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Copyright 1994, Cyberspace Vanguard Magazine
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| C Y B E R S P A C E |
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| V A N G U A R D |
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| News and Views of the Science Fiction and Fantasy Universe |
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| cn577@cleveland.freenet.edu Cyberspace Vanguard@1:157/564 |
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| PO Box 25704, Garfield Hts., OH 44125 USA |
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| TJ Goldstein, Editor Sarah Alexander, Administrator |
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| tlg4@po.cwru.edu aa746@po.cwru.edu |
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Volume 2 August 15, 1994 Issue 3
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TABLE OF CONTENTS
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--!1!-- Ramblings of a Deranged Editor (and a few deranged readers ...)
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--!2!-- Riding off Into a Strange Kind of Sunset: Bruce Campbell
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--!3!-- Keeping the Peace on BABYLON 5: Jerry Doyle
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--!4!-- What IS a Cinematographer, Anyway? (Steven Poster, A.S.C.)
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--!5!-- Reviews by Evelyn C. Leeper/Mini Reviews
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--!6!-- The Infamous Reply Cards and What You Said
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--!7!-- Shoelaces of Truth: The News, The Whole News, and Nothing but the
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News
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--!8!-- Spoilers Ahoy! (And season 3 of the TWILIGHT ZONE Episode Guide)
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--!9!-- Contests and Awards -- Including Freebies (Cleveland, OH)
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--!10!-- Conventions and Readings
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--!11!-- Publications, Lists and the like
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--!12!-- Administrivia
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REPOSTING information: This ASCII version of CYBERSPACE VANGUARD may be
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reposted IN ITS ENTIRETY anywhere and everywhere without further
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permission, but we would appreciate knowing where it's going so we can keep
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track. We would also like you to post the reply card along with the issue.
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All rights revert to the authors upon publication, however, so we insist on
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being contacted for permission to repost individual articles. News items
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may be reposted without further permission, but must include our contact
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information. CYBERSPACE VANGUARD: News and Views of the Science Fiction
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and Fantasy Universe is registered with the United States Copyright Office.
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--!1!-- Ramblings of a Deranged Editor (and a few deranged readers ...)
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by TJ Goldstein
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Well, I'll be honest with y'all. I've never been so terrified in my
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whole life. I suppose it's justified. After all, what we're about to do
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is no small thing.
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So, you may ask -- go ahead, ask! -- just what IS it that we're
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planning on doing?
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Some of you have made close guesses. For over a year, we've been
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splashing text over networks, BBS's, and screens all over the world. Now
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we're ready to move on the the next step. And, as Bugs Bunny would say,
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that first step's a doozy.
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Oh, no the paper version. That goes without saying and of course I
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hope it goes well.
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No, I'm talking about the other half of the plan. Science fiction has
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always dealt with the cutting edge, and we deal with sf. So how can we
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stay with the "traditional" forms of publishing?
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No, CYBERSPACE VANGUARD is expanding into interactive multimedia.
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That's right, graphics, music, animation on a CD-rom for something less
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than an arm and a leg apiece. You won't just read the interviews, you'll
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hear them. And when YOU want to. We've put together a small draft demo
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for you to look at and comment on. It'll be available at the usual archive
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site, etext.archive.umich.edu. There'll be more info on it at the end in
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Administrivia.
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But we're NOT leaving the net. This thing was founded with the idea
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that the fans should have a voice that's really theirs, and we're not
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forgetting that, so there was one more thing I wanted to mention.
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As I said, this is YOUR magazine too. So, we've decided to give a
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FREE subscription to anyone who persuades their local bookstore, comic
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shop, etc, to carry it.
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And ... well, I could go on for quite a while after having it bottled
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up for so long, but let me just say this: we want to make the first issue
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something really special. In Administrivia we've included a list of all
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our past interviews. What were your favorites? What would you consider
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the "best of" CV?
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And what special interviews or articles would you like to see in the
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first issue? Let us know. Don't worry if you think it's too much of a
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long shot. Getting THIS far's been a long shot! Anything's possible!
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And so, as we get ready for all this, we put out another summer mini-
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issue. This time we've got Bruce Campbell, star of the recently deceased
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ADVENTURES OF BRISCO COUNTY, JR. and the EVIL DEAD movies, a reprint of the
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interview with Jerry Doyle of BABYLON 5 for those who missed the last
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Extra, and an interview with Steven Poster, A.S.C., who is the Director of
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Phography for the upcoming Shotime film ROSWELL and who also worked on
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BLADERUNNER and CLOSE ENCOUNTERS OF THE THIRD KIND. He's also involved in
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the technical battles over HDTV.
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Some of the usuals aren't in this issue, but they'll of course be back
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starting next issue, along with some new features. One of those new
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features are promotions in the Contests and Awards sections. We've managed
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to wangle some free tickets to the Cleveland area preview of Universal's
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TIMECOP, a tradition we'd like to continue. And, of course, there's the
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usual news, reviews, and feedback.
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And speaking of feedback ...
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TO FICTION OR NOT TO FICTION ...
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"Puh-LEEZ don't put fiction into CYBERSPACE VANGUARD! Fan fiction is
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99% crud. (Of course, ALL fiction is 99% crud, but the 99% of fan fiction
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is worse than the 99% of professional fiction ;-).) Unless you're willing
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to actively solicit stuff from the known good authors and spend a *lot* of
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time sorting out the wheat from the chaff, you'll have a tough time coming
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up with anything halfway decent.
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"CV is a great news-and-reviews magazine that's just now beginning to
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fulfill its potential. I can't imagine any way to add fiction to it
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without causing its current strengths to suffer from lack of time or
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space. Please don't do this!"
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- David D. Levine, Intel Supercomputer Systems Division
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davidl@ssd.intel.com
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TRAVELLING THE CYBER-HIGHWAY WITH WILLIAM GIBSON
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[In the last issue, William Gibson asked reporter Marisa Golini where she
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got her hard copy of AGRIPPA, the mysterious vanishing text. She replied
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"It's still on the Internet...just ask and you shall receive!"]
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"So, I'm asking, how can I get a copy of AGRIPPA? Can you send one to me
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via e-mail?"
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Michael Cook
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MLC@IBERIA.CCA.CR.ROCKWELL.COM
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[Editor's Note -- AGRIPPA is available by anonymous FTP from
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english-server.hss.cmu.edu in the file /English Server/Fiction/Gibson-
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Agrippa. Mr. Gibson has expressed delight that it is still available in
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more than one interview. CV will email a copy upon request, but please,
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only if you can't get it any other way.]
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BACK ISSUES ...
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"I've just gotten your subscriber notice. I was wondering if there was
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anyway to get past issues. Can you mail them to me, or is there a specific
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host where I can go to get past issues? Thanks."
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The Stoner
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mxs7265@hertz.njit.edu
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[Editor's Note: The official archive site for CV is
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etext.archive.umich.edu, but a search around gopherspace will turn it up in
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various places. They all, however, seem to stop with May of 1993. We'd
|
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love to correct the situation, but have not been able to locate the actual
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sitenames. If you find a site that is out of date, please let us know so
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we can take care of it, or let the maintainer know where they can get the
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rest of the issues. Thanks!]
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--!2!-- Riding off Into a Strange Kind of Sunset: Bruce Campbell
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by TJ Goldstein
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[Editor's note: A multimedia version of this article is available for
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Macintosh. Check etext.archive.umich.edu or write to
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cn577@cleveland.freenet.edu for more details. ---- TJ]
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One of the great things about the information revolution is that the
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people about whom fans talk are more and more often talking back to them.
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For instance, when ARMY OF DARKNESS hit the theaters last year, the star,
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Bruce Campbell, did a promotion with the online service Prodigy, answering
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questions. "I had a secret password that got me in, and it allowed me to
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fiddle around for about 30 days after the interview, so I could watch the
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responses and plug in cryptic messages saying 'Oh yeah? This is what
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really happened.' You know. And then just sign off and they'll know it
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was me because it was this special thing. Then I kind of went away like
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the phantom after 30 days. I don't know, it's just very fun."
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At the time all that was going on, though, there was something else
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going on in his life. For the past several years he had been auditioning
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for TV roles without success. "So I figured it must be me or television or
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something. And I started to lose all enthusiasm for television whatsoever.
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I thought, well, ok, fine. Let's face it. TV sucks. So I started to
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phase out the whole TV auditions and stuff and I got very involved in ARMY
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OF DARKNESS, and never thought about TV. Then after it was over, I get
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whiff that there's this cool western pilot that Fox is doing. And Fox has
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always been known for their edginess, and kind of being hip and cool and
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new, and I thought, 'well, that's a good sign.' Then I found out that
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Jeffrey Boam was one of the people involved in creating it, and he comes
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from features. So I felt a kind of kindred relationship there, because
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that was my background - action, adventure, carnage, mayhem, that sort of
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thing."
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So he auditioned. Six times. "You see, you go up the food chain.
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You have to start at the casting guy and go up from there, all the way up
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to the network, and there are five stops in between." In the end, of
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course, he got the role and literally made it his. But how much of Brisco
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comes straight from Bruce Campbell?
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"Well, you know, what happens is that it becomes an adaptive process.
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If you look at the pilot, it's probably less me, but if you look at the
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show now it's probably more me. Because after a while the writers hear
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that I'll change dialogue -- not extensively -- but I'll change phrases or
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such so that it's how I would say it. Or if something is clunky, you have
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to work it out, because you have to say it. Then the writers see that, and
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they focus on the stuff that you're good at, and they stay away from the
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stuff that they think you're not as good at, and they finally wind up
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adapting to what you're all about. There's a lot of stuff abut Brisco
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that I'd LIKE to say is me. I don't want to tick off a list, but the
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important thing is that I try to make him as likeable and interesting as I
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can because you run a risk of being a hero but putting everybody to sleep.
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It's really the bad guys who are interesting. So hopefully, we're trying
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to combat that by making him a smart guy, by giving him a sense of humor."
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One of the ways they tried to do that is to give him quite a range of
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things to do. Though the show has ridden off into the sunset, they've
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already done quite a bit.
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"I've laughed, I've cried, I've died in my friend's arms, he's died in
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my arms ... you don't always get to do that in the course of ONE feature.
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On a TV show, hopefully if it's ambitious, you get to do everything, and
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that's great.
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"I wouldn't mind more of seeing the character with his hair down.
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They work for the government now. I've always wanted to do an episode
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where they go on a two-week paid vacation. So Bowler and Brisco go
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fishing. You get to learn a lot about them, and of course they come across
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something ... the most ridiculous plot, out in the woods, and their
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vacation is screwed, but for that first 10 minutes, you get to do fishing
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gags, leisure gags, talking about paid vacations ... it's a new dimension,
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but you're stuck with those characters. You HAVE to like them, or you can
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have the biggest action scenes, the best directors, the best writing, but
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if you don't like these guys, you're going to watch FAMILY MATTERS."
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Now that the decision not to renew the show has been made, he is free
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to move on to his film THE MAN WITH THE SCREAMING BRAIN, which had found
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solid financial footing but had to be put on hold while BRISCO was up in
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the air.
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"Contractually, if Warner Bros calls, I have to answer. And I didn't
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want to be in the middle of shooting and get my 30 days' notice. And on a
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film that I have to direct. Who's going to edit, who's going to do the
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sound, when is all THAT going to happen. I felt it was ultimately a little
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irresponsible, so I backed out. I told them to wait. If the show doesn't
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get picked up, I'm your man. I'm very available." Well, he'd better be,
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since he not only wrote it and plans to direct, he stars in the picture,
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which he is also producing.
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"See, now, that's the world that I came from. Back in Michigan, I did
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two great movies with my friends and everyone did everything. So I never
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got into this regimented 'Oh, you're just an actor' or 'Oh, you're just a
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director.' And I don't like believing in that anyway. I think you're just
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a person. I think the entertainment business should show a broad range,
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and frankly, I like a mixed bag because it keeps things interesting. A few
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years ago I just ran off and produced this low budget movie in Michigan and
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it was the best time I ever had. I had a little tiny part in it. I really
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didn't act, I just hands-on produced it and it was wonderful." The film,
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LUNATICS: A LOVE STORY, is out on video, but is apparently difficult to
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lay hands on. One of the stars is Ted Raimi, currently of SEAQUEST and
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brother to director/producer/effects wizard and Mr. Campbell's movie-making
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partner, Sam Raimi.
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Mr. Campbell has done lots of straight-to-video films, such as
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MINDWARP, MOONTRAP, MANIAC COP -- "all these lovely family films." In
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fact, much of his early film history is on video -- privately, including a
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short he and Sam Raimi made called WITHIN THE WOODS.
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"I've got all our Super-8 movies on video. We did at least 50 of
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them. I've got hours and hours and hours of these Super-8 movies we did.
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But they're just experimental. They're not really for mass consumption.
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The only interesting thing about WITHIN THE WOODS is that that's the tool
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that we used to raise money for the first EVIL DEAD movie. So it had
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historical value. Later on we lifted an entire sequence directly out of
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that Super-8 movie." There's no legal copy of it, but he'll tell you that
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"I'm sure it's out on bootleg." It's a sore spot.
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"It means somewhere along the line, either a guy in transfer or a guy
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in the editing department, or a guy in the post-production sound
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department, or a guy in the office, or his buddy, got a hold of it for like
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2 hours, duped it, and then sent it somwhere else, where they were supposed
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to. It just kind of gives you an uneasy feeling when you can trust the
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people who are working for you. It's so funny. Steven Spielberg is just
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SO secretive. He's the only one who can guard against bootlegging because
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every video copy that he makes, he puts your initials on it. So if it
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shows up somewhere in the future, he knows where it came from. And he'll
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come and take your firstborn. But we're just two fellas trying to make a
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movie. We don't have a 60 million dollar budget. We can't do all that
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very expensive, time-consuming stuff."
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So far he's been in every one of Sam Raimi's films, including the
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upcoming THE QUICK AND THE DEAD, with Sharon Stone. "I was just going to
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come and hang with him on the set. I wanted to see his big shot movie
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being made, and he says 'C'mere, put this on.'" He plays a scumbag hitting
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on a girl. But he's best known as Ash in the EVIL DEAD movies, which have
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been described as "horror movies for people who like 'The Three Stooges'."
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"Exactly. It's like, if Moe really did poke Larry in the eye, what
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would happen? Kind of like that." Well, what would probably happen is
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that the Motion Picture Association of America (MPAA) would refuse to give
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it a rating. That's what happened to EVIL DEAD, which was a cult success,
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but wasn't widely seen. As a result, there is much debate over whether
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EVIL DEAD 2 is a sequel or a remake. "Well, I don't know WHAT it is. It's
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very different, though. It's a wild film. SPIN magazine gave it it's
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first #1 rating ever because it's just so bizarre. Totally bizarre movie."
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There is also talk that some scenes were cut from ED2 because of excessive
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violence.
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"No. It's not true. We did our own censorship on it. Because EVIL
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DEAD had no rating, we were contractually obligated to Dino di Laurentis to
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deliver an R-rated movie. And while we shot it, we used every different
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color bile than blood red. We used black, we used beautiful turquoises, we
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used bright greens, everything in hopes of saying 'look, this is just a
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movie, folks.' A lot of dismemberment scenes we did in silhouette. It's
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not a graphically violent movie. It's horribly violent. There's no doubt
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about that. It's not for the squeamish. We did our own editing on it
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but then the ratings board said 'I'm sorry, no. Non-rated on this one
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too.'"
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There were similar controversies over EVIL DEAD 3: ARMY OF DARKNESS.
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The ending was changed, and the original has not and will not be released
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on video. "It's out on bootleg. I mean, I was at a convention and someone
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said, 'Hey, why'd you change the ending? I liked the original one.' I
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said 'Oh yeah? Where'd you get THAT?' I've even refused to sign some of
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them that people have given me, not to be mean, but because that's not the
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sanctioned version. They say 'Director's Cut,' yeah, but it still is a
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bootleg copy and I'm not sure that we would have released that copy if we
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had had more time to fiddle with it. That was our cut, yes. The 96 minute
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version of ARMY OF DARKNESS was, but we still worked with the studio when
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they cut it down. It wasn't just them.
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"I feel that it's just as appropriate shorter. And let's face it:
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how can you sit and argue with an executive in an impassioned plea, 'no,
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we've GOT to have the shot where the skeleton's head gets crushed! It's
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important!' When you sit down and you argue with these guys, you realize,
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well, OK, it's no big deal. You can have three shots of skeletons blowing
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up or ten. Some kids would probably like ten, but three's not that much
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different than ten. It's just shorter to handle. And it helps the
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viewing. It helps the audience participation if it's easier to stomach.
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At least that's just my feeling. I saw the 96-minute version play in
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Spain, and it turned people into jello because it just kept coming in waves
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and waves. It's like we beat them up for seven reels and then the battle
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began. We cut ten minutes of battle out because people couldn't handle
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it. They had sensory overload.
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"These things are always funny. I keep hearing 'How come on the
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laser version there aren't all the missing scenes?' Well, there's sort of
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a reason why."
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So now Mr. Campbell is free to move on to THE MAN WITH THE SCREAMING
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BRAIN. While Fox was deliberating BRISCO's future, he waxed philosophical
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about it.
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"You know what, at the end of the day, if they don't pick up the show,
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I can still look everyone in the eye because we really killed ourselves.
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We're not there just sloughing through it, we're actually attempting to do
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fun, old-fashioned kind of entertainment, but still with a modern twist to
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it. What else can you do? I'm not going to beat myself up if they don't
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pick up the show. I'll be confused. But I won't put my head through a
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wall."
