Friday, February 5, 2016

Quark - From The Land Of Forgotten Television

Quark is an American science fiction situation comedy starring Richard Benjamin broadcast on NBC. The pilot first aired on May 7, 1977, and the series followed as a mid-season replacement in February 1978. The series was cancelled in April 1978. Quark was created by Buck Henry, co-creator of the spy spoof Get Smart.

The show was set on a United Galaxy Sanitation Patrol Cruiser, an interstellar garbage scow operating out of United Galaxies Space Station Perma One in the year 2226. Adam Quark, the main character, works to clean up trash in space by collecting "space baggies" with his trusted and highly unusual crew.

In its short run, Quark satirized such science fiction as Star Wars, 2001: A Space Odyssey and Flash Gordon. Three of the episodes were literal satires of Star Trek episodes.

The series won one Emmy Award nomination, for costume designer Grady Hunt's work in the episode "All the Emperor's Quasi-Norms, Part 2".

A deep space phenomenon threatens to destroy the galaxy, and Quark's ship is the only one in the area. Palindrome and The Head instruct Quark to go on a suicide mission to save their civilization, but he's so far away they can only contact him by telegram. The two of them argue over telegram costs and spend most of the episode trying to reduce the number of words in the message so as to keep the cost down. Meanwhile Quark and company accidentally save the day anyway. Ficus was not a part of the cast in this episode, and the "science guy" role was held by Dr. O.B. Mudd, a crotchety one-eyed old man played by Douglas Fowley. It is mentioned that Mudd and Quark built Andy together. Mudd never appeared or was mentioned again in the series, and no explanation was given for his departure from the show, other than a gag about transferring. The Barnstable twins are credited with the last name "Barnett" in the pilot. - Source



It's hard to believe with all of the science-fiction and fantasy shows that are on the air today, sci-fi was considered to be television poison until recently. 'Land of the Giants' in 1968 was the last space fantasy series to last more than a few weeks until 'Star Trek: The Next Generation' debuted almost twenty years later.

The networks would put a science fiction or horror show on almost every season, from 'Planet of the Apes' to 'Voyagers', and they all failed. (Battlestar Gallactica lasted two years, but only because the ABC kept pulling it, revamping it, and revamping it again.) This was proof, the networks said, that the genre was dead. The fact that almost all of these shows were truly awful had no bearing on the argument.

After his excellent series 'He and She' was cancelled in 1968, Richard Benjamin embarked on a career as a writer/director for motion pictures and television movies. None of them big hits, but many of these b-films produced in the Late Sixties/early Seventies (and I can't remember a single title as I write this) are quite entertaining. As an actor, he appeared in several good films, including the hit 'Westworld' in 1973.

Richard Benjamin's return to series television seemed like a sure-fire hit. 'Star Wars' was an unparallelled cultural phenomenon in late 1977 and the networks were sure that science-fiction was back for them in a big way. Rather than risk a huge investment on a hour-long serious science-fiction project, NBC wanted a half-hour comedy that was set in outer space. A perfect vehicle to replace the under-performing 'Sanford Arms' that was killing their winning Friday night line-up of Chico, Rockford, and Quincy.

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1978 Quark TV show articles

Although few seem to remember it, the short-lived TV series "Quark" was a favorite of mine. It ran only three months, from February to March of 1978. Like "Star Trek" on laughing gas, it parodied not only that show but sci-fi movies as well.

Below, a still from the pilot, which featured a character dropped for the regular series; Dr. O. B. Mudd was a crusty, eccentric scientist that was replaced by the Mr. Spock-like Ficus, to much better effect.

Below is an article I clipped from the Macon (GA) Herald TV guide supplement, on February 24, 1978.

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The Barnstable Twins

Cyb (Priscilla) Barnstable graduated from the University of Kentucky B.A. (Major: Speech/Drama). She moved to N.Y. and signed with Eileen Ford's Ford Modeling Agency. She modeled in N.Y. and internationally, appearing in Cosmopolitan, Vogue, Mademoiselle, Glamour, Brides, GQ, Redbook and Good Housekeeping. Filmed numerous commercials, most notably, as one of the "Doublemint Twins" and "Toni Twins". She studied acting at the Herbert Berghof Studio and Wynn Hammond Studio. Co-host, with her twin sister Patricia Barnstable, of the Barnstable Brown Kentucky Derby Party, the annual fund-raiser to benefit Diabetic Research. Currently is a commercial acting teacher at SMC, Pierce College.

Lovely, sunny, and vibrant blonde bombshell Patricia Barnstable was born on May 23, 1951 in Louisville, Kentucky. She's the identical twin sister of Cyb Barnstable and the daughter of Dale and Wilma Barnstable. Patricia graduated from Seneca High School in Louisville, Kentucky in 1969. In 1971 she was entered into a beauty contest by her mother; she won the title Miss Kentucky in said contest and was the fifth place runner-up in the Mis USA pageant. Barnstable attended the University of Kentucky, where she earned degrees in both speech and theater. Patricia began her career in show business in 1972 along with her sister Cyb singing and dancing in Bob Hope's last USO Christmas tour of Vietnam. Moreover, both siblings appeared in TV commercials for Doublemint Gum and are featured together on the covers of a handful of national magazines that include Redbook and Good Housekeeping. Patricia and Cyb both portrayed spaceship pilots named Betty -- one's a clone and the other is human -- on the hilarious, but sadly short-lived science fiction comedy series "Quark." In addition, the Barnstable sisters also acted together on episodes of the television shows "The Love Boat" and "Walt Disney's Wonderful World of Color" as well as the made-for-TV movie "Operating Room." Patricia is the co-founder of the Barnstable Brown Foundation along with her sister Cyb and mother Wilma; this organization has raised over $2 million for Diabetes Research. She's the mother of a son, Christopher. Patricia still lives in her hometown of Louisville, Kentucky and serves along with her sister Cyb as hostess for the annual Kentucky Derby Eve party. - Source




Thursday, February 4, 2016

Venus Wars: A reporter in league with terrorists is a dangerous enemy

Written By: Ken Hulsey

Venus Wars is a true classic in Japanese Animation. Both the story and animation are truly before their time. The film is in the upper level of the genre. Japanese Anime first really gained popularity in the United States with the release in the mid 1980's of an Americanized version the Macross Series known to most as Robotech. This was the beginning of an underground fan base that began to gobble up all titles that crossed the Pacific. Titles were scarce at first but soon the overwhelming demand led to more titles being released in America. I first learned of Venus Wars from an 1998 issue of Newtype Magazine I purchased at a local comic shop. I wasn't until 1994 when the Sci-Fi Channel ran the movie during their annual Japanese Animation Marathon that I first saw the film. I was amazed at what I saw. The film to this day remains one of my favorite movies of all time.

In the year 2003, a collision with the giant comet has transformed the surface of the planet Venus. In the year 2089, Venus has been colonized and divided into two continents, Ishtar and Aphrodia. Susan Sommers, a bubbly reporter from Earth, travels to Venus hoping to get a scoop on the military tensions that have arisen between the two nations. She arrives in the Aphrodian capital of Io shortly before the city is invaded by the forces of Ishtar, led by General Donner.

