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MADELEINE McCANN: The Sunday Express front page leads with the sensational headline: “I killed Maddie, you’re next.”
The story is that British woman Clara Corrigan claims that the man who stabbed her in Portugal screamed: “I killed Madeline McCann and I’m going to kill you.”
HOW England were cheated out of TWELVE World Cups.
See that lone star above the Three Lions crest?
CHRIS Carter’s landmark TV series The X-Files (1993 – 2002) proved not only a ratings blockbuster throughout the 1990s, but a cultural phenomenon too…the Star Trek of the Clinton Age, essentially. The series, which starred David Duchovny and Gillian Anderson proved so popular that its success led to movies, comic-books, toys, and even spin-offs such as The Lone Gunmen (2001). Chris Carter even had the opportunity to create another masterpiece for the era: Millennium (1996 – 1999).
But importantly, The X-Files also dramatically proved to network executives that horror and science fiction could play well on television if presented intelligently, and with a strong sense of continuity.
Accordingly, the years between 1995 and 1999 saw a veritable flood — a genuine boom — of horror-themed genre programming hit the airwaves.
These series had titles such as American Gothic (1995 – 1996), Strange Luck (1995 – 1996) , Dark Skies (1996), Kindred: The Embraced (1996), Poltergeist: The Legacy (1996 – 1999), Psi-Factor: Chronicles of the Paranormal (1996 – 1999), The Burning Zone (1996 – 1997), Sleepwalkers (1997), Prey (1998), Brimstone (1998 – 1999) and Strange World (1999).
Most of the series above lasted only a season, but nearly all of them involved, like The X-Files, aspects of the police procedural format, and elements of the horror genre, namely the supernatural or paranormal. Many of the series also involved government conspiracies, or an “Establishment” attempt to hide some important “truth” from the American populace.
Below are my choices for the five best of this post-X-Files pack.
Nowhere Man (1995)
Created by Lawrence Hertzog, Nowhere Man ran for twenty-five hour-long episodes in 1995 and quickly proved a paranoiac’s dream. The series involved Thomas Veil (Bruce Greenwood), a photographer whose very life was “erased” in the premiere episode (“Absolute Zero”) by a shadowy conspiracy.
This act of erasure was undertaken because Veil publicly revealed a top-secret photograph called “Hidden Agenda.” Soon even Veil’s wife, Alyson, (played by Millennium’s Megan Gallagher) claimed not to have any memory of him. She had been “gotten to.”
As the series continued, Thomas began to uncover secrets about the photograph, and about his enemies too, a sinister cabal or conspiracy called “The Organization” (think The Syndicate on The X-Files).
Nowhere Man picks up primarily on The X-Files’ conspiracy vibe, but also features a strong if oblique connection to another TV paranoia trip: The Prisoner (1967). There, the prisoner, Number Six (Patrick McGoohan), was trapped in a bizarre European “village” for spies and ex-spies; but here Veil finds himself in an Information Age trap where the prison is the global village itself.
Nowhere Man is cleverly constructed, right down to the hero’s name — Veil — and so the series’ final episode saw the “veil” over his eyes lifted at last. Today, this series would be ripe for either a movie or TV reboot.
American Gothic (1995)
American Gothic is the tale of Caleb Temple (Lucas Black), a youngster of questionable lineage who lives in the town of Trinity, South Carolina. In the premiere episode, little Caleb sees his father go stark, raving mad, and his sister Merlyn (Sarah Paulson) murdered by the nefarious sheriff, Lucas Buck Gary Cole). Then he learns that not only is Lucas Buck Caleb’s biological father…he may also be the devil.
But before Sheriff Buck can seduce Caleb to the dark side, the sinister force must contend with two most unwelcome “do-gooders” in Trinity: reporter Gail Emory (Paige Turco) and a Yankee upstart with a dark past, Dr. Matt Crower (Jack Weber).
Both carpet-baggers realize Buck is up to no good, and take steps to protect Caleb, but must simultaneously deal with their own personal demons. Gail’s parents died in Trinity twenty years earlier and Lucas Buck just happened to be the person who discovered their bodies. And Matt is still recovering from a drunk-driving incident in which his wife and daughter were killed.
Created by Shaun Cassidy, and produced by Sam Raimi, this soap opera horror owes as much to Twin Peaks (1990 – 1991), perhaps, as it does The X-Files. But all the x-trademarks are present, from a focus on corrupt (or actually evil authority figures…), to storylines which involve police solving crimes in a small-town.
