Embracing the Dark Side… with LEGO

Regular readers will have surmised that, in spite being thirty-seven-years old, I am very much a kid at heart.  Often, I am also a kid in practice.

I was blessed to receive two incredible LEGO sets for Christmas:  the Imperial Shuttle (#75302) and the Darth Vader Helmet (#75304).  These sets are 660+ and 800+ pieces, respectively, and are probably the largest LEGO sets I’ve done.  I did have the legendary Black Seas Barracuda (#10040) as a kid, which is nearly 900 pieces, but I never built it—my older brother did.

Both of these builds were deeply satisfying.  I was sick with a low-grade fever and a sore throat (but tested negative for The Virus, no worries) the week after Christmas, and was generally enduring some low times besides the sickness, so I had plenty of time to dive into both of these kits—and was eager to do so.

Here, I’ll share some pictures of the builds, and discuss a bit of what it was like constructing them.

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Monday Mega Movie Previews

After a very long Monday, I’m taking a moment to write a post I promised earlier today.  Instead of my usual Monday Morning Movie Review, I’m offering up a preview of 100 films.

For Christmas, I received two massive collections of films:  Mad Scientist Theatre and Horror Classics, both put out by low-budget distributor Mill Creek Entertainment:

100 Horror and Mad Scientist Movies

Just look at those glorious covers.  What is going on with that hairy dude holding up a syringe full of a mysterious green substance?  Why is there a woman’s head covered surrounded by tubes in a tub of liquid?  Perhaps Dr. Fauci can weigh in.

Regardless, I’m super excited to watch these films—all 100 of them.

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Monday Morning Movie Review: Lifeforce (1985)

I’m a big sucker—pun most certainly intended—for vampire movies.  I’ve always enjoyed the vampire mythos, and find them to be terrifyingly fascinating villains (or anti-heroes).  The concept of immortality in a fallen, ever-changing world is itself a haunting prospect, one filled both with opportunity and, ultimately, hopelessness.

I also love science-fiction movies, notably those that take place in space.  The sense of boundless adventure and the thrill of exploration combine with high-tech gobbledygook to make for some fun stories.  Sci-fi, like horror, also has the ability to be among the best social commentary put to paper.

With 1985’s Lifeforce, those two genres are combined in a pleasing, memorable way.  Indeed, the film is based on a novel called The Space Vampires, which gives the game away on the front cover.  The vampires of the film and the novel are energy vampires, sucking the lifeforce from their victims, luring them in by shapeshifting into the guise of what the human victim most desires in a mate.  In doing so, they turn their victims in ravenous husks who must feed on the energy of others to survive.  If they don’t, they explode into a puff of dust and ash.

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Monday Morning Movie Review: Star Wars (1977)

The weather here in South Carolina has turned blissfully autumnal, which means we can finally partake in all manner of outdoor activities without dying of heat exposure and dehydration.  The humidity has calmed itself to a bearable level, and the mornings and nights are crisp and cool.

One of my enterprising neighbors—and most dogged constituents—took advantage of the cool weather this weekend to test out an inflatable projector screen.  He invited me to join his family for a private, driveway screening of the original 1977 Star Wars, later entitled Star Wars: Episode IV – A New Hope.  Specifically, he screened the “de-specialized” version, as he called it, so there was none of the clunky 1990s CGI additions of the special editions.

In other words, it’s the way Star Wars was intended… before George Lucas changed his mind and decided to change his own films.

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Monday Morning Movie Review: The Stuff (1985)

Shudder continues to deliver up the bizarre and unusual, proving it’s well worth the price of admission for the streaming service.  This last week saw the service bring the 1985 film The Stuff to the service.

It’s an unusual horror flick that combines elements of consumer protection advocacy, mass media advertising, consumerism, ruthless business tactics, and addiction into a blob of creamy terror.

Indeed, the film is something like The Blob (1958) and Halloween III: Season of the Witch (1982) rolled into one:  a greedy corporation knowingly sells a dangerous product, which turns out to be a goopy white organism that entire consumes the very people consuming it.

So, essentially, the entire flick is a metaphor for consumerism and corporate greed run amok.

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Monday Morning Movie Review: Hell Comes to Frogtown (1988)

Binge-watching The Last Drive-In with Joe Bob Briggs has introduced me to some obscure and forgotten flicks.  Several of the films the freedom-loving Texan screens are deservedly forgotten, and even hard to watch, with only Joe Bob’s off-the-cuff rants and film history knowledge keeping me going.  Others, however, are real gems—rough-cut and a little sooty, but gems nonetheless.

One such film is Hell Comes to Frogtown (1988), a post-apocalyptic sci-fi action-comedy starring wrestler “Rowdy” Roddy Piper.  Piper is better known for his role in They Live (1988), the John Carpenter classic in which Piper’s character discovers a pair of sunglasses that show the world for how it truly is.  They Live—with its infamous six-minute fistfight—is the better film, but Hell Comes to Frogtown is really delightful.