Meanwhile, a brutal, Rollerball-esque racing game is being held in a local stadium. One team, the Killer Commandos, is led by hotshot Hiro Seno. The game is disrupted by the invasion and the team quickly evacuates. Hiro's teammate Will picks up Sue on the way and takes her to the garage where the rest of the team is lying low. The invasion of Io is completed in one day, and the politicians, police, and press submit to Ishtar's authority. The city is put under martial law and a curfew imposed. Many of Io's citizens, including Hiro's girlfriend Maggy, try to pretend that nothing has changed since the invasion, but Donner's iron grip on the city is too tight to ignore.

Hiro visits his teammate Jack, who's staying in his uncle's high rise apartment. However, the police see them as trespassers and lead an unprovoked assault against Hiro. He makes a daring escape from their custody, but not unscathed; his leg is pierced by a bullet and he barely makes it to Maggy's home before he collapses. She tends to his wounds, and Hiro shares a few secrets about his past. A photograph of Maggy's father's spurs memories of the farm where he was raised; Hiro reveals that many of the terra-forming farms funded by the Aphrodian government were frauds simply meant to secure land away from Ishtar. That their crops continually kept failing since the plants couldn't endure the constantly changing weather conditions of the planet (despite convincing claims from so-called government sources)! He bitterly notes on how only the politicians made any money out of this situation, that all governments are corrupt, and expresses his frustration and anger at the state of the world. His words trouble Maggy; so much so, that she bursts into tears and collapses into his arms in a crying fit! Hiro comforts her, leading to both sharing an embrace and a passionate kiss. The moment is ruined when her father returns from work; Hiro is ushered into a back room and overhears the ensuing conversation. Maggy's father is a bureaucrat, and he's pulling strings to have the two of them evacuated out of Io as he did with her brother and mother. Maggy is horrified at the thought of abandoning her friends and defiantly stands up for them against her livid father (who views them as just self-centred adrenaline junkies), before he furiously shouts her into silence as Hiro secretly storms out.


Meanwhile, Miranda of the Killer Commandos discovers that their manager, Gary, has been secretly smuggling arms into the city. Raiding his cache, she reveals her plan to demolish the Ishtar tanks that are parked in the old stadium. Gary says that the Commandos would be fools to try such a suicidal mission, but Hiro likes the idea and inspires his teammates. The Killer Commandos lead an assault against the tanks, but underestimate the strength of Ishtar's military. Jack and Gary are killed in the melee, and Hiro nearly shares their fate. At the last minute, however, the team is saved by the Aphrodian Freedom Force, which had also been planning to attack the stadium that night.

Sue and the Killer Commandos are forcibly recruited by Lt. Kurtz, who thinks that their skills as monobikers would be useful in his Bloodhound Squadron. Tensions run high among the Killer Commandos and the team is divided; Will and Sue think that it's important to fight for Aphrodia's freedom, but Hiro and Miranda want nothing to do with war. Will is called out on a mission and Sue begs him to take her along. He instead convinces her to wire her camera to his monobike so he can film their attack. But to Sue's horror, Will disappears in battle. Sue steals a buggy to search for him on the battlefield, only to stumble upon the terrible truth of his death.


Upset over Will's fate, Hiro and the Commandos demand to be freed from the Freedom Force's custody. Lt. Kurtz and Hiro quickly strike up an animosity, and Kurtz challenges Hiro to a race across a ravine in their monobikes. Despite having a ten second head start, Hiro is taken out by Kurtz. Nevertheless, Kurtz is impressed by Hiro's raw talent, and makes him a deal: he will release the Killer Commandos on the condition that Hiro joins the Bloodhound Squadron. Hiro grudgingly accepts his offer, and says goodbye to Miranda and his friends.

Back in Io, General Donner is visited by Sue, who requests an interview with him for the Independent Press on Earth. Once alone with him, Sue pulls a gun and threatens to kill him in order to avenge Will and all the other innocent people who have died in the war. She fails to release the safety however, and is quickly disarmed and arrested. Displaying his sadism Gerhard accosts Sue, snatches away her firearm, then discharges her pistol inches from the side of her head, before putting it to her skull and pulling the trigger, cruelly revealing he's used up all the bullets.


Kurtz leads the Bloodhound Squadron in a surprise and intense strike on Io. Kurtz is disabled, but Hiro manages, through sheer luck and skill, to corner Donner's tank and destroy it by getting Gerhard to fire on him (raging that he shall not be beaten by children), with his shots missing Hiro and striking a runway that collapses ontop of (a screeching with frustration) Gerhard in his tank. With their leader dead, the Ishtar forces are quickly disbanded and Aphrodia is freed from their control. Kurtz and Hiro end their animosity and Kurtz gives Hiro his monobike as a sign of goodwill. While driving through the streets, Hiro encounters the recently released Sue, who's being evacuated to Earth. She thanks him for all of his help, and he tells her to come back and visit Venus again.

Following Sue's tip, Hiro makes the long trek to a refugee camp; there, he and Maggy are happily reunited (thanks to her siamese cat Andrew). Back on Earth, Sue has given a world exclusive on the Venus Wars. She plans to spend her vacation on Venus so she can rejoin her friends.


Venus Wars (1989)
Aka: Uinasu senki (1989)
Directed By: Yoshikazu Yushiko
Written By: Yuichi Sasamoto and Yoshikazu Yashiko
Cast:
Anna Alba as Maggy
Bradley Cole as Will
Jocelyn Cunningham as Miranda
William Dufries as Kurtz
Ben Fairman as Hiro
Dencia Fairman as Sue
Peter Marinker as Donner
Michael Morris as Rob
Bob Sessions as Gary
Runtime: 102 Minutes
Color: Color
Sound: Dolby


Wednesday, February 3, 2016

Eriko Sato Busts Out As Cutie Honey!

Doesn't everybody need a break once in a while? The answer is evidently yes for Hideaki Anno, best known abroad for his meditative yet action-packed "Neon Genesis Evangelion" animation series, whose teenage heroes probed the depths of their souls as they fought to save humanity. But his 2004 film, "Cutie Honey," has one of those titles that, like "Austin Powers: International Man of Mystery," tells you you're not in for two hours of existential gloom.

Based on a 1973 manga by Go Nagai that became a popular TV show, "Cutie Honey" is a prototype for all those anime whose heroines have pneumatic bodies (encased in the tightest and skimpiest of mini-skirts) and powers that would give The Terminator pause for thought. Hollywood has produced similar heroines, most of them seemingly played by Angelina Jolie, but Honey's brand of eros -- cute and clueless -- is uniquely Japanese.

As played by Eriko Sato -- she of the big eyes and babelicious proportions -- Cutie Honey (aka Honey Kisaragi) is less the naive-but-sexy go-go girl of Nagai's imaginings and more the modern Shibuya girl, who may adopt whirly-girly looks and mannerisms but blithely ignores traditional standards of feminine decorum. Call her brainless, or her fashion sense bizarre, but Honey is one kick-ass woman -- and impossible to dislike.


