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dozydawn · 1 year

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Surya Bonaly, 1994. Photographed by Chris Cole and Bill Frakes.

#surya bonaly #figure skating #ice skating #1994 #1990s #chris cole #bill frakes #1k

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aethergate · 8 months

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What really happened here? Who is the cowboy who confronted Johnny and Larry that night? Was the old women in on it to? Could Danny have been... hallucinating? But if Dan was hallucinating, who ate Hal's food? But what about the mysterious behavior of the barbeque lid? Was it really the nanny? Does this story seem possible? Was the morgue attendant in on the deception too?

#space debris [ crack ]#its gonna get weird [ bill ]#omg jonathan frakes its an honor

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red-pencil · 9 months

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Today's #AniMonday master-plan!

From Scrat Tales, when we went into Scrat 's head, it was all 2D. We tried to do it in the art style of one of Blue Sky studios's OG artists, Bill Frake, who designed and storyboarded on the original Ice Age movie.

#scrat tales #scrat #baby scrat #animation #2d animation #2d #tvpaint #cartoon #blue sky #blue sky studios

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frankendykes-monster · 8 months

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There is a popular quote attributed to both Fredric Jameson and Slavoj Žižek arguing that it is “easier to imagine the end of the world than the end of capitalism.” It is an odd thought to process while watching Rhys Frake-Waterfield’s Winnie the Pooh: Blood and Honey, a schlocky horror film that reimagines A. A. Milne’s loveable anthropomorphic teddy bear as a hack-and-slash movie monster. Still, it’s something that bubbles through the film’s very existence. Blood and Honey can be understood in a couple of different contexts. Most obviously, it is a transgressive horror film that uses the iconography of beloved childhood figures in a grotesque and unsettling way as a shortcut to cheap thrills. There has been a recent spate of these movies, including The Banana Splits Movie and The Mean One. Later this year, Five Nights at Freddy’s will adapt the beloved video game, riffing on the same basic idea of cute childish things turned violent. However, Blood and Honey stands apart from these contemporaries. It isn’t a pastiche like Five Nights at Freddy’s, it isn’t a licensed production like The Banana Splits Movie, and it’s not an unauthorized parody like The Mean One. It is an adaptation of A. A. Milne’s beloved children’s classic, made possible by the fact that Winnie the Pooh has entered the public domain. Nobody has to pay to use the character, and no authority has the power to veto what can be done with him. Copyright law is an interesting thing. The Copyright Act of 1790 enshrined legal protection of an author’s right to their work for “the term of fourteen years from the recording the title thereof in the clerk’s office.” However, that period of protection would be expanded over the ensuing centuries. With the Copyright Term Extension Act, arriving in 1998, that protection was extended to the life of the author plus another seven decades. Of course, the reality is that copyright doesn’t always protect the artists. It often exists to enrich corporate entities. Much of the most lucrative intellectual property on the planet is controlled by faceless companies that ruthlessly exploit the artistry of their employees and contractors. Comic book movies are a billion-dollar industry, but key creative figures have to fundraise to pay medical bills, like Bill Mantlo. Creators like Jack Kirby or Bill Finger never got to enjoy the spoils of their labor.