American Gothic succeeds in part because of Gary Cole’s central presence and enormous charisma as the evil sheriff, a figure who can seduce anyone with a smile, and who is even taken, on occasion, to whistling the theme song from The Andy Griffith Show.
Dark Skies (1996)
Like all the TV series featured on this list, there can be little doubt that NBC’s Dark Skies was granted a prime-time berth because of the success of The X-Files.
There’s also little doubt, however, that Dark Skies is an original, visually-distinctive, and involving program. The one-season series showcases a memorable, growling regular performance from the late J.T. Walsh as the leader of a top-secret alien-hunting organization called Majestic, and features rewarding and intricate plotting across the span of the catalog’s nineteen hour-long shows.
The series is a period piece, interestingly, that concerns alien abduction — one of the key concepts explored in The X-Files.
Dark Skies opens immediately after President Kennedy is inaugurated and the age of Camelot commences. Two young Americans who are filled with enthusiasm — John Loengard (Eric Close) and Kim Sayers (Megan Ward) — go to Washington to serve the country and the new president but quickly become disillusioned when they learn that all is not as it seems. Aliens have infiltrated the highest levels of the American government.
While it’s true that Eric Close looks like he was incubated at a David Duchovny Clone Farm, and that matters of conspiracy in Washington were also heavily featured on The X-Files, Dark Skies nonetheless forges its own unique identity. It does so by replaying key events from human history — the first TV appearance of The Beatles on the Ed Sullivan Show, for instance, or the Kennedy Assassination — through the lens of alien infiltration in human affairs.
That was the “literal” level upon which Dark Skies operated, but the series also, overall, served as a metaphor for politics in the U.S. Naivety and idealism quickly give way to cynicism and dark agendas, and it’s a struggle to know who to trust, and who to believe in.
The tag-line for the short-lived series Prey on ABC-TV was “We’ve just been bumped down the food chain,” and the series concerned a beautiful geneticist, Sloane Parker (Debra Messing), who learned that a look-alike species — homo dominants — was gaining a foothold on power in North America.
A brilliant scientist not unlike Scully (Gillian Anderson), Sloane came to work with one of the dominants, Tom Daniels (Adam Storke), to help reveal the breadth of the dark conspiracy.
The X-Files often concerned genetic mutants like Victor Eugene Tooms, or other freaks of nature who, in some way could represent one possible future for humanity. Prey likewise involved a similar scenario, but taken to apocalyptic levels. Mankind was losing ground to superior beings, yet those beings were not aliens or monsters…but ones created under the auspices of evolution, by Mother Nature herself. The human race had become outmoded.
So the question became: can man outwit, defeat, and outlive its replacement species?
Over the course of Prey’srun much information was learned about the new species, including the fact that it lacked human emotions but possessed ESP. Prey was also weirdly prophetic. One episode involved school shootings — less than a year before Columbine — and the entire premise seemed to forecast the War on Terror.
In particular, the homo dominants looked and sounded like us, and therefore could imitate humans flawlessly. So your neighbor could actually be a sleeper agent, just waiting for the right moment to strike. In 2004, this was the premise of the re-imagined Battlestar Galactica.
Brimstone (1998 – 1999)
Created by Ethan Reiff and Cyrus Voris, Brimstone aired on Fox as the lead-in to Chris Carter’s Millennium on Friday nights, and ran for just thirteen hour-long episodes before an untimely cancellation.
The series starred Peter Horton as hangdog Detective Ezekiel Stone, a former Manhattan-based police officer who died in 1983…and promptly went to Hell. Stone did so because he took the law into his own hands and murdered his wife’s rapist, Gilbert Jax. Two months after that act of vigilantism, Stone was killed in the line of duty, and he has been trapped in the Underworld ever since.
As the series commences, however, 113 of the “most vile” criminals in Hell manage a jailbreak and return to Earth to wreak havoc. The Devil (John Glover) — trying to cover his ass with the Man Upstairs — recruits Detective Stone to pursue the fugitives and send them back to Hell and permanent incarceration.
Ezekiel can do so only by destroying their eyes, the so-called “windows to their souls.” In exchange for his service, Stone gets a much-valued second shot at human life, happiness, and redemption. Each time Stone kills an escaped convict, a strange runic tattoo (representing the convict’s “number” or identity) burns off his body. Stone must also deal with the fact that some of escaped convicts are extremely powerful, with terrifying supernatural abilities
As the Devil informs the detective: “The longer you’ve been in Hell, the more it becomes a part of you.”