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--!3!-- Keeping the Peace on BABYLON 5: Jerry Doyle
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by TJ Goldstein
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On the outside, it doesn't look like security chief Michael Garibaldi
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has too much in common with Jerry Doyle, the actor who plays him on BABYLON
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5. Mr. Doyle has had acting success in a relatively short period of time,
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is a hyper-busy person but thinks that "there's nothing better on a Sunday
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than blowing off a day of your life watching football," has graduated from
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flight school, has flown and sold business jets, and has spent nine years
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as "one of those illustrious investment bankers" on Wall Street. "It seems
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like we were acting then too. 'This is good for you, do it. Come on, it's
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the best thing.'"
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Mr. Garibaldi, on the other hand, has a different history. "They've
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flawed him about as much as you can," Mr. Doyle told CV by phone during a
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break in filming as the cast and crew finished up for the season. "They've
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fired him three or four times. There's so many you can't keep track.
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You'd think they'd *know.* He has relationship problems, he's an
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alcoholic, always getting in fights, getting beat up, beating people up,
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throwing stuff, he just tells everybody off, he's irreverent, cynical ...
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you know, he's a very cool character to play."
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Not that he knew all that when he took the role. "I didn't get a lot
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of the backstory, like the relationships and the alcohol and all that.
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Just from the writing style and the situations and the way that he reacted
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to them I could see that he was kind of a twisted individual."
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Now, as the first season wraps up filming, he doesn't know much more.
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"I haven't read the bible, the 5-year plan, the arc for the show and the
|
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characters. I like getting a new script every couple of weeks and kind of
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seeing what's happening and going 'wow, that's cool, all right! That's
|
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exciting.' So I just told the head writers, Joe Straczynski and Larry
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Ditillio, that I love what they're doing with the character, no input from
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me is required, just keep doing what you're doing. It's great, so why
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change it?"
|
|
For many people, Garibaldi's checkered background that drew them to
|
|
the show in the very beginning, when series creator Straczynski (pronounced
|
|
Stra-ZIN-ski) was trying to drum up support and teasing people with
|
|
glimpses of things to come. Promises he made about Garibaldi's past are
|
|
kept in the upcoming episode called "Survivors."
|
|
"Well, pretty much by the title I think says a lot about the
|
|
character," Mr. Doyle says. "He's a survivor. Past life situations come
|
|
back to haunt him, and he's put in a situation of not only dealing with a
|
|
relationship -- not a love relationship, it's a past relationship with a
|
|
friend of mine's daughter whose father was killed in a tragic accident that
|
|
they blamed on me. And whether she believed it or not ... we had to
|
|
rectify that situation. Plus, you've got losing your job, getting
|
|
suspended, dealing with her, trying to convince people that you're not who
|
|
they say you are. It's basically about surviving this period when it all
|
|
seems to go wrong at once. It's a fairly physical script, there's a lot of
|
|
fights. I think I get the snot beat out of me ... one guy once, two guys
|
|
the next time, three guys the next time ... I feel like it's the WWF.
|
|
You're going in the ring and there's like 19 people there. It's like the
|
|
survivor series or something like that. I thought the script was very
|
|
good. I had a lot of fun shooting it with director Jim Johnston.
|
|
Hopefully my performance is equal to the script because I think there was a
|
|
lot of great stuff in there."
|
|
But while JMS talked about Garibaldi changing as a result of the
|
|
experience, Mr. Doyle has doubts. "I'm not sure he ever really changes,
|
|
but the character tends to become more and more enlightened. And in
|
|
some scripts he'll put the wall up higher and higher and thicker and
|
|
thicker and in others a brick or two will come down, but Garibaldi tends
|
|
to keep things and people and situations at a distance and not let them
|
|
get too close. It's a great way to avoid being hurt. It's the old
|
|
saying: would you rather hurt or be hurt. Garibaldi tends to choose to
|
|
hurt rather than be hurt. He's always dancing, chucking, jiving,
|
|
hey-hey-hey-hey-hey, but pretty much keeping people and things at a
|
|
distance." Of course, that's not to say that Garibaldi never gets the
|
|
girl. Later this season he'll have to deal with past choices in the
|
|
romance department when a past girlfriend is caught in the flare-up of
|
|
war on the Mars colony, trying to decide if he made the right decision
|
|
in leaving her to take his current position.
|
|
It's not as serious as it sounds, though. "Somebody asked me what
|
|
acting was like compared to working on Wall Street and I said this was like
|
|
a 3-year vacation with a couple of rainy days. This is just way more fun.
|
|
You go in in the morning, somebody makes you up, and does your hair, and
|
|
feeds you. And I'm not making these words up. Somebody tells me what to
|
|
say, how to say it, where to stand, the editors make you look good -- or as
|
|
good as you possibly can, they tell you what time to be back the next day,
|
|
and they pay you. Not a bad gig. Plus in this business if you're at a
|
|
movie and you don't like what I do, I can give you $7.50 and tell you to
|
|
shut up. On Wall Street, I'm not givin' you back 50 million dollars.
|
|
Sorry. You're out of luck. Next!"
|
|
Plus, there is already a "gag reel" for the show, including an
|
|
incident that occurred during the episode "Parliament of Dreams," where
|
|
Garibaldi is supposed to search the quarters of Narn Ambassador G'Kar,
|
|
played by Andreas Katsulas, for evidence in a murder. He finds a pair of
|
|
pink panties, and when he asks G'Kar if they're his, the Ambassador tells
|
|
him to get out. At least, that's what finally made it to the small screen.
|
|
Originally it went a little differently. "I said 'Are these yours?' and he
|
|
said 'No, your momma's.' So I stretched them as far as I could and said
|
|
'No, THIS is more like my momma's.' And then he said something back and
|
|
then 'Oh, get out of here.' So I said 'I would, but I'm feeling strangely
|
|
stimulated.' So he said 'Would you care to tango?' We have a lot of great
|
|
moments that don't hit the air."
|
|
So with situations that lend themselves to such silliness, how does he
|
|
get serious when he needs to? "Mmm ... I just think about getting fired,
|
|
and I'm right there. 'Time to do what we paid you to ...'"
|
|
Long before the show even hit the air, Joe Straczynski teased
|
|
net.users with the statement "Today was pajama day. Don't ask." It is
|
|
apparently not unusual for things ... out of the ordinary to go on. "You
|
|
have to have fun on the set. We're there 12, 14 hours a day, sometimes
|
|
it's hot, ticky-tack camera setups that take a long time, but when you're
|
|
spending that much time in one place with that many people, you have to
|
|
have fun. There's only so much you can talk about as it relates to the
|
|
show or acting, or whatever. So we try and make it as enjoyable an
|
|
experience as possible on the set and I think that that transforms itself
|
|
into what you see on screen. When everybody's loose and grooving and
|
|
having a good time, hopefully it shows up on screen. Every Friday we have
|
|
a day where we do something silly, like 'Not matching shoe day' or 'Pajama
|
|
day' or 'Trashy lingerie day.' I think last Friday was 'Wear as many
|
|
pieces of clothing with shows that you've worked on before day.' So you
|
|
have the QUANTUM LEAP pants, and the MURDER SHE WROTE t-shirt, and
|
|
the crew jacket for MAGNUM on top of that, with the hat from SNEAKERS ...
|
|
it's the ultimate in logo display."
|
|
But "logo display" is not Jerry Doyle's thing. "What's the deal with
|
|
wearing everybody's name on the outside? I don't get it. They want you to
|
|
have a picture of the President for fifty bucks or a hundred bucks. And
|
|
I'm saying to myself, does he have a picture of me on his desk? Until he
|
|
does, I'm not interested in having him on MY desk."
|
|
If you're beginning to get the idea that he might be a little bit
|
|
cynical, you're wrong. He's a LOT cynical. "I've met a lot of different
|
|
people in a lot of different positions in various companies, not only in
|
|
this country, but around the world. And it's amazing. They have an
|
|
ability to shake your hand while they're sticking the knife in your back at
|
|
the same time. And they'll do it in such a nice way that you smile while
|
|
you're bleeding to death."
|
|
He coughs and lights up a cigarette. "You have to empower yourself.
|
|
Everybody lives under this thinking that there's a certain formula, or a
|
|
certain way of living that you have to live, a certain road map that you
|
|
have to follow, and I just don't buy into it. My dad was a cop, and he
|
|
died when he was forty-one and I was eleven. Now when you're eleven,
|
|
forty-one is ancient. But when you're thirty-seven, forty-one is around
|
|
the
|
|
corner. And I decided when I go out, I'm going kicking and screaming,
|
|
doing exactly what I want to do, and my last check's gonna bounce. That's
|
|
the philosophy. That's what I've decided to do."
|
|
But while he talks tough, he's not unapproachable. Asked the reader-
|
|
submitted question "Is he aware that he will soon have droves of screaming
|
|
sci-fi geek-chicks running after him," he said "Cool. I look at it this
|
|
way. I came into this business because I wanted to. Nobody invited me.
|
|
No one said, 'hey, we really want you to quit what you're doing and come to
|
|
LA and get on TV.' So what we do lends itself to introducing ourselves to
|
|
the public. And the public, they are the ones who keep the show on the
|
|
air."
|
|
But in a genre that has become lulled by the pacifist philosophy of
|
|
Gene Roddenberry's STAR TREK, B5 sometimes hits hard, causing some people
|
|
to accuse the show of appealing to the "lowest common denominator" in
|
|
television audiences. It doesn't seem to be an opinion Mr. Doyle shares.
|
|
"I've gotten feedback from doctors, and heads of corporations, and brokers
|
|
and traders, and truck drivers, engineers and computer guys that dig the
|
|
show. I don't think there's one constant demographic that this show is in
|
|
tune with... I think we've done a good job of addressing relationships, the
|
|
power structure, we can take a look at modern day events and really put
|
|
things in a futurist tone. What do you do with career criminals? What do
|
|
you do with murderers? What's the penal system like, what's the medical
|
|
system like? Is there a welfare system? All these things come out in kind
|
|
of weird ways because looking at it from my standpoint, the world is just
|
|
as trashed in 2258 as it is today. You'd think we'd get something right.
|
|
I mean, we still eat meatloaf, which isn't a bad thing but ... We still
|
|
have the same problems and situations, the same upheavals and backstabbing
|
|
and conniving and wheeling and dealing that you have today. We deal with
|
|
issues of prejudice. And now it's not necessarily Earther against Erther.
|
|
It's pro-Earth versus anti-Mars or things like that. In the year 2258
|
|
we're still pretty wacky."
|
|
His philosophy on the crux of the matter can probably be summed up by
|
|
an answer he once gave a convention-goer who asked him he if thought
|
|
science fiction fans were geeks. He pointed out that the chairman of IBM
|
|
can drive down the road at 2 a.m. on Halloween with an arrow through his
|
|
head and it's considered normal. "Forget about it. Do what you want to
|
|
do, and have fun with it. That's what it's all about. If we have fun
|
|
making it, and you have fun watching it, then we all have fun, and what the
|
|
hell else is there?"
|
|
---------------------------------------------------------------------------
|
|
|
|
--!4!-- What IS a Cinematographer, Anyway? (Steven Poster, A.S.C.)
|
|
---------------------------------------------------------------------------
|
|
|
|
Ask 100 people coming out of the average movie theater what a
|
|
"cinematographer" does, and chances are you'll be lucky if 5 of them can
|
|
tell you. And four of them will probably have only a vague idea.
|
|
It's surprising, considering that the cinematographer, also called
|
|
the "Director of Photography," is the person responsible for making sure
|
|
that what is in the Director's mind is what finally makes it to the
|
|
screen. He (or she) supervises camera angles and lighting and works
|
|
with the director to establish a "style."
|
|
Steven Poster is one of those exceptional cinematographers who
|
|
belong to the American Society of Cinematographers, entitling him to
|
|
place the coveted "A.S.C." after his name. You can catch his work on
|
|
cable in the movie ROSWELL, directed by his friend Jeremy Kagan.
|
|
ROSWELL is a film based on the book THE ROSWELL INCIDENT by Charles
|
|
Berlitz and William L. Moore, which chronicles the events surrounding an
|
|
alleged UFO landing at Roswell, New Mexico, in 1947.
|
|
"Every event in the movie is corroborated by at least two signed
|
|
affidavits of people who were interviewed for the book. So with this
|
|
film, we're not saying 'this is real, this exists, this is what
|
|
happened.' What we're doing is we're showing, from various people's
|
|
points of view, what they experienced."
|
|
Accuracy wasn't the only challenge of this film. It is a "frame"
|
|
story, centering around Major Jesse Marcel, the first man called to the
|
|
scene, retuning to a base reunion in 1977. "Jesse Marcel was
|
|
discredited for talking about this publicly, and never knew really what
|
|
went on, because he was taken out of the loop so early in the game.
|
|
"Probably the greatest challenge was developing the styles and
|
|
carrying them out so that they were on one hand subtle enough to not be
|
|
glaring. -- you know, 'Bang, this is a new style -- but also different
|
|
enough to be able to give the audience the perception that this was
|
|
somebody else's point of view. It's kind of a delicate balance. The
|
|
thing that Jeremy is great at is carrying these out through the
|
|
performance and the staging. So I was able to develop the ideas and
|
|
work with him on it and come to a consensus so that we could then work
|
|
as you have to on the set -- almost automatically."
|
|
But Poster is no stranger to challenges, or to UFO's. ROSWELL is a
|
|
tiny film compared to some of his past work, such as BLADERUNNER and
|
|
CLOSE ENCOUNTERS OF THE THIRD KIND.
|
|
"Oh God it was like a gift. It was wonderful. CLOSE ENCOUNTERS
|
|
was like doing a masters thesis for me. I was the Second Unit Director
|
|
of Photography. I was there for fourteen weeks, working on the set
|
|
closely with Phil Sigmond the cinematographer and Steven [Spielberg].
|
|
"I was very young at the time and got to play in different
|
|
playgrounds that I had never been able to experience before. I mean it
|
|
was one of the largest movies ever made. It was definitely the largest
|
|
movie ever made at the time. I had a lot of time on my hands during
|
|
that work so I really got to spend time with the special effects
|
|
department, with the visual effects department, with all the various
|
|
departments and learn a tremendous about what was going to be my
|
|
profession.
|
|
"It was a fascinating summer. We all kind of expected all summer
|
|
to see a real UFO. Nothing like that ever happened [but] we were all
|
|
anticipating, we were all there ready for the experience. So it was
|
|
quite a wonderful summer of just learning and being involved with the
|
|
genre that I was very much fascinated by, from the time I was ten."
|
|
"BLADE RUNNER was different. I was there for about three or four
|
|
weeks. I was brought in towards the end to do one shot and managed to
|
|
accomplish that shot in a way that caught [director] Ridley [Scott]'s
|
|
eye and he decided to keep me on and gave me a lot more to do. So I
|
|
consequently did. While they were doing the major effects sequences,
|
|
which meant that they would be doing one or two or three setups a day,
|
|
Ridley and I would run off to other sets and do complete scenes with a
|
|
small unit. So that was quite fun."
|
|
These days, Poster also has other important events on his mind.
|
|
Head of the A.S.C.'s committee formed to educate the United States
|
|
congress about High Definition Television (HDTV), he has his hands full.
|
|
"I've been involved in digital both on a practical level and a
|
|
political level for quite some time now. As you know the government is
|
|
now making choices for what HDTV is going to be. We have been presented
|
|
with a standard that's being chosen at this very moment that was chosen
|
|
by the engineers. So there's this digital and technical standard that's
|
|
being dictated to us by engineers and by the manufacturers of video
|
|
equipment, most of which are Japanese. So recently the American Society
|
|
of Cinematographers got involved in making some recommendations on how
|
|
we feel the visual presentation of material on television should be
|
|
handled. We were never asked to be involved and so after all this
|
|
development was done we finally came out and said we can't in all good
|
|
consciencness let this go on without making a statement about it. So we
|
|
have gotten involved politically in the development of HDTV.
|
|
"It's one of my pet projects. I'm the chairmen of this ad hoc
|
|
committee that we have that's making these recommendations. What we're
|
|
recommending is progressive versus inlaid scan, which means that we'd
|
|
rather have the kind of display that goes on a computer than goes on a
|
|
television. That's entirely possible. We're also recommending the
|
|
aspect ratio -- the size and shape of the frame -- which was chosen as
|
|
what they call 16 x 9 ratio. We wanted it to be a two to one ratio
|
|
that would fit the motion picture standards that have existed for forty
|
|
years now.
|
|
"Of course, there's a big fight going on with this right now. They
|
|
don't want to hear that in fact it is technically possible to do
|
|
everything we are saying we feel is better for the public. There saying
|
|
'Oh but we spent so much money developing this.' Well, there is no
|
|
American company that has spent money, it's all Japanese companies.
|
|
And it's all Americans working fo Japanese companies that are trying to
|
|
push this forward without any involvement in the artistic community.
|
|
"We already have had some success, and the government has paid some
|
|
attention to us because they realize what we're saying is better for the
|
|
people than what the Japanese are saying. You know there have been
|
|
certain factions of this country that have been in bed with the
|
|
manufactures for a long time and they don't want us to say these things.
|
|
It's our position we have to, because it's so important. We are going
|
|
to be stuck with a mediocre standard for twenty years if we don't, when
|
|
in fact the new technology is coming so quickly and it can be flexible.
|
|
If we accept their standards it won't be flexible."