Also, like Marilyn Monroe and other sex goddesses who never lost sight of their inner child (or rather never grew up), Honey has an aura that says "Look but don't touch." Men may be bowled over by her, but she is beyond them, beyond all of us. For Honey, we learn, is not a human being, but an android, and one that can take on any number of guises (as long as she has the energy to do so, usually provided in the form of convenience-store rice balls).

Her first opponent is Gold Claw (Hairi Katagiri) of the notorious Panther Claw gang, who looks like a cross between a yellow-tinged samurai warrior and Marilyn Manson. At the behest of Sister Jill (Eisuke Sasai), an immortal of uncertain gender and voracious appetites, Gold Claw and his minions have kidnapped Ryu Utsuki (Masaki Kyomoto), a scientist who helped Honey's deceased "father" develop I System -- a fearsome power source that can be used to rule the world.


The police, led by grim-faced, pillowy-lipped detective Natsuko Aki (Mikako Ichikawa), try to apprehend Gold Claw on a Tokyo pier, but he is too much for them -- until Honey arrives on the scene. A titanic battle then ensues, with Gold Claw retiring thwarted, if unbowed.

Who is this Honey? Natsuko is soon on the case, but the first to track her down is dapper newspaper reporter Seiji Hayami (Jun Murakami), who discovers her working as a meek OL -- something like Clark Kent with a tea tray. Soon after, with Seiji and Natsuko by her side, Honey goes to confront Sister Jill and her gang. But that, as it turns out, is precisely what they want, since the key to controlling I System is none other than Honey herself.



Anno, who examined the Shibuya Girl phenomenon in his 1998 film "Love & Pop," may have made a genre parody targeted at kids, but he is surprisingly in tune with Honey and her world. Instead of snickering at the on-screen action, Anno has filmed it with a fan's affection -- and awe -- at the mysteries embodied by this red-wigged goddess with passion-pink lipstick.


Also, instead of running the usual supergirl-saves-the-world riffs, Anno and scriptwriter Rumi Takahashi explore the unlikely friendship that develops between Honey, Natsuko and Seiji, cemented by a drunken karaoke session far funnier than the one in "Lost in Translation." Mikako Ichikawa, who first made an impression as a shogi prodigy in the 2002 Kentaro Otani comedy "Travail," is especially good as Natsuko, pulling off the trick of looking simultaneously sexy, severe and human. She is not just another caricature, but a woman, like Honey, with a real beating (if lonely) heart.

What could have been a grating exploitation vehicle is actually a smart, entertaining tribute to a Japanese pop culture icon, as well as an absurdist meditation on the merger of woman and machine. If Honey is the future, I'm all for it.


Kyûteî Hanî / Cutie Honey
Directed by: Hideaki Anno
Written By: Go Nagai

Cast:
Eriko Sato as Honey Kisaragi/Cutie Honey
Jun Murakami as Seiji Hayami
Mikako Ichikawa as Natsuko Aki
Mitsuhiro Oikawa as Black Claw
Sie Kohinata as Cobalt Claw
Hairi Katagiri as Gold Claw
Mayumi Shintani as Scarlet Claw
Masaki Kyomoto as Ryo
Ryuhei Matsuda as NSA Client
Toru Tezuka
Hideko Yoshida

Released: May 29, 2004
Runtime: Japan:94 min
Country: Japan
Language: Japanese
Color: Color

Eriko Sato Breaks Into Tears At Press Conference

Aspiring actress Sato Eriko (22) broke down in tears while addressing the 2,000-strong audience at a PR event for her new movie "Cutie Honey". She said she was overcome with happiness by the huge turnout of fans. The movie adaptation of the famous TV anime has been widely hyped and is a big career step for the pin-up girl. The tall and slim Sato is one of the high-profile members of the Yellow Cab talent agency that specializes in girls with large to enormous bustlines. May 27, 2004

Monday, February 1, 2016

Star Trek At 50: The Man Trap

Written By: Ken Hulsey

(Excerpted from orders to Captain James T. Kirk)

III. You are therefore posted, effective immediately, to command the following: The U.S.S. ENTERPRISE

Cruiser Class - Gross 190,000 tons.
Crew Compliment - 430 persons
Drive - space-warp
Range - 18 years at light-year velocity
Registry - Earth, United Space Ship

IV. Nature and duration of mission:

Galaxy exploration and investigation: 5 years

V. Where possible, you will confine your landings and contacts to Class "M" planets approximating Earth-Mars conditions.

VI. You will conduct this patrol to accomplish primarily:

(a) Earth security, via explorations of intelligence and social systems capable of galaxial threat, and
(b) Scientific investigation to add to the Earth's body of knowledge of alien life forms and social systems, and
(c) any required assistance to the several Earth colonies in your quadrant, and the enforcement of appropriate statues affecting such Federated commerce vessels and traders as you may contact in the course of your mission.

From the very beginning "Star Trek" was something different. Never before had a 'true' sci fi series of it's magnitude been attempted on television. True, there were plenty of sci fi series that proceeded it like "Lost in Space", "Voyage to the Bottom of the Sea" and most notably, "The Twilight Zone", but Trek was in a different class, and the scared the crap out of the suits at NBC.

From the get go NBC wasn't sold on the show, the pilot episode that Gene Roddenberry delivered to the network, 'The Cage', wasn't what he had promised them, a western set in space, but a pure sci fi story. More "Forbidden Planet" than "Waggon Train", and the execs didn't like it. Well, to be honest, they didn't understand it, feeling that the episode was "too cerebral" for your average American TV viewer.

At this particular time in television history, the people in charge of the big networks didn't 'get' sci fi. Westerns they understood, comedies and dramas they could get their minds around. Spaceships, lasers, Vulcans and other worlds were way out of their league. Sure that kind of stuff worked in movies made for kids, but would a grown-up working man want to come home after a long day at work and want to watch a model space craft zooming around?


There were two things that they did know about sci fi, it was risky and expensive and they weren't about to loose advertising dollars on anything that they believed wouldn't hit a home run.

Despite their better judgement, NBC gave Roddenberry another shot, and his second pilot episode for "Star Trek", "Where No Man Has Gone Before", was a little more in line with what the network thought sci fi TV should be like.

Reluctantly NBC agreed to air "Star Trek", but behind closed doors the network still had major doubts about it and ultimately wished that Roddenberry and his 'space-opera' would simply just go away.

It is safe to say, now at this juncture, that making "Star Trek" fail seemed to be NBC's plan when it announced that it would place the show on Thursday night opposite the very popular "Bewitched " on ABC and "My Three Sons" on CBS. Throughout the series three-year run NBC repeatedly placed the show opposite other such high rated programs on rival networks before dumping it in the legendary Friday night "death slot" at 10pm EST.

Surprisingly, NBC opted not to open the series with the pilot episode, leaving Roddenberry and his crew in an awkward position. With only a few episodes in the can there weren't many options for a debut episode. Out of the episodes in hand producer Robert Justman suggested that the episode "The Naked Time" would fit due to it's strong character driven story. NBC, on the other hand, selected "The Man Trap" because it was action packed and had a monster in it.

