In 1970, the Vietnam war was still raging, people were debating and protesting the Asian struggle and the Greatest generation was wondering what happened to duty, service, and love of country. After a period when World War II movies appeared to have exhausted their welcome at the movie theater, along came Patton with a riveting performance of a true American hero from George C. Scott. Few images that year surpassed the one of Patton on the stage, flanked by the largest American flag ever seen. It seared patriotism into our hearts and minds, reminding us all what it took to win a war.
It did not ignite a fresh wave of war films, but it did stand the test of time, often appearing on Best War Films of All Times lists and Scott will be forever connected with Patton. After all, the film earned seven Academy Awards, including Best Picture, Best Actor (George C. Scott), Best Director (Franklin Schaffner), and Best Original Screenplay (Francis Ford Coppola). This 2:52 movie is an unsparing look at a controversial war hero given his rebellious nature, something military command usually frowns on.
The new Blu-ray release from 20th Century Home Entertainment is most welcome and a vast upgrade from the 2008 Blu-ray edition. That was an early conversion of an older film and it didn’t work terribly well, but this new release is fully restored and brings the grime and grit of the European Theater of War into sharp focus. The 65mm production has finally been brought to modern discs in a way that embraces the subject matter and makes for good viewing at home.
General George S. Patton Jr. was a military genius and he was the first to admit it. He was a harsh, brutal megalomaniac who was also a brilliant strategist. He had the highest casualty count among generals in the field, but he was also the one the Nazi regime feared the most. There is a definite connection between the two facts and exploring that propels the film. Coppola’s script does a fine job exploring the contradictory nature of the man. Additionally, this is one of the first films to portray a less than idealized version of the Allied effort, showing rivalries between American generals and a less than stellar relationship between the British and American commands. Patton himself was driven and therefore drove his men beyond endurance. Nothing would stand in his way, be it shell-shocked soldiers (who deserved a slap in the face, not sympathy) or mules that blocked the road. He gets him comeuppance, though, sent by Dwight D. Eisenhower as a decoy to keep the Germans from stumbling over the Normandy invasion.
The original assortment of special features from the 2008 release are all here in standard definition and it’s fun to hear Coppola in the intro and commentary talk about these early days in his career. The highlight though is History Through the Lens: Patton: A Rebel Revisited (1:30), a feature-length documentary by Ken Burns on the real Patton. Additionally, there are Patton’s Ghost Corps (46:38), giving dozens of surviving veterans a chance to share their memories of serving under Patton; Michael Arick’s 1997 The Making of Patton (49:46), with Scott, Oliver Stone, Richard Zanuck, Jerry Goldsmith, and others talking about the production; Production Still Gallery (36:24); and a Behind the Scenes Gallery (53:19).
As most pulp fans know, back in the late 1960s and early 70s, many paperback publishers began reprinting the old classic pulp magazines. The most popular of these reprint series were the Doc Savage books with the stylized James Bama covers and the Conan adventures as defined by master artist, Frank Frazetta. Of course many other pulp heroes also received the paperback treatment as the fad caught on for several years introducing a whole new generation of readers to these classic figures. Among some of the other heroes to find new life in the small softcover market were the Avenger, the Shadow, Operator 5 and the man known as the Flying Master Spy, G-8 And His Battle Aces.
Put out by Popular Publications, G-8 was one of many aviation heroes of the time to include Bill Barnes and Dusty Ayres amongst others. Yet his magazine was the one with the longest run. Debuting in October of 1933 it went to produce a whopping 110 issues; all of them written by Robert J. Hogan. Another uniqueness with this title was the fact that Popular allowed Hogan’s name to be used. The habit of the pulps was to create a bogus house-name for a monthly series so that they could employ multiple writers, as most of them did, without the fans being any the wiser. Not so with Hogan, who at the height of his career was writing three monthly books and numerous short stories to compile a staggering average of 200,000 words a month; a feat no other American writer has ever equaled.
Robert Jasper Hogan was the son of a Dutch Reformer minister born in 1897 and raised in Buskirk, NY. A graduate of St. Lawrence University, before turning to writing full time, he was a cowboy, a boxer, piano player, pilot and airplane salesman. Thus his realistic descriptions of G-8’s aerial combats have a ring of authenticity to them. Hogan became friends with many veteran airmen who had fought in World War One and he based a great deal of his adventures on them and their exploits while at the same adding a heavy dose of the macabre. Each of his G-8 adventures were an efficient blend of spy thriller, aviation adventure and horror fantasy.
Although aware of the character, I’d never read a G-8 story before and decided to correct that while attending this year’s Pulp Fest in Columbus, Ohio. Luckily, with the help of pulp fan David Walker, I managed to find three of those Berkley paperback reprints including the very first G-8 novel, THE BAT STAFFEL. It is a solid, rousing debut of the series introducing us not only to the mysterious G-8, whose true identity we are never to learn, but his colorful supporting cast to include his British valet, Battle and his soon to be arch nemesis, Herr Doktor Krueger, the Kairser’s number one mad scientist. Krueger has developed a deadly poison gas that, when inhaled, turns its victims into piles of ashes. The German air corps has built half a dozen flying machines resembling giant bats and fitted them with tanks to carry the deadly fumes.
No sooner does G-8 discover this plot then the Bat Staffel attacks a small French town and completely decimates it. Infuriated by this merciless savagery, G-8 flies off to combat these bat-planes single handedly and is almost done in. Fortunately he is saved by two American pilots who come to his aid. The first is the small, happy-go-lucky Nippy Weston who has a penchant for magic tricks and practical jokes and then there is the former college All American Half Back, Bull Martin is a giant of fellow with a granite-like jaw and the heart of a kitten.
Loyal to a fault, Nippy and Weston, upon discovering they have just saved the famous spy, G-8, enthusiastically sign on to be his wingmen in his campaign to foil the Bat Staffel. From that point on the three of them escape one dangerous death-trap after another, each using his flying skills and other abilities to stay alive and defeat their enemies. THE BAT STAFFEL is a fast paced, truly imaginative glimpse back into the heyday of the pulps and a fantastic introduction to one of pulpdom’s all time greatest heroes. Next time you’re at a pulp convention, follow my lead and hunt up copies of G-8 And His Battle Aces. You won’t be disappointed.