|
|
And as for the Information Super Highway... "you have to
|
|
understand, it's really a bunch of media hype. First of all who cares
|
|
if there is five hundred channels if there's no good material on them to
|
|
watch. If you got a thousand people together and said 'OK all you
|
|
people who want bigger and better TV, raise your hands', and 'all you
|
|
people who want better programming raise your hands'. I think you'd see
|
|
a thousand people raise there hands for better programming. Who cares
|
|
if there's five hundred channels. I think the public should be aware
|
|
what's put forward about all of this and take it all with a grain of
|
|
salt. I think we're being sold a bill of goods. Fortunately the
|
|
Clinton government and Al Gore particularly and people like Ed Markey
|
|
are very much in tune with this. And if they get the right information
|
|
they will make the right decisions. But its very important for them to
|
|
get the right information and that's what we're trying to do."
|
|
ROSWELL began airing on cable beginning July 31, 1994. You can also
|
|
catch his work in the film for which he was nominated for an American
|
|
Society of Cinematographer's Award, Ridley Scott's SOMEONE TO WATCH OVER
|
|
ME.
|
|
---------------------------------------------------------------------------
|
|
|
|
--!7!-- Mini-Reviews
|
|
---------------------------------------------------------------------------
|
|
TONGUING THE ZEITGEIST by Lance Olsen
|
|
Permeable Press, (bcclark@igc.apc.org) ISBN 1-882633-04-0
|
|
review by TJ Goldstein
|
|
It's probably a good thing that I had asked for a reviewer's copy
|
|
of this book BEFORE I read the sample chapter posted on-line. With only
|
|
one typeface, it seemed a bit too weird for me. But with the more
|
|
esoteric passages identified as song lyrics, it became tolerably
|
|
strange. It's a wild ride through a possible future that seems all too
|
|
possible in a present where image is everything. Some passages are a
|
|
bit explicit, but Olsen has produced an enthralling piece of work.
|
|
|
|
SUMMER OF LOVE by Lisa Mason
|
|
Bantam/Spectra, ISBN 0-553-37330-7
|
|
review by TJ Goldstein
|
|
It starts slowly and drags a little in the middle, but it's worth
|
|
sticking it out. A time traveling classic we-have-to-save-one-
|
|
seemingly-insignficant-person-in-the-middle-of-major-events-in-order-to-
|
|
save-hstory-as-we-know-it plot with an overused ending, but Mason makes
|
|
it worth the ride. The setting is the Haight-Ashbury during the summer
|
|
of 1967 (hence the title) and it is obvious that Mason has a) done her
|
|
research and b) not lost what got her into sf in the first place. Lots
|
|
of in-jokes for the sf-lover.
|
|
|
|
FIVE HUNDRED YEARS AFTER by Steven Brust
|
|
Tor, ISBN 0-312-85179-0, currently available in hard cover
|
|
review by David Gibbs
|
|
FIVE HUNDRED YEARS AFTER is the much-awaited sequel to THE PHOENIX
|
|
GUARDS, though there is no need to have read TPG before reading this
|
|
story. It is set some 500 years later, though with many of the same
|
|
characters. For anyone not familiar with TPG, the style is quite
|
|
unusual. Its internal story is that it was written by a historian (of
|
|
the portrayed world) named Paarfi, and translated by Brust. Paarfi is
|
|
quite long-winded, and the dialogue style of the characters is similar,
|
|
but the characters are engaging, and well-drawn, the situation is
|
|
interesting and the story still flows well. It is easily strong enough
|
|
to overcome the unusual style. (It could best be described as a Dumas
|
|
pastiche, in fact.) On the whole I strongly recommend this book, I am
|
|
not unhappy to have bought it in hardcover, and it is definitely worth
|
|
buying in paperback.
|
|
|
|
DAGGERSPELL by Katherine Kerr
|
|
Del Rey Fantasy, ISBN 345-34430-8, (1986)
|
|
review by David Gibbs
|
|
The core element of DAGGERSPELL is the idea of reincarnation, with the
|
|
actions of past levels creating a karma or "wyrd" that must be played out
|
|
in future lives, and the book tells of a small group of people whose fate
|
|
has been tied together. Since it deals with reincarnation, this does
|
|
involve happenings at different times, and despite the insulting Editor's
|
|
Note on the title page of the prologue ("Editor's Note: These dates are
|
|
important for an understanding of the story...") it is quite easy to
|
|
follow, and is actually an interesting and enjoyable tale. There are also
|
|
interesting larger events going on in the background, which interact with
|
|
and influence the core group of characters, and we see these events
|
|
primarily through their eyes. It does end leaving room for a sequel, and
|
|
the sequel exists - DARKSPELL, though the sequel leaves the expectation of
|
|
more books.
|
|
|
|
UNCHARTED TERRITORY by Connie Willis
|
|
Bantam Spectra, ISBN 0-553-56294-0 (1994)
|
|
review by TJ Goldstein
|
|
Most Americans know that there is a feeling in this country that when
|
|
the first explorers and colonists arrived, they pretty well screwed things
|
|
up for the indigenous people who were already here. This book is based on
|
|
the concept of exploring a newly discovered planet based on the rules that
|
|
hindsight would place on those explorers, such as ecological responsibility
|
|
and respect for the indiges. It's a light and humorous read, however, as
|
|
things are complicated by the fact that the fines levied for violations
|
|
(such as footprints -- "disturbance of land surface") got to the indiges,
|
|
so they're getting fined left and right. Add a little bit of light
|
|
romantic entanglement and you've got a great read for a rainy afternoon.
|
|
|
|
---------------------------------------------------------------------------
|
|
|
|
--!8!-- The Infamous Reply Cards and What You Said
|
|
---------------------------------------------------------------------------
|
|
by Linda E. Smit
|
|
|
|
[Issue 2:2 asked two involved questions. We'll cover this one now and save
|
|
the question about world dependence on the net for next issue. -- TJ]
|
|
|
|
Do you think there is a lack of strong female roles in written and visual
|
|
science fiction today, and why?
|
|
|
|
Rather than spouting numbers, this question asks for some careful
|
|
consideration. I can't repeat all the comments our readers made, but I can
|
|
say that the vast majority of you, men and women alike, feel that female
|
|
roles are getting better but still have a long way to go. Several of you
|
|
mentioned that written science fiction has moved ahead of visual in its
|
|
portrayal of women, because more women are writing science fiction. One
|
|
reader suggested that "younger writers mostly have a more modern view of
|
|
women" and are therefore more able to portray women realistically. Several
|
|
folks said they felt women are not the only minority poorly portrayed in
|
|
visual science fiction; most minorities are only represented so that the
|
|
show can be "politically correct".
|
|
But since so many of you are better at forming your opinions into
|
|
words than I could possibly be at paraphrasing them, I thought a few direct
|
|
quotations would be in order. So, here's what you had to say :
|
|
|
|
"I didn't like SQ-DSV, the Woods Hole guy at the end seemed like an
|
|
apology or afterthought for science. There was not enough character
|
|
development in the writing, or cohesion in the crew. Wherever you have well
|
|
written characters the stories are always more convincing because you
|
|
identify with them and again are able to suspend disbelief. Maybe it needs
|
|
good writers to develop characters well so it lifts the whole standard of
|
|
what is written?"
|
|
|
|
"I don't think so, because when it comes right down to it, any role
|
|
could be played by a man or a woman. Picard may have been written for a
|
|
man, but that doesn't mean they couldn't have cast a woman in the role.
|
|
(Jenny-Luc Picard?)"
|
|
|
|
"As for visual arts, TV and movies, they are lagging behind, but not
|
|
merely as science fiction. I think there is a lack of good roles for women
|
|
in most TV and movies regardless of genre. Those that are good are the
|
|
exception, not the rule, yet."
|
|
|
|
"Science fiction is, as it has always been, the most gender-friendly
|
|
artistic medium. I see no lack of female roles, and they are far ahead of
|
|
other entertainment genres."
|
|
|
|
"It is not so much a lack of strong female roles as a lack of the
|
|
ability to write them properly. All too often, a strong female role is
|
|
portrayed as either a tough masculine character, like Ivanova on Babylon-5,
|
|
or an irate rebellious character, like Kira on DS9. However, if you look
|
|
at the business world today you see women who are strong but still retain
|
|
their femininity."
|
|
|
|
"Yes and no. Many of my favorite characters are strong women--but
|
|
these are frequently the 'gun-totin' babes' that set feminists' nerves on
|
|
edge, so they are often left out of the tallies. In my experience, more
|
|
men are interested in sci-fi than women, and I don't believe that this can
|
|
simply be chalked up to social conditioning. I am willing to admit that my
|
|
testosterone level predisposes me to certain themes--most of which are
|
|
portrayed very nicely in sci-fi. Some women are less willing to admit
|
|
corresponding tendencies. However, I believe that as the genre matures,
|
|
women will find a larger place within it."
|
|
|
|
Okay, so who did you think was a strong female character?
|
|
Ripley from Aliens (some said too strong)
|
|
Worf's mate K'Ehleyr (killed off quickly)
|
|
Dana Scully from X-Files
|
|
|
|
And, finally, three terse thoughts to leave you with :
|
|
|
|
"Yes! Sci-Fi has this image of only being enjoyed by geeky boys and
|
|
men who have never seen a real woman. So producers tend to cater to this
|
|
stupid image. Personally it irritates me."
|
|
|
|
"Yes. Things are getting better--it's possible to see some good
|
|
female roles (LeGuin and Bradley come to mind), but they're still
|
|
outweighed by the stereotyped acolytes of the Laws of Commercial Appeal.
|
|
The scene is better in literature than in TV and movies."
|
|
|
|
"It is not as bad as it used to be of course, but there is still room
|
|
for more women who aren't bitch-radical-feminist-can-only-be-a-good-leader-
|
|
if-I-pretend-to-be-a-man slop roles. Did that make any sense? What I mean
|
|
is most female roles in sci-fi (Aliens, Leviathan, etc.) were all IMHO too
|
|
far over the edge."
|
|
---------------------------------------------------------------------------
|
|
|
|
|
|
--!9!-- Shoelaces of Truth: The News, The Whole News, and Nothing but the
|
|
News
|
|
---------------------------------------------------------------------------
|
|
[Dedicated to Mark Twain's principle that "A lie can travel halfway around
|
|
the world while the truth puts on its shoes."]
|
|
|
|
....................
|
|
|
|
BABYLON 5 NEWS
|
|
....................
|
|
by TJ Goldstein
|
|
|
|
Big changes are apparently on the way for BABYLON 5. In a mutual
|
|
decision between him and the producers, MICHAEL O'HARE is leaving the show.
|
|
This is NOT a matter of him being fired, nor is it a matter of him leaving
|
|
in a huff. His character, Jeffrey Sinclair, is being written out to allow
|
|
for what is supposed to be fantastic plotlines surrounding his departure.
|
|
O'Hare is still committed to the show, and will be returning from time to
|
|
time, but is reportedly glad to be able to pursue other offers. Sinclair's
|
|
exploits may be followed in the upcoming DC comic based on the show. The
|
|
comic will be a landmark in continuity, with events in the show being
|
|
mentioned casually in the comic -- and vice versa.
|
|
Commander Jeffrey Sinclair will be transferred to the Minbari
|
|
homeworld at the beginning of next season and will be replaced by Captain
|
|
John Sheridan, a war hero-rned-diplomat to be played by BRUCE BOXLIETNER,
|
|
lately seen on tv in SCARECROW AND MRS. KING and BRING 'EM BACK ALIVE and
|
|
known to sf fans as TRON. Sheridan will be appointed as head of B5 over
|
|
the opposition of the Minbari, in response to Earth's concerns that the
|
|
Minbari have too much influence over the station. In contrast to
|
|
Sinclair's war history, Sheridan is the only Earth commander to score a
|
|
victory over the Minbari as Captain of the ship Agamemnon. He will appear
|
|
in the first episode of the new season. (Look for Sinclair's future in
|
|
SPOILERS AHOY.)
|
|
The season premiere has been moved to October to put it closer to the
|
|
standard television season.
|
|
In other casting news, actress CAITLIN BROWN, who played G'Kar's aide
|
|
Na'Toth, is also leaving the show to pursue other offers. Her role,
|
|
however is being recast. The show's creator, J. MICHAEL STRACZYNSKI, has
|
|
joked that they considered having a running joke involving Narn aides and
|
|
airlock accidents, but Na'Toth's character possesses knowledge that is
|
|
necessary later in the run of the show.
|
|
|
|
....................
|
|
|
|
STAR TREK NEWS
|
|
....................
|
|
by TJ Goldstein
|
|
|
|
There's been quite a fuss about a script for STAR TREK: GENERATIONS
|
|
that was posted to the Internet and on various BBS's. It's authenticity
|
|
was in dispute, but it agreed with all tidbits that had already been
|
|
released to the press. Then Paramount lawyers reportedly descended on the
|
|
persons responsible, which was tantamount to proof that the script was
|
|
indeed genuine. It's authenticity is now being generally acknowledged. JM
|
|
Dillard will be writing the novelization, which is scheduled for December.
|
|
STAR TREK: VOYAGER is also moving along, though it has been nicknamed
|
|
by the fans as "Gilligan's Trek" due to the basic plot. Some rumors have
|
|
placed LINDSAY WAGNER (THE BIONIC WOMAN) at the helm of the Voyager, but
|
|
others have claimed that the quest for a female captain has been abandoned.
|
|
The ship is sucked into a sort of galactic Bermuda Triangle while chasing
|
|
after a ship full of renegade Starfleet officers (possibly related to DSN's
|
|
"Maquis"). Thrown to the far reaches of the galaxy, they spend the series
|
|
interacting with new species and trying to find thier way home.
|
|
On a final note, the National Aeronautics and Space Administration
|
|
(NASA) has confirmed that the ashes of Gene Roddenberry did indeed fly on a
|
|
shuttle mission sometime after his death, but will not specify which one.
|
|
The Great Bird of the Galaxy was listed as a "personal effect."
|
|
|
|
....................
|
|
|
|
SEAQUEST DSV NEWS
|
|
....................
|
|
by Edwin Yau
|
|
|
|
As you will all know by now, NBC recently released a statement saying
|
|
that SEAQUEST DSV has been renewed for a second season of 22 episodes, with
|
|
production moving to Universal Studios in Florida. This will help keep the
|
|
costs down. Sets will be redesigned for the second season, in particular
|
|
the bridge will see a major change. The series will be leaning towards
|
|
more SF-orientated plots. It will still be aired at 8pm on Sundays, which
|
|
means it will continue it's battle with LOIS & CLARK. Although ratings
|
|
have been showing improvement, we will have to wait for season 2 ratings
|
|
before we will know if the new changes will work better in the series'
|
|
favour.
|
|
Meanwhile, Stephanie Beacham, who plays Dr. Kristen Westphalen in
|
|
the series, is not willing to move to Florida and has left the series.
|
|
This is a great shame as she did a great job as Westphalen and bought a
|
|
grace to the series. In addition to Stephanie Beacham, Stacy Haiduk
|
|
(Katherine Hitchcock), John DiAquino (Ben Kreig) and Royce Applegate
|
|
(Chief Crocker) will not be returning to the series, although they may
|
|
occasionally guest star. This is reportly due to the producers wanting
|
|
a younger cast, which is a bit strange in the case of Stacy Haiduk and
|
|
John DiAquino.
|
|
The new season includes five new cast members: Edward Kerr (from
|
|
SECRETS OF LAKE SUCCESS) stars as Lt. James Brody, a cocky special
|
|
weapons and tactics expert; Rosalind Allen (from RAY ALEXANDER: A TASTE
|
|
FOR JUSTICE) plays Dr. Wendy Smith, a biophysicist and psychologist
|
|
gifted with unusual ESP (Extra-Sensory Perception) powers; Michael
|
|
DeLuise (from NYPD BLUE) is Tony Piccolo, a misfit who was physically
|
|
altered as a result of a scientific experiment; Peter DeLuise (21 JUMP
|
|
STREET) plays Dagwood, the ship's janitor, who comes from a genetically
|
|
engineered race known as Daggers. Finally there's Kathy Evison who
|
|
stars as Ensign Henderson, a naive newcomer to the crew.
|
|
The first season of SEAQUEST DSV survived the onslaught of it's
|
|
main competitor, LOIS AND CLARK, and was a ratings success for NBC
|
|
among key demographics, being placed first in the highly competitive
|
|
Sunday, 8-9 p.m. ET, time period among adults 18-49 years of age.
|
|
A new seaQuest ship has been built by the year 2021, the first
|
|
ship having been destroyed at the end of it's first tour of duty in the
|
|
year 2019. The second season starts off in the year 2021 with the
|
|
seaQuest being staffed with a workforce of top scientists, explorers
|
|
and naval personnel. Bristling with high-tech equipment, the seaQuest
|
|
remains battle-ready as she and her crew patrol and explore the
|
|
wonders of the vast undersea canyons, shelves and mountains on its
|
|
mission of peace and exploration.
|
|
No news as of yet when the show will return to UK screens. There
|
|
is talk of a UK video release of the series later in the year. It is
|
|
hoped that when released, the pilot will be the unedited 90-odd minute
|
|
version, and not the ITV TV version which was edited to approximately
|
|
73 minutes!
|
|
The Washington-based Center for Media and Public Affairs has
|
|
produced a list of the ten most violent shows on American TV. SEAQUEST
|
|
DSV is listed among them, placed 7th above STAR TREK:DEEP SPACE NINE,
|
|
WALKER - TEXAS RANGER and SOUTH OF SUNSET. Having seen over half of
|
|
the first season, I do not believe they are correct as listing the
|
|
series as a violent one. The only really violent episode in my opinion
|
|
is the SEAWEST episode which did have a lot of fighting involved.
