The Isolation Zone: ‘Under the Dome’ and ‘Siberia’

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Nobody ever said TV networks programmed their schedules to help their viewers, what with putting shows in the ridiculous “Friday night death slot” and pitting shows likely to appeal to the same audience on opposite each other.

There’s some of the latter going on this summer – although probably not for long – with CBS airing its adaptation of Stephen King’s “Under the Dome” on Mondays opposite NBC’s “Siberia.” Although that should be the other way around, with “Under the Dome” beginning a week earlier than its no-name rival.

If you’re not familiar with “Under the Dome,” it’s based on King’s 2009 novel about the small town of Chester’s Mill, cut off from the outside world by a see-through but impenetrable dome. No one can get in or get out and viewers will find out what’s really going on by the end of the 12-week miniseries (readers of the book know it’s an ending that combines elements of “The Twilight Zone” and “Star Trek,” although they’ve supposedly rewritten the ending for the miniseries).

And how much of an ending are we going to get, anyway? I’ve read somewhere that King and the producers intend to continue the series next summer. Hmmm.

Anyway, in the meantime, some typical but still enjoyable King characters fill out the town of Chester’s Mill, including the mysterious hero, the spunky heroine, the town boss and his psycho son (well, the latter character’s not a favorite of mine).

Siberia

Over on NBC, “Siberia” is trying something a little different that is, at the same time, beholden to such movies as “The Blair Witch Project” and shows like “Survivor.”

In the first episode, 16 varying types – the diva, the nice girl, the down-home guy, the grumpy old man – are transported by the producers of a reality show to the wilds of Siberia. Once there, they’re told they have to survive for an unspecified period of time without quitting. The survivors get to split $500,000.

The show employs the reality show conventions we all know so well by now, with an omnipotent host who appears and disappears and everyone identified by name, profession and home town in subtitles accompanying look-into-the-camera “confessions.”

By the end of the first episode, however, it’s pretty obvious that this isn’t a standard reality show, as things take a violent turn.

For now, I’m keeping up with “Under the Dome” but I’m hoping things begin to boil pretty soon. As for “Siberia,” I’m not sold on it yet. I’ll try another episode to see what the producers have in mind.

So far, “Under the Dome” is beating “Siberia” in the ratings, so the question of how the “reality” show plays out may soon be moot.

Classic schlock: ‘Attack of the Giant Leeches’

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“Attack of the Giant Leeches” sounds like the quintessential low-budget drive-in horror movie, and with good reason:

It’s a Roger Corman production at American International Pictures.

attack of the giant leeches blonde

It’s set in Florida but there’s a southern “swamp trash” – to use a phrase uttered in the movie – feel to the movie, right down to the corn pone accents and moonshine-swilling hillbillies.

It’s a Roger Corman production (did I mention that already?).

Its title alone sounds like every bad imaginary movie that ever played out on a drive-in movie screen in some other movie or TV show.

“Attack of the Giant Leeches,” all 62 minutes of it, is great fun, a mix of southern fried domestic drama right out of “Cat on a Hot Tin Roof” and low-rent monster movie.

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Legendarily made in eight days, “Attack” has a low-rent feel but doesn’t stint on action. Except for a couple of scenes that feel like people are standing around talking for the sake of filling up a few minutes of screen time, “Attack” brings the drive-in thrills early. One of the titular characters shows up even before the credits, and there’s two or three attacks in the first 20 minutes of the movie.

A small Florida town is beset by attacks by man-sized leech creatures. As people turn up sucked to death or missing, game warden Steve swings into action. Well, sort of. First of all, he needs to make sure nobody’s going to do anything to hurt indigenous wildlife.

attack of the giant leeches monster

The creatures are low rent – somebody sewed plastic octopus suckers on the forerunner of the Snuggie – but probably more effective because they are little seen.

There’s one genuinely creepy moment in the movie in which we learn the giant leeches are taking their victims to an underwater cavern. They’re left there to be sucked dry of blood a bit at a time. It’s kind of eerie.

There are some decidedly loony moments:

Game warden Steve runs up to floozie Liz as she screams because she’s been frightened. But Steve, rather than holstering his pistol, points it right at Liz’s face as he comforts her.

Cal, the no-goodnik making time with Liz, is a dead ringer for comic Adam Carrolla.

