HAPPY NATIONAL GORILLA SUIT DAY (2018)!!!

Collectible Time: Doc Strange and Baby Groot Funko/Pop! Figures for my Birthday

I don't have many Funko/Pop! vinyl figures, so it's a treat when they do come my way, which just so happened this year for my birthday.

The ladies at work surprised me with two: Doctor Stephen Strange and Baby Groot!!!

The 3.75" figures are both Marvel-movie based, with Strange carrying the somber imprint of Benedict Cumberbatch. To be frank, there's no way to make the guy look cutesy (even though it appears the sculptor tried), though I'd probably be upset if someone actually managed the blasphemous feat. The Sorcerer Supreme is also represented with his lively, red cape. A real spiffy touch!!!

Baby Groot is equally neat and especially on target, with this mini version symbolizing the character as he appeared at the end of "Guardians Vol 1": potted, that is.

He's got his mischievous, little smile and sure as heck looks like he's in frozen-dance mode. He's cute as a button, just as he should be, which makes him ideal for this series. 

Glad to have both of these guys for my collection, and I thank the ladies who gifted me them for their gracious generosity!!!

An Alternate Reality: Futureworld (1976)

In 1976, American International Pictures gave us a well marketed sequel to MGM's mega science-fiction hit, "Westworld" (see "An Alternate Reality": July '15). Entitled "Futureworld", it ushered Michael Crichton's mechanical-cowboy-attacks theme into a Watergate-ish conspiracy flick with Space Age trimmings. 

Directed by Richard T. Heffron, from a script by Mayo Simon and George Schenck, "Futureworld" commences two years after the disastrous events of "Westworld" (which would have taken place within an alternate 1985/86 time frame), when a Delos Corporation employee contacts crackerjack reporter Chuck Browning (Peter Fonda) with an urgent but ambiguous concern about the revitalized park. 

Browning grows suspicious when the informant is murdered, and so with the help of fellow reporter, Tracy Ballard (Blythe Danner), he visits the park on a research/publicity ploy. Through the duo's  investigation, they learn that the park's androids are, indeed, still a problem, but not in the rebellious, free-thinking way they once were. This time they're being programmed to replace humans, particularly entrepreneurs, world leaders and other various, influential folk.

We're given insight to the truth before Browning and Ballard catch on, since the script allows us (if only through sporadic interludes) to see through the eyes of Delos' villainous honcho, Mr. Duffy, portrayed by Arthur ("Revenge of the Stepford Wives"/"Andromeda Strain '71") Hill. Clever insinuations reveal his plan, such as in a series of suspicious screen shots of Browning, stockpiled for evident emulation. 

Distinguished, supporting actors instigate the interrogative intrigue, including Stuart Margolin as Harry Croft, an affable Delos worker; John P. Ryan as the cold Dr. Schneider (Duffy's main accomplice); and John Fujioke as a proud vacationer with implied, Samurai roots. 

Connecting the character interaction are Delos' fascinating sectors, which include the eponymous realm, where one can gear up as an astronaut and trek into simulated space; as well as a new Medieval World and a psychedelic knock-off of Roman World, plus loads of snazzy, "off limits" corridors. (Interestingly enough, Westworld is no longer functional and kept for only fleeting visitation, though it wasn't the only sector to go off the grid in the '73 film. It appears, per insinuation, that the cowboy domain took the burnt of Delos' bad publicity after its android assault, but still, a peculiar omission, considering the first film's draw.)

Though the early part of "Futureworld" makes one feel like a carefree visitor along for the ride, its final phases present a race against time for Browning and Ballard to expose Duffy's sinister cause. Whether the duo succeeds or perishes is the key to the tension, which is strengthened by Fred Karlin's hip, ominous score. The film's surreptitious angle also makes it espionage-oriented and therefore, more representative of such '70s films as "Capricorn One"; "Executive Action"; "The Parallax View"; and "Three Days of the Condor" than its predecessor.

To further differentiate "Futureworld" from "Westworld", there's no non-stop Yul Brynner Gunslinger consuming the scenes, though the actor does, in fact, cameo in a surreal, virtual-reality sequence, where he rescues and swoons Banner. His truncated presence is at least compensated by a faceless robot named Kent (after Clark, Man of Steel, that is, and played by James M. Connor), who assists Margolin's character with menial tasks. (I've often thought it would have been neat if Kent's detached face had been revealed at some point as the Gunslinger's. Now, wouldn't that have thrown fans for a loop!)

It's also frustrating that Richard Benjamin's Peter Martin, frantic "Westworld" hero, didn't reprise his role. Considering that Martin is an attorney, it would have only gone to reason that he'd seek legal revenge on Delos and in so doing, perhaps have teamed with Browning and Ballard somewhere along the line to assist in their crusade.