|
|
As far as merchandising is concerned, SEAQUEST DSV action figures from
|
|
Playmates are now available here in the UK. They cost #6.99 UK pounds each
|
|
and come with usually 6-7 accessories.
|
|
Finally, the latest monthly updates of the SEAQUEST DSV episode
|
|
guide, FAQ and timeline guide are available for ftp at
|
|
ftp.hyperion.com, gandalf.rutgers.edu and src.doc.ic.ac.uk.
|
|
....................
|
|
|
|
OTHER TV NEWS
|
|
....................
|
|
|
|
EARTH II: STEVEN SPIELBERG'S Amblin Entertainment is busy on the
|
|
television front. The show is set in a time when mankind has rendered the
|
|
Earth unlivable and occupies space stations. Against government orders, an
|
|
expedition sets out for a new home 22 light years away, but crashes,
|
|
destroying all their advanced equipment. Head of the expedition is Devon
|
|
Adair, played by DEBORAH FARENTINO. Included in the cast are JOEY
|
|
ZIMMERMAN, CLANCY BROWN, J. MADISON WRIGHT, JESSICA STEEN, SULLIVAN
|
|
WALKER, ANTONIO SABATO, JOHN GEGENHUBER and REBECCA GAYHEART. The show
|
|
will debut in November and we will have more information next issue.
|
|
|
|
TEKWAR, the series of novels by WILLIAM SHATNER turned series of television
|
|
movies, has been turned into a weekly series. Plans have been made to
|
|
spend $36 million on 24 episodes to continue with the same cast, including
|
|
GREG EVIGAN as Jake Cardigan. It will run on CTV in Canada and in first-
|
|
run syndication in the United States.
|
|
|
|
The focus of LOIS AND CLARK: THE ADVENTURES OF SUPERMAN will be changing
|
|
for the second season, with a heavier emphasis on action and adventure and
|
|
an almost complete replacement of writing staff. The Daily Planet has been
|
|
reassembled, and rumors are that Luthor will wind up in jail and begin
|
|
directing other criminals from there. (There is no word as to how he
|
|
survived plunging to the streets of Metropolis.) He will appear in 6
|
|
episodes.
|
|
The staff of the show, however, has suffered a massive shakeup.
|
|
Executive Producer DEBORAH JOY LEVINE has been replaced and will now be
|
|
listed as a Executive Consultant. This is rumored to be partly her choice
|
|
due to an unwillingness to be a party to the changes in the works. One of
|
|
those changes will be the departure of MICHAEL LANDES and his replacement
|
|
by JUSTIN WHALEN as Jimmy Olsen. The new producers, who include ROBERT
|
|
SINGER as executive producer and JAMES CROCKER (formerly of STAR TREK: DEEP
|
|
SPACE NINE) as producer, reportedly felt that Landes was too old for the
|
|
role. TRACY SCOGGINS (Cat Grant) has also left the show, reportedly
|
|
because she was unhappy with the shallow nature of the writing for her.
|
|
She had filmed a pilot for a SF spoof called GALAXY BEAT, but CBS "decided
|
|
not to go ahead with the project," according to the producton company.
|
|
|
|
JURASSIC PARK author MICHAEL CRICHTON will be writing and producing E.R.
|
|
for NBC about interns in a Chicago hospital. Stars reportedly include
|
|
ANTHONY EDWARDS and SHERRI SPRINGFIELD.
|
|
|
|
THE ADVENTURES OF BRISCO COUNTY JR. has been canceled and replaced by
|
|
M.A.N.T.I.S., however recently Fox has been showing it sporadically at
|
|
various times of the week, so the time to get letters of support in is
|
|
right now. The address is FOX, Box 900, Beverly Hills, CA 90213.
|
|
|
|
M.A.N.T.I.S. has been completely revamped from the pilot. Basically, the
|
|
only thing that remains is the basic idea and the main character. The
|
|
costume, producers, attitude, and cast have been changed. The characters
|
|
will not be drawn as broadly, nor is the attitude as campy as it had been
|
|
in the pilot. The cast will also be more multi-cultural. There will be a
|
|
heavy anti-violence slant, and Miles (the hero) comes out strongly in favor
|
|
of gun control.
|
|
The new costume is not as bizarre as the old one, and is more the
|
|
silver-leotard-and-fiberglass look. There will also be more special
|
|
effects and gadgetry. Also, Miles' hideout, so to speak, has been
|
|
redesigned, and has been described as a cross between the batcave and the
|
|
bridge of the Enterprise-D.
|
|
CARL LUMBLY will remain as the main character, and will be joined by
|
|
ROGER REIS (NICHOLAS NICKLEBY, ROBIN HOOD: MEN IN TIGHTS, CHEERS) as Miles'
|
|
best friend and inventor John Stonebrake. Also joining the cast are GALEN
|
|
GORG as the love interest, a detective who thinks she knows who
|
|
M.A.N.T.I.S. is, and CHRISTOPHER GARTIN as Taylor Savage, a bike messanger
|
|
who DOES know.
|
|
The show will premier August 26th on Fox.
|
|
|
|
WEIRD SCIENCE will also be returning for a second season on USA. Look for
|
|
more special effects this year.
|
|
|
|
SCOTT BAKULA has reportedly signed a long term deal with Warner Bros.
|
|
He'll also be providing one of the voices in Turner Pictures' CATS DON'T
|
|
DANCE.
|
|
|
|
Television newsman LARRY KING will be hosting a live investigation in the
|
|
U.S. Government's (allegedly) secret UFO research site, Area 51. Airing on
|
|
TNT October 1, it will be called THE UFO COVER-UP: LIVE FROM AREA 51-A
|
|
TNT LARRY KING SPECIAL.
|
|
|
|
The short-lived SPACE RANGERS is out on video, including the two episodes
|
|
that never aired. It is reportedly available only as a complete 3 tape set
|
|
for $99. For more information, contact garyblog@aol.com.
|
|
|
|
Mark Hammill is reportedly doing the voice-overs for FIREMAN SAM, a BBC
|
|
kids puppet show.
|
|
....................
|
|
|
|
MOVIE NEWS
|
|
....................
|
|
A number of rumors seem to have been started by an April Fool's day joke.
|
|
Just to clear them up: Jack Nicholson has NOT sued Warner Bros. to have
|
|
himself replace Mark Hammill as the voice of the Joker on BATMAN: THE
|
|
ANIMATED SERIES. JURASSIC PARK is NOT being made into a series of TV
|
|
movies on ABC (though a sequel is apparently in the works for a 1996
|
|
release). Fox is NOT creating a show about experts in Clipper Chip
|
|
technology called TALES FROM THE CLIPPED. There will NOT be a show about
|
|
two science fiction writers living in a run down tenement called GHOST
|
|
WRITERS IN THE STY. WILD CARDS is NOT being made into a series. Neither
|
|
is X-MEN (aside from the cartoon, of course). The Sci-Fi Channel is NOT
|
|
going to do a show called REAL CON GAMES.
|
|
|
|
The budget for JOHNNY MNEMONIC is reported to be about $28 million.
|
|
|
|
PIERCE BROSNAN has been officially hired to play the next James Bond. He
|
|
had been selected to replace ROGER MOORE in the early 1980's, but NBC
|
|
refused to let him out of his contract for REMINGTON STEELE. According to
|
|
the HOLLYWOOD REPORTER, last month supposedly signaled the start for
|
|
filming on LAWNMOWER MAN II, starring Brosnan.
|
|
|
|
It seems that Arnold Schwarznegger is no stranger to military equipment --
|
|
even before his run as an action superstar. According to Reuters, in 1966
|
|
he was a conscript in the Austrian army, and he just purchased the 45 ton
|
|
M47 tank he drove at the time to place on display outside on of the Planet
|
|
Hollywood restaurants he jointly owns.
|
|
|
|
Rumors: RAY BRADBURY is reported to be writing the screenplay for a film
|
|
version of FAHRENHEIT 451, to star MEL GIBSON. Also, TOM CRUISE in a film
|
|
version of MISSION IMPOSSIBLE, directed by BRIAN DEPALMA and (re)written by
|
|
JURASSIC PARK scriptwriter DAVID KOEP.
|
|
|
|
....................
|
|
|
|
WRITTEN SF NEWS FROM ANSIBLE
|
|
....................
|
|
[Excerpted with permission from ANSIBLE. E-subscriptions available from
|
|
by Dave Langford
|
|
|
|
|
|
PAT CADIGAN's mysterious affliction of Progressive Syllable Loss
|
|
means (she confides) that following MINDPLAYERS, SYNNERS, and FOOLS,
|
|
her next novel has to be called S. After which....
|
|
ROBERT SHEA died of cancer on 10 March. He's best remembered for co-
|
|
writing ILLUMINATUS! with Robert Anton Wilson (still with us, despite a
|
|
tiresome Internet death hoax a week earlier).
|
|
WHO HE? Galaxy-famous fantasy hack Robert Jordan began life as Jim
|
|
Rigney; the celebrated (ANSIBLE, passim) William James of SUNFALL is
|
|
said to be really James William Bell; but who lurks behind the mask of
|
|
gossip columnist Eva D. Fanglord?
|
|
STAR TREK NEWS: "KIRK SPLIT ON HOMOSEXUALITY," says this headline
|
|
from the Catholic mag THE TABLET, and, er.... [MP] [] SOCIOLOGY OF
|
|
RELIGION (55:1, 1994) features "Star Trek Fandom as a Religious
|
|
Phenomenon," by Michael Jindra: "Star Trek fandom involves a
|
|
sacralization of elements of our culture, along with the formation of
|
|
communities with regularized practices that include a 'canon' and a
|
|
hierarchy. Star Trek fandom is also associated with a popular stigma,
|
|
giving fans a sense of persecution and identity common to active
|
|
religious groups." Visions of stigmata in the numinous shape of Starfleet
|
|
insignia....
|
|
FIRE AND WATER, HarperCollins's sf newsletter, "is undergoing a
|
|
radical rethink. The reason for this is that copies were not going out
|
|
of bookshops as had been the original intention. So a new, revamped
|
|
edition is forecast." Real books which suffer this problem just get
|
|
dumped.
|
|
ALMOST CENSORED! I rather hoped to give the vexed subject of Harlan
|
|
Ellison a rest, but Dan Steffan is made of sterner stuff: "On a recent
|
|
episode of the Sci-Fi (gag) Channel show SCI-FI BUZZ, Harlan (their
|
|
weekly crabby commentator) took a camera crew into his house and showed
|
|
them the scene of his earthquake nose-break, accompanied by his out-of-
|
|
breath running description of the events -- we saw the staircase he
|
|
tumbled from, the books (now piled on a pool table) that fell from their
|
|
shelves and the ominously empty spot that once held a framed bit of
|
|
artwork that nearly ended his career when it leapt from the wall,
|
|
straight for HE's head. It was just like watching Oswald get shot or
|
|
seeing the Shuttle explode." [] Chris Priest's THE LAST DEADLOSS
|
|
VISIONS has its first trade publication in May from Fantagraphics
|
|
($6.95), tastefully retitled THE BOOK ON THE EDGE OF FOREVER. In lieu
|
|
of an enthusiastic Ellison jacket blurb, a huge drawing of him dominates
|
|
the cover. Brits can obtain CP's own revised edition directly from him
|
|
at 32 Elphinstone Rd, Hastings, E.Sussex, TN34 2EQ ... #7.50 post free.
|
|
...........
|
|
|
|
Japan Report
|
|
............
|
|
|
|
by David Milner
|
|
|
|
GODZILLA VS. SPACE GODZILLA, which is going to be released in Japan on
|
|
December 10th, will feature Godzilla, the baby Godzilla introduced in last
|
|
year's GODZILLA VS. MECHAGODZILLA, Mothra, an updated version of Mogera,
|
|
the robot seen in THE MYSTERIANS, and Space Godzilla, a monster somehow
|
|
created from the remains of the one Godzilla defeated in GODZILLA VS.
|
|
BIOLLANTE. Space Godzilla will somewhat resemble Godzilla, but he will be
|
|
white instead of gray (Godzilla isn't green -- he's gray) and have a
|
|
crystal on his forehead.
|
|
Akira Ifukube, the person who scored just over half of the Godzilla
|
|
films, has turned down an offer to work on GODZILLA VS. SPACE GODZILLA.
|
|
So, a young composer is going to score the film.
|
|
In the upcoming TriStar Godzilla film, Godzilla reportedly will attack
|
|
both San Francisco and New York. It was rumored some time ago that Alex
|
|
Cox, the director of SID AND NANCY and REPO MAN, would be working on the
|
|
film, but this has turned out not to be true.
|
|
YAMATO LEGEND, the first of a trilogy of films based on the
|
|
mythological story of the creation of Japan, is scheduled to open in Japan
|
|
on July 9th. It features not only a giant eight-headed snake, but also a
|
|
giant robot modeled after a Samurai warrior, a sea serpent and a robot
|
|
bird.
|
|
Filming already is underway on GIANT MONSTER AIR BATTLE -- GAMERA.
|
|
The film, which is due out in Japan next April, will pit Gamera against
|
|
Gaos, the giant vampire bat seen in both GAMERA VS. GAOS and GAMERA VS.
|
|
GUIRON.
|
|
Katsuhiro Otomo, the person who wrote the highly-acclaimed animated
|
|
film AKIRA, is now working on a script for a new film featuring Majin, the
|
|
giant samurai warrior made of stone seen in MAJIN -- MONSTER OF TERROR, THE
|
|
RETURN OF THE GIANT MAJIN and MAJIN COUNTERATTACK. The film will be
|
|
produced only if GIANT MONSTER AIR BATTLE -- GAMERA proves to be
|
|
successful.
|
|
ULTRAMAN: THE ULTIMATE HERO, a television series shot in Los Angeles
|
|
last year, was recently released on home video in Japan. However, it still
|
|
has not been picked up by a distributor in the United States.
|
|
Rights to GRIDMAN, a series similar to ULTRAMAN, were recently
|
|
purchased by Twentieth Century Fox. The show will begin airing on Fox's
|
|
television network under the title SUPERHUMAN SAMURAI CYBER SQUAD within a
|
|
few months.
|
|
....................
|
|
|
|
The UK Connection
|
|
....................
|
|
By Edwin Yau
|
|
|
|
Welcome to a new column which I hope will give you the latest SF/
|
|
fantasy news etc. here in the UK.
|
|
BABYLON 5 started on Channel 4 on Monday 16 May at 6pm. This
|
|
excellent series which has been doing well in the US should be a hit in
|
|
the UK. I'm surprised that Sky satellite did not snap it up like
|
|
they do everything else! Channel 4 plan to show all 22 episodes
|
|
consecutively, which means that, barring any last minute breaks or
|
|
unforeseen problems, UK viewers will have seen the entire first season
|
|
by 10 October, which means that we will have seen the entire season
|
|
only a couple of months after our U.S. cousins would have seen the last
|
|
episode!
|
|
Interestingly, Channel 4's package does not include the B5
|
|
documentary "THE MAKING OF BABYLON 5", but does include the pilot movie
|
|
"THE GATHERING." This pilot will be screened later in the year, the
|
|
date of which has yet to be scheduled. It is presently mooted for
|
|
around the autumn. However, B5 fans will be interested to hear that
|
|
they can now purchase the pilot on video sell-through for #10.99 UK
|
|
pounds.
|
|
The first episode, MIDNIGHT ON THE FIRING LINE, did well in the
|
|
ratings. The second episode, SOUL HUNTER, was edited. A two-second
|
|
shot was cut which should have shown a close-up of a knife used by a
|
|
tramp to kill another tramp. This shot was understandably cut for a
|
|
number of reasons such as the early showing of the series, the current
|
|
debate going on with regards to the violence and horror in movies and
|
|
the recent murders etc.
|
|
A UK version of the BABYLON 5 episode guide will soon be available
|
|
on the Internet, and expect to see one in the national SF/fantasy
|
|
magazine TV ZONE near the end of the year. The magazine is available
|
|
from all large news agents around the country.
|
|
QUANTUM LEAP has nearly finished its entire run on BBC2, with only
|
|
5 episodes to go at the time of writing. However it has been rumored
|
|
that the BBC have purchased the rights to show the entire series again
|
|
at some point in the future.
|
|
TIME TRAX fans are still waiting to hear whether their local ITV
|
|
regions plan to air the series. ITV purchased the series last year and
|
|
originally planned to air it in October '93, but have been holding it
|
|
back for reasons unknown.
|
|
The excellent X-FILES continues its run on Sky One having recently
|
|
been shifted to a Monday 8pm time slot. Meanwhile, the remaining
|
|
episodes of THE YOUNG INDIANA JONES CHRONICLES are now being aired on
|
|
Sky One, Saturdays at 6pm. Again, this means UK viewers will have seen
|
|
the entire run of a U.S. series BEFORE our U.S. viewers - probably the
|
|
first time in UK/U.S. TV history unless anyone knows different.
|
|
One bit of trivia you may be interested in is that UK viewers have
|
|
already seen 3 of 4 episodes not yet aired in the U.S.. These are:-
|
|
"FLORENCE, MAY 1908", "PRAGUE, AUGUST 1917" and "PALESTINE, OCTOBER
|
|
1917". The other episode our U.S. neighbors have yet to see is the
|
|
"TRANSYLVANIA, JANUARY 1918" episode, which UK viewers should have seen
|
|
on 14 May 94, but Sky One aired a repeat instead. Due to the nature of
|
|
the contents, it is planned for a later time slot.
