't have gone that low!!! *sigh* The irony here was that Snyder has handed over the finishing duty to... *drumroll* the one and only... Joss Whedon! This was definitely an intriguing twist, because now Whedon would be famous for being involved in both Marvel and DC's ensemble movie. Of course, Warner Bros assured the audience, that Whedon's NOT taking over it completely, and just doing a favor to finish up the work. They said that the movie is still very much Snyder's work. Which was an ODD move, considering the negative impression Snyder has left with his first two DC movies. So... if you were among those who was worried that the movie is going to be as bad as his "Man of Steel" or "Batman v. Superman"? Well... don't jump out of that bandwagon just yet. At least, I think you should stick with the same concern until it has been proven otherwise. Remember, it's still a Snyder's and not Whedon's movie, and it opens on November 17th, 2017.

Another problem is running on the other League. This time, the "Justice League Dark" train. Remember how tall and mighty Doug Liman sounded when WB signed him to take over the project from Guillermo del Toro? Well, it seemed Liman might have just swallowed his own pride, because he's no longer attached to the movie. Liman moved on to work on a Lionsgate's project, so WB is currently on the hunt for his replacement. Back then, I would've instantly commented on this turnout. But now? Things like this has happened over and over again that I'm not even surprised when I read it. After all, it's just another setback to the universe, right? Nothing new here. LOL.

All these behind the scene problems that came in one after another, made you lose faith in WB and their DC Films, huh? Well, hold on to your horses, because I'm saving the best for last. And it's a GOOD news this time! Reviews embargo for Patty Jenkins' "Wonder Woman" has been lifted, and it has received positive reactions! Critics are easily calling it the best DCEU movie so far. Which means, basically better than "Man of Steel", "Batman v. Superman", and "Suicide Squad"... which admittedly weren't even a high bar it needed to top to begin with. LOL. When the first score was accumulated, it resulted a heaping 95% on Rotten Tomatoes! Which ironically begs the question: where has all those DC fans who claimed that RT is ruining DC movies run off to? Surprise suprise, they are out and about protesting and complaining about the Women Only Screening for the movie. SERIOUSLY?!

General comparison to "Captain America: The First Avengers" and "Thor" didn't surprise me, because the trailers have already given the exact vibe. But it's pleasant to know that eventhough those trailers didn't work at all for me, they didn't really capture the spirit and wonder of the movie itself. Which is nice, because in my opinion, it's much better when the trailers are bad but the movie is good, and not the other way around. And when I said the 'other way around', I was obviously referring to those previous 3 DC Films. They all had trailers that many folks claimed to be 'great' or 'amazing', when their actual movies failed to even generate the same response. So if the opposite is happening to "Wonder Woman", it's ironically GOOD, right? The big question now, will "The Justice League" catch on to deliver the same success, finally giving WB a good streak, or will it fumbles into its previous mishaps all over again? Somehow I have a feeling it will be the latter. Oh well, at the very least, the movie will have a good Wonder Woman (step aside, grumpy Superman or violent Batman!). Here's hoping "Wonder Woman" will inspire audience to see more of her, and help give a boost to "The Justice League".

One more thing. I also sincerely hope the positive critical response to "Wonder Woman" is a sign that WB would finally be stepping back on its destructive mentality. All these time, rather than doing their best to deliver a great movie for fans, WB has been focused on one thing: competing with Marvel Studios and trying to top it if not take it down. Which is a SILLY notion on its own, because Marvel Studios already had a long headstart, so no matter what attempts WB tries to be 'different', DC Films will ALWAYS be compared to Marvel Studios' releases no matter what. Ironically, the one and only possible way they could really bring down Marvel Studios from 'the competition', is by damaging the future prospect of superhero genre. Unlike WB and their other variety of franchises, Marvel Studios relies heavily on adaptation to their comic book characters. So by producing bad superhero movies, WB might have unknowingly (or have they? hmmm) been planting the seed of destruction to the genre, which could also lead towards the downfall of Marvel Studios. This helps explain why Marvel Studios have generally refused to say bad things about DC Films, and instead continuously wishing them to do great. They know what's at stake here, and how the genre's longetivity is so much more important than a pointless childish rivalry. A rivalry that WB and its directors, producers, and actors has been flaming over and over again. I sincerely hope, that with Geoff Johns (who used to write for Marvel Comics) finally in full charge, WB and DC Film will turn over a new leaf and proceed with a positive and hopeful heart. One that does not require them to continue being the jerk of the industry...

Dark Universe

Nooo, this isn't about WB's supposed "Justice League Dark" movie. It's a category previously known as... "Universal Monsters". Yes, as if the news of Doug Liman leaving the movie wasn't enough, Universal Studios officially snatched the title of that exact upcoming DC Film movie. Now there's no way WB will be able to use the title again, unless the law sits in in their favor. Don't believe me? Universal has even released a trailer for it. \ So yeah, it IS officially a done deal, no more beating around the bushes. Tom Cruise-starring "The Mummy" will INDEED be the first of its kinds.

Apparently, their Shared Universe's interconnective tissue would be a mysterious multi-national organization called Prodigium, the one possibly led by Russell Crowe's Dr. Jekyll. Who, as the original tale suggests, WILL indeed turn into Mr. Hyde. Oooohhh... juicy! I mean, this might sound really strange, but seeing Crowe turns dark and monstrous somehow makes me all... giddy. Yeah folks, while everyone is busy oggling Cruise and his endless foray of dangerous self-performed stunts, it's Crowe's inclusion that would be my primary reason to see this movie. And I'm not kidding, this might also sound weird, but he was one of the reason I enjoyed "Les Miserables" too *grins*. Of course, if you're still not convinced about seeing this movie on June 9th, you can check out the third and final trailer, just to be sure of your... uh, life choices. LOL.

What directly comes next after "The Mummy", is the "The Bride of Frankenstein"! Bill Condon has been tapped to work on this movie, based on the script by David Koepp. It has even been set for February 14th, 2019 release, which is Valentine's Day, so things will perhaps be more... romantic. I'm personally curious to know why they don't have another project for 2018, but perhaps unlike WB that seems to rush things, Universal wants to take this slowly? Anyway, knowing the title, it's clear that they will be skipping Frankenstein's origin story. The casting hasn't been made official until now, but Javier Bardem has stated his enthusiasm for the role, so highly likely the role is his to play with. As for who will be playing the titular Bride, names like Charlize Theron, Salma Hayek, and Nicole Kidman have been thrown around for a while now, with Angeline Jolie being the most favored of all. Let's just wait and see who gets it then...

Of course, things are currently riding on the success of "The Mummy". If it does manage to achieve one, at least in the minimum amount of expectation, then we can count on seeing Johnny Depp as Invicible Man, Dwayne Johnson as Wolfman, and so on. If NOT, then I honestly don't know what would happen. Marvel Studios kept on moving despite the response to "Iron Man 2", and now its Marvel Cinematic Universe has become the first and most successful of its kind. WB was persistent enough with their DC Films, that eventhough their first three movies was poorly received critically (among plenty other production issues), they have continued limping their way to produce their first good movie in "Wonder Woman". Will Universe follow suit, for better or worse, inspite of general audience's possible fatigue concerning this forced Cinematic Universe approach? As always, we'll see...

SONY Marvel Universe

Many people ridiculed SONY Pictures when they announced the solo "Venom" movie. Movie writers and journalists didn't quite buy it, until a more concrete news arise. Some fans even questioned how a Spider-Man spin-off would work, in a non-MCU universe WITHOUT Spider-Man. But then SONY dropped a bombshell, by officially announcing a lead actor and director for the project. And they were NOT messing around. Tom Hardy, that great often-under-appreciated Oscar nominee, whose performance as Bane in "The Dark Knight Rises" became the joke of many DC fans, has signed on to play Eddie Brock. And that's because he's a fan of the character! WOW. Ruben Fleischer, is set to direct the movie, based on the script by Jeff Pinkner and Scott Rosenberg. So it's happening folks, it IS happening.

The same goes to the Silver Sable and Black Cat movie. The project that has been officially titled as "Silver and Black", is closing in on a director. When the news hit last week, Gina Prince-Bythewood was in negotiations to helm the movie. I can't really tell if she's a great director or not, but apparently her work "Beyond the Lights" was highly-appreciated. Chris Yost, who worked on the upcoming Thor movie, is writing the script with Lisa Joy. And Matt Tolmach and Amy Pascal are producing. So this one IS happening too!

My reaction to these news? I LOVE Hardy, especially his performance in "Warriors" and "Inception". And seeing him headline a movie is always a joy, even if the movie itself might not be good at times. But great gawd, he would've made a great Kraven the Hunter instead of Eddie Brock!!! >:(... And yes, I might have jinxed it when I said that, because apparently there's a rumor flying around social media now, that "Silver and Black" will be using Kraven as the antagonist. Ouch! Is SONY trying to use up the Spider-Man characters, so that Marvel Studios can't use them as antagonists to Tom Holland's Peter Parker? I hope that's not the case, because I could be really angry about it. Moreso, I still don't see how "Venom" nor the pairing of "Silver and Black" makes for a good idea, especially since neither of them would be bouncing off against a Spider-Man. But let's take a deep breath, and just think positive about it, okay...

Uncharted

Speaking of Tom Holland, here's a pleasant little surprise that would make everyone, especially his and video game fans turn heads. The rising British actor has been cast, as young Nathan Drake for the "Uncharted" movie adaptation! Apparently, the Shawn Levy movie will play around Drake's younger days, as opposed to his mature adventures that have been depicted in the four games so far. It was said that SONY head Tom Rothman was impressed by Holland's performance in the upcoming Spider-Man movie, that he pushed for him to be the star of another franchise. The problem with this development, Joe Carnahan's script can no longer be used, possibly postponed until the movie requires an adult Drake. Levy is still onboard, but a new scriptwriter is being sought to work on a new version.

There was a flashback sequence in "Uncharted 3: Drake's Deception" that showed Drake meeting his mentor Sullivan for the first time. That's likely the foundation of what this movie's going to be about. In a way, we can safely say that SONY is expecting Holland to grow into a charming athletic adventurer like Drake in future movies. Especially because movies like these usually takes at least two years to develop, and the now 20 years old Holland, would be almost 30 by the time he's working on a probable-third movie. You know what? I can totally buy that! And I'm certainly not alone in thinking this way.

And as for Holland's idea on Chris Pratt or Jake Gyllenhall playing a younger Sullivan/Sully? I'm a fan of both actors, so his statement definitely puts a really wide grin on my face. Not sure if they would be a good fit for the role (try picturing THIS IMAGE, but with Holland and any of those actors)... but yeaah, I'm totally down with that!

