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Here's another photo from my visit to 'Another Place' on Crosby Beach. The three stooges(!) in this parody are my wife (left as we see it) and our two friends Shaun and Heather
Artwork ©jackiecrossley
© All rights reserved. This image may not be copied, reproduced, distributed, republished, displayed, posted or transmitted in any form or by any means, including electronic, mechanical, photocopying & recording without my written permission. This image is not authorised for use on your blogs, pinboards, websites or use in any other way. You may not download this image without my written permission from me. Thank you.
Watch and enjoy the classic 80s comedy show :Not The Nine O'Clock News - Nice Video, Shame About The Song
Disclaimer:
This image and the following story are a parody. They are not meant to offend anyone who supports, believes in etc the person object of the parody.
When making a parody the author takes a event or a person, fictional or real, and exaggerates certain traits to creates a humorous response.
It shouldn’t even be necessary to write this disclaimer because it’s clear what a parody is but here we go :)
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Donnie has a dream: to fill an empty land with a monument so magnificent even spacefaring civilizations will praise it.
His Great, Great, Greater than his own hands Wall will be amazing.
However like most visionaries, or people who rage tweet under influence, he is often misunderstood.
The losers with lack of vision don’t realize a wall is a great thing: it’s a world on his own.
You can put plants on it and they can flourish, birds can find shelter and well, you know, leave some little mark on it.
The wall is a world on its own and he, Donnie the Greatest of the Greatest will create a brave new world (don’t even think to say it’s a god complex or he will tweet you “SEE YOU IN COURT”).
The Wall will be amazing but like all the precious things it is going to cost a lot.
But fear you should not, for Donnie has a plan great and amazing like the Wall itself.
Who will benefit more from the sight of such magnificent monument?
The inhabitants from the other side of the wall, of course. They will be blessed by its sight every say so it’s right they to pay for it.
However few are the enlightened persons on this world (the Mighty Vladdy the Hutt is obviously the most enlightened of them all) and the inhabitants of that land have no intention to pay the Wall.
Saying no to the Great Donnie is not enough: they even mistreat him when he asks them (all in CAPS LOCK) the money!
How rude!
A little “behind the scene” look:
To be honest I didn’t plan to make many more of “real life inspired” parodies but since some byproduct of bad human evolution lol tried to bully me into not doing this kind of stuff, I obviously decided to do more lol :)
If someone wants me to do something then they must try to force me to not do it: rest assure I’ll do it just for a matter of principle lol :)
May the Brick be with You :)
P.S.: I mean Lego Bricks. Since we talked about walls I wanted to make it clear lol :)
La carrera ha sido dura...los rivales han estado apretando todas las vueltas...los neumáticos no eran los acertados...pero creo que aún podemos mejorar nuestro patinete...
(esta foto la tomo como un punto de humor a el mundo del deporte, las carreras, el look de los pilotos...en fin...algo de humor :)...)
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The Avengers is a spy-fi British television series created in the 1960s. The Avengers initially focused on Dr. David Keel (Ian Hendry) and his assistant John Steed (Patrick Macnee). Hendry left after the first series and Steed became the main character, partnered with a succession of assistants. Steed's most famous assistants were intelligent, stylish and assertive women: Cathy Gale (Honor Blackman), Emma Peel (Diana Rigg), and later Tara King (Linda Thorson). Later episodes increasingly incorporated elements of science fiction and fantasy, parody and British eccentricity. The Avengers ran from 1961 until 1969, screening as one hour episodes its entire run.
The pilot episode, "Hot Snow", aired on 7 January 1961.
The final episode, "Bizarre", aired on 21 May 1969.
The Avengers was produced by ABC Television, a contractor within the ITV network. After a merger in July 1968 ABC Television became Thames Television, which continued production of the series although it was still broadcast under the ABC name. By 1969 The Avengers was shown in more than 90 countries. ITV produced a sequel series The New Avengers (1976–1977) with Patrick Macnee returning as John Steed, and two new partners.
In 2007 The Avengers was ranked #20 on TV Guide's Top Cult Shows Ever
1961: With Dr David Keel (Ian Hendry)
The Avengers began in the episode Hot Snow, with medical doctor, Dr David Keel (Ian Hendry), investigating the murder of his fiancée and office receptionist Peggy by a drug ring. A stranger named John Steed, who was investigating the ring, appeared and together they set out to avenge her death in the first two episodes. Afterwards, Steed asked Keel to partner him as needed to solve crimes.
The Avengers followed Hendry's Police Surgeon, in which he played police surgeon Geoffrey Brent.[3] While Police Surgeon did not last long, viewers praised Hendry. Hendry was considered the star of the new series, receiving top billing over Macnee, and Steed did not appear in two episodes.
As the series progressed, Steed's importance increased, and he carried the final episode solo. While Steed and Keel used wit while discussing crimes and dangers, the series also depicted the interplay—and often tension—between Keel's idealism and Steed's professionalism. As seen in one of the two surviving episodes from the first series, "The Frighteners", Steed also had helpers among the population who provided information, similar to the "Baker Street Irregulars" of Sherlock Holmes.
The other regular in the first series was Carol Wilson (Ingrid Hafner), the nurse and receptionist who replaced the slain Peggy. Carol assisted Keel and Steed in cases, without being part of Steed's inner circle. Hafner had played opposite Hendry as a nurse in Police Surgeon.[3]
The series was shot on 405-line videotape using a multicamera setup. There was little provision for editing and virtually no location footage (although the very first shot of the first episode consisted of location footage). As was standard practice at the time, videotapes of early episodes of The Avengers were reused. Of the first series, two complete episodes still exist, as 16 mm film telerecordings. One of the episodes remaining does not feature Steed. The first 15 minutes of the first episode also exists as a telerecording; the extant footage ends at the conclusion of the first act, prior to the introduction of John Steed.
The missing television episodes are currently being re-created for audio by Big Finish Productions under the title of The Avengers - The Lost Episodes[4] and star Julian Wadham as Steed, Anthony Howell as Dr. Keel and Lucy Briggs-Owen as Carol Wilson.
1962–64: With Cathy Gale (Honor Blackman), Venus Smith (Julie Stevens) and Dr Martin King (Jon Rollason)
Patrick Macnee as John Steed and Honor Blackman as Cathy Gale
Production of the first series was cut short by a strike. By the time production could begin on the second series, Hendry had quit to pursue a film career. Macnee was promoted to star and Steed became the focus of the series, initially working with a rotation of three different partners. Dr Martin King (Jon Rollason), a thinly disguised rewriting of Keel, saw action in only three episodes produced from scripts written for the first series. King was intended to be a transitional character between Keel and Steed's two new female partners, but while the Dr. King episodes were shot first, they were shown out of production order in the middle of the season. The character was thereafter quickly and quietly dropped.
