Primary PATRICK MACNEE, primarily known for THE AVENGERS teleseries.
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Primary DANA ASHBROOK acted in WAXWORK and an episode of CHARMED.
Primary DAPHNE ASHRBOOK acted in AUTOMATIC and a few TV episodes.
Thursday, January 12, 2017
SUPERHEROES ARE DAMN-NEAR EVERYWHERE #47
Peripheral LESLIE ASH (not shown) acted in SHADEY with--
Primary PATRICK MACNEE, primarily known for THE AVENGERS teleseries.
__________________
Primary DANA ASHBROOK acted in WAXWORK and an episode of CHARMED.
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Primary DAPHNE ASHRBOOK acted in AUTOMATIC and a few TV episodes.
Primary PATRICK MACNEE, primarily known for THE AVENGERS teleseries.
__________________
Primary DANA ASHBROOK acted in WAXWORK and an episode of CHARMED.
Primary DAPHNE ASHRBOOK acted in AUTOMATIC and a few TV episodes.
Tuesday, January 10, 2017
SUPERHEROES ARE DAMN-NEAR EVERYWHERE #46
Peripheral BEA ARTHUR acted in THE STAR WARS HOLIDAY SPECIAL with--
Damn near all the principals of STAR WARS, but I'll cite MARK HAMILL to start.
____________________________
Peripheral JEAN ARTHUR (right) acted in MYSTERIOUS DR. FU MANCHU (which, unlike the books, was sadly "subcombative"), alongside--
Primary NEIL HAMILTON, "Commissioner Gordon" on the 1966 "Batman" teleseries.
_____________________
Primary JOHNNY ARTHUR acted in the serial THE MASKED MARVEL.
Damn near all the principals of STAR WARS, but I'll cite MARK HAMILL to start.
____________________________
Peripheral JEAN ARTHUR (right) acted in MYSTERIOUS DR. FU MANCHU (which, unlike the books, was sadly "subcombative"), alongside--
Primary NEIL HAMILTON, "Commissioner Gordon" on the 1966 "Batman" teleseries.
Primary JOHNNY ARTHUR acted in the serial THE MASKED MARVEL.
Monday, January 9, 2017
SUPERHEROES ARE DAMN-NEAR EVERYWHERE #45
Primary TOM ARNOLD (left) cameo'd in FREDDY'S DEAD and did voices for HERCULES and THE REPLACEMENTS.
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Primary ALEXIS ARQUETTE played "Caligula" in XENA WARRIOR PRINCESS.
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Primary DAVID ARQUETTE acted in the BUFFY THE VAMPIRE SLAYER film, among other works.
_______________________
Primary LEWIS ARQUETTE voiced characters in several relevant cartoons, though he got to show his face in 1989's CHOPPER CHICKS IN ZOMBIETOWN.
__________________
Primary PATRICIA ARQUETTE (right) acted in PRAYER OF THE ROLLERBOYS and A NIGHTMARE ON ELM ST 3: DREAM WARRIORS.
________________
Peripheral ROSANNA ARQUETTE voices a character in BATTLE FOR TERRA alongside--
Primary CHRIS EVANS, currently best known for the title role of CAPTAIN AMERICA: THE FIRST AVENGER and all the other Marvel films with the character.
Primary ALEXIS ARQUETTE played "Caligula" in XENA WARRIOR PRINCESS.
_________________
Primary DAVID ARQUETTE acted in the BUFFY THE VAMPIRE SLAYER film, among other works.
Primary LEWIS ARQUETTE voiced characters in several relevant cartoons, though he got to show his face in 1989's CHOPPER CHICKS IN ZOMBIETOWN.
Primary PATRICIA ARQUETTE (right) acted in PRAYER OF THE ROLLERBOYS and A NIGHTMARE ON ELM ST 3: DREAM WARRIORS.
Peripheral ROSANNA ARQUETTE voices a character in BATTLE FOR TERRA alongside--
Thursday, January 5, 2017
SUPERHEROES ARE DAMN-NEAR EVERYWHERE #44
Primary PETER ARNE (center) acted in TARZAN AND THE LOST SAFARI.
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Primary JAMES ARNESS has just one relevant credit, in THEM!
_____________________
Primary STEFAN ARNGRIM, best known for his juvenile role on LAND OF THE GIANTS, racks up several relevant TV credits, including "Fence" on ARROW.
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Peripheral ALICE ARNO made a lot of sexy movies, including "Red Hot Zorro," but I suspect here she only provides a link, having acted in FEMALE VAMPIRE with--
Primary JACK TAYLOR (not shown), whom I'll list first for a continuing role in three of the NEUTRON movies.