Marvel Studios

Yes, still talking about Holland. Because he's on THREE effing categories this time! What a year for this hunky young fella, eh? His Marvel Studios movie, "Spider-Man: Homecoming" is only a month away from arriving in the theatres, and the hype on social media is growing bigger and bigger. The third and so called final (lengthy, I presume?) trailer was released last week, and it showcased some extra scenes while rehashing the ones from previous two trailers. Considering the 2nd trailer has pretty much spoiled beat by beat of the actual movie, this final trailer didn't even bothered to do the same all over again. Who knows what the TV spots and clips will reveal though, because this feels like SONY's marketing, hence why it didn't feel like Marvel Studios' doing.

The good news is, the movie is tracking to a $135 million domestic opening number. Yes, that's a relatively lower number than Marvel Studios previous Summer releases, but it's still the highest number for any Spider-Man movies since 2002. A number that has consistently been declining, by the way, with the exception of "The Amazing Spider-Man 2" in 2014. So despite the number feeling rather low, especially for a movie that has Robert Downey Jr.'s Tony Stark, this is still something good on its own.

Meanwhile, now that "Guardians of the Galaxy Vol. 2" is out for almost a whole month, director James Gunn is already hard at work on the next installment, "Guardians of the Galaxy Vol. 3". While the second movie made it clear that Chris Pratt's Peter Quill is the only Earthling member of the team, Gunn had openly revealed on social media, that such restriction will no longer apply in the third. In my opinion, Gunn specifically made the rule, likely to ensure Quill being the only representative of the planet, especially when we put into account Ego's 'celestial visit' to various planets. Since "Vol. 3" is set to take place after "Avengers: Infinity War" and Avengers 4, the Guardians would have been exposed to Earth, thus including more Earth-bound heroes like Nova or others should make more sense. Hey, even Brie Larson's Captain Marvel can be among their cosmic ranks too.

X-Men Universe

Josh Boone's "X-Men: The New Mutants" had scored, or rather confirmed its first two cast members. As previously rumored before, rising stars Anya Taylor-Joy and Maisie Williams have officially come onboard to play Russian mutant Magik and Scottish mutant Wolfsbane respectively. Both names have been associated with this movie since last year, so it's nice that we've finally gotten the confirmation some of us needed. Apparently though, the 'Natt Wolff is being approached to play Cannonball' part didn't pan out, as a surprising name has entered talks to portray the character instead. What a strange things indeed... ;D

Hold on, make that four actors, if we count Marvel TV's MVP Rosario Dawson. Yes, apparently Dawson has been approached to play Dr. Cecilia Reyes, a doctor that would serve as some sort of mentor figure for the younger cast. The character has the ability to generate force field, so she's definitely a mutant as well. Assuming Dawson agreed to take the role, this would be her second Marvel role, and also a step up from a rogue nurse Claire Temple into a full blown doctor. Someone just got medically promoted! LOL.

It's seriously unclear when or how the timeline of this movie will fit in the... ugh, already messy and confusing larger X-Men universe. What we can really be certain of however, is the genre the movie will dive into. And FOX isn't playing around, because based on Boone's statement to Entertainment Weekly, "We are making a full-fledged horror movie set within the X-Men universe. There are no costumes. There are no supervillains. We’re trying to do something very, very different.". Okay, now this was both intriguing and concerning at the same time. The idea of having a younger cast, somehow meant that the movie will be a young adult version of the genre. And that's good. But no costume, and also horror bit? Even "Doctor Strange" didn't fully go that direction, because it might not score the PG-13 rating. Does this mean, "New Mutants" (yes, I'm still not used to adding the X-Men part in front of it) will also be R-rated, much like FOX recent movies? It COULD... be a good idea, but at the same time, it's a risky one that might not work either. I guess we'll just have to wait and see what Boone means when the first trailer hits. "New Mutants" is set to be released on April 13th, 2018. Production is expected to begin pretty soon in July... so I'm sure we'll hear more about it and more ethnically-appropriate casting through San Diego Comic Con.

Meanwhile, the tentatively titled "Deadpool 2" has welcomed a new cast member. Jack Kesy, who I just realized portrayed that rocker whose genital creepily fell off in "The Strain" (not kidding, it's a disturbing scene), has been cast to play a major villain in the movie. Deadline said, that their sources pinpointed the character as... Black Tom. Nope, I did NOT know that character, and the day I read the news, was even the first time I have even heard of it. After Ed Skrein's Ajax was universally acknowledged as one of the weakest element of the first movie, one would think that FOX would amp up the antagonist department, right? Looks like that's not the case. But let's give this sequel the benefit of doubt. Ryan Reynolds is returning as Wade Wilson, alongside Morena Baccarin as Vanessa, Leslie Uggams as Blind Al, Stefan Kapacic as Colossus, and Brianna Hildebrand as Negasonic Teenage Warhead. And just like Dawson, Josh Brolin will be portraying his second Marvel role, this time as the time travelling Cable. Directed by David Leitch, "Deadpool 2" will hit the theatres on June 1st, 2018.

Let's move on to the TV side now! And let's start with the good news first. FXX, a younger-skewing part of FX Network with focus on animation, has ordered a 10-episode series of Marvel's "Deadpool" (tentative title, by the way)! And guess who will be working as showrunner for this show? "Atlanta" very own Donald Glover, and brother Stephen Glover. Well, color me intrigued! This Deadpool series will serve as Marvel TV's second collaboration with the network, after the critically acclaimed "Legion" that aired earlier this year and has received a renewal. ABC Signature Studios is producing the show. And yes, joining Dawson and Brolin's party, this would be Glover's second major Marvel involvement following his inclusion in "Homecoming" (noticed that he showed up in that latest trailer too?). Hmmm... is it just me or FOX continues snatching actors from Marvel? Anyways, would Glover be voicing the lead character too? That would be awesome.

Now, comes the bad... or politely speaking, not that-good of a news. And it's about that new X-Men TV show, "The Gifted". I know I haven't been talking about this for a while now, because frankly... I couldn't care less. But I'm going to report it anyway now, because it's happening. Well, mainly because an official teaser has been released to celebrate the full season order. So yeah, FOX wanted their Marvel properties to play in the TV poolside as well, so they called out Bryan Singer and writer Matt Nix to... ugh, create this show. And it's generally about, "a family who discovers their kid is a mutant and must go on the run, shacking up with a bunch of other mutants to survive.". What's the point? I guess it's not enough to have "Legion" that, despite being really good, feels weirdly out of place from the X-Men movie universe, now they just need to insert another one to make things more... confusing.

To be honest, what I saw in that trailer didn't inspire confidence. At all. Which was odd, because I thought the teaser was quite intriguing. There's this weird... 'been there done that' vibe running throughout the trailer, and it certainly didn't give me the urge to check it out once it was over. It played a bit like "Heroes" I guess, but not the early seasons when it was good. Nope, it's the latter ones which people couldn't care less. But of course, don't ever judge a book by its cover, because this COULD be good. It has Amy Acker, Stephen Moyer, Sean Teale, Jamie Chung, Coby, Blair Redford, Percy Hynes White, Emma Dumont, John Proudstar, and Natalie Alyn Lind as its cast. While I'm only familiar with THREE of them, the rest of these actors could end up becoming as huge as those.. ugh three. So yeah, if you're an X-Men fan, you might want to hang on to your seat until this show arrives on FOX Network. Sooner or later. Good... luck, then?

Marvel TV

Since we've talked about Marvel TV's affair with FOX, let's talk about their own shows now.

Marvel's "Agents of S.H.I.E.L.D." has been officially renewed for Season 5. YAY for that! I personally thought the finale for Season 4 was rather... disappointing and underwhelming. Also, that post credit scene was confusing, and was revealed to NOT have anything to do with S.W.O.R.D. because turns out, Marvel doesn't own the copyright. Ain't that a deal-breaker! But obviously, a show renewal means a win for some of its fans, so... good for them. There's a catch though, because unlike previous season, the 5th season will NOT arrive in Fall 2017. Nope, NOT kidding, because apparently, AoS will not start until ABC has finished airing all 8 episodes of Marvel's "The Inhumans". This is a strange reveal, because I've always thought 2017 would be the year that ABC is having two running Marvel shows at the same time. Looks like I've expected too much.

But the report gets even... weirder. "The Inhumans" is officially set to air on... Friday 09:00 PM, following "Once Upon a Time". This news stirred up some concerns on its own, because according to many, Friday night is considered to be graveyard for TV shows. Heck, many people in the US aren't even home during that time! Most tend to go out, and have dates, parties, watch movies and whatevers. Is ABC trying to ruin the show before it even starts? Sure, ABC Chief Channing Dungey has told the press that the network is trying out a new strategy. But it also didn't stop folks on the internet to connect the show to a recent rumor that... didn't sound reassuring. With this odd airing schedule, the trepid response to the show's first look, as well as showrunner Scott Buck's bad track record thanks to "Iron Fist", I think it's not wrong for fans to start feeling... worried.

The good side that we can take from this, is that when the 5th Season of AoS begins airing on January 2018, the 22-episodes will likely run without any season breaks. There isn't any official statement about this, but VFX supervisor Mark Kolpak had hinted so in a social media response. Personally speaking, it's still uncertain if I'll be seeing this new season or not. Knowing my tendency to lose interest when a show starts to get overly long, highly likely I'm going to drop it, to then return sometime after it ends to bingewatch it. But it's not a fixed plan just yet. After all, I WAS planning to do that with Season 4, but then the Ghost Rider arc pulled me back in, and the rest was history. And of course, if the 5th Season is announced to be the FINAL season, that totally changes my plan. I would totally tune out in real time for one last ride, even if sometimes I have to *cough-Glee-cough* drag myself to do so. In the end, it all depends on what strategy the showrunners will apply to the show when it returns on January. It's still 7 months away, so plenty of time for me to have the AoS hiatus I badly needed. Assuming "The Inhumans" doesn't suck up all of my joy and leave me with pure disgust towards Marvel TV, of course... LOL *sigh*

Last but not least, the new season for "Avengers Assemble", officially subtitled as Marvel's Avengers: Secret Wars", is set to have a one hour premiere later on June 17th. This season will pick up directly after that bittersweet ending of Season 3, that left Tony Stark in a... digital state. To be honest, there's an annoying pattern to Marvel Animation's shows in the past few years, in that it started out strong and good... to then suffer a gradual decline in quality. That 3rd season, the one subtitled "Ultron Revolution", was just another good example of this. So while the prospect of having an entirely new roster led by Black Panther for "Secret Wars" sounds intriguing, I can't really say for sure if I'm going to stick around to the finale.