The villains featured on the series reflect The X-Files concept of the “monster of the week.” They are literally twisted creatures from Hell, and the roster includes an unrepentant rapist (“Encore”), a shape-shifter with multiple personalities (“Faces”), a lovelorn poet who kills virgins (“Poem,”) and even a Bonnie and Clyde-styled pair of thugs (“The Lovers.”)
Presented in a kind of de-saturated or silvery-steel color-scheme, Brimstone was another police procedural of the 1990s, like the X-Files, but it proved an original initiative because it worked overtime to diagram a universe of nuanced morality. Despite the presence of God and the Devil in the stories, Brimstone always explored shades of gray, not the least in terms of Stone’s behavior. Did he deserve a second chance? Did he deserve to go to Hell in the first place?
In exploring these issues, Brimstone proved more than your average X-Files knock-off and emerged as a memorable supernatural noir. The series’ sense of humor, revolving around a man from 1983 living at the turn of the century, also proved stellar.
Madeleine McCann: Anorak’s look at the missing child in the news media.
Stefano Hatfield, Indy: “Reward MH370”: We need to have faith in those who govern”
…I’ve never lost anyone truly close to me in mysterious circumstances, so I cannot know how that must feel. I cannot know therefore how bewildered the desperate families of missing Malaysian Airlines flight MH370 must be to set up a crowd-sourced whistle-blower fund, “Reward MH370”, in the hopeful belief that someone, somewhere must know what happened to the jet that went missing two months’ ago with 239 people on board.
Nor, can I know the overwhelming terror, guilt, worry and helplessness that Gerry and Kate McCann must endure daily as they continue to search for answers regarding the disappearance of their daughter Madeleine, seven years ago.
TRANSFER Balls: a look at Luke Shaw, the England and Southampton star:
In January, the Mirror John Cross told readers:
Manchester United transfer target Luke Shaw wants Chelsea move from Southampton even if it’s in the summer…
Shaw, a boyhood Chelsea fan, has set his heart on London rather than Manchester when the time comes to move.
The Express agreed:
Read the rest of this entry »
Read the rest of this entry »
WORLD Cup Watch looks at how the Daily Mail is gearing up top rubbish Roy Hodgson whose key error remains not being Harry Redkapp.
Redknapp’s ghost writer Matin Samuel looks at “impact” substitutes and, in particular, Liverpool’s Raheem Sterling:
Sterling, who knows? Hodgson rejected the chance to start him against Peru or Ecuador and was faced with a young man so desperate to make an impression in that second game that he got sent-off and missed the final match in which he was ear-marked to start.
IT’S rather sad to see the people who actually run the NHS being so confused about the realities of that very NHS. The latest being this idea that all of us becoming fat lardbuckets will mean that the NHS runs out of money. So, therefore, we’ve all got to be dragooned into eating less so as to save the taxpayer.
The problem with this is that fatties don’t cost the NHS cash, they save it. Here’s the standard story:
The way things are going, every kid is going to go to school wearing bubble wrap and a helmet. Back in the 1970s (and earlier), parents didn’t stress about our health and safety as much as they do today. It’s not that they cared less – they just didn’t worry compulsively about it.
Parents of 2014 need to be reminded of how less restricted, less supervised, less obsessively safety-conscious things were… and it was just fine.
1. JARTS: IMPALING ARROWS OF DEATH
Can your mind comprehend a more deadly toy than a weighted spear that kids hurl through the air like a missile? No one ever obeyed the actual manufacturer’s rules, we just flung these damn things everywhere. We threw them. They stuck where they landed. If they happened to land in your skull, well, then you should have moved.
After roughly 6,700 emergency-room visits and the deaths of three children between 1978 and 1988, they finally outlawed Jarts on December 19, 1988. I suppose it needed to be banned, but a part of me is sad that kids today won’t have the battle scars and Jart survival stories we had. Goodbye Jart – you were an impaling arrow of death, but I loved you anyway.
2. LOST AND NOT FOUND: SEAT BELTS
Cars came with seat belts in the 1970s, but no one used them except maybe out of curiosity to see what it was like to wear one. Of course, you’d have to fish them out of the deep crevice of the backseat cushion where they often came to rest, unwanted and ignored.