____________________
Peripheral EDWARD ARNOLD (left) acted in THE YELLOW CAB MAN with--
Primary WALTER SLEZAK, "Clock King" from BATMAN.
Primary JAMES ARNESS has just one relevant credit, in THEM!
Primary STEFAN ARNGRIM, best known for his juvenile role on LAND OF THE GIANTS, racks up several relevant TV credits, including "Fence" on ARROW.
Peripheral ALICE ARNO made a lot of sexy movies, including "Red Hot Zorro," but I suspect here she only provides a link, having acted in FEMALE VAMPIRE with--
Primary JACK TAYLOR (not shown), whom I'll list first for a continuing role in three of the NEUTRON movies.
Peripheral EDWARD ARNOLD (left) acted in THE YELLOW CAB MAN with--
Primary WALTER SLEZAK, "Clock King" from BATMAN.
Saturday, December 31, 2016
SUPERHEROES ARE DAMN-NEAR EVERYWHERE #43
I accidentally got some of my tracings out of alphabetical order. Oh well, no one's reading it anyway.
_________
Primary ADAM ARKIN (not shown) has one relevant credit, an episode of the 80s teleseries HARD TIME ON PLANET EARTH.
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Primary ALAN ARKIN acted in THE ROCKETEER and played the title hero in the spoofy RETURN OF CAPTAIN INVINCIBLE.
______________________
Peripheral RICHARD ARLEN acted in THE CRAWLING HAND with--
Primary TRISTRAM COFFIN, best known for many serials, of which I'll first invoke KING OF THE ROCKET MEN, his only "superhero."
_____________________
Primary GEORGE ARLISS may have been the oldest actor to play a "quasi-superhero:" he was in his late 50s when he did his final role, DOCTOR SYN.
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Primary PEDRO ARMENDARIZ SR. (left) acted in CAPTAIN SINBAD and FROM RUSSIA WITH LOVE.
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Primary PEDRO ARMENDARIZ JR. acted in LICENSE TO KILL and both Banderas ZORRO movies.
________________
Primary HENRY ARMETTA (left) acted in 1934's THE BLACK CAT.
____________________
Primary ARMIDA acted in CONGO BILL.
_________
Primary ADAM ARKIN (not shown) has one relevant credit, an episode of the 80s teleseries HARD TIME ON PLANET EARTH.
Primary ALAN ARKIN acted in THE ROCKETEER and played the title hero in the spoofy RETURN OF CAPTAIN INVINCIBLE.
Peripheral RICHARD ARLEN acted in THE CRAWLING HAND with--
Primary TRISTRAM COFFIN, best known for many serials, of which I'll first invoke KING OF THE ROCKET MEN, his only "superhero."
Primary GEORGE ARLISS may have been the oldest actor to play a "quasi-superhero:" he was in his late 50s when he did his final role, DOCTOR SYN.
Primary PEDRO ARMENDARIZ SR. (left) acted in CAPTAIN SINBAD and FROM RUSSIA WITH LOVE.
Primary PEDRO ARMENDARIZ JR. acted in LICENSE TO KILL and both Banderas ZORRO movies.
Primary HENRY ARMETTA (left) acted in 1934's THE BLACK CAT.
____________________
Primary ARMIDA acted in CONGO BILL.
SILENCE-- A FABLE (1835)
"Silence" is another prose-poem, less allegorical than "Shadow." The story takes the form of a tale told by a creature known only as "The Demon" to an unnamed listener. The Demon speaks of the sights he beheld in a "dreary region in Libya, by the borders of the river Zaire," but what he describes seems entirely otherworldly-- a forest, whose trees rock back and forth even though there's no wind, and water-lilies that "sigh" to one another.
A stranger appears in the region, and chooses to sit down upon a large rock. The Demon watches the morose-looking man from hiding, marveling at his godlike appearance, and also notices that for some unvoiced reason the word "DESOLATION" is written into the rock. After the man sits there a while, the Demon takes offense at his unwavering stoicism, and "curses the elements." The man stays where he is despite a great storm, so then the Demon resorts to a "curse of silence." This causes everything, including the sighing lilies, to cease making any sound. The curse also causes the letters in the rock to change so that they read, "SILENCE." The unnamed man on the rock listens for any sounds, finds none, "shudders," and then flees the region, never again to be seen by the Demon.
