SHIP TO SHIP: A Star Trek Podcast “Fruity as a Nutcake”

SHIP TO SHIP: A Star Trek Podcast Show 204 “Fruity as a Nutcake”

The Federation doesn’t know how to handle it’s crazier citizens. Most forms of mental illness were allegedly wiped out before we came to this brave new future. That’s the main point of these classic Trek episodes, “Dagger of the Mind” and “Whom Gods Destroy.” In the first episode (an early Roddenberry-produced entry), Kirk becomes the subject of a mad scientist’s fiendish experiments. In the second episode, Kirk and Spock are held hostage by a once-great now insane Starfleet hero named Garth who, inexplicably builds a doomsday explosive (undoubtedly in his spare, unsupervised time), and it’s up to the boys to stop him.

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© Frequent Wire, David Lawler copyright 2018 for all original vocal and audio content featuring David Lawler and selected guests each episode. This podcast, “SHIP TO SHIP: A Star Trek Podcast” is not affiliated with CBS Entertainment, Paramount Pictures, Paramount Television, Desilu Television, Gulf + Western, or the estate of Gene Roddenberry. Any and all images, audio clips, and dialogue extracts are the property of their respective copyright owners. This blog and podcast was created for criticism, research, and is completely nonprofit, and should be considered Fair Use as stated in the Copyright Act of 1976, 17 U.S.C. section 107. It is not an official product, and it should not be sold nor bought; this is intended for private use, and any public broadcast is not recommended. All television, film, and music clips appear under Fair Use as well.

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STAR WARS REWIND! Returning to Jedi

Hosted by DAVID B. ANDERSON and DAVID LAWLER

Produced by DAVID LAWLER

Edited by DAVID LAWLER

RETURNING TO JEDI: A FAN DOCUMENTARY
Written and Directed by Jamie Benning

“Celluloid Heroes” by The Kinks
(Ray Davies)

“Celluloid Heroes” by Joan Jett
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© Frequent Wire, David Lawler and David B. Anderson copyright 2018 for all original vocal and audio content featuring David Anderson, David Lawler and selected guests each episode. This podcast, “STAR WARS REWIND” is not affiliated with Lucasfilm, Twentieth Century Fox, Walt Disney Studios, Buena Vista, George Lucas, or Bad Robot Productions. Any and all images, audio clips, and dialogue extracts are the property of their respective copyright owners. This blog and podcast was created for criticism, research, and is completely nonprofit, and should be considered Fair Use as stated in the Copyright Act of 1976, 17 U.S.C. section 107. It is not an official product, and it should not be sold nor bought; this is intended for private use, and any public broadcast is not recommended. All television, film, and music clips appear under Fair Use as well.

STAR WARS REWIND! Building Empire

David Anderson and David Lawler provide a running commentary for Jamie Benning’s stunning fan documentary, Building Empire.

Hosted by DAVID B. ANDERSON and DAVID LAWLER

Produced by DAVID LAWLER

Edited by DAVID LAWLER

BUILDING EMPIRE: A FAN DOCUMENTARY
Written and Directed by Jamie Benning

© Frequent Wire, David Lawler and David B. Anderson copyright 2018 for all original vocal and audio content featuring David Anderson, David Lawler and selected guests each episode. This podcast, “STAR WARS REWIND” is not affiliated with Lucasfilm, Twentieth Century Fox, Walt Disney Studios, Buena Vista, George Lucas, or Bad Robot Productions. Any and all images, audio clips, and dialogue extracts are the property of their respective copyright owners. This blog and podcast was created for criticism, research, and is completely nonprofit, and should be considered Fair Use as stated in the Copyright Act of 1976, 17 U.S.C. section 107. It is not an official product, and it should not be sold nor bought; this is intended for private use, and any public broadcast is not recommended. All television, film, and music clips appear under Fair Use as well.

STAR WARS REWIND! Star Wars Begins

Happy Star Wars Day!  May the Fourth Be With You.  David Anderson and David Lawler provide a running commentary for Jamie Benning’s stunning fan documentary, Star Wars Begins.

