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Was Alan Moore on LOST?

Was Alan Moore on Oceanic Flight 815?

Alan Moore

Was Alan Moore on Oceanic flight 815? It was either him, or someone deliberately meant to look like him (note the rings!). I noticed this guy and commented on him while watching the season premiere (“LA X”), but didn’t think much of it. That is, until I was the above screencap from Bleeding Cool.

What are the chances it was actually him? Well, Moore appeared on The Simpsons and recently name dropped the Sopranos in an interview, so we know he’s not totally adverse averse to American television.

See also: Alan Moore’s influence on LOST.

Guide to fictional drugs

nuke from robocop 2

Above: Nuke from Robocop 2

Inside that device that looks like something you’d stick a check in while at a drive-thru bank is nuke, a red liquid that drug that is administered via an injection directly into the bloodstream. It’s highly addictive and causes effects that I guess are closest to that of cocaine, which makes it so popular on the future streets of Detroit. Nuke effects everyone, from cyborg cops to 12-year-old drug dealers. Most people take nuke through a quick injection into the neck. Hardcore.

Other drugs covered include Substance D, Moloko Plus, and Ephemerol.

Unreality: The Most Memorable Fictional Drugs in Movies and Television

(Thanks Paul)

When did TV become art?

In response to this NY Post piece by Emily Nussbuam, Robert Moore makes a persuasive case that Buffy the Vampire Slayer made TV art:

This was the decade in which television became art. So argues Emily Nussbuam in a recent New York Magazine essay, “When TV Became Art”. She certainly makes a strong case that 2000-2009 was a pivotal age for TV and I strongly recommend her essay to anyone interested in the development of television over the past decade. I agree that this was, all in all, the finest decade for great television. Others have argued that TV had arisen as an art form in earlier decades, some (though in dwindling numbers) arguing for the fifties, based on the series that presented staged plays for a television audience, including such original masterpieces as “Twelve Angry Men”, written by Reginald Rose for Studio One, and “Requiem for a Heavyweight”, written by Rod Serling for Playhouse 90. Later, Robert J. Thompson, in his widely cited Television’s Second Golden Age: From Hill Street Blues to ER, argued for the eighties as the crucial period. But Nussbaum has numbers on her side; it is difficult to argue against the sheer quantity of very fine shows that emerged in the past ten years. The number of truly great series from the past ten years is so substantial that it might surpass the number of great shows from all previous decades combined.

Nonetheless, I want to take issue with Nussbaum. I think that chopping the overall picture up into decade-sized blocks obscures the reality. I believe that one can point at a precise point where TV became art, and that point was the debut of Buffy the Vampire Slayer. […]

I understand Nussbaum’s desire to fit the birth of TV as art into a decade framework, but the truth is that art, like life, is messier than that. TV had become art before 2000 and it was largely thanks to Buffy.

Pop Matters: When TV Became Art: What We Owe to Buffy

(Thanks Zenarchery)

I love the The Wire but it certainly wasn’t the most ground breaking series on television (remember, both The Sopranos and Six Feet Under preceded it). I haven’t watched Buffy, but Moore makes a strong case. Either way, the 00s certainly marked a turning point in the history of television. It was, perhaps, the decade in which television eclipsed film.

Sam Elliot: Catholics ‘forced film chiefs to scrap Dark Materials trilogy’

Actor Sam Elliott has accused the Catholic Church of pressurising Hollywood producers to scrap a classic fantasy trilogy.

Studio bosses have shelved plans to film the final two instalments of His Dark Materials, despite the success of the first movie, The Golden Compass, two years ago. […]

Asked what happened to the series, Elliot said: “The Catholic Church happened to The Golden Compass, as far as I’m concerned. It did ‘incredible’ at the box office, taking $380million. Incredible. It took $85million in the States. […]

A spokesman for New Line Cinema declined to comment.

This London: Catholics ‘forced film chiefs to scrap Dark Materials trilogy’

(Thanks Cat Vincent)

Seven screenplays you should read

This is geared mostly to aspiring screenwriters, but I think other writers and appreciators of film would benefit from at least reading this article, if not the scripts as well.

My PDF Scripts: Mystery Man’s Seven Scripts You Gotta Read!

