Lizze Broadway’s scenes bring back fond memories of Irwin Allen’s “Land of the Giants.”
Having recently dived into “Gen V,” a fascinating spinoff of “The Boys,” I’ve been taken by its gripping portrayal of young superhumans in the hallowed halls of Godolkin University.
This isn’t your typical college drama. At Godolkin, where elite superhumans are molded, students must not only grapple with the challenges of young adulthood but also confront the malicious presence lurking right beneath them.
Drawing parallels to the ominous likes of Dolores Umbridge and the formidable Miranda Priestly, the director of the clandestine lab beneath the university grounds masterfully sets the tone for intrigue and suspense. As viewers, we’re drawn into the complex web of power dynamics, ethics, and the often-blurred lines between right and wrong.
Speaking of characters, Emma “Little Cricket” Meyer has undoubtedly caught my attention. Portrayed with depth and nuance by Lizze Broadway, Cricket’s ability to shrink herself by inducing bulimic episodes isn’t merely a party trick. It’s a poignant commentary on young women’s pressure and the lengths they may go to fit into society’s mold.
A stunning effects sequence showcases Cricket’s daring venture into the university’s underground lab to help free a young man being tortured there. This scene makes me yearn for a modern-day reboot of Irwin Allen’s “Land of the Giants.”
However, it’s not all praise for “Gen V.”
As visually captivating and plot-rich as the series is, it sometimes overindulges. I always appreciate the artistry of effects and storytelling, but some moments — like a sex scene with Cricket I won’t describe — could be toned down or eliminated without sacrificing the series’ essence.
While the superhuman college drama offers a mostly fresh perspective, the underlying teen angst is already trying my patience. I like “Gen V” for what it is, but given the looming melodrama, I wonder how long I’ll stay loyal to the series.
“Gen V” brilliantly explores the world of young superhumans and presents a delightful mix of suspense, emotion, dark comedy, social commentary, and visual spectacle. It’s undoubtedly worth watching, especially if you love “The Boys.”
Michael Moriarty demonstrates how big earthlings’ mouths get when they’re controlled by The Stuff, an extraterrestial goo masquerading as a frozen dessert. Watch “The Stuff” free on YouTube.
Started with a bubbling, gooey substance oozing from the earth. People taste it. Big mistake, but hey, it’s delicious — and they’re hooked. It’s dessert, it’s a lifestyle, it’s an addiction. Everyone’s gobbling it up.
Enter a corporate saboteur, a young boy, and a disgraced FBI agent played with gusto by Michael Moriarty. Odd trio, but they’re onto the deadly secret of The Stuff. They’ve got to stop its rampage and the clock’s ticking.
Cohen’s direction? Genius. This isn’t your run-of-the-mill horror; it’s a satire. Think about consumerism, 1980s corporate greed, and the junk we feed on, literally and metaphorically.
Subtle? Hell no. Fun? You bet your ass.
Laughs and screams intertwine. The practical effects are pure ’80s charm. Watch folks get devoured by tasty white goo, and tell me you don’t chuckle and cringe simultaneously.
So, if you’re yearning for something different on your screen, this flick’s your ticket.
Television has seen only a few theme songs that have excited viewers and encapsulated the essence of the shows they introduce. Paul Sawtell’s composition for the series “Voyage to the Bottom of the Sea” stands out as a masterstroke, and here’s why.
From the first haunting sonar pings of the main title, listeners are instantly transported to the vast and mysterious realms of the ocean. This isn’t just any ocean but one filled with intrigue, danger, and grandeur. Sawtell’s theme is a siren song, drawing us deep into the depths of the story before the actors even have a chance to say their lines.
But the end credits truly crescendo into something magnificent. With a sweeping dance of deep brass and soaring strings, there’s a feeling of culmination, like returning from an epic voyage. It paints an audioscape of sea monsters, heroic submariners, glimmering treasures, and shadowy threats. The grandeur of these compositions makes one think of oceanic sagas from eras long past.