The only “click” heard in the 1970s automobile was your dad’s Bic lighting up a smoke with the windows rolled up. (cough!)
I should also mention that, not only were there no seat belts, child seats were nowhere to be found. Whether it was the front seat of your mom’s station wagon or her bicycle, chances are, you were entirely untethered.
3. SEMI-LETHAL PLAYGROUNDS OF HOT METAL
Remember when playgrounds were fun? Sure, there was a pretty good chance you’d be scalded by a hot metal slide, or walk away with tetanus, but that’s what memories are made of.
The ground wasn’t coated with soft recycled rubber or sand as most are today – they were asphalt. Remember being hurled from a spinning merry-go-round, then skidding across the gravel at full speed? Good times.
I remember my school playground had a metal ladder “wall” that I swear went up three stories – it didn’t connect to a slide or anything. It was literally a ladder to the sky. I remember fully believing the oxygen was thinner at the top. One false move and I’d have been a flesh colored stain on the asphalt.
According to the New York Times we are making playgrounds so safe that they actually stunt our kids’ development. So, while blood was spilt and concussions were dealt on the playgrounds of the 1970s, we were at least in a developmentally rich environment – and we had the bruises and scabs to prove it.
4. PRECIOUS LITTLE SUN PROTECTION
“Tanfastic lets the sunshine in. It’s not loaded up with sunburn protection like old folks and kids want. Tanfastic’s for you 15-to-25 year olds who can take the sun. Especially if you want to get superdark. Superfast.”
Back in the 70s, your goal was to get as brown as your skin would permit. Sun BLOCK or sun SCREEN was basically nonexistent. You wanted to AMPLIFY your rays, so women typically lathered on Crisco and baby oil to get that deep baked look.
For the kids, SPF numbers hovered around 2, 4 and 8. The idea that you would spray an SPF of 50 or even 30 wasn’t even an option, except perhaps from medical ointments prescribed for albinos.
5. HELMETS: FOR THOSE WITH MEDICAL CONDITIONS ONLY
Whether you were riding a bike, roller skating, or skateboarding, one thing was for certain: you were not wearing a head protection. You would have been looked at as a sideshow freak by other kids, and parents would assume you had some kind of medical condition.
6. IGNORED AND UNATTENDED ON THE REGULAR
Hey, who’s watching the kid in the stroller? YOU MUST HAVE YOUR EYES ON THE KID AT ALL TIMES OR ELSE HE WILL DIE!
My mother routinely left me alone in the car at a young age while she ran errands. Today, this will literally get you arrested. You see, once upon a time it was okay to leave your kids for long periods without supervision (remember the so-called “latch-key kids” of the 70s?), or let them free roam without constant surveillance. Today, parents won’t let their kids go out to get the mail alone, and any fun with friends has to be scheduled, closely monitored “play dates”.
On summer break or weekends in the 1970s, parents kicked their kids out the front door and didn’t let them back in until the sun went down. “Go play,” were their only words, and you were left to your own devices for hours upon hours. Neighborhoods looked like Lord of the Flies.
7. ROUTINELY ALLOWED TO GET SERIOUSLY HURT
This poor kid is about to get rammed in the nuts by a goat, and the nearby adult isn’t the least bit concerned. In fact, he finds this all incredibly amusing! As hard as this is to believe, but when kids got hurt back then, adults didn’t come running with first-aid kits. More than likely you’d be left alone with your pain, with no alternative but to get over it.
In the 70s, parents watched their offspring fall from trees and fall off bikes with a smile.
8. SECONDHAND SMOKE EVERYWHERE
From airplanes to your family car, it seemed the world of the 70s was shrouded in a haze of cigarette smoke. It wasn’t just the fact that many more people smoked, it was the absolute 100% lack of concern for those that didn’t, including children. Teachers smoked, doctors smoked, your parents smoked…. and they didn’t take it to a secluded smoking area, they did it right in your face.
Please don’t interpret this as condoning it. There’s no question that engulfing your child in a thick carcinogenic cloud isn’t a good idea. I’m just stating facts – this is the world we lived in. It was full of adults who didn’t seem to have anxiety attacks over our safety, and we turned out just fine…. right?
THE UCL Student Union has banned the college’s Nietzsche Club. The Union write beneath the headline “Motion to the Union Council: Fight Fascism”:
This Union notes
That a group positioning itself as a “student club about traditionalist art and philosophy” and as “Tradition UCL”, has started operating at UCL.