Indeed, these extensions to the period of copyright were largely driven by companies holding these intellectual property rights. The Copyright Term Extension Act was known in some circles as the “Mickey Mouse Protection Act,” reflecting Disney’s proactive lobbying in favor of the extension. Incidentally, Disney paid $350 million to buy Winnie the Pooh from the A. A. Milne estate in March 2001. It is ruthless capitalism, rooted in these companies’ desires to control the public imagination. The Copyright Term Extension Act ensured that no media entered the public domain between 1998 and 2019. As much as writers like Grant Morrison might argue that superheroes are the modern equivalent to the classic Greek gods, this ignores the fact that mythology is a public resource. The classic myths were not owned by large corporations that could use the threat of legal action to pull Vera Drew’s The People’s Joker from the Toronto International Film Festival after a single screening. This makes Blood and Honey a pointed act of transgression. The film comes from writer and director Rhys Frake-Waterfield, best known as a producer of low-rent schlock like Dinosaur Hotel and Dragon Fury. Realizing that A. A. Milne’s beloved childhood fable was entering the public domain, Frake-Waterfield sensed an opportunity. With a budget of under $100,000, he set out to make a quick cash-in slasher movie. Of course, Frake-Waterfield could only draw from elements included in the earliest stories. He had to avoid the iconic material added to the mythos in the years that followed. “Only the 1926 version is in the public domain, so those were the only elements I could incorporate,” Frake-Waterfield admitted. “Other parts like Poohsticks, and Tigger, and Pooh’s red shirt — those aren’t elements I can use at the moment because they’re the copyright of Disney and that would get me in a lot of trouble.” Blood and Honey is a bad movie. It is lazy, uninspired, and boring. It has no sense of character, theme, or basic structure. It’s a lazily reskinned version of Halloween or The Texas Chainsaw Massacre from a filmmaker who spent a significant portion of the press tour passive-aggressively complaining about how Halloween Ends took “itself too seriously.” There is nothing of any merit here, nothing to hold the audience’s interest. The film’s 84-minute runtime lasts several lifetimes. That said, there is a germ of an interesting idea in the central concept, which has an adult Christopher Robin (Nikolai Leon) returning to the childhood fantasy that he abandoned to go to college. He discovers that his childhood did not take well to this abandonment. Winnie the Pooh (Craig David Dowsett), now a feral and mute beast, chains Christopher up and tortures him. He whips the adult with Eeyore’s tail. However, Winnie the Pooh cannot kill Christopher. He must possess him.

It is too much to suggest that this plot is mirrored in the story of the film’s actual protagonist and decoy final girl, Maria (Maria Taylor). Maria is taking a trip into the country with her girlfriends, recovering from a traumatic experience with a male stalker (Chris Cordell). When Maria’s friend Lara (Natasha Tosini) spots Pooh lurking around the Airbnb, she assumes that he must be Maria’s stalker. Pooh’s psychopathic sidekick, Piglet, is also played by Cordell, to underscore this connection. At times, Blood and Honey seems like it might be a clever and subversive commentary on the way in which so much modern pop culture infantilizes its audience. Christopher has tried to grow up and leave his childhood behind, even planning to marry his fiancée Mary (Paula Coiz), but his childhood won’t leave him behind. Pooh needs Christopher, his validation and his love. However, that relationship is not as innocent as it appears framed through childhood memory. Many modern adults would empathize with this idea, as their childhood nostalgia is weaponized against them by streaming services and studios. Even if one lives in a remote cabin in the woods, franchises like Star Wars, Teenage Mutant Ninja Turtles, He-Man, and X-Men: The Animated Series are inescapable. Entertainment that was once aimed at children is now aimed at the adults those children became. There is no indication that these corporations are ever going to stop. Of course, this gives Blood and Honey too much credit, suggesting that it can be read as a subversive commentary on the role that this sort of intellectual property plays in cultural stagnation. In reality, Blood and Honey is an illustration of just how pervasive this model of capitalism can be. Frake-Waterfield isn’t using Pooh to make a point about the cynical exploitation of these cultural touchstones. He is using it as a cynical exploitation of these cultural touchstones. Blood and Honey grossed nearly $5 million at the global box office, and one suspects that it performed very well on home media and streaming. There is already a sequel in the works with “five times the budget.” More than that, Frake-Waterfield has made a conscious effort to expand the brand into a shared universe built around similar properties. He will direct Peter Pan’s Neverland Nightmare and will produce Bambi: The Reckoning, which was sold to international distributors at Cannes this year. Frake-Waterfield doesn’t just have his eye on these sequels and spin-offs. He dreams of a bigger childhood horror shared universe. “The idea is that we’re going to try and imagine they’re all in the same world, so we can have crossovers,” he boasted. “People have been messaging saying they really want to see Bambi versus Pooh.” It’s incredibly ruthless and cynical. It is a transparent attempt to build a massive multimedia franchise from elements that the production team don’t have to pay for.