In the last paragraph, the presumably human narrator reacts by finding the story "most wonderful," even exceeding the tales told by "sybils" and "iron bound volumes of the Magi." However, he can't laugh, as the Demon can, at the predicament of the man in the story. The Demon curses the listener as well, but nothing happens, except that a lynx wanders out of a nearby tomb, lies down at the Demon's feet, and looks up at him-- at which point the story closes.
Since at one point the listener alludes to Allah, it's probable that Poe was seeking to duplicate the effect of certain tales in the Arabian Nights that portray realms of imponderable mystery. In this he succeeds, for even though the strange region is supposedly in Libya, it seems like a wholly unreal place, governed by its own poetic laws. Rather than "horror" or even "proto-science fiction," "Silence" is a story of otherworldly fantasy. It bears a family resemblance to William Beckford's novel VATHEK, which also takes place on Earth but visits weird otherworldly realms.
A stranger appears in the region, and chooses to sit down upon a large rock. The Demon watches the morose-looking man from hiding, marveling at his godlike appearance, and also notices that for some unvoiced reason the word "DESOLATION" is written into the rock. After the man sits there a while, the Demon takes offense at his unwavering stoicism, and "curses the elements." The man stays where he is despite a great storm, so then the Demon resorts to a "curse of silence." This causes everything, including the sighing lilies, to cease making any sound. The curse also causes the letters in the rock to change so that they read, "SILENCE." The unnamed man on the rock listens for any sounds, finds none, "shudders," and then flees the region, never again to be seen by the Demon.
In the last paragraph, the presumably human narrator reacts by finding the story "most wonderful," even exceeding the tales told by "sybils" and "iron bound volumes of the Magi." However, he can't laugh, as the Demon can, at the predicament of the man in the story. The Demon curses the listener as well, but nothing happens, except that a lynx wanders out of a nearby tomb, lies down at the Demon's feet, and looks up at him-- at which point the story closes.
Since at one point the listener alludes to Allah, it's probable that Poe was seeking to duplicate the effect of certain tales in the Arabian Nights that portray realms of imponderable mystery. In this he succeeds, for even though the strange region is supposedly in Libya, it seems like a wholly unreal place, governed by its own poetic laws. Rather than "horror" or even "proto-science fiction," "Silence" is a story of otherworldly fantasy. It bears a family resemblance to William Beckford's novel VATHEK, which also takes place on Earth but visits weird otherworldly realms.
SHADOW-- A PARABLE (1835)
This is the first Poe story that resembles the notion of the "prose poem," which has no Aristotelian complication as such, and exists only to paint an unusual mood.
The basic scenario looks forward to "The Masque of the Red Death." It's narrated by an individual who styles himself "the Greek Oinos," and when the story opens, Oinos and six unnamed men are seen sitting in a room getting drunk, while Zoilus, a man of their former acquaintance, lies dead of plague. A strange shadow enters the room, and speaks to them:
And the shadow answered, "I am SHADOW, and my dwelling is near to the Catacombs of Ptolemais, and hard by those dim plains of Helusion which border upon the foul Charonian canal." And then did we, the seven, start from our seats in horror, and stand trembling, and shuddering, and aghast, for the tones in the voice of the shadow were not the tones of any one being, but of a multitude of beings, and, varying in their cadences from syllable to syllable fell duskly upon our ears in the well-remembered and familiar accents of many thousand departed friends.
This sort of mood-piece, with its emphasis on a "vague and formless" shape, possibly influenced H.P. Lovecraft's conception of his formless terrors, though HPL's terrors weren't usually direct representations of Death.
The basic scenario looks forward to "The Masque of the Red Death." It's narrated by an individual who styles himself "the Greek Oinos," and when the story opens, Oinos and six unnamed men are seen sitting in a room getting drunk, while Zoilus, a man of their former acquaintance, lies dead of plague. A strange shadow enters the room, and speaks to them:
And the shadow answered, "I am SHADOW, and my dwelling is near to the Catacombs of Ptolemais, and hard by those dim plains of Helusion which border upon the foul Charonian canal." And then did we, the seven, start from our seats in horror, and stand trembling, and shuddering, and aghast, for the tones in the voice of the shadow were not the tones of any one being, but of a multitude of beings, and, varying in their cadences from syllable to syllable fell duskly upon our ears in the well-remembered and familiar accents of many thousand departed friends.
This sort of mood-piece, with its emphasis on a "vague and formless" shape, possibly influenced H.P. Lovecraft's conception of his formless terrors, though HPL's terrors weren't usually direct representations of Death.
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