Author Aaron Smith has made quite a name for himself in the last few years, practicing his craft in various genres for various companies. ALL PULP felt it was high time that Pulp fans caught up with what Aaron, an All Pulp supporter and fan favorite, was doing.
AP: Aaron, share some background on yourself, both personal and writing.
AS: Well I’m thirty-five years old, I live in New Jersey, and I’ve been seriously writing for about five years now. I was recruited into the pulp community by Ron Fortier of Airship 27 Productions, to whom I will always be grateful for giving me a start. Ron got me going writing for Airship’s series of Sherlock Holmes anthologies, which was a dream come true for me, since Holmes is my favorite character in all of fiction. From there, I started writing other pulp characters like the Black Bat and Dan Fowler and some westerns and war stories. I was allowed to create a few of my own original pulp characters too, which was great fun. After a while, I started branching out into other areas of writing and, as of today, I’ve had over twenty short stories and three novels published, so I think I’m doing pretty well so far. For anyone not familiar with my work, they can find information on it at my blog: www.godsandgalaxies.blogspot.com
Regarding personal stuff, I’m married to a great wife who somehow manages to put up with all my eccentricities and creative mood swings and highs and lows and all the other occupational hazards of living with a writer! I’ll never figure out how she does it. For almost twenty years, I’ve been running produce departments for a major supermarket chain. While that doesn’t sound like a very exciting job, it’s really great training for a writer because of the fact that everybody needs to eat, so everybody has to buy food. I’ve been around the rich and the poor, the old and young, the polite and the rude, and all races, ethnicities, backgrounds and professions you can imagine because I work with the public. It gives me so many opportunities to observe those very strange creatures called human beings in their natural habitat!
AP: You published a rather interesting take on vampires this past June, 100,000 Midnights. What makes this work stand out from other vampire novels and how did it come about?
AS: 100,000 Midnights has a slightly convoluted history. It began as a short story of the same title, originally published in Pro Se Productions’ Fantasy and Fear magazine back in October of 2010. A month later, it’s sequel short story was published in the next issue of the same magazine. I intended to do a whole series of stories there. I had eight of them written when I looked at the whole set of files one day and it dawned on me that it might actually work better as a novel.
At about the same time, a new e-publisher called Musa Publishing began looking for submissions to start up its line of books and it looked like a very good opportunity. I sent the novel to Musa once I had combined all the short stories into one book (with the very gracious permission of the stories’ previous publisher) and they accepted it. I made some changes along the road to the novel being released. I did some heavy editing, both alone and with the help of the editors at Musa, and I lowered the protagonist’s age by a decade because his particular eccentricities seemed to stand out more if he was younger than I had originally made him. The book came out in June of this year, as an e-book only; it doesn’t exist in a print edition, although I’d like it to someday, and it’s sold some copies and received some nice reviews, so it’s worked out well.
As for what makes it stand out among vampire novels, I’d have to say that the main thing I tried to put into it was fun. Yes, it’s a horror story and it has its bloody, grim moments, but it has a lighthearted side too. In fact, I tried to hit all kinds of moods rather than sticking to one type of vampire story. It has some humor, some romance, a lot of action. It’s not only a vampire story either. While it focuses on a young man and the vampire woman who pulls him headfirst into a world he never knew existed, I threw a lot of other horror-related concepts in there too. On one hand, I think it works as my love letter to many of the great archetypes of horror fiction, and I hope I managed to put a little of the charm of old horror movies like the Universal and Hammer films into the story. But on the other hand, I tried to mix in the things that make modern vampire stories appeal to audiences. The vampires in the story all differ from one another. Some are good, some are evil, and some fall between the two extremes. There’s violence, a bit of sex, and a lot of different elements included in the novel. Poor Eric, the protagonist, gets in one supernatural mess after another. He’s lucky he’s got a three-hundred-year-old vampire girl by his side for most of the ordeal!
AP: You’ve also built up a good reputation as a writer of Public Domain characters, particularly the Pulp type. What work have you done recently in this area?
AS: In 2012, I’ve had three stories released by Airship 27 Productions. There’s my Ki-Gor story in Jungle Tales Volume 1, which was great fun to write. I’ve liked jungle adventures ever since my grandfather introduced me to Tarzan when I was little.
There’s my second Black Bat story, in Black Bat Mystery Volume 2. This one was actually written before the story that appeared in Volume 1, which was a choice the editor made and which was fine with me. I also have at least one more Black Bat story coming in the future.
And there’s my second Hound-Dog Harker story. A little background on that: a few years ago, I wrote the Dr. Watson novel, Season of Madness. I needed a short backup story for that book, so I came up with Hound-Dog Harker. He’s the son of Jonathan and Mina Harker of Bram Stoker’s novel Dracula. It’s the 1930s and he’s grown up to be an agent of the British government. I try to tie each Harker story to a classic novel. The first one is connected to 20,000 Leagues Under the Sea, and the second one, “Hyde and Seek,” is related to both “Dr. Jekyll and Mr. Hyde” and HG Wells’ “The Invisible Man.”
“Hyde and Seek” appears as the backup story in Dr. Watson’s American Adventure, in which the main story is written by Erwin K. Roberts.
To drop a few hints about my future Public Domain character works, there will be more Sherlock Holmes, and I’ve also got something coming up featuring another famous adventure character that I’m not yet at liberty to name, but it’s a big name!
AP: What appeals to you about writing Public Domain characters? Do they have a place in the hands of modern readers?
AS: To answer your second question first, the fact that Public Domain characters have a place with modern readers is evidenced every time someone buys (and hopefully enjoys) one of our books featuring those characters.
As for what appeals to me about writing such characters, almost everything does. We’re able to bring back into the spotlight characters that might otherwise fall into a bottomless pit of obscurity. The Black Bat, for example, is a wonderful superhero-type character and there’s no reason he shouldn’t be able to find an audience among those readers who enjoy Batman or Daredevil. And using these characters again also brings their original creators back into the public view, which is always a good thing. Many of the pulp writers of the past have been forgotten and if our work in the present makes their names known to new generations, I think that’s good thing.