Nightclub singer Venus Smith (Julie Stevens) appeared in six episodes. She was a complete "amateur", meaning that she did not have any professional crime-fighting skills as did the two doctors. She was excited to be participating in a "spy" adventure alongside secret agent Steed (although at least one episode—"The Removal Men"—indicates she is not always enthusiastic). Nonetheless, she appears to be attracted to him and their relationship appears similar to that later displayed between Steed and Tara King. Her episodes featured musical interludes showcasing her singing performances. The character of Venus underwent some revision during her run, adopting more youthful demeanour and dress.
The first episode broadcast in the second series had introduced the partner who would change the show into the format for which it is most remembered. Honor Blackman played Dr Cathy Gale, a self-assured, quick-witted anthropologist who was skilled in judo and had a passion for wearing leather clothes.[5] Widowed during the Mau Mau years in Kenya, she was the "talented amateur" who saw her aid to Steed's cases as a service to her nation. Gale was said to have been born 5 October 1930 at midnight, and was raised in Africa. Gale was early-to-mid 30s during her tenure, in contrast to female characters in similar series who tended to be younger.
Gale was unlike any female character seen before on British TV and became a household name. Reportedly, part of her charm came from the fact that her earliest appearances were episodes in which dialogue written for Keel was simply transferred to her. Said series script writer Dennis Spooner "there's the famous story of how Honor Blackman played Ian Hendry's part, which is why they stuck her in leather and such—it was so much cheaper than changing the lines!"[6]
Venus Smith did not return for the third series and Cathy Gale became Steed's only regular partner. The series established a level of sexual tension between Steed and Gale, but the writers were not allowed to go beyond flirting and innuendo. Despite this the relationship between Steed and Gale was progressive for 1962–63. In "The Golden Eggs" it is revealed that Gale lived in Steed's flat; her rent according to Steed was to keep the refrigerator well-stocked and to cook for him (she appears to do neither). However, this was said to be a temporary arrangement while Gale looked for a new home, and Steed was sleeping at a hotel.
During the first series there were hints Steed worked for a branch of British Intelligence, and this was expanded in the second series. Steed initially received orders from different superiors, including someone referred to as "Charles", and "One-Ten" (Douglas Muir). By the third series the delivery of Steed's orders was not depicted on screen or explained. In "The Nutshell" the secret organisation to which Steed belongs is shown, and it is Gale's first visit to their HQ.
Small references to Steed's background were occasionally made. In series three's "Death of a Batman" it was said that Steed was with I Corps in World War II, and in Munich in 1945. In series four episode "The Hour That Never Was" Steed goes to a reunion of his RAF regiment.
A film version of the series was in its initial planning stages by late 1963 after series three was completed. An early story proposal paired Steed and Gale with a male and female duo of American agents, to make the movie appeal to the American market. Before the project could gain momentum Blackman was cast opposite Sean Connery in Goldfinger, requiring her to leave the series.
Series transformation
During the Gale era, Steed was transformed from a rugged trenchcoat-wearing agent into the stereotypical English gentleman (he had first donned bowler and carried his distinctive umbrella part way through the first season as 'The Frighteners' depicts), complete with Savile Row suit, bowler hat and umbrella with clothes later designed by Pierre Cardin. (The bowler and umbrella were soon changed to be full of tricks, including a sword hidden within the umbrella handle and a steel plate concealed in the hat.) These items were referred to in the French, German and Polish titles of the series, Chapeau melon et bottes de cuir ("Bowler hat and leather boots"), Mit Schirm, Charme und Melone ("With Umbrella, Charm and Bowler Hat") and Rewolwer i melonik ("A Revolver and a Bowler Hat"), respectively. With his impeccable manners, old world sophistication, and vintage automobiles, Steed came to represent the traditional Englishman of an earlier era.
By contrast his partners were youthful, forward-looking, and always dressed in the latest mod fashions. Gale's innovative leather outfits suited her many athletic fight scenes. Honor Blackman became a star in Britain with her black leather outfits and boots (nicknamed "kinky boots") and her judo-based fighting style. Macnee and Blackman even released a novelty song called "Kinky Boots". Some of the clothes seen in The Avengers were designed at the studio of John Sutcliffe who published the AtomAge fetish magazine.
Series script writer Dennis Spooner said that the series would frequently feature Steed visiting busy public places such as the main airport in London, without anyone else present in the scene. "'Can't you afford extras?' they'd ask. Well it wasn't like that; it's just that Steed had to be alone to be accepted. Put him in a crowd and he sticks out like a sore thumb! Let's face it, with normal people he's weird. The trick to making him acceptable is never to show him in a normal world, just fighting villains who are odder than he is!"[6]
1965–68: With Emma Peel (Diana Rigg)
In 1965 the show was sold to United States network, the American Broadcasting Company (ABC). The Avengers became one of the first British series to be aired on prime time U.S. television. The ABC network paid the then-unheard of sum of $2 million for the first 26 episodes. The average budget for each episode was reportedly £56,000, high for the British industry. The fourth series aired in the U.S. from March to December 1966.
Previously The Avengers had been shot on 405-line videotape using a multicamera setup, with very little provision for editing and virtually no location footage. The U.S. deal meant that the producers could afford to start shooting the series on 35mm film. The use of film rather than videotape was essential, as British 405-line video was technically incompatible with the U.S. NTSC videotape format. Filmed productions were standard on U.S. prime time television at that time. The Avengers continued to be produced in black and white.
The transfer to film meant that episodes would be shot using the single camera setup, giving the production greater flexibility. The use of film production and the single camera production style allowed more sophisticated visuals and camera angles and more outdoor location shots, all of which greatly improved the look of the series. As was standard on British television filmed production through the 1960s, all location work on series four was shot mute with the soundtrack created in post production. Dialogue scenes were filmed in the studio, leading to some jumps between location and studio footage.
Diana Rigg as Mrs Emma Peel
New female partner Mrs Emma Peel (Diana Rigg) debuted in this series, in October 1965. The name of the character derived from a comment by writers, during development, that they wanted a character with "man appeal". In an early attempt to incorporate this concept into the character's name, she was called "Samantha Peel", shortened to the awkward "Mantha Peel".[7] Eventually the writers began referring to the idea by the verbal shorthand, "M. Appeal",[8] which gave rise to the character's ultimate name. Emma Peel, whose husband went missing while flying over the Amazon, retained the self-assuredness of Gale, combined with superior fighting skills, intelligence, and a contemporary fashion sense.
After more than 60 actresses had been auditioned, the first choice to play the role was Elizabeth Shepherd. However, after filming one and a half episodes (the pilot; 'The Town of No Return' and part of 'The Murder Market'), Shepherd was released. Her on-screen personality was deemed less interesting than that of Blackman's Gale and it was decided she was not right for the role. Another 20 actresses were auditioned before the show's casting director suggested that producers Brian Clemens and Albert Fennell check out a televised drama featuring the relatively unknown Rigg (she had earlier guested in an episode of the TV show; 'The Sentimental Agent' that Clemens had written). Her screen test with Macnee showed that the two immediately worked well together, and a new era in Avengers history began.
