JacketFlap connects you to the work of more than 200,000 authors, illustrators, publishers and other creators of books for Children and Young Adults. The site is updated daily with information about every book, author, illustrator, and publisher in the children's / young adult book industry. Members include published authors and illustrators, librarians, agents, editors, publicists, booksellers, publishers and fans. Join now (it's free).
Login or Register for free to create your own customized page of blog posts from your favorite blogs. You can also add blogs by clicking the "Add to MyJacketFlap" links next to the blog name in each post.
Viewing: Blog Posts Tagged with: television, Most Recent at Top [Help]
Results 1 - 25 of 583
How to use this Page
You are viewing the most recent posts tagged with the words: television in the JacketFlap blog reader. What is a tag? Think of a tag as a keyword or category label. Tags can both help you find posts on JacketFlap.com as well as provide an easy way for you to "remember" and classify posts for later recall. Try adding a tag yourself by clicking "Add a tag" below a post's header. Scroll down through the list of Recent Posts in the left column and click on a post title that sounds interesting. You can view all posts from a specific blog by clicking the Blog name in the right column, or you can click a 'More Posts from this Blog' link in any individual post.
Anyone who’s been keeping up with their reading of George RR Martin’sA Song of Ice and Fire opus, knows Bowen Marsh, the First Steward of the Night’s Watch, is one of those side characters who becomes a player. It’s now confirmed by actor Michael Condron’sagency to Watchers On the Wall.com he will be playing the part in HBO’sGame of Thrones . The actor has also confirmed that he will appear in three episodes, directed by Mark Mylod, Michael Slovis and Jeremy Podeswa. He has previously appeared in The Tudors and the British mini-series Fairy Tales.
Fxx is showing EVERY EPISODE OF THE SIMPSONS ever in order, a 12-day marathon that started yesterday. The event is to celebrate theFxx getting the rebroadcast rights to every Simpsons episode, for about $1 billion. Meaning Fxx will basically be the Simpsons channell…and that’s a great idea!
We caught some Season Three classics last night, and the effect of seeing “One Fish, Two Fish, Blowfish, Blue Fish”, “The Way We Was”, “Homer vs. Lisa and the 8th”, and “Principal Charming” in order as they were when last we viewed them 20+ years ago…well time passes quickly when you quote Simpsons episodes. Also mind bggling to think the couch gag and the blackboard gag were in place right from the start.
Vulture has a veiwing guide and suggests that tonight is the nihgt for an all nighter with Season Four and Five:
You’re not as young as used to be. You used to rock and roll all night, and party every day. Then it was every other day. Now you’re lucky to find half an hour a week to get caught up with your DVR before you fall asleep on the couch. But party like it’s 1993 from Saturday evening until Sunday morning. That’s when season four turns into season five, and if you’re fast asleep, you’ll miss such classics as “Rosebud,” “Homer’s Barbershop Quartet,” and freaking “Cape Feare” — you don’t want to miss “Cape Feare.” Sunday night into Monday morning is also incredible, but, again, you’re not as young as you used to be. None of us are.
Yeah we’d go along with that one. Also although they say now to drool over teh Cnan O’Brien episodes, he wrote “New Kid Ont The Block” where Bart falls in love and dreams his heart is ripped out and thrown against the wall by the girl he loves who says, “Guess you won’t be needing that any more.” So yeah, Conan O’Brien.
I’m not one for Johnlock. (I’m an Irene Adler/Sherlock Holmes sort of girl. As Benedict Cumberbatch would say, “I like to be the dominant one.”) That said, I think the Sherlock/John Watson friendship is incredible. Here’s a short little ditty about what happens when Sherlock takes a bullet for John and John demands Sherlock make a promise he can never keep.
Promise by Sara Dobie Bauer
I race around a back alley corner, Sherlock behind me. It’s rare that he’s behind me, but Lestrade held him back to shout a warning as I took off running after our man. The suspect may have murdered two women. He got away from us once; he will not get away again.
I feel my gun in the pocket of my coat, but I don’t take it out—not yet. Having something in my hand will only slow me down, and I like being in front for once. I can hear Sherlock behind me, the tap of his dress shoes on pavement. I’ve often wondered how the man runs with such speed in dress shoes. Then again, he does everything like a cat: jump, perch, sprint. He’s the human equivalent of a cheetah.
The sun has almost set, but my eyes are quick to adjust to dim light. I acquired quite a few things in the war, the least of which was a bullet wound. My reflexes are faster, my vision, keener. I hear things other people don’t—like the sound of fumbling footsteps ahead, for instance.
We’ve got him. He won’t shoot another woman dead. As I rush past a dumpster, only now do I pull my weapon. Best to be careful. We know the suspect is armed.
I round another corner. There is a dark shape ten feet ahead of me, frozen in place, blocked by a tall chain link fence. I move to aim, but the suspect already has me in his sights. The world slows.
In Afghanistan, I had no time to prepare for being shot. The bullet hit me in the shoulder like a heavy raindrop. There was no pain, only a dull knowledge that something was wrong. I have time now to prepare. I have time to wince at the sound of the gun going off. I have time to pull my own trigger, but I’m seconds too late. I know that.
