This song is from Unprocessed’s 2019 album, Artificial Void. I respect any band that put out an official video where they just play and let the music speak for itself.
Enjoy!
This song is from Unprocessed’s 2019 album, Artificial Void. I respect any band that put out an official video where they just play and let the music speak for itself.
Enjoy!
In 1966, Doctor Who changed forever.
William Hartnell was in failing health and having difficulty remembering his lines. He was also not getting along with the current production team and was unhappy with the direction of the show. (He felt that it was getting too violent and dependent upon the bug-eyed monsters who he had originally been told would have no part of the show.) It became obvious that Hartnell would not be able to continue as the Doctor. At the same time, Doctor Who was an unqualified hit and one that the BBC wanted to keep going.
Producer Innes Lloyd and story editor Gerry Davis decided that since the Doctor was an alien, they could just say that he could transform himself physically at will, which would allow them to recast the role. Hearing the news, Hartnell is said to have replied, “There’s only one man in England who can take over, and that’s Patrick Troughton.”
William Hartnell was correct. Patrick Troughton, 46 at the time, was a stage-trained character actor who had become a television mainstay. As opposed to Hartnell, whose Doctor was stern and stubborn, Troughton played the Doctor as being “a comic hobo,” (to quote show creator Sydney Newman). The Second Doctor enjoyed his travels and had an unquenchable curiosity. Like an interstellar Lt. Columbo, The Second Doctor often played the fool to get the better of his enemies. He also become a father figure to many of his companions, a role that Troughton also played offscreen as well.
Unfortunately, many of the Second Doctor’s adventures are missing or are only available in audio form. When I was growing up, my father and I would watch Doctor Who on PBS. PBS started with the Fourth Doctor and the Fifth Doctor before then going back to the Third Doctor and then finally broadcasting what they had of The First and Second Doctor. There were so few of the Second Doctor’s serials available that it only took PBS a month and a half to finish up with Troughton. People like me got to know Troughton’s Doctor more through his later guest appearances (The Three Doctors, The Five Doctors, The Two Doctors) than through his original adventures.
The Tomb of the Cybermen is the earliest serial known to exist in its entirety to feature Troughton as the Second Doctor. In this 4-epiosde serial (which also launched the show’s fifth series), The Doctor and his companions Jamie (Frazer Hines) and Victoria (Deborah Watling) materialize on the desolate planet Telos and discover an expedition of humans are trying to enter the Tomb of the Cybermen.
In those days before The Master, The Cybermen were one of the Doctor’s main recurring enemies. Former humanoids who sacrificed their emotions and individual personalities to become cyborgs, the Cybermen were relentless and ruthless and just as dangerous as the Daleks. (The Cyberman also had something Daleks lacked, the ability to climb stairs.) In Tomb of the Cybermen, the expedition assumes that the Cybermen buried in the underground tomb are no longer functioning. It turns out that the Cybermen are just waiting for someone to revive them.
Tomb of the Cybermen is a classic Doctor Who serial. The plot borrows considerably from the legends about mummies and cursed Egyptian tombs. The expedition arrogantly enters the tomb, despite being warned not to. It turns out that the expedition’s leaders want to use the Cybermen as their own army and their willing to sacrifice everyone with them to try to achieve that goal. The revived Cybermen aren’t interested in an alliance. The Doctor and his companions try to escape the crypt while also ensuring that the Cybermen will never escape again. The plot is simple but exciting. The Second Doctor pretends to be baffled by the tomb and its technology but later reveals that he always understood more than he let on.
The Tomb of the Cybermen is not only a great Troughton showcase. It’s also historically important as one of the first serials to really upset Britain’s moral guardians. Reportedly, British children were left terrified and unable to sleep after witnessing the Cybermen bursting forth from their tombs. The infamous Mary Whitehouse would often cite Doctor Who as being detrimental programming for children. The Tomb of the Cybermen was one of the serials that she often cited as just being too violent and frightening.