So, on September 8th 1966 "Star Trek" made it's television debut, and surprisingly won it's time slot against the comedy series reruns it was up against. That success would be short lived, however. The very next week "Trek" would fall to second place when ABC aired a new episode of "Bewitched".


Here is the plot for "The Man Trap":

Stardate 1513.1: The Enterprise arrives at planet M-113 for routine medical exams of archaeologist Professor Robert Crater and his wife Nancy. First Officer Mr. Spock is left temporarily in command. Kirk, McCoy, and Crewman Darnell beam down and Kirk gives McCoy a friendly hard time that he and Nancy Crater were an item ten years ago. Nancy arrives and each of the three men seems to see her differently: McCoy as she was ten years ago, Kirk as she should look age-wise, and Darnell as a totally different attractive younger woman. Kirk sends the dazed Darnell outside and when Nancy goes out to fetch her husband, she beckons Darnell to follow her.

Professor Crater arrives and doesn’t appear happy to see them, telling them that he and his wife don’t need a medical examination. But then, he adds that he's glad to see McCoy as an old friend of his more social wife. Nancy appears, nervously insisting they restock their salt tablets. Kirk orders Crater to submit to the medical exam but before McCoy can proceed they hear a scream from outside. They go out to find Darnell, dead, with red ring-like mottling on his face. There’s a plant root in his mouth and Nancy comes up, saying she saw Darnell taste the plant and she couldn’t stop him. Kirk is skeptical that an experienced crewman would taste an unknown plant. Kirk has Darnell’s body beamed up to the ship.

Spock analyzes the plant, the Borgia root (named for Lucrezia Borgia, a notorious poisoner) and confirms records showing it’s poisonous but skin mottling is not a usual symptom. McCoy conducts the initial exam but can’t find any cause of death, poisoning or otherwise. Kirk and McCoy compare notes on Nancy, and McCoy admits he might have been seeing her the way he imagined her from ten years ago.

Kirk decides to remain to investigate Darnell’s death. McCoy, along with Spock, finally determine that Darnell had every bit of salt drained from his body. Spock adds that he would die almost instantly. Kirk beams back down to the planet with McCoy and two crewmen, Green and Sturgeon. They spread out but Crater slips away and calls out to Nancy saying he has salt. Kirk and McCoy find Sturgeon’s body, unaware that Nancy is nearby over Green’s corpse. Both the bodies have the same red rings on the faces. She pauses and then changes her shape, turning into a duplicate of Green. He meets with Kirk and McCoy and they beam back up to the ship to conduct a search from orbit.

"Green" roams the halls and runs into Rand, who is taking a food tray to Sulu in his quarters. "Green" is attracted to the salt and follows her in, but the plants react badly to him. He leaves and runs into Uhura, taking the hypnotizing form of a crewman from her memories. Rand and Sulu arrive and Uhura is summoned to the bridge.

In his quarters, McCoy is trying to get some sleep. Kirk reminds him of the sleep medication McCoy gave him once. Spock confirms that the scans only show Crater on the planet, and he and Kirk beam down to capture the professor. "Nancy" assumes her female form and goes to McCoy’s quarters, and seems reassured by the fact he has strong memories of her that she can rely on. Nearby, Sulu and Rand find a dead crewman with the same red mottling.


McCoy is already asleep when the general alert sounds, and "Nancy" takes on his form and goes to the bridge. On M-113, Kirk and Spock find Green’s body and realize an impostor is on-board. They find Crater, who tries to frighten them off with phaser fire. They flank and then stun him, and the dazed Crater says that his real wife died a year ago, killed by the creature. Crater rambles on that the creature still appears to him as Nancy out of true affection. He adds that it's like the Earth buffalo, the last of its kind and he helped to keep the creature alive. Kirk immediately communicates with the ship "It's definite Mr. Sulu, the intruder can assume any shape - crewman, you, myself, anyone, do you understand ?" Sulu acknowledges, and Kirk adds "Go to General Quarters-4." As they're about to transport to the Enterprise, a frustrated Kirk tells the Professor, "Your creature is killing my people !"

With Crater, Kirk calls a meeting. McCoy & Spock join them, but the officers are unaware that McCoy isn’t McCoy. "McCoy" suggests they try to deal with the creature peacefully and Crater clearly recognizes it for what it is. Kirk prefers to eliminate the predator creature and insists that Crater help identify it. Refusing, Kirk orders McCoy to administer truth serum. They go to sickbay and a suspicious Spock insists on going with them. The alert goes off and Kirk arrives in sickbay to find an injured Spock. Crater is dead, killed by the increasingly desperate creature. Fortunately, Spock’s Vulcan blood made him immune to the creature’s hunger.

Back in her "Nancy" form, the creature goes to McCoy’s quarters and asks him for help. Kirk arrives with a phaser and a handful of salt and tries to entice the creature into attacking. McCoy refuses to believe Nancy is false and gets in the way so the creature can attack Kirk. It hypnotizes him and starts to feed off of him while McCoy holds the phaser, indecisive. Spock arrives and tries to use his superior strength against the creature, but it is stronger than Spock. McCoy realizes the creature isn’t his "Nancy" and, with his phaser, fires at it. The creature reverts to its true alien appearance and McCoy continues firing, finally killing it, saving Kirk.

- From Wikipedia


As one would expect, the critics of the day weren't exactly kind when they wrote about "Star Trek's" debut. Daily Variety columnist Jack Hellman gave the episode an unfavorable review, stating, "Not conducive to its popularity is the lack of meaningful cast leads. They move around with directorial precision with only violence to provide the excitement."

Looking back on it now, it is easy to see why "The Man Trap" may have failed to bring new viewers into the "Trek" fold. It certainly isn't one of the series best episodes, though it isn't one of it's worst either. One can only speculate now what may have happened if NBC would have gone with "Where No Man Has Gone Before" or "The Naked Time". Possibly the show may have been a bigger hit, or then again possibly not.

Regardless "The Man Trap" gave all of us Trek fans a look into McCoy's love life, a preview of Kirk's womanizing ways and a good monster, in this case the Salt Vampire, to boot.

Can't complain there.

Friday, January 29, 2016

Supertrain - From The Land Of Forgotten Television

Supertrain is an American television drama/adventure series that ran on NBC from February 7 to May 5, 1979. Nine episodes were made, including a 2-hour pilot episode.

The series took place on the Supertrain, a nuclear-powered bullet train that was equipped with amenities more appropriate to a cruise ship. It had luxuries such as swimming pools and shopping centers. It was so big it had to run on very broad gauge track. While it had a rated top speed of 250 mph, the train cruised at 190 mph. On one episode, the train left New York City in the evening and arrived in Los Angeles the next morning. Some episodes state that the train also stops in Chicago, Denver, a fictitious town in Texas and presumably other cities. Much like its contemporary The Love Boat, the plots concerned the passengers' social lives, usually with multiple intertwining storylines. Most of the cast of a given episode were guest stars. The production was elaborate, with huge sets and a high-tech model train for outside shots.