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Cal and Liz go out to a remote spot in the swamp – despite stories about the leech creatures – to make out … in a decision they make standing in the doorway of a bedroom. Young people these days!

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Steve and pal Mike decide to go diving in the swamp to look for the giant leech creatures with scuba equipment they took from a ship belonging to “the Italian navy.” Huh?

The creatures usually have a fairly effective “rattle” noise they make, but early on one makes a sound like a cougar’s cry.

Check out “Attack of the Giant Leeches.” It’s drive-in schlock fun.

Classic TV: ‘Ironside’

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I was too young to be familiar with Raymond Burr from the TV version of “Perry Mason,” but I was just the right age to enjoy “Ironside,” Burr’s classic TV cop show that debuted in 1967 and ran until 1975.

“Ironside” was part of a wave of disabled or offbeat detectives that was a trend for a decade or more on TV. “Ironside” was confined to a wheelchair. “Longstreet” was blind. “Barnaby Jones” was old. “Cannon” was fat. It didn’t take much for Mad Magazine, which – along with Famous Monsters of Filmland, was my Bible growing up – to poke a lot of fun at the genre.

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Burr played Robert Ironside, shot and turned into a paraplegic by a sniper. He leaves the San Francisco Police Department but returns as head of a special squad to help his friend the police commissioner.

Burr played Ironside as more than a little gruff. As a matter of fact, I thought he was kind of an ass. But he got results, dammit!

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The supporting cast was familiar and enjoyable, including Don Galloway as cop Ed Brown and Don Mitchell as Mark Sanger, Ironside’s  driver and bodyguard.

And who can forget that siren-like theme music? It is truly unforgettable and was composed by the one and only Quincy Jones. The music was used in Quentin Tarantino’s “Kill Bill” movies.

These days, there would be some over-arching mystery to Ironside’s shooting and there would be a promise that he just might someday regain the use of his legs. “Ironside” didn’t need those gimmicks.

There’s a new version of “Ironside” in the works, starring Blair Underwood. I might try it, but remaking “Ironside” is, in some ways, as heretical as remaking “Mannix” would be. I’m not sure I can bring myself to watch.

Captain America on the Fourth of July

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It’s pretty easy to draw a line between Captain America, the classic Marvel Comics character, and the Fourth of July, the U.S.’ most patriotic holiday.

The guy’s dressed in the Stars and Stripes, for pete’s sake.

But those who dismiss Cap and his alter ego, Steve Rogers, as an empty American symbol are wrong.

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As a matter of fact, Cap’s real patriotism is what the Marvel movie producers got so right in “Captain America: The First Avenger” and “The Avengers.”

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Like Superman, Captain America is a man without his own people. When Cap returned in Avengers No. 4, he was nearly 20 years removed from his era and his battleground, World War II. That “man out of time” feeling, which directors Joe Johnson and Joss Whedon captured so well in those movies, is what sets Cap apart from hip, funny heroes like Spider-Man.

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Heck, the former Cartoon Network series “Superhero Squad,” which made Marvel heroes appealing and accessible to young fans, even got Cap right even as they poked fun at him. Cap in that series was always talking about some conversation he had with FDR or making some other “frozen in amber” reference. It was as funny as it was on-the-nose.

But besides Cap’s stranger in a strange land status, he’s also known for doing what’s right. Always. For a period in his comic in the 1970s, that meant forgoing the Cap name and costume and, thanks to disillusionment with the government, operating as Nomad, the man without a country.

I’m looking forward to “Captain America: The Winter Soldier” next year in great part because it looks like more of a political thriller than a spandex slugfest and in great part because it looks to pit Cap against SHIELD. Cap’s character in “The Avengers” certainly showed more than a little skepticism about SHIELD and Nick Fury’s motives. That’s perfectly in keeping with the character and I couldn’t be happier about that.

So while Steve Rogers would, if he existed, be enjoying a hot dog and some fireworks today, he’d also be mindful of what enabled him to enjoy the Fourth of July, the sacrifices of men and women that allowed that and the individual liberties of the people around him.

Because while Captain America might have been a man without his own people, he has embraced – and been embraced by – his new people.

Classic comic strip: ‘Andy Capp’

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“Andy Capp” is probably the only comic strip to inspire a potato snack.