Instead of the expected thud and ache of a bullet wound, I see black. I wonder if I’ve been killed. Is this death? No, I don’t suppose death has weight, but there is a weight against me: a heavy, long-limbed weight in a black coat. Only when I hear him moan, softly, do I realize I have Sherlock pressed against me. He slouches until my arms hold him around the chest.
I take steps back until I have Sherlock on the ground. He’s talking about my shot. The suspect is dead, ten feet in front of us. Sherlock’s eyes stare at the sky. His breath puffs out in labored wheezes, and this is not due to our chase. I have a horrible fear that Sherlock Holmes just took a bullet for me.
The anniversaries of conflicts seem to be more likely to capture the public’s attention than any other significant commemorations. When I first began researching the nurses of the First World War in 2004, I was vaguely aware of an increase in media attention: now, ten years on, as my third book leaves the press, I find myself astonished by the level of interest in the subject. The Centenary of the First World War is becoming a significant cultural event. This time, though, much of the attention is focussed on the role of women, and, in particular, of nurses. The recent publication of several nurses’ diaries has increased the public’s fascination for the subject. A number of television programmes have already been aired. Most of these trace journeys of discovery by celebrity presenters, and are, therefore, somewhat quirky – if not rather random – in their content. The BBC’s project, World War One at Home, has aired numerous stories. I have been involved in some of these – as I have, also, in local projects, such as the impressive recreation of the ‘Stamford Military Hospital’ at Dunham Massey Hall, Cheshire. Many local radio stories have brought to light the work of individuals whose extraordinary experiences and contributions would otherwise have remained hidden – women such as Kate Luard, sister-in-charge of a casualty clearing station during the Battle of Passchendaele; Margaret Maule, who nursed German prisoners-of-war in Dartford; and Elsie Knocker, a fully-trained nurse who established an aid post on the Belgian front lines. One radio story is particularly poignant: that of Clementina Addison, a British nurse, who served with the French Flag Nursing Corps – a unit of fully trained professionals working in French military field hospitals. Clementina cared for hundreds of wounded French ‘poilus’, and died of an unnamed infectious disease as a direct result of her work.
The BBC drama, The Crimson Field was just one of a number of television programmes designed to capture the interest of viewers. I was one of the historical advisers to the series. I came ‘on board’ quite late in the process, and discovered just how difficult it is to transform real, historical events into engaging drama. Most of my work took place in the safety of my own office, where I commented on scripts. But I did spend one highly memorable – and pretty terrifying – week in a field in Wiltshire working with the team producing the first two episodes. Providing ‘authentic background detail’, while, at the same time, creating atmosphere and constructing characters who are both credible and interesting is fraught with difficulty for producers and directors. Since its release this spring, The Crimson Field has become quite controversial, because whilst many people appear to have loved it, others complained vociferously about its lack of authentic detail. Of course, it is hard to reconcile the realities of history with the demands of popular drama.
I give talks about the nurses of the First World War, and often people come up to me to ask about The Crimson Field. Surprisingly often, their one objection is to the fact that the hospital and the nurses were ‘just too clean’. This makes me smile. In these days of contract-cleaners and hospital-acquired infection, we have forgotten the meticulous attention to detail the nurses of the past gave to the cleanliness of their wards. The depiction of cleanliness in the drama was, in fact one of its authentic details.
One of the events I remember most clearly about my work on set with The Crimson Field is the remarkable commitment of director, David Evans, and leading actor, Hermione Norris, in recreating a scene in which Matron Grace Carter enters a ward which is in chaos because a patient has become psychotic and is attacking a padre. The matron takes a sedative injection from a nurse, checks the medication and administers the drug with impeccable professionalism – and this all happens in the space of about three minutes. I remember the intensity of the discussions about how this scene would work, and how many times it was ‘shot’ on the day of filming. But I also remember with some chagrin how, the night after filming, I realised that the injection technique had not been performed entirely correctly. I had to tell David Evans that I had watched the whole sequence six times without noticing that a mistake had been made. Some historical adviser! The entire scene had to be re-filmed. The end result, though, is an impressive piece of hospital drama. Norris looks as though she has been giving intramuscular injections all her life. I shall never forget the professionalism of the director and actors on that set – nor their patience with the absent-minded-professor who was their adviser for the week.
In a centenary year, it can be difficult to distinguish between myths and realities. We all want to know the ‘facts’ or the ‘truths’ about the First World War, but we also want to hear good stories – and it is all the better if those elide facts and enhance the drama of events – because, as human beings, we want to be entertained as well. The important thing, for me, is to fully realise what it is we are commemorating: the significance of the contributions and the enormity of the sacrifices made by our ancestors. Being honest to their memories is the only thing that really matters –the thing that makes all centenary commemoration projects worthwhile.
Image credit: Ministry of Information First World War Collection, from Imperial War Museum Archive. IWM Non Commercial Licence via Wikimedia Commons.
While at SDCC I could not help but notice the grumbling across Social Media of how little seemed to be coming out of SDCC in real time, and how deeply missed G4 was as a result. For those of us trying to bridge the gap, their seemed to be insufficient band width in Downtown San Diego for bulk loading from personal devices. This is a question worthy of its own article, but right now, it’s my pretext to finally upload more images from the Exhibit floor and Outside the Convention.