To help introduce these new roster, DisneyXD will be releasing a number of shorts via the digital platforms such as DisneyXD App. There will be six shorts released that feature Captain Marvel, Black Panther, Ms. Marvel, Ant-Man, Wasp, and Vision. Characters who have mostly (with the exception of Wasp) debuted on Season 3. These shorts will be available on a daily basis from June 2nd to June 7th. They will be essential to prepare audience for the 2-parters "Avengers No More", on June 17th as I've said before. I might be mistaken, but it seems the voice cast will have several updates as well, since I'm not seeing Adrian Pasdar's name on it. Nevertheless, fans of the animated series should definitely mark their dates to catch this new season. Who knows, perhaps the roster change will be effective to make it... better than the first three seasons.

Netflix

I didn't pay attention because I had to spend less time on Twitter now, but it seemed Marvel's "The Defenders" had a playful time with their social media marketing. Marvel officially released motion posters for the character, and apparently they were delightfully filled with easter eggs. There's Charlie Cox's Matt Murdock and Krysten Ritter's Jessica Jones hanging out on Rand Tower, Mike Colter's Luke Cage in Fogwell's gym, and Finn Jones' Danny Rand meditating in front of Alias Investigations, and so on. Fun stuffs indeed, at least by the sound of it, because I haven't personally observed them in details. LOL.

Cox talked to Empire Online, and revealed that despite the tonal difference to all series, "The Defenders" will have a tone of its own. One that is kept "grounded, but at the same time it lives in a slightly mythical world". Colter added that the four lead characters will be reluctant to work with each other at first. He also accidentally revealed on a separate interview, that Wai Ching Ho's enigmatic character Madame Gao is set to appear on the mini series. This wasn't particularly shocking, I should say, because technically Gao IS a member of The Hand, so of course she'll be involved somehow. Perhaps, alongside Ramon Rodriguez' Bakuto, who disappeared after his fight with Jessica Henwick's Colleen Wing in Danny's series? Speaking of Danny, Jones said that his character will be maturing and be more responsible in the mini series. So perhaps, turning into someone more... likeable than the one we saw in his solo series. I sure hope that's the case. Marvel's "The Defenders" arrives on August 18th.

Netflix has debuted the first teaser for their animated "Castlevania" series as well. The series itself will premiere on July 7th, and this first season will consist of 4 episodes. Running time for each will be 30 minutes, so it's going to be a really short show. While this is a fantastic idea, considering the game franchise hasn't had any adaptation until now (as far as I know of), this teaser was... vague at best. It honestly didn't make me curious or intrigued to check it out, and I'm not sure that's the purpose. Of course, just like any other Netflix shows, we could expect a full length trailer in the coming weeks. Perhaps, by then it would look meaningful enough for me to judge.

DC Television

Likely inspired by the reception to Marvel's "Luke Cage", DC TV has followed suit by introducing their own black superhero in "Black Lightning". The series, which has been ordered as full season, is set to debut on the CW Network. But unlike the already running "Arrow", "The Flash", and "Super Girl", this one will not be set in the same universe. For now. You can check out the first look trailer on the network's official channel.

Much like the other CW shows, I can't really say if this trailer... appealed enough for my taste. I just... didn't dig it for some reason. The concept of a retired hero is nice, but the whole thing played out exactly like those other CW shows. So already a huge pass for me. But I can easily imagine how some folks, especially African-American audience would be ecstatic to see it. Heck, if Marvel fans could show so much love for a "Luke Cage" series that honestly got more and more draggy as it went by, I certainly hope the DC counterpart would at least do the same with this. There one for everyone, right?

Warner Bros Animation

"Heelloooo, Nurse!!!!". Not content on just delivering CW superhero shows, through their animation division, WB is planning to revive a loveable classic, which is "Animaniacs". Yes folks, the trio of Yakko, Wakko, and Dot will be returning to the small screen... and likely alongside other characters like Pinky and the Brain. According to IndieWire, Steven Spielberg is involved in it, so that's a reassuring fact. After all, it was the iconic director himself who managed to bring the series to its spectacular popularity back then. For the time being, the project is still in early stage of development, and it doesn't have a home yet. But the original series is having great viewership on Netflix, so the streaming media would easily become one of its possible home. Here's hoping we'll hear more about this in the near future!

LEGO Games

LEGO announced their latest action adventure video game title late last month. This time, it's another of their Marvel tie-in games, "LEGO Marvel Super Heroes 2". Their previous collaboration, the MCU-inspired "LEGO Marvel's The Avengers" did not reach the same heights of the first "LEGO Marvel Super Heroes". So I hope this new one, that seems to focus on themes from recent and upcoming movies like "Doctor Strange", "Guardians of the Galaxy Vol. 2", "Thor: Ragnarok", "Black Panther", and "Captain Marvel", will be able to make up for that strange nitpick-ish disappointment. You can check out the official full-length trailer on Marvel's official Youtube channel. Didn't show much of the plot though. Hmmm....

Street Fighter

Third character for "Street Fighter V" Season 2's DLC has been revealed early last month. CAPCOM promised a completely new character, but once again, similar to Helen/Kolin, this one's technically NOT really new. Ed, has been around since "Street Fighter IV", and before officially becoming a playable character in this game, he's been heavily involved in Season 1's DLCs' (Balrog and also Urien) story modes, as well as appearing in some others. Balrog has been serving as his caretaker, and that explains why his fighting skill leans towards boxing.

I'm never fond of boxing fighters, so Ed's already a huge NO for me. What was more disappointing about his reveal though, is the fact that he's being set up to be the new M. Bison. Complete with that ugly M. Bison-inspired costume! Turns out, ghost of the now-death Shadaloo's boss tried to possess his body, hinting that the evil organization is still lurking about, despite the conclusive ending to "A Shadow Falls". This is something along the line of how "Final Fantasy XIII-2" ruined the perfect ending of its first game! Anyway, some fans have been able to test him out during the game's beta test on May 11th. It's still unclear when he will be available for purchase, but it's safe to assume that will take place this month. You can check out his official reveal trailer on CAPCOM's official Youtube channel.

Dynasty Warriors

Early last month, Kadokawa's Weekly Famitsu magazine revealed that the 9th iteration of the franchise, "Shin Sangoku Musou 8" will be released on Playstation 4. This wasn't surprising, since KOEI Tecmo has been moving away and away from Microsoft and their Xbox family since the 8th game. Despite that, there are hints that the North American and European region will get additional release in other platforms as well. Switch, perhaps?

First announced back in December 2016, the new game will have an open-world environment, placing the continent of China into a single, vast map to explore. There will be key cities and also landmarks in the game. This change enables various mechanics that were unaccessible in previous titles, like real-time climate and its influence to battle, stealth infilitration, long distance attack, as well as variety of other methods like "State Combo", "Flow Attacks", "Trigger Attack", and "Interactive Actions". The story mode will be massively affected by them as well, as everything will take place according to its respective period, and more faithful to the actual history. According to producer Akihiro Suzuki and director Jun Miyauchi, development is currently at 40%, and that their team is currently adding more and more features to increase the game's playability value. With that said, the game still has no official release date at the time being.

Continuing the franchise's tradition, several new characters will be introduced to join the existing 83 officers from the latest title, "Dynasty Warriors 8 Empires". Zhou Cang, wielding the Daisatsutou, will be added to the Shu faction, while Cheng Pu, wielding a dual spear, will join the Wu faction. There might be more for other factions, but so far, these two are the only ones announced. Details for these characters as well as regarding the game in general, can be found on the official English and Japanese websites.

The King of Fighters

Fans who haven't been able to play the game on Playstation 4, will soon have a chance to play it on PC. "The King of Fighters XIV Steam Edition" of the game, has been announced to be released in the near future. SNK Corp has been accepting pre-order starting in May. Regular edition will come with a bonus of DLC costumes for Kyo Kusanagi, and Geese Howard. A Deluxe Pack, which is a MUCH better offer but with understandably higher price, will come equipped with Digital Art Book, Digital Soundtrack, 10 DLC costumes, and all 4 DLC characters announced so far. That's basically everything that SNK Corp has released in one pack! A 20% discount, which is an extra-generous bargain for both sets, is set to run until June 15th, 2017 10:AM PDT. So hurry up and pre-order your copy! I know I would if I had a compatible resource to play it, as well as reliable financial condition... *sigh*

Assassin's Creed

E3 is taking place this month, and Ubisoft has been rumored to be announcing the new title for their "Assassin's Creed" franchise. Nothing official has been revealed to far, but the company has indeed teased that this new entry will be released before the end of their current fiscal year. That means, we can expect it to arrive before March 31st, 2018. Will it be the Egyptian-themed "Assassin's Creed: Origins" as previously speculated? We'll have to wait and see...

Sonic the Hedgehog

When it was announced that there would be a 3rd character for "Sonic Forces", it made me quite... anxious. Remember how the teaser showed a cat-like character? Yep, I was genuinely worried that SEGA would be shoving, shoehorning a completely new character that might ruin the whole "Sonic Generations" combo of Classic and Modern Sonic. I mean, what's the purpose, right? Well, guess what? Turns out the third character is indeed a NEW character, but NOT exactly new. Huh? Because it's still Sonic. CUSTOM SONIC. LOL.

Seriously, this is NICE! And also somewhat brilliant too. I'm sure many Sonic fans have been itching to see how Sonic the Hedgehog would've looked if he's actually a wolf instead. Or if he's not Blue, but Red-colored... Okay, perhaps I'm the only one intrigued by those idea, but the point is, each fans can have their own version of Sonic through this game! This customizable Sonic or 'Hero Character' can be equipped with a variety of powerful unique gadgets called Wispons. The visual look can also be modified by choosing between 'hundreds' of options. So those who have been dreaming to have a nerdy Sonic as their playable character, well, this one's for you! Also, as I said before, players can choose a different base animal apart from Hedgehog, and all 7 types come with their own unique abilities. SEGA and the Sonic Team has provided a reveal trailer, and also quick gameplay trailer for this new Sonic. Looks like he'll be able to play through either Classic or Modern style stages too. Pretty cool, right?!

Meanwhile, "Sonic Mania" has officially received a release date. The 2D Classic Sonic game will be launched on August 15th, 2017, for Playstation 4, Xbox One, Nintendo Switch and PC. A special pre-order trailer has been released to deliver this announcement. Go ahead and check it out, because it looks... 2D-nostalgic fun! :D

Zero Escape

Just like "Sonic Mania", the PS4 port of "Zero Time Dilemma" will also be released in August. Namely, two days later on August 17th, 2017. That's only for the Japanese version though, and it will be available at the price of 3,800 yen. The English version has yet to receive official release date, but has been planned for a Fall release. This new PS4 version will have refined graphics, and Famitsu has published a comparison sample with the PC version.