Despite these missed opportunities, "Futureworld'"s autonomous structure arguably works more for than against it. Instead of retreading the first film, a tactic doom to fail by basic comparison, the sequel presents a whole, new set of tricks, while never neglecting its robotic roots. (Too bad the "Jurassic Park" franchise hasn't mimicked this upright approach.)

Indeed, "Futureworld" presents its own, special, alternate-reality vision, with ample food for thought on what we might face if our technology should ever be used for subversive intent. (Heck, some would argue that it already has.) Additionally, the film's themes feel surprisingly contemporary, projecting many of the ideas now found in any number of current, android tales. Perhaps this is a sign that "Futureworld" could be perceived as a classic someday, but only time (along with the inevitable growth of artificial intelligence) will make that pivotal determination.

GOODBYE, PETER WYNGARDE...

You were the epitome of style and sophistication, Mr. Wyngarde, to the point that some have even claimed you inspired Mike Myers to base Austin Powers on your suave character, Jason King. Others state that you mirrored the classy sensibilities of author, Ian Fleming, but in any case, your mirthfully contagious charm was purely original: every bit your own.  

The evidence can be found in all facets of your career, though it rises especially high in those products of distinct, flamboyant atmosphere, such as "Alexander the Great"; "The Innocents"; "Night of the Eagle"; "The Avengers"; "I Spy"; "The Saint"; "The Prisoner" (as No. 2); "The Memoirs of Sherlock Holmes"; "Hammer House of Mystery" and the eternal "Doctor Who".

However, space-opera fans will remember you best as the golden-faced Klytus, henchman to merciless Ming, in "Flash Gordon '80". Lord only knows that if things had been played fairly, your characterization could have inspired an endless spree of collectibles that would have been produced to this day. 

You'll be missed, my friend, but your legacy will stand as a blueprint for anyone who dares to be different, special and of course, super cool.

SO LONG, BRADFORD DILLMAN...

You graced so many of my favorite science fiction, horror, action-adventure and speculative motion pictures, including such impressive and varied titles as "Brother John"; "Bug"; "Chosen Survivors"; "Compulsion"; "Deliver Us from Evil"; "The Disappearance of Flight 412"; "The Enforcer"; "Escape from the Planet of the Apes"; "Fear No Evil"; "The Lincoln Conspiracy"; "The Mephisto Waltz"; "Moon of the Wolf"; "Lords of the Deep"; "Piranha '78"; "The Resurrection of Zachary Wheeler"; "Sudden Impact"; "Jigsaw"; and "The Swarm"; not to mention your slew of television appearances, which include "Wild Wild West"; "Mission: Impossible"; "Name of the Game"; and "The Man from U.N.C.L.E."

In my opinion, you never received the acknowledgement you deserved, but you sure proved yourself one of the most competent and likable actors that Hollywood has ever produced.

God bless you, Mr. Dillman. I'm certain your competent presence will bless whatever ethereal stage you find yourself upon. 

AIRSHIP 27 PODCAST (JAN '18): READY FOR TAKEOFF!!!

Another Airship 27 Productions podcast is set for takeoff and your listening pleasure. To say the least, it's another thrilling dandy of a New Pulp ride. 

Captain Ron Fortier and Chief Engineer Rob Davis give scoops on such iconic heroes as Captain Action; Secret Agent X; Bass Reeves; and Sherlock Holmes. And buckle your seat belts, for on the Brother Bones front, there's a soon-to-be-released role-playing game; an illustrated script of the proposed film; and a spankin' new Fortier novel!!! 

As if things couldn't get more exciting, the guys also share info on the upcoming, Moonstone revised edition of Fortier and Davis' "Faces of Fear": that great team-up featuring those dark crusaders, the Black Bat and the Purple Scar (see June '17). The new edition (slated for release through Diamond Distributors) will include a Fortier Easter-egg supplement, in addition to other swell additives!!! Wow!!!

So, climb aboard and give a hardy listen. The latest podcast transmission can be tapped at ... http://zone4podcast.com/airship27-035/.

CW's Black Lightning Strikes!!!

CW has kicked off its live-action adaptation of DC’s “Black Lightning”, a Metropolis-spawned superhero who can project electrical currents from his body to thwart villainy; and yeah, man, the show sure does strike the ideal mark, at least for its initial episode, “Resurrection”. In other words, so far, so good…

Normally, I essay predictions on superhero shows in advance of their premieres, but in this instance, I thought it best to reflect on the product after viewing its introduction. I realize that a good opening doesn’t guarantee a smooth flow for an entire season, but considering the way CW’s other, superhero shows have recently faltered, my optimism for “Black Lightning” wasn’t all that luminous. Taking a little taste before judging it seemed only proper. 