A prologue was added to the beginning of all the fourth series episodes for the American transmissions. This was to clarify some initial confusion audiences had regarding the characters and their mission. In the opener, a waiter holding a champagne bottle falls dead onto a human-sized chessboard; a dagger protruding from a target on his back. Steed and Mrs. Peel (dressed in her trademark leather catsuit) walk up to the body as the voice over explains: "Extraordinary crimes against the people, and the state, have to be avenged by agents extraordinary. Two such people are John Steed, top professional, and his partner Emma Peel, talented amateur. Otherwise known as The Avengers." During this voice over, Steed pours two drinks from the wine bottle and Mrs Peel replaces her gun in her boot. They clink glasses and depart together. Fade to black and then the opening titles proper begin.
Film location plate presented by ABC TV to the Stapleford Miniature Railway, which is still in use today
In contrast to the Gale episodes, there was a lighter, comic touch in Steed and Peel's interactions with each other and their reactions to other characters and situations. Earlier series had a harder tone, with the Gale era including some quite serious espionage dramas. This almost completely disappeared as Steed and Peel visibly enjoyed topping each other's witticisms. The layer of conflict with Gale – who on occasion openly resented being used by Steed, often without her permission – was absent from Steed's interaction with Peel. Also the sexual tension between Steed and Gale was not present with Peel. In both cases, the exact relationship between the partners was left ambiguous, although they seemed to have carte blanche to visit each other's homes whenever they pleased and it was not uncommon for scenes to suggest Steed had spent the night at Gale's or Peel's home, or vice-versa. Although nothing "improper" was displayed, the obviously much closer chemistry between Steed and Peel constantly suggests intimacy between the two.
Science fiction fantasy elements (a style later known as Spy-fi) emerged in stories. The duo encountered killer robots ("The Cybernauts") and giant alien carnivorous plants ("The Man-Eater of Surrey Green").
In her fourth episode, "Death at Bargain Prices", Mrs Peel takes an undercover job at a department store. Her uniform for promoting space-age toys is an elaborate leather catsuit plus silver boots, sash, and welder's gloves. The suit minus the silver accessories became her signature outfit, which she wore primarily for fight scenes, in early episodes, and in the titles. There was a fetishistic undercurrent in some episodes. In "A Touch of Brimstone" Mrs Peel dressed in a dominatrix outfit of corset, laced boots and spiked collar to become the "Queen of Sin".
Peel's avant-garde fashions, featuring bold accents and high-contrast geometric patterns, emphasized her youthful, contemporary personality. She represented the modern England of the Sixties – just as Steed, with his vintage style and mannerisms, personified Edwardian era nostalgia. According to Macnee in his book The Avengers and Me, Rigg disliked wearing leather and insisted on a new line of fabric athletic wear for the fifth series. Alun Hughes, who had designed clothing for Diana Rigg's personal wardrobe, was suggested by the actress to design Emma Peel's "softer" new wardrobe. Pierre Cardin was brought in to design a new wardrobe for Macnee. In America, TV Guide ran a four-page photospread on Rigg's new "Emmapeeler" outfits (10–16 June 1967). Eight tight-fitting jumpsuits in a variety of bright colors were created using the stretch fabric crimplene.
Another memorable feature of the show from this point onwards was its automobiles. Steed's signature cars were vintage 1926–1928 Bentley racing or town cars, including Blower Bentleys and Bentley Speed Sixes (although, uniquely, in "The Thirteenth Hole" he drives a Vauxhall 30/98), while Peel drove a sporty Lotus Elan convertible which, like her clothes, emphasized her independence and vitality. During the first Peel series, each episode ended with a short, comedic scene of the duo leaving the scene of their most recent adventure in some unusual vehicle.
For this series Diana Rigg's stunt double was stuntman Billy Westley, Patrick Macnee's stunt double was Peter Clay.
Fifth series
After one filmed series (of 26 episodes) in black and white, The Avengers began filming in colour for the fifth series in 1966. It was three years before Britain's ITV network began full colour broadcasting.
This series was broadcast in the U.S. from January to May 1967. The American prologue of the previous series was rejigged for the colour episodes. It opened with the caption The Avengers In Color (required by ABC for colour series at that time). This was followed by Steed unwrapping the foil from a champagne bottle and Peel shooting the cork away. (Unlike the "chessboard" opening of the previous series, this new prologue was also included in UK broadcasts of the series.)
The first 16 episodes of the fifth series begin with Peel receiving a call-to-duty message from Steed: "Mrs Peel, we're needed." Peel was conducting her normal activities when she unexpectedly received a message on a calling card or within a delivered gift, at which point Steed suddenly appeared (usually in her apartment). The messages were delivered by Steed in increasingly bizarre ways as the series progressed: in a newspaper Peel had just bought, or on traffic lights while she was out driving. On one occasion Steed appeared on her television set, interrupting an old science-fiction movie (actually clips from their Year Four episode "The Cybernauts") to call her to work. Another way Steed contacted her was in the beginning of episode 13, "A Funny Thing Happened On The Way To The Station" when she enters her flat and sees a Meccano Percy the Small Engine going around a circular track with a note on one of the train cars that says "Mrs. Peel" in bold letters, she then walks over to Steed who says "you're needed". At the start of "The Hidden Tiger" Peel is redecorating her apartment (wearing a jumpsuit and drinking champagne); she peels off a strip of wallpaper, revealing the words "Mrs Peel" painted on the wall beneath. She turns to see Steed in the apartment removing another strip of wallpaper, revealing "We're needed" painted underneath on another wall. In another instance Emma enters Steed's flat to find he has just fallen down the stairs, and he painfully gasps, "Mrs Peel, you're needed." Often the episode's tag scene returned to the situation of the "Mrs Peel, we're needed" scene. "The Hidden Tiger" returns to the partially redecorated apartment where Steed begins painting a love heart and arrow and the initials of two people on the wall, but paints over the initials when Peel sees his graffito. In "The Superlative Seven" the call to duty and the tag both involve a duck shooting situation where unexpected items fall from the sky after shots are fired.
The series also introduced a comic tag line caption to the episode title, using the format of "Steed [does this], Emma [does that]." For example "The Joker" had the opening caption: "Steed trumps an ace, Emma plays a lone hand".('The Joker' was to a large extent a re-write colour episode of the earlier Cathy Gale b/w era story; 'Don't Look Behind You' as were a few other later episodes re-writes in colour of b/w era tales.)
The "Mrs Peel, we're needed" scenes and the alternate tag lines were dropped after the first 16 episodes, after a break in production, for financial reasons. They were deemed by the U.K. networks as disposable if The Avengers was to return to ITV screens. (Dave Rogers' book The Avengers Anew lists a set for every Steed/Peel episode except "The Forget-Me-Knot".)
