Silver Dollar City is a theme park in the state of Missouri. Opened on May 1, 1960, the park is located between Branson and Branson West off of Missouri Route 76 on the Indian Point peninsula of Table Rock Lake. The park is an 1880s-themed experience that fits Branson's vision as a family-friendly vacation destination with down-home charm. Silver Dollar City's operating season runs from mid-March until late December, with the park closed during the months of January and February. Silver Dollar City is owned by the Herschend Family Entertainment, which owns, operates or partners in 25 properties in 10 states and includes the nearby water park, White Water; water excursion and theatre, the Showboat Branson Belle; water and land tour attraction Ride the Ducks. The park gained much public notice when the Clampett family of CBS-TV's The Beverly Hillbillies decided to pay a visit to Silver Dollar City (treated as an actual town, rather than a theme park) to start off the 1969-1970 season. The plotline involved Granny (Irene Ryan) attempting to find a husband for Elly May (Donna Douglas) back in the hills, while Jed (Buddy Ebsen) socialized with hotel clerk Shorty Kellems (Shug Fisher). They visited the blacksmith Shad Heller, soapmaker Granny Ethel Huffman, and woodcarver Peter Engler, and Miss Hathaway (Nancy Kulp) was seen in the Ozark woods. The Hillbillies were from the area surrounding Silver Dollar City and Branson, and references to Jim Owens and his White River float trip business and some Missouri mountain locations were made throughout the show's nine-year run. Five episodes of The Beverly Hillbillies were eventually shot in the park. 7/23/16

HANNA BARBERA STUDIOS

ABBOTT and COSTELLO

Original Animation TELEVISION SERIES 1967

Type: AWESOME Original Production Animation MODEL Drawing of MARTIAN in his THRONE

from the 1967 HANNA BARBERA Animated TELEVISION SERIES

This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during

the production filming of the original Television Commercial.

NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION

Size: 12 field 12.5 x 10.5

Type: . Vintage Hand Drawn Art

Condition: EXCELLENT

Featuring ABBOTT and COSTELLO and ALIEN

Date 1967

NOTES:

The Abbott and Costello Cartoon Show is an American half-hour animated series that aired in syndication from September 9, 1967 to June 1, 1968. Each of the 39 individual episodes consisted of four five-minute cartoons. [1] The cartoons were created jointly by Hanna-Barbera, RKO and Jomar Productions between 1965 and 1967. The series was syndicated by Gold Key Entertainment and King World Productions.

The primary feature of this cartoon series was the fact that Bud Abbott supplied the voice for his own character. (Because Lou Costello had died in 1959, his character's voice was performed by Stan Irwin.)

William (Bud) Abbott and Lou Costello (born Louis Francis Cristillo) performed together as Abbott and Costello, an American comedy duo whose work in radio, film and television made them the most popular comedy team during the 1940s and 50s. Thanks to the endurance of their most popular and influential routine, "Who's on First?"—whose rapid-fire word play and comprehension confusion set the preponderant framework for most of their best-known routines—the team is, as a result, featured in the National Baseball Hall of Fame and Museum. (Contrary to popular belief, however, the duo was not inducted into the Hall.)

The team's first known radio appearance was on The Kate Smith Hour in February, 1938. "Who's on First?" was first performed for a national radio audience the following month.[1] Abbott and Costello stayed on the program as regulars for two years, but the similarities between their New Jersey-accented voices made it difficult for listeners (as opposed to stage audiences) to tell them apart due to their rapid-fire repartee. The problem was solved by having Costello affect a high-pitched childish voice, and their remaining tenure on the Smith show was successful enough to get them roles in a Broadway revue "The Streets of Paris" in 1939.

In 1940 they were signed by Universal Studios for the film One Night in the Tropics. Cast in supporting roles, they stole the show with several classic routines, including "Who's on First?" The same year they were a summer replacement on radio for Fred Allen. Two years later, they had their own NBC show.

Universal signed them to a long-term contract, and their second film, Buck Privates, (1941) made them box-office stars. In most of their films, the plot was a framework for the two comics to reintroduce comedy routines they first performed on stage. Universal also added glitzy, gratuitous production numbers (a formula borrowed from the Marx Brothers comedies) featuring The Andrews Sisters, Ted Lewis and his Orchestra, Ella Fitzgerald, and other musical acts. They made 36 films together between 1940 and 1956. Abbott and Costello were among the most popular and highest-paid entertainers in the world during World War II. Other film successes included Hold That Ghost, Who Done It?, Pardon My Sarong, The Time of Their Lives, Buck Privates Come Home, Abbott and Costello Meet Frankenstein, and Abbott and Costello Meet the Invisible Man.

In 1942, Abbott and Costello were the top box office draw with a reported take of $10 million. They would remain a top ten box office attraction until 1952.

In 1951, they moved to television as rotating hosts of The Colgate Comedy Hour. (Eddie Cantor and Martin and Lewis were among the others.) Each show was a live hour of vaudeville in front of a theater audience, revitalizing the comedians' performances and giving their old routines a new sparkle.

Beginning in 1952, a filmed half-hour series, The Abbott and Costello Show, appeared in syndication on local stations across the country. Loosely based on their radio series, the show cast the duo as unemployed wastrels. One of the show's running gags involved Abbott perpetually nagging Costello to get a job to pay their rent, while Abbott barely lifted a finger in that direction. The show featured Sidney Fields as their landlord, and Hillary Brooke as a friendly neighbor who sometimes got involved in the pair's schemes. Another semi-regular was Joe Besser as Stinky, a 40-year-old sissy dressed in a Little Lord Fauntleroy suit. Gordon Jones was Mike the cop, who always lost patience with Lou. The simple plotlines were often merely an excuse to recreate old comedy routines—including "Who's on First?" and other familiar set pieces—from their films and burlesque performances

Additional photos in set.

www.flickr.com/photos/morbius19/sets/72157636854144446/

youtu.be/lmBsGmAVM3A Part 1

youtu.be/pKAxRxW3l9U Part 2

Starring Eric Porter, Hildegard Knef, Suzanna Leigh, Tony Beckley, Nigel Stock, Neil McCallum, Ben Carruthers, Victor Maddern, and Norman Eshley. Directed by Michael Carreras, and Leslie Norman.

The Lost Continent is a crazy-quilt of a film, with chunks of several unrelated plotlines sewn together willy nilly. Eric Porter plays Lansen, the captain of a tramp steamer who has agreed to deliver contraband dynamite for a hefty price. His passengers are a polyglot of the good, the bad and the worse. Shipwrecked on an mysterious isle in the Sargasso Sea, Lansen and party find themselves prisoners of a bizarre inbred colony still governed by the long-abandoned edicts of the Spanish Inquisition. The film is no more coherent than the original Dennis Wheatley novel Uncharted Seas, but that doesn't detract from its endearing wackiness. To their credit, the cast members of Lost Continent play the script straight, which merely adds to the kinky fun.

review

It would be exaggerating to call The Lost Continenht a very good film, but it's a strangely appealing one. This is especially true for those who are fans of science fiction films, especially of the "lost world" sub-genre. Aficionados may argue that Continent doesn't actually belong in that "lost world" category as, despite its title, the voyagers don't really discover a long-lost continent so much as encounter a strange civilization existing in the Sargasso Sea -- but that's splitting hairs. Continent has giant sea creatures, man-eating seaweed, people walking on snowshoes while being held aloft by balloons, and a group who still thinks the Spanish Inquisition is going on -- more than enough to satisfy any fan. Granted, it's totally ridiculous and immensely silly, and granted that the melodrama is piled on with a sledgehammer; yet that somehow adds to Continent's appeal. (For young male viewers, it also doesn't hurt that Continent features some very attractive women among its cast members.) The filmmakers have so much fun setting up this strange world and the exploring it that it's rather contagious -- so much so that most viewers won't mind the crudity of some of the special effects. Continent is a good picture to approach on a rainy day when the viewer has just popped some corn and feels like something that will make him feel like a wide-eyed 10-year-old again.

HANNA BARBERA STUDIOS

ABBOTT and COSTELLO

Original Animation TELEVISION SERIES 1967

Type: AWESOME Original Production Animation MODEL Drawing of CAVEMAN

from the 1967 HANNA BARBERA Animated TELEVISION SERIES

This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during

the production filming of the original Television Commercial.

NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION

Size: 12 field 12.5 x 10.5

Type: . Vintage Hand Drawn Art

Condition: EXCELLENT

Featuring ABBOTT and COSTELLO and ALIEN

Date 1967

NOTES:

The Abbott and Costello Cartoon Show is an American half-hour animated series that aired in syndication from September 9, 1967 to June 1, 1968. Each of the 39 individual episodes consisted of four five-minute cartoons. [1] The cartoons were created jointly by Hanna-Barbera, RKO and Jomar Productions between 1965 and 1967. The series was syndicated by Gold Key Entertainment and King World Productions.

The primary feature of this cartoon series was the fact that Bud Abbott supplied the voice for his own character. (Because Lou Costello had died in 1959, his character's voice was performed by Stan Irwin.)

William (Bud) Abbott and Lou Costello (born Louis Francis Cristillo) performed together as Abbott and Costello, an American comedy duo whose work in radio, film and television made them the most popular comedy team during the 1940s and 50s. Thanks to the endurance of their most popular and influential routine, "Who's on First?"—whose rapid-fire word play and comprehension confusion set the preponderant framework for most of their best-known routines—the team is, as a result, featured in the National Baseball Hall of Fame and Museum. (Contrary to popular belief, however, the duo was not inducted into the Hall.)

The team's first known radio appearance was on The Kate Smith Hour in February, 1938. "Who's on First?" was first performed for a national radio audience the following month.[1] Abbott and Costello stayed on the program as regulars for two years, but the similarities between their New Jersey-accented voices made it difficult for listeners (as opposed to stage audiences) to tell them apart due to their rapid-fire repartee. The problem was solved by having Costello affect a high-pitched childish voice, and their remaining tenure on the Smith show was successful enough to get them roles in a Broadway revue "The Streets of Paris" in 1939.

In 1940 they were signed by Universal Studios for the film One Night in the Tropics. Cast in supporting roles, they stole the show with several classic routines, including "Who's on First?" The same year they were a summer replacement on radio for Fred Allen. Two years later, they had their own NBC show.

Universal signed them to a long-term contract, and their second film, Buck Privates, (1941) made them box-office stars. In most of their films, the plot was a framework for the two comics to reintroduce comedy routines they first performed on stage. Universal also added glitzy, gratuitous production numbers (a formula borrowed from the Marx Brothers comedies) featuring The Andrews Sisters, Ted Lewis and his Orchestra, Ella Fitzgerald, and other musical acts. They made 36 films together between 1940 and 1956. Abbott and Costello were among the most popular and highest-paid entertainers in the world during World War II. Other film successes included Hold That Ghost, Who Done It?, Pardon My Sarong, The Time of Their Lives, Buck Privates Come Home, Abbott and Costello Meet Frankenstein, and Abbott and Costello Meet the Invisible Man.

In 1942, Abbott and Costello were the top box office draw with a reported take of $10 million. They would remain a top ten box office attraction until 1952.

In 1951, they moved to television as rotating hosts of The Colgate Comedy Hour. (Eddie Cantor and Martin and Lewis were among the others.) Each show was a live hour of vaudeville in front of a theater audience, revitalizing the comedians' performances and giving their old routines a new sparkle.

Beginning in 1952, a filmed half-hour series, The Abbott and Costello Show, appeared in syndication on local stations across the country. Loosely based on their radio series, the show cast the duo as unemployed wastrels. One of the show's running gags involved Abbott perpetually nagging Costello to get a job to pay their rent, while Abbott barely lifted a finger in that direction. The show featured Sidney Fields as their landlord, and Hillary Brooke as a friendly neighbor who sometimes got involved in the pair's schemes. Another semi-regular was Joe Besser as Stinky, a 40-year-old sissy dressed in a Little Lord Fauntleroy suit. Gordon Jones was Mike the cop, who always lost patience with Lou. The simple plotlines were often merely an excuse to recreate old comedy routines—including "Who's on First?" and other familiar set pieces—from their films and burlesque performances

I actually didn't like the cartoon at all when I was little... I thought it was boring, that caterpillar FREAKED me out, it didn't make any sense, didn't like the drawing style, HATED the Red Queen, and was really mad when it turned out to all be a dream.

However, as I got older I realized what a huge impact the characters and various concepts the story had on society and pop culture in all it's forms. So that's why I was so excited when it was a Tim Burton version WITH a plotline, but a lot of the same cool crazy stuff.

So I wanted to not really dress up, but kindof make a nod to the various influences Burton & Alice in Wonderland have had. (he's the one who made striped socks gothic, right?)

But yeah, for having a RIDICULOUS $200 MILLION budget, there had to have been a ton of nitpicking by producers, so overall I thought they struck a fantastic balance between mainstream but also a generous amount of Burton. He really truly reinvented it with such scope & adapted it to his creativity.

And the Cheshire Cat was soooo cute!!!!!! He was so creepy in the cartoon, but he looked so fluffy & adorable in this movie! I want him as a pet! (>‿‿<) ♥

(to me anyway, Jordan still didn't like him)

Todd And The Book Of Pure Evil is a great show! Live-action Stoner-Metal-Comedy-Horror-HighSchool show! Also featuring Jay from Jay & Silent Bob (Jason Mewes). We recently started rewatching it with friends, and the second viewing is holding up, even though it's sooner than the 7-year guideline we usually try to stick to for re-watches. This certificate came form the Kickstarter campaign to create an animated movie that wraps up the show's loose plotlines after cancelation. Can't wait!

Clint, Atticus Murphy.

Crowley High School school, diploma, seal.

TV show: Todd And The Book Of Pure Evil.

bloody.

August 18, 2013.

... Read my blog at ClintJCL at wordpress.com

HANNA BARBERA STUDIOS

ABBOTT and COSTELLO

Original Animation TELEVISION SERIES 1967

Type: AWESOME Original Production Animation MODEL Drawing of BULL and BOAR

from the 1967 HANNA BARBERA Animated TELEVISION SERIES

This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during

the production filming of the original Television Commercial.

NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION

Size: 12 field 12.5 x 10.5

Type: . Vintage Hand Drawn Art

Condition: EXCELLENT

Featuring ABBOTT and COSTELLO Characters

Date 1967

NOTES:

The Abbott and Costello Cartoon Show is an American half-hour animated series that aired in syndication from September 9, 1967 to June 1, 1968. Each of the 39 individual episodes consisted of four five-minute cartoons. [1] The cartoons were created jointly by Hanna-Barbera, RKO and Jomar Productions between 1965 and 1967. The series was syndicated by Gold Key Entertainment and King World Productions.

The primary feature of this cartoon series was the fact that Bud Abbott supplied the voice for his own character. (Because Lou Costello had died in 1959, his character's voice was performed by Stan Irwin.)

William (Bud) Abbott and Lou Costello (born Louis Francis Cristillo) performed together as Abbott and Costello, an American comedy duo whose work in radio, film and television made them the most popular comedy team during the 1940s and 50s. Thanks to the endurance of their most popular and influential routine, "Who's on First?"—whose rapid-fire word play and comprehension confusion set the preponderant framework for most of their best-known routines—the team is, as a result, featured in the National Baseball Hall of Fame and Museum. (Contrary to popular belief, however, the duo was not inducted into the Hall.)

The team's first known radio appearance was on The Kate Smith Hour in February, 1938. "Who's on First?" was first performed for a national radio audience the following month.[1] Abbott and Costello stayed on the program as regulars for two years, but the similarities between their New Jersey-accented voices made it difficult for listeners (as opposed to stage audiences) to tell them apart due to their rapid-fire repartee. The problem was solved by having Costello affect a high-pitched childish voice, and their remaining tenure on the Smith show was successful enough to get them roles in a Broadway revue "The Streets of Paris" in 1939.

In 1940 they were signed by Universal Studios for the film One Night in the Tropics. Cast in supporting roles, they stole the show with several classic routines, including "Who's on First?" The same year they were a summer replacement on radio for Fred Allen. Two years later, they had their own NBC show.

Universal signed them to a long-term contract, and their second film, Buck Privates, (1941) made them box-office stars. In most of their films, the plot was a framework for the two comics to reintroduce comedy routines they first performed on stage. Universal also added glitzy, gratuitous production numbers (a formula borrowed from the Marx Brothers comedies) featuring The Andrews Sisters, Ted Lewis and his Orchestra, Ella Fitzgerald, and other musical acts. They made 36 films together between 1940 and 1956. Abbott and Costello were among the most popular and highest-paid entertainers in the world during World War II. Other film successes included Hold That Ghost, Who Done It?, Pardon My Sarong, The Time of Their Lives, Buck Privates Come Home, Abbott and Costello Meet Frankenstein, and Abbott and Costello Meet the Invisible Man.

In 1942, Abbott and Costello were the top box office draw with a reported take of $10 million. They would remain a top ten box office attraction until 1952.

In 1951, they moved to television as rotating hosts of The Colgate Comedy Hour. (Eddie Cantor and Martin and Lewis were among the others.) Each show was a live hour of vaudeville in front of a theater audience, revitalizing the comedians' performances and giving their old routines a new sparkle.

Beginning in 1952, a filmed half-hour series, The Abbott and Costello Show, appeared in syndication on local stations across the country. Loosely based on their radio series, the show cast the duo as unemployed wastrels. One of the show's running gags involved Abbott perpetually nagging Costello to get a job to pay their rent, while Abbott barely lifted a finger in that direction. The show featured Sidney Fields as their landlord, and Hillary Brooke as a friendly neighbor who sometimes got involved in the pair's schemes. Another semi-regular was Joe Besser as Stinky, a 40-year-old sissy dressed in a Little Lord Fauntleroy suit. Gordon Jones was Mike the cop, who always lost patience with Lou. The simple plotlines were often merely an excuse to recreate old comedy routines—including "Who's on First?" and other familiar set pieces—from their films and burlesque performances

Silver Dollar City is a theme park in the state of Missouri. Opened on May 1, 1960, the park is located between Branson and Branson West off of Missouri Route 76 on the Indian Point peninsula of Table Rock Lake. The park is an 1880s-themed experience that fits Branson's vision as a family-friendly vacation destination with down-home charm. Silver Dollar City's operating season runs from mid-March until late December, with the park closed during the months of January and February. Silver Dollar City is owned by the Herschend Family Entertainment, which owns, operates or partners in 25 properties in 10 states and includes the nearby water park, White Water; water excursion and theatre, the Showboat Branson Belle; water and land tour attraction Ride the Ducks. The park gained much public notice when the Clampett family of CBS-TV's The Beverly Hillbillies decided to pay a visit to Silver Dollar City (treated as an actual town, rather than a theme park) to start off the 1969-1970 season. The plotline involved Granny (Irene Ryan) attempting to find a husband for Elly May (Donna Douglas) back in the hills, while Jed (Buddy Ebsen) socialized with hotel clerk Shorty Kellems (Shug Fisher). They visited the blacksmith Shad Heller, soapmaker Granny Ethel Huffman, and woodcarver Peter Engler, and Miss Hathaway (Nancy Kulp) was seen in the Ozark woods. The Hillbillies were from the area surrounding Silver Dollar City and Branson, and references to Jim Owens and his White River float trip business and some Missouri mountain locations were made throughout the show's nine-year run. Five episodes of The Beverly Hillbillies were eventually shot in the park. 7/23/16

HANNA BARBERA STUDIOS

ABBOTT and COSTELLO

Original Animation TELEVISION SERIES 1967

Type: AWESOME Original Production Animation MODEL Drawing

from the 1967 HANNA BARBERA Animated TELEVISION SERIES

This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during

the production filming of the original Television Commercial.

NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION

Size: 12 field 12.5 x 10.5

Type: . Vintage Hand Drawn Art

Condition: EXCELLENT

Featuring UNCLE WOLFGANG

Date 1967

NOTES:

The Abbott and Costello Cartoon Show is an American half-hour animated series that aired in syndication from September 9, 1967 to June 1, 1968. Each of the 39 individual episodes consisted of four five-minute cartoons. [1] The cartoons were created jointly by Hanna-Barbera, RKO and Jomar Productions between 1965 and 1967. The series was syndicated by Gold Key Entertainment and King World Productions.

The primary feature of this cartoon series was the fact that Bud Abbott supplied the voice for his own character. (Because Lou Costello had died in 1959, his character's voice was performed by Stan Irwin.)

William (Bud) Abbott and Lou Costello (born Louis Francis Cristillo) performed together as Abbott and Costello, an American comedy duo whose work in radio, film and television made them the most popular comedy team during the 1940s and 50s. Thanks to the endurance of their most popular and influential routine, "Who's on First?"—whose rapid-fire word play and comprehension confusion set the preponderant framework for most of their best-known routines—the team is, as a result, featured in the National Baseball Hall of Fame and Museum. (Contrary to popular belief, however, the duo was not inducted into the Hall.)

The team's first known radio appearance was on The Kate Smith Hour in February, 1938. "Who's on First?" was first performed for a national radio audience the following month.[1] Abbott and Costello stayed on the program as regulars for two years, but the similarities between their New Jersey-accented voices made it difficult for listeners (as opposed to stage audiences) to tell them apart due to their rapid-fire repartee. The problem was solved by having Costello affect a high-pitched childish voice, and their remaining tenure on the Smith show was successful enough to get them roles in a Broadway revue "The Streets of Paris" in 1939.

In 1940 they were signed by Universal Studios for the film One Night in the Tropics. Cast in supporting roles, they stole the show with several classic routines, including "Who's on First?" The same year they were a summer replacement on radio for Fred Allen. Two years later, they had their own NBC show.

Universal signed them to a long-term contract, and their second film, Buck Privates, (1941) made them box-office stars. In most of their films, the plot was a framework for the two comics to reintroduce comedy routines they first performed on stage. Universal also added glitzy, gratuitous production numbers (a formula borrowed from the Marx Brothers comedies) featuring The Andrews Sisters, Ted Lewis and his Orchestra, Ella Fitzgerald, and other musical acts. They made 36 films together between 1940 and 1956. Abbott and Costello were among the most popular and highest-paid entertainers in the world during World War II. Other film successes included Hold That Ghost, Who Done It?, Pardon My Sarong, The Time of Their Lives, Buck Privates Come Home, Abbott and Costello Meet Frankenstein, and Abbott and Costello Meet the Invisible Man.

In 1942, Abbott and Costello were the top box office draw with a reported take of $10 million. They would remain a top ten box office attraction until 1952.

In 1951, they moved to television as rotating hosts of The Colgate Comedy Hour. (Eddie Cantor and Martin and Lewis were among the others.) Each show was a live hour of vaudeville in front of a theater audience, revitalizing the comedians' performances and giving their old routines a new sparkle.

Beginning in 1952, a filmed half-hour series, The Abbott and Costello Show, appeared in syndication on local stations across the country. Loosely based on their radio series, the show cast the duo as unemployed wastrels. One of the show's running gags involved Abbott perpetually nagging Costello to get a job to pay their rent, while Abbott barely lifted a finger in that direction. The show featured Sidney Fields as their landlord, and Hillary Brooke as a friendly neighbor who sometimes got involved in the pair's schemes. Another semi-regular was Joe Besser as Stinky, a 40-year-old sissy dressed in a Little Lord Fauntleroy suit. Gordon Jones was Mike the cop, who always lost patience with Lou. The simple plotlines were often merely an excuse to recreate old comedy routines—including "Who's on First?" and other familiar set pieces—from their films and burlesque performances

HANNA BARBERA STUDIOS

LAUREL and HARDY Original Animation TELEVISION SERIES 1967

Type: AWESOME Original Production Animation MODEL Drawing

from the 1967 HANNA BARBERA Animated TELEVISION SERIES

This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during

the production filming of the original Television Commercial.

NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION

Size: 12 field 12.5 x 10.5

Type: . Vintage Hand Drawn Art

Condition: EXCELLENT

Featuring MISC CHARACTERS

Date 1967

NOTES:

The Abbott and Costello Cartoon Show is an American half-hour animated series that aired in syndication from September 9, 1967 to June 1, 1968. Each of the 39 individual episodes consisted of four five-minute cartoons. [1] The cartoons were created jointly by Hanna-Barbera, RKO and Jomar Productions between 1965 and 1967. The series was syndicated by Gold Key Entertainment and King World Productions.

The primary feature of this cartoon series was the fact that Bud Abbott supplied the voice for his own character. (Because Lou Costello had died in 1959, his character's voice was performed by Stan Irwin.)

William (Bud) Abbott and Lou Costello (born Louis Francis Cristillo) performed together as Abbott and Costello, an American comedy duo whose work in radio, film and television made them the most popular comedy team during the 1940s and 50s. Thanks to the endurance of their most popular and influential routine, "Who's on First?"—whose rapid-fire word play and comprehension confusion set the preponderant framework for most of their best-known routines—the team is, as a result, featured in the National Baseball Hall of Fame and Museum. (Contrary to popular belief, however, the duo was not inducted into the Hall.)

The team's first known radio appearance was on The Kate Smith Hour in February, 1938. "Who's on First?" was first performed for a national radio audience the following month.[1] Abbott and Costello stayed on the program as regulars for two years, but the similarities between their New Jersey-accented voices made it difficult for listeners (as opposed to stage audiences) to tell them apart due to their rapid-fire repartee. The problem was solved by having Costello affect a high-pitched childish voice, and their remaining tenure on the Smith show was successful enough to get them roles in a Broadway revue "The Streets of Paris" in 1939.

In 1940 they were signed by Universal Studios for the film One Night in the Tropics. Cast in supporting roles, they stole the show with several classic routines, including "Who's on First?" The same year they were a summer replacement on radio for Fred Allen. Two years later, they had their own NBC show.

Universal signed them to a long-term contract, and their second film, Buck Privates, (1941) made them box-office stars. In most of their films, the plot was a framework for the two comics to reintroduce comedy routines they first performed on stage. Universal also added glitzy, gratuitous production numbers (a formula borrowed from the Marx Brothers comedies) featuring The Andrews Sisters, Ted Lewis and his Orchestra, Ella Fitzgerald, and other musical acts. They made 36 films together between 1940 and 1956. Abbott and Costello were among the most popular and highest-paid entertainers in the world during World War II. Other film successes included Hold That Ghost, Who Done It?, Pardon My Sarong, The Time of Their Lives, Buck Privates Come Home, Abbott and Costello Meet Frankenstein, and Abbott and Costello Meet the Invisible Man.

In 1942, Abbott and Costello were the top box office draw with a reported take of $10 million. They would remain a top ten box office attraction until 1952.

In 1951, they moved to television as rotating hosts of The Colgate Comedy Hour. (Eddie Cantor and Martin and Lewis were among the others.) Each show was a live hour of vaudeville in front of a theater audience, revitalizing the comedians' performances and giving their old routines a new sparkle.

Beginning in 1952, a filmed half-hour series, The Abbott and Costello Show, appeared in syndication on local stations across the country. Loosely based on their radio series, the show cast the duo as unemployed wastrels. One of the show's running gags involved Abbott perpetually nagging Costello to get a job to pay their rent, while Abbott barely lifted a finger in that direction. The show featured Sidney Fields as their landlord, and Hillary Brooke as a friendly neighbor who sometimes got involved in the pair's schemes. Another semi-regular was Joe Besser as Stinky, a 40-year-old sissy dressed in a Little Lord Fauntleroy suit. Gordon Jones was Mike the cop, who always lost patience with Lou. The simple plotlines were often merely an excuse to recreate old comedy routines—including "Who's on First?" and other familiar set pieces—from their films and burlesque performances

HANNA BARBERA STUDIOS

ABBOTT and COSTELLO

Original Animation TELEVISION SERIES 1967

Type: AWESOME Original Production Animation MODEL Drawing

from the 1967 HANNA BARBERA Animated TELEVISION SERIES

This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during

the production filming of the original Television Commercial.

NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION

Size: 12 field 12.5 x 10.5

Type: . Vintage Hand Drawn Art

Condition: EXCELLENT

Featuring UNCLE WOLFGANG

Date 1967

NOTES:

The Abbott and Costello Cartoon Show is an American half-hour animated series that aired in syndication from September 9, 1967 to June 1, 1968. Each of the 39 individual episodes consisted of four five-minute cartoons. [1] The cartoons were created jointly by Hanna-Barbera, RKO and Jomar Productions between 1965 and 1967. The series was syndicated by Gold Key Entertainment and King World Productions.

The primary feature of this cartoon series was the fact that Bud Abbott supplied the voice for his own character. (Because Lou Costello had died in 1959, his character's voice was performed by Stan Irwin.)

William (Bud) Abbott and Lou Costello (born Louis Francis Cristillo) performed together as Abbott and Costello, an American comedy duo whose work in radio, film and television made them the most popular comedy team during the 1940s and 50s. Thanks to the endurance of their most popular and influential routine, "Who's on First?"—whose rapid-fire word play and comprehension confusion set the preponderant framework for most of their best-known routines—the team is, as a result, featured in the National Baseball Hall of Fame and Museum. (Contrary to popular belief, however, the duo was not inducted into the Hall.)

The team's first known radio appearance was on The Kate Smith Hour in February, 1938. "Who's on First?" was first performed for a national radio audience the following month.[1] Abbott and Costello stayed on the program as regulars for two years, but the similarities between their New Jersey-accented voices made it difficult for listeners (as opposed to stage audiences) to tell them apart due to their rapid-fire repartee. The problem was solved by having Costello affect a high-pitched childish voice, and their remaining tenure on the Smith show was successful enough to get them roles in a Broadway revue "The Streets of Paris" in 1939.

In 1940 they were signed by Universal Studios for the film One Night in the Tropics. Cast in supporting roles, they stole the show with several classic routines, including "Who's on First?" The same year they were a summer replacement on radio for Fred Allen. Two years later, they had their own NBC show.

Universal signed them to a long-term contract, and their second film, Buck Privates, (1941) made them box-office stars. In most of their films, the plot was a framework for the two comics to reintroduce comedy routines they first performed on stage. Universal also added glitzy, gratuitous production numbers (a formula borrowed from the Marx Brothers comedies) featuring The Andrews Sisters, Ted Lewis and his Orchestra, Ella Fitzgerald, and other musical acts. They made 36 films together between 1940 and 1956. Abbott and Costello were among the most popular and highest-paid entertainers in the world during World War II. Other film successes included Hold That Ghost, Who Done It?, Pardon My Sarong, The Time of Their Lives, Buck Privates Come Home, Abbott and Costello Meet Frankenstein, and Abbott and Costello Meet the Invisible Man.

In 1942, Abbott and Costello were the top box office draw with a reported take of $10 million. They would remain a top ten box office attraction until 1952.

In 1951, they moved to television as rotating hosts of The Colgate Comedy Hour. (Eddie Cantor and Martin and Lewis were among the others.) Each show was a live hour of vaudeville in front of a theater audience, revitalizing the comedians' performances and giving their old routines a new sparkle.

Beginning in 1952, a filmed half-hour series, The Abbott and Costello Show, appeared in syndication on local stations across the country. Loosely based on their radio series, the show cast the duo as unemployed wastrels. One of the show's running gags involved Abbott perpetually nagging Costello to get a job to pay their rent, while Abbott barely lifted a finger in that direction. The show featured Sidney Fields as their landlord, and Hillary Brooke as a friendly neighbor who sometimes got involved in the pair's schemes. Another semi-regular was Joe Besser as Stinky, a 40-year-old sissy dressed in a Little Lord Fauntleroy suit. Gordon Jones was Mike the cop, who always lost patience with Lou. The simple plotlines were often merely an excuse to recreate old comedy routines—including "Who's on First?" and other familiar set pieces—from their films and burlesque performances

HANNA BARBERA STUDIOS

ABBOTT and COSTELLO

Original Animation TELEVISION SERIES 1967

Type: AWESOME Original Production Animation MODEL Drawing

from the 1967 HANNA BARBERA Animated TELEVISION SERIES

This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during

the production filming of the original Television Commercial.

NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION

Size: 12 field 12.5 x 10.5

Type: . Vintage Hand Drawn Art

Condition: EXCELLENT

Featuring SAINT BERNARD RESCUE DOG

Date 1967

NOTES:

The Abbott and Costello Cartoon Show is an American half-hour animated series that aired in syndication from September 9, 1967 to June 1, 1968. Each of the 39 individual episodes consisted of four five-minute cartoons. [1] The cartoons were created jointly by Hanna-Barbera, RKO and Jomar Productions between 1965 and 1967. The series was syndicated by Gold Key Entertainment and King World Productions.

The primary feature of this cartoon series was the fact that Bud Abbott supplied the voice for his own character. (Because Lou Costello had died in 1959, his character's voice was performed by Stan Irwin.)

William (Bud) Abbott and Lou Costello (born Louis Francis Cristillo) performed together as Abbott and Costello, an American comedy duo whose work in radio, film and television made them the most popular comedy team during the 1940s and 50s. Thanks to the endurance of their most popular and influential routine, "Who's on First?"—whose rapid-fire word play and comprehension confusion set the preponderant framework for most of their best-known routines—the team is, as a result, featured in the National Baseball Hall of Fame and Museum. (Contrary to popular belief, however, the duo was not inducted into the Hall.)

The team's first known radio appearance was on The Kate Smith Hour in February, 1938. "Who's on First?" was first performed for a national radio audience the following month.[1] Abbott and Costello stayed on the program as regulars for two years, but the similarities between their New Jersey-accented voices made it difficult for listeners (as opposed to stage audiences) to tell them apart due to their rapid-fire repartee. The problem was solved by having Costello affect a high-pitched childish voice, and their remaining tenure on the Smith show was successful enough to get them roles in a Broadway revue "The Streets of Paris" in 1939.

In 1940 they were signed by Universal Studios for the film One Night in the Tropics. Cast in supporting roles, they stole the show with several classic routines, including "Who's on First?" The same year they were a summer replacement on radio for Fred Allen. Two years later, they had their own NBC show.

Universal signed them to a long-term contract, and their second film, Buck Privates, (1941) made them box-office stars. In most of their films, the plot was a framework for the two comics to reintroduce comedy routines they first performed on stage. Universal also added glitzy, gratuitous production numbers (a formula borrowed from the Marx Brothers comedies) featuring The Andrews Sisters, Ted Lewis and his Orchestra, Ella Fitzgerald, and other musical acts. They made 36 films together between 1940 and 1956. Abbott and Costello were among the most popular and highest-paid entertainers in the world during World War II. Other film successes included Hold That Ghost, Who Done It?, Pardon My Sarong, The Time of Their Lives, Buck Privates Come Home, Abbott and Costello Meet Frankenstein, and Abbott and Costello Meet the Invisible Man.

In 1942, Abbott and Costello were the top box office draw with a reported take of $10 million. They would remain a top ten box office attraction until 1952.

In 1951, they moved to television as rotating hosts of The Colgate Comedy Hour. (Eddie Cantor and Martin and Lewis were among the others.) Each show was a live hour of vaudeville in front of a theater audience, revitalizing the comedians' performances and giving their old routines a new sparkle.

Beginning in 1952, a filmed half-hour series, The Abbott and Costello Show, appeared in syndication on local stations across the country. Loosely based on their radio series, the show cast the duo as unemployed wastrels. One of the show's running gags involved Abbott perpetually nagging Costello to get a job to pay their rent, while Abbott barely lifted a finger in that direction. The show featured Sidney Fields as their landlord, and Hillary Brooke as a friendly neighbor who sometimes got involved in the pair's schemes. Another semi-regular was Joe Besser as Stinky, a 40-year-old sissy dressed in a Little Lord Fauntleroy suit. Gordon Jones was Mike the cop, who always lost patience with Lou. The simple plotlines were often merely an excuse to recreate old comedy routines—including "Who's on First?" and other familiar set pieces—from their films and burlesque performances

HANNA BARBERA STUDIOS

LAUREL and HARDY Original Animation TELEVISION SERIES 1967

Type: AWESOME Original Production Animation MODEL Drawing

from the 1967 HANNA BARBERA Animated TELEVISION SERIES

This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during

the production filming of the original Television Commercial.

NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION

Size: 12 field 12.5 x 10.5

Type: . Vintage Hand Drawn Art

Condition: EXCELLENT

Featuring MISC CHARACTERS

Date 1967

NOTES:

The Abbott and Costello Cartoon Show is an American half-hour animated series that aired in syndication from September 9, 1967 to June 1, 1968. Each of the 39 individual episodes consisted of four five-minute cartoons. [1] The cartoons were created jointly by Hanna-Barbera, RKO and Jomar Productions between 1965 and 1967. The series was syndicated by Gold Key Entertainment and King World Productions.

The primary feature of this cartoon series was the fact that Bud Abbott supplied the voice for his own character. (Because Lou Costello had died in 1959, his character's voice was performed by Stan Irwin.)