That this group has been putting up posters with their contact details around UCL campus.
That their posters’ heading reads “Too much political correctness?”, and they advertise a study of the philosophers Nietzsche, de Benoist, Heidegger and Evola.
That a second poster appeared around four weeks after the previous one had first been put up, bearing the title “Equality is a false god” and, once again, advertising the philosophers de Benoist, Heidegger and Evola for study.
That on this second poster the group has repositioned itself as a “Nietzsche Club” and altered its contact details to include a new email address.
That the aforementioned philosophers and thinkers are on the extreme-right, racist, sexist, anti-immigrant, homophobic, anti-Marxist, anti-worker and have had connections, direct or indirect, with Italian fascism and German Nazism.
You might not agree with the Nietzsche Club. But when did students at universities become censorious?
This Union believes
BLIMEY! The Daily Express has news to chill Scottish Independence voters. A vote ‘yes’ gives you cancer:
MADELEINE McCann: Anorak look at the missing child in the news. In today’s newspapers.
The missing child is not on any of the front pages.
The Mirror: “Madeleine McCann search: Family of missing Ben Needham say ‘thoughts and prayers’ are with the McCanns”
Ben was just 21-months-old when he disappeared from the Greek island of Kos in 1991. A review into his disappearance was held in 2012, with some of the experts from that operation now being used in the renewed search for Madeleine.
23 years on, no trace of Ben has yet been found.
The police never looked that hard for him.
His family told Sky News: “Our thoughts are with the McCanns in this search for Madeleine. We ourselves know that this sort of investigation will be a very difficult time for the family. Our thoughts and prayers are with them.”
THE Independent talked of “The ‘Irish Holocaust'” that “saw hundreds of babies left to die – and the practice may have been more common than first thought”.
The story of the babies dumped in a septic tank in Tuam, Galway, travelled:
“Bodies of 800 babies, long-dead, found in septic tank at former Irish home for unwed mothers” – The Washington Post.
“Nearly 800 dead babies found in septic tank in Ireland” – Al Jazeera.
“800 skeletons of babies found inside tank at former Irish home for unwed mothers” – New York Daily News.
“Almost 800 ‘forgotten’ Irish children dumped in septic tank mass grave at Catholic home” – ABC News, Australia.
RIDLEY Scott’s Alien (1979) dramatically altered the template for horror films set in outer space. For example, the blockbuster film was among the first (after Dark Star  to suggest that travel in the final frontier would be the purview of “work-a-day” space truckers rather than noble explorers or adventurous astronauts.
And instead of intrepid space travelers fighting men-in-rubber suits inside idealized white-on-white space station environs (as was the case in The Green Slime ) Alien suggested a technological space age marked by endless industrial corridors and aliens of constantly shifting dimension.
The Scott film’s central alien — a bio-mechanoid horror created by H.R. Giger — could also gestate inside a living human host, and this fact ushered in a new era of cinematic “body horror.”
As with any genre blockbuster, Alien almost immediately spawned a host of knock-offs, some terrible and some quite good. These films found much material to imitate and emulate, from the diverse make-up of Alien’s victim pool, to bloody variations on Alien’s famous chest-burster birth scene. Many Alien knock-off films also involved long forgotten derelicts or other structures on alien planetary surfaces, for instance. Inevitably, human crews would discover these Lovecraftian edifices and wake up age-old horrors.
Among the Alien knock-offs of the 1980s were Scared to Death (1981), Forbidden World (1982), The Beast Within (1982), Parasite (1982), The Being (1983), and Biohazard (1985), to name just a handful.
The list below represents five of the best — or at least the most memorable– of the Alien knock-off breed. As is often the case regarding knock-offs, the best such films are invariably those that re-purpose not merely the clichés from one source – in this case — Alien — but also from other literary or cinematic works as well.
Saturn 3 (1980)
The story of a psychotic mad scientist, Captain Benson (Harvey Keitel) who travels to the Experimental Food Research Station on a moon of Saturn during a twenty-two day eclipse and communications black-out called “Shadow Lock,” the much-reviled Saturn 3 might actually be considered, first-and-foremost, a child of the Frankenstein story.