It’s a shame that we don’t have more of Patrick Troughton’s serials to watch because The Tomb of Cybermen reveals him to be the prototype for almost every Doctor who would follow. (There’s a small moment where The Doctor, Jamie, and Victoria hold hands while stepping into the Tomb and it says so much about who the Doctor was, post-Hartnell.) I’m glad, though, that we do have this showcase of the Second Doctor at his best.
The place is Pompeii in the year 79 A.D.
One of the jewels of the Roman Empire, Pompeii is overseen by the decadent Clodius Flaucus (Donald Pleasence). Despite the warning that the statues of the Temple of Jupiter have been crying salt and that a goat was recently born with the head of a human, Clodius refuses to believe that anything bad could happen to Pompeii. (“I’d like to see the cow!” Clodius exclaims with a laugh.)
In the arena, the gladiator Goliath (Marco Tullio Cau) throws deadly frisbees and demands slave girls as his reward for victory. In the streets, all the women adore Marcus (Rick Hill) but he has eyes only for one of the new slaves, the comely virgin Vespa (Tally Chanel). Vespa has been purchased by Berenice (Sybil Danning), a former mistress of Caesar who is secretly working to free the slaves.
Warrior Queen was directed by Chuck Vincent. Vincent was a veteran of the adult film industry and was considered to be one of the best hardcore directors around. His X-rated films were even positively written up in the New York Times. In the 80s, he tried to go mainstream and ended up making movies like this one. Produced by British B-movie impresario Harry Alan Towers and filmed largely in Italy, Warrior Queen was an attempt to capitalize on the minor sword-and-sorcery revival that followed the success of Conan the Barbarian. There’s plenty of nudity and violence but there’s not much plot and the film feels much longer than its 70-minute run time. When the volcano does erupt, it’s represented by stock footage and someone shaking the camera while filming the extras. Pompeii has never looked so cheap.
The main attraction here is Sybil Danning and Donald Pleasence. Pleasence gives it his all and earns however much he made for this movie. Danning is only in a handful of scenes and can be seen yawning at several points in the movie. I think she’s supposed to be the title character but she’s actually neither a warrior nor a queen. Rick Hill (of Deathstalker fame) and Tally Chanel are at least appealing as the leads, even if Chanel looks more like a lost cheerleader than a Roman slave girl.
The main thing that I learned from watching this film is that the lava that hit Pompeii wasn’t actually that thick, wide, or deep and everyone should have been able to just hop over it and escape. Anyone who died at Pompeii has no one but themselves to blame.
“Careful what you wish for” is a frequent horror theme. We all know that, when the monkey paw curls its finger, we might think it’s a positive thing but the opposite usually turned out to be true. Did you wish for someone in a box? Who wished for someone in a box?
This music video was one of the many Bad Omens videos directed by Orie McGinness, who has also done videos for Warbringer, Dayshell, Afterlife, Gideon, American Sin, and a host of others.
Enjoy!
Before I review this game, I have to give a shout-out to the community at Choose Your Story. I play a lot of online interactive fiction games and I spend time on a lot of different gaming sites. Some of them are good. Most of them are not. However, the games at Choose Your Story have been consistently good and enjoyable to play and read. The games follow the Choose Your Own Adventure format and it’s obvious that most of the writers put a good deal of effort into their stories. The community, as well, seems to offer up constructive criticism and really, the entire site feels like an antidote to all of the terrible things that you usually come across online. Whenever I play some overly long Twine game that was written by someone who clearly gave more thought to their background music than to actually coming up with a decent storyline, it makes me appreciate the work being done at Choose Your Story.
As for 331 Oakmont Drive, it’s an enjoyable horror storygame that is perfect for the Halloween season. You are a college student who, along with your friend Sophie, makes extra money cleaning other people’s houses. You have been hired to clean 331 Oakmont Drive but you have a bad feeling about the place as soon as you arrive. Do you stay in the house and do the job (you do need the money) or do you immediately try to leave? Either choice will take you on a different journey through 331 Oakmont Drive. This game has several endings. Some are happy, most are not. With many rooms to explore (and try to escape) and many macabre fates possibly waiting, this is one of those games that can be played over and over again. The game is entertaining, it’s well-written, and some thought was actually put into the story. It’s a game that will get you in the mood for the Halloween season.