|
|
Finally, staying with Sky One, they have purchased the rights to
|
|
show Stephen King's TOMMYKNOCKERS, THE ADVENTURES OF BRISCO COUNTY JR.,
|
|
and WALKERTEXAS RANGER in the summer.
|
|
---------------------------------------------------------------------------
|
|
|
|
--!11!-- Spoilers Ahoy! (And season 2 of the TWILIGHT ZONE Episode Guide)
|
|
---------------------------------------------------------------------------
|
|
|
|
Babylon 5 (Info from John Hudgens and Arne Starr)
|
|
|
|
Week Of Prod # Title
|
|
---------------------------------------------------
|
|
08/08/94 118 Babylon Squared
|
|
08/15/94 117 The Quality of Mercy
|
|
08/22/94 105R Believers
|
|
08/29/94 TBD
|
|
09/05/94 111R Survivors
|
|
09/12/94 116R Signs and Portents
|
|
09/19/94 114R By Any Means Necessary
|
|
09/26/94 109R Grail
|
|
10/03/94 122R Eyes
|
|
10/10/94 120R A Voice in the Wilderness Part 1
|
|
10/17/94 121R A Voice in the Wilderness Part 2
|
|
10/24/94 112 Chrysalis
|
|
10/31/94 Points of Departure [Season Two Opener]
|
|
|
|
Highlander (Syndicated)
|
|
(Info from Linda Cooksey)
|
|
(airs on WGN at 10:30 pm ET Thursdays the week following "Week Of")
|
|
|
|
Week of WGN Prod # Title
|
|
|
|
08/08/94 8/18/94 93202(2R) Studies in Light
|
|
08/15/94 8/25/94 93203(2R) Turnabout
|
|
08/22/94 9/01/94 93208(2R) Revenge of the Sword
|
|
08/29/94 9/08/94 93204(2R) The Darkness
|
|
09/05/94 9/15/94 93205(2R) Eye for an Eye
|
|
09/12/94 9/22/94 93209(2R) Run For Your Life
|
|
|
|
----------------------------------------------------------------------
|
|
|
|
Time Trax (PTEN/Syndicated)
|
|
(Info from Steve Monares and Steve Kuczaj)
|
|
|
|
Week of Air Ep # Title
|
|
-----------------------------------------------------------------------
|
|
[ALL Shows are repeats, the remaining season two episodes will air
|
|
this fall]
|
|
|
|
8/08/94 Mysterious Man
|
|
8/15/94 Framed
|
|
8/22/94 Beautiful Songbird
|
|
8/29/94 Photo Finish
|
|
9/05/94 Perfect Pair
|
|
9/12/94 Catch Me If You Can
|
|
9/19/94 Dream Team
|
|
9/26/94 Almost Human
|
|
|
|
|
|
Robocop: The Series (Syndicated)
|
|
(info from dennys)
|
|
|
|
Week of Title
|
|
-------- --------------------------------------------------
|
|
|
|
8/08/94 Zone Five
|
|
8/15/94 Provision 22
|
|
8/22/94 Faces of Eve
|
|
8/29/94 When Justice Fails
|
|
9/05/94 Heartbreakers (NEW)
|
|
9/12/94 Mother's Day (NEW)
|
|
9/19/94 Nanno (NEW)
|
|
9/28/94 The Human Factor
|
|
10/03/94 Inside Crime
|
|
10/10/94 Robocop VS Commander Cash
|
|
10/17/94 Illusions
|
|
10/24/94 Tin Man
|
|
10/31/94 Sisters in Crime
|
|
11/07/94 Irish Jack (NEW)
|
|
11/14/94 Corporate Raiders (NEW)
|
|
11/21/94 Public Enemies (NEW)
|
|
11/28/94 Heartbreakers
|
|
|
|
|
|
[Editor's note: The TWILIGHT ZONE EPISODE GUIDE is reprinted with
|
|
permission from the author. It has not been edited except to serialize it
|
|
and condense it space-wise. All text is intact. The original is available
|
|
by FTP from gandalf.rutgers.edu.]
|
|
|
|
[This file is from the Sf-Lovers Archives at Rutgers University. It is
|
|
provided as part of a free service in connection with distribution of
|
|
Sf-Lovers Digest. This file is currently maintained by the moderator of
|
|
the Digest. It may be freely copied or redistributed in whole or in part
|
|
as long as this notice remains intact. If you would like to know more
|
|
about Sf-Lovers Digest, send mail to SF-LOVERS-REQUEST@RUTGERS.EDU.]
|
|
|
|
===========================
|
|
TWILIGHT ZONE EPISODE GUIDE
|
|
===========================
|
|
Revision of 9/82
|
|
===========================
|
|
Saul Jaffe
|
|
Lauren Weinstein (vortex!lauren@LBL-UNIX)
|
|
Lauren's rating system
|
|
* ugh. pretty bad.
|
|
** has merit.
|
|
*** good, solid show.
|
|
**** particularly good.
|
|
***** superlative.
|
|
|
|
[Season One was carried in Issue 1:6, Season Two in 2:1, and Season Three
|
|
in 2:2.]
|
|
|
|
FOURTH SEASON Jan-May 1963
|
|
|
|
|
|
SJ: These episodes are one hour in length. They WERE sold into syndication
|
|
but none of the networks air the episodes since they only allow half-
|
|
hour slots for the show.
|
|
LW: Further investigation on my part seems to indicate that they were
|
|
indeed made available for syndication at one time, but apparently
|
|
nobody picked them up. Two things should be noted. First of all, the
|
|
"networks" never buy syndicated programs. Local stations (be they
|
|
independents, network affiliates, or network owned and operated) are
|
|
the entities that buy syndicated programming. Oddly enough, at least
|
|
two major markets (L.A., and apparently N.Y.) have independent stations
|
|
which run the half-hour shows back to back in a one-hour slot. Clearly
|
|
they COULD in theory run the one-hour shows if they wanted to, but
|
|
either nobody wants to or else there are some sort of legal/logistic
|
|
complications in doing so, even assuming they are still available for
|
|
syndication.
|
|
|
|
|
|
IN HIS IMAGE ****
|
|
Writer: Charles Beaumont Director: Perry Lafferty
|
|
Cast: George Grizzard, Gail Kobe, Katherine Squire, Wallace Rooney,
|
|
Sherry Granato, James Seay, Joseph Sargent, Jamie Forster
|
|
The first hour installment of THE TWILIGHT ZONE concerns a young man
|
|
who murders an old woman for no apparent reason. He also discovers all
|
|
sorts of discrepancies in his memories of the town where he THOUGHT he was
|
|
currently living. In the end he discovers a horrible truth about himself.
|
|
LW: I like this one. It does a good job of portraying fear and confusion
|
|
as our hero finds himself deeper and deeper within a nightmarish
|
|
situation. By the way, the opening scene of this episode is a REAL
|
|
winner, something to gladden the heart of many of us.
|
|
|
|
THE THIRTY-FATHOM GRAVE ***
|
|
Writer: Rod Serling Director: Paul Lafferty
|
|
Cast: Mike Kellin, Simon Oakland, David Shiener, Bill Bixby, Tony Call,
|
|
John Considine, Conlan Carter, Derrick Lewis, Charles Kuenstle
|
|
The crew of a Navy destroyer hear strange tapping noises coming from a
|
|
submarine that sank 20 years before.
|
|
LW: This was another famous nightmare producing episode. Bill Bixby? He
|
|
was later of MY FAVORITE MARTIAN and several more recent programs,
|
|
such as THE MAGICIAN and THE INCREDIBLE HULK.
|
|
|
|
THE MUTE ***
|
|
Writer: Richard Matheson Director: Stuart Rosenberg
|
|
Cast: Frank Overton, Barbara Baxley, Ann Jillian, Irene Dailey, Hal
|
|
Riddle, Percy Helton, Oscar Beregi, Eva Soreny
|
|
A little girl raised on telepathic communication must adjust to the
|
|
spoken word after her parents are killed in a fire.
|
|
|
|
JESS-BELLE ***
|
|
Writer: Earl Hamner, Jr. Director: Buzz Kulik
|
|
Cast: Anne Francis, James Best, Laura Devon, Jeanette Nolan, Virginia
|
|
Gregg, George Mitchell, Helen Kleeb, Jim Boles, Jon Lormer
|
|
Thrilleresque occult yarn about a woman (Francis) who sells her soul
|
|
to the Devil to recapture the love of a former suitor (Best). Rural
|
|
witchery from the creator of THE WALTONS.
|
|
|
|
DEATH SHIP ****
|
|
Writer: Richard Matheson Director: Dan Medford
|
|
Cast: Jack Klugman, Ross Martin, Fredrick Beir, Sara Taft, Ross Elliot,
|
|
Mary Webster
|
|
Sets, props, costumes and stock footage from FORBIDDEN PLANET enhance
|
|
this tale about three space travelers who discover their own crashed ship
|
|
and dead bodies when they investigate a strange reflection on a planet
|
|
surface.
|
|
LW: This is really a good episode. It has true recursion, and is one of
|
|
the
|
|
more memorable episodes. Klugman we know from previous TZ's. Ross
|
|
Martin played James West's "sidekick" Artemus Gordon in THE WILD WILD
|
|
WEST.
|
|
|
|
VALLEY OF THE SHADOW ***
|
|
Writer: Charles Beaumont Director: Perry Lafferty
|
|
Cast: Ed Nelson, Natalie Trundy, David Opatoshu, James Doohan, Suzanne
|
|
Capito, Dabbs Greer
|
|
A reporter (Nelson) wanders into a backwoods town and discovers an
|
|
incredible secret that might cause the end of the world.
|
|
|
|
HE'S ALIVE **
|
|
Writer: Rod Serling Director: Stuart Rosenberg
|
|
Cast: Dennis Hopper, Ludwig Donath, Curt Conway, Howard Caine, Barnaby
|
|
Hale, Paul Mazursky, Bernard Pein, Jay Adler
|
|
The "he" of this title refers to Adolf Hitler. A young reactionary
|
|
(Hopper) is guided by a shadowy figure on methods to control and mesmerize
|
|
the populace.
|
|
LW: Not too good.
|
|
|
|
MINIATURE **
|
|
Writer: Charles Beaumont Director: Ralph Senesky
|
|
Cast: Robert Duvall, Pert Kelton, Barbara Barrie, Len Weinrib, William
|
|
Windom, Claire Griswold, Nina Roman, John McLiam
|
|
An unhinged man (Duvall) escapes into a fantasy world by visiting
|
|
a museum's miniature replica of life in the 1890's.
|
|
|
|
PRINTER'S DEVIL ****
|
|
Writer: Charles Beaumont Director: Ralph Senesky
|
|
Cast: Burgess Meredith, Robert Serling, Patricia Crowley, Charles Thompson,
|
|
Ray Teal, Ryan Hayes, Doris Kemper
|
|
A dying newspaper is rescued from oblivion by a mysterious fellow
|
|
(Meredith) whose Linotype machine predicts tomorrow's news.
|
|
LW: This is a pretty good episode. In fact, most of the episodes that
|
|
Burgess had anything to do with turned out well. He can really be a
|
|
sinister fellow in this one ...
|
|
|
|
NO TIME LIKE THE PAST **
|
|
Writer: Rod Serling Director: Justus Addiss
|
|
Cast: Dana Andrews, Patricia Breslin, Robert F. Simon, Violet Rensing,
|
|
James Yagi, Tudor Owen, Lindsay Workman, Reta Shaw
|
|
A moody scientist (Andrews) travels into the past to prevent the major
|
|
catastrophes of history.
|
|
LW: One of the problems with the third season was that plot elements of
|
|
previous shows began to repeat, and the one-hour format was really too
|
|
long. This show is an example of both problems.
|
|
|
|
THE PARALLEL ???
|
|
Writer: Rod Serling Director: Alan Crosland
|
|
Cast: Steve Forrest, Jacqueline Scott, Frank Aletter, Shari Lee Bernath,
|
|
Phillip Abbott, Pete Madsen, Robert Johnson, Morgan Jones
|
|
Following a routine seven-day space flight, an astronaut is catapulted
|
|
into a strange parallel universe.
|
|
LW: The brain cells in charge of remembering this episode seem to be
|
|
on the blink, I cannot remember enough details to rate it. Oh well.
|
|
|
|
I DREAM OF GENIE ***
|
|
Writer: John Furia Director: Robert Gist
|
|
Cast: Howard Morris, Patricia Barry, Loring Smith, Mark Miller, Robert
|
|
Ball, Jack Albertson, Joyce Jameson, Bon Hastings
|
|
A genie pops out of an old brass lamp and offers one magic wish to his
|
|
unwitting liberator.
|
|
LW: The bulk of the show consists of our hero visualizing the various
|
|
things he could wish for and what the outcome of each wish might be.
|
|
Eventually he finds the perfect wish... You may notice a surface
|
|
similarity with a previous episode ("The Man in the Bottle"), but
|
|
unlike that episode, this one is tongue-in-cheek and rather humorous.
|
|
|
|
THE NEW EXHIBIT ***
|
|
Writer: Charles Beaumont Director: John Brahm
|
|
Cast: Martin Balsam, Will Kuluva, Maggie Mahoney, William Mims, Billy Beck,
|
|
Robert L. McCord, Bob Mitchell
|
|
Another episode reminiscent of TV's THRILLER. Much to the
|
|
bewilderment of a museum custodian (Balsam), wax figures of five notorious
|
|
murderers come to life and begin a series of killings.
|
|
|
|
OF LATE I THINK OF CLIFFORDVILLE ****
|
|
Writer: Rod Serling Director: David Rich
|
|
Cast: Albert Salmi, Julie Newmar, John Anderson, Mary Jackson, Wright King,
|
|
Jamie Foster, Guy Raymond
|
|
A heartless, very rich man (Salmi) desires to return to the small town
|
|
where he was born and start life again. He figures he will end up even
|
|
RICHER this time, since he already knows where all the big oil fields will
|
|
be, which stocks will go up, etc. A demon (Newmar) obliges him.
|
|
LW: This is the TZ adaptation of the classic story "Blind Alley", by
|
|
Malcolm Jameson. It is very well done.
|
|
|
|
THE INCREDIBLE WORLD OF HORACE FORD **
|
|
Writer: Reginald Rose Director: Abner Biberman
|
|
Cast: Pat Hingle, Nan Martin, Phillip Pine, Ruth White, Vaughn Taylor,
|
|
Mary Carver, George Spicer, Bella Bruck
|
|
Toy manufacturer (Hingle) literally becomes a child again when he
|
|
visits his old neighborhood.
|
|
|
|
ON THURSDAY WE LEAVE FOR HOME ***
|
|
Writer: Rod Serling Director: Buzz Kulik
|
|
Cast: James Whitmore, Tim O'Conner, James Broderick, Russ Bender, Paul
|
|
Langton, Jo Helton, Mercedes Shirley, John Ward, Daniel Kulik
|
|
Space settlers on a barren world finally get the chance to return to
|
|
Earth, but the group's leader (Whitmore) protests. Episode plusses: strong
|
|
performances and FORBIDDEN PLANET hardware.
|
|
|
|
PASSAGE ON THE LADY ANN *
|
|
Writer: Charles Beaumont Director: Lamont Johnson
|
|
Cast: Joyce Van Patten, Lee Phillips, Wilfred Hyde-White, Gladys Cooper,
|
|
Cecil Kellaway, Alan Napier
|
|
Disillusioned young couple (Patten, Phillips) book passage on the
|
|
final voyage of an ancient cruise ship inhabited by elderly folks.
|
|
LW: Another ship story ... poor, as usual.
|
|
|
|
THE BARD ****
|
|
Writer: Rod Serling Director: David Butler
|
|
Cast: Jack Weston, Henry Lascoe, John Williams, Marge Redmond, Doro
|
|
Merande, Clegg Hoyt, Judy Strangis, Claude Stroud
|
|
On-target satire. Hack writer Julius Moomer (Weston) conjures up
|
|
William Shakespeare (Williams) to help him write a television script,
|
|
but network and sponsor representatives suggest a few changes.
|
|
LW: This is a funny one! Willy writing TV scripts. A lot of familiar
|
|
character actors in this episode, and a bit part is played by a young
|
|
(and relatively unknown) Burt Reynolds!
|
|
|
|
|
|
FIFTH AND FINAL SEASON 1963-1964
|
|
|
|
LW: The one-hour format almost killed the show... it was just too long
|
|
and plots tended to really drag. Still, the show returned for one
|
|
more season. Things still continued downhill though; much of the
|
|
magic of the series was gone forever.
|
|
|
|
IN PRAISE OF PIP **
|
|
Writer: Rod Serling Director: Joseph M. Newman
|
|
Cast: Jack Klugman, Connie Gilchrist, Billy Mumy, Bob Diamond, John Launer,
|
|
Ross Elliot, Gerald Gordon, Stuart Nesbet
|
|
Jack Klugman is outstanding as a soul-searching bookie who tries to
|
|
make up for the way he raised his son when he learns that the boy has been
|
|
seriously wounded in Vietnam. Both Billy Mumy and Bob Diamond play the
|
|
kid.
|
|
LW: Klugman's performance is the only really positive aspect of this
|
|
episode.
|
|
|
|
STEEL **
|
|
Writer: Richard Matheson Director: Don Weiss
|
|
Cast: Lee Marvin, Joe Mantell, Merritt Bohn, Frank London, Tipp McClure
|
|
In the early 1970's boxing was ruled too violent a sport for human
|
|
beings, so sophisticated androids took their place in the ring. A
|
|
small-time promoter (Marvin) is forced to enter the bout when his robot
|
|
protege gets damaged.