Hosted by DAVID B. ANDERSON and DAVID LAWLER

Produced by DAVID LAWLER

Edited by DAVID LAWLER

STAR WARS BEGINS: A FAN DOCUMENTARY
Written and Directed by Jamie Benning

© Frequent Wire, David Lawler and David B. Anderson copyright 2018 for all original vocal and audio content featuring David Anderson, David Lawler and selected guests each episode. This podcast, “STAR WARS REWIND” is not affiliated with Lucasfilm, Twentieth Century Fox, Walt Disney Studios, Buena Vista, George Lucas, or Bad Robot Productions. Any and all images, audio clips, and dialogue extracts are the property of their respective copyright owners. This blog and podcast was created for criticism, research, and is completely nonprofit, and should be considered Fair Use as stated in the Copyright Act of 1976, 17 U.S.C. section 107. It is not an official product, and it should not be sold nor bought; this is intended for private use, and any public broadcast is not recommended. All television, film, and music clips appear under Fair Use as well.

“Blade Runner, 1982”

“Quite an experience to live in fear, isn’t it? That’s what it is to be a slave.”

Blade Runner, 1982 (Harrison Ford), The Ladd Company

I knew I had to end my Vintage Cable Box series with, what I regard to be, one of the greatest movies ever made. Nothing can prepare you for Blade Runner after a couple of years of the standard cable television fare. Occasionally, you had the big-budget spectacles, fine examples of genre film-making, Alfred Hitchcock and Stanley Kubrick, but Blade Runner was unique. I only vaguely remembered trailers and teasers running on broadcast television. I never saw a preview at the movies, nor did I even see the movie in theaters. Ridley Scott had made a name for himself as a first-notch filmmaker with The Duellists and Alien after paying his dues in production design and advertising. The script and story treatments for Blade Runner floated around for a couple of years while Scott was preparing an adaptation of Dune. The Dune project fell through (and would eventually be helmed by David Lynch), and Scott was eager to start working on Blade Runner, based on Philip K. Dick’s Do Androids Dream of Electric Sheep.

The year is 2019, and the place is Los Angeles. Our world in 2019 is a dystopian nightmare. Constant sheets of acid rain have destroyed the already-dilapidated metropolis and most humans have taken to life in “off-world colonies” (“The chance to begin again in a golden land of opportunity,” the advertisements proclaim). Replicants, initially considered a form of android but then ret-conned in 2017’s Blade Runner 2049 as “manufactured humans” have become a dangerous liability when confronted with their slave status and the built-in obsolescence of a four year life span. In an effort to control these replicants, developer Eldon Tyrell (Joe Turkel) implants memories in them, but this backfires when they inevitably crave life more than the humans who built them. Errant replicant Roy Batty (Rutger Hauer) leads a bunch of them to jump ship and return to Earth to meet their maker. Enter Rick Deckard (Harrison Ford), a replicant killer more commonly known as a “Blade Runner.”

Deckard is tasked with interviewing a beautiful woman, Tyrell’s assistant, named Rachael (Sean Young) who may or may not be a replicant. It seems Tyrell’s task is to either deceive authorities as to the identity of his replicants, or perhaps make his replicants believe they are human. It takes a while for Deckard to come to the conclusion that Rachael doesn’t know she’s a replicant. She saves his life when another replicant, the sub-intelligent Leon (Brion James) tries to kill him. He takes her back to his apartment and promises to keep her secret. Tyrell tells him she has no shut-off date; that she is, in effect, unique. Deckard retires the remaining replicants, but Batty proves to be a challenge. He taunts Deckard and leads him on a merry chase through the Bradbury Building. While Deckard is intent on finishing the job, Batty is fighting for his life, even as he knows his time is limited. Batty is incensed that Deckard has mercilessly killed his friends, and he tortures him for it. Ultimately, he spares Deckard’s life and perhaps Deckard has re-discovered his humanity.