William (Bud) Abbott and Lou Costello (born Louis Francis Cristillo) performed together as Abbott and Costello, an American comedy duo whose work in radio, film and television made them the most popular comedy team during the 1940s and 50s. Thanks to the endurance of their most popular and influential routine, "Who's on First?"—whose rapid-fire word play and comprehension confusion set the preponderant framework for most of their best-known routines—the team is, as a result, featured in the National Baseball Hall of Fame and Museum. (Contrary to popular belief, however, the duo was not inducted into the Hall.)

The team's first known radio appearance was on The Kate Smith Hour in February, 1938. "Who's on First?" was first performed for a national radio audience the following month.[1] Abbott and Costello stayed on the program as regulars for two years, but the similarities between their New Jersey-accented voices made it difficult for listeners (as opposed to stage audiences) to tell them apart due to their rapid-fire repartee. The problem was solved by having Costello affect a high-pitched childish voice, and their remaining tenure on the Smith show was successful enough to get them roles in a Broadway revue "The Streets of Paris" in 1939.

In 1940 they were signed by Universal Studios for the film One Night in the Tropics. Cast in supporting roles, they stole the show with several classic routines, including "Who's on First?" The same year they were a summer replacement on radio for Fred Allen. Two years later, they had their own NBC show.

Universal signed them to a long-term contract, and their second film, Buck Privates, (1941) made them box-office stars. In most of their films, the plot was a framework for the two comics to reintroduce comedy routines they first performed on stage. Universal also added glitzy, gratuitous production numbers (a formula borrowed from the Marx Brothers comedies) featuring The Andrews Sisters, Ted Lewis and his Orchestra, Ella Fitzgerald, and other musical acts. They made 36 films together between 1940 and 1956. Abbott and Costello were among the most popular and highest-paid entertainers in the world during World War II. Other film successes included Hold That Ghost, Who Done It?, Pardon My Sarong, The Time of Their Lives, Buck Privates Come Home, Abbott and Costello Meet Frankenstein, and Abbott and Costello Meet the Invisible Man.

In 1942, Abbott and Costello were the top box office draw with a reported take of $10 million. They would remain a top ten box office attraction until 1952.

In 1951, they moved to television as rotating hosts of The Colgate Comedy Hour. (Eddie Cantor and Martin and Lewis were among the others.) Each show was a live hour of vaudeville in front of a theater audience, revitalizing the comedians' performances and giving their old routines a new sparkle.

Beginning in 1952, a filmed half-hour series, The Abbott and Costello Show, appeared in syndication on local stations across the country. Loosely based on their radio series, the show cast the duo as unemployed wastrels. One of the show's running gags involved Abbott perpetually nagging Costello to get a job to pay their rent, while Abbott barely lifted a finger in that direction. The show featured Sidney Fields as their landlord, and Hillary Brooke as a friendly neighbor who sometimes got involved in the pair's schemes. Another semi-regular was Joe Besser as Stinky, a 40-year-old sissy dressed in a Little Lord Fauntleroy suit. Gordon Jones was Mike the cop, who always lost patience with Lou. The simple plotlines were often merely an excuse to recreate old comedy routines—including "Who's on First?" and other familiar set pieces—from their films and burlesque performances

HANNA BARBERA STUDIOS

ABBOTT and COSTELLO

Original Animation TELEVISION SERIES 1967

Type: AWESOME Original Production Animation MODEL Drawing

from the 1967 HANNA BARBERA Animated TELEVISION SERIES

This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during

the production filming of the original Television Commercial.

NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION

Size: 12 field 12.5 x 10.5

Type: . Vintage Hand Drawn Art

Condition: EXCELLENT

Featuring UNCLE WOLFGANG

Date 1967

NOTES:

The Abbott and Costello Cartoon Show is an American half-hour animated series that aired in syndication from September 9, 1967 to June 1, 1968. Each of the 39 individual episodes consisted of four five-minute cartoons. [1] The cartoons were created jointly by Hanna-Barbera, RKO and Jomar Productions between 1965 and 1967. The series was syndicated by Gold Key Entertainment and King World Productions.

The primary feature of this cartoon series was the fact that Bud Abbott supplied the voice for his own character. (Because Lou Costello had died in 1959, his character's voice was performed by Stan Irwin.)

William (Bud) Abbott and Lou Costello (born Louis Francis Cristillo) performed together as Abbott and Costello, an American comedy duo whose work in radio, film and television made them the most popular comedy team during the 1940s and 50s. Thanks to the endurance of their most popular and influential routine, "Who's on First?"—whose rapid-fire word play and comprehension confusion set the preponderant framework for most of their best-known routines—the team is, as a result, featured in the National Baseball Hall of Fame and Museum. (Contrary to popular belief, however, the duo was not inducted into the Hall.)

The team's first known radio appearance was on The Kate Smith Hour in February, 1938. "Who's on First?" was first performed for a national radio audience the following month.[1] Abbott and Costello stayed on the program as regulars for two years, but the similarities between their New Jersey-accented voices made it difficult for listeners (as opposed to stage audiences) to tell them apart due to their rapid-fire repartee. The problem was solved by having Costello affect a high-pitched childish voice, and their remaining tenure on the Smith show was successful enough to get them roles in a Broadway revue "The Streets of Paris" in 1939.

In 1940 they were signed by Universal Studios for the film One Night in the Tropics. Cast in supporting roles, they stole the show with several classic routines, including "Who's on First?" The same year they were a summer replacement on radio for Fred Allen. Two years later, they had their own NBC show.

Universal signed them to a long-term contract, and their second film, Buck Privates, (1941) made them box-office stars. In most of their films, the plot was a framework for the two comics to reintroduce comedy routines they first performed on stage. Universal also added glitzy, gratuitous production numbers (a formula borrowed from the Marx Brothers comedies) featuring The Andrews Sisters, Ted Lewis and his Orchestra, Ella Fitzgerald, and other musical acts. They made 36 films together between 1940 and 1956. Abbott and Costello were among the most popular and highest-paid entertainers in the world during World War II. Other film successes included Hold That Ghost, Who Done It?, Pardon My Sarong, The Time of Their Lives, Buck Privates Come Home, Abbott and Costello Meet Frankenstein, and Abbott and Costello Meet the Invisible Man.

In 1942, Abbott and Costello were the top box office draw with a reported take of $10 million. They would remain a top ten box office attraction until 1952.

In 1951, they moved to television as rotating hosts of The Colgate Comedy Hour. (Eddie Cantor and Martin and Lewis were among the others.) Each show was a live hour of vaudeville in front of a theater audience, revitalizing the comedians' performances and giving their old routines a new sparkle.

Beginning in 1952, a filmed half-hour series, The Abbott and Costello Show, appeared in syndication on local stations across the country. Loosely based on their radio series, the show cast the duo as unemployed wastrels. One of the show's running gags involved Abbott perpetually nagging Costello to get a job to pay their rent, while Abbott barely lifted a finger in that direction. The show featured Sidney Fields as their landlord, and Hillary Brooke as a friendly neighbor who sometimes got involved in the pair's schemes. Another semi-regular was Joe Besser as Stinky, a 40-year-old sissy dressed in a Little Lord Fauntleroy suit. Gordon Jones was Mike the cop, who always lost patience with Lou. The simple plotlines were often merely an excuse to recreate old comedy routines—including "Who's on First?" and other familiar set pieces—from their films and burlesque performances

www.starnow.co.uk/christopherw33618

When Emma finds out that ex-boyfriend Joe Ryan is facing eviction, the team find themselves travelling to Birmingham to take on Georgina Althorp, owner of an unscrupulous law firm. Mickey and the gang set about the ambitious task of selling Georgina a castle and a title - but will she bite? Meanwhile, it seems love is blossoming once more for Emma; are they about to lose one of the team for good?

Hustle is a British television drama series made by Kudos Film and Television for BBC One in the United Kingdom. Created by Tony Jordan and first broadcast in 2004, the series follows a group of con artists who specialise in "long cons" – extended deceptions which require greater commitment, but which return a higher reward than simple confidence tricks. The seventh series began on BBC1 on Friday 7 January 2011.

Hustle was largely born from the same production team that created and popularised the early series of Spooks, a similarly-styled drama series first broadcast in 2002. Bharat Nalluri, that series' Executive Director, first conceived the idea in early 2002 while filming for the first Spooks series was ongoing. Nalluri pitched the concept to Jane Featherstone, Managing Director of Kudos Film & Television which was the production company behind Spooks, in the back of a taxi while returning from a day's filming. Intrigued by the idea, Featherstone recruited Tony Jordan, the lead scriptwriter of the soap opera EastEnders, to develop it into a workable proposal.

Jordan quickly produced some initial script drafts, which Featherstone took to the BBC; Gareth Neame, Head of Drama Commissioning, rapidly approved a six-part series. Featherstone assembled a production team that had considerable overlap with the Spooks crew, including Simon Crawford Collins as producer and Matthew Graham as co-writer. In creating the first episodes, Jordan drew inspiration from the long tradition of confidence tricks and heists in Hollywood and television, including The A Team, The Sting and The Grifters. Featherstone remarked that "Ocean's Eleven was on around the time Bharat and I first spoke, and I think it helped to inspire us, but really we took our inspiration from a whole catalogue of movies and books... we wanted to make something that had the energy, verve, style and pure entertainment value of those sorts of films" At the same time, the writers attempted to draw on the success of recent blockbusters such as Ocean's Eleven and Mission: Impossible; speaking in an interview in December 2003, Crawford explained that "[such shows] worked because of the interaction within the group – the plotlines were almost irrelevant".

HANNA BARBERA STUDIOS

ABBOTT and COSTELLO

Original Animation TELEVISION SERIES 1967

Type: AWESOME Original Production Animation MODEL Drawing

from the 1967 HANNA BARBERA Animated TELEVISION SERIES

This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during

the production filming of the original Television Commercial.

NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION

Size: 12 field 12.5 x 10.5

Type: . Vintage Hand Drawn Art

Condition: EXCELLENT

Featuring SAINT BERNARD RESCUE DOG

Date 1967

NOTES:

The Abbott and Costello Cartoon Show is an American half-hour animated series that aired in syndication from September 9, 1967 to June 1, 1968. Each of the 39 individual episodes consisted of four five-minute cartoons. [1] The cartoons were created jointly by Hanna-Barbera, RKO and Jomar Productions between 1965 and 1967. The series was syndicated by Gold Key Entertainment and King World Productions.

The primary feature of this cartoon series was the fact that Bud Abbott supplied the voice for his own character. (Because Lou Costello had died in 1959, his character's voice was performed by Stan Irwin.)

William (Bud) Abbott and Lou Costello (born Louis Francis Cristillo) performed together as Abbott and Costello, an American comedy duo whose work in radio, film and television made them the most popular comedy team during the 1940s and 50s. Thanks to the endurance of their most popular and influential routine, "Who's on First?"—whose rapid-fire word play and comprehension confusion set the preponderant framework for most of their best-known routines—the team is, as a result, featured in the National Baseball Hall of Fame and Museum. (Contrary to popular belief, however, the duo was not inducted into the Hall.)

The team's first known radio appearance was on The Kate Smith Hour in February, 1938. "Who's on First?" was first performed for a national radio audience the following month.[1] Abbott and Costello stayed on the program as regulars for two years, but the similarities between their New Jersey-accented voices made it difficult for listeners (as opposed to stage audiences) to tell them apart due to their rapid-fire repartee. The problem was solved by having Costello affect a high-pitched childish voice, and their remaining tenure on the Smith show was successful enough to get them roles in a Broadway revue "The Streets of Paris" in 1939.

In 1940 they were signed by Universal Studios for the film One Night in the Tropics. Cast in supporting roles, they stole the show with several classic routines, including "Who's on First?" The same year they were a summer replacement on radio for Fred Allen. Two years later, they had their own NBC show.

Universal signed them to a long-term contract, and their second film, Buck Privates, (1941) made them box-office stars. In most of their films, the plot was a framework for the two comics to reintroduce comedy routines they first performed on stage. Universal also added glitzy, gratuitous production numbers (a formula borrowed from the Marx Brothers comedies) featuring The Andrews Sisters, Ted Lewis and his Orchestra, Ella Fitzgerald, and other musical acts. They made 36 films together between 1940 and 1956. Abbott and Costello were among the most popular and highest-paid entertainers in the world during World War II. Other film successes included Hold That Ghost, Who Done It?, Pardon My Sarong, The Time of Their Lives, Buck Privates Come Home, Abbott and Costello Meet Frankenstein, and Abbott and Costello Meet the Invisible Man.

In 1942, Abbott and Costello were the top box office draw with a reported take of $10 million. They would remain a top ten box office attraction until 1952.

In 1951, they moved to television as rotating hosts of The Colgate Comedy Hour. (Eddie Cantor and Martin and Lewis were among the others.) Each show was a live hour of vaudeville in front of a theater audience, revitalizing the comedians' performances and giving their old routines a new sparkle.

Beginning in 1952, a filmed half-hour series, The Abbott and Costello Show, appeared in syndication on local stations across the country. Loosely based on their radio series, the show cast the duo as unemployed wastrels. One of the show's running gags involved Abbott perpetually nagging Costello to get a job to pay their rent, while Abbott barely lifted a finger in that direction. The show featured Sidney Fields as their landlord, and Hillary Brooke as a friendly neighbor who sometimes got involved in the pair's schemes. Another semi-regular was Joe Besser as Stinky, a 40-year-old sissy dressed in a Little Lord Fauntleroy suit. Gordon Jones was Mike the cop, who always lost patience with Lou. The simple plotlines were often merely an excuse to recreate old comedy routines—including "Who's on First?" and other familiar set pieces—from their films and burlesque performances

HANNA BARBERA STUDIOS

ABBOTT and COSTELLO

Original Animation TELEVISION SERIES 1967

Type: AWESOME Original Production Animation MODEL Drawing

from the 1967 HANNA BARBERA Animated TELEVISION SERIES

This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during

the production filming of the original Television Commercial.

NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION

Size: 12 field 12.5 x 10.5

Type: . Vintage Hand Drawn Art

Condition: EXCELLENT

Featuring SAINT BERNARD RESCUE DOG

Date 1967

NOTES:

The Abbott and Costello Cartoon Show is an American half-hour animated series that aired in syndication from September 9, 1967 to June 1, 1968. Each of the 39 individual episodes consisted of four five-minute cartoons. [1] The cartoons were created jointly by Hanna-Barbera, RKO and Jomar Productions between 1965 and 1967. The series was syndicated by Gold Key Entertainment and King World Productions.

The primary feature of this cartoon series was the fact that Bud Abbott supplied the voice for his own character. (Because Lou Costello had died in 1959, his character's voice was performed by Stan Irwin.)

William (Bud) Abbott and Lou Costello (born Louis Francis Cristillo) performed together as Abbott and Costello, an American comedy duo whose work in radio, film and television made them the most popular comedy team during the 1940s and 50s. Thanks to the endurance of their most popular and influential routine, "Who's on First?"—whose rapid-fire word play and comprehension confusion set the preponderant framework for most of their best-known routines—the team is, as a result, featured in the National Baseball Hall of Fame and Museum. (Contrary to popular belief, however, the duo was not inducted into the Hall.)

The team's first known radio appearance was on The Kate Smith Hour in February, 1938. "Who's on First?" was first performed for a national radio audience the following month.[1] Abbott and Costello stayed on the program as regulars for two years, but the similarities between their New Jersey-accented voices made it difficult for listeners (as opposed to stage audiences) to tell them apart due to their rapid-fire repartee. The problem was solved by having Costello affect a high-pitched childish voice, and their remaining tenure on the Smith show was successful enough to get them roles in a Broadway revue "The Streets of Paris" in 1939.

In 1940 they were signed by Universal Studios for the film One Night in the Tropics. Cast in supporting roles, they stole the show with several classic routines, including "Who's on First?" The same year they were a summer replacement on radio for Fred Allen. Two years later, they had their own NBC show.

Universal signed them to a long-term contract, and their second film, Buck Privates, (1941) made them box-office stars. In most of their films, the plot was a framework for the two comics to reintroduce comedy routines they first performed on stage. Universal also added glitzy, gratuitous production numbers (a formula borrowed from the Marx Brothers comedies) featuring The Andrews Sisters, Ted Lewis and his Orchestra, Ella Fitzgerald, and other musical acts. They made 36 films together between 1940 and 1956. Abbott and Costello were among the most popular and highest-paid entertainers in the world during World War II. Other film successes included Hold That Ghost, Who Done It?, Pardon My Sarong, The Time of Their Lives, Buck Privates Come Home, Abbott and Costello Meet Frankenstein, and Abbott and Costello Meet the Invisible Man.

In 1942, Abbott and Costello were the top box office draw with a reported take of $10 million. They would remain a top ten box office attraction until 1952.

In 1951, they moved to television as rotating hosts of The Colgate Comedy Hour. (Eddie Cantor and Martin and Lewis were among the others.) Each show was a live hour of vaudeville in front of a theater audience, revitalizing the comedians' performances and giving their old routines a new sparkle.

Beginning in 1952, a filmed half-hour series, The Abbott and Costello Show, appeared in syndication on local stations across the country. Loosely based on their radio series, the show cast the duo as unemployed wastrels. One of the show's running gags involved Abbott perpetually nagging Costello to get a job to pay their rent, while Abbott barely lifted a finger in that direction. The show featured Sidney Fields as their landlord, and Hillary Brooke as a friendly neighbor who sometimes got involved in the pair's schemes. Another semi-regular was Joe Besser as Stinky, a 40-year-old sissy dressed in a Little Lord Fauntleroy suit. Gordon Jones was Mike the cop, who always lost patience with Lou. The simple plotlines were often merely an excuse to recreate old comedy routines—including "Who's on First?" and other familiar set pieces—from their films and burlesque performances

So, I watch hentai with my friends because I love the rediculas plotlines. Totally one of my favorite pasttimes. We were laughing at how every rape hentai starts with some old guy in a corner saying something turns the girl on....So I found this picture online, and turned it into a demotivational.

HANNA BARBERA STUDIOS

ABBOTT and COSTELLO

Original Animation TELEVISION SERIES 1967

Type: AWESOME Original Production Animation MODEL Drawing

from the 1967 HANNA BARBERA Animated TELEVISION SERIES

This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during

the production filming of the original Television Commercial.

NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION

Size: 12 field 12.5 x 10.5

Type: . Vintage Hand Drawn Art

Condition: EXCELLENT

Featuring UNCLE WOLFGANG

Date 1967

NOTES:

The Abbott and Costello Cartoon Show is an American half-hour animated series that aired in syndication from September 9, 1967 to June 1, 1968. Each of the 39 individual episodes consisted of four five-minute cartoons. [1] The cartoons were created jointly by Hanna-Barbera, RKO and Jomar Productions between 1965 and 1967. The series was syndicated by Gold Key Entertainment and King World Productions.