I can’t say a lot more about the strip, except that it never prompted much more than consternation from me.

Created in 1957 by cartoonist Reg Smythe, the strip ran in British papers before making its way to the U.S.

The strip follows the soused adventures of Andy Capp, a working class bloke who likes to hang out at the pub and occasionally irritate his wife, Flo.

Online sites say Andy is a wife beater, although I’m not sure I noticed that depicted in the strip. I’ve seen plenty of animosity between the two, however, which makes the former more likely – although almost certainly not in the modern era.

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So how are those Andy Capp Hot Fries, anyway?

Coolness: ‘Walking Dead’ season 4 banner

walking dead season 4 bannerOh man.

AMC today released a banner for season four of “The Walking Dead,” which returns this fall.

The essential elements of the show – well, there’s no sign of Carl, but other than that – are here. You got Rick, you got Daryl.

Tyreese wielding a hammer!

Michonne wielding her katana – from the back of a horse!

The banner was released to promote “The Walking Dead” panel at San Diego Comic Con later this month.

But I like to think of it as a present for us.

Enjoy.

 

RIP Sammy Terry: We’ll miss our favorite ghoul

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I come to praise Sammy Terry, not to bury him.

With the passing Sunday, at age 83, of longtime Indianapolis music store owner Bob Carter, a chapter of television history closes.

That’s because, of course, Carter was the real-life, not-totally-secret identity of Sammy Terry, horror movie host on WTTV Channel 4 from 1962 to 1989.

I’ve written about Sammy before, but his passing prompts me to recount the Sammy Terry legend at greater length.

Carter was a TV pitchman who claimed to have invented the Kentucky Fried Chicken catchphrase “It’s finger-lickin’ good!” during a live commercial spot. He always seemed like a gentle soul and, on the rare occasions I called him for an interview, answered the phone in a toned-down version of the sepulchural voice he used to play Sammy.

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He seemed to take his celebrity in stride. For a couple of generations – at least – of Indiana kids, he was a cultural icon before we knew what that phrase meant. But probably because you couldn’t make barrels full of money taping a once-a-week horror movie show on Indianapolis TV – and no doubt because he loved providing music education to legions of school children – he kept that day job.

But 11 p.m. Friday rolled around and Carter – in yellow rubber gloves with veins drawn on, pasty pancake makeup, a dark purple cowl and cape and plastic skull around his neck – became friend and nemesis to us kids all at the same time.

He was a friend in my household. Because she knew it was important to me, my mom helped me stay up late on Fridays, talking to me and prodding me and even occasionally offering me a McDonald’s hamburger left over from our special Friday night dinner.

For other kids, including some of my cousins, Sammy, his creaking coffin, his spider friend George and his spooky movies were just a bit too much. Sammy’s entrance was a cue for the sleepover to move into deep sleeping bag mode.

And what movies he showed. Channel 4, like stations all over the country, had bought the Shock Theater package of films. The 50-plus films, including many classic black-and-white Universal Studios horror movies like “Frankenstein” and “The Wolf Man,” had been re-released to theaters for much of the 1930s and 1940s and even the 1950s. But in 1957, the package was released to television and many stations built a weekly horror movie show around it. Thus were born the TV horror hosts, men (and a few women) who dressed up in spooky outfits and presented the classic films, often seasoning their introductions and cut-away bits with campy humor.

Carter – whose stage name was a play on “cemetery” – told me on a couple of occasions how much he enjoyed the gig. He recalled with great fondness how the cardboard dungeon set was created and how the most realistic thing about the show – the coffin from which he arose every Friday at 11 p.m. – had been provided by a funeral home that insisted he never tell its origin for fear it would upset customers.

Carter made appearances here in Muncie over the years, and before one such appearance, in the early 1980s, I had done an interview and asked if I could meet him “backstage” at Muncie Mall as he got into makeup and costume. He graciously agreed and, along with a couple of friends, I was ushered into the room where he was getting ready.

Like three starstruck kids, Jim, Derek and I watched as he got ready and made small talk. When he was finished, I took a picture of the other two with him. That picture hung on Derek’s wall for many years.