There’s also another side to using Public Domain characters and it has to do with responsibility and the preservation of certain concepts as they were intended by their original authors. Let’s take Sherlock Holmes as an example. Holmes is among the most famous characters in literature and in the past few years there’s been a tremendous resurgence in his popularity among the general public. That’s good and it’s bad. Holmes is open to many interpretations, but not all fans of the character agree with all those versions. There are three big ones in film and TV now and they all stray to one extent or another from Arthur Conan Doyle’s original stories. We have the British series Sherlock which brings Holmes and his cast into the twenty-first century and modern London. At first I was skeptical about such an updating, but after seeing it I was very, very impressed because it maintains the spirit and essence of what made Doyle’s work so thrilling. Benedict Cumberbatch (I love that name!) is a superb Holmes and everybody acts just like they should. Then you have the Robert Downey movies which seem to have added a more action-oriented take to Holmes. And there’s also the new American TV version, Elementary, which I won’t watch. Turning Watson into a woman and taking Holmes out of England turns the whole thing into a version which isn’t really Holmes at all. They’re just borrowing the name! But, because Holmes is available for many different interpretations, thanks to the Public Domain status, there are some writers and publishers out there who are sticking to pure Doyle-style Holmes material and that’s important. Sure, it’s okay to do something new with old characters (within reason), but I’m glad to be among those who work within the format established by Doyle. I’ve made a vow to myself that whenever I actually use Holmes in a story, I will use him, to the best of my ability, as Doyle seems to have intended. I have no interest in modernizing him, pitting him against supernatural forces, or otherwise straying from formula (the Dr. Watson novel was a little different, but it didn’t actually feature Holmes, just mentioned him). So with all the variations of certain Public Domain characters out there, I’m glad some of us see fit to present them as they’ve traditionally been portrayed. If the Public Domain status didn’t exist and Holmes (or others) could be monopolized, we might run the risk of losing the traditional versions to somebody’s ambitious (and maybe unnecessary or even blasphemous) updates. With the way it is now, everybody wins. Everybody can find the Sherlock Holmes that suits their interests.
AP: Being a varied writer, you’ve also ventured into the Young Adult arena recently. Talk about that a bit.
AS: That was a very happy accident and one of the best moves I’ve made as a writer. Occasionally, I’ll come across an anthology or magazine that’s looking for a specific type of story. I’ll make a mental note of it and let it sit in my mind and see if something pops up that fits. So I was browsing one day and came across a call for paranormal stories that took place at the prom. I didn’t really think I’d have anything for the theme, but it sank into my brain and an idea developed a few hours later. I’d never written anything for the so-called Young Adult audience before, but I went through with it, submitted the story, and was very pleasantly surprised when it was accepted.
So I found myself working with a great company called Buzz Books and it’s been a fantastic experience. Malena Lott, who runs the show, is one of the most enthusiastic, encouraging publishers I’ve met so far, and Mari Farthing’s attention to detail as an editor brings out the best in my work. So far I’ve had two short stories published with Buzz Books: “A Kiss on the Threshold,” in an anthology called Prom Dates to Die For, and “Spectral Media,” in a collection called Something Wicked, which was released recently, just in time for Halloween.
Jumping into the Young Adult arena with those two anthologies was an interesting experience. When I was a teenager, you never saw a Young Adult section in the bookstore. It wasn’t a term we really used. You had children’s books, adult books, and the classics that sort of intersected age categories. Honestly, when aisles of “Young Adult” material started to appear in the big bookstores a few years ago, I found it a little odd. Did we need that middle category? But now I realize that anything, even if it’s just a category label, that gets people of any age to seek out books is a good thing. And writing for that audience isn’t very different than writing for adults. It’s PG-rated, but that’s not really all that much of a restriction. Readers, no matter how old or young they are, want the same things from stories: interesting characters in dramatic situations that bring wonder and suspense to the experience of reading about them. As long as a story keeps you turning the pages, who cares what aisle of the bookstore it happens to be placed in?
AP: Why a writer? What motivates you to tell stories? What is it about Pulp specifically that draws you in as a creator?
AS: My writing, or at least the constant use of my imagination, began as a defensive thing, a shield. When I was a kid in school, I didn’t really fit in, I felt out of place, and I got picked on. It was uncomfortable. So when I needed strength, I used my imagination to get me through the day. In my mind, I was someone else, maybe Captain Kirk on an alien planet or Peter Parker walking around with the knowledge that I was secretly stronger and braver and nobler than the other kids. Later in life, when I was long past those insecurities, my imagination kept working overtime and eventually I turned it into real writing, as opposed to just mental clutter. Now I tell stories because, rather than hiding behind them, I want to share my ideas and dreams with the people who experience them through the books I write.
Pulp is just pure fun, for the writer as well as the reader. In the wider world of publishing, I see a lot of people worrying about “rules” when they should be devoting their time to actually writing. “You shouldn’t use exclamation points.” “That point of view or type of narration is unacceptable.” “There’s no audience for that type of story.” Now while some of those rules or assumptions might be true in certain sections of the world of literature, no rule or restriction should ever be considered definitive. If it tells the story in the best way the writer can achieve, how can it be wrong? The new pulp community seems to thrive on having fun with our writing. A good pulp story is driven by excitement and adrenaline and not wanting to slam on the brakes. Pulp, just as it was many years ago when writers who later went on to be huge names in other genres started out there, is a great place to learn and to share a sort of home with others who thrive on trying to generate that same sort of excitement with their words and characters.
Pulp is where I learned how to write, where I’ve had the guidance of some great editors and colleagues and friends, and where I gained the confidence to try to go beyond and test the waters in other areas of writing. So now I’m working in other sorts of anthologies and pitching novels to other publishers and exploring various markets for my work, but Pulp began it all for me and welcomed me with open arms. It’s a genre and style that I’ll never get tired of participating in.
AP: You have a work in an altogether different genre coming up soon. Without saying too much, what can you tease our readers with?