|
|
|
|
NIGHTMARE AT 20,000 FEET ***
|
|
Writer: Richard Matheson Director: Dick Donner
|
|
Cast: William Shatner, Christine White, Edward Kemmer, Asa Maynor, Nick
|
|
Cravat
|
|
A newly-recovered mental patient (Shatner) on an airplane flying home
|
|
peers out the window and sees a bestial creature on the wing, tampering
|
|
with one of the engines. Naturally, nobody believes his story. Tale is
|
|
enhanced by he marvelous William Tuttle monster make-up, especially in one
|
|
shocking close-up.
|
|
LW: A classic.
|
|
|
|
A KIND OF STOP WATCH ****
|
|
Writer: Rod Serling Director: John Rich
|
|
Cast: Richard Erdman, Herbie Faye, Leon Belasco, Doris Singleton, Roy
|
|
Roberts
|
|
A talkative and rather unpopular fellow (Erdman) stumbles upon a watch
|
|
that can stop all action in the world.
|
|
LW: Another classic. Very humorous. Nice effects too.
|
|
|
|
THE LAST NIGHT OF A JOCKEY *
|
|
Writer: Rod Serling Director: Joseph Newman
|
|
Cast: Mickey Rooney
|
|
Rooney is the sole star of this predictable yarn about a jockey who
|
|
thinks that being tall will solve all of his personal problems.
|
|
LW: I never liked this one at all.
|
|
|
|
LIVING DOLL ***
|
|
Writer: Charles Beaumont Director: Richard Sarifian
|
|
Cast: Telly Savalas, Tracy Stratford, Mary La Roche
|
|
A child's new doll has a most unusual vocabulary. It says things like
|
|
"Momma," "Papa" and "I'm going to kill you!"
|
|
LW: A lot of people remember this one! Telly in an interesting role.
|
|
|
|
THE OLD MAN IN THE CAVE ***
|
|
Writer: Rod Serling Director: Alan Crosland, Jr.
|
|
Cast: James Coburn, John Anderson, Josie Lloyd, John Craven, Natalie
|
|
Masters, John Marley, Frank Watkins
|
|
A group of survivors from a nuclear holocaust continue to survive
|
|
through the help of a mysterious "old man in the cave". From a short
|
|
story by Henry Slesar.
|
|
LW: This was Coburn's only appearance in the series, and he does a
|
|
good job.
|
|
|
|
UNCLE SIMON ***
|
|
Writer: Rod Serling Director: Don Siegal
|
|
Cast: Sir Cedric Hardwicke, Constance Ford, Ian Wolfe, John McLiam
|
|
Robby the Robot is featured in this episode. The spirit of an old
|
|
inventor avenges himself on his greedy niece when he dies at her hands.
|
|
|
|
NIGHT CALL ****
|
|
Writer: Richard Matheson Director: Jacques Tourneau
|
|
Cast: Gladys Cooper, Nora Marlowe, Martine Bartlett
|
|
The ladies are great in this tale about a lonely spinster (Cooper) who
|
|
suddenly starts receiving mysterious phone calls.
|
|
LW: A really good one which really manipulates your emotions.
|
|
|
|
PROBE 7 - OVER AND OUT **
|
|
Writer: Rod Serling Director: Ted Post
|
|
Cast: Richard Basehart, Antoinette Bower Frank Cooper, Barton Heyman
|
|
The lone survivors (Basehart, Bower) of two annihilated planets must
|
|
begin new lives together on a new world.
|
|
LW: Ho Hum type episode.
|
|
|
|
THE 7TH IS MADE UP OF PHANTOMS **
|
|
Writer: Rod Serling Director: Alan Crosland, Jr.
|
|
Cast: Ron Foster, Warren Oates, Randy Boone, Robert Bray, Wayne Mallory,
|
|
Greg Morris, Jeffrey Morris, Lew Brown
|
|
Modern-day soldiers on the site of Custer's Last Stand encounter the
|
|
warring spirits of the 7th Cavalry and the Sioux nation.
|
|
LW: Thee is a funny story behind this episode that I will have to relate
|
|
some time. It involves a personal friend of mine. In any case, the
|
|
episode itself is largely a loser.
|
|
|
|
NINETY YEARS WITHOUT SLUMBERING **
|
|
Writer: George C. Johnson Director: Roger Kay
|
|
Cast: Ed Wynn, Carolyn Kearney, James Callahan, Carol Byron, John Pickard,
|
|
Dick Wilson, William Sargent
|
|
An old codger (Wynn) is convinced that his life will end the moment
|
|
his grandfather's clock breaks down.
|
|
LW: Even Wynn can't help this poor plot.
|
|
|
|
RING-A-DING GIRL **
|
|
Writer: Earl Hamner, Jr. Director: Alan Crosland, Jr.
|
|
Cast: Maggie McNamara, Mary Munday, David Macklin, George Mitchell,
|
|
Bing Russell, Betty Lou Gerson, Hank Patterson, Bill Hickman,
|
|
Vic Perrin
|
|
Movie star Bunny Blake (McNamara) saves her home town from tragedy by
|
|
heeding a weird ring of hers that predicts the future.
|
|
|
|
YOU DRIVE ***
|
|
Writer: Earl Hamner, Jr. Director: John Brahm
|
|
Cast: Edward Andrews, Hellena Westcott, Kevin Hagen, Totty Ames, John Hanek
|
|
A hit-and-run driver (Andrews) is harassed by his own car.
|
|
LW: Andrews returns to the TZ, and somehow makes this plot work pretty
|
|
well.
|
|
|
|
NUMBER 12 LOOKS JUST LIKE YOU ***
|
|
Writer: Charles Beaumont Director: Abner Biberman
|
|
Cast: Suzy Parker, Richard Long, Pamela Austin, Collin Wilcox
|
|
The actors play multiple roles in this futuristic drama about the loss
|
|
of individuality. A young woman (Wilcox) rejects treatments that will make
|
|
her physically flawless like the rest of the people in the drab society she
|
|
lives in.
|
|
LW: There is a great flub in this episode. In one scene, if you know where
|
|
to look, you can see some cigarette smoke wafting in from a stage hand
|
|
standing off camera! A pretty good episode overall.
|
|
|
|
THE LONG MORROW **
|
|
Writer: Rod Serling Director: Robert Fleury
|
|
Cast: Robert Lansing, Mariette Hartley, George MacReady, Edward Binns
|
|
A scientist hopes that by refusing to use a suspended animation
|
|
apparatus on a thirty year space probe he will remain in the same age ratio
|
|
as the woman he loves.
|
|
LW: The cast is the only quality element of this segment. Otherise it is
|
|
pretty dull and boring.
|
|
|
|
THE SELF-IMPROVEMENT OF SALVATORE ROSS **
|
|
Writer: Henry Slesar and Jerry McNelley Director: Don Siegal
|
|
Cast: Don Gordon, Gail Kobe, Vaughn Taylor, Douglass Dumbrille, Doug
|
|
Lambert, J. Pat O'Malley
|
|
A man (Gordon) tries to parlay his strange ability to trade traits
|
|
with other people into a perfect life.
|
|
LW: Not one of the better ones.
|
|
|
|
BLACK LEATHER JACKETS ***
|
|
Writer: Earl Hamner, Jr. Director: Joseph Newman
|
|
Cast: LeKinsolving, Shelly Fabares, Michael Forest, Tom Gilleran, Denver
|
|
Pyle, Irene Harvey, Michael Conrad
|
|
The three young motorcyclists who ride into a sleepy community are
|
|
actually invaders from space who intend to contaminate the Earth's water
|
|
supply.
|
|
LW: Somehow, this one actually comes out rather good.
|
|
|
|
FROM AGNES-WITH LOVE ***
|
|
Writer: Barney Scofield Director: Dick Donner
|
|
Cast: Wally Cox, Ralph Taeger, Sue Randall, Raymond Biley, Don Keefer
|
|
Serio-comedy, as an advanced computer falls in love with its
|
|
technician (Cox).
|
|
LW: Wally Cox is excellent in this fable for programmers.
|
|
|
|
SPUR OF THE MOMENT ***
|
|
Writer: Richard Matheson Director: Elliot Silverstein
|
|
Cast: Diana Hyland, Marsha Hunt, Roger Davis, Robert Hogan, Phillip Ober
|
|
Odd melodrama about a woman (Hyland) who confronts the frightening
|
|
vision of her future self.
|
|
LW: Time recursion plays a major role in this episode.
|
|
|
|
STOPOVER IN A QUIET TOWN ****
|
|
Writer: Earl Hamner, Jr. Director: Ron Winston
|
|
Cast: Barry Nelson, Nancy Malone, Denise Lynn, Karen Norris
|
|
A married couple (Nelson, Malone) wake up one morning in a strange
|
|
town where everything is artificial, and the air is filled with a child's
|
|
laughter.
|
|
LW: A TZ classic. Very good indeed.
|
|
|
|
QUEEN OF THE NILE **
|
|
Writer: Charles Beaumont Director: John Brahm
|
|
Cast: Ann Blyth, Lee Phillips, Celia Lovsky, Ruth Phillips, Frank Ferguson
|
|
An inquisitive reporter (Phillips) tries to find the key to the
|
|
apparent immortality of a glamorous movie star (Blyth), who is currently
|
|
playing the "Queen of the Nile." Prepare yourself for an unusually
|
|
gruesome finale!
|
|
LW: The ending may be gruesome, but that doesn't save this episode, which
|
|
steals elements from other TZ episodes.
|
|
|
|
WHAT'S IN THE BOX ***
|
|
Writer: Martin Goldsmith Director: Dick Baer
|
|
Cast: William Demerest, Sterling Holloway, Herbert Lytton, Howard Wright
|
|
Cab driver (Demerest) sees himself killing his wife on the television
|
|
set. Later remade as the premiere episode of William Castle's GHOST STORY.
|
|
LW: Demerest (Uncle Charlie in MY THREE SONS) and Holloway (a favorite of
|
|
mine, he played one of the wacky professors in the SUPERMAN
|
|
television show and has had many character roles), do their best in
|
|
this basically weak plot. It too stole plot elements from vrious TZ
|
|
episodes.
|
|
|
|
THE MASKS ****
|
|
Writer: Rod Serling Director: Abner Biberman
|
|
Cast: Robert Keith, Milton Selzer, Virginia Gregg, Brooke Hayward, Alan
|
|
Sues
|
|
Another grisly horror tale that benefits from William Tuttle's make-
|
|
up. A dying millionaire forces his evil, greedy family into wearing
|
|
grotesque masks that match their inner selves. Alan Sues, a few years
|
|
before his LAUGH-IN success, has a minor role as the man's sadistic nephew.
|
|
LW: Not well known, but deserving of "classic" status. A minor favorite of
|
|
mine.
|
|
|
|
I AM THE NIGHT-COLOR ME BLACK *
|
|
Writer: Rod Serling Director: Abner Biberman
|
|
Cast: Michael Constatine, Paul Fix, George Lindsay, Terry Becker, Ivan
|
|
Dixon
|
|
Symbolic, talky message piece. On the day an idealistic young man is
|
|
to be executed for the willful murder of a bigot, the sun fails to shine on
|
|
a small western town.
|
|
LW: Awful. Terrible. Bad. One of the worst.
|
|
|
|
CAESAR AND ME **
|
|
Writer: A. T. Strassfield Director: Robert Butler
|
|
Cast: Jackie Cooper, Suzanne Cupito, Stafford Repp, Sarah Selby, Don
|
|
Gazaniga, Sidney Marion, Ken Konopka
|
|
Continuing a gimmick started earlier in "Dead of Night", a
|
|
ventriloquist's dummy comes to life and offers his master some pretty
|
|
unusual advice. This was one of the first television scripts to be written
|
|
by a woman.
|
|
LW: Another "dummy" story. Sigh.
|
|
|
|
THE JEOPARDY ROOM ***
|
|
Writer: Rod Serling Director: Dick Donner
|
|
Cast: Martin Landau, John VanDreelen, Robert Kelljan
|
|
A defector is captured by a hired assassin and given three hours to
|
|
earn his freedom.
|
|
LW: Landau returns in this well-executed episode (no pun intended).
|
|
|
|
MR. GARRITY AND THE GRAVES **
|
|
Writer: Rod Serling Director: Ted Post
|
|
Cast: John Dehner, Stanley Adams, J. Pat O'Malley, Norman Leavitt
|
|
A traveling salesman (Dehner) tells the backward members of a small
|
|
community that he can raise the dead. Later remade (sort of) as an episode
|
|
of NIGHT GALLERY called "Dr. Stringfellow's Rejuvenator."
|
|
|
|
THE BRAIN CENTER AT WHIPPLE'S ***
|
|
Writer: Rod Serling Director: Dick Donner
|
|
Cast: Richard Deacon, Paul Newlan, Ted DeCorsia, Burt Conroy
|
|
Robby the Robot makes another Twilight Zone appearance in this story
|
|
about a callous executive (Deacon) who hopes to improve his corporation by
|
|
replacing all the employees with machines.
|
|
LW: A slightly different model of Robbie appeared in each of these
|
|
episodes, by the way...
|
|
|
|
COME WANDER WITH ME **
|
|
Writer: Tony Wilson Director: Dick Donner
|
|
Cast: Gary Crosby, Bonnie Beacher, Hank Patterson, John Bolt
|
|
Haunting tale about the doom awaiting a fraudulent folk singer who
|
|
persuades a backwoods girl to sing him an authentic folk ballad.
|
|
|
|
THE FEAR ***
|
|
Writer: Rod Serling Director: Ted Post
|
|
Cast: Hazel Court, Mark Richman
|
|
Everything is relative in this story about an unhinged woman and a
|
|
state trooper who sights a giant alien in a California park.
|
|
LW: Not bad at all.
|
|
|
|
THE BEWITCHIN' POOL ***
|
|
Writer: Earl Hamner, Jr. Director: Joseph Newman
|
|
Cast: Mary Badham, Tim Stafford, Kim Hector, Tod Andrews, Dee Hartford
|
|
The last show of the series is about two neglected children who escape
|
|
their constantly bickering parents by diving into their swimming pool and
|
|
emerging in a mysterious, but loving, world.
|
|
|
|
|
|
NON-SYNDICATED EPISODES
|
|
-----------------------
|
|
|
|
|
|
The following episodes were originally broadcast on the network
|
|
but have been pulled out of syndication. Unfortunately, no cast or
|
|
credits are available.
|
|
|
|
SOUNDS AND SILENCE ???
|
|
|
|
A SHORT DRINK FROM A CERTAIN FOUNTAIN **
|
|
LW: A man wants to become young again, and obtains a rejuvenating potion in
|
|
the hopes of accomplishing this.
|
|
|
|
THE ENCOUNTER ???
|
|
|
|
OCCURRENCE AT OWL CREEK BRIDGE *****
|
|
This was actually an award winning French short subject picked up
|
|
by Rod Serling for one network play on the TWILIGHT ZONE. Based on a
|
|
classic tale by Ambrose Bierce, it is set during the Civil War and
|
|
concerns a man about to be hanged.
|
|
LW: EXCELLENT!
|
|
|
|
|
|
LW: Epilog:
|
|
And so it ends. By the end of the series, Serling had already lost
|
|
substantial control over the production of the show, and was rapidly
|
|
becoming disgusted by the start of the fifth season. He began having
|
|
as little as possible to do with the series since he did not have the
|
|
control he wanted. He began filming several show intros at once in
|
|
front of a neutral gray backround, instead of placing himself in the
|
|
action as in earlier shows. These intros could then be simply edited
|
|
into the series as production continued.
|
|
|
|
He had hoped that "Night Gallery" would provide the situation he needed
|
|
for h creativity, but such was not to be the case. He ended up with
|
|
even less control over this series, and the show was quickly
|
|
degenerated by management into a series of dull episodes on ESP.
|
|
Serling NEVER liked this show.
|
|
|
|
It goes to prove that television is indeed a magic medium. It can
|
|
destroy anything that crosses its path, however good that thing was to
|
|
start with. But at least we have lots of GOOD Twilight Zone episodes
|
|
to look back at and reflect on.
|
|
|
|
---------------------------------------------------------------------------
|
|
|
|
--!12!-- Contests and Awards
|
|
---------------------------------------------------------------------------
|
|
|
|
|
|
If you could go back in time, would you make changes? Would you
|
|
change the world ... or maybe your life? In Universal Pictures'
|
|
upcoming film "TIMECOP," action hero Jean-Claude Van Damme plays Max
|
|
Walker, a time enforcement cop who must make just that choice. He's
|
|
chasing a corrupt politician, played by Ron Silver, who's gone into the
|
|
past to alter history and ensure his own personal fortune.
|
|
Walker also must confront the temptation to prevent a personal
|
|
tragedy from happening -- the murder of his own wife.
|
|
|
|
"TIMECOP" is scheduled to hit the theaters September 16, but you
|
|
can catch it more than a week early with tickets to a special advance
|
|
screening on September 7 at the Hoyt's Tower City Cinemas, courtesy of
|
|
CYBERSPACE VANGUARD. Fifty winners will get passes for two. We also
|
|
have a few goodies from Planet Hollywood in honor of "TIMECOP" for a
|
|
selected group of winners.
|
|
|
|
Imagine what YOU would do if you had the chance. What would you
|
|
change, if anything? Why? Entries must be _received_ by noon Eastern
|
|
time, September 1, and should be sent to cn577@cleveland.freenet.edu on
|
|
the Internet, or to Cyberspace Vanguard at 1:157/564 on Fidonet. If you
|
|
prefer the traditional postal system, entries may be sent to PO Box
|
|
25704, Garfield Hts., OH, 44125, USA. Include your name and postal
|
|
address along with your answers to the above questions. Winners will be
|
|
chosen by random drawing.