Supertrain was the most expensive series ever aired in the United States at the time. The production was beset by problems including a model train that crashed. While the series was heavily advertised during the 1978-1979 season, it received poor reviews and low ratings. Despite attempts to salvage the show by reworking the cast, it went off air after only three months. NBC, which had produced the show itself, with help from Dark Shadows producer Dan Curtis, was unable to recoup its losses. Combined with the U.S. boycott of the 1980 Summer Olympics the following season, which cost NBC millions in ad revenue, the series nearly bankrupted the network. For these reasons, Supertrain has been called one of the greatest television flops. - Source



The Production Designer, Ned Parsons, was working with Dan Curtis on a location cowboy film, when Dan was asked by Fred Silverman to produce "The Super Train" 2 hour pilot. Ned called an illustrator friend to quickly "paint up" a concept illustration for a futuristic train racing through the country side! Returning from location, Dan Curtis set up production offices at MGM Studios. Bob Grand, Production Manager, secured five stages for the train's interior sets. Ned Parsons hired Ed McDonald as his Art Director expecting him to organize a drafting room of quick fingers to draw as fast as possible. Twelve roster senior set designers were given rough set plan layouts, expected to develop these flimsy plans into working drawings. Ned Parsons had begun his Hollywood career as a prop-member on a set decorator's swing gang crew. He was promoted by his family connections to a set decorator position. Then he was made an art director. Having some success, Ned was working with Dan Curtis, wrapping a "Western film," when Fred Silverman placed his call for the train film pilot order. This train pilot idea replaced a Fred Silverman approved projected NBC series that was to be about an air plane's passengers experiences on cross country and trans-continental flights. Ned Parsons hired Bruce Kay for his decorator. Into construction, Parsons and McDonald clashed resulting in Ned firing his Art Director. Because Bruce had a long working relationship with Hub Braden, Ned Parsons hired Hub, replacing McDonald. Ned explained the context of the sets with a drafting room set plan review, including stage walk-through of sets under construction. What a mess! And disaster! Ned asked Braden to draw plans for the rear train car, which was to be a swimming pool and rear train observation deck. This drawing was executed in three days and shown to the construction coordinator for him to order materials. Braden had planned to have set designers redraw his plan/elevation schematics for the carpenters. Told by the Coordinator "just give me that drawing and I'll get the set into work." Ironically this was the first set finished prior to filming. - IMDB


The horror of Supertrain almost brought down a network

Some TV shows never even make it past the first season. Maybe a series lacked the ratings to match its artistic accomplishments, or maybe it floundered its way into the network crosshairs, but it’s time to look at one-season series outside the immediate context of ratings and renewals. One-Season Wonders, Weirdos, And Wannabes considers the merits of these short-lived shows. In this installment: Supertrain, which ran for nine episodes on NBC in 1979.

Supertrain is the gold standard against which all other television bombs are measured. It was so heinous, so horrible, that it tarnished a previously stellar career and nearly bankrupted an entire network.

The story of Supertrain begins with the man it is most irrevocably tied to: then-NBC president Fred Silverman. In the days before Supertrain, Silverman could practically do no wrong. He started at WGN-TV in Chicago, then moved to daytime programming at CBS before becoming head of all CBS programming in the early ’70s. He got rid of evening game shows as well as series like Green Acres and The Beverly Hillbillies in what was later called the “Rural Purge.” Silverman helped set up a comedy lineup still unparalleled in the annals of TV history: All In The Family, The Mary Tyler Moore Show, and The Bob Newhart Show. He then became president of the flagging ABC, making it the home of many hits in the late ’70s: Happy Days, Laverne & Shirley, Charlie’s Angels, and The Love Boat. He became famous for his “golden gut,” as it was believed that he had an uncanny ability to predict which TV shows would draw viewers. - READ MORE





Supertrain's NBC Broadcast History

There are a total of ten hours, eight 60-minute episodes and one 2-hour movie, of "Supertrain" broadcast beginning Wednesday February 7, 1979 and concluding Saturday July 28, 1979.

NBC originally put "Supertain" as the opening of the network's Wednesday night schedule airing at 8pm (Eastern).

Though "Supertrain" premiered with reportedly decent ratings, the numbers quickly went down. NBC removed the show from its schedule for re-tooling little more than month after its premiere. The first five episodes carried the credit of Dan Curtis as Executive Producer for the series. The "Supertrain" crew for these first five shows included Edward Andrews, Patrick Collins, Harrison Page, Robert Alda, Nita Talbott, Arrika Wells, William Nuckols, and Michael DeLano. - READ MORE


Thursday, January 28, 2016

Throwback Thursday - Three Classic Albums from the Age of Rock

Fleetwood Mac: Rumours

Rumours is the eleventh studio album by the British-American rock band Fleetwood Mac. Largely recorded in California during 1976, it was produced by the band with Ken Caillat and Richard Dashut and was released on 4 February 1977 by Warner Bros. Records. The record reached the top of both the United States Billboard chart and the United Kingdom Albums Chart. The songs "Go Your Own Way", "Dreams", "Don't Stop", and "You Make Loving Fun" were released as singles. Rumours is Fleetwood Mac's most successful release; along with winning the Grammy Award for Album of the Year in 1978, the record has sold over 40 million copies worldwide, making it one of the best-selling albums of all time. Rumours has received diamond certifications in several countries, including the US, Canada, and Australia.

The band wanted to expand on the commercial success of the 1975 record Fleetwood Mac, but struggled with relationship breakups before recording started. The Rumours studio sessions were marked by hedonistic behavior and interpersonal strife among Fleetwood Mac members; these experiences shaped the album's lyrics. Influenced by pop music, the record's tracks were recorded using a combination of acoustic and electric instruments. The mixing process delayed the completion of Rumours, but was finished by the end of 1976. Following the album's release in 1977, Fleetwood Mac undertook worldwide promotional tours.

Rumours garnered widespread critical acclaim. Praise centered on its production quality and harmonies, which frequently relied on the interplay among three vocalists. The record has inspired the work of musical acts in different genres. Often considered Fleetwood Mac's best release, it has featured in several publications' lists of the best albums of the 1970s and the best albums of all time. In 2004, Rumours was remastered and reissued with the addition of an extra track and a bonus CD of outtakes from the recording sessions. A three-CD reissue of the album was released by Warner Bros. on 29 January 2013. The set included outtakes of songs and concert tracks the band played while on tour in 1977.