AS: I’ve finally written a novel in one of my favorite genres, that of spies and espionage and secret agents! I’ve been a fan of that type of story ever since I saw my first James Bond movie when I was five or six, so I was eventually going to take a shot at writing that kind of book. The novel’s done, it’s been accepted by a publisher (one of the outfits I’ve worked with before in the New Pulp world) and just needs the editing process and all the trimmings before it’s ready to roll. I’m very excited about it. Without giving away more than the basics, it’s about an American intelligence officer who tries to leave government service after suffering a tragedy in his life and going rogue, but gets sucked back into the game and winds up working on missions that are too sensitive for the FBI or CIA or the other usual agencies. Dangerous situations, ruthless villains, beautiful women, and exotic cities are a hell of a lot of fun to write about and this will not be my last visit to that genre.
Unless you haven’t been paying your electric bill, you probably are aware that the first James Bond movie, Doctor No, was released a half-century ago this week. You might not be as aware that several months earlier DC Comics released the comic book adaptation as part of its Showcase series. Editor George Kashdan said he didn’t understand why DC picked up the book except for the fact that the artwork was in hand and the rights must have been cheap.
Several months before that, the people who actually produced the comic book – Classics Illustrated’s British division – released the adaptation as issue 158Aof their series. This explains why DC’s comic had the look and feel of a Classics Illustrated title. Just to complicate matters, Dell Publishing released Doctor No in Europe as an issue of its Detective Stories title.
At the time, I couldn’t care less. I was an 11-year old comics fan and, like most my ilk, a voracious reader. The Showcase issue had a text piece that discussed Ian Fleming and his super-spy creation. The next time my parents schlepped me out to Marshall Field’s department store I sought out the paperback novels only to discover they cost an unheard of 50¢ apiece. Most paperbacks were 35¢, some were still 25¢. I reluctantly passed, but I kept an eye out for the movie. I almost forgot about it when Doctor No finally came out.
Like an amazingly high percentage of baby boomer men and near-adolescents, James Bond was the coolest guy I’d ever seen on the big screen, and I immediately became a fan. By now I was actually 12 and able to afford a 50¢ paperback, but I couldn’t find Fleming’s Doctor No. I settled for Live and Let Die, and I was enthralled.
Over the next several years I devoured every Fleming novel, even reading the new ones as they were serialized in Playboy (I looked a bit older than my age, particularly if I didn’t buy italong with my week’s comics). I was in line for the debut of every subsequent movie, and I followed the James Bond newspaper strip in the Chicago American. The latter was a British strip that quite faithfully adapted Fleming’s books, and in my mind most of those adaptations were better than the books themselves. Here’s a fun fact: Modesty Blaise creator Peter O’Donnell wrote the Doctor No adaptation. But I wondered why DC didn’t do any more adaptations.
So did Carmine Infantino when he became publisher. In 1972 he discovered DC had a ten-year option on Bond, and that option was about to run its course. He approached Jack Kirby and his old pal Alex Toth and probably others, but then something terrible happened: Sean Connery announced he was quitting the series. Carmine let the option expire.
Clearly, DC would have made a fortune off of 007 had they picked up the series when the second Bond movie was made. Or even the third, Goldfinger, which truly launched the mega-fad. But the company was starting to doll itself up for a sale and the folks in the trenches were busy with the imminent launch of the Batman teevee series.
Perhaps the most popular heroic fantasy figure in movie history, James Bond never achieved an on-going comic book series. Many movies were adapted, some by guys like Mike Grell, Tom Yeates, and Howard Chaykin. A handful of original mini-series and one-shots were released, but nothing more.
The movie series went on and on and on, but most Roger Moore entries were more reminiscent of Adam West than of Sean Connery. The series started to improve after Sir Roger outgrew the part and Barbara Broccoli took over as producer, and Daniel Craig’s reboot in 2006 brought new hope and great entertainment to the masses. As Adele fans know all too well, the next Craig Bond flick, Skyfall, comes out in a few weeks.
But I got to tell you, as a baby boomer Bond boy, I feel greatly cheated.
The Doctor attempts to help the Indian Space Agency about a runaway spaceship of Canadian size headed for Earth. Promising to stop it before it needs to be blown up, he picks up a few friends – Rory and Amy (and Rory’s dad, accidentally) big game hunter John Riddell, and already in his company, Queen Nefertiti of Egypt. They find the ship is a derelict space ark, originally from Earth, created by the Silurians. But where are they, and how did a mysterious and heartless trader named Solomon get control of the ship?
Arthur Darvill had it exactly right when he discusses the latest episode of Doctor Who in a promotional video – “It does what it says on the tin”. The Doctor’s got a gang, Amy has her own companions, Rory’s got his dad, Rory’s dad’s got balls in his pants, the ship’s got a surprising builder, you’ve got your spoiler warnings, and did I mention there are…
DINOSAURS ON A SPACESHIP
by Chris Chibnall
directed by Saul Metzstein
Doctor Who is no stranger to funny episodes, but in the new series, they usually occupy a different spot in the series. They’ve most often come near the end of the series, almost as a buffer to the rollicking action and drama of the series’ finale. But this one is the second of the series, and is certainly one of the more barking mad ones to come along. It may be a perfect episode for that friend you’ve been trying to get into the series – lost of humor, great adventure, and a good look at what can happen in a DW story; namely, anything.
GUEST STAR REPORT
Rupert Graves (John Riddell) Has been on British screens for over thirty years, but he’s best known to Who-fen as Inspector Lestrade on Steven Moffat and Mark Gatiss’ adaptation of Sherlock. He appeared in V for Vendetta and a wide array of TV series, from modern to historic.
Mark Williams (Brian Williams) has a lot of quality work in both comedy and genre work under his belt. He played the patriarch of the Weasley clan in the Harry Potter films, appeared in the recent Gormenghast, and played Cadet Flynn in Rob Grant’s Red Dwarf followup, the why-haven’t-you-seen-it-yet series The Strangerers. In Britain, he’s certainly best known for being a castmember of long-running sketch program The Fast Show. Up next, he’ll be portraying G. K. Chesterton’s detective Father Brown in a new adaptation for British TV.
David Bradley (Solomon) is another alumnus of the Harry Potter films, in the role of Mr. Filch he’s enjoyed over forty years of acting, mostly on British television, in series of all shape and size. He voiced one of the Shansheeth in the Sarah Jane Adventures episode The Death of the Doctor. He’s next appearing in a TV adaptation of the Ken Follett novel World Without End.