Professor Layton

Early last month (yes, don't ask), details for the first arc of "Layton's Mystery Journey: Katrielle and the Millionaires' Conspiracy" has been revealed by LEVEL-5. Episode 01, entitled "Clockwork Sweets" will have Katrielle investigating the stolen hand of London's famous Big Ben's clock. The incident needs to be taken care of before the arrival of Ambassador Melarco the day after. So to fulfill the request of Scotland Yard's inspector Aspoiro, Katrielle and her assistant Haro needs to race through time to retrieve back the hand, before press conference with Melarco begins. Marc and Reggie Yanchatta, 27 years old twins will be involved in this case. Older brother Marc works as the mechanic on Big Ben, while Reggie is a confectioner.

Two of the "Seven Millionaires of London" from the title, have also been introduced. The first one is Ridley Fremens, who is the female mayor of London. And the second one is Clerk Gospec, a 65 years old multi-milionaire who has taken interest in Katrielle to investigate an incident in his theater. The report is currently unclear, but it seems Fremes will also be involved in the Big Ben case, while the Gospec's request will play out as one of Katrielle's next mission. To be honest, this feels more like a mystery visual novel than the previous "Professor Layton" titles. For some reason, I'm even reminded of that App Game "Layton Brothers", which I only managed to play up to the 3rd case (I need to purchase the next cases afterwards, and I had to pass on that LOL).

"Puzzles" are the signature of the franchise, so of course Katrielle will be dealing with them. The same goes for the other basic flow, like examining areas to discover "Insight Coins", and also tracking down "Collectibles". Another Layton standard feature, a mini game called "The Ideal Dinner" is also available. This time players need to provide clients with ideal dinner course of hors d’oeuvres, soup, a main course, and desserts. The game will be released worlwide on July 20th, 2017, for Nintendo 3DS (for Japan region, western version will come later in Fall), iOS and Android. That means, we might be getting additional information about other characters in the near future. Perhaps, during this month's E3?

Square Enix

The last category of this R-N-D, is a rundown of future plans by Square Enix. The company held a financial briefings for the fiscal year that ended in March 31st, 2017, and president and CEO Yousuke Matsuda revealed that some highly-anticipated title will be launched within the next three years. These projects include "Final Fantasy VII Remake", "Kingdom Hearts III", and also an unnamed Marvel IP License. This means that we can expect those to arrive starting next year. Will they be announcing more details for these projects during E3 though? We'll see...

[wbwest]

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West Week Ever: Pop Culture In Review - 4/21/17

Star Wars Celebration (I can’t say that without thinking of Dave Chappelle’s Rick James yelling “It’s a celebration, bitches!”) happened in Florida last weekend, and we got our first teaser trailer for Star Wars: The Last Jedi. Folks seemed to like it alright. I’ve never claimed to be the biggest Star Wars fan, but nothing about this really gave me a Force Boner or anything. That’s probably because Rogue One left such a bad taste in my mouth. Anyway, I’m sure I’ll see it, but it’s not really on my radar.

In other movie “news”, we got the track listing for Awesome Mix Vol 2 from Guardians of the Galaxy Vol 2., which comes out today. Is it just me, or is it weird that Mama Quill gave Peter mixtapes of all the songs that played while she was banging dudes in Camaros? Come on – she was totally that chick! Anyway, there are no real surprises here, as it seems to be in-line thematically with the first volume. Personally, I’m ecstatic that “Come A Little Bit Closer” will be introduced to a new generation, as I’m a huge fan of Jay and the Americans (check out “Cara Mia” if you’ve never heard it).

This rumor came out a few weeks ago, but it kinda floated under my radar: apparently Warner Bros wants to release 4 Batman-centered films in 2019 to commemorate the 80th anniversary of Detective Comics. This slate would include Nightwing, Gotham City Sirens, the Joss Whedon Batgirl, and the oft-delayed The Batman. Nice idea, but there’s no way this happens. DC just doesn’t have its shit together enough to pull this off. Marvel could do it, but they would’ve been planning it since 2012. It’s already 2017 and they expect to crank out 4 movies in 2 years? Shit ain’t happening.

Bring on the teen angst train, as we’ve got two more comic-based series just dripping with it! First up is Cloak and Dagger on Freeform, which looks like the Freeformiest show that ever Freeformed. It’ll be right at home between the show about the deaf girl and the show about the foster kids. I’ve never been a huge Cloak and Dagger fan, but the series follows teen runaways Tandy Bowen and Tyrone Johnson, who were kidnapped and injected with an experimental drug. The drug left Tandy (Dagger) with “light daggers”, while Tyrone (Cloak) has a mystical cloak that transports people and things to a dark dimension. Oh, and there’s that sweet, sweet interracial love/Jungle Fever aspect to things. Based on the trailer, it’s gonna focus more on the love thing than the power thing, which is understandable since powers are expensive on a weekly TV budget. I haven’t heard if this is actually considered part of the MCU, but it’s nice to see the Roxxon sign at the end, so there are clear ties to the universe itself.

The angst doesn’t end there, though, kids! We also got a trailer for Syfy’s Krypton series (which has since been yanked down) – ya know, the one that nobody asked for. It’s hard for me to get excited about Krypton when very little about that planet has ever seemed appealing. It’s most recently been painted as a cold, stoic, science-based society. And since they don’t have our sun, it means they’re powerless. Here’s what I don’t get about the trailer: the show takes place approximately 200 years prior to Man of Steel (I guess making it the first series to be an official part of the DCEU), but the monologue is of Kal El’s grandfather leaving a message for him. Um, how does he KNOW his grandson’s name is Kal El if he hasn’t been born yet? Anyway, it’s about Grandpa El, who happens to be a sexy, CW-ish twenty something, trying to restore honor to the disgraced House of El. The effects look nice (AKA expensive), but nothing about this show makes me want to see it.

There’s some laughter coming from a different comic-based series, however, in the form of Freeform’s New Warriors. I mentioned it a few weeks ago, but it’s been confirmed that Kevin Biegel of Enlisted/Cougar Town will be the showrunner, and we got a confirmation of the roster. Led by Squirrel Girl (who has never been a New Warrior in the comics, but I won’t harp on that), the team is comprised of Speedball, Night Thrasher, Microbe, Mister Immortal, and Debrii. I’m familiar with career Warriors Speedball and Night Thrasher, but I don’t know anything about the others. Considering Mr. Immortal and Squirrel Girl are Great Lakes Avengers characters, this is something of a hybrid team.

I’m the furthest thing from a foodie, but I love a good dairy-based gimmick drink, and this week featured TWO of them! First up, I’d read online that Burger King had been testing a Froot Loops Shake at certain East Coast locations, with plans to roll it out nationally today. Well, I traveled around until I found one that had it early (well, I didn’t travel too far – it was down the street from my apartment), as I had to see what the fuss was all about. I had heard it described as made from vanilla soft serve, with Froot Loops pieces, topped off with a sweet, syrupy drizzle. Sounds exotic, right? WRONG. Whoever thought of this probably got a bonus for the idea, but it lacks in the execution. It’s basically a vanilla shake with edible confetti in it. From Loops don’t really have a strong fruity flavor to them, so it’s not like it’s rubbing off into the soft serve. And when you do get some Froot Loop chunks through the straw, they just taste like flavorless corn cereal. I didn’t taste any kind of drizzle, and I kept waiting for the WOW to kick in. It never did. I drank this so that you don’t have to and, trust me, you really don’t have to.

Next up was the Starbucks Unicorn Frappuccino. I hadn’t even heard of the thing until Wednesday morning, when everyone and their mom was talking about it. Looking at it, I was reminded of the Birthday Cake Frappuccino that comes out in March (I remember this because it was out at the time Evie was born). I LIVED on those things for the two weeks or so that they were in stores, so I was expecting this to be more of the same. I wasn’t sure what flavor this one was supposed to be, but there were certainly visual similarities. Anyway, after dinner Wednesday night, I snuck off to the corner Starbucks to try it out. You’ve heard of a Butterface, right? Well, this is a Buttertaste. It looks cool and everything, but the taste…THE TASTE! Its marketing emphasizes that it magically changes flavors while you drink it, but I could never really nail down what those flavors were supposed to be. There was a pervasive muskiness to it, making me feel like I’d basically sucked off a real unicorn. Of course, that would be silly – everyone knows you’ve got to buy a unicorn dinner before it lets you do that! Then, near the end, the muskiness gives way to a hyper berry taste, reminiscent of the Blue Raspberry that candy scientists seemed to have discovered in 1992. At no point in the drink was it what I would call “enjoyable”, and even the whipped cream on top was disappointing. As far as I’m concerned, this drink can fuck off back to Narnia where it came from.

Things You Might Have Missed This Week

Bill O’Reilly was fired from Fox News following sexual harassment allegations. See, if he’d told Billy Bush he only grabbed ‘em by the pussy, he’d be President by now!

Nintendo officially ended production on the NES Classic, followed by rumors that an SNES Classic is coming later this year

Anna Boden and Ryan Fleck were announced as the directors for Captain Marvel. I’ve never seen anything they’ve done (Half Nelson, episodes of Billions, and The Affair), so I’ve got no real opinion right now

Speaking of Marvel films, Black Panther wrapped production this week, as Hollywood braces for the return of every living Black actor

Will Smith is in talks to take on the classic Robin Williams role of The Genie in Guy Ritchie’s live action Aladdin adaptation. Obviously, Jaden Smith will probably get the role of Aladdin.

Stranger Things co-star Shannon Purser came out as bisexual on Twitter. Well, she’s bisexual in real life. She just used Twitter to announce it.

Director James Gunn announced that Guardians of the Galaxy 3 would be the final iteration of this lineup of the team

Black-ish was sold into off-network syndication, launching in Fall 2018

Jane The Virgin’s Gina Rodriguez will voice Carmen Sandiego in a new animated series coming to Netflix

Steve Harvey will host a revival of Showtime At the Apollo for Fox

Fate of the Furious debuted to $532 million internationally, beating the record-setting $529 million earned by Star Wars: The Force Awakens

With its original pilot rejected by Fox a few years ago, Joe Hill’s comic Locke & Key will have a new pilot filmed for Hulu

The X-Files has been renewed for a 10-episode 11th season. I couldn’t even make it through the last 6-episode batch they gave us, so I think this is a pass for me.

For the past 6 seasons, I have pretty much hate-watched HBO’s Girls. I hated Lena Dunham’s dumpy, Play-Doh body which was constantly on nude display. I hated all of her character Hannah’s “problems”. I hated her boyfriend Adam. I had convinced myself that I was really just watching, hoping that the characters would eventually be hit by a truck or something. Then, this season came along. Even through all my hate, I had to admit that this was a pretty strong season. From Hannah’s odd interaction with a bestselling author to Marnie finally realizing she sucks at life, there were some great episodes of television to be found in this season of the show. I was also forced to admit things about myself.