Sammy’s time as a horror movie host passed more than a couple of decades ago, a victim of changing tastes and TV economics. He continued to make personal appearances, to the delight of the grown-up kids who remembered him and wanted their kids to know Sammy. In the past couple of years, Carter’s son has been making personal appearances in the character and might continue to do so. It’s a continuation I heartily approve of. Sammy would be pleased to know that he, the ultimate Hoosier TV ghoul, had a life after death.

We’ll miss you, Mr. Carter. And you too, Sammy.

Images from my childhood: Black light posters

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To this day, I still remember the black light poster that hung on the back of the door to one of my cousin’s rooms: The poster, more words, than drawings, contained the lyrics to Deep Purple’s “Smoke on the Water.”

The years of my youth, in the 1960s and 1970s, were filled with black light images on posters.

Black light posters are still available, but I’m not sure they could possibly be as pervasive on the bedroom walls of American youth as they were back then.

In this entry, a selection of some that I remember and some that I don’t, but all are pretty damn cool.

Didn’t everybody have a Jimi Hendrix poster?

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And that “Stoned Agin” poster. Holy crap. I’m not gonna say that freaked me out or anything but …

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This “Afro Warrior” poster had a little too much female boobage for the PG walls of many of us. But it’s pretty amazing.

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Last but not least, this cool Silver Surfer poster. Apparently a company called Third Eye did a whole series of Marvel Comics posters. I didn’t see them at the time, but they’re great.

New on ‘Longmire’ – Madchen Amick

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If this blog has a mascot, it must be Madchen Amick, the actress best known for playing waitress Shelly Johnson on “Twin Peaks” in the early 1990s.

Since I reported that the still-beautiful Amick played Andrea, an old flame/continuing flirtation for Don Draper in “Mad Men” last season, I’ve gotten hundreds of visits from Amick fans.

So it’s cool to be able to note that Amick has a recurring role in “Longmire” the A&E series based on Craig Johnson’s mystery novel series about a Wyoming sheriff.

In “Longmire,” Amick plays Deena, an old flame of Henry Standing Bear (Lou Diamond Phillips), longtime friend of Longmire.

Amick has had only a handful of short scenes so far, but I’m ready to see more of this mysterious character.

By the way, for a show about a crusty sheriff (Robert Taylor), there are a lot of interesting women on this show. The female cast is topped by Katee Sackhoff, of course, but there’s also Cassidy Freeman as Cady, Longmire’s daughter, and Louanne Mason, who played Matt Saracen’s grandmother on “Friday Night Lights” as Ruby, the Gal Friday at the sheriff’s office.

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And there’s Katherine LaNasa as Lizzie Ambrose, a zesty blonde who has her sights set on landing Longmire.

LaNasa is a regular on the show “Deception” and had a memorable role on “Justified” a couple of years ago.

Amick and LaNasa will be fun to watch this season.

 

Save the dates: More Marvel movies

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The least surprising news out of Hollywood this week: More Marvel Comics movies are on the horizon.

Marvel announced a still-unspecified movie would debut in theaters on July 8, 2016.

That’s in addition to Marvel movies – also unspecified – set for May 6, 2016, and May 5, 2017 that were announced in recent weeks.

Those are all in the wake of previously-announced – and specified – Marvel movies for 2015, namely the sequel to “The Avengers” and “Ant-Man.”

We’ll know – maybe as early as next month’s San Diego Comic Con – details of those 2016 and 2017 movies. Last year, for example, Comic Con audiences were the first to hear the full titles for upcoming Marvel movies like “Thor: The Dark World” (out this November) and 2014 titles like “Guardians of the Galaxy” and “Captain America: The Winter Soldier.”

So we’ll know before long if those upcoming movies will be sequels featuring Thor and Cap or new movies featuring the likes of “Dr. Strange” and “Black Panther.”

Some online reports this week indicated that “Dr. Strange” – the movie and character – would be a running thread through future Marvel movies not unlike the way Iron Man has been in the first set of movies.

It would be an interesting choice, considering that Stephen Strange, surgeon turned master of the mystic arts, is a more fantasy-oriented character than any we’ve seen so far (with the possible exception of Thor) and making him a central character like Iron Man is an indication that Marvel is edging further “out there” in its films. It would also, if cast correctly, be a character that could equal Robert Downey Jr.’s Tony Stark in the hearts of moviegoers – a good move since Downey is only so far signed to appear in the two “Avengers” sequels.

Here’s looking forward to some new news.