Liar's Shout (and Liar's Shout Royale) Alchemical Ritual This alchemical talisman always comes as a brooch or necklace; when activated, it uses the Corporeal Song of Cacophony to give the false aural impression of mortality. Someone wearing an activated Shout...
Liar's Shout (and Liar's Shout Royale) Alchemical Ritual This alchemical talisman always comes as a brooch or necklace; when activated, it uses the Corporeal Song of Cacophony to give the false aural impression of mortality. Someone wearing an activated Shout...
If you’re the sort of person who thinks that mixing higher mathematics, spy fiction, and the Cthulhu Mythos is kind of cool… well, you’ve probably already read The Atrocity Archives and The Jennifer Morgue. On the other hand, if the idea’s never actually occurred to you before, or you’re just looking for a good couple of books, you should pick these two up. Stross is a fun writer with a good eye for combining horror and science fiction; his alternate histories (the most developed being the Merchant Princes series; a couple of good ones can be found in his short story collection Toast) are likewise well-conceived. The space opera that he’s done has not really reeled me in as much, but there’s nothing wrong with it; I’m just more of a E. E. “Doc” Smith type.
CBS itself put them up there, in full, and in high-definition: you can’t embed them, and there are ads, but from what I can tell these are the originals, not the hacked-up syndication versions, so good deal all around.
Here’s Mirror, Mirror, which I looked up mostly because my wife and I were trying to remember whether Star Trek: TOS costuming allowed you to see belly buttons. Apparently, the answer is yes.
In the Fahrenheit 451 sense, that is. For those three or four individuals out there not aware of the book, it was set in a world where literature was banned and burned on sight, for reasons which were never adequately explained; and apparently the only way to keep books alive was to memorize them – probably because 99% of Golden Age SF/Fantasy writers were all about the flying cars, rather than convenient and ubiquitous data storage.
Not that I don’t love Ray Bradbury’s stuff anyway.
Anyway, I’m Gilbert Keith Chesterton’s Lepanto. I know that one so well that I can rap it Beastie Boys style (never listen to Licensed to Ill three times running while on a trip, is all I’m saying).
Thanks to Glenn Reynolds, I’ve got Tremors stuck in my head. Ever see it? It was one of those movies where a bunch of actors did a better job than they were really supposed to with a script that was just a touch better than it had any right being and a plot that was remarkably fresh for being in a can for forty years. I say this with all love and affection: it’s rare that I get to see a movie that combines the Cthulhu Mythos (sorta) with automatic weapons fire.
The sequels, of course, pretty much sucked… oh, God help us all, but they made it into a television show.
I was alerted that Hollywood’s going to do Foundation – which will, of course, suck: but it probably won’t suck epically, so we’re going to have to help them with that. I’ll start: the director? Tim Burton. It’s not that Burton’s bad; it’s just that Burton is all wrong for Isaac Asimov.
Feel free to chime in with your own suggestions for casting: the only rule is that the choice either has to be hilariously wrong, or fascinatingly wrong.
After all, judging from some of the stuff that Phoenix supposedly did to get into his parts in Walk the Line and The Village*, he might be involved in something pretty deep, here. A decent man wouldn’t mock that – or the other possibility, which involves recreational chemicals.