In theory, the liberation of these iconic characters from copyright should herald encourage creativity and ingenuity. It should allow for more projects like The People’s Joker or Apocalypse Pooh. There are certainly artists engaged in that sort of work. It also provides the opportunity for commentary and engagement with the modern media landscape. Last Week Tonight with John Oliver is already salivating at the satirical potential of Mickey Mouse’s entry into the public domain. Blood and Honey suggests an alternative to these creative uses of works leaving corporate purview. Blood and Honey is just as cynical and ruthless in its exploitation of this intellectual property as Disney had been. Frake-Waterfield is clearly aspiring to exploit these properties in exactly the same way that Disney did, hoping to create a scale model of their production machine. It is a trickle-down shared universe, a reheat of a familiar meal constructed from pre-digested ingredients. For all the moral handwringing about how the movie “ruined people’s childhoods,” this is the real horror of Blood and Honey. It suggests the limits of creative imagination, an inability to conceive of an alternative to the model of intellectual property management that defines so much contemporary pop culture. The roots of this mode of thinking run so deep that it seems impossible to imagine any alternative. The public domain doesn’t free this intellectual property from endless exploitation, it just means somebody else gets to take a turn. If the rights to Winnie the Pooh are entering the public domain, why wouldn’t somebody use the brand recognition to make a quick and easy buck? After all, the business logic behind Blood and Honey is the same logic behind something like The Little Mermaid or Ant-Man and the Wasp: Quantumania. People recognize the brand, and that will make it easier to sell. Even this seemingly subversive and rebellious act is just a cheaper, more cynical, and less competent iteration of the larger processes that drive modern media. All things considered, the cynicism of Blood and Honey is a small price to pay for the possibility of more work like The People’s Joker. More than that, if it helps to undermine or shatter the brand loyalty that these corporations have cultivated among generations of movie-goers, it may serve some purpose. Still, it’s disheartening to watch Blood and Honey, realizing that these modes of exploitation are so deeply ingrained in pop culture that they perpetuate even in the public domain. Even as the end of copyright becomes a reality, the end of this intellectual property churn remains beyond imagination. Oh bother.

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lokiondisneyplus · 28 days

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Congratulations to the 'Loki' team on once again being nominated for a Hugo Award!

Best Dramatic Presentation, Short Form

Doctor Who: “The Giggle”, written by Russell T. Davies, directed by Chanya Button (Bad Wolf with BBC Studios for The BBC and Disney Branded Television)

Loki: “Glorious Purpose”, screenplay by Eric Martin, Michael Waldron and Katharyn Blair, directed by Justin Benson and Aaron Moorhead (Marvel / Disney+)

The Last of Us: “Long, Long Time”, written by Craig Mazin and Neil Druckmann, directed by Peter Hoar (Naughty Dog / Sony Pictures)

Star Trek: Strange New Worlds: “Those Old Scientists”, written by Kathryn Lyn and Bill Wolkoff, directed by Jonathan Frakes (CBS / Paramount+)

Star Trek: Strange New Worlds: “Subspace Rhapsody”, written by Dana Horgan and Bill Wolkoff, directed by Dermott Downs (CBS / Paramount+)

Doctor Who: “Wild Blue Yonder”, written by Russell T. Davies, directed by Tom Kingsley (Bad Wolf with BBC Studios for The BBC and Disney Branded Television)

The Hugo Awards will be presented August 11, 2023, at WorldCon in Glasgow.