Much of “Resurrection’”s appeal  comes from the actor who plays Jefferson Pierce, the gent otherwise known as Black Lightning. Cress Williams conveys sophistication, style and determination in the role. He's also quite affable and therefore, identifiable. In this instance, however, Cress' interpretation is based on the character as he'd appear in later years, long after he’s retired his superhero guise. 

He’s now a hard-working principal with high principles, and therefore, pretty much like any other productive, law-abiding citizen. Alas, Pierce’s daughter, Jennifer (China Anne McClain), has crossed paths with a gang, and to complicate this, for initial reasons unknown, certain members of the police force seem intent in stopping Pierce in his travels whenever the opportunity arises. Why? Is it due to some vile profiling tactic? Perhaps, but whatever the cause, it's enough to trigger grave concern, making one wonder if these events aren't connected to some higher-order criminality; and if so, will Black Lightning return to remedy them?

The execution of the initial episode is more in tune with “Arrow” than CW’s other productions, but I also sensed a tonal correlation with such grim Marvel/Netflix shows like “The Punisher”, "Luke Cage" and “Daredevil”, though without the layered violence. 

A competent supporting case reinforces this somber tonality and includes Christine Adams; Nafessa Williams; Damon Gupton; and character-actor great, James Remar. 

I’m curious whether “Black Lightning” will build enough momentum to become a CW staple. This might not be an easy task for its creators, considering the slip in CW’s superheroic quality, where a significant blurring of good-vs-bad has occurred: “Supergirl” being the main culprit, of course. On the other hand, “Black Lightning” might be just the right, moral jolt in the arm that the network needs to impact its other DC shows. 

I’d also love to see Pierce team with the other crusaders through a series of crossovers—though only if those crossovers adapt the right, earnest vibe. All we need is to have Black Lightning join the gang in an hour-long song-and-dance routine, and then...well, need I say more?

Collection Recommendation/An Alternate Reality: Planet of the Apes/Green Lantern

The prospect of any "Planet of the Apes" crossover gets me excited, and yet I must confess, teaming the time-tested simians with DC's iconic "Green Lantern" never struck me as the most ideal. Personally, I'd have opted for an all-out "Apes"/"Flash" team-up, if only due to the Gorilla Grodd connection, but then who's to say that the great ape can't figure into other factions of DC mythology and beyond? Hint, hint.

Much to my delight and contrary to the odds, DC/Boom!'s "Planet of the Apes/Green Lantern" has turned out to be a fantastic "what if" tale, focusing on what might occur if Cornelius found a Lantern ring and the dimensional-shaking consequences that would stem from such. The sprawling, speculative events are detailed in a six-issue series, now available in one, nifty paperback volume. 

Written/conceived by Robbie Thompson and Justin Jordan, with artwork by Barnaby "Omega Men" Bagenda (abetted by Alex Guimaraes; Ed Dukeshire; Ethan Van Sciver; and Paul Rivoche), "Apes/Green Lantern", is tiered with recognizable elements from the original, five-movie series (with focus placed on the '68 original; "Beneath"; and "Battle"), but of course, the parameters are expanded to incorporate the Lantern Corps. What plays out is thrilling, poignant and appropriately strange: a formula that fits both franchises. 

Hal Jordan is the main Lantern featured, with Kilowog, Arisia Rrab and Guy Gardner accompany his journey, which should make DC fans, in particular, feel right at home. 

After a series of tense events, Jordan lands on Ape Earth, where he becomes a substitute George Taylor, while the persistent Sinestro interrogates Dr. Zaius and Cornelius commences an unexpected, dictatorial rise. It's all thanks to the all-powerful Universal Ring which the priggish yet blundering Guardians of the Universe dispatched to a convenient, sandy cranny called the Forbidden Zone.

Experiencing Cornelius' change per the ring's mad influence is both awe-inspiring and unsettling, but it never strays to the point of becoming blasphemous or silly. Then again, the chimp's encounter with "Beneath'"s human mutants is one for the books, with Roddy McDowall's celebrated persona showing the misguided humans the error of the bomb-worshiping ways, only then to turn them into his devoted, ring-bearing disciples. Wild and weird, indeed, and man, is it ever engaging!

Without giving too much more away, the story leads to a vigorous confrontation. What we encounter prior to such includes many related, movie scenarios, featuring such significant supporting players as Ursus, Zira and Nova (with the aforementioned Grodd making a logical, guest appearance). These cameos are matched by a cavalcade of Lantern-character intervention (including Red Lantern infiltration), which reinvents one helluva, rousing "Battle".