Twin Peaks fans have been eagerly awaiting the Twin Peaks: The Complete Mystery DVD since it was announced. During the panel for the show on Saturday night, some mysteries about the show were revealed, such as both the Fire Walk With Me and the deleted scenes from the original show. Meaning, that this is as close as we are going to get to everything about the show ever shot on one single DVD collection. With the added bonus of a visual HD restoration to the package–speaking of the packaging, this includes a wonderful package featuring the ominous face of Laura Palmer in the flesh or more like wrapped in plastic. Take a look at the following interview conducted with CBS General Manager Kenneth B. Ross, along with actress Kimmy Robertson chiming in towards the end in order to get the primer on what to expect for the new DVD box set.
During that call at the panel you mentioned that you acquired a full 88 minutes worth of footage, and that you also scored it and restored it. So how long did it take between the team getting the new footage, and then getting it ready for the showing on Tuesday?
Ross: David and his team are the ones that did it. I really don’t recall exactly how long the work took because I was so immersed with all the details of working it out, and France was involved and it was CBS, and it was David Lynch, and it was MK2, and this had been going on for years literally. The physical post-production work took about 8-9 months to deliver the elements.
After all this time, this television show has really become iconic, and it has influenced so many other pieces of media from comic books–to other television series. Do you have any idea on what has sparked the new interest on the show? At the panel beforehand there was a good amount of people in attendance.
Ross: I think that you know in the entertainment business, and I think I said I touched on this on the panel so I apologize if I was repeating this, but I there’s a word called ‘classic’ some people say ‘cult’ some people say ‘classic’ some say ‘evergreen’ you know the Sound of Music is still loved today. I was involved in putting the I Love Lucy Christmas special on CBS last Christmas, and it got the highest rating in the time setting. You know a show that was fifty plus years old because people still love Lucy. Kimmy: I watched it. Ross: People love I Love Lucy. This is one of those properties, and there are not a lot of them, but a bunch of them where the love, never the flame, never the fire, never and so what it’s about is it’s showing it in a way that it has never been experienced before which is what we are trying to do–in terms of technology to make the experience as satisfying as possible picture, audio, etc. By showing more than you’ve ever seen before–new high definition scenes, deleted scenes from the series, lastly what the fans have been clamoring for for nearly 20 years–the Fire Walk With Me deleted scenes. Then you have the entire fan base to them. I read a tweet that Brian showed me that made me as happy as I can be when we walked into this room, because I had said all along you come to Comic-Con. I have been a comic collector since I have been a kid. Comic-Con for me was I live in New York, I used to go to to the McAlpin Hotel, I am talking about 40 years ago and buy comic books that were in baggies you know with my friends and that’s what Comic-Con was you know. There was no show business, no Hollywood, no actors, none of that, and now I don’t have to tell you guys what it is; but I knew that this property Twin Peaks was like a pillar of Comic-Con and the Comic-Con community. Just like Star Trek for example. People here would go wild and love it, and the tweet was; I heard Marvel announced something blah blah blah, Twin Peaks is coming out at Comic-Con and this is amazing. That is sort of my answer to your question, it is sort of as relevant as it has ever been. I actually think it’s more relevant than it has ever been because there is so much media drawing from it.
Ross: As you say, think about the shows where the creators you know, I mean David Chase has said that inspires him and on and on and on think about the shows that wouldn’t exist today if not for Twin Peaks having come out and changed the landscape of television.
Kimmy Robertson: I heard Mark Burnett on the radio yesterday or the day before saying Survivor– that he got the guts to do that because of Twin Peaks. Survivor! Mark Burnett!
by “Harry Lime Jr.”
[Several of this fall's comic book TV show pilots are floating around out there, and one of our informants got a copy and sent us their impressions. Here's a look at CONSTANTINE which debuts on NBC this Fall.]
Out of DC Comics three new shows, Constantine might have the most uphill battle but not because of the quality of the show. The pilot episode is phenomenal, horror and the occult spiked with dark humor. In essence, it’s pure Hellblazer.
Since this is not an official review I’m strictly going to speak on my impressions from watching the pilot episode. The first thing you’ll notice is that the previous film is long gone here, whether that is good or bad is a matter of opinion. Here, NBC is getting John Constantine as the comic book fans know him. Matt Ryan IS the dirty blond Brit, whose self deprecating humor endears him to us within minutes.
The supporting group is set up to revolve around Constantine which is what you want when you name the show after your title character. Jeremy Davies (LOST), Lucy Griffiths (TRUE BLOOD), Harold Perrineau (The Matrix) all fit together so well as a cast they round out John Constantine’s character without stealing the focus.
Constantine’s look is a Vertigo comic brought to life combined with the necessary television aesthetic to be on a network like NBC. It’s a testament to how far the comics medium has come that a major network is willing to bet on a show that looks “comic booky” and that is far from a bad thing. For anyone concerned about getting a toned down version of the comic book series, rest easy now, while there will always be somethings you can’t get away with on over-the-air television, Constantine gives you the horror moments a show in this genre commands in suspense more than gore.