Blade Runner was unfairly maligned by critics upon release in 1982, but over the years, the movie has attained an enormous cult following, culminating in the release of Blade Runner 2049 last year. In 1992, a “director’s cut” was released which removed the original film’s narration (considered by Scott to be tedious) and introduced a scene where Deckard dreams of a unicorn, making the reveal at the end of the movie (Deckard discovers a small origami unicorn in his hallway) ambiguous about Deckard’s humanity. Personally, I do not believe Deckard to be a replicant because, for me, it would make the ending of the movie and Batty’s sacrifice less meaningful. I would rather Deckard learn the lesson of his humanity, rather than believe him to be an amnesiac android. Blade Runner 2049 continues along this line of reasoning; perhaps what we value as humans is our capacity for understanding the gift of memory, and when our memories are manufactured, we will retain less of that value. Everything about this movie is perfect.

That about wraps it up for Vintage Cable Box. Again, I want to thank my readers. It’s been so much fun going back and revisiting and re-living these movies and that crazy time period, that time-line of what I saw and experienced and how it shaped me. Blade Runner just might be the most influential movie of the last 40 years, and it played constantly on cable television back in those days. Blade Runner 2049 manages to successfully evoke all of the best qualities about the original movie (and even improve upon certain aspects), which surprises me. Before I sign off, I have to thank a few people. Mark Jeacoma hosted these articles on his VHS Rewind! page. Andrew La Ganke suggested some great movies and found me a couple of hard-to-find titles. Geno Cuddy suggested Metropolis and provided a copy of the movie for me. Tony Verruso from the Vintage HBO Guides on Facebook was a staunch ally in dark times. Thanks for reading.

Our first cable box was a non-descript metal contraption with a rotary dial and unlimited potential (with no brand name – weird). We flipped it on, and the first thing we noticed was that the reception was crystal-clear; no ghosting, no snow, no fuzzy images. We had the premium package: HBO, Cinemax, The Movie Channel, MTV, Nickelodeon, CNN, The Disney Channel, and the local network affiliates. About $25-$30 a month. Each week (and sometimes twice a week!), “Vintage Cable Box” explores the wonderful world of premium Cable TV of the early eighties.

BLADE RUNNER 2049 FULL REVIEW WITH SPOILERS!

David and David discuss Blade Runner 2049 and the original Blade Runner starring Harrison Ford.

Hosted by DAVID B. ANDERSON and DAVID LAWLER
Written by DAVID B. ANDERSON and DAVID LAWLER
Produced by DAVID LAWLER
Edited by DAVID LAWLER

WATCHED by Alex Saltz

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© Frequent Wire, David Lawler and David B. Anderson copyright 2018 for all original vocal and audio content featuring David Anderson, David Lawler and selected guests each episode. This podcast, “David & David & Gene & Roger: A Siskel & Ebert Podcast” is not affiliated with Tribune Entertainment, the PBS Television Network, the estates of Roger Ebert and/or Gene Siskel, Warner Bros., Tandem Productions, The Blade Runner Partnership, Alcon Entertainment, Scott Free Productions, Bud Yorkin Productions, Sean Young, and Columbia Pictures. Any and all images, audio clips, and dialogue extracts are the property of their respective copyright owners. This blog and podcast was created for criticism, research, and is completely nonprofit, and should be considered Fair Use as stated in the Copyright Act of 1976, 17 U.S.C. section 107. It is not an official product, and it should not be sold nor bought; this is intended for private use, and any public broadcast is not recommended. All television, film, and music clips appear under Fair Use as well.

Vintage Cable Box: “Brainstorm, 1983”

“Why do you have to die to let go?”