Rumours is built around a mix of acoustic and electric instrumentation. Buckingham's guitar work and Christine McVie's use of Fender Rhodes piano or Hammond B-3 organ are present in all tracks. The record often includes stressed drum sounds and distinctive percussion such as congas and maracas. It opens with "Second Hand News", originally an acoustic demo titled "Strummer". After hearing Bee Gees' "Jive Talkin'", Buckingham and co-producer Dashut built up the song with four audio tracks of electric guitar and the use of chair percussion to evoke celtic rock. "Dreams" includes "ethereal spaces" and a recurring two note pattern on the bass guitar. Nicks wrote the song in an afternoon and led the vocals, while the band played around her. The third track on Rumours, "Never Going Back Again", began as "Brushes", a simple acoustic guitar tune played by Buckingham, with snare rolls by Fleetwood using brushes; the band added vocals and further instrumental audio tracks to make it more layered. Inspired by triple step dancing patterns, "Don't Stop" includes both conventional acoustic and tack piano. In the latter instrument, nails are placed on the points where the hammers hit the strings, producing a more percussive sound. "Go Your Own Way" is more guitar-oriented and has a four-to-the-floor dance beat influenced by The Rolling Stones' "Street Fighting Man". The album's pace slows down with "Songbird", conceived solely by Christine McVie using a nine-foot Steinway piano.

"Gold Dust Woman" is influenced by jazz and features a dobro. The song's lyrics focus on Nicks' struggle with cocaine addiction.

Side two of Rumours begins with "The Chain", one of the record's most complicated compositions. A Christine McVie demo, "Keep Me There", and a Nicks song were re-cut in the studio and were heavily edited to form parts of the track. The whole of the band crafted the rest using an approach akin to creating a film score; John McVie provided a prominent solo using a fretless bass guitar, which marked a speeding up in tempo and the start of the song's final third. Inspired by R&B, "You Make Loving Fun" has a simpler composition and features a clavinet, a special type of keyboard instrument, while the rhythm section plays interlocking notes and beats. The ninth track on Rumours, "I Don't Want to Know", makes use of a twelve string guitar and harmonising vocals. Influenced by the music of Buddy Holly, Buckingham and Nicks created it in 1974 before they were in Fleetwood Mac. "Oh Daddy" was crafted spontaneously and includes improvised bass guitar patterns from John McVie and keyboard blips from Christine McVie. The album ends with "Gold Dust Woman", a song inspired by free jazz, which has music from a harpsichord, a Fender Stratocaster guitar, and a dobro, an acoustic guitar whose sound is produced by one or more metal cones.

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Led Zeppelin: Houses of the Holy


Houses of the Holy is the fifth studio album by British rock band Led Zeppelin, released by Atlantic Records on 28 March 1973. It is their first album composed of entirely original material, and represents a musical turning point for the band, who had begun to record songs with more layering and production techniques.

Containing some of the band's most famous songs, including "The Song Remains the Same", "The Rain Song" and "No Quarter", Houses of the Holy became a huge success, and was certified eleven times platinum by the RIAA in 1999. In 2012, it was ranked #148 on Rolling Stone magazine's list of the 500 greatest albums of all time.

The title track was recorded for the album, but was delayed until the band's next release, Physical Graffiti, two years later.

Much of the album was recorded in Spring 1972 using the Rolling Stones Mobile Studio at Stargroves, a manor house and country estate in Newbury, Berkshire.[2] Some songs from the album had initially been tried out earlier than this, such as "No Quarter", which was first attempted during a session at Headley Grange.

Several of the songs were produced as trial recordings (demos) at the personal studios of guitarist Jimmy Page and bass player/keyboardist John Paul Jones. Having recently installed these studios in their homes, it enabled them to finish the arrangements which had been laid down earlier. In particular, Page was able to present complete arrangements of "The Rain Song" and "Over the Hills and Far Away", while Jones had developed "No Quarter".


This album was a stylistic turning point in the lifespan of Led Zeppelin. Guitar riffs became more layered within Page's production techniques and departed from the blues influences of earlier records. In the album's opening opus, "The Song Remains the Same", and its intricate companion suite, "The Rain Song", Robert Plant's lyrics matured toward a less overt form of the mysticism and fantasy of previous efforts. Houses of the Holy also featured styles not heard on the first four Led Zeppelin albums. For example, "D'yer Mak'er" is a reggae-based tune (the name of the song being derived from the phonetic spelling of a British pronunciation of "Jamaica"); "No Quarter" features atmospheric keyboard sounds and an acoustic piano solo from Jones; "The Crunge" is a funk tribute; and "The Rain Song" is embellished by Jones on his newly acquired Mellotron. The album's closing song "The Ocean", which features an a cappella section and a doo-wop influenced coda, is dedicated to "the ocean" of fans who were massing to Led Zeppelin concerts at this point of the band's career. Subsequently, one view is that the title "Houses of the Holy" refers to the massive venues they played full of their adoring fans. However, when Page was asked about the significance of the title in a Sirius XM interview in New York City 7 Nov. 2014, he responded, “It’s about all of us being houses of the Holy Spirit, in a sense.”



The Beatles: Sgt. Pepper's Lonely Hearts Club Band


Sgt. Pepper's Lonely Hearts Club Band is the eighth studio album by the English rock band the Beatles. Released on 1 June 1967, it was an immediate commercial and critical success, spending 27 weeks at the top of the albums chart in the United Kingdom and 15 weeks at number one in the United States. Time magazine declared it "a historic departure in the progress of music" and the New Statesman praised its elevation of pop to the level of fine art. It won four Grammy Awards in 1968, including Album of the Year, the first rock LP to receive this honour.

In August 1966, the Beatles permanently retired from touring and began a three-month holiday from recording. During a return flight to London in November, Paul McCartney had an idea for a song involving an Edwardian era military band that would eventually form the impetus of the Sgt. Pepper concept. Sessions for the Beatles' eighth studio album began on 24 November in Abbey Road Studio Two with two compositions inspired from their youth, "Strawberry Fields Forever" and "Penny Lane", but after pressure from EMI, the songs were released as a double A-side single; they were not included on the album.

In February 1967, after recording "Sgt. Pepper's Lonely Hearts Club Band", McCartney suggested that the Beatles should release an entire album that would represent a performance by the fictional Sgt. Pepper band. This alter ego group would give them the freedom to experiment musically. During the recording sessions, the band endeavored to improve upon the production quality of their prior releases. Knowing they would not have to perform the tracks live, they adopted an experimental approach to composition, writing songs such as "With a Little Help from My Friends", "Lucy in the Sky with Diamonds" and "A Day in the Life". Producer George Martin's innovative recording of the album included the liberal application of sound shaping signal processing and the use of a 40-piece orchestra performing allegorical crescendos. Recording was completed on 21 April 1967. The cover, depicting the band posing in front of a tableau of celebrities and historical figures, was designed by the British pop artists Peter Blake and Jann Haworth.

According to the musicologist Walter Everett, Sgt. Pepper marks the beginning of McCartney's ascendancy as the Beatles' dominant creative force. He wrote more than half of the album's material while asserting increasing control over the recording of his compositions. He would from this point on provide the artistic direction for the group's releases. Sessions began on 24 November 1966 in Abbey Road Studio Two, the first time that the Beatles had come together since September. Afforded the luxury of a nearly limitless recording budget, they booked open-ended sessions that allowed them to work as late as they wanted. They began with three songs that were thematically linked to their childhoods: "Strawberry Fields Forever", "When I'm Sixty-Four" and "Penny Lane". The first session saw the introduction of a new keyboard instrument called the Mellotron, the keys of which triggered tape-recordings of a variety of instruments, enabling its user to play keyboard parts using those voices. McCartney performed the introduction to "Strawberry Fields Forever" using the flute setting. The track's complicated production involved the innovative splicing of two takes that were recorded in different tempos and pitches. Emerick remembers that during the recording of Revolver, "we had gotten used to being asked to do the impossible, and we knew that the word 'no' didn't exist in the Beatles' vocabulary." In Martin's opinion, Sgt. Pepper "grew naturally out of Revolver", marking "an era of almost continuous technological experimentation".