The pilot itself does a fine job of not being heavy on exposition, instead betting on developing a chemistry with the audience. Hellblazer was never a series I regularly followed, and have only read John Constantie’s JL Dark adventures, but I’m on board for this series. I’m excited for the potential setups we see in the first episode. It doesn’t spoil the story of the pilot but I will say at one point the Liv Aberdine character was holding the freakin Helmet of Fate in her hands. Constantine has a tremendous amount of potential. Hopefully, Goyer and his team will understand that a successful show based on a comic needs to bring in as much from the books as it can. With that being said, I want to see Swamp Thing and Deadman in this series at some point because they’d fit like a square peg in the square hole—perfectly.
Out of the three new DC shows, Constantine has the biggest challenge ahead because NBC has a different standard of what a successful show should do in ratings. While the show wouldn’t be out of place on the network, the broadcaster itself has had trouble with its identity in recent years and prematurely canceling good shows before they’ve had a chance to land an audience. Constantine could definitely bring together two audiences, those in and out of comics, if pushed right. With shows like Grimm already in their line up it would definitely be in good company. The big question is if Constantine can balance a show for the general television viewers while still keeping familiarity for the core audience.
Now that we’ve seen all three of the new pilots, it’s easy to see what DC is doing on TV that Marvel isn’t. DC isn’t putting their characters in second tier shows, they’re selling their characters into the genres different networks want on television. A dangerous risk but, judging by how great and unique Flash, Gotham, and Constantine have been, one they appear to be pulling off well.
Fantastic news for one of my favorite people, Christopher Golden -- his spine-tingling book Snowblind has been optioned for a series! As reported in Deadline:
Universal TV, David S. Goyer Eye 'Snowblind' Limited Series
EXCLUSIVE: Universal Television and David S. Goyer have optioned TV rights to horror novel Snowblind, from #1 New York Times bestselling author Christopher Golden (Ghosts Of Albion, Joe Golem And The Drowning City). The New England-set book, published earlier this year by St. Martin's Press, tracks the denizens of a town still reeling from the disappearance of over a dozen people who were snatched during a sinister snowstorm 12 years prior.
Goyer is coming off of Da Vinci's Demons and Man of Steel and will supervise development and executive produce alongside Golden and Pete Donaldson. Project is being developed as a limited series. Snowblind also comes with a choice celebrity endorsement from horror maven Stephen King: "Snowblind is instantly involving and deeply scary. It will bring a blizzard to your bones (and your heart) even in the middle of July. Throw away all those old 'it was a dark and stormy night'; novels; this one is the real deal. And watch out for that last page. It's a killer."
Benedict Timothy Carlton Cumberbatch is a thirty-seven-year-old British actor who closely resembles either an otter or space alien. I’m really not sure if he was even considered mildly good-looking until 2010, when he premiered as title character Sherlock in the BBC’s modern adaptation.
Co-creators of the show Mark Gatiss and Steven Moffat have famously been interviewed as saying the BBC didn’t think Cumberbatch was sexy enough to play Sherlock. Now, oddly enough, he’s considered one of the sexiest men on Earth, with a trove of maniac fans known as “Cumberbitches.”
Empire Magazinelisted him number one in their list of 100 sexiest movie stars. He made Glamour Magazine’s list, too. Oh, and number one in the British Sun (two years in a row). In response to this, Cumberbatch says, “I enjoy being considered handsome, even though I think it’s hysterical.”
Do I think he’s good-looking? Yes. God, yes. (See obsessive Pinterest board.) That’s right, folks. Embarrassing as it is, I’m a member of Benedict’s maniac fanbase. And it is kind of embarrassing. When I was a kid, I had this thing for Brad Pitt (posters on the wall, signing my name “Sara Pitt”). I haven’t had that kind of obsession again until now, and I’m thirty-two and married.
What does this have to do with my career? Since getting to know Mr. Cumberbatch via BBC’s Sherlock, he has inspired countless fictional characters in my work, most notably in “Don’t Ball the Boss,” soon to be published by Stoneslide Corrective.
When he got his Emmy nomination.
The TV show inspired me to write fan fiction, as well. I’ve written five pieces of Sherlock fan fiction and have been shocked by the overwhelming response.
I’ve had women and men send me emails requesting more, more! They shout to the rafters that I should be published immediately. My Twitter following has possibly doubled. In fact, I once found my name mentioned in a Twitter conversation involving no less than six Cumberbitches. When I chimed in, one of them tweeted, “It’s her! It’s HER!” as if I were a celebrity.
My stories get upwards of two hundred hits per day. As writers, we very rarely get such immediate praise and develop such a fast following. Benedict Cumberbatch has unknowingly made me famous.
But the actor is more than creative inspiration. This is going to sound sappy, but he’s a life inspiration, as well. He was almost killed after being kidnapped in South Africa, but due to this terrifying experience, he just says he learned “not to sweat the small stuff. And just enjoy the ride of being alive.”
Apparently, he’s impossible to interview, because he’s like a fish with a shiny object. He’s easily distracted, due to his overwhelming enthusiasm. According to GQ writer Stuart McGurk, “I feel, compared with Cumberbatch, like someone going through existence with the contrast dial turned down. To him, it seems, everything is neon bright. The barbs may sting more sharply, but his sun must shine that much brighter.”
Taking pictures with fans.