Stories were increasingly characterised by a futuristic, science fiction bent, with mad scientists and their creations wreaking havoc. The duo dealt with being shrunk to doll size ("Mission... Highly Improbable"), pet cats being electrically altered into ferocious and lethal "miniature tigers" ("The Hidden Tiger"), killer automata ("Return of The Cybernauts"), mind-transferring machines ("Who's Who???"), and invisible foes ("The See-Through Man").
The series parodied its American contemporaries with episodes such as "The Girl From AUNTIE", "Mission... Highly Improbable" and "The Winged Avenger" (spoofing The Man from U.N.C.L.E., Mission: Impossible and Batman, respectively). The show still carried the basic format – Steed and his associate were charged with solving the problem in the space of a 50-minute episode, thus preserving the safety of 1960s Britain.
Comedy was evident in the names and acronyms of the organizations. For example, in "The Living Dead", two rival groups examine reported ghost sightings: FOG (Friends Of Ghosts) and SMOG (Scientific Measurement Of Ghosts). "The Hidden Tiger" features the Philanthropic Union for Rescue, Relief and Recuperation of Cats—PURRR—led by characters named Cheshire, Manx, and Angora.
The series also occasionally adopted a metafictional tone, coming close to breaking the fourth wall. In the series 5 episode "Something Nasty in the Nursery" Peel directly references the series' storytelling convention of having potentially helpful sources of information killed off just before she or Steed arrive. This then occurs a few minutes later. In the tag scene for the same episode, Steed and Peel tell viewers – indirectly – to tune in next week.
For this series Diana Rigg's stunt double was stuntwoman Cyd Child, though stuntman Peter Elliot doubled for Rigg in a stunt dive in "The Bird Who Knew Too Much".
Rigg's departure
Rigg was initially unhappy with the way she was treated by the show's producers. During her first series she learned she was being paid less than the camera man. She demanded a raise, to put her more on a par with her co-star, or she would leave the show. The producers gave in, thanks to the show's great popularity in the US.
At the end of the fifth series in 1967, Rigg left to pursue other projects. This included following Honor Blackman to play a leading role in a James Bond film, in this case On Her Majesty's Secret Service.
Rigg and Macnee have remained lifelong friends.
1968–69: With Tara King (Linda Thorson)
Thorson and Macnee
When Diana Rigg left the series in October 1967, the British network executives decided that the current series formula, despite resulting in popular success, could not be pursued further. Thus they decided that a "return to realism" was appropriate for the sixth series (1968–69). Brian Clemens and Albert Fennel were replaced by John Bryce, producer of most of the Cathy Gale-era episodes.
Bryce had a difficult situation in hand. He had to find a replacement for Diana Rigg and shoot the first seven episodes of the new series, which were supposed to be shipped to America together with the last eight Emma Peel colour episodes.
Bryce signed his then-girlfriend, 20-year-old newcomer Linda Thorson, as the new female costar and chose the name "Tara King" for her character. Thorson played the role with more innocence in mind and at heart; and unlike the previous partnerships with Cathy and Emma, the writers allowed subtle hints of romance to blossom between Steed and King. King also differed from Steed's previous partners in that she was a fully fledged (albeit initially inexperienced) agent working for Steed's organisation; his previous partners had all been (in the words of the prologue used for American broadcasts of the first Rigg series) talented amateurs. Bryce wanted Tara to be blonde, so Thorson's brown hair was bleached. However the process badly damaged Thorson's hair, so she had to wear wigs for the first third of her episodes, until her own hair grew back. Her natural brown hair was not seen until the episode "All Done with Mirrors".
Production of the first seven episodes of the sixth series began. However financial problems and internal difficulties undermined Bryce's effort. He only managed to complete three episodes: "Invitation to a Killing" (a 90-minute episode introducing Tara King), "The Great, Great Britain Crime" (some of its original footage was reused in the 1969 episode "Homicide and Old Lace") and "Invasion of the Earthmen" (which survived relatively intact except for the scenes in which Tara wears a brown wig.)
After a rough cut screening of these episodes to studio executives, Bryce was fired and Clemens and Fennel were summoned back. At their return, a fourth episode called "The Murderous Connection" was in its second day of production. After revising the script, it was renamed as "The Curious Case of the Countless Clues" and production was resumed. Production of the episode "Split!", a leftover script from the Emma Peel colour series, proceeded. Two completely new episodes were also shot: "Get-A-Way", and "Look (Stop Me If You've Heard This One) But There Were These Two Fellers".
Dennis Spooner said of the event that "Brian left The Avengers for about three episodes, someone took over, and when Brian came back, it was in a terrible state. He was faced with doing a rewrite on a film they'd already shot." The episode had a story error where Steed leaves for a destination. The villains then realise this and pursue him – yet arrive there before Steed does. It was fixed by having a character ask Steed 'What took you so long?', to which he replies 'I came the pretty way'. "You can only do that on The Avengers you see. It was just my favourite show to work on."[10]
Clemens and Fennel decided to film a new episode to introduce Tara King. This, the third episode filmed for the sixth series, was titled "The Forget-Me-Knot" and bade farewell to Emma Peel and introduced her successor, a trained but inexperienced agent named Tara King. It would be broadcast as the first episode of the sixth series. Tara debuts in dynamic style: when Steed is called to Headquarters, he is attacked and knocked down by trainee agent King who mistakes him for her training partner.
No farewell scenes for Emma Peel had been shot when Diana Rigg left the series. Rigg was recalled for "The Forget-Me-Knot", through which Emma acts as Steed's partner as usual. Rigg also filmed a farewell scene for Emma which appeared as the tag scene of the episode. It was explained that Emma's husband, Peter Peel, was found alive and rescued, and she left the British secret service to be with him. Emma visits Steed to say goodbye, and while leaving she passes Tara on the stairway giving the advice that "He likes his tea stirred anti-clockwise." Steed looks out the window as a departing Emma enters the Bentley driven by Peter – who from a distance seems to resemble Steed (and was played by Patrick Macnee, wearing a bowler hat and umbrella).
Bryce's original episode introducing Tara, "Invitation to a Killing", was revised as a regular 60-minute episode named "Have Guns Will Haggle". These episodes, together with "Invasion of the Earthmen" and the last eight Peel colour episodes, were shipped to America in February 1968.
For this series the government official who gave Steed his orders was depicted on screen. Mother, introduced in "The Forget-Me-Knot", is a man in a wheelchair. The role was taken by Patrick Newell who had played different roles in two earlier episodes, most recently in series five. Mother's headquarters would shift from place to place, including one episode where his complete office was on the top level of a double-decker bus. (Several James Bond films of the 1970s would make use of a similar gimmick for Bond's briefings.)
Added later as a regular was Mother's mute Amazonian assistant, Rhonda (Rhonda Parker). There was one appearance by an agency official code-named "Father", a blind older woman played by Iris Russell. (Russell had appeared in the series several times previously in other roles.) In one episode, "Killer", Steed is paired with Lady Diana Forbes Blakeney (Jennifer Croxton) while King is on holiday.