Unfortunately, the series’ scripts didn’t always rise to the lofty standards set by this stirring music. But Sawtell’s gift to “Voyage to the Bottom of the Sea” is unassailable. While storylines may falter, music can remain timeless, and Sawtell’s theme stands as a testament to this – echoing through the annals of television history as one of the best.
This paragraph near the conclusion of “Dandelion Wine” has stuck with me through the decades.
Every summer, I crack open “Dandelion Wine,” and come fall, it’s “Something Wicked This Way Comes.”
This has been a ritual since junior high. You’d think the magic would wear off. No, Bradbury’s still got it. Guy was like the Wagner of words.
“Dandelion Wine” kicks off my summer right. Takes me back and makes me a kid again, running through the grass barefoot. Green Town, Illinois, isn’t Chicago, but Bradbury makes you wish it was. Life, distilled in a bottle; not bad for an old paperback.
Then autumn rolls in, and “Something Wicked” hits the table. Spooky carnival, Dust Witch, and Mr. Dark with his tats.
The seasons change, the books change, but the grip stays the same. You don’t get to unplug from Bradbury.
So why’s this guy still on my bookshelf over 50 years later? Simple. Bradbury doesn’t just write. The man’s an architect who builds worlds out of words with real characters who can sit next to you at a bar.
And damn, if he doesn’t nail the human condition. You laugh, you shiver, you wonder.
With every read, something new jumps out. It’s like finding an easter egg in a Tarantino film you’ve watched a dozen times. Bradbury keeps giving, doesn’t go stale. It’s a “Pulp Fiction” of feelings, a “Kill Bill” of imagination.
You can’t box Bradbury in. He’s timeless. Not just because he was a literary wizard but because he got people.
And as long as I’m around, summer won’t start without “Dandelion Wine,” and fall can’t begin without “Something Wicked.”
So here’s to another 50 years.
Disney mostly did a good job bringing “Something Wicked This Way Comes” to the big screen.
Carmody McKnight Estate Winery has announced its new “Land of the Giants” collection.
Unearthing delightful surprises is a hobby of mine, especially when they blend nostalgia with a touch of elegance.
Today, I chanced upon such a gem.
Comic book artist John Peter Britton created Carmody McKnight Estate Winery’s new “Land of the Giants” label art.
Fans of the 1960s classic TV series “Land of the Giants” will fondly recall Gary Conway, who portrayed Captain Steve Burton with panache. Little did many of us know, Conway, alongside his wife, former Miss America Marian McKnight Conway, has been cultivating another passion: winemaking.
Their operation, the Carmody McKnight Estate Winery, is in picturesque Paso Robles, California, about 30 miles north of San Luis Obispo.
If the allure of a vineyard owned by such a dynamic duo isn’t enticing enough, here’s the cherry on top: They’re releasing a limited-edition vintage wine inspired by “Land of the Giants.”
While many celebrities, like Francis Ford Coppola, Fess Parker, and Sam Neill, have been drawn to the romantic charm of vineyards, Gary Conway’s and Marian McKnight Conway’s venture stands out.
Their commitment to a special release celebrating a golden era of television while passionately crafting wines in the heart of California’s wine country is unique.
The Carmody McKnight Estate Winery is more than just a winery; it’s a testament to the Conways’ journey, blending the worlds of Hollywood glamour, beauty pageants, and exquisite winemaking.
So, cheers to Gary Conway, Marian McKnight Conway, and their labor of love that gifts us both memories and flavor.
By the way, you still have time to join these folks as well as Conway’s “Land of the Giants” costars Heather Young and Stefan Arngrim at a five-course release dinner on Aug. 26. Check out the news release below for more info.
NEWS RELEASE
Carmody McKnight Estate Winery Announces Land of the Giants Collection
Land of the Giants Launch Party set for August 26 at Le Vigne Winery in Paso Robles
(Paso Robles, CA) — Carmody McKnight Estate Winery has announced the release of their new “Land of the Giants” collection. The initial release includes the 2019 Estate Colossal Cabernet Sauvignon and the 2019 Estate Colossal Cuvee. A five-course dinner created by Le Vigne Executive Chef Walter Filippini celebrating the release is scheduled for August 26 in Paso Robles.