Sherlock co-star Martin Freeman said, “He’s sweet and generous in an almost childlike way. I could take advantage of him playing cards.” Other male co-stars seem to have developed complete bromances with Benedict (Michael Fassbender and Zach Quinto, for example).
Cumberbatch admitted recently that he’s seeing a therapist to deal with his new fame, and he admitted this with no shame, saying mental health should be more openly discussed.
In everything he does, he seems exuberant, fun loving (see U2 photo bomb), and incredibly polite. He worships his fans, and he says “thank you” every five minutes, even in the middle of the Oscar’s red carpet. When I said earlier he looks like an alien, he might really be an alien, because no human being can possibly be so damn sweet!
This is what I mean when I say life inspiration.
The man’s behavior, even as he has become a superstar, is jaw dropping. He has yet to go the way of Bieber or Lohan—stars who got famous and lost their shit. Instead, Cumberbatch has become more gracious, and according to Steven Moffat, “better looking the more famous he gets.”
Today, I say thank you to someone I’ve never met and will probably never meet, because unknowingly (and over and over), he has inspired me, made me laugh, and made me want to be a better person. He has improved my career (something even I never saw coming). And it all started while watching PBS, when I thought, “Wow, that man has great hair.”
Jaime: When we make camp tonight, you'll be raped. More than once. None of these fellows have ever been with a noblewoman. You'd be wise not to resist.
Brienne: Would I?
Jaime: They'll knock your teeth out.
Brienne: You think I care about my teeth?
Jaime: No, I don't think you care about your teeth. If you fight them, they will kill you. Do you understand? I'm the prisoner of value, not
Coulson: You're going to lose
Coulson: It's in your nature.
Loki: Your heroes are scattered. Your floating fortress falls from the sky. Where is my disadvantage?
Coulson: You lack conviction
The Avengers, 2012
Sam Wilson: How do we know the good guys from the bad guys?
Captain America: If they're shooting at you, they're bad.
Captain America: The Winter Soldier, 2014
He was tall with gangly limbs and a graceful walk. Too-bright eyes darted with too much energy. Maniacal black hair and pale skin. Obscenely full mouth. But too skinny. Tired. Exhausted. Starving for information and wanted for different reasons by every woman at the London Library.
There were the older women in their sixties, who wanted to take the young man home and feed him, give him a bed for sleeping. There were the women closer to his own age who wanted to take him to bed and do no sleeping at all. And there was Luella, who at age thirty-five, fell somewhere in between.
She only knew how old he was because she’d seen his license when he applied for his library card. Twenty. He was only twenty, and his name was Sherlock Holmes.
Walking toward her desk, he could be awkward. His feet were too big, but he was already handsome. Luella suspected he would one day be decadent. He would one day be very bad for someone.
“Mating cycle of African locusts.”
He often spouted sentence fragments at her. Whenever he spoke, addressed her that way, she ignored him for thirty seconds on purpose.
Luella’s co-worker Amanda—a lovely redhead right out of university—once said she wanted to “bang his voice,” if that was possible, and his voice was a very nice part of the overall package.
But it was his eyes—his freakish, cold, ice-like eyes—that made Luella’s stomach quake. Sometimes, Luella woke up at night, and her mind flowed over with images of avalanches and icebergs.
“Luella.” Hers was the only name he knew, because she was the one he used—had apparently chosen from all the other librarians as his slave.
“Mating cycle of African locusts, yes.” She adjusted a stack of leather bound books on her desk. “Amanda is not busy at the moment.” She gestured to the nearby redhead who leaned on a desk and looked to be imagining how to most efficiently remove Sherlock’s jeans.
“No,” he huffed.
“Mating cycle of African locusts. Please.” He tapped long fingers on the top of her desk until she stood up.
Her high, black, patent leather heels made no sound on the red carpet. Then, she clunked up the well-lit stairs of the library with him right behind her. He was always close. He sometimes felt like a shadow. There was nothing sexual about it. Factually, there was nothing sexual about Sherlock at all. He did not strut or wink or flirt. He barely smiled, and he was terse, rude.
Despite this, or perhaps because of it, he was the epitome of sensuality. The sound of his voice, the way he caressed book covers, how he looked not like a man but like a painting … he was unlike anyone Luella had ever seen.
She walked past stacks of biology books. “Why on Earth must you know about African locusts?” She paused and poked at book bindings.
“I just need to know.” He batted her hand away and found the book she was looking for. He pulled the book free from the shelf and turned away. He disappeared behind another row of books, but she heard the low rumble of his voice as he whispered to himself.
The lingering scent of stale cigarette was his “thank you.”
She overheard other women talking. Luella knew they resented her for being Sherlock’s worker bee, so they never talked to her about him; they talked about him when they thought she wasn’t listening.
“I’m going to ask him out. Do you suppose he knows what he looks like?” Amanda whispered, but whispers tended to carry in libraries.
“Absolutely. Not,” Terry said—a woman with a Master’s degree who always brought much younger men to holiday parties.
“How? How can he not know he’s beautiful?”
Luella wanted to speak up and tell them, “Because he’s too smart to care.” She didn’t. She went online and ordered a new book about Chinese death rituals instead—for Sherlock.
“Wouldn’t you love to peel off all those layers and bang him against a bookshelf?”
“Pull on that glorious hair …”
Amanda giggled. “Suck that bottom lip for days.”