Brainstorm, 1983 (Christopher Walken), MGM/UA

Where does our yearning for technology originate? Is it the most foolish form of narcissism; the desire to create “artificial” life to earn god-like stature in the pantheon of universal nature? Where does virtual reality fit? Is that our fatal flaw as humans? That, rather than experience life through the natural receptors of our eyes we, instead, want to replicate reality through the circuitry of a computer’s architecture? As Brainstorm opens, scientist Christopher Walken samples a technology that allows him to experience the reactions of another. In this case, a goofy co-worker who tries a piece of steak with marshmallow sauce and a cherry on top. As a gag, he substitutes his interface for that of a chimp, which nearly fries Walken’s brain, but the test is successful. It’s a wonderful moment that also points to the inherent dangers of going down rabbit holes, or in this case, up jungle vines. It’s interesting to me the connection to primates, as I tend to view our human relationship with computers comparable to lower primates and their relationship to us.

Removed from the movie’s staggering science, we plunge into Walken’s strained relationship with his wife, Karen (Natalie Wood, in her final role). It’s never clear to me why they are separated, other than the requisite work-obsessed husband who doesn’t give enough of his soul to his marriage, or that Wood, while initially a warm person, is emotionally distant from her husband. Meanwhile, aforementioned rag-a-muffin/science dork prankster Gordy has the most fun, working flight simulators, riding horses and driving race cars all while recording the experiences for the software. Karen works out the marketing for the device. Her problem is to make the unit much smaller than it presently is (basically a motorcycle helmet with a lot of circuitry attached). She convinces Walken to reduce the circuitry so that it can be worn in something similar to a bicycle helmet. The applications of this device are off-the-wall. Machiavellian CEO of their firm, Alex (Cliff Robertson) is blown away by the system and immediately sees dollar signs. Walken and colleague Louise Fletcher are understandably worried about long-term effects on the brain and other consequences.

Let’s go back to the fatal flaw. Why do we put so much time and work into replicating and simulating life experiences rather than enjoying them on our terms? I understand practical applications. The movie takes pains to explain that the Military would love to get their hands on the technology, but there’s also the obvious “harmless” application: games. Unfortunately, as the movie pre-dates virtual reality technology being made today, it also makes recent attempts by Google and Microsoft look primitive by comparison. While somewhat cost-prohibitive right now, I can see a future where everyone will wear devices like these on their heads, perhaps experiencing simulated “life” while simultaneously engaging in the more mundane aspects of their real lives. Maybe parachuting into an active volcano while grabbing a carton of milk at the supermarket? Our friend, Gordy, produces the virtual reality equivalent of a “sex tape,” which he proffers to a co-worker, who then goes into what I can only call an orgasm-induced state of catatonia. If computers are perfect, yet imperfect man creates perfect computers, then computers aren’t really perfect, are they? Doy.

In the muddle of Walken and Wood’s domestic troubles, there was the very interesting (and disturbing) idea that feelings could be recorded along with the sight stimulation. I don’t think we ever go further than that, except to finally see that we, as humans, can become irredeemably lost in our thoughts and feelings, and that the computer will never know when to stop destroying us with our fears. There’s a lot to admire in Brainstorm, but the movie feels oddly cold, lacking the true human connection we need from Wood and Walken; the best scenes are when Wood relives their courtship and marriage, and the couple reconcile as she sings a song to him under a bed-sheet. It’s such a beautiful (and sad) moment, you wish there were more scenes like these. MGM and director Douglas Trumbull swore up-and-down all of Wood’s scenes were shot before her untimely death, but she feels like a ghost in this movie. Walken, with his unusual mannerisms, makes for an interesting protagonist. You never know what he’s thinking. Fletcher is exceptional and was robbed of an Academy Award nomination. Her death scene is spectacular. As she dies of a heart attack, she records her experiences on the virtual reality software. Brainstorm could’ve been an incredible movie with a little more heart.

Our first cable box was a non-descript metal contraption with a rotary dial and unlimited potential (with no brand name – weird). We flipped it on, and the first thing we noticed was that the reception was crystal-clear; no ghosting, no snow, no fuzzy images. We had the premium package: HBO, Cinemax, The Movie Channel, MTV, Nickelodeon, CNN, The Disney Channel, and the local network affiliates. About $25-$30 a month. Each week (and sometimes twice a week!), “Vintage Cable Box” explores the wonderful world of premium Cable TV of the early eighties.