On remote Saturn 3, Benson assists two scientists working to alleviate a famine on overpopulated planet Earth. Major Adam (Kirk Douglas) and his romantic partner, the beautiful and innocent Alex (Farrah Fawcett) are wary, however, of Benson’s form of help: a colossal humanoid robot named Hector, the first of the “Demi God” series. Hector boasts human intelligence, not to mention human tissue. And echoing his creator’s madness, he soon begins lusting mightily after Alex.
Outside the space-age Frankenstein monster tropes, Saturn 3, like Alien, is set in a location where aid and assistance from the authorities is not available. Similarly, Earth in both films is depicted as a used-up dystopia. In Alien, “the company” controls everything on Earth, and in Saturn 3, humans have polluted the planet and resorted to rampant drug use because of the planet’s inhospitable nature.
Hector stands in for the titular alien, as well, and hunts down the film’s Adam and Eve-styled protagonists in the facility’s twisting factory-like corridors.
Finally, in Scott’s film, the Alien is almost entirely a creature of instinct, driven by impulses to reproduce and survive. In Saturn 3, by contrast, the monster is a machine that experiences something “human” beyond programming: psychosis and lust. Hector is ultimately beaten, however, because as a machine he can’t understand the human concept of self-sacrifice.
Galaxy of Terror (1981)
Aliens (1986) director James Cameron served as a production designer on this knock-off from Roger Corman’s New World Studios, and in the process created a universe that is very reminiscent of the Scott film, at least from a visual stand-point. Like Alien, Galaxy of Terror is set in a “lived in” universe (unlike, say the white-on-white minimalism of 2001: A Space Odyssey  or Space: 1999 [1975 – 1977].)
In Galaxy of Terror, a rescue ship, The Quest, heads to the mysterious planet called Morganthus to discover the fate of the Remus, another ship which crashed there. Once on the surface of dark Morganthus, however, the Quest crew discovers a strange alien pyramid. Soon, the crew — including characters played by Robert Englund, Sid Haig, Grace Zabriskie, and Erin Moran — begins to experience their worst fears made manifest.
In this case — if the plot summary hasn’t given it away already — Galaxy of Terror draws inspiration not only from Alien, but from Forbidden Planet (1956), a film in which another rescue mission (to Altair-4) runs afoul of a “Monster from the Id,” actually the human subconscious. That’s pretty much the case here, only with slimy monsters, doppelgangers, and a scene involving a rape by a giant alien worm.
The alien pyramid in Galaxy of Terror looks like it could have been constructed on Alien’s LV-426, and the slate gray sky above it even looks eerily similar. More trenchantly, perhaps, Galaxy of Terror’s rape scene also reflects the violent sexuality seen in Alien, the harsh re-purposing of the human body for unwholesome breeding purposes.
Also known as Horror Planet, Inseminoid is probably the schlockiest film on this list. The film stars Judy Geeson, Stephanie Beacham and Victoria Tennant as astronaut scientists, and involves the discovery of an ancient alien tomb on a far distant planet.
Before long, one astronaut, Sandy (Geeson), is impregnated by the last living alien in the tomb, and becomes the protective expectant mother of two ghastly alien twins. Her maternal instinct is re-purposed to serve an interloper’s biological imperative.
And just as Kane in Alien gives birth to the chest-burster, here Geeson gives birth to two monstrous tykes who — naturally — nurse on human blood.
Inseminoid’s central conceit is that everything on this distant alien world is “doubled.” The planet orbits twin stars, and the alien mythology is obsessed with twins, and so forth.
Although lacking tact (especially in the flashbacks to Sandy’s impregnation), Inseminoid occasionally features a beautifully composed shot, such as one on the purple surface of the distant planet during a funeral. There was also a funeral (for Kane) in Alien, but this shot of an alien vista grants the hororr film a nice sense of scope and also a visceral sense of place.
Like Alien, Inseminoid also concerns an alien species that co-opts the human race for its own reproductive requirements. Here, the aliens suckle on the (open) wounds of dead humans, and Sandy herself becomes a bit blood-thirsty as her biology is altered to play host to most unwelcome invaders.
A corporate spaceship, the Shenandoah, sets down on Titan to investigate an ancient alien archaeological site. The Shenandoah’s mission is imperiled, however, by the arrival of a ship from a competing corporation, Richter Dynamics, and the presence of its freakazoid captain, played by a scenery-chewing Klaus Kinski.