The primary feature of this cartoon series was the fact that Bud Abbott supplied the voice for his own character. (Because Lou Costello had died in 1959, his character's voice was performed by Stan Irwin.)

William (Bud) Abbott and Lou Costello (born Louis Francis Cristillo) performed together as Abbott and Costello, an American comedy duo whose work in radio, film and television made them the most popular comedy team during the 1940s and 50s. Thanks to the endurance of their most popular and influential routine, "Who's on First?"—whose rapid-fire word play and comprehension confusion set the preponderant framework for most of their best-known routines—the team is, as a result, featured in the National Baseball Hall of Fame and Museum. (Contrary to popular belief, however, the duo was not inducted into the Hall.)

The team's first known radio appearance was on The Kate Smith Hour in February, 1938. "Who's on First?" was first performed for a national radio audience the following month.[1] Abbott and Costello stayed on the program as regulars for two years, but the similarities between their New Jersey-accented voices made it difficult for listeners (as opposed to stage audiences) to tell them apart due to their rapid-fire repartee. The problem was solved by having Costello affect a high-pitched childish voice, and their remaining tenure on the Smith show was successful enough to get them roles in a Broadway revue "The Streets of Paris" in 1939.

In 1940 they were signed by Universal Studios for the film One Night in the Tropics. Cast in supporting roles, they stole the show with several classic routines, including "Who's on First?" The same year they were a summer replacement on radio for Fred Allen. Two years later, they had their own NBC show.

Universal signed them to a long-term contract, and their second film, Buck Privates, (1941) made them box-office stars. In most of their films, the plot was a framework for the two comics to reintroduce comedy routines they first performed on stage. Universal also added glitzy, gratuitous production numbers (a formula borrowed from the Marx Brothers comedies) featuring The Andrews Sisters, Ted Lewis and his Orchestra, Ella Fitzgerald, and other musical acts. They made 36 films together between 1940 and 1956. Abbott and Costello were among the most popular and highest-paid entertainers in the world during World War II. Other film successes included Hold That Ghost, Who Done It?, Pardon My Sarong, The Time of Their Lives, Buck Privates Come Home, Abbott and Costello Meet Frankenstein, and Abbott and Costello Meet the Invisible Man.

In 1942, Abbott and Costello were the top box office draw with a reported take of $10 million. They would remain a top ten box office attraction until 1952.

In 1951, they moved to television as rotating hosts of The Colgate Comedy Hour. (Eddie Cantor and Martin and Lewis were among the others.) Each show was a live hour of vaudeville in front of a theater audience, revitalizing the comedians' performances and giving their old routines a new sparkle.

Beginning in 1952, a filmed half-hour series, The Abbott and Costello Show, appeared in syndication on local stations across the country. Loosely based on their radio series, the show cast the duo as unemployed wastrels. One of the show's running gags involved Abbott perpetually nagging Costello to get a job to pay their rent, while Abbott barely lifted a finger in that direction. The show featured Sidney Fields as their landlord, and Hillary Brooke as a friendly neighbor who sometimes got involved in the pair's schemes. Another semi-regular was Joe Besser as Stinky, a 40-year-old sissy dressed in a Little Lord Fauntleroy suit. Gordon Jones was Mike the cop, who always lost patience with Lou. The simple plotlines were often merely an excuse to recreate old comedy routines—including "Who's on First?" and other familiar set pieces—from their films and burlesque performances

HANNA BARBERA STUDIOS

ABBOTT and COSTELLO

Original Animation TELEVISION SERIES 1967

Type: AWESOME Original Production Animation MODEL Drawing

from the 1967 HANNA BARBERA Animated TELEVISION SERIES

This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during

the production filming of the original Television Commercial.

NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION

Size: 12 field 12.5 x 10.5

Type: . Vintage Hand Drawn Art

Condition: EXCELLENT

Featuring UNCLE WOLFGANG

Date 1967

NOTES:

The Abbott and Costello Cartoon Show is an American half-hour animated series that aired in syndication from September 9, 1967 to June 1, 1968. Each of the 39 individual episodes consisted of four five-minute cartoons. [1] The cartoons were created jointly by Hanna-Barbera, RKO and Jomar Productions between 1965 and 1967. The series was syndicated by Gold Key Entertainment and King World Productions.

The primary feature of this cartoon series was the fact that Bud Abbott supplied the voice for his own character. (Because Lou Costello had died in 1959, his character's voice was performed by Stan Irwin.)

William (Bud) Abbott and Lou Costello (born Louis Francis Cristillo) performed together as Abbott and Costello, an American comedy duo whose work in radio, film and television made them the most popular comedy team during the 1940s and 50s. Thanks to the endurance of their most popular and influential routine, "Who's on First?"—whose rapid-fire word play and comprehension confusion set the preponderant framework for most of their best-known routines—the team is, as a result, featured in the National Baseball Hall of Fame and Museum. (Contrary to popular belief, however, the duo was not inducted into the Hall.)

The team's first known radio appearance was on The Kate Smith Hour in February, 1938. "Who's on First?" was first performed for a national radio audience the following month.[1] Abbott and Costello stayed on the program as regulars for two years, but the similarities between their New Jersey-accented voices made it difficult for listeners (as opposed to stage audiences) to tell them apart due to their rapid-fire repartee. The problem was solved by having Costello affect a high-pitched childish voice, and their remaining tenure on the Smith show was successful enough to get them roles in a Broadway revue "The Streets of Paris" in 1939.

In 1940 they were signed by Universal Studios for the film One Night in the Tropics. Cast in supporting roles, they stole the show with several classic routines, including "Who's on First?" The same year they were a summer replacement on radio for Fred Allen. Two years later, they had their own NBC show.

Universal signed them to a long-term contract, and their second film, Buck Privates, (1941) made them box-office stars. In most of their films, the plot was a framework for the two comics to reintroduce comedy routines they first performed on stage. Universal also added glitzy, gratuitous production numbers (a formula borrowed from the Marx Brothers comedies) featuring The Andrews Sisters, Ted Lewis and his Orchestra, Ella Fitzgerald, and other musical acts. They made 36 films together between 1940 and 1956. Abbott and Costello were among the most popular and highest-paid entertainers in the world during World War II. Other film successes included Hold That Ghost, Who Done It?, Pardon My Sarong, The Time of Their Lives, Buck Privates Come Home, Abbott and Costello Meet Frankenstein, and Abbott and Costello Meet the Invisible Man.

In 1942, Abbott and Costello were the top box office draw with a reported take of $10 million. They would remain a top ten box office attraction until 1952.

In 1951, they moved to television as rotating hosts of The Colgate Comedy Hour. (Eddie Cantor and Martin and Lewis were among the others.) Each show was a live hour of vaudeville in front of a theater audience, revitalizing the comedians' performances and giving their old routines a new sparkle.

Beginning in 1952, a filmed half-hour series, The Abbott and Costello Show, appeared in syndication on local stations across the country. Loosely based on their radio series, the show cast the duo as unemployed wastrels. One of the show's running gags involved Abbott perpetually nagging Costello to get a job to pay their rent, while Abbott barely lifted a finger in that direction. The show featured Sidney Fields as their landlord, and Hillary Brooke as a friendly neighbor who sometimes got involved in the pair's schemes. Another semi-regular was Joe Besser as Stinky, a 40-year-old sissy dressed in a Little Lord Fauntleroy suit. Gordon Jones was Mike the cop, who always lost patience with Lou. The simple plotlines were often merely an excuse to recreate old comedy routines—including "Who's on First?" and other familiar set pieces—from their films and burlesque performances

The foremost modifier company for 22nd century Stark Enterprises wheelchairs is StarkRolla. The "Home Slide" model, when pimped out by StarkRolla, became the "HollaSide."

As a general rule, Stark Enterprises did not offer any models in the colours of the corporate bodyguard/CEO alter ego/divisive figure, Iron Man. StarkRolla regularly did, and the HollaSide offered copious amounts of gold to go with the deep crimson. Curiously, this colour scheme also matched well with the red jackets of Lego minifigures which sported the logo of the "Classic Space" line, best known from its use in the webcomic "Tranquility Base."

The HollaSide is driven by a 9th-generation phebotinum drive, housed in the armoured section between and above the primary wheels. It is capable of travel three sentences ahead of the speed of plot. (This is an upgrade over the factory model, which only offers a maximum speed of a paragraph behind the speed of plot; wheelchair riders now can anticipate plot twists and punchlines with ease.) The primary wheels, which feature oversized gold rims and low profile racing tires, not only provide primary propulsion but also computer-assisted corrective balance and maximum street cred. Steering is the responsibility of the small fore and aft wheels, depending upon the drive configuration in use.

The HollaSide offers two drive configurations. The first is a jacked up version of the factory standard, and the second is a lowered street-legal race version. (It is made legal by the addition of headlights, turn lights, and brake lights, all of which have the option to be within or to exceed the allowable limits for tolerable luminosity. The brake lights are housed within an appropriately impressive amount of chrome.) In case of low interior spaces, the wheelchair can safely operate in its street configuration indoors while terrifying those without such a fine ride.

The forewheels, always visible, are rendered in a muscular gunmetal, while the aft wheels are in a discrete midnight black when deployed. All of this is done to ensure that maximum street cred can be enjoyed by the owner/driver. The three sets of wheels can we used to climb stairs in less enlightened areas lacking ramps, too. (StarkRolla disdains any company that claims to offer a wheelchair but does not place a wheel on the product, but they are, of course, purists.)

To be street safe, the driver's seat had to be surrounded by side impact panels and offer full spinal support and protection. This has been achieved with an eye to style, aerodynamics, and visible arms for the purposes of demonstrative gestures. The side panels fold down to assist the driver in disembarking, and the back support is designed to raise and lower the driver to and from position. The side panels also offer mounting hardpoints for bling, weaponry, or other desirable and covetous items. The model shown here originally sported replicas of Scaramanga's Golden Gun and Count Dooku's lightsabre, but once the designed revealed that this was done so that he could rap the pun "roll up on them like Christopher Lee," the switch was made to a replica of Alec Guinness's instead. (The designer was forced to serve time reviewing the collected works of Joe Estevez without "Satellite of Love"-derived commentary as punishment.) The replica of the gun features name-and-shoot defense technology, as well as broadbeam rays to smooth out uneven ground. The replica of the lightsabre houses a full range of optical, auditory, olfactory, and taste sensors, particularly to assist in the selection of the freshest produce at the market as well as to monitor traffic conditions and potential threats to either person or plotline.

The driver's controls are focused upon an electronic display and two levers. The levers are for vintage tanker-style steering as well as for manual wheel propulsion in case of low phlebotinum charges. (The depleted phlebotinum chassis and body of the wheelchair is exceptionally light and strong, except when necessary for the sake of literary or dramatic effect.) The electronic display can be controlled by voice, exhalation/inhalation, anxiety, and emphatic gestures, or even by touch interface if you're into that sort of thing.

In case of rollover, two LampShaydeHanga (TM) force fields with fully independent power sources and focal antennae are situated directly behind the head of the driver to ensure driver safety, no matter how contrived or unlikely.

The StarkRolla HollaSide is simply the most luxe wheelchair that the fictional future has to offer.

Silver Dollar City is a theme park in the state of Missouri. Opened on May 1, 1960, the park is located between Branson and Branson West off of Missouri Route 76 on the Indian Point peninsula of Table Rock Lake. The park is an 1880s-themed experience that fits Branson's vision as a family-friendly vacation destination with down-home charm. Silver Dollar City's operating season runs from mid-March until late December, with the park closed during the months of January and February. Silver Dollar City is owned by the Herschend Family Entertainment, which owns, operates or partners in 25 properties in 10 states and includes the nearby water park, White Water; water excursion and theatre, the Showboat Branson Belle; water and land tour attraction Ride the Ducks. The park gained much public notice when the Clampett family of CBS-TV's The Beverly Hillbillies decided to pay a visit to Silver Dollar City (treated as an actual town, rather than a theme park) to start off the 1969-1970 season. The plotline involved Granny (Irene Ryan) attempting to find a husband for Elly May (Donna Douglas) back in the hills, while Jed (Buddy Ebsen) socialized with hotel clerk Shorty Kellems (Shug Fisher). They visited the blacksmith Shad Heller, soapmaker Granny Ethel Huffman, and woodcarver Peter Engler, and Miss Hathaway (Nancy Kulp) was seen in the Ozark woods. The Hillbillies were from the area surrounding Silver Dollar City and Branson, and references to Jim Owens and his White River float trip business and some Missouri mountain locations were made throughout the show's nine-year run. Five episodes of The Beverly Hillbillies were eventually shot in the park. 7/23/16

HANNA BARBERA STUDIOS

LAUREL and HARDY Original Animation TELEVISION SERIES 1967

Type: AWESOME Original Production Animation MODEL Drawing

from the 1967 HANNA BARBERA Animated TELEVISION SERIES

This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during

the production filming of the original Television Commercial.

NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION

Size: 12 field 12.5 x 10.5

Type: . Vintage Hand Drawn Art

Condition: EXCELLENT

Featuring MISC CHARACTERS

Date 1967

NOTES:

The Abbott and Costello Cartoon Show is an American half-hour animated series that aired in syndication from September 9, 1967 to June 1, 1968. Each of the 39 individual episodes consisted of four five-minute cartoons. [1] The cartoons were created jointly by Hanna-Barbera, RKO and Jomar Productions between 1965 and 1967. The series was syndicated by Gold Key Entertainment and King World Productions.

The primary feature of this cartoon series was the fact that Bud Abbott supplied the voice for his own character. (Because Lou Costello had died in 1959, his character's voice was performed by Stan Irwin.)

William (Bud) Abbott and Lou Costello (born Louis Francis Cristillo) performed together as Abbott and Costello, an American comedy duo whose work in radio, film and television made them the most popular comedy team during the 1940s and 50s. Thanks to the endurance of their most popular and influential routine, "Who's on First?"—whose rapid-fire word play and comprehension confusion set the preponderant framework for most of their best-known routines—the team is, as a result, featured in the National Baseball Hall of Fame and Museum. (Contrary to popular belief, however, the duo was not inducted into the Hall.)

The team's first known radio appearance was on The Kate Smith Hour in February, 1938. "Who's on First?" was first performed for a national radio audience the following month.[1] Abbott and Costello stayed on the program as regulars for two years, but the similarities between their New Jersey-accented voices made it difficult for listeners (as opposed to stage audiences) to tell them apart due to their rapid-fire repartee. The problem was solved by having Costello affect a high-pitched childish voice, and their remaining tenure on the Smith show was successful enough to get them roles in a Broadway revue "The Streets of Paris" in 1939.

In 1940 they were signed by Universal Studios for the film One Night in the Tropics. Cast in supporting roles, they stole the show with several classic routines, including "Who's on First?" The same year they were a summer replacement on radio for Fred Allen. Two years later, they had their own NBC show.

Universal signed them to a long-term contract, and their second film, Buck Privates, (1941) made them box-office stars. In most of their films, the plot was a framework for the two comics to reintroduce comedy routines they first performed on stage. Universal also added glitzy, gratuitous production numbers (a formula borrowed from the Marx Brothers comedies) featuring The Andrews Sisters, Ted Lewis and his Orchestra, Ella Fitzgerald, and other musical acts. They made 36 films together between 1940 and 1956. Abbott and Costello were among the most popular and highest-paid entertainers in the world during World War II. Other film successes included Hold That Ghost, Who Done It?, Pardon My Sarong, The Time of Their Lives, Buck Privates Come Home, Abbott and Costello Meet Frankenstein, and Abbott and Costello Meet the Invisible Man.

In 1942, Abbott and Costello were the top box office draw with a reported take of $10 million. They would remain a top ten box office attraction until 1952.

In 1951, they moved to television as rotating hosts of The Colgate Comedy Hour. (Eddie Cantor and Martin and Lewis were among the others.) Each show was a live hour of vaudeville in front of a theater audience, revitalizing the comedians' performances and giving their old routines a new sparkle.

Beginning in 1952, a filmed half-hour series, The Abbott and Costello Show, appeared in syndication on local stations across the country. Loosely based on their radio series, the show cast the duo as unemployed wastrels. One of the show's running gags involved Abbott perpetually nagging Costello to get a job to pay their rent, while Abbott barely lifted a finger in that direction. The show featured Sidney Fields as their landlord, and Hillary Brooke as a friendly neighbor who sometimes got involved in the pair's schemes. Another semi-regular was Joe Besser as Stinky, a 40-year-old sissy dressed in a Little Lord Fauntleroy suit. Gordon Jones was Mike the cop, who always lost patience with Lou. The simple plotlines were often merely an excuse to recreate old comedy routines—including "Who's on First?" and other familiar set pieces—from their films and burlesque performances

HANNA BARBERA STUDIOS

ABBOTT and COSTELLO

Original Animation TELEVISION SERIES 1967

Type: AWESOME Original Production Animation MODEL Drawing

from the 1967 HANNA BARBERA Animated TELEVISION SERIES

This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during

the production filming of the original Television Commercial.

NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION

Size: 12 field 12.5 x 10.5

Type: . Vintage Hand Drawn Art

Condition: EXCELLENT

Featuring SAINT BERNARD RESCUE DOG

Date 1967

NOTES:

The Abbott and Costello Cartoon Show is an American half-hour animated series that aired in syndication from September 9, 1967 to June 1, 1968. Each of the 39 individual episodes consisted of four five-minute cartoons. [1] The cartoons were created jointly by Hanna-Barbera, RKO and Jomar Productions between 1965 and 1967. The series was syndicated by Gold Key Entertainment and King World Productions.

The primary feature of this cartoon series was the fact that Bud Abbott supplied the voice for his own character. (Because Lou Costello had died in 1959, his character's voice was performed by Stan Irwin.)

William (Bud) Abbott and Lou Costello (born Louis Francis Cristillo) performed together as Abbott and Costello, an American comedy duo whose work in radio, film and television made them the most popular comedy team during the 1940s and 50s. Thanks to the endurance of their most popular and influential routine, "Who's on First?"—whose rapid-fire word play and comprehension confusion set the preponderant framework for most of their best-known routines—the team is, as a result, featured in the National Baseball Hall of Fame and Museum. (Contrary to popular belief, however, the duo was not inducted into the Hall.)