#loki s2 #hugo award nomination #glorious purpose #eric martin #michael waldron #katharyn blair

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vintagesffantasyactors · 5 days

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As promised, now that we're a few days out from the final submissions deadline, here is a list of all the actors who have been submitted and will be in the bracket so far! If you submitted someone and they aren't on this list, there is a chance I felt they fell into that category of not really having a super strong connection to sci fi/fantasy generally and where the roles noted for them weren't necessarily roles that they're very well known for, or in a couple of cases there were people submitted where the work listed for them was all post 2000. But there were only a very small handful of actors like that; I think almost everyone submitted should be on here.

The final deadline for submissions will still be April 27th. I'll make another post before the polls start with the finalized list of actors for the tournament.

The current list of actors is below:

Bruce Campbell

Tom Baker

Leonard Nimoy

Alex Winter

Mandy Patinkin

Gene Wilder

Jeff Goldblum

Danny John-Jules

Ricardo Montalban

Miloš Kopecký

Tim Curry

William Russell

William Forward

Michael O'Hare

Richard Biggs

Ed Wasser

Michael J Fox

Alec Guinness

Keanu Reeves

Colm Meaney

Clancy Brown

Jeff Conaway

Haruo Nakajima

Paul Darrow

Peter Jurasik

Stephen Furst

Scott Bakula

Andreas Katsulas

René Auberjonois

Armin Shimerman

Donald Sutherland

Kurt Russell

Christopher Lloyd

Jerry Doyle

Fredric March

Alexander Siddig

Bill Pullman

Arnold Vosloo

Keir Dullea

Lionel Jeffries

Buster Crabbe

Boris Karloff

DeForest Kelley

Laurence Fishburne

Ray Bolger

Jeffrey Combs

Andrew Robinson

Michael Dorn

Peter MacNicol

Richard Dean Anderson

Kyle McLachlan

Sam Neill

Mark Hamill

LeVar Burton

James Spader

Peter Weller

John de Lancie

Bruce Boxleitner

Avery Brooks

Jonathan Frakes

Patrick Stewart

Patrick McGoohan

Charlton Heston

Arnold Schwarzenegger

Wesley Snipes

Billy Dee Williams

Bela Lugosi

Val Kilmer

David Bowie

Dick Van Dyke

Doug Jones

Oded Fehr

David Duchovny

Jerry O'Connell

Mitch Pileggi

Michael Shanks

Nicholas Lea

James Doohan

George Takei

Leslie Nielsen

Warwick Davis

Vladimir Korenev

Walter Koenig

Garrett Wang

Rutger Hauer

Rick Moranis

Will Smith

Harrison Ford

Gareth Thomas

William Shatner

Ben Browder

Claude Rains

Tim Russ

Colin Clive

Brent Spiner

Peter Davison

Michael York

Nicol Williamson

James Marsters

Frazer Hines

Nicholas Courtney

Cary Elwes

Chris Sarandon

Lance Henriksen

Bill Paxton

Christopher Reeve

Christopher Lee

Peter Cushing

Raul Julia

Brendan Fraser

Rod Serling

Paul McGann

Anthony Stewart Head

Karl Urban

James Stewart

Mark Goddard

Guy Williams

Alan Rickman

Gary Conway

Vincent Price

Edward James Olmos

John Philip Law

Kerwin Matthews

Patrick Troughton

Ken Marshall

Patrick Swayze

Peter Capaldi

Andre the Giant

Cesar Romero

David Boreanaz

Alan Napier

Roger Delgado

Georges Méliès

Harry Hamlin

Duncan Regehr

Joe Morton

Ernie Hudson

#not a poll #sffantasy mens tournament #announcements

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isagrimorie · 4 months

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Trek Talks 3 happens Saturday, January 13, 2024 beginning at 9:45am PST with the SyFy Sistas Pre-Show Panel!