First off, I always knew I liked Shoshana because she had enough sense to know that she deserved better than the friends with which she’d found herself. And I definitely missed her once she decided to finally distance herself from them.  I also realized there was much more to the Ray character and, while they didn’t exactly put a bow on it, I’m glad they led us to believe that he had found a happy ending. Even a character as originally unlikable as Elijah had some strong development this season, and he was truly missed in the finale, even though this chapter of his story had come to a close. As I already admitted in my Get Out review, I had to come to terms with my crush on Allison Williams and, by extension, Marnie Michaels. Yeah, she sucked at life, but she seemed like the one out of the four who had Tony Starked her way into that situation; she was the cause of her own problems. Once she began to realize that, the character held more promise. And I realized I hated Jessa because she reminded me too much of girls I’d hooked up with in college: damaged, tattooed, pseudo-junkies who are lucky to still be alive. And I guess Hannah reminded me of girls I’d hooked up with post college. Yeah, I hated a lot about Girls because, I guess, I hated a lot about myself.

This Sunday saw the series finale of the show, and I wasn’t quite sure I was ready for it. After a season that had given us a pregnant Hannah, but also showcased the dissolution of the group’s friendship, I didn’t really know how they could “end” the story. I was further distraught when I read an article last week saying that Jessa and Shosh’s final appearances had been in the penultimate episode that had just aired. While I would miss them in the final half hour, I had to admit that their chapters had also come to a close.

When we get to the finale, there’s a five-month time jump, where Marnie and Hannah are living in a remote house upstate, raising Hannah’s baby, Grover. Yes, that’s what she named him. Anyway, it was 30 minutes about what it means to be happy, but also what it means to be an adult and a parent. I like to think that Hannah finally grew up once she realized that Grover wasn’t another problem that she could simply run away from. The entire episode, she’s freaking out because Grover won’t breastfeed, but in the final seconds he finally takes to her breast. The look on her face is a mix of relief and maturity. It was then that I realized the show had to end at that point, as Hannah was no longer a girl. The entire series had been about millennial drama, as they skirted adulthood, but those times were over. The title Girls no longer applied to Hannah because she was now a Woman, with all the responsibilities that entailed. I used to worry about Hannah, and I sure as Hell worried about Grover when we learned she was pregnant. After Sunday’s finale, though, I think they’re gonna be OK. It was a finale that I had to give some thought to, but it didn’t leave me unfulfilled like Don Draper creating a Coke jingle only to end up hocking tax prep software six months later. For this reason, Girls had the West Week Ever.

[killerscartv]

Tales of the City (full miniseries) - 1993 -2001

A television miniseries based on the first of the Tales of the City series of novels by Armistead Maupin. To date, the first three books have been adapted into television miniseries; the first, Tales of the City, was produced by the UK's Channel 4 and was first screened in the UK in 1993, then shown on PBS in the US in January 1994. Channel 4 eventually teamed up with the American cable network Showtime to produce the sequel, More Tales of the City, which premiered in the US and UK in 1998. The third instalment of the series, Further Tales of the City was produced by Showtime (without Channel 4) and was originally aired in the US on Showtime in May 2001. Tales of the City (1993) Following the storyline in Maupin's first book, the first miniseries begins in the summer of 1976, following Mary Ann's decision to remain permanently in San Francisco following her vacation there and spans the next several months, concluding on New Year's Day 1977. The miniseries premiered on Channel 4 in the UK on 28 September 1993, and was screened by PBS in the US in January 1994. Amid the controversy surrounding the homosexual themes, nudity, and illicit drug use in the miniseries, Tales of the City gave PBS its highest ratings ever for a dramatic programme. In deference to local standards, PBS gave stations the option of showing an edited version in which male and female body parts were obscured by pixelation. The original six-part miniseries was produced by Britain's Channel 4 Television Corporation in conjunction with San Francisco's PBS station KQED and PBS' American Playhouse. Despite the ratings success of Tales of the City, PBS bowed to threats of federal funding cuts and announced it would not participate in the television production of the sequel, More Tales of the City. Despite the changes in production companies, the same actors played four of the central characters throughout all three miniseries: Laura Linney played Mary Ann Singleton; Olympia Dukakis played the matriarch, Mrs Anna Madrigal; Barbara Garrick played DeDe Halcyon Day; and Billy Campbell (credited as "William Campbell") played Dr Jon Philip Fielding. In addition, Thomas Gibson reprised his Tales role as Beauchamp Day in More Tales and Mary Kay Place, who had a cameo as Prue Giroux in Tales, played that role as a major character in Further Tales. Parker Posey, who played Mary Ann's high school friend Connie Bradshaw in the first series, appears briefly in both the second and third installments. In More Tales of the City, Paul Hopkins was cast in the role of Mouse, Whip Hubley played Brian, and Nina Siemaszko was Mona. Hopkins and Hubley returned for Further Tales of the City. Armistead Maupin himself made cameo appearances in all three miniseries. Regarding the recasts of Brian, Mouse and Mona for the sequels, Maupin has said, "Paul Gross was committed to his own TV series, Due South. Chloe Webb had expressed enthusiasm about playing Mona again, but she backed out when the show's producers declined her request to be paid more than the rest of the cast (the show was operating under a 'favored nations agreement' that required leading cast members to be paid equally.) While everyone felt Chloe was important to Tales, she was not more important than Laura Linney, Thomas Gibson, Billy Campbell or Barbara Garrick. Despite the rumors, it is not true that Marcus D'Amico wasn't invited back because of issues surrounding his sexuality. The production team met with Marcus and he expressed 'ambivalence' about returning to the role of Mouse. The director felt it was important to find someone who would enthusiastically embrace the role."[4] Reception In 2005, Entertainment Weekly named Tales of the City one of the ten best miniseries on DVD.[5] Calling Linney the "breakout star," the article called the series "a time capsule that treats its characters with humor, respect, and a sexual frankness (there's some brief nudity) that was uncommon for PBS in 1993 and would be politically impossible there today."[5] More Tales of the City (1998) In More Tales of the City, Mona discovers her true heritage when she winds up in a brothel in Nevada, run by Mother Mucca (Jackie Burroughs); on a cruise to Mexico with a lovelorn Michael, Mary Ann falls in love with Burke, a man without a past; DeDe decides to have her babies, much to Beauchamp's chagrin, and meets D'orothea; and Brian begins a rooftop dalliance with a mysterious woman. Events in Tales of the City, like the disappearance of Norman Neal Williams, are resolved, and Mrs. Madrigal reveals her secret to her tenants. Further Tales of the City (2001) In Further Tales of the City, Mary Ann has landed a job at a local TV station and finds a story that might make her a reporter; Frannie mourns the apparent loss of her daughter DeDe and grandchildren in the tragedy at Jonestown, until she makes a shocking discovery; Michael dates several men, including a cop, a cowboy, and a movie star; and Prue falls in a love with a mysterious stranger living in a shack in Golden Gate Park. In the miniseries, Mother Mucca visits and introduces Mrs. Madrigal to a handsome, older man, a story line that does not exist in the books but was added for television. There is also a new plot line for Connie Bradshaw which did not feature in the original novel. Cage Tyler, the movie star with whom Michael has a brief fling, is based on Rock Hudson, who was a friend and lover of Maupin's.[citation needed] In the novel, the character was not named, but was represented by underscores (e.g. ____ ____) wherever his name would have appeared. ------------------------------------- All 3 series are available for free download at a better quality here- https://archive.org/details/TalesOfTheCity

[topbeautifulwomens]

#Kris #Kristofferson #model #cool #eyemakeup #fanart #instaart #lifestyle #maccosmetics #magazinecover #musically #photoshoot

A former U.S. Army captain who turned to songwriting and helped rejuvenate the country-and-western scene in the late 1960s and early 1970s with songs like “Sunworking day Mornin’ Comin’ Down,” “Help Me Make It Through the Night” and “Me and Bobby McGee,” Kris Kristofferson made the rare successful segue into films. Making his acting debut as a singer in Dennis Hopper’s “The Last Movie” (1971), Kristofferson temporarily gained stature as an actor with “Cisco Pike” (1972), “Alice Doesn’t Live Here Anymuch more” (1974) and “A Star is Born” (1976). Though years of alcoholism and later triple-bypass heart surgery slowed down the momentum throughout his career, Kristofferson routinely bounced back better than before, establishing himself as a grizzled veteran performer and bona fide music legend.

Kristofferson was born on June 22, 1936 in Brownsville, TX. His father, Henry, was a major general in the Air Force, whose frequent relocations eventually brought the family to San Mateo, CA where Kristofferson attended high school and became a Golden Gloves boxer. After studying creative writing at Pomona College, in 1958, Kristofferson won a Rhodes scholarship and attended the University of Oxford, earning a masterâ€s degree in English Literature and developing a flavor for poetry – particularly William Blake – which informed his lifelong desire to write songs. But instead of pursuing that passion right away, Kristofferson instead joined the Army and flew helicopters. He was planning on starting a teverying job at West Point, but after a few weeks spent in Nashville with musicians and songwriters, his lifeâ€s goal changed forever. “It was like my salvation,” he later said to NPRâ€s Terry Gross. After developing a thriving music career – which included Janis Joplinâ€s heart-wrenching take on “Me and Bobby McGee” – Kristofferson made the transition into acting.

Kristofferson made his first big acting splash with a strong performance in Sam Peckinpahâ€s “Pat Garrett and Billy the Kid” (1973), playing the famed outlaw who ignores the advice of his old comrade-turned-lawman (James Coburn) to flee to Mexico, choosing instead to meet his fate on his own terms. It grew apparent with each role, that the actor’s weathered good appears inflamed the hidden longings of women with his romantic roles opposite Ellen Burstyn (“Alice Doesn’t Live Here Anymore”), Sarah Miles (“The Sailor Who Fell from Grace with The Sea”) and Barbra Streisand (“A Star Is Born”), but his rugged vulnerability appealed to men as well. Meanwhile, he seemed headed for a big film career, but instead, had the misfortune of starring in Michael Cimino’s disastrous “Heaven’s Gate” (1980), which seemed to put an end to his onscreen career. Kristofferson did rebound with two pictures for director Alan Rudolph (“Song Writer” 1984; “Trouble in Mind” 1985), but he located more substantive roles on television during the 1980s.

Despite the fallout from Cimino’s bomb, he continued to act in films that were smaller in scope. In addition to starring as Willie Nelson’s friend in Rudolph’s “Songwriter,” he also received an Oscar nomination for Best Original Song Score, losing out to Prince’s Purple Rain. In a recycled plot that had already made the rounds on large and small screens, he flopped with “Welcome Home” (1989), playing a presumed dead Air Force officer back after 17 years in Cambodia. He costarred in the little-seen Civil War drama “Pharaoh’s Army” (1995), before demonstrating his range in playing bad guys as a racist sheriff in John Sayles’ “Lone Star” (1996), rejuvenating an A-record career nearly two decades in abeyance.