Originating from Carmody McKnight’s legendary volcanic West Paso Robles vineyard, the special series of Bordeaux varietal wines are hand-crafted by Winemaker Anthony Gallegos. Gallegos continues the Carmody McKnight tradition of long barrel aging with minimal intervention. The 2019 Estate Colossal Cabernet and Cuvee both show off the incredible vintage of the nutrient rich volcanic West Paso Robles vineyard. These are serious complex, fruit-forward, giant Bordeaux wines to be enjoyed now and for decades. The Colossal Cuvee blends Merlot, Cabernet Franc, and Cabernet Sauvignon.
Star of the cult science fiction TV series, “Land of the Giants” , Gary Carmody Conway is, along with his wife, former Miss America Marian McKnight Conway, the proprietor of Carmody McKnight Estate Winery. The Irwin Allen series is one of the most popular TV series on a worldwide basis ever, airing on hundreds of stations internationally.
Attending the dinner and available to mingle with guests are original cast members Gary Conway (Captain Steve Burton), Heather Young (Betty Hamilton) and Stefan Arngrim (Barry Lockridge).
The “Land of the Giants” Cabernet Sauvignon will be paired with the second course of Red Wine Cavatelli with Pancetta & Asiago. The Colossal Cuvee is featured in the third course alongside Captain Burton’s Braised Bison Short Ribs.
Also poured at the launch dinner alongside the first course of Betty’s Beet Carpaccio with Balsamic Glaze and Fried Capers will be Carmody McKnight’s 2019 Forever Miss America Cabernet Franc. From the sale of every bottle from the Forever Miss America collection, the winery bestows a gift to the Forever Miss America Scholarship Fund. This fund has provided decades of commitment to the economic and social advancement of all women through education opportunities and career resourcing.
The dinner opens and closes with courses paired with wines made by the Conways’ daughter Kathleen. Little People Appetizers will be served with K Estate Sparkling, and the dessert, Very Barry Semifreddo, is matched with her K Estate Port.
The “Land of the Giants” wine collection labels are designed by renowned comic book artist John Peter Britton who specializes in producing artwork for fantasy and science fiction genre television. They depict Gary Conway’s character, Captain Steve Burton, being held captive in the hand of a giant.
The “Land of the Giants” release dinner will be held on Saturday, August 26, at Le Vigne winery located at 5115 Buena Vista Drive, Paso Robles, California, 93446. The dinner begins at 6:30 p.m. and tickets are $132 per person, including tax and gratuity. To purchase tickets, please go here.
About Carmody McKnight Estate Winery Established in 1968 by former Miss America Marian McKnight Conway and actor/artist Gary Conway, Paso Robles-based Carmody McKnight is credited for pioneering the West Paso Robles AVA – Adelaida subdistrict now recognized as a premium viticultural region for Bordeaux and other noble varietals. Located seven miles from the Pacific Ocean and climatically protected by the Santa Lucia Mountains, the legendary estate vineyard, with its three volcanoes, possesses the rarest of viticulturally rich soils making it the epitome of sustainability. The region is also known for its perfect Mediterranean temperature range and climate conditions. Carmody McKnight produces award-winning, limited release Cabernet Sauvignon, Merlot, and Cabernet Franc varietal wines. Allocation list members enjoy exclusive access to limited release collector series wines including Land of the Giants and Forever Miss America wines that support women’s educational scholarships.
“This is great! ‘Star Trek: Strange New Worlds’ wants me for an all-skunk episode!”
The deadly pandemic known as “crossoveritis” has struck the “Star Trek” franchise again — and given me my most severe case of vicarious embarrassment since “Stargate SG-1” invoked Gerry Anderson.
I sit agog at the sheer audacity of the “Star Trek” franchise to pull this stunt. It’s akin to the ludicrous episode “200” from “Stargate SG-1” — the one that makes you want to teleport yourself into another galaxy, preferably one without cable.