|
|
|
|
TIMECOP also stars Mia Sara, and Gloria Reuben, and is directed by
|
|
"OUTLAND" and "2010" director Peter Hyam. It's written by Mark
|
|
Verheiden and Gary De Vore, and Produced by Robert Tapert, Sam Raimi,
|
|
and Moshe Diamant. The Executive Producer is Mike Richardson. It's
|
|
rated R.
|
|
|
|
-!-
|
|
|
|
Nominees for the Arthur C. Clarke award, for the best new novel published
|
|
in the United Kingdom in 1993 were Vurt by Jeff Noon (Ringpull) -- WINNER,
|
|
A Million Open Doors by John Barnes (Millenium), Ammonite by Nicola
|
|
Griffith (Grafton - HarperCollins), Snow Crash by Neal Stephenson
|
|
(Ringpull), The Iron Dragon's Daughter by Michael Swanwick (Roc - Penguin),
|
|
and The Broken God by David Zindell (HarperCollins)
|
|
-!-
|
|
|
|
World Fantasy Award nominations, 1994:
|
|
|
|
NOVEL: Peter S. Beagle, THE INNKEEPER'S SONG (Roc); Poppy Z. Brite,
|
|
DRAWING BLOOD (Delacorte/Abyss); Kathe Koja, SKIN (Delacorte/Abyss); Lewis
|
|
Shiner, GLIMPSES (Morrow); Peter Straub, THE THROAT (Dutton, Borderlands);
|
|
Michael Swanwick, THE IRON DRAGON'S DAUGHTER (Millennium; Morrow AvoNova);
|
|
Judith Tarr, LORD OF THE TWO LANDS (Tor)
|
|
|
|
NOVELLA
|
|
Jack Cady, "The Night We Buried Road Dog" (F&SF 1/93); Harlan Ellison,
|
|
"Mefisto in Onyx" (Omni 10/93; Mark V. Zeising); Elizabeth Hand, "The Erl-
|
|
King" (Full Spectrum 4); Terry Lamsley, "Under the Crust" (Under the
|
|
Crust); Walter Jon Williams, "Wall, Stone, Craft" (F&SF 10-11/93; Axolotl)
|
|
|
|
SHORT FICTION
|
|
Terry Bisson, "England Underway" (Omni 7/93); Fred Chappell, "The Lodger"
|
|
(Necronomicon); Les Daniels, "The Little Green Ones" (After the Darkness);
|
|
Charles de Lint, "The Moon is Drowning While I Sleep" (Snow White, Blood
|
|
Red); Neil Gaiman, "Troll Bridge" (Snow White, Blood Red); Terry Lamsley,
|
|
"Something Worse" (Under the Crust); Ian McDonald, "Some Strange Desire"
|
|
(Omni Best SF 3); Dan Simmons, "Death in Bangkok" (Playboy 6/93; LOVEDEATH,
|
|
as "Dying in Bangkok")
|
|
|
|
ANTHOLOGY
|
|
Lou Aronica, Amy Stout, & Betsy Mitchell, FULL SPECTRUM 4 (Bantam Spectra),
|
|
Ellen Datlow & Terri Windling, SNOW WHITE, BLOOD RED (Morrow AvoNova);
|
|
Ellen Datlow & Terri Windling, THE YEAR'S BEST FANTASY & HORROR: SIXTH
|
|
ANNUAL COLLECTION (St. Martin's Press); David G. Hartwell, CHRISTMAS
|
|
FOREVER (Tor); George Hatch, SINESTRE (Horror's Head Press); Alison Lurie,
|
|
THE OXFORD BOOK OF MODERN FAIRY TALES (Oxford University Press)
|
|
|
|
COLLECTION
|
|
Ramsey Campbell, ALONE WITH THE HORRORS (Arkham House); John Crowley,
|
|
ANTIQUITIES (Incunabula); Charles de Lint, DREAMS UNDERFOOT (Tor); Neil
|
|
Gaiman, ANGELS AND VISITATIONS: A MISCELLANY (Dreamhaven); Garry Kilworth,
|
|
HOGFOOT RIGHT AND BIRD-HANDS (Edgewood); Terry Lamsley, UNDER THE CRUST
|
|
(Wendigo); Darrell Schweitzer, TRANSIENTS AND OTHER DISQUIETING STORIES (W.
|
|
Paul Ganley)
|
|
|
|
ARTIST
|
|
Rick Berry; Thomas Canty; Alan Clarke; Jason Eckhardt; Harry O. Morris; J.
|
|
K. Potter
|
|
|
|
SPECIAL AWARD -- PROFESSIONAL
|
|
John Clute, for reviewing; Ellen Datlow, for editing; David J. Skal, for
|
|
THE MONSTER SHOW: A CULTURAL HISTORY OF HORROR (Norton); Underwood-Miller,
|
|
for publishing; Terri Windling, for book editing; Mark V. Ziesing, for
|
|
publishing
|
|
|
|
SPECIAL AWARD -- NON-PROFESSIONAL
|
|
Richard Chizmar, for Cemetery Dance Publications; George Hatch, for
|
|
Horror's Head Press; Marc Michaud, for Necronomicon Press; Brian
|
|
Stableford, for Small Press Reviews; Joe Stefko & Traci Cocoman, for
|
|
Charnel House
|
|
-!-
|
|
|
|
(And, saving the biggest for last ...)
|
|
|
|
Seth Goldberg
|
|
1994 Hugo Award Administrator
|
|
goldberg@bayvax.decus.org
|
|
****************************************************************
|
|
|
|
VOTING BALLOT FOR THE 1994 HUGO AWARDS AND JOHN W. CAMPBELL AWARD
|
|
This ballot must be postmarked by JULY 31, 1994,
|
|
and received by AUGUST 6, 1994
|
|
|
|
Mail to: 1994 Hugo Awards
|
|
Seth Goldberg, Voting Administrator
|
|
P.O. Box 271986
|
|
Concord CA 94527-1986
|
|
U.S.A.
|
|
|
|
Name:______________________________________________
|
|
Address:___________________________________________
|
|
___________________________________________________
|
|
___________________________________________________
|
|
Signature:_________________________________________
|
|
|
|
Please check one:
|
|
__ I am a member of Conadian; my membership number is _______________
|
|
__ I enclose $125 US/$165 CDN for an attending membership in Conadian. (If
|
|
you select this option, your ballot must be postmarked by July 15, 1994.)
|
|
Cheques payable to Conadian.
|
|
__ I enclose $25 US/$30 CDN for a supporting membership in Conadian. (If
|
|
you select this option, your ballot must be postmarked by July 15, 1994.)
|
|
Cheques payable to Conadian.
|
|
|
|
If you wish to pay for your membership with your credit card, please
|
|
provide the following information:
|
|
__ Visa __ MasterCard
|
|
Card Number: ________________________________
|
|
Expiration Date: ____________________________
|
|
|
|
Please read these instructions carefully before casting your ballot.
|
|
|
|
ELIGIBILITY TO NOMINATE
|
|
Only attending and supporting members of Conadian are eligible to vote.
|
|
You must include your name, address, and signature in the appropriate
|
|
spaces on this ballot. (Including your membership number too will save us
|
|
a little work.) Please print or type.
|
|
If you are not already a Conadian member, you may purchase a membership by
|
|
completing the appropriate information and enclosing payment for the
|
|
membership fee. If you are already a member, do not send any money with
|
|
your ballot.
|
|
|
|
DEADLINE
|
|
Ballots must be postmarked by July 31, 1994, and received by August 6,
|
|
1994, to ensure that they will be counted. Please mail as early as
|
|
possible.
|
|
Overseas members should send their nominations airmail.
|
|
Mail your ballot to: 1994 Hugo Awards, Seth Goldberg, Voting Administrator,
|
|
P.O. Box 271986, Concord, California, 94527-1986, U.S.A. Within Canada,
|
|
you may mail your ballot to the Conadian main office: Conadian, Attn: Hugo
|
|
Awards, P.O. Box 2430, Winnipeg, Manitoba, R3C 4A7. However we cannot
|
|
guarantee that last-minute ballots sent to this address will be received in
|
|
time to be counted. We strongly recommend that you use an envelope;
|
|
stapled mail will usually be mutilated or rejected by the post office.
|
|
Taping the ballot shut is permissible in U.S. domestic mail only. You can
|
|
fax your ballot to (707) 746-5195. Do not E-mail your ballot.
|
|
Please be sure to fill in the previous page and mail all four pages. We
|
|
cannot count your ballot if you do not do this. For faxed ballots, it is
|
|
not necessary to send the instruction page or a cover sheet.
|
|
|
|
HOW TO VOTE
|
|
This ballot uses a modified version of the Alternative Vote system,
|
|
sometimes known as the "Australian ballot". To vote, mark your choices in
|
|
each category in order of preference: "1" for first place, "2" for second
|
|
place, and so on.
|
|
You are not required to rank all the nominees in any category, and we
|
|
recommend that you not vote in any category in which you are not familiar
|
|
with a majority of the nominees. If you decide not to vote in a given
|
|
category, leave it blank. Note that "No Award" is not an abstention, but a
|
|
vote that none of the nominees should be given the award in question. When
|
|
the ballots are counted, all the first-place choices will be tabulated. If
|
|
no nominee has received half or more of the votes, the nominee with the
|
|
fewest first-place votes will be eliminated, and its votes transferred to
|
|
the nominees marked "2" on those ballots. This process of elimination will
|
|
continue until one nominee receives half or more of the votes, at which
|
|
point it becomes the winner (unless its votes are outnumbered by "No Award"
|
|
votes under specific conditions described in Section 2.9.3 of the WSFS
|
|
Constitution). A few tips may help you in voting:
|
|
1) Please keep in mind that second and further preferences play no
|
|
part in the voting unless and until your first choice is eliminated. This
|
|
is not a point system where many voters' second choice can overwhelm a few
|
|
voters' first choice. We suggest that after marking your first choice, you
|
|
proceed by imagining that it has disappeared from the ballot, and placing
|
|
your "2" by the remaining nominee you most prefer, and so on. This mimics
|
|
the way the ballots will actually be counted. Thus, even if your heart is
|
|
set on one nominee, don't hesitate to give "2"s and other high rankings to
|
|
other nominees you consider worthy of the award.
|
|
2) Nevertheless, if your top choices are eliminated early, your lowest
|
|
preferences could be the tiebreaker between the remaining nominees, so
|
|
choose all your preferences carefully! No matter how much you dislike a
|
|
nominee, if you rank it the vote will be counted if the counting gets down
|
|
that far. We recommend that you not rank a nominee that you do not
|
|
consider worthy of the award. In this way you can be sure of casting your
|
|
vote against it in all circumstances.
|
|
|
|
THE NOMINEES
|
|
The nominees that follow were chosen by popular vote by 649 members of
|
|
Conadian or ConFrancisco who submitted valid nominating ballots. In some
|
|
categories more than 5 nominations appear due to tie votes. In the
|
|
"Original Artwork" category only 3 nominees appear, as no other candidates
|
|
appeared on at least 5% of the ballots cast in that category, as required
|
|
by Section 2.6 of the WSFS Constitution for 4th and 5th nominees.
|
|
Owing to a severe disparity among the short fiction categories in the
|
|
number of nominations received by the leading candidates, to achieve a
|
|
fairer balance the administrators exercised the option provided by Section
|
|
2.2.1 of the WSFS Constitution to relocate stories within 5,000 words of
|
|
the category limits into adjacent categories. Three stories were
|
|
relocated: "Dancing on Air" to Novelette from Novella; "Death on the Nile"
|
|
and "England Underway" to Short Story from Novelette. As a result of this
|
|
relocation, the threshold for appearing on the ballot in all three short
|
|
fiction categories is the same: 28 nominations. (What is now the 5th place
|
|
short story received 35 nominations, but no short story received between 28
|
|
and 34 nominations.) If no relocation had been made, the threshold would
|
|
have varied from 28 to 60 nominations (a range of 32), and two stories with
|
|
28 or more nominations would not have appeared on the ballot.
|
|
Hard Landing, by Algis Budrys (Warner Questar), received enough votes
|
|
to be nominated for Best Novel, but was ruled ineligible due to having
|
|
first been published in magazine format in 1992. Nicola Griffith received
|
|
enough votes to be nominated for the John W. Campbell Award, but was ruled
|
|
ineligible due to professional publication of fiction in the science
|
|
fiction and fantasy field prior to 1992.
|
|
|
|
|
|
REPRODUCTION
|
|
Reproduction and distribution of this ballot are permitted and encouraged,
|
|
provided that it is reproduced verbatim (including voting instructions),
|
|
with no additional material other than the name of the person or
|
|
publication responsible for the reproduction.
|
|
-- David Bratman and Seth Goldberg, Hugo Awards Administrators
|
|
|
|
|
|
Best Novel
|
|
__ Moving Mars, by Greg Bear (Tor)
|
|
__ Glory Season, by David Brin (Bantam Spectra)
|
|
__ Virtual Light, by William Gibson (Bantam Spectra)
|
|
__ Beggars in Spain, by Nancy Kress (Morrow AvoNova)
|
|
__ Green Mars, by Kim Stanley Robinson (HarperCollins UK; Bantam Spectra
|
|
US)
|
|
__ No Award
|
|
|
|
Best Novella
|
|
__ "The Night We Buried Road Dog", by Jack Cady (F&SF, January 1993)
|
|
__ "Mefisto in Onyx", by Harlan Ellison (Omni, October 1993; Mark V.
|
|
Ziesing)
|
|
__ "An American Childhood", by Pat Murphy (Asimov's, April 1993)
|
|
__ "Into the Miranda Rift", by G. David Nordley (Analog, July 1993)
|
|
__ "Down in the Bottomlands", by Harry Turtledove (Analog, January 1993)
|
|
__ "Wall, Stone, Craft", by Walter Jon Williams (F&SF, October/November
|
|
1993; Axolotl)
|
|
__ No Award
|
|
|
|
Best Novelette
|
|
__ "The Shadow Knows", by Terry Bisson (Asimov's, September 1993; Bears
|
|
Discover Fire (Tor))
|
|
__ "The Franchise", by John Kessel (Asimov's, August 1993)
|
|
__ "Dancing on Air", by Nancy Kress (Asimov's, July 1993)
|
|
__ "Georgia on My Mind", by Charles Sheffield (Analog, January 1993)
|
|
__ "Deep Eddy", by Bruce Sterling (Asimov's, August 1993)
|
|
__ No Award
|
|
|
|
Best Short Story
|
|
__ "England Underway", by Terry Bisson (Omni, July 1993; Bears Discover
|
|
Fire (Tor))
|
|
__ "The Good Pup", by Bridget McKenna (F&SF, March 1993)
|
|
__ "Mwalimu in the Squared Circle", by Mike Resnick (Asimov's, March 1993;
|
|
Alternate Warriors (Tor))
|
|
__ "The Story So Far", by Martha Soukup (Full Spectrum 4 (Bantam Spectra))
|
|
__ "Death on the Nile", by Connie Willis (Asimov's, March 1993)
|
|
__ No Award
|
|
|
|
Best Non-Fiction Book
|
|
__ Once Around the Bloch: An Unauthorized Autobiography, by Robert Bloch
|
|
(Tor)
|
|
__ The Encyclopedia of Science Fiction, edited by John Clute and Peter
|
|
Nicholls (Orbit UK; St. Martin's US)
|
|
__ PITFCS: Proceedings of the Institute for Twenty-First Century Studies,
|
|
edited by Theodore R. Cogswell (Advent)
|
|
__ Understanding Comics: The Invisible Art, by Scott McCloud (Tundra;
|
|
Kitchen Sink; Harper Perennial)
|
|
__ The Art of Michael Whelan: Scenes/Visions, by Michael Whelan (Bantam
|
|
Spectra)
|
|
__ No Award
|
|
|
|
Best Dramatic Presentation
|
|
__ Addams Family Values (Paramount Pictures); Producer, Scott Rudin;
|
|
Director, Barry Sonnenfeld; Screenwriter, Paul Rudnick
|
|
__ "The Gathering" (Babylon 5) (Warner Brothers); Executive producers,
|
|
Douglas Netter & J. Michael Straczynski; Director, Richard Compton;