Music papers started to slag us off ... because [Sgt. Pepper] took five months to record, and I remember the great glee seeing in one of the papers how the Beatles have dried up ... and I was sitting rubbing my hands, saying "You just wait."– Paul McCartney

"Strawberry Fields Forever" and "Penny Lane" were subsequently released as a double A-side in February 1967 after EMI and Epstein pressured Martin for a single. When it failed to reach number one in the UK, British press agencies speculated that the group's run of success might have ended, with headlines such as "Beatles Fail to Reach the Top", "First Time in Four Years" and "Has the Bubble Burst?" After its release, at Epstein's insistence the single tracks were not included on the LP. Martin later described the decision to drop these two songs as "the biggest mistake of my professional life". Nonetheless, in his judgment, "Strawberry Fields Forever", which he and the band spent an unprecedented 55 hours of studio time recording, "set the agenda for the whole album". He explained: "It was going to be a record ... [with songs that] couldn't be performed live: they were designed to be studio productions and that was the difference." McCartney's goal was to make the best Beatles album yet, declaring: "Now our performance is that record." On 6 December 1966, the group began work on "When I'm Sixty-Four", the first track that would be included on the album.

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Wednesday, January 27, 2016

Holy crap, is that Kolchak The Night Stalker?

Art By Bill Sienkiewicz
"THE FLASH" REVEALS JAY GARRICK'S DOPPELGANGER -- AND HE BEARS A FAMILIAR NAME

In the last episode of "The Flash," Caitlin Snow discovered Jay Garrick is dying as a result of the loss of his speed. In an attempt to save him, she kicked off a search for his Earth-1 doppelganger in the hopes they could use the double's healthy cells to heal him. Now, in "The Reverse-Returns," Jay revealed the reason she had such trouble tracking his doppelganger down: Earth-1's Jay Garrick was adopted. And his name?

Hunter Zolomon.

In the comics, Hunter Zolomon becomes Zoom, who fans may recognize as this season's big bad. The character first appeared in Geoff Johns and Scott Kolins' "The Flash: Secret Files & Origins" #3 as Zolomon, before taking up the mantle of Zoom in "The Flash" #197. Over time, he became good friends with Wally West, before the two had a falling out after an accident resulted in his paralyzation. He attempted to use the cosmic treadmill when Wally refused to go back and save him, and the resulting explosion dislodged him from the timeline, thereby giving him super speed.

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Who Kevin Smith Played In The Force Awakens

Now that Star Wars: The Force Awakens has been out for over a month, the team behind the space opera can finally reveal some of the details that went into creating it. We’ve learned information about production, development, and the casting of the more mysterious roles. Additionally, a hand full of cameos have been revealed, and now another small role has come to light. It turns out that comic book and Star Wars aficionado Kevin Smith got to be apart of the galaxy far, far away.

Starwars.com just released the additional voice talent for The Force Awakens and Kevin Smith’s role has been defined as the following:
Stormtrooper (reacts to incoming Resistance fighters): "We have incoming at 28.6! Move!"

Well there you go, ladies and gentleman. It turns out that Kevin Smith got to voice one of the First Order Stormtroopers. Lucky him.

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Holy crap, is that Kolchak The Night Stalker?



The previews for next weeks episode of the X-Files teased an appearence by an iconic character from 70s sci fi television, and one of the original inspirations for the series, "Kolchak: The Night Stalker. Who is Kolchak you ask? Well my you friend here is the info:

Kolchak: The Night Stalker is an American television series that aired on ABC during the 1974–1975 season. It featured a fictional Chicago newspaper reporter—Carl Kolchak, played by Darren McGavin—who investigated mysterious crimes with unlikely causes, particularly those that law enforcement authorities would not follow up. These often involved the supernatural or even science fiction, including fantastic creatures.

The series was preceded by two television movies, The Night Stalker (1972) and The Night Strangler (1973). Although the series only lasted a single season, it remains popular in syndication. It is often cited as the inspiration for the popular series The X-Files. Following the success of The X-Files, the franchise was resurrected in 2005 in a second television series with a new cast and characters, as well as subsequent novels and comic books.

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The Truth Is Out There ... now that the CIA released some of their files on UFOs.

CIA releases new UFO ‘X-Files’ – including terrifying flying saucer over Sheffield

UFO fans have gone mad – well, even more mad than usual – after the CIA just splurged a whole load of UFO files on their website.

Naturally, the wilder parts of YouTube are in FULL MELTDOWN over this – although, so far, there don’t seem to be any alien limbs or crashed flying saucers in there.

One report, entitled, Flying Saucers and dated 1 August 1952, says, ‘Less than 100 reasonably credible reports remain ‘unexplainable’ at this time. It is recommended that CIA surveillance be continued.

‘It is strongly urged, however, that no reports of CIA interest or concern reach the press or public.

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Holy 1800s Batman ... Batman

‘Star Trek’: Everything We Know About the New TV Series

In the midst of Hollywood’s frantic race for franchises, we’ve seen reboots for just about every major property under the sun. As one such property, Star Trek has seen a massive resurgence following J.J. Abrams’ two (soon to be three) films over the last six years. Now, the iconic sci-fi franchise will head back to television, with the announcement from CBS that the network will bring Star Trek back as a full-on series.

It comes as an interesting turn of events, given that the original TV series has already gone through a whole host of reboots over the last half-century of its existence. Already we’ve seen Star Trek: The Next Generation, Deep Space 9, Voyager, and Enterprise in addition to the original 1966 iteration, making CBS’s planned series the fifth version in the history of Gene Roddenberry’s series. So what can we expect moving forward? Here’s what we know (and don’t know) so far.

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Art By
Go Robo Punch!

In 1997 Banpresto approached Go Nagai about creating an advanced version of his famous mecha, Great Mazinger, for the later stages of their Super Robot Wars video game. The design Nagai came up with, Mazinkaiser, is arguably the most powerful mecha ever created. The robot proved to be so popular that it was eventually added to the Mazinger canon (storyline). In 1999 a seven episode OVA (Original Video Animation) anime series was produced to tell the origin of the mecha.

Many American fans may not be too unfamiliar with the Mazinger Z storyline, which aired under the name Tranzor Z shortly after Robotech became popular. Many American children also got to play with a 3 foot tall Mazinger which was released as part of Mattel’s Shogun Warrior line of toys in the late 1970s’. I know I had one and so did most of my friends. In the original series Mazinger Z was always pitted against some lame robot that was created by the enemy of the Photon Energy Research Laboratory, Dr. Hell, whose
henchman (henchwoman?) Baron Ashura would always oversee the attack. In typical Japanese superhero style the enemy robot would always win through the majority of the fight until Mazinger Z would unleash all its power and destroy it. I always wondered why Dr. Hell never just built one robot and put it aside. Then built another robot and put it aside and so on and so on till he had an army to kick Mazinger’s butt?