Scriptwriter Dennis Spooner later reflected on this series. "When I wrote "Look (Stop Me If You've Heard This One) But There Were These Two Fellers", that was definitely the last series. They were going to make no more, so in that series we went right over the top; we went really weird, because they knew there weren't going to be any more."[11]
Spooner said the series "worked because it became a parody on itself, almost. You can only do that so long." Overall he attributes the success of the show to its light approach. "We spoofed everything, we took Mission: Impossible, Bad Day at Black Rock, High Noon, The Dirty Dozen, The Birds... we took them all. The film buffs used to love it. There were always lines in it that people knew what we were talking about."[11]
Vehicle wise, Steed continued to drive vintage green Bentleys in the first seven episodes in production. His regular transport for the remainder of the series were two yellow Rolls-Royce cars. Mother also occasionally appeared in silver Rolls-Royces. Tara King drove an AC 428 and a Lotus Europa. Lady Diana Forbes Blakeney drove an MGC Roadster.
The revised series continued to be broadcast in America. The episodes with Linda Thorson as King proved to be highly rated in Europe and the UK. In the United States however, the ABC network that carried the series chose to air it opposite the number one show in the country at the time, Rowan and Martin's Laugh-In. Steed and King could not compete, and the show was cancelled in the US. Without this vital commercial backing, production could not continue in Britain either, and the series ended in May 1969. The final scene of the final episode ("Bizarre") has Steed and King, champagne glasses in hand, accidentally launching themselves into orbit aboard a rocket, as Mother breaks the fourth wall and says to the audience, "They'll be back!" before adding in shock, "They're unchaperoned up there!"
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Courtesy of Chatwick University Archives, 1960
Incompetence is their Pride,
Muddle is their Habit,
Hypocrisy is their Creed.
They are everything and it’s opposite. They are…
The Government of Change.
This image is the preview for an upcoming parody story loosely (actually not-so-loosely) inspired by the new Italian government, the self-defined “Government of Change”.
I know the majority of you who live far away from my Country may have little interest in this image but I feel the moral imperative to make this kind of satire and I thank you for your understanding.
I do believe political satire is an essential part of Democracy and given the current “turbulent” state of Italian politics I’d feel a coward if I simply hide my head in the sand.
I won’t write a wall of text today but let me tell you just one thing. Don’t believe when their propaganda says this is the “Government of the People”. The party that got about 32% of the votes allied with a party that got the 17% despite the fact they openly attacked each other before, during and after the elections.
The party with the 17% of the votes was even part of different coalition: they run with it, took some more seats from the alliance and then they allied with the other party. Basically the first party hadn’t the majority so they allied with those who arrived third; even though they define themselves “alternative to each other”.
Long story short: they “exploited” the system.
To make things even weirder the minority party de facto controls the government since the party that got the 32% of votes does exactly what the minority party orders.
So much for “Government of the People”.
Thank You for your understanding: I’m aware for many of you this is of little interest so I appreciate the fact you stopped by to look at my “moral imperative”.
Anyway I hope you like the Minfigures :) Mattie the Hater Minifigure is particularly interesting hehe :)
May the Brick be with You :)
Vladdy the Hutt is very disappointed. He invested many resources in his slave Donnie but he is struggling to meet his master’s expectations.
Donnie has an explanation for everything.
It’s all fault of the so-called judges, the fake press and the moles hired by the Mexicans to burrow under his Great Invisible Wall.
However the Mighty Vladdy wants results not excuses and he is going to show Donnie who is in charge.
Don’t worry, Vladdy will forgive Donnie because their love is stronger than anything.
Stronger than any press’ article, stronger than any C.I.A. investigation. Nothing will separate them because like an old song says “That’s Amore”.
Disclaimer:
This image and the associated story are a parody. They are not meant to offend anyone who supports, believes in etc the persons object of the parody.
When making a parody the author takes an event or a person, fictional or real, and exaggerates certain traits to creates a humorous response.
It shouldn’t even be necessary to write this disclaimer because it’s clear what a parody is, especially now that we got rid of the psycho’s hateful comments plaguing my photos’ pages (if you never saw them it’s better: they were deranged), but I want to make it clear lol :)
May the Brick be with You :)
P.S.:
Do you know what happened in Sweden? Actually nothing but according to The Donald (the one from our universe) the immigrants made terrible things.
However the Swedish saw no trace of them but The Donald has an explanation: they are Fake Swedish!
I guess the best reply came from the former Swedish Prime Minister who said "What did he [The Donald] smoke?" lol :)
© DM Parody 2019 (www.dotcom.gi/photos) These images are protected by copyright. You CANNOT copy or republish any of these photos without written consent of the photographer even if you retain the watermark (if present) and/or credit the photographer. You cannot use on any media including social media either. You CAN post a link to the page where the image appears without reference to the photographer only if not promoting a commercial product or service. Copyright infringements will be followed up, legally if necessary. Thank you for your understanding.
© DM Parody 2016 (www.dotcom.gi/photos) These images are protected by copyright. You CANNOT copy or republish any of these photos without written consent of the photographer even if you retain the watermark (if present) and/or credit the photographer. You cannot use on any media including social media either. You CAN post a link to the page where the image appears without reference to the photographer. Copyright infringements will be followed up, legally if necessary. Thank you for your understanding.
British postcard, no. C 103. Caption: Pamela Anderson - Park bench.
Sexy Canadian-American actress and model Pamela Anderson (1967) is best known for the TV series Home Improvement, Baywatch and V.I.P., but the platinum blonde but naturally born brunette also appeared in a dozen of feature films and on a record 14 Playboy covers. Furthermore she is an international celebrity thanks to her rocky marriages, her animal rights activism and her changing bust sizes.
Pamela Denise Anderson was born in Ladysmith, (Vancouver Island), BC, Canada, the daughter of Barry Anderson, a furnace repairman, and Carol (née Grosco) Anderson, a waitress. She was the first Canadian baby born in Ladysmith Canada's Centennial Day in 1967, A Centennial Baby. As a child, Anderson suffered frequent sexual abuse, a fact she revealed publicly in 2014: she was molested by a female babysitter from ages 6 to 10, raped by a 25-year-old man when she was 12, and gang-raped by her boyfriend and six of his friends when she was 14. She also revealed that her father, though "loving", had been an alcoholic. Anderson attended Highland Secondary School in Comox, British Columbia. During high school, she played on the volleyball team. She graduated in 1985. In 1988, the 19-years-old Anderson moved to Vancouver and worked as a fitness instructor. In 1989, Anderson attended a BC Lions Canadian Football League game at the BC Place Stadium in Vancouver, where the stadium camera featured her on the electronic scoreboard while wearing a Labatt's Beer T-shirt. The fans cheered her and she was brought down to the football field. Because of her fame in Vancouver, she signed a commercial contract with The brewing company to be the Blue Zone girl. More advertising assignments followed. Anderson appeared as the cover girl on Playboy magazine's October 1989 issue. She moved to Los Angeles to further pursue a modelling career. Playboy subsequently chose her as Playmate of the Month in their February 1990 issue, in which she appeared in the centrefold photo. Anderson then elected to have breast implant surgery, increasing her bust size to 34D. She famously increased her bust size again, to 34DD, several years later. Anderson has since appeared in Playboy several times in the 1990s and the 2000s. Anderson's Playboy career spans 22 years, and she has appeared on 14 Playboy covers, more than any other model. Anderson was the last to pose nude in Playboy, on the magazine's January/February 2016 cover. She also became known as a lifelong animal rights and human advocate and is also an activist for environmental issues. In 2006, she posed naked in the window of Stella McCartney's store in London to protest against the use of fur for making clothes.