(via Jorn Barger)

Alejandro Jodorowsky Gets Funding for Dream Project ‘Abel Cain’

In May it was announced that Jodorowsky was going to work with acclaimed director David Lynch on King Shot which was described as a “metaphysical spaghetti western.” Though he hasn’t exactly been relevant in contemporary filmmaking over the past two decades, it looks like his work with Lynch has paid off as Quiet Earth reports that he now has the funding needed to make his dream project Abel Cain.

Jodorowsky calls the film “the sons of El Topo” (see above), a nod to his 1970 revisionist western El Topo. The story follows Abel and Cain who, upon the death of their mother, embark on a journey to bury her holy body next to their father’s grave on a forbidden paradise island.

First Showing: Alejandro Jodorowsky Gets Funding for Dream Project ‘Abel Cain’

(Thanks Neko)

Top 10 Most Intelligent Horror Films

Looking for an intelligent horror film to watch this Halloween? Check out this Pizza SEO post from a few months ago:

1. The Devil’s Backbone
2. Cube
3. Intacto
4. The Descent
5. The Abandoned
6. Butcher Boy
7. Jacob’s Ladder
8. The Cell
9. Silent Hill
10. Dead Ringers

Pizza SEO: Intelligent Visionary Horror Movies

More films are discussed in the comments.

I love Dead Ringers, and most of Cronenberg’s output – especially Videodrome, which totally holds up. I liked Intacto, but wouldn’t really call it a horror film. I didn’t care for the Cell or Cube. I haven’t seen the others.

Gus Van Sant and Bret Easton Ellis teaming up to write screenplay about Theresa Duncan and Jeremy Blake

Gus Van Sant and author Bret Easton Ellis will team to write a feature about the double suicide of artists Theresa Duncan and Jeremy Blake.

PalmStar Entertainment, Celluloid Dreams and K5 Film have acquired screen rights to “The Golden Suicides,” a Vanity Fair article written by Nancy Jo Sales. […]

The couple descended into a paranoid spiral when the artists developed a consuming belief that government and religious organizations were conspiring against them. She killed herself in 2007. Blake found her body on the floor of their bedroom, and walked into the Atlantic Ocean a week later, ending his life.

Variety: Scribes make suicide pact

Previously:

Vanity Fair coverage of the deaths of Theresa Duncan and Jeremy Blake

Dead Woman Blogging: Theresa Duncan at 10 Zen Monkeys

(via Jorn Barger)

Lost and the Supercontext

There do seem to be different rules involved when it comes to death and the island. It reminds me of both Donnie Darko and The Invisibles. In Donnie Darko dying in the time loop allowed someone to step out of regular time as Frank the Bunny does. From this new position he is able to effect events. Similar effects are in play in The Invisibles comic series by Grant Morrison.

Hatch 23: Lost and the Supercontext

Interviews with Alan Moore, Dave Gibbons, and Zack Snyder

So, those were the agendas that we were following then. We thought it would be a great idea if comics could be recognized as the wonderful medium that we secretly knew them to be. And when I say “we,” I’m talking about the 50 actual people who turned up at those early conventions, which was pretty much the sum total of everybody in this country who’d ever heard of American comics. But back then our agenda was this progressive notion that, wouldn’t it be terrific if people were to get involved with comics who could make them more adult, more grown up, to show the kind of themes they were capable of handling? So this was the agenda that, 20 years later, I was still following toward the end of my first DC run. […]

When I was working upon the ABC books, I wanted to show different ways that mainstream comics could viably have gone, that they didn’t have to follow Watchmen and the other 1980s books down this relentlessly dark route. It was never my intention to start a trend for darkness. I’m not a particularly dark individual. I have my moments, it’s true, but I do have a sense of humor. With the ABC books I was trying to do comics that would have perhaps appealed to an intelligent 13-year-old, such as I’d been, and would still satisfy the contemporary readership of 40-year-old men who probably should know better. But I wanted to sort of do comics that would be accessible to a much wider range of people, and would still be intelligent even if they were primarily children’s adventure stories, such as the Tom Strong books.

Full Story: Wired

Plus:

Wired interview with Dave Gibbons

Wired interview with Zack Snyder

Disinfo podcast interview with Alan Moore

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