The team's first known radio appearance was on The Kate Smith Hour in February, 1938. "Who's on First?" was first performed for a national radio audience the following month.[1] Abbott and Costello stayed on the program as regulars for two years, but the similarities between their New Jersey-accented voices made it difficult for listeners (as opposed to stage audiences) to tell them apart due to their rapid-fire repartee. The problem was solved by having Costello affect a high-pitched childish voice, and their remaining tenure on the Smith show was successful enough to get them roles in a Broadway revue "The Streets of Paris" in 1939.

In 1940 they were signed by Universal Studios for the film One Night in the Tropics. Cast in supporting roles, they stole the show with several classic routines, including "Who's on First?" The same year they were a summer replacement on radio for Fred Allen. Two years later, they had their own NBC show.

Universal signed them to a long-term contract, and their second film, Buck Privates, (1941) made them box-office stars. In most of their films, the plot was a framework for the two comics to reintroduce comedy routines they first performed on stage. Universal also added glitzy, gratuitous production numbers (a formula borrowed from the Marx Brothers comedies) featuring The Andrews Sisters, Ted Lewis and his Orchestra, Ella Fitzgerald, and other musical acts. They made 36 films together between 1940 and 1956. Abbott and Costello were among the most popular and highest-paid entertainers in the world during World War II. Other film successes included Hold That Ghost, Who Done It?, Pardon My Sarong, The Time of Their Lives, Buck Privates Come Home, Abbott and Costello Meet Frankenstein, and Abbott and Costello Meet the Invisible Man.

In 1942, Abbott and Costello were the top box office draw with a reported take of $10 million. They would remain a top ten box office attraction until 1952.

In 1951, they moved to television as rotating hosts of The Colgate Comedy Hour. (Eddie Cantor and Martin and Lewis were among the others.) Each show was a live hour of vaudeville in front of a theater audience, revitalizing the comedians' performances and giving their old routines a new sparkle.

Beginning in 1952, a filmed half-hour series, The Abbott and Costello Show, appeared in syndication on local stations across the country. Loosely based on their radio series, the show cast the duo as unemployed wastrels. One of the show's running gags involved Abbott perpetually nagging Costello to get a job to pay their rent, while Abbott barely lifted a finger in that direction. The show featured Sidney Fields as their landlord, and Hillary Brooke as a friendly neighbor who sometimes got involved in the pair's schemes. Another semi-regular was Joe Besser as Stinky, a 40-year-old sissy dressed in a Little Lord Fauntleroy suit. Gordon Jones was Mike the cop, who always lost patience with Lou. The simple plotlines were often merely an excuse to recreate old comedy routines—including "Who's on First?" and other familiar set pieces—from their films and burlesque performances

Some really crazy stuff goes on in my dreams.

The old castle was once many years ago home to the one of the great king Leonardo`s ancestors, but since the kingdom has progressed the castle was forgotten and taken over by the rebels in secrecy as their base.

The rebels were greatly struggling to overthrow the higher powers and with the aid of a new found technology of mechanics, the leader of the rebels (the Cyclops mage) along with the blue warrior put forth the idea of a secret weapon of such. The rebels began construction of this on their castle and after several months of work, the creation was finished, although nothing much changed to the naked eye.

Luckily underneath the castle there were large veins of coal and oil, which was greatly needed to power 'The Mechanolith' as they called it. All they needed now was a pilot for controlling it. My sig fig was chosen to pilot it via a mental connection with the machinery, it was now ready to take action.

Some weeks after it`s dispatchal the villagers living nearby the castle noticed suspicious activity going on around the castle when some villagers occasionally walk by. Eventually the town folk thought it was a good idea to check out what was going on, having no idea of what would confront them.

What did you guys think of the backstory? It`s the first time i`ve actually created a story for one of my MOCs so i hope it was alright, i do plan to make a whole plotline with my fantasy and medeival MOCs starteing from Darkwood lighthouse.

I`m not sure where i got my inspiration from for this MOC from, i guess it was a combination of steam-punk, pacific rim, and my dreams, it seams most of my MOC ideas come from nowhere.

The construction of this was from the mech base up and then the legs, until i had the idea of making a base for it so it could camouflage into it`s surroundings.

Hope you liked this, more MOCs coming soon. Brick OUT!

HANNA BARBERA STUDIOS

ABBOTT and COSTELLO

Original Animation TELEVISION SERIES 1967

Type: ) AWESOME Original Production Animation MODEL Drawing of ABBOTT and COSTELLO's BUG

from the 1967 HANNA BARBERA Animated TELEVISION SERIES

This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during

the production filming of the original Television Commercial.

Size: 12 field 12.5 x 10.5

Type: . Vintage Hand Drawn Art

Condition: EXCELLENT

Featuring ABBOTT and COSTELLO Character

Date 1967

NOTES:

The Abbott and Costello Cartoon Show is an American half-hour animated series that aired in syndication from September 9, 1967 to June 1, 1968. Each of the 39 individual episodes consisted of four five-minute cartoons. [1] The cartoons were created jointly by Hanna-Barbera, RKO and Jomar Productions between 1965 and 1967. The series was syndicated by Gold Key Entertainment and King World Productions.

The primary feature of this cartoon series was the fact that Bud Abbott supplied the voice for his own character. (Because Lou Costello had died in 1959, his character's voice was performed by Stan Irwin.)

William (Bud) Abbott and Lou Costello (born Louis Francis Cristillo) performed together as Abbott and Costello, an American comedy duo whose work in radio, film and television made them the most popular comedy team during the 1940s and 50s. Thanks to the endurance of their most popular and influential routine, "Who's on First?"—whose rapid-fire word play and comprehension confusion set the preponderant framework for most of their best-known routines—the team is, as a result, featured in the National Baseball Hall of Fame and Museum. (Contrary to popular belief, however, the duo was not inducted into the Hall.)

The team's first known radio appearance was on The Kate Smith Hour in February, 1938. "Who's on First?" was first performed for a national radio audience the following month.[1] Abbott and Costello stayed on the program as regulars for two years, but the similarities between their New Jersey-accented voices made it difficult for listeners (as opposed to stage audiences) to tell them apart due to their rapid-fire repartee. The problem was solved by having Costello affect a high-pitched childish voice, and their remaining tenure on the Smith show was successful enough to get them roles in a Broadway revue "The Streets of Paris" in 1939.

In 1940 they were signed by Universal Studios for the film One Night in the Tropics. Cast in supporting roles, they stole the show with several classic routines, including "Who's on First?" The same year they were a summer replacement on radio for Fred Allen. Two years later, they had their own NBC show.

Universal signed them to a long-term contract, and their second film, Buck Privates, (1941) made them box-office stars. In most of their films, the plot was a framework for the two comics to reintroduce comedy routines they first performed on stage. Universal also added glitzy, gratuitous production numbers (a formula borrowed from the Marx Brothers comedies) featuring The Andrews Sisters, Ted Lewis and his Orchestra, Ella Fitzgerald, and other musical acts. They made 36 films together between 1940 and 1956. Abbott and Costello were among the most popular and highest-paid entertainers in the world during World War II. Other film successes included Hold That Ghost, Who Done It?, Pardon My Sarong, The Time of Their Lives, Buck Privates Come Home, Abbott and Costello Meet Frankenstein, and Abbott and Costello Meet the Invisible Man.

In 1942, Abbott and Costello were the top box office draw with a reported take of $10 million. They would remain a top ten box office attraction until 1952.

In 1951, they moved to television as rotating hosts of The Colgate Comedy Hour. (Eddie Cantor and Martin and Lewis were among the others.) Each show was a live hour of vaudeville in front of a theater audience, revitalizing the comedians' performances and giving their old routines a new sparkle.

Beginning in 1952, a filmed half-hour series, The Abbott and Costello Show, appeared in syndication on local stations across the country. Loosely based on their radio series, the show cast the duo as unemployed wastrels. One of the show's running gags involved Abbott perpetually nagging Costello to get a job to pay their rent, while Abbott barely lifted a finger in that direction. The show featured Sidney Fields as their landlord, and Hillary Brooke as a friendly neighbor who sometimes got involved in the pair's schemes. Another semi-regular was Joe Besser as Stinky, a 40-year-old sissy dressed in a Little Lord Fauntleroy suit. Gordon Jones was Mike the cop, who always lost patience with Lou. The simple plotlines were often merely an excuse to recreate old comedy routines—including "Who's on First?" and other familiar set pieces—from their films and burlesque performances

youtu.be/lmBsGmAVM3A Part 1

youtu.be/pKAxRxW3l9U Part 2

Starring Eric Porter, Hildegard Knef, Suzanna Leigh, Tony Beckley, Nigel Stock, Neil McCallum, Ben Carruthers, Victor Maddern, and Norman Eshley. Directed by Michael Carreras, and Leslie Norman.

The Lost Continent is a crazy-quilt of a film, with chunks of several unrelated plotlines sewn together willy nilly. Eric Porter plays Lansen, the captain of a tramp steamer who has agreed to deliver contraband dynamite for a hefty price. His passengers are a polyglot of the good, the bad and the worse. Shipwrecked on an mysterious isle in the Sargasso Sea, Lansen and party find themselves prisoners of a bizarre inbred colony still governed by the long-abandoned edicts of the Spanish Inquisition. The film is no more coherent than the original Dennis Wheatley novel Uncharted Seas, but that doesn't detract from its endearing wackiness. To their credit, the cast members of Lost Continent play the script straight, which merely adds to the kinky fun.

review

It would be exaggerating to call The Lost Continenht a very good film, but it's a strangely appealing one. This is especially true for those who are fans of science fiction films, especially of the "lost world" sub-genre. Aficionados may argue that Continent doesn't actually belong in that "lost world" category as, despite its title, the voyagers don't really discover a long-lost continent so much as encounter a strange civilization existing in the Sargasso Sea -- but that's splitting hairs. Continent has giant sea creatures, man-eating seaweed, people walking on snowshoes while being held aloft by balloons, and a group who still thinks the Spanish Inquisition is going on -- more than enough to satisfy any fan. Granted, it's totally ridiculous and immensely silly, and granted that the melodrama is piled on with a sledgehammer; yet that somehow adds to Continent's appeal. (For young male viewers, it also doesn't hurt that Continent features some very attractive women among its cast members.) The filmmakers have so much fun setting up this strange world and the exploring it that it's rather contagious -- so much so that most viewers won't mind the crudity of some of the special effects. Continent is a good picture to approach on a rainy day when the viewer has just popped some corn and feels like something that will make him feel like a wide-eyed 10-year-old again.

Ghosts of Central New York -- "New York s heartland is rife with ghosts and tales of hauntings. Spirits skulk about burial grounds, supernatural strains of piano music resound and some specters strike out in a bowling hall. Such are the haunted happenings in the central region of New York State. Populated with phantoms of those who helped shape the landscape, Cooperstown, Herkimer, Oriskany, Rome and Syracuse are a few of the places where influential and heroic spirits still reside. Experience an unearthly journey through eerie forts, spirited inns and possessed museums. Uncover the buried secrets of battlefields and B & Bs. Bear witness to long-gone eras by visiting with the Ghosts of Central New York." -- from www.amazon.com

I'm always interested to hear about new haunted historical sites, especially if they're close to where I live. But frankly, this book felt like an incomplete history report written by a ten year old. Misspellings, run-on sentences, and bad grammar abounded. Most of the stories were riddled with random facts that were never followed up on and/or the stories ended abruptly without really finishing what had been started. It read like someone started writing down an episode of "Ghost Hunters" and then got bored in the middle and just scribbled a random ending.

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Wizards -- "In Wizards, today's master fantasists turn their hands to tales of these magical beings, living in both ancient and modern times, as well as in fantasy realms that never were.

Featuring stories by New York Times bestselling authors Neil Gaiman, Eoin Colfer and Garth Nix as well as tales from Kage Baker, Peter S. Beagle, Terry Bisson, Orson Scott Card, Terry Dowling, Andy Duncan, Jeffrey Ford, Elizabeth Hand, Nancy Kress, Tanith Lee, Patricia A. McKillip, Mary Rosenblum, Tad Williams, Gene Wolfe, and Jane Yolen." -- from www.amazon.com

A good book...there were some really great stories in the book -- especially Orson Scott Card's story -- and there were some not so good ones. Nothing really terrible, just a few stories that felt incomplete or were just plain boring.

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Ash -- "Deep in the countryside, ghost hunter David Ash is investigating a mysterious, secluded stately home. Reports from locals regarding strange goings-on make him think the house is haunted... But not even David Ash's long professional history of warding off evil spirits can prepare him for the shocking discovery that awaits." -- from www.amazon.com

I really liked this book...it was an interesting story and I liked the main characters. There were a few times when it felt a little rushed -- a plotline would pick up only to be wrapped up quickly a few pages later and never mentioned again -- which was a bit disatisflying. There were a few great creepy scenes including one with some very horrifying spiders. All in all, I liked it.

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The Lost Years -- "Just weeks after discovering a letter that may have been written by Jesus Christ himself, biblical scholar Jonathan Lyons is found shot to death in his study. Police suspect his wife, who suffers from Alzheimer’s, murdered him in a jealous rage. But the priceless parchment is missing, and Jonathan had recently confided to a family friend his suspicions that someone he once trusted had designs on the ancient document. It is up to his daughter, Mariah, to clear her mother of murder charges and unravel the real mystery behind her father’s death—before her own revelations become her last." -- from www.barnesandnoble.com

A decent murder mystery...it was less about the parchment than I thought it would be when I picked it up which was disappointing, but just as a mystery novel, it was pretty good.

Ghosts Of Central New York -- Started: Apr. 12, 2013 Finished: Apr. 23, 2013

Wizards -- Started: Apr. 17, 2013 Finished: May 1, 2013

Ash -- Started: Apr. 23, 2013 Finished: Apr. 25, 2013

The Lost Years -- Started: Apr. 24, 2013 Finished: Apr. 26, 2013

25 Book Challenge 2013 Books #25, #26, #27 & #28

HANNA BARBERA STUDIOS

ABBOTT and COSTELLO

Original Animation TELEVISION SERIES 1967

Type: AWESOME Original Production Animation MODEL Drawing

from the 1967 HANNA BARBERA Animated TELEVISION SERIES

This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during

the production filming of the original Television Commercial.

NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION

Size: 12 field 12.5 x 10.5

Type: . Vintage Hand Drawn Art

Condition: EXCELLENT

Featuring UNCLE WOLFGANG

Date 1967

NOTES:

The Abbott and Costello Cartoon Show is an American half-hour animated series that aired in syndication from September 9, 1967 to June 1, 1968. Each of the 39 individual episodes consisted of four five-minute cartoons. [1] The cartoons were created jointly by Hanna-Barbera, RKO and Jomar Productions between 1965 and 1967. The series was syndicated by Gold Key Entertainment and King World Productions.

The primary feature of this cartoon series was the fact that Bud Abbott supplied the voice for his own character. (Because Lou Costello had died in 1959, his character's voice was performed by Stan Irwin.)

William (Bud) Abbott and Lou Costello (born Louis Francis Cristillo) performed together as Abbott and Costello, an American comedy duo whose work in radio, film and television made them the most popular comedy team during the 1940s and 50s. Thanks to the endurance of their most popular and influential routine, "Who's on First?"—whose rapid-fire word play and comprehension confusion set the preponderant framework for most of their best-known routines—the team is, as a result, featured in the National Baseball Hall of Fame and Museum. (Contrary to popular belief, however, the duo was not inducted into the Hall.)

The team's first known radio appearance was on The Kate Smith Hour in February, 1938. "Who's on First?" was first performed for a national radio audience the following month.[1] Abbott and Costello stayed on the program as regulars for two years, but the similarities between their New Jersey-accented voices made it difficult for listeners (as opposed to stage audiences) to tell them apart due to their rapid-fire repartee. The problem was solved by having Costello affect a high-pitched childish voice, and their remaining tenure on the Smith show was successful enough to get them roles in a Broadway revue "The Streets of Paris" in 1939.

In 1940 they were signed by Universal Studios for the film One Night in the Tropics. Cast in supporting roles, they stole the show with several classic routines, including "Who's on First?" The same year they were a summer replacement on radio for Fred Allen. Two years later, they had their own NBC show.

Universal signed them to a long-term contract, and their second film, Buck Privates, (1941) made them box-office stars. In most of their films, the plot was a framework for the two comics to reintroduce comedy routines they first performed on stage. Universal also added glitzy, gratuitous production numbers (a formula borrowed from the Marx Brothers comedies) featuring The Andrews Sisters, Ted Lewis and his Orchestra, Ella Fitzgerald, and other musical acts. They made 36 films together between 1940 and 1956. Abbott and Costello were among the most popular and highest-paid entertainers in the world during World War II. Other film successes included Hold That Ghost, Who Done It?, Pardon My Sarong, The Time of Their Lives, Buck Privates Come Home, Abbott and Costello Meet Frankenstein, and Abbott and Costello Meet the Invisible Man.

In 1942, Abbott and Costello were the top box office draw with a reported take of $10 million. They would remain a top ten box office attraction until 1952.

In 1951, they moved to television as rotating hosts of The Colgate Comedy Hour. (Eddie Cantor and Martin and Lewis were among the others.) Each show was a live hour of vaudeville in front of a theater audience, revitalizing the comedians' performances and giving their old routines a new sparkle.

Beginning in 1952, a filmed half-hour series, The Abbott and Costello Show, appeared in syndication on local stations across the country. Loosely based on their radio series, the show cast the duo as unemployed wastrels. One of the show's running gags involved Abbott perpetually nagging Costello to get a job to pay their rent, while Abbott barely lifted a finger in that direction. The show featured Sidney Fields as their landlord, and Hillary Brooke as a friendly neighbor who sometimes got involved in the pair's schemes. Another semi-regular was Joe Besser as Stinky, a 40-year-old sissy dressed in a Little Lord Fauntleroy suit. Gordon Jones was Mike the cop, who always lost patience with Lou. The simple plotlines were often merely an excuse to recreate old comedy routines—including "Who's on First?" and other familiar set pieces—from their films and burlesque performances

HANNA BARBERA STUDIOS

ABBOTT and COSTELLO

Original Animation TELEVISION SERIES 1967

Type: AWESOME Original Production Animation MODEL Drawing

from the 1967 HANNA BARBERA Animated TELEVISION SERIES

This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during

the production filming of the original Television Commercial.

NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION

Size: 12 field 12.5 x 10.5

Type: . Vintage Hand Drawn Art

Condition: EXCELLENT

Featuring SAINT BERNARD RESCUE DOG

Date 1967

NOTES:

The Abbott and Costello Cartoon Show is an American half-hour animated series that aired in syndication from September 9, 1967 to June 1, 1968. Each of the 39 individual episodes consisted of four five-minute cartoons. [1] The cartoons were created jointly by Hanna-Barbera, RKO and Jomar Productions between 1965 and 1967. The series was syndicated by Gold Key Entertainment and King World Productions.

The primary feature of this cartoon series was the fact that Bud Abbott supplied the voice for his own character. (Because Lou Costello had died in 1959, his character's voice was performed by Stan Irwin.)

William (Bud) Abbott and Lou Costello (born Louis Francis Cristillo) performed together as Abbott and Costello, an American comedy duo whose work in radio, film and television made them the most popular comedy team during the 1940s and 50s. Thanks to the endurance of their most popular and influential routine, "Who's on First?"—whose rapid-fire word play and comprehension confusion set the preponderant framework for most of their best-known routines—the team is, as a result, featured in the National Baseball Hall of Fame and Museum. (Contrary to popular belief, however, the duo was not inducted into the Hall.)

The team's first known radio appearance was on The Kate Smith Hour in February, 1938. "Who's on First?" was first performed for a national radio audience the following month.[1] Abbott and Costello stayed on the program as regulars for two years, but the similarities between their New Jersey-accented voices made it difficult for listeners (as opposed to stage audiences) to tell them apart due to their rapid-fire repartee. The problem was solved by having Costello affect a high-pitched childish voice, and their remaining tenure on the Smith show was successful enough to get them roles in a Broadway revue "The Streets of Paris" in 1939.

In 1940 they were signed by Universal Studios for the film One Night in the Tropics. Cast in supporting roles, they stole the show with several classic routines, including "Who's on First?" The same year they were a summer replacement on radio for Fred Allen. Two years later, they had their own NBC show.

Universal signed them to a long-term contract, and their second film, Buck Privates, (1941) made them box-office stars. In most of their films, the plot was a framework for the two comics to reintroduce comedy routines they first performed on stage. Universal also added glitzy, gratuitous production numbers (a formula borrowed from the Marx Brothers comedies) featuring The Andrews Sisters, Ted Lewis and his Orchestra, Ella Fitzgerald, and other musical acts. They made 36 films together between 1940 and 1956. Abbott and Costello were among the most popular and highest-paid entertainers in the world during World War II. Other film successes included Hold That Ghost, Who Done It?, Pardon My Sarong, The Time of Their Lives, Buck Privates Come Home, Abbott and Costello Meet Frankenstein, and Abbott and Costello Meet the Invisible Man.

In 1942, Abbott and Costello were the top box office draw with a reported take of $10 million. They would remain a top ten box office attraction until 1952.

In 1951, they moved to television as rotating hosts of The Colgate Comedy Hour. (Eddie Cantor and Martin and Lewis were among the others.) Each show was a live hour of vaudeville in front of a theater audience, revitalizing the comedians' performances and giving their old routines a new sparkle.

Beginning in 1952, a filmed half-hour series, The Abbott and Costello Show, appeared in syndication on local stations across the country. Loosely based on their radio series, the show cast the duo as unemployed wastrels. One of the show's running gags involved Abbott perpetually nagging Costello to get a job to pay their rent, while Abbott barely lifted a finger in that direction. The show featured Sidney Fields as their landlord, and Hillary Brooke as a friendly neighbor who sometimes got involved in the pair's schemes. Another semi-regular was Joe Besser as Stinky, a 40-year-old sissy dressed in a Little Lord Fauntleroy suit. Gordon Jones was Mike the cop, who always lost patience with Lou. The simple plotlines were often merely an excuse to recreate old comedy routines—including "Who's on First?" and other familiar set pieces—from their films and burlesque performances

As much as I would like to give some thoughts on IDW’s Sonic the Hedgehog, I feel like I should wait until they get enough issues under their belt before I give my thoughts, but what I will do is give my thoughts on the now discontinued series (I’m still very bitter about that).

Now for starters the comic started around 1993, and during this time there were a couple TV shows that were airing that were big part of what the comics should’ve followed: Adventures of Sonic the Hedgehog, and Sonic the Hedgehog aka Sonic SatAM both being produced by DiC (are they still around?), the first being a comedy based were Sonic, and Tails going around staying one step above the tyrannical Dr. Robotnik (who was renamed from Eggman for the American audience) who was trying to capture them in a vain like the Roadrunner shorts only worse, so he can take over the world, and the comedy was questionable, and Robotnik’s henchmen Scratch, Grounder, and occasionally Coconuts were very annoying. The second show revolved around Sonic trying to restore the world he loves from a more sinister Robotnik who has taken most of the world, however Sonic is joined by a group fellow Mobians (a term used to describe Sonic, and his friend’s species, and has been used for a long time by fans) Sally Acorn, Bunnie Rabbot, Rotor the Walrus, Antione the Coyote, and occasionally his Uncle Chuck who was a victim of Robotnik’s robotizicor, a device that turns an organic being into a robotic slave that is completely obedient to the dictator, a plot device that disturbs me greatly, the show’s more darker tone is reminiscent to TV show like Batman the Animated Series, and Disney’s Gargoyles but I don’t think it’s aged well in my opinion. The reason I bring these shows up, is that concepts, and characters are involved in the comics even though I don’t know what came first.

The first 159 Issues under the first group of writers, and artist the comic was completely utter shit, now I’ll gladly admit that I have not read all of the comics, but the ones I’ve read didn’t leave a good impact with me, the plot was everywhere, the artwork is terrible, and the characters aren’t even likeable, and there was a lot of stupid decisions cause for the most part these fucktards especially Ken Penders didn’t care about creating a decent product. Examples include, a poor telling the event of Sonic CD where it didn’t follow the game, evil versions of the Freedom Fighters that you couldn’t tell them apart, the End Game arc were characters were supposed to be killed off for good, the Adventure arcs not being fully implemented into the comic story line, a shitty crossover with Image Comics (keep in mind they were crap in the 90’s), making Knuckles and his species a warring group of “higher beings” (most of them being copied from Knuckles), and making a crossover where Sally was Sailor Moon, Amy was Chibi-Usa, and Knuckles was Tuxedo Mask (who the fuck was doing drugs when they came up with that idea).

The worst plotline is the 25 Years Later series were it apparently took place after the defeat of Dr. Eggman, however Ken Penders only created this series so it can showcase the daughter of Knuckles, and Julie Su in the form of Lara-Su who really doesn’t contribute anything to the entire franchise, the majority of her appearances go along of: “Daddy doesn’t want me to be a Guardian.” As a matter of fact a majority of female characters written under this twat made them into one dimension stereotypes of 50’s housewives (which is dated even for 90’s and 2000’s characters).

As for the artwork, I feel like it’s a convoluted mess ranging from ugly facial expressions, and awkward body proportions (yes even for Sonic standards), and the cherry on a shit-sundae is the coloring of the issues that make it very visually unappealing, and gives a washed out look, compared to other Comic Series being produced being produced in the same time period, the only artist I thought did a superb job is Steven Butler who did continue to work with Archie Comics until the reboot, and while his style isn’t similar to the SEGA-Sonic style, I still find it good enough for the Sonic Comics especially working with artists who do a better job coloring (and I can think of fan artists who have emulated his style which can’t be said for the others), but he’s kind of an exception, the other guys are just horrible artists.

Now while the writers, and artist left the comic due to them having different ideas on how the could continue to produce shit, I have a hard time believing that this series was able to continue, and luckily it did get better with a better team, but I really don’t plan on re-reading this part of the Sonic comics, and I think they should be left in the far back of everyone’s memory.

HANNA BARBERA STUDIOS

ABBOTT and COSTELLO

Original Animation TELEVISION SERIES 1967

Type: AWESOME Original Production Animation MODEL Drawing

from the 1967 HANNA BARBERA Animated TELEVISION SERIES

This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during

the production filming of the original Television Commercial.

NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION

Size: 12 field 12.5 x 10.5

Type: . Vintage Hand Drawn Art

Condition: EXCELLENT

Featuring UNCLE WOLFGANG

Date 1967

NOTES:

The Abbott and Costello Cartoon Show is an American half-hour animated series that aired in syndication from September 9, 1967 to June 1, 1968. Each of the 39 individual episodes consisted of four five-minute cartoons. [1] The cartoons were created jointly by Hanna-Barbera, RKO and Jomar Productions between 1965 and 1967. The series was syndicated by Gold Key Entertainment and King World Productions.

The primary feature of this cartoon series was the fact that Bud Abbott supplied the voice for his own character. (Because Lou Costello had died in 1959, his character's voice was performed by Stan Irwin.)

William (Bud) Abbott and Lou Costello (born Louis Francis Cristillo) performed together as Abbott and Costello, an American comedy duo whose work in radio, film and television made them the most popular comedy team during the 1940s and 50s. Thanks to the endurance of their most popular and influential routine, "Who's on First?"—whose rapid-fire word play and comprehension confusion set the preponderant framework for most of their best-known routines—the team is, as a result, featured in the National Baseball Hall of Fame and Museum. (Contrary to popular belief, however, the duo was not inducted into the Hall.)

The team's first known radio appearance was on The Kate Smith Hour in February, 1938. "Who's on First?" was first performed for a national radio audience the following month.[1] Abbott and Costello stayed on the program as regulars for two years, but the similarities between their New Jersey-accented voices made it difficult for listeners (as opposed to stage audiences) to tell them apart due to their rapid-fire repartee. The problem was solved by having Costello affect a high-pitched childish voice, and their remaining tenure on the Smith show was successful enough to get them roles in a Broadway revue "The Streets of Paris" in 1939.

In 1940 they were signed by Universal Studios for the film One Night in the Tropics. Cast in supporting roles, they stole the show with several classic routines, including "Who's on First?" The same year they were a summer replacement on radio for Fred Allen. Two years later, they had their own NBC show.

Universal signed them to a long-term contract, and their second film, Buck Privates, (1941) made them box-office stars. In most of their films, the plot was a framework for the two comics to reintroduce comedy routines they first performed on stage. Universal also added glitzy, gratuitous production numbers (a formula borrowed from the Marx Brothers comedies) featuring The Andrews Sisters, Ted Lewis and his Orchestra, Ella Fitzgerald, and other musical acts. They made 36 films together between 1940 and 1956. Abbott and Costello were among the most popular and highest-paid entertainers in the world during World War II. Other film successes included Hold That Ghost, Who Done It?, Pardon My Sarong, The Time of Their Lives, Buck Privates Come Home, Abbott and Costello Meet Frankenstein, and Abbott and Costello Meet the Invisible Man.

In 1942, Abbott and Costello were the top box office draw with a reported take of $10 million. They would remain a top ten box office attraction until 1952.

In 1951, they moved to television as rotating hosts of The Colgate Comedy Hour. (Eddie Cantor and Martin and Lewis were among the others.) Each show was a live hour of vaudeville in front of a theater audience, revitalizing the comedians' performances and giving their old routines a new sparkle.

Beginning in 1952, a filmed half-hour series, The Abbott and Costello Show, appeared in syndication on local stations across the country. Loosely based on their radio series, the show cast the duo as unemployed wastrels. One of the show's running gags involved Abbott perpetually nagging Costello to get a job to pay their rent, while Abbott barely lifted a finger in that direction. The show featured Sidney Fields as their landlord, and Hillary Brooke as a friendly neighbor who sometimes got involved in the pair's schemes. Another semi-regular was Joe Besser as Stinky, a 40-year-old sissy dressed in a Little Lord Fauntleroy suit. Gordon Jones was Mike the cop, who always lost patience with Lou. The simple plotlines were often merely an excuse to recreate old comedy routines—including "Who's on First?" and other familiar set pieces—from their films and burlesque performances

Some really crazy stuff goes on in my dreams.

The old castle was once many years ago home to the one of the great king Leonardo`s ancestors, but since the kingdom has progressed the castle was forgotten and taken over by the rebels in secrecy as their base.

The rebels were greatly struggling to overthrow the higher powers and with the aid of a new found technology of mechanics, the leader of the rebels (the Cyclops mage) along with the blue warrior put forth the idea of a secret weapon of such. The rebels began construction of this on their castle and after several months of work, the creation was finished, although nothing much changed to the naked eye.

Luckily underneath the castle there were large veins of coal and oil, which was greatly needed to power 'The Mechanolith' as they called it. All they needed now was a pilot for controlling it. My sig fig was chosen to pilot it via a mental connection with the machinery, it was now ready to take action.

Some weeks after it`s dispatchal the villagers living nearby the castle noticed suspicious activity going on around the castle when some villagers occasionally walk by. Eventually the town folk thought it was a good idea to check out what was going on, having no idea of what would confront them.

What did you guys think of the backstory? It`s the first time i`ve actually created a story for one of my MOCs so i hope it was alright, i do plan to make a whole plotline with my fantasy and medeival MOCs starteing from Darkwood lighthouse.

I`m not sure where i got my inspiration from for this MOC from, i guess it was a combination of steam-punk, pacific rim, and my dreams, it seams most of my MOC ideas come from nowhere.

The construction of this was from the mech base up and then the legs, until i had the idea of making a base for it so it could camouflage into it`s surroundings.

Hope you liked this, more MOCs coming soon. Brick OUT!

Suspended Animation Classic #382

Originally published April 14, 1996 (#15)

(Dates are approximate)

DC vs. Marvel

By Dr. Jon Suter

The recent four-issue comic book “crossover” series, “DC vs. Marvel”, attracted extensive media coverage.

In crossovers, characters from separate titles or separate publishers appear together. This superhero series was unusually coherent and could, with few exceptions, be read by itself.

The most interesting derivation in “DC vs. Marvel”, however, was twelve issues of “Amalgam Comics”. The DC and Marvel universes amalgamated and produced a new group of superheroes.

Some pairings were obvious, but others were subtle. Readers were asked to assume that the hybrid characters and titles had long been published with well-established continuity. (Each issue was numbered “one”, a reminder of 1968 when Marvel Comics split three titles into six; e.g., “Tales of Suspense gave way to “Captain America” and “Iron Man”.

The best Amalgam issue has to be “Bullets and Bracelets”. The female lead is a combination of superheroines Dinah (“Black Canary”/DC) Drake and Diana (“Wonder Woman/DC”) Prince; the male lead is a combination of Steve Trevor/DC and Frank (“Punisher”/Marvel) Castle. The plot involves a battle with villain “Thanoseid” (Thanos/Marvel plus Darkseid/DC) for the life of their kidnapped child.

Gary Frank’s pencils do justice to artist Jack Kirby’s original concepts.

Batman/DC is merged with Wolverine/Marvel to form hero “Darkclaw”; Bruce Wayne/DC has become Nick (Marvel) Fury’s successor as leader of S.H.I.E.L.D. Superman/DC has merged with Captain America/Marvel as hero “Super-Soldier”, even as Lex Luthor/DC and the Red Skull/Marvel have become the Skull/Marvel have become the villain, “Green Skull”. Wonder Woman and Strom/Marvel are now “Amazon”. There are some slight contradictions, but no worse than in the “original” universes.

The one Amalgam title crucial to the plotline is Doctor Strange/Fate. He alone understands the origin of the hybrid universe and is defeated in his efforts to preserve it. (He’s neither Stephen Strange/Marvel nor Kent Nelson/DC, but “Charles Xavier”).

This crossover earns an A- or B+.

HANNA BARBERA STUDIOS

ABBOTT and COSTELLO

Original Animation TELEVISION SERIES 1967

Type: AWESOME Original Production Animation MODEL Drawing

from the 1967 HANNA BARBERA Animated TELEVISION SERIES

This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during

the production filming of the original Television Commercial.

NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION

Size: 12 field 12.5 x 10.5

Type: . Vintage Hand Drawn Art

Condition: EXCELLENT

Featuring UNCLE WOLFGANG

Date 1967

NOTES:

The Abbott and Costello Cartoon Show is an American half-hour animated series that aired in syndication from September 9, 1967 to June 1, 1968. Each of the 39 individual episodes consisted of four five-minute cartoons. [1] The cartoons were created jointly by Hanna-Barbera, RKO and Jomar Productions between 1965 and 1967. The series was syndicated by Gold Key Entertainment and King World Productions.

The primary feature of this cartoon series was the fact that Bud Abbott supplied the voice for his own character. (Because Lou Costello had died in 1959, his character's voice was performed by Stan Irwin.)

William (Bud) Abbott and Lou Costello (born Louis Francis Cristillo) performed together as Abbott and Costello, an American comedy duo whose work in radio, film and television made them the most popular comedy team during the 1940s and 50s. Thanks to the endurance of their most popular and influential routine, "Who's on First?"—whose rapid-fire word play and comprehension confusion set the preponderant framework for most of their best-known routines—the team is, as a result, featured in the National Baseball Hall of Fame and Museum. (Contrary to popular belief, however, the duo was not inducted into the Hall.)

The team's first known radio appearance was on The Kate Smith Hour in February, 1938. "Who's on First?" was first performed for a national radio audience the following month.[1] Abbott and Costello stayed on the program as regulars for two years, but the similarities between their New Jersey-accented voices made it difficult for listeners (as opposed to stage audiences) to tell them apart due to their rapid-fire repartee. The problem was solved by having Costello affect a high-pitched childish voice, and their remaining tenure on the Smith show was successful enough to get them roles in a Broadway revue "The Streets of Paris" in 1939.

In 1940 they were signed by Universal Studios for the film One Night in the Tropics. Cast in supporting roles, they stole the show with several classic routines, including "Who's on First?" The same year they were a summer replacement on radio for Fred Allen. Two years later, they had their own NBC show.

Universal signed them to a long-term contract, and their second film, Buck Privates, (1941) made them box-office stars. In most of their films, the plot was a framework for the two comics to reintroduce comedy routines they first performed on stage. Universal also added glitzy, gratuitous production numbers (a formula borrowed from the Marx Brothers comedies) featuring The Andrews Sisters, Ted Lewis and his Orchestra, Ella Fitzgerald, and other musical acts. They made 36 films together between 1940 and 1956. Abbott and Costello were among the most popular and highest-paid entertainers in the world during World War II. Other film successes included Hold That Ghost, Who Done It?, Pardon My Sarong, The Time of Their Lives, Buck Privates Come Home, Abbott and Costello Meet Frankenstein, and Abbott and Costello Meet the Invisible Man.

In 1942, Abbott and Costello were the top box office draw with a reported take of $10 million. They would remain a top ten box office attraction until 1952.

In 1951, they moved to television as rotating hosts of The Colgate Comedy Hour. (Eddie Cantor and Martin and Lewis were among the others.) Each show was a live hour of vaudeville in front of a theater audience, revitalizing the comedians' performances and giving their old routines a new sparkle.

