I don’t remember how it was I first came across Adam Adamant Lives!, though I suspect it was the culmination of a plot put into motion the day I was born, my sole purpose for existing being so that I might one day discover a British television show about a swashbuckling Edwardian gentleman adventurer who is frozen by his mortal enemy and revived in swingin’ sixties London, at which time he teams up with a hip young woman and resumes his life of derring-do and crime-fighting. It’s as if the creative team at the BBC sat down one day and thought, “Well, some day Keith Allison going to be born, and he’s going to want to see this show.” Continue reading…
This site is updated Thursday afternoon with a new article about an artistic pursuit generally considered to be beneath consideration. Carol Borden draws out the best in comics, Chris Szego dallies with romance, alex MacFadyen stares deeply into the screen and Keith Allison probes science fiction.
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I’m going to flat out admit I know very little about the Roaring Twenties. What little I do is mostly cribbed from still images and movies like Chicago. You know: jazz! Drinking! Dancing! More drinking! Guns! And did I mention drinking?
Not exactly what you might call a rigorous examination of an era that contained seismic changes in the social, political, and economic landscapes. The Great War changed everyone’s understanding of The Way Things Worked. Many old traditions died — sometimes because there was no one left to keep them — and new ones were created. The Spanish flu proved that disease respected borders even less than aggressive armies. The revolution in Russia made it clear that divine right was wrong, and the US moved into a position of real world power. Commoners moved into positions held previously by only the titled (or super-rich). Women, having kept industry running while the men were away being uselessly sacrificed, showed no desire to retire from the fields previously barred to them, and in fact began to demand more access. The world was suddenly smaller, more fragile, and more interconnected than ever before. And suddenly, shockingly, more elastic. Continue reading…
I’m still thinking about willpower from my last article, and while it’s true that ‘stick-to-it-iveness’ (as my Grandma used to call it) is an important skill, it also really helps to know when to bail. Oddly, even though the desire to give up comes pretty naturally, deciding when you should actually do it doesn’t seem to. Watching the things that have made me and the people I care about unhappy in our lives over the years, I feel like learning how and when to walk away can’t be overrated. Continue reading…
Last February, Todd Stadtman and Tars Tarkas invited me on the Infernal Brains podcast to discuss space ladies with them. We covered a lot of films, but I didn’t get to one film Todd suggested we watch, Darna Vs. The Planet Women (1975). I finally did recently and he was so right—Darna Vs. The Planet Women was a movie I needed to see. Since then, I’ve watched Darna And The Giants (1973) and Darna At Ding/Darna And Ding (1980). And these movies bring together so many fine things: a costumed comic book superhero, space ladies, supernatural creatures, black magic robots, disco fabulousness and the sassiness of Vilma Santos’ Darna. Continue reading…
Posted November 21, 2010
Die, Danger, Die, Die, Kill! and TarsTarkas.net join forces to discuss Taiwanese giant monster films and you can listen in!
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Of Note Elsewhere
At Black Girl Nerds, Jamie Broadnax writes a powerful piece about racism, cosplaying, police violence and the homicide of Darrien Hunt. “The first thing we need to do is NOT let this story scare us nor intimidate us into believing that we should be fearful of cosplaying. We should still encourage others who may not yet have participated in cosplay to know that there are several communities for people of color to have safe spaces where they can be embrace and be their nerdy selves. If there is little to no news about this incident on other mainstream geek sites that feature cosplayers, then framing this around race is pertinent and they should be called out on their silence. Even IF this is not an incident where Darrien Hunt was actively cosplaying, the tone has already been set and anyone who is a part of the cosplay community should address this matter. Many Black cosplayers are concerned about this, and still wonder if they would be viewed as ‘suspicious’ walking down the street.”
Nerds of Color announces that their own David Walker will be writing Dynamite’s Shaft comic. Denys Cowan shares the cover for Shaft #1 drawn by Cowan and Bill Sienkiewicz. Sanford Greene shares some his cover work here and here. Black Comix posts Ulises Farinas’ cover. Comics Wow has more and previews covers. (Via Black Comix and World of Hurt)
Actor Richard Kiel has died. Kiel worked in both film and television, including performances in The Twilight Zone episode, “To Serve Man”; Eegah (1962); The Barbary Coast with William Shatner; Happy Gilmore (1996); Pale Rider (1985); as Vlad in Tangled (201); and as Jaws in The Spy Who Loved Me (1977) and Moonraker (1979). The New York Times, The Los Angeles Times and Variety have obituaries. Here he is interviewed with Britt Ekland. And David Letterman interviews Kiel here.
Open Culture has a round-up of eight free and complete films by Dziga Vertov, including Man With A Movie Camera (1929) and the first Soviet animated feature, Soviet Toys (1924). (Thanks, Earl!)
Matt Zoller Seitz has written a lovely meditation on Robin Williams at RogerEbert.com: “Williams wore the invisible garments of depression. He carried that burden. A lot of the time we didn’t see it, because he was a bright and enthusiastic comic performer and a great actor. But the weight was always there.
Somehow he lived 63 years.
What a warrior he was.”
At Kaiju Shakedown, Hiroshi Fukazawa interviews director Ringo Lam. “Not as flashy as John Woo, never as hyperkinetic as Tsui Hark, Ringo Lam is one of Hong Kong’s most underappreciated directors. He made his name with sophisticated, downbeat crime dramas that came to define a certain style of urban Hong Kong cinema in the Eighties and early Nineties. After getting his start in television at CTV and TVB, he directed five features before finding his stride with 1987’s City on Fire, the movie that provided the blueprint for Quentin Tarantino’s Reservoir Dogs.”