David Mitchell and Robert Webb (robot voices) Can best be described as being World Famous In Britain. Stars of the sketch comedy series That Mitchell and Webb Look, they’re also popular on the chat and game show circuit, always able to come up with wit on the fly. As an example of their brand of humor, here’s a classic about a pair of introspective Nazis.
The team are the latest in the trend of big stars making voiceover cameos on Doctor Who. Last year Michael Sheen voiced House in The Doctor’s Wife, and Imelda Staunton was the voice of the Apulapuchian Kindness Facility in The Girl Who Waited.
Richard Hope (Bleytal) is now one of a growing group of “go-to” actors who have played multiple members of the same alien race for the series. He’s played two alternate-timeline versions of the Silurian doctor Malokeh (in The Hungry Earth / Cold Blood, and The Wedding of River Song), and now plays the scientist of the same race, keeping track of their ark. He joins Neve McIntosh, who played two Silurians in the aforementioned two-parter, as well as the Victorian adventurer Madam Vastra (who is rumored to be returning Quite Soon Now) and Dan Starkey, who’s played several Sontarans on DW, as well as voiced them in a few audio adventures and the videogame The Gunpowder Plot.
Riann Steele (Nefertiti) got her first screen credit in David Tennant’s version of Hamlet, and has been making appearances in TV shows and films ever since.
Chris Chibnall (writer) made his first appearance connected to Doctor Who back in the original series. He appeared with a number of other fans on a BBC talk show reviewing the 1986 series (Trial of a Time Lord) and was…not entirely satisfied with it. In the years between, like so many of the current writers, he became a screenwriter, and was brought on board by Russell T. Davies, not at first for Who, but its anagrammatic spinoff, Torchwood. He was listed as co-producer, but was effectively the head writer of the series. After a year or two writing for Law and Order U.K. (starring Freema Agyeman) he was brought back on Who, where he wrote 42 and the Silurian two-parter from last series. In addition to this episode, he also scripted the prequel series Pond Life, furthering the backstory of the Ponds’ life when The Doctor isn’t around.
Saul Metzstein (Director) is new to the series, but is coming on with a bang – he’s also doing the next episode, two on the back end of the season, and also directed Pond Life. He’s done a number of documentaries, including The Name of This Film is Dogme95, about the popular “back to basics” style of filmmaking spearheaded by Lars Von Trier and his contemporaries. In accordance with the rules of the movement, he was not credited for his work on the film.
There were some dinosaurs down in the Silurians‘ cave in their first appearance Doctor Who and the Silurians. The race of Homo Reptilia ruled the earth millions of years ago, but a massive asteroid heading for Earth convinced them they needed to hide underground in hibernation (and, as we now know, built at least one ark) to avoid what would certainly be a world-killing event. Their numbers were off by just a hair – the asteroid missed, was grabbed by Earth’s gravitational field, and became our moon. They’ve slept beneath the Earth for millennia, only awaking when accidentally disturbed by humans, who evolved to the dominant lifeform of the planet in their stead. Along with their close relations the Sea Devils, they’ve fought The Doctor on several occasions on screen, and quite a few more times in the other media.THE MONSTER FILES – For a show about time travel, you’d think The Doctor would have come across dinosaurs every other week, but in fact they’ve barely bee seen at all. Jon Pertwee fought The Dinosaur Invasion when Operation Golden Age sent time all funky and brought dinosaurs to modern London. The Rani tried twice to use dinosaurs in her plots, in Time and the Rani and The Mark of the Rani. And there were pterodactyls (that should not be fed) in the parks of London in The Wedding of River Song.
BACKGROUND BITS AND BOBS – Trivia and production details
LOCATION, LOCATION, LOCATION – Everyone’s heart leapt when there were rumors that Doctor Who was returning to film at Southerndown Beach, which was used as Bad Wolf Bay for Rose’s departure. But it stood in for the engine room in this episode. It was also the surface of Alfava Metraxis in Time of the Angels / Flesh and Stone.
WHEN WE LAST LEFT OUR FRIENDS… – In an earlier draft of his Doctor Who episode, Neil Gaiman had a sequence that would show the middle of a previous adventure, effectively interrupted to lead in to the new one, almost interrupting it. He discusses the scene here. It’s effectively the structure used here with Nefertiti, tho this seems to be much more the end of the other adventure. But both get across the point that The Doctor has many adventures, large and small, that we don’t get to see. As was touched on in last season’s A Good Man Goes To War, The Doctor has met many people, some who owe him a debt, and some (Winston Churchill, for example) who just call him friend. Both Nefertiti and John Riddell are examples of the latter.
Nefertiti is not the first member of Egyptian royalty to travel in the TARDIS. Princess Erimemushinteperem (Erimem for short) traveled with the Fifth Doctor in several audio adventures from Big Finish Productions. After meeting one of the Osirans (seen on screen in The Pyramids of Mars), she accepted the proposal of the newly-crowned king of Peladon and left The Doctor’s company.
SO THAT’S HOW JEFF BROKE HIS LEG – Slow down the playback as the dinosaurs as they tromp towards the screen just before the credits – a crack appears at the last instant, presumably as the glass of the “camera” shatters under the foot of a rampaging ankyosaur.
THE PUNCHLINE IS, “AND THEY WORK FOR SCALE” – As mentioned last week, the Doctor Who logo will be changing each week, covered with a new “skin” connected to the episode. This week it’s covered in dinosaur hide. It’s a cute idea, trying to give the opening a little Simpsons-esque little update each week, but I’m not sure the
show logo is the thing to be changing. Also, I think it’s a bit too small on the screen – perhaps making it a bit larger might help.
WELCOME…TO JURA—SORRY? – The dinosaur effects in this episode are a seamless mix of physical effects and CGI. In the case of the triceratops The Doctor and the Williams Boys ride, it’s a mix on the one moveable beast. The head and torso are a physical prop, moved along by stagehands, while the back feet and tail are CGI. Solomon’s robots are funny physical effects as well – those nearly ten foot tall suits were worn by members of the show’s team of monster players.