She cussed, loudly, when she realized he was standing above her desk, wearing all those layers her co-workers talked about. He always over-dressed, even in the summer—coats, scarves, like he was hiding something. She wondered if he was just a skeleton below the neck.
“You scared me,” she said.
He blinked at her. “In-som-nia.”
She stood up slowly and rounded the desk. She paused next to him, thinking.
“Are you all right?” he asked.
Luella looked up and noticed his eyes were bloodshot. Dark circles sat like tiny, purple pillows under his eyes, and his hair was wrapped in knots on his head. “Are you all right?” she replied.
(Read the rest of Luella’s experience with the young and very dangerous Mr. Sherlock Holmes HERE at FanFiction.net.)
When did they make the last truly funny show? Has there been anything funny created in two decades or are they simply repeating the same thirty minute plotlines with different characters? The real question is, are they still using the same crazy laugh track from I Love Lucy and The Andy Griffith show? We are […]
Everyone has milestone events which they remember (or wish to forget). Some are small memories, like a first kiss, while others can be momentous anniversaries marked each year.
May 25th is one such day for me.This Star Wars Day/International Towel Day marks thirty years of my actively reading, collecting, studying, proselytizing comics. May 25, 1984, I walked into a grocery store, and was instantly seduced by a black-suited Spider-Man.It’s the day I became a nerd/geek. Sure, there were things before which I geeked about, like most kids. But comics…that set me on a crazy journey around the world, meeting some amazing people, sharing my passion with everyone who would listen!
But comics aren’t my only geek passion!
I’m a polymath, soaking up all sorts of crazy stuff!
Here are some of my crazy interestest, and some crazy links you might not have realized existed! (Or blotted out in your youth to save on psychiatry bills!)
Geez… so much is out there already… what can I find…?
Go study and read everything by Ellen Raskin. Had she not died at 56, she might have been the first author to win a Newbery and a Caldecott Medal. She wrote, drew, and designed books, and all are worth a few hours escape.
Remember Saturday morning cartoons? Remember when the networks would air a special the Friday night before, to introduce the new series? Yeah, they were usually pretty cheesy… here are three samples…
Superman meeting Bugs Bunny and Yogi Bear, at a party thrown by Avery Schreiber and Jack Burns?
ALF playing detective?
Boss Hogg trying to swindle Scott Baio out of his discoteque?
Ah… to return to those innocent naive days when I hadn’t yet developed a critical eye. (Yes, I thought the Star Wars Holiday Special was spectacular when it first aired. Now, I think I can last five minutes before revealing the location of the rebel base, Gilligan’s full name, and the lyrics to “Louie Louie”.)
If you’re really into pain, check out “Shirt Tails”, “Get Along Gang”, and/or “Care Bears”.
Weekend nights, USA would show “Night Flight”, an interesting mix of music videos, short films, and cult classics. MTV might have been cool, but Night Flight was hep. Here’s a memorial site.
On 25 May 2014 and nearly 30 years after first appearing on the stage, Larry Kramer’s The Normal Heart will be aired as a film on HBO. This project, which has evolved over the course of the last three decades, documents those first few harrowing years of the AIDS epidemic in New York City. The Normal Heart debuts at a time when much attention is being cast upon the early days of AIDS and the lives of gay men, who survived the physical and emotional onslaught of this disease in a society that often shunned us because we were gay and because we were afflicted with this disease.
Now a generation of gay men, my generation—the AIDS Generation—stands proudly as testament to our individual and collective resilience which has brought us all into middle age. Certainly there have been huge hurdles along the way—too many deaths to enumerate, the havoc that the complications of this disease wreaked on our bodies, the lack of support. Even today, darkness and disrespect lurks in every corner, and no one is immune. For some in our society, identifying what is wrong with us as gay men comes to easily. We are reminded of it daily as right wing zealots fight against marriage equality, as young boys take their lives. Despite these conditions, despite the inaction of our national and local politicians, and despite a large yet ever-shrinking segment of our society that continues to view us as weak and sick, we stand together as a testament to the fortitude of our bodies, minds, and spirits.
The theme of resistance or resilience permeates the words, the thoughts, and the actions of the protagonists in The Normal Heart and many depictions of the AIDS epidemic.
Behavioral and psychological literature has attempted to delineate sources of resilience. Dr. Gail Wagnild posits that social supports in the form of families and communities foster resilience in individuals. I also adhere to this idea. Although the sources of resilience are still debated in the literature, there is general agreement that resilience is a means of maintaining or regaining mental health in response to adversity the ability to respond to and/or cope with stressful situations such as trauma, conditions that characterize the life of the men of the AIDS Generation.
For many of the men of the AIDs Generation, grappling with their sexuality was closely tied to the development of their resilience. In other words, resilience developed in their childhoods as young men grappling with their sexuality as stated by Christopher: “I also think that wrestling with my own sexuality and trying to navigate through that in my teenage years taught me how to just ‘keep pushing’ and to do what needed to be done.” Some, including myself, found support among our families. Even if parents were loving and supportive, this did not ameliorate the burdens experienced being raised in a heteronormative and often-discriminatory world in which men were portrayed as weak, effeminate, and sickly.