|
|
Writer, J. Michael Straczynski
|
|
__ Groundhog Day (Columbia Pictures); Producers, Trevor Albert & Harold
|
|
Ramis; Director, Harold Ramis; Screenwriters, Danny Rubin & Harold
|
|
Ramis
|
|
__ Jurassic Park (Universal); Producers, Kathleen Kennedy & Gerald R.
|
|
Malen; Director, Steven Spielberg; Screenwriters, Michael Crichton &
|
|
David Koepp
|
|
__ The Nightmare Before Christmas (Touchstone Pictures); Producers, Tim
|
|
Burton & Denise DiNovi; Director, Henry Selick; Screenwriter, Caroline
|
|
Thompson
|
|
__ No Award
|
|
|
|
Best Professional Editor
|
|
__ Ellen Datlow
|
|
__ Gardner Dozois
|
|
__ Mike Resnick
|
|
__ Kristine Kathryn Rusch
|
|
__ Stanley Schmidt
|
|
__ No Award
|
|
|
|
Best Professional Artist
|
|
__ Thomas Canty
|
|
__ David Cherry
|
|
__ Bob Eggleton
|
|
__ Don Maitz
|
|
__ Michael Whelan
|
|
__ No Award
|
|
|
|
Best Original Artwork
|
|
__ Cover of F&SF, October/November 1993 (illustrating "The Little Things",
|
|
B. McKenna), by Thomas Canty
|
|
__ Space Fantasy Commemorative Stamp Booklet, by Stephen Hickman (U.S.
|
|
Postal Service)
|
|
__ Cover of Asimov's, November 1993 (illustrating "Cold Iron", M.
|
|
Swanwick), by Keith Parkinson
|
|
__ No Award
|
|
|
|
Best Semi-Prozine
|
|
__ Interzone, edited by David Pringle
|
|
__ Locus, edited by Charles N. Brown
|
|
__ The New York Review of Science Fiction, edited by David G. Hartwell,
|
|
Donald G. Keller, Robert K.J. Killheffer, and Gordon Van Gelder
|
|
__ Pulphouse, edited by Dean Wesley Smith and Jonathan E. Bond
|
|
__ Science Fiction Chronicle, edited by Andrew I. Porter
|
|
__ Tomorrow Speculative Fiction, edited by Algis Budrys
|
|
__ No Award
|
|
|
|
Best Fanzine
|
|
__ Ansible, edited by Dave Langford
|
|
__ File 770, edited by Mike Glyer
|
|
__ Lan's Lantern, edited by George "Lan" Laskowski
|
|
__ Mimosa, edited by Dick and Nicki Lynch
|
|
__ Stet, edited by Leah Zeldes Smith and Dick Smith
|
|
__ No Award
|
|
|
|
Best Fan Writer
|
|
__ Sharon Farber
|
|
__ Mike Glyer
|
|
__ Andy Hooper
|
|
__ Dave Langford
|
|
__ Evelyn C. Leeper
|
|
__ No Award
|
|
|
|
Best Fan Artist
|
|
__ Brad W. Foster
|
|
__ Teddy Harvia
|
|
__ Linda Michaels
|
|
__ Peggy Ranson
|
|
__ William Rotsler
|
|
__ Stu Shiffman
|
|
__ No Award
|
|
|
|
John W. Campbell Award
|
|
for Best New Science Fiction Writer of 1992-1993
|
|
(sponsored by Dell Magazines)
|
|
__ Holly Lisle (2nd year of eligibility)
|
|
__ Jack Nimersheim (2nd year of eligibility)
|
|
__ Carre Richerson (2nd year of eligibility)
|
|
__ Amy Thomson (1st year of eligibility)
|
|
__ Elizabeth Willey (1st year of eligibility)
|
|
__ No Award
|
|
|
|
-!-
|
|
|
|
Genre and related nominees for the 14th annual Razzie Awards, sponsored by
|
|
the Golden Raspberry Award Foundation:
|
|
Worst Picture: LAST ACTION HERO
|
|
Worst Actor: Arnold Schwarzenegger, LAST ACTION HERO
|
|
Worst new star: Austin O'Brien LAST ACTION HERO
|
|
Worst Director: John McTiernan LAST ACTION HERO
|
|
Worst supporting actress: Sandra Bullock DEMOLITION MAN
|
|
---------------------------------------------------------------------------
|
|
|
|
--!13!-- Conventions and Readings
|
|
---------------------------------------------------------------------------
|
|
Submit convention listings to xx133@cleveland.freenet.edu in the format:
|
|
|
|
CON NAME: Month, day, year; Hotel or Convention Center; City, State,
|
|
Country; GUESTS; Cost until deadline, Cost after deadline (please specify
|
|
currency); Full address for information; Telephone (if applicable); e-mail
|
|
address (if any)
|
|
|
|
Convention listings are provided as a public service. CYBERSPACE VANGUARD
|
|
is not affiliated with any of these conventions and takes no responsibilty
|
|
for anything to do with them.
|
|
|
|
................
|
|
|
|
CONADIAN/WORLDCON 52: September 1-4, 1994; ; ; $125 (US) to July 15; ; ;
|
|
204/944-1998.
|
|
|
|
ICON 19: October 14-16, 1994; ; Iowa City, Iowa; ; GREGORY FROST, ROBERT
|
|
DANIELS, JR., JOE HALDEMAN, others; ICON 19, P.O. Box 525, Iowa City, IA
|
|
52244-0525.
|
|
|
|
REINCONATION IV: September 9-11, 1994; Regency Plaza; Minneapolis,
|
|
Minnesota; $20 until August 20; ALEXEI & CORY PANSHIN; Minn-STF; Hotel
|
|
reservations - $59.50/night, 339-9311 or 1-800-423-4100.
|
|
|
|
ARCANA '94: September 30-October 2, 1994; Holiday Inn Bandana Square; St.
|
|
Paul, Minnesota; $23 until June 30; MELANIE 7 STEVE RASNIC TEM; John
|
|
Brower, 3136 Park Ave., Minneapolis, MN 55404-1525.
|
|
|
|
FIRST CONTACT: September 30-October 2, 1994; Grand Milwaukee Hotel;
|
|
Milwaukee, Wisconsin; $20 until September 10, $25 at the door; ELEANOR
|
|
ARNASON, MURRAY LEINSTER, SUSAN VAN CAMP, DENNIS CHAMBERLAND, LEE
|
|
SCHNEIDER; MSFCI, P.O. Box 92726, Milwaukee, WI 53202; ;
|
|
welch@warp.msoe.edu; hotel reservations - 414/481-8000 or 800/558-3862.
|
|
|
|
ICON 19: October 14-16, 1994; ; Iowa City, Iowa; ; GREGORY FROST, ROBERT
|
|
DANIELS, JR., JOE HALDEMAN, others; ICON 19, P.O. Box 525, Iowa City, IA
|
|
52244-0525.
|
|
|
|
RUDICON 10: October, 21-23, 1994; Rochester Insitute of Technology;
|
|
Rochester, New York, United States; ; , ; Rudicon 10, c/o Student
|
|
Government, 1 Lomb Memorial Dr, Rochester, NY 14623; ;
|
|
JJB7763@ritvax.isc.rit.edu
|
|
|
|
EASTLEAP: October 21-23, 1994; Comfort Inn; Essington, Pennsylvania; $30; ;
|
|
SASE to EASTLEAP, c/o CJR Press, 733 Turnpike Ave., Suite 117, North
|
|
Andover, MA 01845.
|
|
|
|
BIG "E" CON: October 28-30, 1994; Omni Waterside Hotel; Norfolk, Virginia;
|
|
$40 for adults, various prices for youths, children, and various workshops;
|
|
MAJEL BARRETT-RODDENBERRY, JIMMY DOOHAN, ARMIN SHIMERMAN, BILL CAMPBELL,
|
|
ROBERT O'REILLY, MICHAEL O'HARE, SONIA HILLIOS, GIRARD ROUNDTREE, ANN C.
|
|
CRISPIN, HOWARD WEINSTEIN, ARNE STARR, DAN MADSEN, CAPT. RICHARD NAUGHTON,
|
|
US NAVY ATLANTIC FEET BAND, GRUMMAN AEROSPACE FLIGHT SIMULATOR, NASA/SPACE
|
|
TELESCOPE SCIENTISTS, plus more guests TBA; Trek Rec Deck In., P.O. Box
|
|
10658, Towson, MD 21285-0658; 410/825-3017 or 301/735-3957; hotel
|
|
reservations (prior to September 26, 1994) 804/622-6664.
|
|
|
|
VISIONS '94: Nov 25-27, 1994; Hyatt Regency O'Hare; Rosemont, IL, USA; from
|
|
Red Dwarf: CRAIG CHARLES, DANNY JOHN-JULES, ROBERT LLEWELLYN, ROB GRANT,
|
|
DOUG NAYLOR; from Doctor Who: JON PERTWEE, LALLA WARD, NICHOLAS COURTNEY,
|
|
JOHN LEVENE; from Blake's Seven: PAUL DARROW; from Robin of Sherwood:
|
|
NICKOLAS GRACE, MARK RYAN; from Blackadder: TONY ROBINSON; $50 until 4-30-
|
|
94, $60 until 10-31-94, $75 at the door; Her Majesty's Entertainment, P.O.
|
|
Box 1202, Highland Park, IL 60035, USA; (708) 405-9461;
|
|
fergus@areaplg2.corp.mot.com.
|
|
|
|
SMOFCON: December 2-4, 1994; Burbank Hilton; Los Angeles, California; $30
|
|
pre-registration (payable to SCIFI), more at the door; ; SMOFcon, P.O. Box
|
|
8442, Van Nuys, CA 91409; hotel reservations - 80/643-7400 (mention you are
|
|
with SMOFcon for $72/night discount rate).
|
|
|
|
NOVACON '95: January 13-15, 1995; Radisson Hotel; Newcastle, Oz; ; ;
|
|
Novacon 95; P.O. Box 140, Kotara Fair, NSW 2289 Australia; Aaron (049)
|
|
575 109 or Matt (049) 432 666.
|
|
|
|
MICROCON 15: March 4-5, 1995; Exeter University; all other details to
|
|
follow.
|
|
|
|
THE TIME MACHINE (H.G. Wells Society Centenary Symposium): July 26-29,
|
|
1995; Imperial College; London, UK; ; Titles/abstracts of proposed papers
|
|
to Hon Sec, HGW Soc, English Dept, Nene College, Moulton Park, Northants,
|
|
NN2 7AL, UK (by October 31, 1994)
|
|
|
|
EVOLUTION (Eastercon): April 5-8, 1996; Metropole Hotel; Brighton, UK; #20;
|
|
VERNOR VINGE, COLIN GREENLAND, BRYAN TALBOT, JACK COHEN; 13 Linfield
|
|
Gardens, Hampstead, London, NW3 6PX, UK.
|
|
|
|
---------------------------------------------------------------------------
|
|
|
|
--!15!-- Administrivia
|
|
---------------------------------------------------------------------------
|
|
Well, as stated in the ravings up top, we're going multimedia. CV-CD
|
|
is on the way! We expect the first issue to be out around September,
|
|
assuming that Macromedia keeps it's promises as to when the Windows version
|
|
of Director 4.0 will be shipping! We've arranged for a demo to be placed
|
|
on our FTP site, etext.archive.umich.edu. It's only for the Macintosh,
|
|
though CV-CD will be for the Windows platform as well. It features the
|
|
Bruce Campbell interview from this issue with graphics and sound.
|
|
There will also, of course, be a hard copy version, as we've finally
|
|
found funding to do it properly, with color and such.
|
|
We've arranged for special "early bird" prices for anyone who sees
|
|
this on the net or a BBS. All you have to do is mention this offer.
|
|
Inisder Prices for the paper version are $8.95 for six issues, $15.95 for
|
|
twelve. For CV-CD, the Insider Price is $49.95 for six, $89.95 for twelve.
|
|
(We will accept installments. Write for more details.) Newsstand prices
|
|
will be $2.50 for the paper verson, $9.95 for CV-CD, which will also
|
|
include the paper version.
|
|
But, tere's an easy way to get your subscription for FREE. This
|
|
thing started out as a grass roots type of publication, and we want to keep
|
|
it that way. YOU are the most important part. So, if you can convince
|
|
your local comic shop, bookstore, etc., to carry CV, you'll get a free 12
|
|
issue subscription of what they order. (Ie, if they order the CD's, you
|
|
get the CD's. If they order paper, you get paper.)
|
|
So, for more information on any of this, you can either send us e-mail
|
|
at cn577@cleveland.freenet.edu or Cyberspace Vanguard at 1:157/564, snail
|
|
mail at PO Box 25704, Garfield Hts., OH, 44125, or you can CALL us at 216-
|
|
491-2178.
|
|
|
|
As mentioned in the Ravings, we'd like to know what your favorite
|
|
interviews and features were. Here's a list of past issues.
|
|
|
|
Issue 1:1
|
|
--!1!-- Jeff Kaake on SPACE RANGERS
|
|
--!2!-- Peter Donat on TIME TRAX
|
|
--!3!-- Eric Radomski on BATMAN: THE ANIMATED SERIES
|
|
--!4!-- J. Michael Straczynski on BABYLON 5
|
|
--!5!-- Just what is MYSTERY SCIENCE THEATER 3000 anyway?
|
|
|
|
Issue 1:2
|
|
--!1!-- LeVar Burton in Firestorm: 72 hours in Oakland
|
|
--!2!-- An interview with Katherine Kurtz
|
|
--!3!-- Mike Carlin discusses why he killed Superman
|
|
|
|
Issue 1:3
|
|
--!1!-- Effects Guys Are Bizarre, or "Isn't that Sam Elliot's dead
|
|
body?" (An interview with Howard Berger, effects for ARMY OF
|
|
DARKNESS)
|
|
--!2!-- On the Past and Future of Science Fiction, by CRAWFORD KILIAN
|
|
--!3!-- What to Expect From Babylon 5, from J. MICHAEL STRACZYNSKI
|
|
|
|
Issue 1:4
|
|
--!21-- DC Comics' Second Massacre: Batman's Crippling and why Editor
|
|
DENNY O'NEIL Thinks It's a Good Idea
|
|
--!3!-- From Space Opera to the Grateful Dead: LOIS MCMASTER BUJOLD on
|
|
Plot, Character, and Other Things on the Way to Perfection
|
|
|
|
Issue 1:5
|
|
--!2!-- Mysteries from Beyond the Scifi Channel: Why
|
|
DR. FRANKLIN RUEHL Can't Be Abducted By Space Aliens
|
|
--!3!-- The Illusion of Falling: KENNY BATES Makes His Mark On Filmmaking
|
|
--!4!-- PETER CUSHING And The Mystery Of The Missing Films: Trying
|
|
To Write A Book About The Master Of Horror
|
|
|
|
Issue 1:6
|
|
--!2!-- Within the Realm of Extreme Possibility: Creator CHRIS CARTER
|
|
on the X-FILES
|
|
--!3!-- The Highlander's Heart: An Interview with ADRIAN PAUL
|
|
--!4!-- The Art and Science of Leaping Tall Buildings
|
|
--!5!-- A Writer's Guide to STAR TREK: THE NEXT GENERATION
|
|
|
|
Issue 2:1
|
|
--!2!-- Getting Away From It All: Taber MacCallum and Life Inside
|
|
Biosphere 2
|
|
--!3!-- Virtually There: Writing the Screenplay for DOUBLE DRAGON
|
|
--!4!-- Either Here or There: Mike Resnick on Terrestrial Looks at
|
|
Extraterrestrial Societies
|
|
--!5!-- Past, Present, and Future Filk
|
|
--!6!-- Computer Mediated Communication and Science Fiction Media Fans
|
|
|
|
Issue 2:2
|
|
--!2!-- Traveling the Cyber-Highway with William Gibson
|
|
--!3!-- Stephanie Beacham: Dr. Westphalen's Cure For SEAQUEST'S Ills
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--!4!-- Getting Blown Up for Fun and Profit: The Indiana Jones Epic
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Stunt Spectacular
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--!5!-- Mind Uploading: Downloading Your Brain to a Machine
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--!6!-- The Business Side of Conventions: Building a Better Hotel
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Relationship
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About the Authors:
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PAT BERRY (Copy Editor) is a 34-year-old freelance technical writer and
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self-described "computer geek" living in Cary, North Carolina. He has two
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children, saw STAR WARS over 30 times during its theatrical run, and annoys
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his friends by quoting lengthy passages of Dave Barry's writings from
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memory.
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DAVID GIBBS (Mini Reviews) works for an OS company in Ottawa, Ontario in
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order to pay for his recreational activities which include reading SF,
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attending conventions, riding motorcycles, and playing bridge. He claims
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to be a recovered net.addict, but no one believes him.
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TJ GOLDSTEIN is the editor of this monstrosity and is probably responsible
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for anytypos that made it into this version. TJ has learned more about
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interactive multimedia in the last 2 months than any human being should be
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forced to absorb.
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ESTHER JENKINS (Convention listings) is a bored, single, 27-year-old femme.
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She's overqualified for most every job she applies for with her two BS
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degrees (one in Applied Math from Georgia Tech and one in Industrial
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Engineering Technology from Southern Tech). Originally from Germany, she
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moved to the States in 1973 and has been living in Georgia ever since.
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Esther got introduced to science fiction and cons by an ex-boyfriend many
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years ago, and is an avid reader (and collector) of books of all kinds and
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comics. Right now she is working as a temp while looking for a
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manufacturing job and has lots of free time on her hands to compile this
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little column for CYBERSPACE VANGUARD.
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DAVID MILNER (Japan News) is a big Japanese monster movie fan who has
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written for a number of different publications such as CULT MOVIES AND
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VIDEO, MARKALITE and THE KAIJU REVIEW.
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LINDA E. SMIT (Reader Responses) lives in Athens, GA, surrounded by Bulldog
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fans, Braves fans, and a healthy enclave of scifi and fantasy fandom. Her
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real job is in library acquisitions, and she works her tail off in
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community theater. Guess which one she prefers to do.
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CAROL LEON-YUN WANG (Correspondent/Reporter) is a recently defended Masters
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student in Computer Graphics Animation who has replaced thesis deadlines
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with conference submission deadlines. She is on a slow westward migration
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that started in Regina, SK and is currently stalled out in Calgary, AB.
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She is a voracious reader of genre books and comics, and completely
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nocturnal. She still likes Capt. Kirk better than Picard, even though
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William Shatner was a lousy actor and a truly atrocious director.
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--
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CYBERSPACE VANGUARD MAGAZINE
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News and Views from the Science Fiction Universe
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TJ Goldstein, Editor | Send submissions, questions, comments to
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tlg4@po.cwru.edu | cn577@cleveland.freenet.edu
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