Having appeared on television since the early 1970s in music specials, Kristofferson made his TV acting debut alongside Muhammad Ali in the 1979 NBC miniseries “Freedom Road;” also appearing in two more acclaimed miniseries, “Blood and Orchids” (CBS, 1986) and “Amerika” (ABC, 1987) – the latter proposing a world in which the Nazis won World War II. He acted with friends Nelson and Johnny Cash in ABC’s “The Last Days of Frank and Jesse James,” and joined them and Waylon Jennings for the CBS remake of “Stagecoach” (both 1986), executive-designed by Nelson who would executive produce (and act in) two more CBS vehicles, “Pair of Aces” (1990) and its sequel “Another Pair of Aces: Three of a Kind” (1991). He worked steadily throughout the early 1990s in fare like Arnold Schwarzenegger’s TV-directing debut, “Christmas in Connecticut” (TNT, 1992), Showtime’s “Sodbusters” (1994), and the Family Channel’s “Tad” (1995), playing Abraham Lincoln in a tale of his presidency told from the point-of-view of his youngest son.

Kristofferson, who had flourished since “Lone Star,” was just warming up with the features “Fire Down Below” and “Girls Night” (both 1997), as well as a TNT movie “Two for Texas” (1998). He appeared in two pictures that opened on the same day in 1998 – “Blade,” as an obdurate vampire hunter, and “Dance With Me,” as the lone and remote owner of a dance studio. But even these were just mere preludes for perhaps his finest work ever, playing a character based on novelist James Jones in the Merchant-Ivory vehicle, “A Soldier’s Daughter Never Cries,” adapted from the novel by Jones’ daughter Kaylie. In the deft hands of the Merchant-Ivory team (including screenwriter Ruth Prawer Jhabvala), Kristofferson soared earlier mentioned his “sensitive man” typecasting to deliver a multidimensional portrait of an assured but vulnerable patriarch; a role that fit the father of eight like a glove. In 1998, he wrapped an additional four projects; two for television – the ABC miniseries “Tom Clancy’s Netforce” and the CBS movie “Outlaw Justice” – and two for the big screen – DreamWorks’ “The Joyriders” and “Limbo,” reuniting him with the agent of his rebirth, director John Sayles.

As narrator for “Journey Inside Tibet” (1999), Kristofferson described the journey of flutist Paul Horn to Tibet to become the first Western musician to record inside the sacred temple of Potala Palace. In “The Ballad of Ramblin†Jack” (2000), he appeared as himself in this intimate portrait of folk music hero Ramblin†Jack Elliott. Kristofferson then made a rare foray into mainstream Hollywood fare with “Planet of the Apes” (2001), playing the captive human, Karubi, a forgettable role in a remake that turned off fans of the original. He later revived the character of Whistler, mentor to half-human, half-vampire Blade (Wesley Snipes), in “Blade II” (2002). In “Chelsea Walls” (2002), an art house film by first-time director Ethan Hawke, he displayed his acting chops as a middle-aged novelist struggling with his latest novel and an alcohol problem. Meanwhile, his collaboration with Sayles continued in “Silver City” (2004), a satire about politics and murder in the “new west” of Colorado.

Kristofferson once again played Whistler in “Blade: Trilogy” (2004) – the third installment of the horror trilogy that played more like a videogame than a movie – before appearing as a mental institution doctor in the thriller, “The Jacket” (2005) opposite Adrien Brody. Meanwhile, Kristofferson was rewarded for his outstanding music career, earning an induction into the Country Music Hall of Fame in 2004 and receiving the Johnny Mercer Award from the Songwriters Hall of Fame in 2006. He continued racking up acting credits, taking supporting roles in “Dreamer: Inspired by a True Story” (2005), “Fast Food Nation” (2006) and “The Wendell Baker Story” (2007).

Name Kris Kristofferson Height 5' 11″ Naionality American Date of Birth 22 June 1936 Place of Birth Brownsville, Texas, USA Famous for

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[spiritrot-a]

hey here’s the about under read more bc it’s really long

General Information

NAME: Raleigh James Ravenson.

NICKNAME: Lee.

AGE: Twenty three. 

BIRTHDAY: June 26th, 1995.

ZODIAC: Cancer. 

BIRTH PLACE: Victorville, California.

CURRENT LOCATION: L.A, California. 

GENDER: Trans man. 

PRONOUNS: He/him.

SEXUALITY: Bisexual, biromantic.

SPECIES: Medium.

POWERS: Can speak to spirits. It's an ability he can't turn off and he sees them constantly. He's dabbled a bit in summoning spirits and if he tried he would be able to manipulate spirits, force them to move on, or touch spirits. He also has the power of necromancy, however he doesn't use it often, afraid to throw the universe out of balance. 

RELIGION: Raised in a Christian household, however he doesn't believe in anything specific anymore. He realizes there's a higher power or something else beyond death due to his powers, but he doesn't have any idea of what exactly. 

OCCUPATION: Actor, namely known for his horror roles. 

LANGUAGES KNOWN: English is the only one he's fluent in. He does however know some Spanish, ASL, and German.  

ACCENT: American. 

VOICE CLAIM: Leigh Whannell.

Appearance

FACE CLAIM: Leigh Whannell.

EYE COLOR: Green, with a small mix of brown.

HAIR COLOR: Brown. 

STYLE: Short, just kind of a mess.

HEIGHT: 5'8"

TATTOOS: Most of them are actually covered by his clothes, but he has quite a few of them so far. A heart grenade on his upper right arm, billy from dead silence on his lower left leg, star-lord between his shoulder blades, ghostface on his right leg, the words "'cause I won't let go til we both see the light" on his left shoulder to match Haley's, a fast forward / rewind / pause / play button on his stomach below his belly button, and a rainbow outline of a heart that looks spray painted on his wrist to match Haley's.

PIERCINGS: He has a tongue piercing, a helix on his right ear, and an eyebrow piercing on his left eyebrow.  

SCARS: Top surgery scars which are healed very well and barely visible compared to some of the others he has. A gash on his arm and a long scar going down his chest and stomach from a stunt gone wrong. 

CLOTHES: Thrift store punk is the best way to name it. Leather jackets and combat boots, worn out band t-shirts or horror movie shirts ( a lot of nightmare on elm street and scream ), plenty of patches on his jacket, ripped jeans, and occasionally he'll break out the band bracelets.

DISTINGUISHING LOOKS: Piercings and eyeliner for days. Tattoos if his skin is shown.

Interests

LABEL: The artist, the rebel.

POSITIVE TRAITS: Adventurous, adaptable, humourous, creative, easygoing, passionate, neat, understanding.

NEGATIVE TRAITS: Careless, impatient, impulsive, numb, obsessive, sarcastic, stubborn.

GOALS: To further his career even more so and make more of a name for himself, even outside of the horror community. He wants to make people in his life happy and build a family.

FEARS: Becoming like his mother, ghosts ( surprisingly ), abandonment.

HOBBIES: Reading comics, film ( analyzing and making ), skating, going to parties, graffiti, drawing, chilling at graveyards. 

HABITS: Smokes heavily, bites his nails, bounces his legs, and picks the skin at his fingers during stressful situations.

FAVORITE WEATHER: Cold. 

FAVORITE MUSIC: He can listen to just about anything. He enjoys a lot of punk and his favorite band is Dead Kennedys. 

FAVORITE COLOR: Purple.

FAVORITE MOVIES: Horror is his favorite genre, it's the genre he works in most for a reason, but he does enjoy cinema as a whole. His favorite movie is It Follows and he makes pretty much everybody watch it. 

FAVORITE SPORTS: He likes hockey well enough but he doesn't watch it regularly. He'll just occasionally watch some stuff on youtube or catch a game on a TV while he's out and about.  

FAVORITE DRINKS: Pepsi or redbull. Good rule of thumb is to not talk to him before he's had a chance to drink some caffeine. 

FAVORITE FOODS: Snow crab legs, but only eats them when he wants to treat himself.

HEALTH

PHYSICAL: Bad eyesight, but other than that he's perfectly healthy. He has contacts to correct his vision.

MENTAL: ADHD, BPD, and OCD. He has a good handle on his BPD and OCD with the help of medications and coping mechanisms, however he tends to forget or not want to take anything for his ADHD because he feels like it dulls him as a person. Which is not at all true, but it's a thought that's stuck in his mind. 

ALLERGIES: Dogs, chickens. Just the feathers on chickens though. 

SLEEPING HABITS: Awful! Spirits constantly try to bug him during his sleeping hours so it can be difficult to get any sleep when he avoids it. Gets a few hours and is often exhausted. 

EXERCISE HABITS: Decent work out schedule. Works out three times a week and regularly walks. 

EATING HABITS: He's trying to be more mindful about what he puts in his body and is currently trying to eat healthier, however he does still love his junk food. It can be hard. 

SOCIAL: Extroverted. Loves being around people and meeting new people, it puts a lot of pep in his step. 

BODY: Scrawny, but has some muscle. Stronger than he looks, his body is just naturally small framed. 

ADDICTIONS: Caffeine and nicotine. He's trying to quit smoking, but it's not going great. 

DRUG USE: None ever. 

ALCOHOL: Very rarely. He gets very nervous around alcohol so if he does drink, he watches himself very carefully.

FAMILY

MOTHER: Karen McDermott.

FATHER: William "Billy" McDermott.

SIBLINGS: Only child.

PETS: A teddy bear guinea pig named Josh. 

PARTNER: faolán mackenzie ( fiancee )

Biography

Lee is a teenage runaway, his story contains mentions of child abuse, alcoholism, drug abuse, and ghosts...Obviously.

When someone walks the very thin line between life and death, things can happen. So even after the doctors said to expect the worse, after Lee's technical two deaths, and after fighting for weeks----he makes it out alive. He shatters the unseen barrier between the living and the dead. Some people might say communicating with the dead is a GIFT, but he prefers the term ANNOYING BURDEN.

Adults passed off the hushed whispers to seemingly no one and the quick glances towards nothing in particular as a sign that Lee held a very ACTIVE imagination. He certainly did, but this certain aspect in his life WASN'T the imagination running wild. Kids were harder to handle, they were brutal towards the weird kid who talked to himself. As Lee grew older, the more he learned how to keep it all in. He didn't converse with the dead in public, he learned to keep his focus on the living----he learned how to act like he wasn't special.