As we watch The Normal Heart, we will be reminded of those dark, confusing early days of the epidemic. And while we must celebrate the resilience of a generation of gay men to fight this disease, we must also be reminded of our obligation to create a better world for a new generation of gay men, who despite our social and medical advances, need the love and support of their community of elders as the navigate the course of their lives.
Perry N. Halkitis, PhD, MS, MPH is Professor of Applied Psychology and Public Health (Steinhardt School), and Population Health (Langone School of Medicine), Director of the Center for Health, Identity, Behavior & Prevention Studies, and Associate Dean (Global Institute of Public Health) at New York University. Dr. Halkitis’ program of research examines the intersection between the HIV epidemic, drug abuse, and mental health burden in LGBT populations, and he is well known as one of the nation’s leading experts on substance use and HIV behavioral research. He is the author of The AIDS Generation: Stories of Survival and Resilience. Follow him on Twitter @DrPNHalkitis.
Subscribe to the OUPblog via email or RSS.
Subscribe to only science and medicine articles on the OUPblog via email or RSS.
AMC’s Comic Book Men is a ratings success in its post Walking and Talking Dead time slot, but it still gets flak. One of the oft-cited issues with the show is that by the very title, it represents an obviously outmoded way of looking at the comic book industry. To wit, women are flooding into the comic book field as readers and creators and already make up about 40% of the potential audience.
Perhaps to reflect the wider audience—and to add a different look from the generally middle-aged white guy cast members—the show is putting out a casting call for women to come in and sell their geeky items for the upcoming fourth season. CBM has become a geekier Pawn Stars/Antiques Roadshow (as so many shows do) so this is a great chance to sell those Yogi Bear jelly jars* you’ve been hoarding all those years.
Produced by Kevin Smith, the show features the employees of Jay and Silent Bob’s Secret Stash in Redbank, NJ, which Smith also owns. The show generally features folks coming in with some item of perceived nerd value, and being quizzed “What did you want to get for it?” by manager Walt Flanagan. And then the cast sits down and argues about comic books. Pretty simple stuff, so those interested should go for it.
*This example is in no way based on personal experience.
My log saw something—and it’s wrapped in plastic. Could it be….TWIN PEAKS: THE ENTIRE MYSTERY, a new Blue Ray set that includes the long lost 90 minutes of missing and alternate footage from Fire Walk With Me?
Between Hill Street Blues, justout on Blu-Ray, and Twin Peaks, you have the momma and poppa of everything you like on TV now. Hill Street Blues introduced the ongoing storyline format, recurring characters and jarring, gritty drama. Twin Peaks introduced great direction, lingering mysteries and eccentric humor.
Unearthing the dark secrets of a seemingly normal town somewhere in the primordial rain forests of Washington State, Twin Peaks followed the lantern jawed G-men and angora-sweatered high school girls as they confronted dreams, darkness and dwarves. Following up on the themes from Blue Velvet, director David Lynch made a show so addictive that Agent Cooper’s coffee fixation is said to have helped fuel the Starbucks boom.
Twin Peaks proved that you didn’t have to explain EVERYTHING for a show to make sense. Unfortunately, network executives of the time (1990-1991) did not get this and forced creators Lynch and Mark Frost to solve the central mystery of Laura Palmer’s death. The result was a silly show that had its guts ripped out and ended smack dab in the middle of a cliffhanger never to be resolved. The show was followed by a film called TWIN PEAKS: FIRE WALK WITH ME that was, um, confusing, borderline awful. BUT NOW FINALLY the truth can be revealed as CBS is releasing a 7 disc Blue Ray set that includes 90 minutes of out takes and an alternate ending supervised by Lynch himself:
David Lynch and Mark Frost’s groundbreaking cult phenomenon, TWIN PEAKS — THE ENTIRE MYSTERY, arrives on Blu-ray July 29th with the debut of nearly 90 minutes of deleted/alternate scenes from Twin Peaks: Fire Walk With Me. The long-awaited missing pieces from the original version of the film is often referred to as the “holy grail” of Twin Peaks fandom, and can only be found as part of this collection.
Presented as a feature-length experience, “The Missing Pieces” has been directed and edited by Lynch exclusively for this release. Capping off more than 30 deleted/alternate scenes is an epilogue providing a fascinating glimpse beyond the cliffhanger finale of the TV series.
With the July 29th timing, I’d expect to see ALL the stops run out for this at San Diego. Just a guess. And I need to be at that party!!!
Twin Peaks and Buffy are the cornerstones of 90s nostalgia. I rewatched the entire Twin Peaks opus five or six years ago and it held up amazingly. I can’t help but wonder why networks are so much smarter now? I guess HBO showed that you could do smart television without second guessing the people making it, and everyone followed suit.
Twin Peaks may have been equalled but never surpassed, and just in time for flannel shirts and doc martins, the original is back.
The Syfy Channel has generally been left out of the comic book mania gripping Hollywood, although they’ve had various stuff in development over the years. But now they’re going all in with FOUR projects in development including Frank Miller and Lynn Varley’s Ronin, an often assayed but never conquered peak.
This time out Warners Horizon is developing it as a mini-series. The original was a complicated story about a reincarnated ronin who comes to a futuristic city to fight a demon. Darren Aronofsky once took a crack at making a Ronin movie, and a later movie version has been languishing for a long time. Frank Miller has been out of favor in Tinsel Town for a while but I guess 300: Rise of Empire did okay so he’s “in” again.