After Pamela Anderson moved to Los Angeles, she won a minor role as Lisa, the original ‘Tool Time girl’, on the television sitcom, Home Improvement (1991-1993), starring Tim Allen. She left the show after two seasons and won the role of lifeguard C. J. Parker on Baywatch (1992-1997), the action drama series about the Los Angeles County Lifeguards who patrol the beaches of Los Angeles County, California, starring David Hasselhoff. She played C.J. for five seasons making her one of the longest serving and most popular cast members. This has been her best known role to date and she later reprised her role to return in a reunion movie, Baywatch: Hawaiian Wedding (Douglas Schwartz, 2003). In 1994, she was cast in her first starring film role, in the action thriller Raw Justice (David A. Prior, 1994), co-starring with Stacy Keach. She also appeared in Naked Souls (Lyndon Chubbuck, 1996), starring Brian Krause. Next she starred in the action-Science Fiction film Barb Wire (David Hogan, 1996), based on the Dark Horse comic book series of the same name. The thinly veiled futuristic remake of Casablanca was poorly received by critics, bombed at the box office and resulted for Anderson in a Golden Raspberry Award for her interpretation. In 1998, she came back as Vallery Irons in the TV series V.I.P. (1998-2002) about a bodyguard agency (V.I.P. aka Vallery Irons Protection). Blending action and humour in a fast-paced adventure series, with Anderson often poking fun at her tabloid image, the show explored the exciting and sometimes treacherous lives of the rich and famous. The series lasted through a successful four-year run. In 1999, Anderson had her breast implants surgically removed. The breaking news seemed like the end of an era.
Pamela Anderson married Tommy Lee, drummer of Mötley Crüe in 1995, after knowing him for about 4 days. They wed on a beach, with Anderson in a bikini. Anderson's mother did not know, and learned of the marriage from People magazine. A sex tape of Anderson and Tommy Lee on their honeymoon was stolen from their home in 1995 and made a huge stir on the Internet. Anderson sued the video distribution company, Internet Entertainment Group. Ultimately, the Lees entered into a confidential settlement agreement with IEG. During this time, she was known professionally as Pamela Anderson Lee. Together they have two sons, Brandon Thomas Lee and Dylan Jagger Lee. The couple divorced in 1998. In 2000, Anderson became engaged to Swedish model Marcus Schenkenberg, but they broke up in 2001. In 2004, Anderson became a naturalized citizen of the United States, while retaining her Canadian citizenship. She became engaged to the singer Kid Rock (Robert J. Ritchie); and they married in 2006. Later that year Anderson miscarried while shooting a new film, Blonde and Blonder (Dean Hamilton, 2006) with Denise Richards. Seventeen days later, Anderson filed for divorce. In 2007, Anderson married Rick Salomon in a small wedding ceremony at The Mirage, between her two nightly appearances at the Planet Hollywood Resort and Casino in Hans Klok's magic show. The couple separated later that year and Anderson requested through the courts that the marriage be annulled, citing fraud. In 2014 they remarried and also divorced again in 2015. Her film work in the new millennium consisted mainly of cameos in such comedies as Scooby-Doo (Raja Gosnell, 2002) with Freddie Prinze Jr. and Sarah Michelle Gellar, and Scary Movie 3 (David Zucker, 2003), part of the franchise that parodied the horror, sci-fi, and mystery genres. In 2004, she released the book Star, co-written by Eric Shaw Quinn, about a teenager trying to become famous. Her second book, the sequel Star Struck (2005), is a thinly veiled look at her life with Tommy Lee and the trials of celebrity life. Anderson appeared in the mockumentary, Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (Larry Charles, 2006), as the title character (Sacha Baron Cohen) becomes obsessed with her, and plans to abduct and marry her. She appears as herself at a book signing at the end of the film, confronted by Borat in a staged botched abduction. The film opened at No. 1 in the US box office, maintaining first place for two weeks straight. More recently she co-starred in the independent film The People Garden (Nadia Litz, 2016), a Canadian-Japanese drama starring Dree Hemingway, and for this year she’s scheduled to return in a cameo as the older C.J. in a new film version of Baywatch (Seth Gordon, 2017). The new film version stars Dwayne ‘The Rock’ Johnson, Priyanka Chopra and Zac Efron and the tagline is promising: Don't worry, summer is coming. Recently, Pamela Anderson, now 49, appeared in the erotic magazine The Amorist in new pictures by photographer Rankin for a new ad campaign for an erotic lingerie brand. The DailyMail Online commented: “Time may well be a cruel mistress, but Pamela Anderson goes some way towards proving the years have been kind in a stunning new photoshoot.”
Sources: Pamelandersonfoundation.org, Daily Mail Online, Wikipedia and IMDb.
© DM Parody 2021 (www.flickr.com/photos/davidparody/) These images are protected by copyright. You CANNOT copy or republish any of these photos without written consent of the photographer even if you retain the watermark (if present) and/or credit the photographer. You cannot use on any media including social media either. You CAN post a link to the page where the image appears without reference to the photographer only if not promoting a commercial product or service. Copyright infringements will be followed up, legally if necessary. Thank you for your understanding.
© DM Parody 2016 (www.dotcom.gi/photos) These images are protected by copyright. You CANNOT copy or republish any of these photos without written consent of the photographer even if you retain the watermark (if present) and/or credit the photographer. You cannot use on any media including social media either. You CAN post a link to the page where the image appears without reference to the photographer. Copyright infringements will be followed up, legally if necessary. Thank you for your understanding.
What a confusing world it can seem with a hangover.
Sit as still as you can. Do not attempt to make any decisions.
Look out of the window. Can you recognise simple shapes and colours? Is there a moon or a sun in the sky? What sort of a name might you have? Where might there be bacon?
If you feel as though you fell asleep tongue-first on an antique bear-pelt…If your heart gallops and your hair aches… If you are scared of fresh air…then you may have something called a hangover.
Ladybird Book of The Hangover
© DM Parody 2018 (www.dotcom.gi/photos) These images are protected by copyright. You CANNOT copy or republish any of these photos without written consent of the photographer even if you retain the watermark (if present) and/or credit the photographer. You cannot use on any media including social media either. You CAN post a link to the page where the image appears without reference to the photographer only if not promoting a commercial product or service. Copyright infringements will be followed up, legally if necessary. Thank you for your understanding.