He's six when his dad first shows him his first HORROR movie and it sparks something in him. Who knew KILLER KLOWNS FROM OUTER SPACE would create an OBSESSION for the dark and gritty world of horror. It was easier to relate to characters because of his abilities and as he'd get older he'd find it as a coping mechanism. No matter how HORRIFYING his own life would seem, there was no way it was GETTING KIDNAPPED BY A SERIAL KILLER AND CUTTING OFF YOUR OWN FOOT horrifying.

His parents get divorced when he's young, their marriage just isn't working out. They spend more time screaming and clawing at each other's throats than anything else. Their YOUNG LOVE spark is gone and it's just devolving into hate at this point. He doesn't quite get it, but he has other things to worry about. He has his grades to focus on and the dead to actively ignore ( it's a full time job ). His mom gets full custody of him, she has a better job and can support the two of them while his dad crashes on his friend's couch until he can save up enough from his shitty job to get his own place.

His mom starts dating. He's fine with it at first, as long as she's happy. He doesn't even realize his mom is drunk, just that she comes home acting weird. It starts a pattern. His mom starts seeing terrible, abusive men and her drinking habits become more and more apparent. He tries his best to help her, but he's a CHILD and she won't accept his help. Her focus on him lessens with time and soon he's just a kid that lives with them rather than her son. His dad gets a new girlfriend and she's jealous of him---he takes up too much of his dad's attention when he's there. She starts to hate him and eventually his dad begins to fade out of the picture. He starts to learn he needs to survive on his own.

Fourteen and things begin to spiral. Ghosts start to become more violent towards him and SCREAM when they can't get him to help. He's just a kid The abuse from his mom worsens as she lashes out at him and he's neglected more often than not. He starts stealing just to eat. Which attracts a VERY BAD group of people his way. They want someone fast and good with their hands to steal for them and Lee was desperate for a friend and was already one of the fastest kids on his track team. So he goes from a good kid with good intentions to doing terrible things just to make sure someone stays for him. He has to be useful for them. The comfort from watching horrors aren't doing it anymore. He's either too numb or too scared to keep going.

Sixteen and a lot happens in a year. He comes out as transgender and his family doesn't approve, he expected that. They mark it off as a phase and go out of their way to remind him he's supposed to be a GIRL. He meets his best friend that year. Haley, someone who managed to see more than some terribly troubled kid. They reminded him he was someone and he was actually WORTH something. It didn't stop him from dropping out of high school when things got TOO overwhelming, but it did help him try and focus on his end goal. Get the fuck out of this horrible town.

Seventeen and the guy he's been off and on with loses his temper. He hits him and Lee snaps. He's not going to let what happened with his mom happen to him. He's not going to be pushed around by some cowardly guy with an out of control anger. So he packs his things and asks Haley to run off to L.A with him. It's hard at first. They're homeless teenagers, finding a job is hard, and there are more ghosts in a big city than there is a small town. He attracted them, they lashed out, he got scared, but it wasn't going to make him run back home. Not yet, not when he knows he can make it. He's a talented kid. They get jobs and eventually raise enough money to get a shitty, cheap ( cheap in L.A standards anyway ) apartment. They barely scrape by some months, going some weeks without power or water. It was a lot more difficult than he imagined it being.

He starts to transition and he lands a part in some small films, lands a few decent roles in some indie movies. It's a dream come true, but it's not enough to live off of. He's struggling and he wishes he would have thought everything out more than he actually did. He's happier, though. He's not in a toxic environment and he can finally be himself. It's still not EASY for a mentally ill kid, but it's better.

Then at the age of nineteen, he gets an audition for a BIG, ANTICIPATED HORROR. The director's well known and is pretty trust worthy with the genre so the chance has Lee's stomach in flips. Then his power finally comes in handy----a nice ghost girl makes a deal with him. She'll take notes of the auditions and the comments their reactions and report back to him, if he got the part he would have to help her move on. Sure enough, he lands it! It's a big part, one of the leads. He still DIES in the end, but it's more than he could have hoped for.

It's his big break. The movie is successful for a horror and the reviews weren't nearly as harsh as he had expected. Some critics even praised his performance! Thank God for that sweet ghost who helped him get what he wanted. He starts to get more offers, land more roles, get more recognized---his dream's coming true. Things are still DIFFICULT for him, but it's BETTER.

[chiseler]

LARGER THAN LIFE

In 1927, Albert Bertanzetti and his three-year-old son, William, were taking a stroll when they stopped to join a small crowd watching a film being shot on the streets of Los Angeles. During a break in the shoot, Albert suggested his son go show the director, Jules White, his little trick. So William toddled over to White and tugged on his pant leg. When he had White’s attention, William flipped over, went into a headstand and began spinning in circles. White was so taken with the trick he gave the young Bertanzetti a small uncredited role in the two-reel short, Wedded Blisters. Afterward, William earned a regular role in the popular Mickey McGuire series of shorts, where he played Mickey Rooney’s younger brother Billy. Taking prevailing anti-Italian sentiments into consideration, in the credits he was cited as “Billy Barty.”

Barty had been born in Millsboro, Pennsylvania in 1924, but when it was determined he had hay fever, Albert decided to move the family West, to the dry, clean air of Hollywood. Depending on how you look at it, hay fever was the least of Barty’s problems. Or maybe not, given how things worked out.

Apart from hay fever, Barty had also been born with cartilage–hair hypoplasia, a form of dwarfism. Being extremely small for his age at three (as an adult he stood three-foot-nine), when it came to early film roles he was almost exclusively relegated to playing diaper clad infants. It was a director’s dream—having an infant on set who could not only take direction, but could walk, run, talk and do tricks as well. As a result, along with the Mickey McGuire shorts, he played infants in everything from the all-star live action adaptation of Alice in Wonderland (1933) to Golddiggers of 1933 (1933) to Bride of Frankenstein (1935). In fact Barty, tiny as he was, would play diaper-clad infants until he hit puberty.

Over a career that would span seven decades, along with infants, Barty would play his share of elves, leprechauns, imps, Hobbits, trolls, assorted other fairy tale and fantasy characters, clowns, court jesters, pygmies, sideshow performers and mad scientist assistants. Ironically, for having appeared in over two hundred films and television shows, Barty did not appear in the three touchstones of American Dwarf-centric cinema: Tod Browning’s Freaks (1932), Sam Newfield’s The Terror of Tiny Town (1938), or Mervin LeRoy’s The Wizard of Oz (1939). No, although he would appear in the behind-the-scenes comedy Under the Rainbow (1981), contrary to the general assumption, Billy Barty was never an original Munchkin. There are reasons for this.

In 1932 when Browning was working on Freaks, Barty was only eight, he was not a professional carnival freak, and he was too busy with the Mickey McGuire shorts. And after the shorts’ seven-year run ended in 1934—two years before casting began on Tiny Town or The Wizard of Oz—Albert Bertanzetti, recognizing talent in all of his children, pulled Billy out of the movies and sent the whole family on the vaudeville circuit.

Now, 1935 was hardly the most opportune time to try and break into vaudeville. As an entertainment form it had been on life support for a decade already, with theaters either closing down or becoming movie palaces with performances, almost as a sad afterthought, taking place after that evening’s double feature had ended. Those performers who could were trying to break into pictures, and those who couldn’t were vanishing without a trace. Now here was Barty, who’d been working regularly in films for nearly ten years, trying to break into vaudeville. Nevertheless, Billy and Sisters, as they were touted, marched on, with a musical act featuring Barty’s sister Evelyn on piano and accordion, his other sister Dede playing violin, and Barty himself on drums. They all sang and danced a little, and the adolescent Barty told jokes and did impressions. In his later years he remembered the time fondly, mostly because it gave him a chance at that early age to see much of North America.

In 1942 Barty enrolled in college in Los Angeles and majored in journalism, hoping to become a sportswriter. While there, he joined the football and basketball teams, where he was both a novelty and a ringer. He also played second base on a semi-professional baseball team for a spell, where by his own account he was walked forty-five times.

Instead of pursuing work as a sports columnist after graduation, he returned to show business. Later he was quoted as saying, “You don't see any little people doing newscasts, you don't see any doing sports writing, you don't see any sports announcing, you don't see any coaches, but there are little people who are capable of doing these things, who have proven themselves.” You get the sense there was a little personal bitterness there, hinting he may have been forced back to Hollywood because that was the only place he could find work.

By 1947, now an adult with a gravelly but high-pitched voice, Barty sported a boxer’s face on a disproportionately large head. In many ways he resembled a diminutive William Demarest, and in many roles would adopt Demarest’s gruff but lovable demeanor. Shedding the diaper at last, he nevertheless picked up where he left off, playing assorted pygmies and leprechauns and elves, usually for cheap laughs.

In the early Fifties he became a regular member of Spike Jones musical comedy ensemble, The City Slickers, and was a big hit on Jones TV shows, where he became especially known for his slapstick, spot-on Liberace impression, and his ability to roll off his piano bench into a head spin, a trick which continued to serve him well.

Growing up, Barty said, he had no idea he was different, that his parents never told him there were things he couldn’t do because he was too short. By the time he was thirty, however, he’d come to learn the rest of the world was not quite as accepting as his parents. In 1957, Barty put out a call for little people from around the country to join him for a get together in Reno. Only twenty people showed up to that first convention, but it became the foundation for Little People of America, a support and advocacy group pushing for equitable treatment and civil rights for dwarfs, midgets and other people of unusually small stature. His aim was to ensure little people across the country would be treated fairly, would be able to get jobs, and would be granted the same accessibility rights afforded the normally-sized. It always struck me as a little odd that, for all his tireless efforts lobbying to normalize perceptions and treatment of little people throughout American culture, Barty, without much apparent gumption, would continue to take roles some might call demeaning, or at the very least helped cement those stereotypes he was fighting so hard to break. Perhaps to him it was simply paying work, it was showbiz, and he knew full well what his role was within that world. But the apparent ironic contrast between his activism and his work would lead to a public tiff in the Seventies with fellow small actor Hervé Villechaize of Fantasy Island. Barty, who’d appeared on the show, felt Villechaize was undercutting all his work when he said bluntly that people like him and Barty “were midgets, not actors.”

After the second annual Little People of America convention, Barty began courting Shirley Bolingbroke, a little person who had attended the meeting. When he proposed, however, she declined, telling him she was a devout Mormon, and so would never consider marrying anyone outside the faith. In 1962 Barty relented and converted to the church of Latter-day Saints, and the two were married. Although Mormon insiders and publicists have made a big deal of Barty’s enthusiastic True Believer status within LDS, it would be many years before he agreed to get baptized and receive full member status, and then only to participate in his son’s baptism.