Also in development:
Clone, based on the Skybound comic by David Schulner and Juan Jose Ryp. Robert Kirkman is aboard as executive producer. The story involves a retired soldier who has to fight a clone of himself. Schulner, who was involved in the recent Dracula and Ironside tv shows, will write and produce himself.
Letter 44, based on the Charles Soule/Alberto Albuquerque book about a new US president dealing with aliens and such. Jonathan Mostow (Terminator 3) will write and direct.
Pax Romana by Jonathan Hickman, about a Vatican-led plan to travel back in time and improve things via warfare. Federman & Stephen Scaia (Jericho, Warehouse 13, Human Target) are writing the script.
Straight from the offices of Publishers Weekly, it’s More to Come! Your podcast source of comics news and discussion starring The Beat’s own Heidi MacDonald.
In this week’s very special podcast the More to Come Crew – Heidi “The Beat” MacDonald, Calvin Reid and Kate Fitzsimons – discuss the film Captain America: The Winter Soldier, its positive impact on the TV show Agents of S.H.I.E.L.D., and compare Warner Bros.’s DC Comics movie slate to Disney’s Marvel Cinematic Universe, all on PW Comics World’s More To Come.
Now tune in Fridays for our regularly scheduled podcast!
Fox and WB just released the very first trailer for this falls GOTHAM tv show!
With great hesitation and uncertainty, I would tag this as “Nolan-esque.”
And why not? The Christopher Nolan Batman movies are the benchmark now. Gotham has been ordered for a full season this fall on Fox, and it’s billed as “an origin story of the great DC Comics Super-Villains and vigilantes, revealing an entirely new chapter that has never been told.” Ben McKenzie stars as James Gordon, Donal Logue as Harvey Bullock, Jada Pinkett Smith as mob boss Fish Mooney, Sean Pertwee as Alfred Pennyworth, David Mazouz as young Bruce Wayne and Camren Bicondova as young Selina Kyle. The PR also mentions “one cop’s rise through a dangerously corrupt city teetering on the edge of evil and chronicles the birth of one of the most popular super heroes of our time.” Gotham begins.
As you can see, this is a dark, gritty serious take on Batman, with all the villains as youngsters just discovering how evil they can be, and Gordon taking a grieving Bruce under his wing. This is really a nobrainer for a TV show provided it lives up to its promise.
The first three minute look at Constantine, the upcoming NBC series based on the Hellblazer comics, has been released and there is good and there is bad.
I liked the callouts to actual comics, like the insect covered call of the very first issue, and the angel winged Mannym as played by Harold Perrineau. OBviously there were a lot of Glenn Fabry covers floating around on the set. THe story is set in NYC which I guess I can live with — filming in London would have been too expensive. The actual filming looks like Vancouver, but that’s typical.
I was only half convinced by Matt Ryan as Constantine. He looks the part but his line reading were as stiff as frozen maple syrup. And I know a Scouse accent would be unacceptable on American TV, but Ryan’s native Welsh accent came through most of the time. I guess most people expect him to sound like the Geiko Gecko (Cockney) but I’m sure this will grow on me.
The action looked Vancouver TV level, but faithful to the feel of the book. So rest assured when it debuts on Friday nights this fall I’ll be there to set my DVR!
While walking around TCAF a ton of conversations I overheard involved boarding, backgrounds and other animation type gigs. One publisher even wondered aloud what would happen if Adventure Time went off the air. And this Deadline story tells the story: LA-Area Animation Jobs At All-Time High. While there’s lots of film work, it’s also in TV:
Jobs in TV animation are also on the rise. “The work has really increased on the television side,” Hulett said. “There’s more storyboard work and design work, and it’s all driven by animation’s profitability. Animated television shows have been a great cash cow and profit stream for the conglomerates. They can make them for at a competitive price, and they have a long shelf life.” New media is also creating jobs for animation workers, he said, noting that DreamWorks is producing Internet content for Netflix. Hulett noted that the good times in animation are creating many good-paying jobs for other workers in the industry as well, including voice-over actors, editors, and sound technicians. “The growth here,” Hulett said, “is coming from all the preproduction work – the storyboards, layout, animation scripts, character design and key backgrounds.”
I can’t even keep count of how many indie cartoonists make a living doing animation work, but the number of them moving to LA is an indication, as is this Tumblr post which asks: WHY IS STEVEN UNIVERSE SUCH AN AMAZING SHOW?!
Seriously, this is a fine trailer. And I don’t even like the Flash. And the Arrow crossover possibilities are endless.
Grant Gustin will be playing the title character, Barry Allen, and he’s evidently a jolly sort who likes his powers.
The Flash previously appeared in a one season TV show that ran in 1990 starring John Wesley Shipp. No one really talks about this show any more, but it ran in the “Dark Ages” too soon for the internet, too late for nostalgia.
This future CW show will be appearing as a mid-season replacement so ther’es a ways to go. But in the menatime, here’s Rose McIver in the title roll of iZombie, based on the Chris Roberson Mike Allred comic. Hopefully there will be mroe Allred-ian touches to come.