Star Trek actor John Billingsley together with podcast hosts Bill Smith and Dan Davidson developed a streaming telethon for the Hollywood Food Coalition. The all-volunteer team quickly grew, as Roddenberry Podcasts joined Trek Geeks to co-produce the event, and Trek Talks was born. Now in its third year, Trek Talks has become an annual event that provides vital support for the Hollywood Food Coalition and the people it serves. Trek Talks’ guest list reads like an all-star roster of Trek luminaries, as its first two telethons have featured Jeri Ryan, Anson Mount, Scott Bakula, Alexander Siddig, Gates McFadden, Cirroc Lofton, Nana Visitor, Jonathan Frakes, Michael & Denise Okuda, Brent Spiner, Tony Todd, James Cromwell, Terry Farrell, Mike McMahan, Linda Park, Dan & Kevin Hageman, John de Lancie, Armin Shimerman, Brannon Braga, Robert Picardo, Ira Steven Behr, and many, many more.

#trek talks #star trek #star trek tng #star trek ds9 #star trek discovery #star trek lower decks #star trek prodigy #star trek picard #star trek tos #charity #signal boost #Youtube

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weyounpussyindulgence · 9 months

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Reblogs are necessary

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singeratlarge · 8 months

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HAPPY BIRTHDAY to the 1969 film ALICE’S RESTAURANT, Adam Arkin, Ginger Baker, The Beatles 1967 “All You Need is Love” single, Coco Chanel, Bill Clinton, songwriter Roger Cook, the daguerreotype (1839), Darius Danesh, John Deacon, Dave Douglas (Reliant K), Eddie Durham, Philo Farnsworth, Rob Fenstermacher, Jonathan Frakes (great to have met you), Ian Gillan, Fumio Hayasaka, Susan Jacks, L.Q. Jones, Margie Joseph, The Knack’s 1979 “My Sharrona” single, Billy J. Kramer, Deana Martin (great to have gigged with you), Diana Muldaur, Luis Muñoz, Spud Murphy, one of my heroes Johnny Nash, Ogden Nash, National Aviation Day (1939), Debra Paget, the 1944 liberation of Paris, Christina Perri, Beat Raaflaub, Eddy Raven, Gene Roddenberry, John Stamos, Jason Starkey, my excellent boss Nate Stevens, Clay Walker, Lee Ann Womack, and singer-songwriter and gospel music provocateur Edwin Hawkins. He challenged prevailing notions about sacred vs. secular and broadened the field for gospel music, bridging it with funk, pop, rock, and soul. Despite challenges to his early career and ministry, he earned many awards and made many well-received records, yet still kept his eyes on God. He’s best known for his recording of “Oh Happy Day, “ an extension of an 18th century hymn. Edwin updated it in 1967 and his worship group played it repeatedly at the Ephesian Church of God in Christ in Berkeley CA. In 1969 Hawkins took the church group and made a small budget recording of it on a custom label, with Dorothy Combs Morrison on co-lead vocals. Their modest production is lo-fi by today’s standards but—lo and behold—the track became a surprise international hit, reaching #4 in the USA, #2 in the UK, Canada, and Ireland, and #1 in France, Germany, and The Netherlands.

Edwin’s version won a Grammy in 1970, has appeared in upwards to 20 movie soundtracks ,and has been covered countless times. It was also included on the RIAA Songs of the Century. George Harrison stated the song was a primary inspiration for “My Sweet Lord.” Here’s our modest take on it, and HB EH—thank you for making a joyful noise.

youtube

#happyday #EdwinHawkins #UnitedMethodist #choir #PhillipDoddridge #Acts235 #EphesianChurchofGodinChrist #Berkeley #California #DorothyCombsMorrison #GeorgeHarrison #MySweetLord #Grammy #singersongwriter #JohnnyJBlair #SingeratLarge #SanFrancisco #piano

#johnny j blair #singer songwriter #music #singer at large #san francisco #Edwin Hawkins #gospel #happy #Phillip Doddridge #Dorothy Combs Morrison #George Harrison #My Sweet Lord #Grammy #piano #Youtube

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juliansbear · 4 months

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on that post about famous people you've interacted with I forgot about johnathan frakes and bill shatner lol