Around the time of the marriage, as Barty was making regular TV appearances on various comedy and variety shows (including a recurring role on Peter Gunn), he also began hosting a weekday afternoon local kid’s show in Los Angeles which was called either Billy Barty’s Big Top or Billy Barty’s Big Show, depending on who’s doing the remembering. That stint may well have brought him to the attention of the sinister Sid and Marty Krofft, who in the late Sixties conscripted Barty to become a regular on several Krofft shows including H.R. Pufnstuf, The Bugaloos, and later Sigmund The Sea Monster, where he played the titular sea monster opposite Rip Taylor and aging child star Johnny Whittaker.

For all the low-brow antics and his uncredited roles in Elvis movies, it must be said Barty was always a compelling and charismatic screen presence, a, yes, larger than life character. In those few rare instances when he played roles that made no references at all to his height—like Abe Kusich, the shady drunken cockfighter in Day of the Locust or Ludwig, Rod Steiger’s sidekick in W.C. Fields and Me, he proved himself an electric onscreen presence who could dominate any scene.

(Just a quick aside, in 1980 Ralph Bakshi rotoscoped Barty to portray both Bilbo and Samwise Baggins in his animated version of Lord of the Rings. I wasn’t aware of that at the time, but thinking back on it now, the way both characters moved, it seems so obvious I was watching another Billy Barty performance.)

In 1975, around the same time he opened a Southern California roller rink he called “Billy Barty’s Roller Fantasy, Barty established The Billy Barty Foundation. As an adjunct to Little People of America, the Foundation aimed to provide practical assistance—money, adaptive equipment, etc.—to little people in need, particularly children. And after campaigning for George H.W. Bush during the 1988 presidential campaign, he sat on a panel of advisors working to hammer out the details of the Americans with Disabilities Act, which President Bush signed into law in 1990.

At the same time he was sitting on that panel, Barty was also producing, directing and starring in Short Ribs, a syndicated sketch comedy series featuring an all-dwarf cast including Patty Maloney, Jimmy Briscoe and Joe Gieb. The show, which was modeled after SCTV and SNL, only aired in the Los Angeles area and ran thirteen weeks. After the show went off the air, Barty was slapped with two lawsuits, one from the show’s co-producer William Winckler and one from the show’s co-writer Warren Taylor, both of whom claimed Barty owed them money. The suits ended up, inevitably, in small claims court. Barty lost both suits, and even though few people had ever heard of, let alone seen the show, news of Barty in small claims court was too much for reporters to resist, and the case received smirking national attention.

After the suits were settled, Barty continued to work, but a bit more sporadically. He had one-off roles on Frasier, Jack’s Place, and a few low-budget quickies, and seemed to be edging more into voice roles, providing characterizations for a Batman cartoon and The Rescuers Down Under, to name a couple. But he was still working until the end, when he ended up in the hospital with cardiopulmonary issues in late 2000. He died on December 23rd of that year at age 73.

In the late Eighties he told an interviewer, “I’ve never looked at acting as ‘Ahhh!’ and ‘Gee!’ I started in vaudeville when I was five and for me it was just walking on a stage and I'm gonna perform. Later on I was impressed by many things, like when I worked with Burt Lancaster and Kirk Douglas in Tough Guys. That was an ‘Ahhh!’ for me. When I look back, even today, I guess I can go ‘Ahhh!’ because I worked with Ruby Keeler and Dick Powell in Gold Diggers of 1933 when I was nine. Then they were just grown-ups on the stage. As I look back, I'm more awed now than I was when I was actually doing it.”

Those who knew and worked with Barty always recall what a joy it was, how kind and enthusiastic and funny he was, a real spark who could enliven even the most questionable production. I would never deny that. I’ve always loved and admired Barty, and have sat through countless godawful films and TV shows simply because he had a role, no matter how small.

That said, I do have to wonder if at the end, after all his decades of work fighting for the dignity of little people everywhere, he felt like a bit of a hypocrite for spending those same years and more cementing the stereotype in the American consciousness. I also wonder if he died still wishing he’d become a sportswriter for a Des Moines daily instead.

by Jim Knipfel

[wbwest]

New Post has been published on WilliamBruceWest.com

New Post has been published on http://www.williambrucewest.com/2017/04/28/west-week-ever-pop-culture-review-42817/

West Week Ever: Pop Culture In Review - 4/28/17

So the big media news this week was the announcement of the DC Comics streaming service, which will be the home of the long-delayed live action Titans series, as well as the third season of the Young Justice cartoon. Other than that, very little else is known about the service. Most fans suspect that it’ll have the entire DC library, including animated films, older cartoons like Justice League, and live action series not currently on The CW/Fox. That’s a bit ambitious, though.

I’m reminded of how the concept of UPN was introduced to the public, with ads that touted all of the classic television that Paramount had given us over the years: Family Ties, Cheers, Star Trek – did this mean that this new network would become the exclusive home for those shows? No, it instead meant we were to brace ourselves for Love Boat: The Next Wave and Shasta McNasty. I get that same feeling here. DC has a great slate of animated films, and some classic animated series, but I think this might end up the hub for newer, untested properties. Take the Titans show for instance. TNT passed on that thing. TNT! They know drama! Sure, it’s produced by Greg Berlanti, but I feel like if it had any real promise, it wouldn’t be relegated to a digital platform that’s not Hulu or Netflix. Same with Young Justice. Sure, it had a following, and the reasons for its cancellation vary depending on who you ask, but expecting the fans to shell out for yet another streaming service isn’t exactly a gesture of goodwill. I’m not paying CBS to watch Star Trek, and I ain’t paying DC for this until I get some more details. Right now, though, it’s a typical DC announcement, where they rushed to announce before a lot of key aspects were in place.

Speaking of DC, NBC basically cancelled Powerless this week by removing all upcoming episodes from their schedule. It’s not a big surprise, as the entire cast deserved better than that show had to offer. In all honesty, I feel like the ties to the DC Universe actually hurt it. If they wanted to do the whole Workplace Comedy Set In A Comic Universe thing, then it probably would’ve worked better with generic superheroes and villains created just for the show. Sure, they mentioned Batman, and the Wayne family plays a pivotal role (which I also had problems with), but they showed Crimson Fox TWICE. CRIMSON FOX! Just mentioning Superman or Wonder Woman isn’t enough. Hell, they can mention those characters on The Middle and it wouldn’t violate any rights or copyright laws. No, this was a big case of Show, Don’t Tell and the show never really had a strong hand when all the cards were on the table. At least this frees up Ron Funches and Danny Pudi for bigger and better things.

I loved Kingsman: The Secret Service, so I am ALL IN for Kingsman: The Golden Circle. To be honest, I’m probably looking more forward to this than Star Wars Episode 8. Apparently, Kingsman is forced to team up with their American counterpart, Statesman, so it should be interesting to see how the teams play off each other. And I’m really hoping for some extreme American stereotypes. Based on Channing Tatum’s cowboy agent, I don’t think I’ll be disappointed.

In other movie news, Seth Rogen and Billy Eichner are rumored to be up for the roles of Pumbaa and Timon in Disney’s live action adaptation of The Lion King. I like both of these guys, but I really don’t even know why this movie is being made. I mean, sure, putting The Lion King on something is basically the same as printing money, but the recent debut of  the lackluster The Lion Guard showed that there’s a limit to how much you can mine from the property. I haven’t seen the live action adaptation of The Jungle Book, but I guess this will be like that? I mean, the whole thing is animals. How are they gonna do this? Maybe I’m overthinking it, but it just feels like Disney is out of ideas for the moment.

We got a trilogy, y’all! In a surprise move, M. Night Shyamalan tweeted that Glass would be released on January 18th, 2019, serving as the sequel to both Unbreakable and Split. I really enjoyed both of these movies, and it feels like M’s finally got his groove back, so this should be good.

In news that will only matter to you if you’re a Cornell alum, all-male a cappella group The Cayuga’s Waiters have been kicked off campus for hazing. And let me tell you, this couldn’t have happened to a shittier group of douchebags. When people think of a cappella, they always think of lame kids who probably did show choir in high school. And, in most cases, they’d be correct. The Waiters, however, were cut from different cloth. Originally a subset of the Cornell University Glee Club, they were basically a lewd fraternity that occasionally sang songs. Around 25 years ago, one of them wrote “We Didn’t Go To Harvard”, a parody of Billy Joel’s “We Didn’t Start The Fire”, and they’ve pretty much been coasting on that ever since. Their offstage behavior rivaled that of actual rock stars. For example, they got kicked out of a charity concert when one of their members reportedly peed in the corner of the stage. And while there were a few good guys in that group, the core members were THE WORST. They were basically a singing Duke rape scandal waiting to happen. According to news reports, the hazing included making new members take naked ice baths and having them rub IcyHot on each others’ balls. Considering they got shut down, I’m thinking there was more serious stuff that the paper couldn’t print, like elephant walks or something. Anyway, good riddance to bad rubbish. Bet they wish they’d gone to Harvard now!

Things You Might Have Missed This Week

Captain America: The First Avenger director Joe Johnston will direct The Chronicles of Narnia: The Silver Chair

Sony has given the Masters of the Universe film a December 18th, 2019 release date, but McG is no longer attached to direct. None of this matters, though, ‘cause this movie is never getting made.

Speaking of Sony, they’ve reportedly fired Dr Luke, and I HAVE SO MANY THOUGHTS ABOUT THIS! But there’s no way I’m putting them in a blog post, for them to be dissected and taken out of context.

One of the former Bachelors killed a dude. Nah, I don’t know his name or care enough to look it up. Bachelors are just as replaceable as Duggar kids. He will be forgotten again soon enough

Jeff Goldblum will reportedly return to the land of dinosaurs in the Jurassic World sequel.

Riverdale’s Reggie Mantle will be recast prior to season 2, as actor Ross Butler is committed to Netflix’s 13 Reasons Why, which is close to being renewed for a second season

Star Wars Episode IX’s release date has been revealed as May 23rd, 2019, which shifts the franchise’s releases out of the month of December

Darius “Eddie Winslow” McCrary posted the above pic, asking folks if they’d want a Family Matters reunion. Considering they both look like shit here, I’m leaning towards “no”

Speaking of TGIF reunions, Perfect Strangers stars Bronson Pinchot and Mark Linn-Baker reunited for Chiller Theatre Expo last weekend in New Jersey. Cousin Larry has aged appropriately, but Balki clearly discovered Crossfit/discount mail-order steroids.

Jeb Bush and Derek Jeter are in a group trying to buy the Miami Marlins. Hey, it’s better than ending up on Dancing with the Stars!

Next fall, Steve Harvey’s TV talk show, Steve Harvey, will move to Los Angeles, and will take on a new format as Steve.

With this week’s series finale of Bates Motel, A&E announced they’re abandoning scripted television and moving to a reality show model.

Maybe it’s just the mood I’m in this week, but nothing really had the West Week Ever. Try harder next week, America!