“Star Trek: Strange New Worlds,” for the unfamiliar, is the nostalgia-fueled, good-ship-lollipop revival of Captain Pike’s pre-Kirk adventures.
“Star Trek: Lower Decks” is what you get when you mate “Star Trek” with “Rick and Morty” — a projectile vomit-inducing cartoon for the hyper-caffeinated.
Combine the two in the episode “Those Old Scientists“? It’s like blending champagne with Red Bull: a waste of good champagne and a misuse of Red Bull.
This unholy crossover is the equivalent of forcibly beaming the Starfleet Academy into an interstellar clown college. I don’t know who in the production team thought turning our beloved, serious sci-fi characters into comedic cartoons was a good idea.
Are we so desperate for laughs in the grim vacuum of space we must resort to such abominations?
“Strange New Worlds” was barely hanging on by the thread of nostalgic fanboy/girl hope, but this crossover might as well have been a phaser set to kill, aimed straight at the integrity of the series.
And “Lower Decks”? The original premise was as slippery as a Ferengi businessman — the humorous underbelly of “Star Trek”?
Please. It’s like someone looked at the underappreciated maintenance crews and thought, “You know what would make this better? Caricatures and slapstick!”
“Stargate SG-1” had its Supermarionation embarrassment, sure, but at least it had the decency to return to its senses in later episodes. “200” was a fever dream from which we thankfully awoke.
But our dear Starfleet seems to have lost its way in this cartoon cosmos, with no signs of a course correction.
I swear, if this is the trajectory of “Star Trek’s” future, I’d rather watch a Klingon log-rolling competition. At least that would involve real logs and real danger rather than this watered-down, Saturday-morning-cartoon-esque disgrace that we are forced to reckon with.
“Land of the Giants” is a classic piece of science-fiction television history. Despite only airing for two seasons between 1968 and 1970, it established a robust presence in the genre. The series remains noteworthy with its thoughtfully blended narrative, ideas, and enduring special effects.
The show was developed by producer Irwin Allen, who effectively amalgamated elements from literary and cinematic works like “Gulliver’s Travels,” “Dr. Cyclops,” and “The Incredible Shrinking Man.” Allen’s synthesis of these and other sources gives “Land of the Giants” a unique flavor, leveraging established ideas to create an innovative and exciting narrative.
However, one significant criticism of “Land of the Giants” is its character similarities to another Allen production, “Lost in Space.” The prescient child and the cunning troublemaker found in both shows create a unpleasant sense of déjà vu. While not negating the originality of “Land of the Giants,” this structural mirroring makes it feel needlessly derivative.
On the plus side, the show effectively updated the premise of the most memorable segments of “Gulliver’s Travels,” infusing it with science-fiction elements. It explored power dynamics as symbolized by size, drawing inspiration from “Dr. Cyclops,” and, like “The Incredible Shrinking Man,” used size reduction to magnify life’s essential questions.
Additionally, “Land of the Giants” deserves commendation for its impressive special effects. Despite the technological constraints of its era, the show produced a believable world of giants. Its ability to deliver visually, even after half a century, is a testament to the skill and creativity of its production team.
“Land of the Giants” holds a special place in the history of science-fiction television. Despite its short lifespan, it showed an innovative approach to storytelling, combining thoughtful narrative with compelling visuals. It remains a reference point for the genre, a testament to its well-executed design and timeless appeal.
If you’re an Irwin Allen fan and have some spare cash, check out the storyboards, concept art, publicity material, and toys from his movies and TV shows now up for grabs at Heritage Auctions. This pre-production artwork depicts the Spindrift crew encountering a giant. (Imaged by Heritage Auctions)
I instructed my AI assistant to “Mirror the opening crawl of ‘Star Wars,’ and write similar text. Call it ‘A New Mayor,’ and in a funny, sarcastic tone, describe Chicago’s present-day problems.”
L.T. Hanlon 