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Supporting Friends Friday: photog

After honoring Mogadishu Matt last Friday, I figured I should pay tribute to my staunchest blogging ally, the venerable photog, proprietor of Orion’s Cold Fire.

I discovered photog after he ran ads on The Drudge Report, back before Matt Drudge sold out to the Bidenistas (photog is now a WhatFinger News man).  I’m still blown away that he had the cash on hand to buy ads on Drudge, which I think he told me was the result of having money to burn on his hobby.  Hey, more power to you, photog.

photog gets his lower-cased, e. e. cummings-esque nom de plume from his love of photography.  If you’re a shutterbug, he writes a number of technical articles about various pieces of high-end camera equipment that he tests out.  If you’re like me and just want to see the pretty pictures, he has plenty of those, too.

In addition to photography, photog writes some hilarious and detailed reviews of everything from episodes of The Twilight Zone and Star Trek to classic movies, as well as science-fiction novels and country musicHe’s even written a review of a cheesy sci-fi flick for this blog.  My attempt at offering a little bit of something for every interest is inspired, in part, by his generalist approach to blogging.

But where photog really shines is his political commentary (I will hasten to add that his photography really is great; I hope he publishes a book of his nature photography soon).  He writes broadly on everything from the importance of family to Deep State perfidy to what conservatives should do in a world that wants us destroyed.  I often find myself agreeing with his conclusions.

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TBT: Phone it in Friday XI: Coronavirus Conundrum, Part IV: Liberty in the Age of The Virus

Earlier this week I was having a conversation with someone on Milo’s rollicking Telegram chat, in which we were trying to figure out the name of a short story involving people living in underground cells, communicating only via the Internet.  I had a feeling I had written about it before, but could not remember the name of the story.

Turns out it was E.M. Forster’s novella “The Machine Stops,” originally published in 1909, and I wrote about it in this catch-all post from the early days of The Age of The Virus (so early, in fact, I was not capitalizing the first “the” in that moniker, which I have texted so much, my last phone auto-predicted “The Age of The Virus”).  I compared the story to Kipling’s “The Mother Hive”–a story that apparently is assigned regularly in India, because pageviews for it always seem to coincide with large numbers of site visitors from the subcontinent.

But I digress.  The story sounded eerily like what our elites asked us to do during The Age of The Virus:  stay home, get fat, consume mindless entertainment, and don’t socialize.  Granted, some of us could go outside and plant gardens (I still got fat, though), but the messaging was not “become more self-sufficient so we can mitigate disaster” but “buy more stuff and don’t do anything fun.”  It was depressing to me how many people embraced this line of reasoning, turning government-mandated sloth into some kind of perverted virtue.

I appreciated the break that The Age of The Virus afforded us, but it came with the severe curtailment of liberty—and Americans ate it up!  Instead of people boldly throwing ravers and partying down, laughing at our elites, we instead retreated into our hovels, shuddering in the dark.  When I did through a big Halloween bash, it was a massive success—because, I suppose, people had finally had it.

I guess that’s the silver lining.  With that, here’s 3 April 2020’s “Phone it in Friday XI: Coronavirus Conundrum, Part IV: Liberty in the Age of The Virus” (perhaps the longest title of any blog post ever):

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Monday Morning Movie Review: Life Like (2019)

Ever since watching 2012’s Robot & Frank, The Great Algorithm at Hulu has been sending more artificial intelligence and robot flicks my way.  Each of these movies grapple with the ethical and moral issues surrounding artificial intelligence, chiefly the idea of how human can it really become?  Can robots develop souls, emotions, etc.?

In the case of Robot & Frank, Frank largely anthropomorphized the robot, the same way many pet owners attribute human characteristics, thought processes, and motivations to their dogs and cats.  Just as a dog doesn’t think in the way we do, the titular Robot did not requite the emotional bond Frank had developed with the adorable tin can.

The featured film of this week’s review, Life Like (2019), explores those ideas further.  Instead of a cute, rounded robot, the androids of Life Like are, indeed, life-like:  designed to resemble perfect humans, and designed to make their owners happy—whatever that might require.

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Monday Morning Movie Review: Color Out of Space (2019)

My blogger buddy photog over at Orion’s Cold Fire I are both publishing our reviews of The Color Out of Space simultaneously.  You can read his screed against this cinematic butchering of the Lovecraft story here:  https://orionscoldfire.com/index.php/2021/06/14/color-out-of-space-2019-a-science-fiction-and-fantasy-movie-review/

A few weeks ago, my blogger buddy photog over at Orion’s Cold Fire wrote a brief blog post comparing Nicolas Cage to William Shatner.  In it, he announced that Nicolas Cage starred in an adaptation of an H.P. Lovecraft story, “The Colour Out of Space.”

Naturally, I immediately went to RedBox and (with a coupon code, of course) and rented The Color Out of Space on-demand.  As a fan of Lovecraft’s weird tales and Nicolas Cage’s weird acting, I had to see this film.

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