© DM Parody 2018 (www.dotcom.gi/photos) These images are protected by copyright. You CANNOT copy or republish any of these photos without written consent of the photographer even if you retain the watermark (if present) and/or credit the photographer. You cannot use on any media including social media either. You CAN post a link to the page where the image appears without reference to the photographer only if not promoting a commercial product or service. Copyright infringements will be followed up, legally if necessary. Thank you for your understanding.
In the spirit of parody that characterizes their work, General Idea employed the visual language of heraldry to create these crests. The series features conventional motifs drawn from actual crests of cities they had visited as well as imagery from the group’s own iconography – a tweed patter, cornucopias, ziggurats, flames, poodles, the word “fetish” and human skulls. The crests address the themes that most fascinated the artists: fashion, abundance, power, destruction, queerness, sex and death.
From the preview pics of the doll circulating around, I thought the creative juices at Mattel might be running dry. The doll was plain, it looked like another 90s superstar play doll (not that they are not nice, but this is a collectors line at the end of the day...). The red gown looked recycled as well, in fact some resemblance to the 1992 Radiant in Red gown. Time for a fresh revamp of the Holiday Barbie series! Something more advant garde or modern pls! There also has to be something special about each doll's face and hair! Not another generic looking Mackie or worse, Aphrodite, which we have seen so much from the Barbie Look red carpet collection (yes I have my own complaints and thoughts about the second series, which I thought were plain and rather cheap looking. sorry to those who like them!). Moreover, this is Barbie's 55th year! Isn't it right to expect something more from the Collectors line? ;p
© DM Parody 2016 (www.dotcom.gi/photos) These images are protected by copyright. You CANNOT copy or republish any of these photos without written consent of the photographer even if you retain the watermark (if present) and/or credit the photographer. You cannot use on any media including social media either. You CAN post a link to the page where the image appears without reference to the photographer. Copyright infringements will be followed up, legally if necessary. Thank you for your understanding.
I thought the motivation parody was the funniest idea! The only downside to this photo is that my lips still hurt from that duct tape! Todd is once again a good sport and this was fun to take!
FGR: Motivation Parody
Created with fd's Flickr Toys.
(Dining room background by Neale,deviantart. Sorry unable to put the link as I can't find you again...Oh! And I made the dress out of paper...)
American postcard by American Postcard Company, no. 3900, 1998. Photo: New Line Cinema. Publicity still for Polyester (John Waters, 1981). Caption: Divine as "Francine Fishpaw," and STIV BATORS as "Bo-Bo Belsinger" in John Waters' Polyester, 1981. The film introduced "ODORAMA" which allowed the audience to share in 10-of the more penetrating odors that plagued poor "Francine".
Harris Glenn Milstead, better known by his stage name Divine (1945-1988), was an American actor, singer, and drag queen. He was closely associated with the independent filmmaker John Waters. Divine became the international icon of bad taste cinema.
Harris Glenn Milstead was born in 1945 in Baltimore, Maryland to a conservative middle-class family. His parents were Harris Bernard Milstead and Frances Milstead (née Vukovich). Their only child, his parents lavished almost anything that he wanted upon him, including food. He became overweight, a condition he lived with for the rest of his life. Divine preferred to use his middle name, Glenn, to distinguish himself from his father, and was referred to as such by his parents and friends. When he was 17, his parents sent him to a psychiatrist, where he first realised his sexual attraction to men as well as women, something then taboo in conventional American society. In 1963, he began attending the Marinella Beauty School, where he learned hair styling and, after completing his studies, gained employment at a couple of local salons, specialising in the creation of beehives and other upswept hairstyles.
Milstead developed an early interest in drag while working as a women's hairdresser. He eventually gave up his job and for a while was financially supported by his parents, who catered to his expensive taste in clothes and cars. They reluctantly paid the many bills that he ran up financing lavish parties where he would dress up in drag as his favourite celebrity, actress Elizabeth Taylor. By the mid-1960s he had embraced the city's countercultural scene. His friend from high school, John Waters gave him the name 'Divine' and the tagline of 'the most beautiful woman in the world, almost'. Waters later remarked that he had borrowed the name Divine from a character in Jean Genet's novel Our Lady of the Flowers (1943). Along with his friend David Lochary, Divine joined Waters' acting troupe, the Dreamlanders (which also included Mary Vivian Pearce and Mink Stole), and adopted female roles for their experimental short films. The first was Roman Candles (John Waters, 1966), which was shown 'triple projected' on three 8mm projectors running simultaneously but was never released commercially. Divine starred in drag as a smoking nun. Other short films were Eat Your Makeup (John Waters, 1968), and The Diane Linkletter Story (John Waters, 1969), filmed on Sunday afternoons. Again in drag, he took a lead role in Waters' first full-length film, Mondo Trasho (John Waters, 1969) Divine as an unnamed blonde woman who drives around town and runs over a hitchhiker. In their review of the film, the Los Angeles Free Press exclaimed that "The 300-pound (140 kg) sex-symbol Divine is undoubtedly some sort of discovery." In 1970, he travelled to San Francisco, California, a city which had a large gay subculture that attracted Divine, who was then embracing his homosexuality. Divine played the role of Lady Divine, the operator of an exhibit known as The Cavalcade of Perversion who turns to murdering visitors in Waters's film Multiple Maniacs. The film contained several controversial scenes, notably one which involved Lady Divine masturbating using a rosary while sitting inside a church. In another, Lady Divine kills her boyfriend and proceeds to eat his heart; in actuality, Divine bit into a cow's heart which had gone rotten from being left out on the set all day. At the end of the film, Lady Divine is raped by a giant lobster named Lobstora, an act that drives her into madness; she subsequently goes on a killing spree in Fell's Point before being shot down by the National Guard. Due to its controversial nature, Waters feared that the film would be banned and confiscated by the Maryland Censor Board, so avoided their jurisdiction by only screening it at non-commercial venues, namely rented church premises. Multiple Maniacs was the first of Waters's films to receive widespread attention, as did Divine; KSFX remarked that "Divine is incredible! Could start a whole new trend in films." Following his San Francisco sojourn, Divine returned to Baltimore and participated in Pink Flamingos (John Waters, 1972). Designed by Waters to be an exercise in poor taste, the film featured Divine as Babs Johnson, living in a pink trailer with her egg-eating grandmother, chicken-loving son and voyeuristic daughter. Babs claims to be 'the filthiest person alive' and she is forced to prove her right to the title from challengers, Connie (Mink Stole) and Raymond Marble (David Lochary). In one scene, the Marbles send Babs a turd in a box as a birthday present, and in order to enact this scene, Divine defecated into the box the night before. The final scene in the film proved particularly infamous, involving Babs eating fresh dog feces; Divine later told a reporter, "I followed that dog around for three hours just zooming in on its asshole," waiting for it to empty its bowels so that they could film the scene. The scene became one of the most notable moments of Divine's acting career, and he later complained of people thinking that "I run around doing it all the time". The film proved a hit on the U.S. midnight movie circuit, became a cult classic, and established Divine's fame within the American counterculture.