HI HO TRICEY! – There’s been a bit of discussion in the archeological community over whether or not the triceratops actually exists. There’s a very similar breed, the torosaurus, and there’s a theory that indeed they are the same species; what we know as the triceratops is a young torosaurus, which underwent a bit or a metamorphosis as it grew. The theory was tabled a couple years ago, but recent studies have come to the agreement that it’s in error. Just as well – I still haven’t gotten over Pluto and the Brontosaurus – I don’t think I could take losing the Triceratops.
“I’ve got it set to temporal news view” Apparently The Doctor’s psychic paper has another function. It was introduced in the new series as a device able to appear as any form of documentation he needs to get out of any situation, from a ticket to view the end of the Planet Earth, to ID backing up his claim that he represents Q
ueen and Country. Some people are able to contact him via the paper, wither by being a close friend (AKA River Song) or by having emotions so strong and powerful the reach across space and time (Young George in Night Terrors). Apparently it also has the ability to pick up news of events he may be able to help with, like a four-dimensional police scanner.
“You don’t normally get spiders in space” – Oh, I don’t know about that. Aside from the dominant life of Metebelis III, AKA Planet of the Spiders, there’s the Racnoss from The Runaway Bride, the Alzarian Spiders from Full Circle, and lots of other examples from the other media.
“Hydro-generators!” We’ve seen a number of “hybrid” power systems in the new series, like the treeborgs on the Byzantium in Flesh and Stone, which converted photosynthesis to electricity, and provided oxygen to boot.
“I will not have flirting companions” Effectively, Amy has take the role of being in charge here, and is the one figuring things out. Rory is helping his father cope with what he’s seeing, and later, fixing him up when he’s hurt. He also lies. It’s another sign of how far the Ponds have come in their time with The Doctor, and possibly, why they need to move on.
“I don’t respond well to violence” Of all the events of the episode, it’s The Doctor’s decision of what to do with Solomon that has sparked the most debate. It’s far from the first time he’s killed – he’s ever talked about the blood on my hands. Indeed, one could argue that he’s killed more by his inaction. He chose not to destroy the Daleks at their start in Genesis of the Daleks, as he realized that in some cases, races who were at war would unite to fight them, ending wars that could cause more deaths. But by doing so, he effectively sentenced all who would die at the Daleks to those deaths. In The Vampires of Venice, he doomed an entire race to extinction, the amphibious Saturnyne, all because their queen didn’t know the name of one of the girls they killed. His choices seem based mainly on how cruel the being are acting towards others, and how much potential the have of being rehabilitated. He chose to help Kazran Sardick and not just push him out of the way (with authority) all because he chose not to strike a child. But even then, he gives Solomon a chance – he warns him that the ship is under attack, and tells him to leave. Solomon’s fate is based entirely on his own choices. He is clearly and irretrievably evil, and none of The Doctor’s companions seem distraught with the choice.
“A monkey could do it…oh look, they’re going to” The Silurians referred to the humans as “apes”, as when they were on the surface, that’s all humans were.
“Try not to bump into the Moon, otherwise the races that live there will be livid” at the time of this episode (2367 AD) there are human colonies on the moon, and presuming the Selenites are not part of the show’s continuity (Considering Mark Gatiss recently produced and starred in a remake of First Men In The Moon, I’d make no such assumptions) there have been no indigenous races reported on the moon. So he may just have been being funny, but surely the humans on the moon would be annoyed by a fender-bender.
“Daisy, Daisy…” rather an obvious one here – Hal 9000’s last words, a repeat of his first, at the end of 2001: A Space Odyssey. Also makes the earlier reference to Arthur C. Clarke by Brian a nice callback. But not everybody knows the etymology of that choice of song. A programming team taught an IBM 7094 to sing back in 1961, and this was the song it sang.
“Can I ask a favor? There’s something I want to see” As The Doctor has said many times, traveling with him changes people; usually for the better, if they survive. In The Sarah Jane Adventures, she explains that she did a bit of research and found a bunch of people who traveled with The Doctor, all of whom have dedicated their lives to helping others in big ways and small, including, of course, herself. Brian’s transformation from someone who “hates to travel” is a more personal type of transformation, but one no less dramatic. Considering all the places he’s been in those postcards, it’s assumed that once again, quite some time will have passed until the next time The Doctor visits the Ponds.
“Siluria!” According to the events of The Hungry Earth / Cold Blood, in 1,000 years’ time, the Silurians will emerge from their cryo-chambers and negotiate a peace with the humans of earth. That’s still several centuries away from the events of this adventure. One wonders how much the flora and fauna of the Silurian Ark will be able to thrive in that time, and whether or not it will make a good world for homo reptilia upon their return?
BIG BAD WOLF REPORT
“Are they the new us?” In School Reunion Rose faced the idea that The Doctor’s Companions come and go, that he has had friends before she came along, and will have some when she leaves. Amy has known The Doctor literally as long as he’s been in this incarnation, and with Rory, have been traveling with him for most of that time. The idea that he might stop seeing them and start traveling with other people is clearly something that has crossed their minds. This carries throughout the episode, and is a theme through much of this semi-season. His relationship with the Ponds is quite different than other companions – he’s keeping in touch, and even though he’s set them home safe more than once, he’s drawn back to them. One reason for that is he’s family. He’s married (or will be, or will someday more officially be) to their daughter River Song, and that really needs much more explanation, but wait a couple weeks and I’ll be able to get into get in detail.
“How’s the Job?” It’s a bit of a throwaway line, but Amy has been unable to keep a job, for fear of missing The Doctor. This whole scene is choked with portent, and is very revealing of the very unique these three have. It’s been said that Amy and Rory have almost adopted The Doctor;Amy is speaking like a mother who’s afraid to have a life, lest her child need her. She ever expecting a call, asking that she pick him up.
Since we already know that the Ponds will be leaving The Doctor’s company at the end of episode five (tho we of course know in what way, or position), it’s tempting and worrying to hear anything being said about them parting.
“That’s me…worthless” Once again, parts of the universe has forgotten about The Doctor, which was, of course, his plan. Some are suggesting the capable hands of Oswin Oswald are at it again, but let’s not forget that in the first episode of the new series, The Doctor produced a program that would erase all records of him off the Internet. No mean feat, to say the least. He could have easily done the same for this value indexing system…or could do so retroactively at his next opportunity.