Today, everyone knows the origins of the Doctor. We know that the Doctor is a Time Lord and a native of the planet Gallifrey. We know that the Time Lords had a policy of not interfering with other civilizations. They could travel through time but they were never to change history. We know that the Doctor, even after stealing the TARDIS, remained true to that belief while other renegade Time Lords did not.
It wasn’t always like that. During the show’s early years, the Doctor was meant to be a very mysterious figure and it was implied that he himself had invented (rather than stolen) his TARDIS. It wasn’t until nearly two years into the show’s original run that we met anyone else from the Doctor’s home planet and that we finally got to see a TARDIS that could actually change shape.
All of that happened in The Time Meddler, a four-episode serial the originally aired from July 3rd, 1965 to July 24th. In this episode, the Doctor’s TARDIS materializes in Northumbria in 1066. With Ian and Barbara having recently returned to their own time, the Doctor (William Hartnell) is now traveling with Vicki (Maureen O’Brien) and Steven Taylor (Peter Purves), both of whom come from the future and who are much less argumentative than either Ian or Barbara. Finally, the Doctor has companions who are not only happy to be there but who are willing to do whatever he says. Though the Doctor tells Vicki that he will miss Ian and Barbara, he does seem much more relaxed in this serial than in previous ones.
The Doctor’s arrival is observed by The Monk (Peter Butterworth), a mysterious figure who doesn’t seem to be surprised at all to see a blue police call box materialize in 1066. A time meddler who it is implied has met the Doctor before, the Monk is plotting on changing the course of history by wiping out King Harald Hardrada’s Viking invasion fleet, therefore leaving Harold Godwinson and his troops fresh and fully armed so that they can then defeat William The Conqueror at the Battle of Hastings. The Doctor is captured early on by the Monk, leaving Steven and Vicki to deal with the suspicious locals.
The Meddling Monk was truly a great creation. As played by Peter Butterworth, he wasn’t so much an evil-doer as he was just someone who thought it would be fun to change history. (I’ve always disliked the theory that the Meddling Monk was an early incarnation of The Master. The Master was always evil while the Monk was basically a prankster.) Peter Butterworth gives an amusing and energetic performance as the Monk and the highlights of the serial are the scenes between him and Hartnell. They both bring out the best in each other and Hartnell, who could often seem testy while acting opposite the younger actors who played his companions, truly seems to enjoy playing opposite an actor who was basically his equal in both skill and experience.
This episode is best-known for being the first episode to introduce another member of The Doctor and Susan’s race. It was also the first episode to feature a TARDIS other than the Doctor’s. (The Monk’s TARDIS works, which reminds the viewer of just how broken-down the Doctor’s vehicle actually is.) It is often overlooked that it was also one of the better “historical” episodes. Doctor Who was originally envisioned as a show that would teach younger viewers about history. Unfortunately, the purely historical episodes were often dry and uninvolving. This episode teaches about the Battle of Normandy but it also livens things up by giving the Doctor a worthy adversary.
It can be difficult to judge Hartnell’s time as the Doctor, just because so many of his serials are either incomplete or totally missing. For viewers who are used to a younger and friendlier Doctor, Hartnell’s Doctor can seem rather grouchy. The Time Meddler, though, features William Hartnell at his best and is one of the highlights of Doctor Who‘s early years.
In a magical land of dragons and fierce warriors, the evil sorcerer Kadar (Richard Lynch) attacks a peaceful group of traveling entertainers, slaughtering the majority of them and kidnapping their queen, Canary (Virginia Bryant). Canary has a magical ruby that Kadar hopes will increase his power. Canary also has two sons who are each sold separately into slavery. Years later, these muscle-bound twins, Kutchek (Peter Paul) and Gore (David Paul), will be reunited and will team up to save their mother, fight a dragon, and free the kingdom from Kadar.
