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The shift to filming in glorious 35mm has opened new doors of creative storytelling for the crew of MERLIN, and the evidence is clear in the lush cinematography and haunting approach to “Lamia,” an all-new episode MERLIN premiering Friday, February 24, at 10 p.m. ET/PT only on Syfy.
The episode sets Merlin and several Knights of the Round Table on the road to a distant village to help treat those inflicted with a mysterious illness – but the young warlock quickly discovers he is the one in danger. As the Knights become increasingly bewitched by an alluring young woman named Lamia, Merlin finds himself with only Gwen as an ally as he’s lured into a game of cat and mouse against an unseen enemy more deadly than he could possibly imagine. (more…)
Premiering tonight on the History Channel!
Relentless. Infectious. All consuming. Since the beginning of time they have embodied our deepest fears and today their power to frighten us is more potent than ever before. They are the monster that history cannot kill.
Get ready for an unprecedented exploration of history’s most terrifying and enduring horror. What are the origins of the living dead and what makes them more relevant than ever before? Join Max Brooks, Jonathan Maberry, Roger Ma, JL Bourne, Kim Paffenroth, Rebekah McKendry, Steven Schlozman, Daniel Drezner, The Zombie Squad and many more as we investigate the roots of our ultimate fear and find out what you can do to prepare yourself for the zombie apocalypse.
…Because if you’re prepared for zombies, you’re prepared for anything.
You’ll even see a few ComicMix contributors in the special. The producers wanted them for their braiiinnnnnssss…
With the imminent return of The Incredible Hulk to television (currently being developed for ABC and spinning out of the Avengers movie next summer) it’s illuminating to go back and take a look at how the original TV series was made. Allan Cole (perhaps better known as the co-author of the [[[Sten]]]novels) was a writer for the series, and he’s been reminiscing…
To understand The Incredible Hulk you have to first know that everybody on the show was nuts. Some were nice nuts. A few, not so nice. And others bounced back and forth like green balls of silly putty with no notice whatsoever.
It also helps to understand that the very premise of the show was schizoid, with this wimpy little doctor-type guy (played by Bill Bixby) transforming into a big green monster (played by Lou Ferrigno) when somebody kicks sand in his face and pisses him off.
Put another way, scripting for the Incredible Hulk was like writing for Kabuki theater. As Chris said, “one frigging thing out of place and everybody and everything goes apeshit.”
The writing experience could be frustrating, agonizing and drive you just plain bonkers. On the other hand, of the hundred and fifty odd shows Chris and I worked on, it was one of the most fun and satisfying. Once you got the formula down pat, you could write just about anything you wanted. More importantly, what you wrote went on the screen, so you didn’t hesitate to open up and address broader themes than one might expect in a show about a comic book character.
One of the joys of the Warner Archive program is that movies and television shows for small groups of fans can be released. The restoration costs seem to have reached a reasonable scale and these direct-to-order projects don’t really require the bells and whistles higher profile releases deserve. As a result, we can revel in the stuff we grew up or recall fondly. In my case, that includes a ton of Hanna-Barbera and Ruby-Spears stuff that has been coming out over the last year or two. It also meant I finally got a good copy of the pilot to the Search series.
And while some will turn their noses up to those offerings, they may begin salivating at some of the others that have been released; titles which I personally find not worth our time and attention. One such series is the short-lived NBC clunker Man from Atlantis, best known as the vehicle that gave the world Patrick Duffy pre-Dallas. The premise is certain high concept enough to have been interesting: amnesiac Mark Harris displayed the ability to breathe underwater and withstand the crushing deep sea water pressure. His origins remained murky but as was the formula from the 1970s, he was immediately set up with a purpose that served others rather than himself: working for the Foundation for Oceanic Research, a front for top secret activity. He was accompanied by a team of humans (co-stars Belinda J. Montgomery and Alan Fudge) aboard the high-tech sub called the Cetacean. And rather than delve into her personality or explore the things that made him unique, he became another handsome, shirtless hunk who went through the motions.
NBC’s Fred Silverman green lit the series, first as a number of telefilms, running four during the 1976-1977 television season and these are collected in the just-released two-disc Man from Atlantis: The Complete TV Movies Collection.
The concept proved durable enough it was given a weekly series order and those 13 episodes have also been collected and released as a four-disc Man from Atlantis: The Complete Television Series. I should stress, the pilot film was previously released on its own. (more…)
Almost fifty years ago, my parents piled my sister and me into the car for a drive to DeKalb, Illinois. Since my sister was about to start college only three of us would be coming back. Always concerned about his children’s cultural upbringing, Dad stopped by a phenomenal bagel joint called Kaufman’s in what was Chicago’s Jewish neighborhood at the time. While he was stocking up on carbs, I was ordered to go across the street to an ancient drug store, the type that had a genuine soda fountain, three huge magazine racks and a separate and equally gigantic rack for comic books. My father disliked feeding my habit, but he wanted the drive to college to be as peaceful as possible and the best way to insure that was to buy me some comics. The stunt still works to this very day.
Sadly, as much as I scoured the racks I had read everything that was likely to catch my eye, and even some of the fringe titles such as The Adventures of The Fly, Our Army At War, and Superman’s Girl Friend Lois Lane. But I would be damned if I let such an opportunity pass. I discovered a sort of superheroish first issue from an unnamed company that I associated with monster titles that I generally passed over.
My dad came into the store to pick me up and pay for the damages. I gave him one solitary little pamphlet. One. He was amazed. “Only one?” I shrugged. “Well, we’ve gotta go, we’re late.” He literally flipped a dime across the room to the ancient man behind the counter and we began our hot, tedious trip with warnings to my young just-turned-11-years-old ass that I better shut up and behave.
I proceeded to read my one and only comic book. Within a couple pages, I was hooked. It was a monster comic, but it was also a superhero comic. It was drawn by a guy whose work I recognized and appreciated from his brief time with Green Arrow, Private Strong, and The Fly. By the time I finished the book-length story, which was rare in those days, I had already decided to reread it.
Several times, as it turned out. Dad and I both got lucky.
ALL PULP REVIEWS by Ron Fortier
By Dean Koontz
One of the common traits of most successful pulp writers today is that they are prolific. The tons of words they produce daily is staggering and would make the old pulp writers proud. Koontz is no exception in this ability. Whereas being fast does not assure quality, only a professional competency his readers have come to expect. Of all his series, the new Frankenstein books are easily some of his most enjoyable action heavy offerings yet.