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brookstonalmanac · 8 months

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Birthdays 8.19

Beer Birthdays

George Younger (1790)

Claudia Pamparana

Chris Kennedy (1983)

Five Favorite Birthdays

Bill Clinton; 42nd U.S. President (1946)

Philo T. Farnsworth; television co-inventor (1906)

Ogden Nash; poet (1902)

Matthew Perry; actor (1969)

Gene Roddenberry; television producer (1921)

Famous Birthdays

Morten Anderson; New Orleans Saints/Atlanta Falcons K (1960)

Adam Arkin; actor (1956)

Ginger Baker; rock musician, drummer (1939)

Bernard M. Baruch; economist (1870)

Coco Chanel; fashion designer (1883)

John Deacon; rock drummer (1951)

Kevin Dillon; actor (1965)

John Dryden; writer (1631)

Madame du Barry; French courtesan (1743)

Malcolm Forbes; businessman (1919)

Jonathan Frakes; actor (1952)

Peter Gallagher; actor (1955)

Ian Gillian; rock singer (1945)

Tipper Gore; anti-rock music wingnut (1948)

Charles Elmer Hires; Pharmacist and root beer creator (1851)

Billy J. Kramer; singer (1943)

Ring Ladner; screenwriter (1915)

Frank McCourt; Irish writer (1930)

Gerald McRaney; actor (1947)

Diana Muldaur; actor (1938)

Johnny Nash; singer (1940)

Debra Paget; actor (1933)

Peter Parley; writer (1793)

William Riker; character from Star Trek: Next Generation (2335)

Kyra Sedgwick; actor (1965)

Willie Shoemaker; jockey (1931)

Snuffleupagus; Sesame St. citizen

John Stamos; actor (1963)

Jill St. John; actor (1940)

Fred Thompson; actor, politician (1942)

Orville Wright; inventor, bicycle repairman (1871)

#Birthdays

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gargoylespodcast · 2 years

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Less than one week to go!

“Voices From the Eyrie” will resume shortly. In the mean time, here’s our schedule:

April 15: Deadly Force w/Bill Fagerbakke & Greg Weisman April 29: Enter Macbeth w/Carl Johnson & Greg Weisman

May 13: The Edge w/Jonathan Frakes & Greg Weisman

May 27: Long Way To Morning w/Matt Asner & Greg Weisman

We’re also recording our episode on “Her Brother’s Keeper” this week with a guest we’ll announce shortly and are already in the process of making arrangements for our discusson of “Reawakening” with another guest we’re looking forward to announcing. But don’t think we’re just stopping at season one. We’ve already been discussing our episode of “Leader of the Pack” to kick off our second season coverage.

We’re in this for the long haul. I’d say “Hunter’s Moon or bust...” but really, it’s more like “Phoenix” or bust!

See you all soon!

#Gargoyles #podcast #Voices From the Eyrie #greg weisman #bill fagerbakke #carl johson #jonathan frakes #Ed Asner

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gregxb · 2 years

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Voices From the Eyrie - An update!

For those of you listening to “Voices From the Eyrie - A Gargoyles Podcast”, hosted by @crzydemona and myself, we’re on a brief hiatus until next month. After that, you have this to look forward to.

April 15th: “Deadly Force” with Bill Fagerbakke (Voice of Broadway) and Greg Weisman (Series Co-Creator)

April 29th: “Enter Macbeth” with Carl Johnson (Series Composer) and Greg Weisman May 13th: “The Edge” with Jonathan Frakes (Voice of David Xanatos) and Greg Weisman. As usual, we’re available on Apple Podcasts, Google Podcasts, Amazon Audible, Spotify, and your podcast of choice.

Now’s a good time to get caught up, I think. ;)

#Gargoyles #Podcasts #Voices from the Eyrie #greg weisman #jonathan frakes #bill fagerbakke

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rawyld · 2 years

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Found this of the Thunderbirds 2004 movie premiere. Look at them spring Chickens