NEXT TIME ON DOCTOR WHO – A western, filmed in Spain, with an alien. THAT’S multiculturalism. A Town Called Mercy, just a week away
Scholarly treatises such as this volume, which examines the film and television adaptations of mystery writer, Mickey Spillane, run the risk of committing the most ironic literary sin of them all; producing a boring book about an entertaining subject. A large part of Spillane’s success, beside devising clever plots, was his gift of writingstories that brought a great deal of joy to his readers. Perhaps no other popular writer of the 20th Century ever connected so powerfully with the American post World War II psyche as did Spillane, which in itself is no great puzzle.Spillane was very much a product of his times, a veteran and every day working stiff who saw returning GI’s with true empathy. He was one of them.
By the late 1940s Spillane was writing about a tough guy private eye with an Old Testament philosophy.Sickened by the horrors of a world war, Mike Hammer, had had a belly full of evil and injustice and wasn’t going to take it anymore.His singular voice was one of righteous indignation unwilling to capitulate to the powerful elite eager to profit from a society weary of conflict.These were the new carpetbaggers whose target of their greed were the innocent, decent people trying to build new lives. Without being asked, Hammer found himself the wolf at the door, protecting the sheep against all the other wolves.
By the time Hollywood came knocking, his books were world wide best sellers and Spillane’s legions of fans were anxious to see his rough and tumble tales brought to the silver screen. Sadly, the results of those adaptations weren’t always pleasurable either to Spillane or his devotees.Some went on to achieve cult status while others drifted into TV late night obscurity barely remembered today. In this extensive and wonderfully presented study, Collins and Traylor set the records straight, giving each Spillane film and television series a thorough and insightful inspection.Their unbiased criticisms of the good, the bad and the ugly are all well researched reports from cast bios to screen writers’ credits.
Some of the surprises contained detail the ideological differences between conservative Spillane and left-leaning producer Victor Saville and his partner director, Robert Aldrich. Both Saville and Aldrich clearly despised the character of Mike Hammer and attempted to paint him in a negative light via their version of “Kiss Me Deadly,” with actor Ralph Meeker as Hammer.Yet, as explained in the book, it was this very antagonism that ironically resulted in perhaps the finest Mike Hammer movie of all time.Go figure.
Another highlight is their look at “The Girl Hunters,” a British blank and white production in which Spillane took on the role of his most famous creation and played him to screen perfection; perhaps the only writer to ever do so in film history.
This and other installments offer long forgotten vignettes from both Spillane’s associates and often relate Spillane’s own documented opinions of these adaptations, pro and con. We especially appreciated their closing the book with reprinting one of the last interviews Spillane gave to Collins, neatly summarizing his own personal and caustic observations on these various teleplays.
“Mickey Spillane On Screen,” is a thoughtful examination of one of the greatest mystery writers in American history and the celluloid treatment of his works.It should have a place of honor in every film and mystery lovers’ library.
One of the things I bemoan as a professional reviewer is the lack of graphic novels I’m sent to look at.Note I did say, “look at.”The fun of such material is that, when well done, it becomes both a literary and visual feast; a narrative told with both words and art.
The problem is that, even in our supposed enlightened times, most major publishers still do not appreciate or acknowledge graphic novels as legitimate and thus are not receptive to publishing them.Those pioneer publishers who do are few and far apart.Happily Tor Books is one of the leading pioneers in this acknowledgement and they deserve credit for not only publishing books such as the Foglios’ “Girl Genius” but also promoting them so heavily.
Since its inception as a webstrip many years ago, this manga inspired sci-fi steampunk comic about airships, monsters, half-humanoid beings and a magical talent called “the Spark,” has won three Hugo Awards and been nominated for both the Eisner & Eagle Awards; the best for American and British strips respectively.It is a grand, over-the-top tale that showcases a world where machines are looked upon with fear by the average citizen and those scientist who can master them considered heroes of mythic proportions.
Agatha Clay, an orphan college student in Transylvania, is being raised by her aunt and uncle and has no knowledge that she possesses the Spark.Her only clue being that she often awakens from deep sleeps in her uncle’s workshop surrounded by tools and bizarre, unfinished, “cranks.”These are robot-like inventions that come in all sizes and shapes with a variety of functions.Eventually, her secret ability begins to assert itself and she comes under the scrutiny of Baron Wulfenbach, one of the most powerful political scientist in all the world.He ultimately brings her aboard his city-size airship and there she meets an assortment of characters, both human and half-human, along with a talking cat with attitude and the Baron’s handsome young son, Gilgamesh.
The boy is keen enough to realize Agatha has the Spark and suspects her talents are greater than most others known to his father.At the same time, the great ship is coming other attack by an alien entity from another dimension and in the end, there is a climatic battle wherein Agatha, using her gifts consciously for the first time, helps Gilgamesh save the day.But not before she uncovers other mysteries of her past and her parents.In the end she is forced to steal an airship and along with her pal, the feisty talking cat, makes good her escape, thus ending the first part of her saga.
At 319 pages, “Agatha Awakens” is a whopping chunk of madcap, graphic fun and action galore.Although the first hundred pages display a roughness to the depiction of the characters, it is easy to reconcile this was the first year’s worth of pages and the artists were gradually beginning to know their characters.By the second hundred pages, the art settles into an easy, cartoony style that is part manga, without being overly exaggerated, and typical Saturday morning fare.I particularly liked the use of coloring, which has been redone for this collection.It shifts from the duotone and sepia when detailing earthbound city scenes and then explodes with a vibrant rainbow palette upon arriving at the giant airships that cruise majestically through the sky.
Agatha and her supporting cast of characters are fresh, original and fun.This beautifully produced hardcover is like nothing else I’ve read in graphic form and it truly impressed me a great deal.If you are a fan of American manga, sci-fi or steampunk, you are going to love “Girl Genius – Agatha Awakens.”Take my advice; get two copies, one for yourself and another for your pre-teen kids or grand kids. They’ll eat it up.
