Dr. Bunsen Honeydew's Gorila Detector, intended to ring to warn you when a gorilla is due to attack, was a re-use of the costume head of Mecha-Kong from King Kong Escapes.
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Animation art from the intro to the 1966 BATMAN TV show. (Art by Lee Mishkin.)
I was a kid when BATMAN (1989) came out. It was a massive pop culture phenomenon, here in Holland too, and someone somewhere in television network land shouted out, “Quick! Batman! What do we have!”, and someone somewhere remembered the old TV show, and then someone somewhere dug up and dusted off that old TV show and pushed it into running a few more laps. This hopelessly Bat-crazed kid tho thought the show was hopelessly quaint and after a few episodes didnt tune in anymore same Bat-time, same Bat-channel.
Annoying snarky tone aside, it’s actually a fun show. It has many fans still, and fans are never wrong.
One thing I only notice now: is that Clayface, between Catwoman and the knife-wielding Texarkana Phantom Killer? (Is that Catwoman?) Also, who are the two villains who lead the charge? There’s one who looks like Shaggy’s evil scientist uncle and a green-shaded one with a scaley mask. They seem too distinctive to be just generic villains. Sending out a Bat-signal to any Bat-fans…
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Tina Turner as Aunt Entity in MAD MAX: BEYOND THUNDERDOME (1985).
As a kid, I was on my own a lot. I used to sort of walk around in my own fantasy world, where only I knew the way. I always had little obsessions, fascinations, fads. I composed songs with nonsense words in my head, which I can still sing verbatim.
Around the time MAD MAX III came out one of the mental images that got stuck in my head for a while was Tina Turner as Aunt Entity. I don’t know why, I’m not sure I even saw the film back then. I just thought about the character a lot, like her appearance contained a hidden message for me. She looked stern and troubled, charismatic. Aunt Entity, queen of a derelict hell-hole. I only have to look at these images—and zap, I’m right back in those empty sunless rooms of my childhood home.
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HORSE AND TRAIN (1954), by Alex Colville.
(Trivia question: in which film does this painting make an appearance?)
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Cover art to Carl Jung’s FLYING SAUCERS: A MODERN MYTH OF THINGS SEEN IN THE SKY (1959).
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First edition cover (image 1) of Thea von Harbou’s METROPOLIS (1926) with art by Walter Riemann. And (image 2) the 1927 edition, with art by Aubrey Hammond.
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Hergé’s original gouache cover drawing for Tintin adventure, THE BLUE LOTUS (1936), and its inspiration, a promotional image for DAUGHTER OF THE DRAGON (1931), starring Anna May Wong.
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