Beginning in 1952, a filmed half-hour series, The Abbott and Costello Show, appeared in syndication on local stations across the country. Loosely based on their radio series, the show cast the duo as unemployed wastrels. One of the show's running gags involved Abbott perpetually nagging Costello to get a job to pay their rent, while Abbott barely lifted a finger in that direction. The show featured Sidney Fields as their landlord, and Hillary Brooke as a friendly neighbor who sometimes got involved in the pair's schemes. Another semi-regular was Joe Besser as Stinky, a 40-year-old sissy dressed in a Little Lord Fauntleroy suit. Gordon Jones was Mike the cop, who always lost patience with Lou. The simple plotlines were often merely an excuse to recreate old comedy routines—including "Who's on First?" and other familiar set pieces—from their films and burlesque performances

youtu.be/lmBsGmAVM3A Part 1

youtu.be/pKAxRxW3l9U Part 2

Starring Eric Porter, Hildegard Knef, Suzanna Leigh, Tony Beckley, Nigel Stock, Neil McCallum, Ben Carruthers, Victor Maddern, and Norman Eshley. Directed by Michael Carreras, and Leslie Norman.

The Lost Continent is a crazy-quilt of a film, with chunks of several unrelated plotlines sewn together willy nilly. Eric Porter plays Lansen, the captain of a tramp steamer who has agreed to deliver contraband dynamite for a hefty price. His passengers are a polyglot of the good, the bad and the worse. Shipwrecked on an mysterious isle in the Sargasso Sea, Lansen and party find themselves prisoners of a bizarre inbred colony still governed by the long-abandoned edicts of the Spanish Inquisition. The film is no more coherent than the original Dennis Wheatley novel Uncharted Seas, but that doesn't detract from its endearing wackiness. To their credit, the cast members of Lost Continent play the script straight, which merely adds to the kinky fun.

review

It would be exaggerating to call The Lost Continenht a very good film, but it's a strangely appealing one. This is especially true for those who are fans of science fiction films, especially of the "lost world" sub-genre. Aficionados may argue that Continent doesn't actually belong in that "lost world" category as, despite its title, the voyagers don't really discover a long-lost continent so much as encounter a strange civilization existing in the Sargasso Sea -- but that's splitting hairs. Continent has giant sea creatures, man-eating seaweed, people walking on snowshoes while being held aloft by balloons, and a group who still thinks the Spanish Inquisition is going on -- more than enough to satisfy any fan. Granted, it's totally ridiculous and immensely silly, and granted that the melodrama is piled on with a sledgehammer; yet that somehow adds to Continent's appeal. (For young male viewers, it also doesn't hurt that Continent features some very attractive women among its cast members.) The filmmakers have so much fun setting up this strange world and the exploring it that it's rather contagious -- so much so that most viewers won't mind the crudity of some of the special effects. Continent is a good picture to approach on a rainy day when the viewer has just popped some corn and feels like something that will make him feel like a wide-eyed 10-year-old again.

youtu.be/lmBsGmAVM3A Part 1

youtu.be/pKAxRxW3l9U Part 2

Starring Eric Porter, Hildegard Knef, Suzanna Leigh, Tony Beckley, Nigel Stock, Neil McCallum, Ben Carruthers, Victor Maddern, and Norman Eshley. Directed by Michael Carreras, and Leslie Norman.

The Lost Continent is a crazy-quilt of a film, with chunks of several unrelated plotlines sewn together willy nilly. Eric Porter plays Lansen, the captain of a tramp steamer who has agreed to deliver contraband dynamite for a hefty price. His passengers are a polyglot of the good, the bad and the worse. Shipwrecked on an mysterious isle in the Sargasso Sea, Lansen and party find themselves prisoners of a bizarre inbred colony still governed by the long-abandoned edicts of the Spanish Inquisition. The film is no more coherent than the original Dennis Wheatley novel Uncharted Seas, but that doesn't detract from its endearing wackiness. To their credit, the cast members of Lost Continent play the script straight, which merely adds to the kinky fun.

review

It would be exaggerating to call The Lost Continenht a very good film, but it's a strangely appealing one. This is especially true for those who are fans of science fiction films, especially of the "lost world" sub-genre. Aficionados may argue that Continent doesn't actually belong in that "lost world" category as, despite its title, the voyagers don't really discover a long-lost continent so much as encounter a strange civilization existing in the Sargasso Sea -- but that's splitting hairs. Continent has giant sea creatures, man-eating seaweed, people walking on snowshoes while being held aloft by balloons, and a group who still thinks the Spanish Inquisition is going on -- more than enough to satisfy any fan. Granted, it's totally ridiculous and immensely silly, and granted that the melodrama is piled on with a sledgehammer; yet that somehow adds to Continent's appeal. (For young male viewers, it also doesn't hurt that Continent features some very attractive women among its cast members.) The filmmakers have so much fun setting up this strange world and the exploring it that it's rather contagious -- so much so that most viewers won't mind the crudity of some of the special effects. Continent is a good picture to approach on a rainy day when the viewer has just popped some corn and feels like something that will make him feel like a wide-eyed 10-year-old again.

youtu.be/lmBsGmAVM3A Part 1

youtu.be/pKAxRxW3l9U Part 2

Starring Eric Porter, Hildegard Knef, Suzanna Leigh, Tony Beckley, Nigel Stock, Neil McCallum, Ben Carruthers, Victor Maddern, and Norman Eshley. Directed by Michael Carreras, and Leslie Norman.

The Lost Continent is a crazy-quilt of a film, with chunks of several unrelated plotlines sewn together willy nilly. Eric Porter plays Lansen, the captain of a tramp steamer who has agreed to deliver contraband dynamite for a hefty price. His passengers are a polyglot of the good, the bad and the worse. Shipwrecked on an mysterious isle in the Sargasso Sea, Lansen and party find themselves prisoners of a bizarre inbred colony still governed by the long-abandoned edicts of the Spanish Inquisition. The film is no more coherent than the original Dennis Wheatley novel Uncharted Seas, but that doesn't detract from its endearing wackiness. To their credit, the cast members of Lost Continent play the script straight, which merely adds to the kinky fun.

review

It would be exaggerating to call The Lost Continenht a very good film, but it's a strangely appealing one. This is especially true for those who are fans of science fiction films, especially of the "lost world" sub-genre. Aficionados may argue that Continent doesn't actually belong in that "lost world" category as, despite its title, the voyagers don't really discover a long-lost continent so much as encounter a strange civilization existing in the Sargasso Sea -- but that's splitting hairs. Continent has giant sea creatures, man-eating seaweed, people walking on snowshoes while being held aloft by balloons, and a group who still thinks the Spanish Inquisition is going on -- more than enough to satisfy any fan. Granted, it's totally ridiculous and immensely silly, and granted that the melodrama is piled on with a sledgehammer; yet that somehow adds to Continent's appeal. (For young male viewers, it also doesn't hurt that Continent features some very attractive women among its cast members.) The filmmakers have so much fun setting up this strange world and the exploring it that it's rather contagious -- so much so that most viewers won't mind the crudity of some of the special effects. Continent is a good picture to approach on a rainy day when the viewer has just popped some corn and feels like something that will make him feel like a wide-eyed 10-year-old again.

youtu.be/lmBsGmAVM3A Part 1

youtu.be/pKAxRxW3l9U Part 2

Starring Eric Porter, Hildegard Knef, Suzanna Leigh, Tony Beckley, Nigel Stock, Neil McCallum, Ben Carruthers, Victor Maddern, and Norman Eshley. Directed by Michael Carreras, and Leslie Norman.

The Lost Continent is a crazy-quilt of a film, with chunks of several unrelated plotlines sewn together willy nilly. Eric Porter plays Lansen, the captain of a tramp steamer who has agreed to deliver contraband dynamite for a hefty price. His passengers are a polyglot of the good, the bad and the worse. Shipwrecked on an mysterious isle in the Sargasso Sea, Lansen and party find themselves prisoners of a bizarre inbred colony still governed by the long-abandoned edicts of the Spanish Inquisition. The film is no more coherent than the original Dennis Wheatley novel Uncharted Seas, but that doesn't detract from its endearing wackiness. To their credit, the cast members of Lost Continent play the script straight, which merely adds to the kinky fun.

review

It would be exaggerating to call The Lost Continenht a very good film, but it's a strangely appealing one. This is especially true for those who are fans of science fiction films, especially of the "lost world" sub-genre. Aficionados may argue that Continent doesn't actually belong in that "lost world" category as, despite its title, the voyagers don't really discover a long-lost continent so much as encounter a strange civilization existing in the Sargasso Sea -- but that's splitting hairs. Continent has giant sea creatures, man-eating seaweed, people walking on snowshoes while being held aloft by balloons, and a group who still thinks the Spanish Inquisition is going on -- more than enough to satisfy any fan. Granted, it's totally ridiculous and immensely silly, and granted that the melodrama is piled on with a sledgehammer; yet that somehow adds to Continent's appeal. (For young male viewers, it also doesn't hurt that Continent features some very attractive women among its cast members.) The filmmakers have so much fun setting up this strange world and the exploring it that it's rather contagious -- so much so that most viewers won't mind the crudity of some of the special effects. Continent is a good picture to approach on a rainy day when the viewer has just popped some corn and feels like something that will make him feel like a wide-eyed 10-year-old again.

youtu.be/lmBsGmAVM3A Part 1

youtu.be/pKAxRxW3l9U Part 2

Starring Eric Porter, Hildegard Knef, Suzanna Leigh, Tony Beckley, Nigel Stock, Neil McCallum, Ben Carruthers, Victor Maddern, and Norman Eshley. Directed by Michael Carreras, and Leslie Norman.

The Lost Continent is a crazy-quilt of a film, with chunks of several unrelated plotlines sewn together willy nilly. Eric Porter plays Lansen, the captain of a tramp steamer who has agreed to deliver contraband dynamite for a hefty price. His passengers are a polyglot of the good, the bad and the worse. Shipwrecked on an mysterious isle in the Sargasso Sea, Lansen and party find themselves prisoners of a bizarre inbred colony still governed by the long-abandoned edicts of the Spanish Inquisition. The film is no more coherent than the original Dennis Wheatley novel Uncharted Seas, but that doesn't detract from its endearing wackiness. To their credit, the cast members of Lost Continent play the script straight, which merely adds to the kinky fun.

review

It would be exaggerating to call The Lost Continenht a very good film, but it's a strangely appealing one. This is especially true for those who are fans of science fiction films, especially of the "lost world" sub-genre. Aficionados may argue that Continent doesn't actually belong in that "lost world" category as, despite its title, the voyagers don't really discover a long-lost continent so much as encounter a strange civilization existing in the Sargasso Sea -- but that's splitting hairs. Continent has giant sea creatures, man-eating seaweed, people walking on snowshoes while being held aloft by balloons, and a group who still thinks the Spanish Inquisition is going on -- more than enough to satisfy any fan. Granted, it's totally ridiculous and immensely silly, and granted that the melodrama is piled on with a sledgehammer; yet that somehow adds to Continent's appeal. (For young male viewers, it also doesn't hurt that Continent features some very attractive women among its cast members.) The filmmakers have so much fun setting up this strange world and the exploring it that it's rather contagious -- so much so that most viewers won't mind the crudity of some of the special effects. Continent is a good picture to approach on a rainy day when the viewer has just popped some corn and feels like something that will make him feel like a wide-eyed 10-year-old again.

Some really crazy stuff goes on in my dreams.

The old castle was once many years ago home to the one of the great king Leonardo`s ancestors, but since the kingdom has progressed the castle was forgotten and taken over by the rebels in secrecy as their base.

The rebels were greatly struggling to overthrow the higher powers and with the aid of a new found technology of mechanics, the leader of the rebels (the Cyclops mage) along with the blue warrior put forth the idea of a secret weapon of such. The rebels began construction of this on their castle and after several months of work, the creation was finished, although nothing much changed to the naked eye.

Luckily underneath the castle there were large veins of coal and oil, which was greatly needed to power 'The Mechanolith' as they called it. All they needed now was a pilot for controlling it. My sig fig was chosen to pilot it via a mental connection with the machinery, it was now ready to take action.

Some weeks after it`s dispatchal the villagers living nearby the castle noticed suspicious activity going on around the castle when some villagers occasionally walk by. Eventually the town folk thought it was a good idea to check out what was going on, having no idea of what would confront them.

What did you guys think of the backstory? It`s the first time i`ve actually created a story for one of my MOCs so i hope it was alright, i do plan to make a whole plotline with my fantasy and medeival MOCs starteing from Darkwood lighthouse.

I`m not sure where i got my inspiration from for this MOC from, i guess it was a combination of steam-punk, pacific rim, and my dreams, it seams most of my MOC ideas come from nowhere.

The construction of this was from the mech base up and then the legs, until i had the idea of making a base for it so it could camouflage into it`s surroundings.

Hope you liked this, more MOCs coming soon. Brick OUT!

youtu.be/lmBsGmAVM3A Part 1

youtu.be/pKAxRxW3l9U Part 2

Starring Eric Porter, Hildegard Knef, Suzanna Leigh, Tony Beckley, Nigel Stock, Neil McCallum, Ben Carruthers, Victor Maddern, and Norman Eshley. Directed by Michael Carreras, and Leslie Norman.

The Lost Continent is a crazy-quilt of a film, with chunks of several unrelated plotlines sewn together willy nilly. Eric Porter plays Lansen, the captain of a tramp steamer who has agreed to deliver contraband dynamite for a hefty price. His passengers are a polyglot of the good, the bad and the worse. Shipwrecked on an mysterious isle in the Sargasso Sea, Lansen and party find themselves prisoners of a bizarre inbred colony still governed by the long-abandoned edicts of the Spanish Inquisition. The film is no more coherent than the original Dennis Wheatley novel Uncharted Seas, but that doesn't detract from its endearing wackiness. To their credit, the cast members of Lost Continent play the script straight, which merely adds to the kinky fun.

review

It would be exaggerating to call The Lost Continenht a very good film, but it's a strangely appealing one. This is especially true for those who are fans of science fiction films, especially of the "lost world" sub-genre. Aficionados may argue that Continent doesn't actually belong in that "lost world" category as, despite its title, the voyagers don't really discover a long-lost continent so much as encounter a strange civilization existing in the Sargasso Sea -- but that's splitting hairs. Continent has giant sea creatures, man-eating seaweed, people walking on snowshoes while being held aloft by balloons, and a group who still thinks the Spanish Inquisition is going on -- more than enough to satisfy any fan. Granted, it's totally ridiculous and immensely silly, and granted that the melodrama is piled on with a sledgehammer; yet that somehow adds to Continent's appeal. (For young male viewers, it also doesn't hurt that Continent features some very attractive women among its cast members.) The filmmakers have so much fun setting up this strange world and the exploring it that it's rather contagious -- so much so that most viewers won't mind the crudity of some of the special effects. Continent is a good picture to approach on a rainy day when the viewer has just popped some corn and feels like something that will make him feel like a wide-eyed 10-year-old again.

An unusual plotline, massacred by the condescending and uneven manner of writing.

[Spoiler Alert]

Boyne seems to have begun writing a children’s tale, and somewhere along the lines it became a grown ups’ tale, but with an irritatingly slow narrative pace that is usually typical of children’s bedtime stories.

Bruno, 9, all too often expresses an adult’s point of view, and then immediately regresses to a 4 year old’s point of view. Unusually dim witted, bad at communications – at least the listening part – and very very selfish, Bruno, the son of a Nazi officer, gets friendly with a Jew boy living in the Auswitch concentration camp. His sister, who again oscillates between a little girl with her dolls, and a teenager who flirts with another young Nazi officer (make up you mind, Boyne!) is repetitively called a Hopeless Case, for reasons never explained.

Boyne keeps repeating many many phrases throughout the book, perhaps in an attempt to be funny, but overdoes it, and ends up being merely boring, condescending and vastly irritating. With Jews dying or disappearing left, right and center, the reader cannot designate this as a children’s book. However, the pace and the extra extra extra details fail to hold an adult reader’s interest.

To get back to the plotline, the dim witted Bruno makes friends with Shmuel, talks to him daily from the other side of the fence, in a corner of the camp that is not under surveillance – presumably for the convenience of the plot. On the last day, Bruno crosses the fence and enters the camp through another convenience – a loose fence post at exactly the spot where the boys meet. Bruno is never heard from again.

The captured Jew doctor, and the suspect Nazi officer are mediocre sub plots, but narrated with a rare touch of subtlety.

Overall a good story, vitiated by a vastly irritating way of writing. A book this reader will never touch again, and an author this reader will perhaps never read again.

“Glee” is cyclical, and the stories of high school kids have to follow repetitive molds — back to school, holidays, class elections, prom, the school play, graduation, regionals, sectionals, nationals. It’s not new for “Glee” to cycle, but in a week where they repeat the plotline of a Britney Spears tribute as a means for cheering up their very own Brittany, there’s a lot on the line to make it stand out amid a see of patterns.

For “Glee“‘s second tribute to Spears (dubbed “Britney 2.0”), they change it up and shed light on a different side of the Britney story — the downfall. Our three protagonists this week — Britt, Rachel and Marley/Jake — are having a tough week, and Spears is the only way to convey that particular brand of pop misery. Some work better than others.

We start with Brittany, who is speaking her own voiceover, much to Blaine’s dismay. Transition to “Hold It Against Me” as a full-on Cheerios performance who, even without Santana, are still pretty sapphic. But Sue is unimpressed, and calls Britt to her office. She’s failing still and has to be kicked off the squad, with Kitty taking her place as head cheerleader. When Britt turns to Santana for comfort via Skype she’s understanding, but busy at college and has to run off leaving Britt lonely. It’s all too much for Britt, who begins her Britney-esque downward spiral. She wanders the halls self-narrating and wearing Crocs, prompting Emma to pamphlet her (So You Look Like Crap) and Schue to revive Britney Spears week to cheer her up. First up are Blaine and Artie, who do their best two-man boyband attempt to a mash-up of “Boys” with Justin Bieber’s “Boyfriend.” It inspires Britt to re-embrace her Spears love.

Starring Buster Crabbe, Jean Rogers, Charles Middleton, Frank Shannon, Beatrice Roberts, Donald Kerr, Richard Alexander, C. Montague Shaw. Directed by Ford Beebe, Robert F. Hill, and Frederick Stephani.Flash, Dale, and Dr. Zarkov return from their former space adventures only to find that their enemy, Ming the Merciless of planet Mongo, has a new weapon: a deadly ray that crosses space to wreak havoc on earth. Earth's only hope is for our heroes to take off again and stop the ray at its source on Mars, where they (and a stowaway) must battle Ming's ally, Queen Azura, who turns her enemies into lumpish clay people. Can they survive 15 chapters of deadly perils? Find out next week...

www.youtube.com/watch?v=HZ2HUfD0QSw&feature=share&amp...