To heighten the momentum, Bagenda's artwork is thoroughly pleasing, even if some stylish liberties are taken: Case in point, Nova isn't precisely Linda Harrison, but all the same, still a mighty fine sight for sore eyes.

As a back-of-the-book bonus, the team-up gives us some fun parallel-universe extras, including poster artwork based on the original, five Apes theatrical films, enhanced by lively, Lantern trimmings, plus Mego Apes dolls, garbed in Lantern gear. These imaginative supplements look and feel like genuine artifacts culled from an alternate '60-'70s culture. Who knows? Maybe they are!

On the whole, "Apes/Lantern" is unlike any comic-book crossover to date: radical in some respects, but so cleverly conceived that it feels like a splicing we've always known. That's a huge achievement, and DC/Boom! ought to be damn proud for pulling it off. 

This one clicks way too well not to trail-blaze onward, and things would only get more interesting if Barry Allen and his alternate-reality antics were employed. Come on, now: For the sake of continuation, wouldn't that only go to reason? Then again, the ending seems to imply...well, you'll just have to read the adventure to see. 

HISTORY IS MADE: FILMFAX HITS #150

It's been a while since I've promoted a mag in "bizarrechats", mostly because lots you have bypassed such posts. (The stats don't lie.) At the same time, I can't help but acknowledge a historic landmark for one of my favorites, Filmfax.

Filmfax has hit a historic #150!!! Whoopee!!! This is important since so many similar mags have come and gone over the years: most casualties of the Internet, high prices (for the sake of their skimpy content) and a general lack of support from the damn, high-and-mighty Generation Y. It's amazing that Filmfax has endured despite it all, but then while other publishers have ultimately shunned us old guys in their ill-fated attempts to make a buck, Filmfax has continued to embrace its core audience no matter what the pop-cultural circumstance. Wise move!!!

Issue #150 is another great one (of course), featuring articles on Clint "Cheyenne" Walker; Gerry "Thunderbirds" Anderson; Peter "The Manster" Dyneley; Phyllis "Lois Lane" Coates; Lila "She Shoulda Said No" Leeds; Kelli "Night of the Comet" Maroni; the great Lon Chaney Sr. (in "London After Midnight"); plus that ageless, yellow-garbed detective, Dick Tracy. There's also valuable tidbits and scoops on the "San Francisco's Summer of Love"; '50s sci-fi cosplay and the third-part history of the cinematic "Death Ray". Super cool!!!

Filmfax #150 should be hitting the newsstands and book shops soon, so keep your eyes peeled for this extra-special, anniversary issue. BTW: Contrary to what the cover image exclaims, what you see is (give or take some caption details) the final version, and boy, does it ever strike a perfect, nostalgic chord!!!

AMAZON PRIME PRESENTS...PHILIP K. DICK'S ELECTRIC DREAMS

Produced by Sony Pictures for Britain's Channel 4, with hopes that AMC might jump on board, "Philip K. Dick's Electric Dreams" begins its Amazon Prime premiere on Jan 12.

The ten-episode anthology was produced by Bryan Cranston (of the eponymous author's inspired "Total Recall '12"); Ronald D. Moore; and Michael Dinner, triggered by (though not exclusive to) various themes presented in Dicks' fantastic fiction.

For the most part, the stories essay cognitive and civil-liberty issues that may occur in the future, which means they're disguised examples of what may occur today. A strong cast helps bring these allegories to life, featuring Cranston; Steve Buscemi; Geraldine Chaplin; Vera Farmiga; Terence Howard; Greg Kinnear; Ana Paquin; Jack Reynor; Timothy Spall; and Benedict Wong. The fables are written by such speculative bards as Matthew "Life on Mars" Graham; Ronald "Battlestar Galactica" Dowl; Travis "Pacific Rim" Beacham; and Jack "Star Wars IX" Thorne. 

The content, along with its questioning tone, will be familiar to viewers, having already entered the annals of  "Star Trek"; "Science Fiction Theatre"; "Twilight Zone"; "Outer Limits"; "Black Mirror"; among others. The series also stands as a roundabout companion to the films based on Dick's work, with the original "Blade Runner" and "Total Recall" in the forefront. (Also, that Channel 4's debut of the series coincided with "Blade Runner 2049'"s theatrical release can't be coincidental. Heck, the android sequel also hits disc just a few days after the Amazon series loads. How's that for some apt, thematic overlap!)

If the British buzz is accurate, "Electric Dreams" ought to be a treat for U.S. viewers. If the latter embraces the show's content, it could spawn annual incarnations, much like Amazon's additional Dick tribute, "Man in the High Castle". Let's keep our fingers crossed (carbon based and synthetic) that "Electric Dreams" does, in fact, possesses that imposing potential.