An Italian-American co-production that was directed by Ruggero Deodato and distributed by Cannon, The Barbarians was a starring vehicle for the so-called Barbarian Brothers. Peter and David Paul were twin bodybuilders who appeared in a handful of films and who are today best-known for getting cut out of Oliver Stone’s Natural Born Killers. (In his director’s commentary, when explaining why their scene didn’t work, Stone said, “It was my fault.”) Peter and David Paul were not natural-born actors. They’re both pretty stiff in The Barbarians but their natural chemistry as brothers made up for a lot. They spend most of their screentime in The Barbarians bickering and yelling at each other and you get the feeling that was something they had a lot of experience with.
The Barbarians starts slow. It takes a while to get going and the plot has the ramshackle feel of many Cannon productions. Richard Lynch, as always, is a great villain and familiar faces like Michael Berryman and George Eastman have small roles. Trying to keep track of who is betraying who can require keeping a scorecard while watching the movie but The Barbarians does a good job of creating its fantasy world (and it looks really good for a film that was probably not made for much money) and once the action finally does get started, there’s enough of it to keep things entertaining. The Barbarians battle not only Kadar’s sorcery but a dragon as well and they do it all while trash talking each other. The film feels like a cross between Dungeons and Dragons and a regional wrestling production. It’s entertainingly dumb.
“There is a sixth dimension, beyond that which is known to man. It is a dimension as vast as space and as timeless as infinity. It is the middle ground between light and shadow, between science and superstition, and it lies between the pit of man’s fears and the summit of his knowledge. This is the dimension of imagination. It is an area which we call The Twilight Zone.”
66 years ago today, viewers heard those words for the first time when The Twilight Zone premiered on CBS. Those words were delivered by the show’s creator and the writer of its first episode, Rod Serling. (In future episodes, “the sixth dimension” would be relabeled “the fifth dimension.”)
The first episode of The Twilight Zone starred Earl Holliman as a man who finds himself walking down a dirt road with no memory of how he got there. He sees signs of civilization — a police station, a diner, and a movie theater — but no people. The isolation and the loneliness threaten to drive him mad but, at the end of the episode, it’s revealed to have all been a simulation performed by the military to test whether the man, as astronaut, will be able to mentally handle being alone in space.
The barrier of loneliness: The palpable, desperate need of the human animal to be with his fellow man. Up there, up there in the vastness of space, in the void that is sky, up there is an enemy known as isolation. It sits there in the stars waiting, waiting with the patience of eons, forever waiting… in The Twilight Zone.
With no supernatural or extraterrestrial elements, this episode was not typical of what The Twilight Zone would eventually become. But, on October 2nd, 1959, it was enough to launch the show and make television history. It was truly a great moment in television history.
Previous Moments In Television History:
In 1999, Fear Factory and Gary Numan teamed up to give a new spin to an 80s classic. This video plays more to the horror element of Numan’s song, which is something that I think is often overlooked.
John S. Bartley, the credited director, worked primarily as a cinematographer. Among the television series that he worked on: The X-Files, Bates Motel, iZombie, and Vikings. He also worked on the 2002 spider horror film, Eight-Legged Freaks.
Enjoy!
In the early 70s, with the Comics Code Authority weakened by a changing culture and publishers that were finally willing to stand up for themselves, horror comics finally started to make a comeback.
Not to be confused with the earlier pulp magazine, Chambers of Chills was published by Marvel from 1972 to 1976. It featured adaptation of horror stories from writers like Robert E. Howard, Edgar Allan Poe, and H.P. Lovecraft. The cover almost always featured monsters on the verge of attacking, the better to capture the attention and allowances of potential readers.
I’ve always felt that cover for Chamber of Chills #2 (which came out in October of 72, despite the January date on the cover) was one of the best of the series. Credit for this cover goes to Gil Kane, Tom Palmer, and Gaspar Saladino.
Previous Great Moments In Comic Book History: