Every Wednesday and Friday
I’ve made no secret that I wholly lifted the concept for my novel CONundrum from this, though past the premise the stories aren’t even close. The idea of a rom com at an annual convention though is just brilliant. It appeals to me at a very basic level because I’ve been going to conventions since I was 12. I started with Star Trek cons and moved on to horror. These days it’s evenly balanced between horror and comicons, with the occasional anime cone thrown in, but really, no matter what the subject matter is, the conventions experience is universal. I knew exactly what they are talking about in this series and honestly, this happens. You go to the same con every year, you keep running into the same people. You occasionally hobnob with the guests at the bar or in the restaurant. You might even fall in love (I’ve been to two weddings at Cinema Wasteland alone).
The story isn’t just a romance though, I’m not that big a girl. It’s honestly funny. You can tell the author has logged a whole bunch of hours behind a con table. The humor is respectful. She doesn’t make fun of the con experience, we’re in on the joke.
I initially found this in three single digest volumes at the Library, and then immediately ran over to Borders and bought them. Since then it’s been collected into one volume with a little bit of extra content. Go for that one, and if it’s no longer on the shelves, hit up Amazon. If you’ve ever spent time at a sci-fi, comic or anime con (especially if you were or are younger), trust me. This story is for you.
Every Wednesday and Friday
My personal definitive way of drawing iconic characters
Green lantern is based, not so much on an artist rendition (though it’d be Dave Gibbons if anyone) but rather on the Super Powers figure – the first action figure I ever had. My friend Johnny Em likes to call this “Heroic proportions”. Solid, but achievable.
I’m kind of in limbo for the next few weeks, so I figured it was time to get started drawing some characters and bulding modles for the Violent Blue spin off – hopefully we can get something launched by Fall. Here’s the first couple of sketches, some familiar faces, and some not so familiar. Some age as well, appropriate considering this is taking place about two years after the end of Violent Blue.
Having fun drawing Chloe’s husband though. He’s only ever been described in the novel. Going to be nice to bring him in a comic story proper.
Man, those sandals may have been a mistake. Toes are NO fun to draw…but it just fits Jamies personality so well…
Every Wednesday and Friday
The User Profile Service failed the logon, loging on with a temporary account
In the past, we’ve “fixed” this by creating a new profile and copying all the data from the old one (in the users or documents and settings folder) over to it. However, you can try this registry fix first;
Step 1. To fix the user profile, click Start and type regedit into the search box and press Enter.
Step 2. Registry Editor will launch and you need to navigate to the following key:
Step 3. Click each S-1-5 folder and double-click the ProfileImagePath entry to find out which user account it relates to
Every Wednesday and Friday
It’s been one of my favorite places in the world since I was a teenager. I still remember the awe I felt that first time as I got just into the lobby. Those antechambers alone are impressive. Further in though, the sprawling ornate expanse of the theatre itself stunned me.
I’ve been there for plays, concerts, and a great many films. It’s where I saw the Star Wars special editions, where I went to see Man of Steel and the Star Trek Reboot. I saw House of Wax with Vincent Price there. I actually headed out there to see Thor – not because I had any interest in the movie, but simply because it was a good excuse to go out and spend some time out at the Palace. In my 20’s I took dates there, particularly if I wanted to impress them. It’s where I saw barbershop quartets ( I remember going with my parents to see our friends Jim Heath and Rick Asberry sing), as well as plays and community theatre. I saw Brigadoon there. My wife and I picked up our friend’s daughter Dara and brought her out to see High School Musical on stage there (She was obsessed with the film at the time- both the idea of seeing it live and the splendor of the theatre itself blew her mind). When I was younger, I remember peaking around the corner during play intermissions and seeing the actors in the courtyard.
This is where my daughter Lydia saw The Wizard of OZ for the first time.
Seeing films on the big screen – particuarly ones that I simply never could have seen when they were originally running has always been one of my favorite things. It’s been fun to see that trend creep over to the palace a bit (and nice to not have to drive out to the Cedar Lee in Cleveland Heights for it!). Psycho. I saw Psycho for the very first time here.
Back in my acting days I always wanted to preform on that stage. I’ve done shows in theatres all around the area from the Middle Ridge theatre with the Workshop Players, to the Old Town Hall theatre to Huntington Playhouse to Stocker center, but never the Palace. I just never got the chance before I retired from theatre. The closest I’ve gotten was doing a costume contest up there dressed as Freddy Kruger last year. The view from the stage is everything I imagined it would be.
The restoration always seemed to be going on. The platforms and scaffolding almost became a part of the theatre, but when it finally was finished, the walls and the crests and the details along every ridge of the auditorium shone with a color and a light that I had never realized possible.It’s easily the equal of the grand theatres in downtown Cleveland. As much as I love the Capitol out in the Gordon Square area and the Apollo in Oberlin, they can only aspire to the grand look and feel of the Palace. A few months ago I went with a group for their screening of Reservoir Dogs. One of my friends from Lakewood who does charity work in this area was stunned, he’d never know that this place existed.
This morning I saw the following on Facebook, and it was too good not to share.
88 years ago today the Lorain Palace Theater first opened its doors as patrons flocked into the Palace’s 1720 upholstered leather seats to watch a talking movie for the first time and were treated to a “film resume of world events.” They viewed a comedy and novelty reel, followed by Syd Sampliner and his Palace Concert Orchestra, and three acts of vaudeville. The spotlight then moved to the Mighty Wurlitzer Organ as it rose from below the stage, thrilling the audience with its pulsating crescendos. Finally, the new film – a pre-release of Paramount’s silent comic film “Something Always Happens” starring Neil Hamilton and Esther Ralston – flashed on the screen. The program ended with a finale by the Palace Concert Orchestra Theater. The opening night took over eight months to program and was done so by the Variety Amusement Company which owned and operated the Palace for many years.
The biggest problem with the shining is that there are two distinct entities. The film and the book, and they are connected only by the same title the same setting and a few character names. That’s really where the similarity ends. If I were Stephen King I could see how I could be upset about Kubrick’s handling of the film as well. The Shining film never intended to be the book, and in many ways it lacks the depth and character of the book while being a brilliant film standing on its own. What was Kings solution? It was a six hour miniseries. The television Shining was inevitably going to be compared to the Kubrick Shining, indeed the Kubrick film has reached just as many people if not more than the original novel did. So the TV Shining need to really… shine… to overcome this. The casting of Steve Webber may be a misstep, his face was just too recognizable from Wings. He acquitted himself well however and managed to really showcase that gradual transition between a person who is normal at the begining of the story, into someone completely crazy.
In the TV miniseries we are really treated full on to the villain of the piece. That is to say Horace Durwent. And the problem here is we are really just trading one ghost for another. The absence of Lloyd and Grady(not a complete absence but a reduction in the roles that is) is very keenly felt. Such ghosts were very eerily realized in the film version. Durwent on the other hand is poorly realized. When he looks normal he’s fine but the story calls for him to become more ghost-like as the series goes on and while it’s an effect of make up rather than CG, it’s poorly made. This should not be in full light and I’m never convinced that he is a ghost but rather he always feels like a guy in a rubber mask which completely undermines his menace. Lighting in general is a problem. This is definitely a studio job, without enough time to really light this set correctly so we miss a lot of the gloom, a lot of the atmosphere that the Overlook really needs to be a frightening place to exist.
By far however the greatest detriment to this film is Courtland Mead, who plays Danny Torrance. This bland derelicts runt cannot deliver a convincing line read to save his life and this is a big problem because the film revolves around him. He is the single greatest drag on this film and I don’t have any idea how this kid get cast.
The other real drag on this is the use of pre-matrix CGI. There are references in the book to the topiaries that come to life and sneak up on you. The concept is terrifying in the book but they act similarly to the weeping angels, in that they only move when you do not see them. You can hear them but as long as you watdch them you’re okay. In the TV series we see them, and it’s awful. Seriously, this could’ve been far more easily done by creating some hollow topiaries and moving them between camera shots, or if you are in that insisted on using CGI, use still shots overlayed on the frame. No movement – ever. Just sound, it would have been ten times more terrifying.
That goes for the scene with the firehoses well. I realize the fire hose turning into a snake is one of the images that originally prompted King to write the story but the CGI just looks so poor and ages so badly that it’s laughable. A practical face on the hose on invisible thread filmed in reverse probably would’ve looked equally bad but it would have aged better and would be better accepted today.
Ultimately the problem with Kings shining is one of scope; trying to do too much too fast with two little. If you go back and revisit this reboot it if you still stretch this prehaps even as much as 10 hours but I’d prefer to see one hour per episode instead of two and take more time during production for proper setups and proper lighting and perhaps even better Danny Torrance. It might not bring it up to the same standard as the Kubrick film but it would at least make it worth defending and isn’t that the entire point of these reboots?