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They're not bad movies -- Just Misunderstood.

Way back in 2001 a fledgling horror host by the name of Mr. Lobo launched a little late night movie program called "Cinema Insomnia" on KXTV channel 10 in Sacramento. Since that time Lobo, and CI, have been syndicated all over this great country of ours appearing on TV screens from Cucamonga to Kalamazoo.

Lobo has even launched a very successful line of DVDs featuring CI episodes which can be purchased through Amazon.com. All this, including numerous public appearances
at movie screenings and conventions, have made this a very eventful decade for Lobo indeed.

Local Horror Host, Eric Lobo aka "Mr. Lobo" started Cinema Insomnia on KXTV Channel 10 in Sacramento in 2001 only to have it cancelled later that year. Since then, that 3:05 AM time slot on very late Saturday/early Sundays have been replaced by a hostless movie slot consisting of the same 13 public domain movies. Since this is the 10th Anniversary of Mr. Lobo's debut on KXTV, this petition is encouraging KXTV to bring back Cinema Insomnia & Mr. Lobo to the same time slot. They have nothing to lose but plenty to gain.

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Tuesday, January 26, 2016

Supergirl in a new, more revealing costume, battles the Mer-Men.

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Adventure Comics #409 - August 1971 Issue - DC Comics

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48-page giant. Cover art by Dick Giordano. Invasion of the Mer-Men [Part 2], script and pencils by Mike Sekowsky, inks by Dick Giordano.

Supergirl in a new, more revealing costume, battles the Mer-Men.

Supergirl battles an invasion of Mer-Men who want to steal earth's water to prevent their own planet from Death. The issue includes a reprint of the Legion of Super-heroes Satan Girl storyline which also has Supergirl in a big role.

Adventure Comics #414 - January 1972 Issue - DC Comics

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48-page giant. Cover art by Bob Oksner. Vortex starring Supergirl, Geoff Anderson, Nasthalthia Luthor, Vortex, and Harry Porgus, script by Len Wein, art by Bob Oksner.

Vortex, a villain with a weapon which can create great waves of centrifugal force, takes revenge on Harry Porgus-- a financier whom he claims stole building designs from him-- by ripping Porgus' skyscraper from its roots and plunking it down in the Grand Canyon]. Supergirl trails the building there, but her powers go out and she is captured. When her powers return, she stops Vortex from destroying the skyscraper with his power. Then she knocks him off his flying sled into a waterspout he has created in the Canyon river. She cannot find his body, and, when she is amazed that Porgus is concerned for him, she is astonished to hear him say that the Vortex was his brother.

DC Special Series #5 - November 1977 Issue - DC Comics

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Superman battles the Brainiac-Luthor team; written by Cary Bates and Martin Pasko, with art by Curt Swan and Vince Colletta.

Adventure Comics #460 - November 1978 Issue

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"A Nightmare to Remember" Starring Flash (Barry), Flash (Jay), and the Wizard. Script by Cary Bates, pencils by Irv Novick, inks by Frank Mclaughlin.

During a visit to Earth-Two, the Flash becomes trapped in a nightmare-world designed for the other Flash by the Wizard.

Peter Parker: The Spectacular Spider Man #143, October 1988 Issue

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"Deadline in Dallas" Script by Gerry Conway. Guest-starring the Punisher. Pencils and Inks by Sal Buscema. Cover by Sal Buscema.

The Punisher, under the influence of the Persuader, is sent to Dallas to kill the Lobo brothers. Meanwhile Spider-man meets his wife MJ at a restaurant to take dinner but watches on TV that the Punisher is in Dallas. Feeling that the Punisher is in some kind of danger, he leaves and takes a flight to Dallas under the cover of a "Webs" book signature event.

There he finds the Punisher at the Lobo Brothers mansion where the Punisher and the Persuader just arrived to kill them the Brothers as an assignement by the Arranger. But Spider-man fights the Punisher until he is shot by Andrew, a hired gun who was there with the Persuader. Then the Persuader orders the Punisher to kill Spider-man but he breaks free of his mind control and kills Andrew and the Persuader. Then he leaves, Spidey comes back to New York, and the Lobo Brothers decide to take revenge on the Kingpin.

Peter Parker: The Spectacular Spider Man #142, September 1988 Issue - Marvel Comics

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"Will" Script by Gerry Conway. Guest-starring the Punisher. Pencils and Inks by Sal Buscema. Cover by Sal Buscema.

Spider-Man fights Tombstone in Atlanta for possession of the tape, unaware that Robbie has reached a decision: he explains everything he know about Tombstone crimes and accepts his cowardy during more than twenty years.

Kate Cushing tapes every word from Robbie in front of his wife, his son Randy and the wife of his, and JJJ. In the end, Spidey defeats Tombstone and this goes to jail.

Fantastic Four #89 - August 1969 Issue - Marvel Comics

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Script by Stan Lee. Pencils by Jack Kirby. Inks by Joe Sinnott. Cover by Jack Kirby and Joe Sinnott.

Blinded by devices implanted in their house by the Mole Man, the Fantastic Four try to stop him without their vision. As the clumsy battle rages on, Skrulls arrive on Earth, seeking to find a warrior which they can take from the planet.

Back at the Richards home, the FF continue to struggle to fight the Mole Man, who reveals that his plot will eventually see the entire world blinded as revenge for being treated as an outcast. When Reed gets hold of the Mole Man, he takes a near fatal blast from Mole Man's staff. A stray blast from the same staff also damages the device that makes the FF blind. Enraged by what the Mole Man did to Reed, Sue lashes out at him.

The Mole Man manages to get away, however, but is soon caught by the Human Torch and brought back. Checking on Reed, he revives and is recovering from the attack. As the FF settle down after the fight, a Skrull craft touches down on the planet Earth.

Spawn #10 - May 1993 Issue - Image Comics

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Story by Dave Sim. Art by Todd McFarlane.

When Spawn tries to examine Angela's abandoned lance, it transports him into a realm beyond his wildest imaginings. While in this strange world, Spawn encounters imprisoned heroes, faces a mockery of Blind Justice in the form of the Violator, and glimpses a dreamlike scenario of happiness for him, Wanda and Cyan.

Fantastic Films #35 - September 1983 Issue - Return of the Jedi

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Articles on Return of the Jed,i War Games, Superman III, John Badham, Twilight Zone, Jack DeGovia, Buster Crabbe, Robert Vaughn, etc.

Fantastic Films #34 - July 1983 Issue - Return of the Jedi

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Articles on Return of the Jedi, Krull, Superman, Ray Bradbury, Something Wicked This Way Comes, Space Hunter, The Hunger, Blue Thunder, Never Say Never Again, etc.
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