Before long, the rival crews learn that the archaeological site was actually something akin to an alien zoo or laboratory: a collection of diverse aliens from all over the universe. Unfortunately, one managed to break free from its captivity and is now attacking and brainwashing human beings…
Creature — while ripping off Alien lock, stock and barrel — also offers a number of notable fan touches. The film’s Ripley equivalent is Beth Sladen (Wendy Schaal), and her name seems like a nod to Elisabeth Sladen, who accompanied Tom Baker’s Fourth Doctor in Doctor Who on several dangerous adventures in space in TV serials such as “Ark in Space” and “Planet of Evil.” The film also quotes dialogue directly from — again – Forbidden Planet.
Additionally, the key to destroying the unleashed zoo specimen in Creature is Sladen’s knowledge of Howard Hawks’ The Thing (1951). She remembers that — in the movie’s last act — the imperiled humans electrocuted an invading alien.
These and other tributes assure that Creature can be contextualized as more than mere Alien knock-off.
Finally, Creature also revives the “corporate” culture social critique underlying the Scott film. In this case, the rival spaceships are involved in what the film’s dialogue calls “a fierce race for commercial supremacy.”
Even in space — with drooling, brainwashing aliens out and about — the ultimate enemy is…big business.
John McTiernan’s 1987 adventure/horror movie is actually part-Rambo (1985) and part-Aliens (1986), and is the best film on this list, by far. Still, much of its energy seems derived from the Alien aesthetic.
Here, we get the remote location (a jungle in Central America instead of outer space), an alien — with a similarly distinctive jaw-line — that cuts down one human at a time, and is a kind of alpha or apex predator.
The alien in Scott’s film was the ultimate survivor, able to breed and survive in any setting. The alien, by contrast, in Predator is the universe’s greatest hunter, a characterization that sets up a conflict with planet Earth’s greatest warrior, Dutch, played by Arnold Schwarzenegger.
But the real commonality between Alien and Predator arises in a mid-story surprise and revelation of conspiracy. In Alien, the Nostromo’s science officer, Ash (Ian Holm), protects the alien all along, and considers the rest of the human crew “expendable,” on secret orders from the Company.
In Predator, Dillon (Carl Weathers), an ambitious military officer, uses the cover of a rescue mission to get Dutch’s men into a position where they can acquire important documents about “the enemy.” As in Alien, the soldiers serving under Dutch are thus considered “expendable.”
Neither Ripley nor Dutch respond well when they expose the secret conspiracy, and the conspirator. In Predator, however, Dillon gets a shot at redemption, and Ash gets…decapitated.
THERE’S no better insight into the teenage girl psyche than those ubiquitous teen magazines. So, let’s step into the mind of early Seventies teenyboppers and take a look at the March 1971 issue of ‘TEEN magazine. It’s chock full groovy advertising and advice, fashion and feminine hygiene. Within its glorious pages we’ll find a plethora of mini-skirts, a cry for the whereabouts of Peter Tork, and how to look fabulous in the jungles of Vietnam. Come take a look!
DYE ADVERT – MAY CAUSE ACID FLASHBACK
This tie-dye painting in combination with that wallpaper is causing a bit of a sensory overload. While I’m sure that wall is nice while gobbling up psychedelics, it would be migraine inducing on a daily basis.
IT’S one of those little tragedies that hits most peoples’ love lives at one time or another. One starts out the evening lookin’ fer a little lurve and the eye alights upon one carrying a little extra weight. Some interesting handfuls perhaps: and then one wakes up next to a beached whale. Fortunately, now we know the answer. You should have eaten before you went looking:
It is a well-known maxim that you shouldn’t visit the supermarket when feeling hungry, but new research suggests the same is true when going out in search of romance.
Both men and women are more likely to be attracted to people who are larger when they go out on an empty stomach.
Men, in particular will choose more voluptuous women if they have missed a meal while women go for larger, heavier set men.
But scientists warn that when then hunger is sated, they may not feel the same.
THE first war-correspondent dispatch from the D-Day landings came from Gustav, an RAF Coastal Command homing-pigeon, released by the Reuters news agency reporter Mr Montague Taylor. The pigeons were taken across the channel in wicker baskets on servicemen’s backs and set free to fly home with vital information.
The message connected to Gustav’s leg read:
We are just 20 miles or so off the beaches.
First assault troops landed 0750. Signal says no interference from enemy gunfire on beach… Steaming steadily in formation.
Lightnings, Typhoons, Fortresses crossing since 0545. No enemy aircraft seen.