Universal, 15 Chapters, 1938. Starring Larry “Buster” Crabbe, Jean Rogers, Charles Middleton, Frank Shannon, Beatrice Roberts, Richard Alexander, Donald Kerr, C. Montague Shaw, Wheeler Oakman.

Flash Gordon’s Trip to Mars picks up almost exactly where Flash Gordon left off, with our courageous trio of interplanetary adventurers–Flash Gordon (Larry “Buster” Crabbe), Dale Arden (Jean Rogers), and Dr. Zarkov (Frank Shannon)–returning to Earth from the planet Mongo. They are greeted to a royal welcome, since their voyage has saved the Earth from being destroyed by the late Emperor Ming of Mongo. Zarkov, however, attempts to curb the Earthlings’ ebullience by cautioning them that the defeat and death of Ming does not mean that their planet is free from other threats of extraterrestrial invasion. As usual, Zarkov is correct; shortly after his warning speech, the Martian Queen Azura (Beatrice Roberts) begins an operation designed to siphon off the “nitron” (aka nitrogen) in the Earth’s atmosphere. Azura’s primary goal is to create nitron-powered weapons with which to wage a war against her mortal foes, the Clay People of Mars. She’s indifferent to the devastating effect that it will have on the Earth, while her chief adviser and military consultant regards the destruction of Earth as the main attraction of the plan. That adviser is none other than Ming (Charles Middleton), still very much alive and longing for revenge on Flash and Zarkov for toppling him from his throne and driving him into exile on Mars.

As the Earth begins to experience catastrophic floods and storms, due to the effects of Azura’s “Nitron Lamp,” Zarkov, Flash, and Dale launch another interplanetary trip to discover the cause of the catastrophes, which Zarkov has determined are due to a beam that emanates from outer space. They discover an unexpected stowaway aboard after takeoff–reporter “Happy” Hapgood (Donald Kerr), who had set out to track down Zarkov and get his opinion of the world-wide disasters. Not long after arriving on Mars, our quartet of Earth adventurers find themselves embroiled in the war between Azura and the Clay People. The latter are one-time rivals of the Queen, who have been transformed into living clay by Azura’s magical powers and banished to underground caverns from whence they carry on a guerilla war against Azura’s forces. The Clay People’s king enlists the aid of Flash and his party, as both of them want to stop Azura’s nitron-collecting plans, and, with additional aid from Prince Barin (Richard Alexander)–who arrives on Mars to try to convince the Martians to expel Ming–Flash and his party pit themselves against Azura’s magic, Ming’s machinations, Ming’s savage allies the Forest People, and many other hazards, in their quest to save the Earth.

Flash Gordon’s Trip to Mars is fully as good as the first Flash Gordon serial, although its strengths are in slightly different areas. While Trip to Mars doesn’t measure up to Flash Gordon when it comes to colorful characters and fantastic monsters, its focused plotline surpasses the episodic story of the earlier serial. In Flash Gordon, the protagonists merely responded to the perpetual perils that were hurled at them by Ming, King Vultan, and King Kala, while Ming’s own plans for destroying the Earth were largely abandoned after the first chapter in favor of his attempts to marry Dale and destroy Flash. In Trip to Mars, Flash, Dale, and Zarkov initiate events instead of just coping with them, and Ming’s new grand design drives the plot far more strongly than his earlier one, giving the good guys a clear-cut objective (the destruction of the Nitron Lamp) beyond simple escape from Mongo.

While Trip to Mars has no characters to rival Flash Gordon’s King Vultan and no bizarre beasts like the Orangopoid or the Fire Dragon, it still has excellent other-worldly atmosphere. The sets are not as varied and intricate as in the first serial, but still surpass the backdrops of almost any other chapterplay. Especially striking are Ming’s “powerhouse,” with its laboratory equipment and its disintegration room, Azura’s massive palace with its unique architectural design (particularly the futuristic pocket doors), the Clay People’s eerie caves, and the wonderfully-designed realm of the Forest People, with its twisted trees, climbing vines, hidden tunnels amid tree roots, and treehouse-like observation platforms.

In addition to the big sets, there are dozens of other major and minor props and special effects that make Trips to Mars memorably atmospheric; there’s the the Martians’ flying capes, the Martian televiewer screens (which are cleverly incorporated into the recap sequences at the beginning of each chapter), the Clay People’s vapor-healing chamber, and the bridge of light that connects Azura’s rocket tower to the rest of her palace and is powered by a simple switch like any Earthling lamp (the scene where Flash and Zarkov are first forced to cross the unsafe-looking thing is quite funny), to name but a few. I also appreciate the fact that Azura’s spaceship squadrons–her “stratosleds”–are designed differently than any of the ships in the first Flash Gordon serial; one would expect the aerial fleets of differing planets to differ in appearance. Another neat touch of internal consistency is the use of three completely different forms of salute by the three principal Martian races–Queen Azura’s subjects, the Clay People, and the Forest People.

The serial’s screenplay maintains good continuity with the previous Flash outing, despite being the work of a completely different team of writers–Ray Trampe, Norman S. Hall, Wyndham Gittens, and Herbert Dalmas. The new writing team avoids any of the clunky lines that occasionally crept into Flash Gordon’s dialogue exchanges; they also, despite having to resort to a few flashbacks to the first serial for padding purposes, manage to make their plot fit its fifteen-chapter length quite nicely. The major plot thread of the heroes’ attempts to destroy Ming and Azura’s Nitron Lamp is skillfully interwoven with several subplots–the Clay People’s efforts to regain their natural shape, the attempts by both Flash and Ming to get hold of the Black Sapphire of Kalu (a talisman that can neutralize Azura’s magic), and Ming’s plot to undermine Azura and seize the Martian throne.

Trip to Mars’ script wisely spreads its plot developments over the course of the serial, instead of introducing all its ideas in the first chapter and letting them tread water until the final one: the Clay People aren’t introduced till the second chapter or the Forest People until the sixth, while Prince Barin first arrives in Chapter Seven. The Nitron Lamp is destroyed in Chapter Nine and rebuilt over the course of the following chapters until it must be destroyed again at the climax, and one of the principal villains is killed off in Chapter Thirteen.

The cliffhangers aren’t quite as varied as in the first Flash serial, due to the lack of the various monsters that frequently attacked Flash for chapter-ending purposes in the earlier outing. However, writers still manage to avoid excessive repetition; for instance, while there are three chapter endings involving stratosled crashes, each one is set up differently–the first has Flash crashing a stratosled into another stratosled to stop it from bombing Dale and Happy, the second has a stratosled crashing on top of Flash and Zarkov, and the third has Flash and the pilots of a ’sled grapping for the controls as it soars towards yet another crash. There’s also an excellent cliffhanger in which Flash, Dale, Happy, and Zarkov are surrounded by an ever-narrowing ring of fire in the Forest People’s kingdom, and a memorably unusual one that has a hypnotized Dale stabbing an unsuspecting Flash in the back.

Though Trip to Mars has no swordfights or wrestling matches corresponding to those in Flash Gordon, it still features a nice variety of action scenes–including stratosled dogfights, fights among the vines and treetops of the Forest Kingdom, and chases through Azura’s big palace; the palace sequence in Chapter Five, which has the nimble Flash vaulting through windows to avoid the guards, is a particular standout. Directors Ford Beebe (a Universal serial veteran) and Robert Hill (a talented director who rarely escaped from low-budget independent serials and B-films) do a fine job of orchestrating these action scenes, assisted by stuntmen Eddie Parker (doubling Buster Crabbe), George DeNormand, Tom Steele, Bud Wolfe, and Jerry Frank. All of the aforementioned stuntmen, except Parker, also pop up in minor acting roles.

The performances in Trip to Mars are all first-rate; the returning actors from the first serial are all just as good as they were in Flash Gordon, while the new major players fit in smoothly. Buster Crabbe’s Flash is just as tough, chipper, athletic, and likable as in the first serial–and a good deal more wise and resourceful than before, improvising strategy and coming up with plans in tough situations instead of just trying to batter his way out. Frank Shannon’s Zarkov, as consequence of Flash’s new-found intelligence, has a reduced part, not guiding the good guys’ actions as he did in the first serial; he still functions as the scientific brains of the group, though, and is still as intense, serious, and sincere as before.

Jean Rogers, with her long blonde hair bobbed and dyed brown to better match the comic-strip version of Dale Arden (she’s also dressed in less arresting fashion), isn’t as stunning as in Flash Gordon, but is still a warm, welcome, and lovely presence. Her part here is smaller than in the first serial, though, since Ming is not romantically interested in her this time out (Ming, though no gentleman, evidently prefers blondes). Richard Alexander’s Prince Barin is a lot more self-assured when it comes to delivering dialogue this time around (helped, no doubt, by the absence of any overly high-flown lines), while his convincingly royal bearing and his commanding size are as effective as before.

Charles Middleton’s Ming is even more entertainingly sinister here than he was in Flash Gordon, getting a good deal more screen time and given a more devilish appearance by a notably forked beard. Though still given opportunities to break into tyrannical and bloodthirsty rages (particularly in his insane rant in the final chapter), Middleton spends much of the serial displaying duplicity and sly subtlety instead, since his Ming must pretend to friendship with Azura even while plotting against her. Middleton carries off this slightly more multi-faceted version of Ming masterfully, winning a few laughs with his crafty cynicism while remaining thoroughly sinister and hateful.

Beatrice Roberts does a fine job as Queen Azura, eschewing the sneering, aggressive demeanor of other serial villainesses for a regal, dignified manner (with a wryly humorous undercurrent) that contrasts interestingly with her often cruel behavior. Her Azura comes off as selfish and ruthless, but not an abusive tyrant like Ming. Donald Kerr as reporter Happy Hapgood, the other principal new character, is as controversial among fans as most other serial comedy-relief characters are. Speaking for myself, though, I found him quite likable and entertaining; he provides an amusingly commonplace point-of-view towards the fantastic world of Mars and is never obtrusive, gratingly stupid, or obnoxious. Additionally, his character is allowed to be quite heroic and helpful when the chips are down, a far cry from one-dimensional cowardly “comic” pests like Sonny Ray in Perils of Pauline or Lee Ford in SOS Coast Guard.

Wheeler Oakman is very good as Tarnak, Ming’s wily lab assistant and co-conspirator against Azura. C. Montague Shaw, concealed under heavy makeup for most of the serial, conveys an impressive air of ruined dignity as the King of the Clay People and manages to seem both sinister and sympathetic at different times. Usual hero Kane Richmond brings appropriate depth of characterization to his key role as a Martian pilot, who proves instrumental in helping Flash overthrow Ming in the later chapters. Anthony Warde has a small part as Toran, king of the Forest People, but extracts as much snarling nastiness as possible from the role. Future director Thomas Carr is his second-in-command, Kenne Duncan is the officer in charge of Azura’s airdrome, Lane Chandler and Jack Mulhall both appear as pilots of her Death Squadron, and Warner Richmond has a small role as one of Ming’s palace cohorts.

Hooper Atchley and James Blaine pop up as self-important Earth scientists, propounding ingenious and inaccurate theories as to the causes of the damage brought about by the Nitron Lamp, while Edwin Stanley is the general presiding over a council comprised of these two and additional savants. Louis Merrill (a radio actor who played character roles in several feature films) has a brief but memorable turn as the blunt and slightly uncouth Dr. Metz, who alone among the scientists has the humility to admit that Zarkov is the only one capable of unravelling the riddle of the disasters. Merrill’s characterization is so vivid that one wishes the actor had taken a larger part in this chapterplay or in other serials.

Flash Gordon’s Trip to Mars is a nearly ideal sequel, in that it manages to preserve the basic strengths of its predecessor while deviating from it in some areas and improving on it in others. It’s also a nearly ideal serial, independent of its relation to the earlier Flash Gordon; it balances good acting, atmosphere, action, and plotting in such fine style that it would still be a notable achievement if it were the sole entry in the Flash Gordon series.

youtu.be/lmBsGmAVM3A Part 1

youtu.be/pKAxRxW3l9U Part 2

Starring Eric Porter, Hildegard Knef, Suzanna Leigh, Tony Beckley, Nigel Stock, Neil McCallum, Ben Carruthers, Victor Maddern, and Norman Eshley. Directed by Michael Carreras, and Leslie Norman.

The Lost Continent is a crazy-quilt of a film, with chunks of several unrelated plotlines sewn together willy nilly. Eric Porter plays Lansen, the captain of a tramp steamer who has agreed to deliver contraband dynamite for a hefty price. His passengers are a polyglot of the good, the bad and the worse. Shipwrecked on an mysterious isle in the Sargasso Sea, Lansen and party find themselves prisoners of a bizarre inbred colony still governed by the long-abandoned edicts of the Spanish Inquisition. The film is no more coherent than the original Dennis Wheatley novel Uncharted Seas, but that doesn't detract from its endearing wackiness. To their credit, the cast members of Lost Continent play the script straight, which merely adds to the kinky fun.

review

It would be exaggerating to call The Lost Continenht a very good film, but it's a strangely appealing one. This is especially true for those who are fans of science fiction films, especially of the "lost world" sub-genre. Aficionados may argue that Continent doesn't actually belong in that "lost world" category as, despite its title, the voyagers don't really discover a long-lost continent so much as encounter a strange civilization existing in the Sargasso Sea -- but that's splitting hairs. Continent has giant sea creatures, man-eating seaweed, people walking on snowshoes while being held aloft by balloons, and a group who still thinks the Spanish Inquisition is going on -- more than enough to satisfy any fan. Granted, it's totally ridiculous and immensely silly, and granted that the melodrama is piled on with a sledgehammer; yet that somehow adds to Continent's appeal. (For young male viewers, it also doesn't hurt that Continent features some very attractive women among its cast members.) The filmmakers have so much fun setting up this strange world and the exploring it that it's rather contagious -- so much so that most viewers won't mind the crudity of some of the special effects. Continent is a good picture to approach on a rainy day when the viewer has just popped some corn and feels like something that will make him feel like a wide-eyed 10-year-old again.

youtu.be/lmBsGmAVM3A Part 1

youtu.be/pKAxRxW3l9U Part 2

Starring Eric Porter, Hildegard Knef, Suzanna Leigh, Tony Beckley, Nigel Stock, Neil McCallum, Ben Carruthers, Victor Maddern, and Norman Eshley. Directed by Michael Carreras, and Leslie Norman.

The Lost Continent is a crazy-quilt of a film, with chunks of several unrelated plotlines sewn together willy nilly. Eric Porter plays Lansen, the captain of a tramp steamer who has agreed to deliver contraband dynamite for a hefty price. His passengers are a polyglot of the good, the bad and the worse. Shipwrecked on an mysterious isle in the Sargasso Sea, Lansen and party find themselves prisoners of a bizarre inbred colony still governed by the long-abandoned edicts of the Spanish Inquisition. The film is no more coherent than the original Dennis Wheatley novel Uncharted Seas, but that doesn't detract from its endearing wackiness. To their credit, the cast members of Lost Continent play the script straight, which merely adds to the kinky fun.

review

It would be exaggerating to call The Lost Continenht a very good film, but it's a strangely appealing one. This is especially true for those who are fans of science fiction films, especially of the "lost world" sub-genre. Aficionados may argue that Continent doesn't actually belong in that "lost world" category as, despite its title, the voyagers don't really discover a long-lost continent so much as encounter a strange civilization existing in the Sargasso Sea -- but that's splitting hairs. Continent has giant sea creatures, man-eating seaweed, people walking on snowshoes while being held aloft by balloons, and a group who still thinks the Spanish Inquisition is going on -- more than enough to satisfy any fan. Granted, it's totally ridiculous and immensely silly, and granted that the melodrama is piled on with a sledgehammer; yet that somehow adds to Continent's appeal. (For young male viewers, it also doesn't hurt that Continent features some very attractive women among its cast members.) The filmmakers have so much fun setting up this strange world and the exploring it that it's rather contagious -- so much so that most viewers won't mind the crudity of some of the special effects. Continent is a good picture to approach on a rainy day when the viewer has just popped some corn and feels like something that will make him feel like a wide-eyed 10-year-old again.

youtu.be/lmBsGmAVM3A Part 1

youtu.be/pKAxRxW3l9U Part 2

Starring Eric Porter, Hildegard Knef, Suzanna Leigh, Tony Beckley, Nigel Stock, Neil McCallum, Ben Carruthers, Victor Maddern, and Norman Eshley. Directed by Michael Carreras, and Leslie Norman.

The Lost Continent is a crazy-quilt of a film, with chunks of several unrelated plotlines sewn together willy nilly. Eric Porter plays Lansen, the captain of a tramp steamer who has agreed to deliver contraband dynamite for a hefty price. His passengers are a polyglot of the good, the bad and the worse. Shipwrecked on an mysterious isle in the Sargasso Sea, Lansen and party find themselves prisoners of a bizarre inbred colony still governed by the long-abandoned edicts of the Spanish Inquisition. The film is no more coherent than the original Dennis Wheatley novel Uncharted Seas, but that doesn't detract from its endearing wackiness. To their credit, the cast members of Lost Continent play the script straight, which merely adds to the kinky fun.

review

It would be exaggerating to call The Lost Continenht a very good film, but it's a strangely appealing one. This is especially true for those who are fans of science fiction films, especially of the "lost world" sub-genre. Aficionados may argue that Continent doesn't actually belong in that "lost world" category as, despite its title, the voyagers don't really discover a long-lost continent so much as encounter a strange civilization existing in the Sargasso Sea -- but that's splitting hairs. Continent has giant sea creatures, man-eating seaweed, people walking on snowshoes while being held aloft by balloons, and a group who still thinks the Spanish Inquisition is going on -- more than enough to satisfy any fan. Granted, it's totally ridiculous and immensely silly, and granted that the melodrama is piled on with a sledgehammer; yet that somehow adds to Continent's appeal. (For young male viewers, it also doesn't hurt that Continent features some very attractive women among its cast members.) The filmmakers have so much fun setting up this strange world and the exploring it that it's rather contagious -- so much so that most viewers won't mind the crudity of some of the special effects. Continent is a good picture to approach on a rainy day when the viewer has just popped some corn and feels like something that will make him feel like a wide-eyed 10-year-old again.