Divine returned to San Francisco, where he and Mink Stole starred in a number of small-budget plays at the Palace Theater as part of drag troupe The Cockettes, including Divine and Her Stimulating Studs, Divine Saves the World, Vice Palace, Journey to the Center of Uranus and The Heartbreak of Psoriasis. In 1974, Divine returned to Baltimore to film Waters's next motion picture, Female Trouble, in which he played the lead role. Divine was unable to appear in Waters's next feature, Desperate Living (John Waters, 1977), despite the fact that the role of Mole McHenry had been written for him. This was because he had returned to working in the theatre as the scheming prison matron Pauline in Tom Eyen's play Women Behind Bars and its sequel, The Neon Woman. While in London in 1978, Divine attended as the guest of honour at the fourth Alternative Miss World pageant, a 'mock' event founded by Andrew Logan in 1972 in which 'drag queens' – including men, women and children – competed for the prize. The event was filmed by director Richard Gayer, whose subsequent film, entitled Alternative Miss World, premiered at the Odeon in London's Leicester Square as well as featuring at the Cannes Film Festival, both events which were attended by Divine. Continuing his cinematic work, he starred in Polyester (John Waters, 1981) as Francine Fishpaw. Unlike earlier roles, Fishpaw was not a strong female but a meek and victimized woman who falls in love with her dream lover, Todd Tomorrow, played by Tab Hunter. The film was released in 'Odorama', accompanied by 'scratch 'n' sniff' cards for the audience to smell at key points in the film. In 1981, Divine embarked on a career in the disco industry by producing a number of Hi-NRG tracks, most of which were written by Bobby Orlando. He achieved international chart success with hits like 'You Think You're a Man', 'I'm So Beautiful', and 'Walk Like a Man', all of which were performed in drag. The next Divine film, Lust in the Dust (Paul Bartel, 1985), reunited him with Tab Hunter and was Divine's first film not directed by John Waters. Set in the Wild West during the nineteenth century, the film was a sex comedy that starred Divine as Rosie Velez, a promiscuous woman who works as a singer in saloons and competes for the love of Abel Wood (Tab Hunter) against another woman (Lainie Kazan). A parody of the Western Duel in the Sun (King Vidor, 1946), the film was a moderate critical success. Divine followed this production with a very different role, that of gay male gangster Hilly Blue in Trouble in Mind (Alan Rudolph, 1985), starring Kris Kristofferson and Keith Carradine. The script was written with Divine in mind. Although not a major character in the film, Divine had been eager to play the part because he wished to perform in more male roles and leave behind the stereotype of simply being a female impersonator. Reviews of the film were mixed, as were the evaluations of Divine's performance. The he reunited with John Waters for Hairspray (John Waters, 1988), which represented his breakthrough into mainstream cinema. Set in Baltimore during the 1960s, Hairspray revolved around self-proclaimed "pleasantly plump" teenager Tracy Turnblad (Ricki Lake) as she pursues stardom as a dancer on a local television show and rallies against racial segregation. As he had in Female Trouble, Divine took on two roles in the film, one of which was female and the other male. The first of these, Edna Turnblad, was Tracy's loving mother; the other was the racist head of the station that airs the Corny Collins show. Hairspray was only a moderate success upon its initial theatrical release, earning a modest gross of $8 million. However, it managed to attract a larger audience on home video in the early 1990s and became a cult classic. Divine's final film role was in the low-budget comedy horror Out of the Dark (Michael Schroeder, 1989), produced with the same crew as Lust in the Dust. Appearing in only one scene within the film, he played the character of Detective Langella, a foulmouthed policeman investigating the murders of a killer clown. Out of the Dark would be released the year after Divine's death. On 7 March 1988, three weeks after Hairspray was released nationwide, Divine was staying at the Regency Plaza Suites Hotel in Los Angeles. He was scheduled to film a guest appearance the following day as Uncle Otto on the Fox network's television series Married... with Children in the second season wrap-up episode. Shortly before midnight, he died in his sleep, at age 42, of an enlarged heart (according to Wikipdia or respiratory failure caused by sleep apnea (according to IMDb). It was probably a combination. Described by People magazine as the 'Drag Queen of the Century', Divine has remained a cult figure, particularly within the LGBT community, and has provided the inspiration for fictional characters, artworks, and songs. Various books and documentary films devoted to his life have also been produced, including Divine Trash (1998) and I Am Divine (2013), written by Divine's manager and friend Bernard Jay. Frances Milstead subsequently cowrote her own book about Divine, entitled My Son Divine (2001), with Kevin Heffernan and Steve Yeager. His mother's continued relationship with the gay community was later documented in a film Frances: A Mother Divine (Tim Dunn, Michael O'Quinn, 2010)
Sources: Wikipedia and IMDb.
Here's a little parody of the iconic car from the no-less-famous TV series. One may also find some references to Hardcastle and McCormick show and their Coyote.
Anyway, enough blabbing. Long story short, tried out some new techniques, some pieces I've never used before, and had fun. What's more to say, folks?
© DM Parody 2017 (www.dotcom.gi/photos) These images are protected by copyright. You CANNOT copy or republish any of these photos without written consent of the photographer even if you retain the watermark (if present) and/or credit the photographer. You cannot use on any media including social media either. You CAN post a link to the page where the image appears without reference to the photographer only if not promoting a commercial product or service. Copyright infringements will be followed up, legally if necessary. Thank you for your understanding.
© DM Parody 2017 (www.dotcom.gi/photos) These images are protected by copyright. You CANNOT copy or republish any of these photos without written consent of the photographer even if you retain the watermark (if present) and/or credit the photographer. You cannot use on any media including social media either. You CAN post a link to the page where the image appears without reference to the photographer only if not promoting a commercial product or service. Copyright infringements will be followed up, legally if necessary. Thank you for your understanding.
© DM Parody 2020 (www.dotcom.gi/photos) These images are protected by copyright. You CANNOT copy or republish any of these photos without written consent of the photographer even if you retain the watermark (if present) and/or credit the photographer. You cannot use on any media including social media either. You CAN post a link to the page where the image appears without reference to the photographer only if not promoting a commercial product or service. Copyright infringements will be followed up, legally if necessary. Thank you for your understanding.
© DM Parody 2018 (www.dotcom.gi/photos) These images are protected by copyright. You CANNOT copy or republish any of these photos without written consent of the photographer even if you retain the watermark (if present) and/or credit the photographer. You cannot use on any media including social media either. You CAN post a link to the page where the image appears without reference to the photographer only if not promoting a commercial product or service. Copyright infringements will be followed up, legally if necessary. Thank you for your understanding.