The erstwhile “Berke” Breathed, who at some point in the last two decades learned what a “berk” was in British slang and decided to extend his professional name, presents one of the most interesting and stark success stories in the history of modern American strip comics: he lept to fame with Bloom County, almost from the moment it launched in 1980. [1] And then he ended that strip in mid-1989 (cementing its role as the quintessentially ’80s strip, for anyone with an axe to grind about that decade), partly for creative reasons and partly for overwork issues, to work on a spin-off, Outland, that never had the wide appeal or impact of its parent, even as it got more Bloom County-ish as it went along.
Every other major strip cartoonist before Breathed had a different reaction to success, creative unrest, and pressures of work: they all corporatized, bringing on gagmen and inkers and ghost pencilers to one degree or another, from the light end of G.B. Trudeau’s Doonesbury (inked by Don Carlton) to the high end of Jim Davis’s Paws, Inc. Garfield empire. But Breathed wanted to do it all all himself, and, if he couldn’t, he didn’t want anyone else to do do anything. So Bloom County remains entirely a product of the ’80s and of Breathed’s youth: exuberant, frenzied, full of more ideas and gags than it quite knows what to do with. (more…)
How many times have you thought that, or dreamt it, or talked about it? I think everybody does. It’s in our natures, y’know?
“If I knew then what I know now…”
What would you do?
I wouldn’t be a nurse.
I’d go to film school. UCLA or NYU. I’d aim to be a film editor.
I love movies. So, in keeping with Mike Gold and John Ostrander’s columns about the movies, I thought I would list some of my favorite movies and why I love them. In no particular order. Because every time I pick one as my “all-time fave,” I remember another and hastily move that one to the top spot.
Casablanca: Two men. The woman they both love. And Nazis. Who doesn’t love this move? Humphrey Bogart. Ingrid Bergman. Claude Raines. Sydney Greenstreet. Paul Henreid. Peter Lorre. Conrad Veidt. And Dooley Wilson. Who doesn’t love this movie?
Strasser: What is your nationality?
Rick: I’m a drunkard.
Who doesn’t love this movie?
Renault: And what in heaven’s name brought you to Casablanca?
Rick: My health. I came to Casablanca for the waters.
Renault: Waters? What waters? We’re in the desert.
Rick: I was misinformed.
Who doesn’t love this movie?
The Searchers: In the post-Civil War West, two men relentlessly follow the trail of the Indian who killed their family and took the youngest daughter in the post-Civil War West. One wants to save her. One wants to kill her.
“That’ll be the day.”
As John Ostrander said, John Wayne’s greatest role. Also starring Jeffrey Hunter and Natalie Wood. And directed by John Ford.
Bridge On The River Kwai: “Be happy in your work.” In the hell of a Japanese prisoner of war camp in World War II Burma, a British colonel’s ego and pride blind him to his collaboration with the enemy as he leads his regiment in building a bridge that will stand for the ages. Sir Alec Guinness. Sessue Hayakawa. William Holden. Jack Hawkins. Directed by David Lean.
“Madness. Madness.”
The Best Years of Our Lives: Three World War II veterans and their families adjust to life after the war ends. Fredric March. Myrna Loy. Dana Andrews. Virginia Mayo. Teresa Wright. And Harold Russell, who lost both his hands, which were replaced by hooks. Directed by William Wyler. As significant today as when it first premiered in 1946.
Ben-Hur: The proud scion of an aristocratic Jewish family. The ambitious Roman who was once his best friend. Set against the background of the Roman Occupation of Judea during the time of Christ, it’s a story of love and hate, sin and redemption, blame and forgiveness. Charlton Heston. Stephen Boyd. Jack Hawkins. Haya Hayareet. Sam Jaffee. Finlay Currie.
Quintas Arrius: “Your eyes are full of hate, forty-one. That’s good. Hate keeps a man alive. It gives him strength.”
There’s also The Godfather I and II. Gandhi. Saving Private Ryan. Waterloo Bridge. Star Wars and The Empire Strikes Back. Forbidden Planet. You’ve Got Mail. Alien and Aliens. The Day The Earth Stood Still (the original, not that travesty with Keanu Reeves). Lost Horizon. Bringing Up Baby. Mr. Lucky. The Lion In Winter. Basically, anything with Katherine Hepburn and/or Cary Grant. And more.
Movies based on comics? Spider-Man 1 and 2. Superman 1 and 2. Iron Man. Captain America. Thor. The Road To Perdition. Ghost World.
Watchmen? Not so much.
I’m sure I’m missing quite a lot, but what the hell…
It is “The Wicked Day,” indeed, for Merlin, Arthur – and all of Camelot.
It begins with a festive birthday celebration for Prince Arthur … but ends as the destinies of Arthur and the warlock Merlin come clear. This one enormously fateful day is the backdrop for an all-new episode MERLIN, titled “The Wicked Day,” which premieres Friday, January 20 at 10 p.m. ET/PT only on Syfy.
Written by Howard Overman, creator of the popular British sci-fi series Misfits, and directed by Alice Troughton, “The Wicked Day” is a pivotal episode in the saga of Camelot – and begins with the arrival of a sinister-looking visitor named The Gleeman. (more…)
In 1970, the Vietnam war was still raging, people were debating and protesting the Asian struggle and the Greatest generation was wondering what happened to duty, service, and love of country. After a period when World War II movies appeared to have exhausted their welcome at the movie theater, along came Patton with a riveting performance of a true American hero from George C. Scott. Few images that year surpassed the one of Patton on the stage, flanked by the largest American flag ever seen. It seared patriotism into our hearts and minds, reminding us all what it took to win a war.
General George S. Patton Jr. was a military genius and he was the first to admit it. He was a harsh, brutal megalomaniac who was also a brilliant strategist. He had the highest casualty count among generals in the field, but he was also the one the Nazi regime feared the most. There is a definite connection between the two facts and exploring that propels the film. Coppola’s script does a fine job exploring the contradictory nature of the man. Additionally, this is one of the first films to portray a less than idealized version of the Allied effort, showing rivalries between American generals and a less than stellar relationship between the British and American commands. Patton himself was driven and therefore drove his men beyond endurance. Nothing would stand in his way, be it shell-shocked soldiers (who deserved a slap in the face, not sympathy) or mules that blocked the road. He gets him comeuppance, though, sent by Dwight D. Eisenhower as a decoy to keep the Germans from stumbling over the Normandy invasion.
