Kevin McCorry's Weblog

Third incarnation of my Weblog. 2007-8 and 2012-5 Weblog entries are archived. And 2015-8 Weblog entries also are archived.

For this incarnation of my Weblog, I will be sequencing entries from most recent to least recent, thereby guaranteeing visitors to this Weblog that the first ruminations, sharings of information, or defences of Season Two of Space: 1999 (yes, the saga goes on, and on and on and on) that they see from me will be my latest ones. With thanks to Jonathan Wood for contacting me with a suggestion to this effect.

The archived sections to the Weblog will continue to be chronological from oldest to most recent.

There is just no relenting of late in the barrages against Season Two of Space: 1999. On Facebook and elsewhere. The Roobarb's Forum is "at it" again now, too. Every so often, the Roobarb's Forum discussion "thread" on Network Distributing's Blu-Ray and DVD releases of Space: 1999 shows some activity, invariably pivoting toward slurring of the second season of said television programme, by the usual cluster of persons convinced in their "hive mind" of their individual cleverness and sophistication. Sophistry. That is what I would describe them as purveying. At best.

I had my last tussle with the Roobarbians on the subject of Space: 1999 in 2005. I was "wolf-packed", descended-upon by all of the Roobarb's Forum's foremost personalities and ridiculed and provoked to react and then ridiculed for my reaction. The usual behaviour of groups of schoolyard verbal bullies. One thing that was established was that my interview with Fred Freiberger was "fanboyish". And another was that I am a whimpering emotional moron rightly exiled from Space: 1999 fandom and deserving for all time of a bad reputation for being sensitive to the slights on Season Two and comparisons of it to foul bodily emissions. Nobody sided with me or even expressed any empathy for me. Of course not. That was in fact the last time I ever engaged in any exchange of communication with detractors of Season Two. Strange. I should have learnt my lesson in my most disagreeable series of encounters with the people on the Space: 1999 Mailing List in my first few years on the Internet, pre-2000.

I stay with the Roobarb's Forum because it can be a valuable source of information on DVD and Blu-Ray releases of science fiction/fantasy genre television- though outside of Doctor Who there is not much of interest to me lately on that subject. Members of the Doctor Who Restoration Team post comments routinely to the Roobarb Forum, and that is always of good value where I am concerned, collector of Doctor Who DVDs and Blu-Rays that I am. Yes, I do intend to buy whatever Doctor Who serials that the BBC chooses to release on Blu-Ray in the coming years. But the regularly communicative rank-and-file Roobarbians are a generally haughty cluster of sophistic people, smug and comfortable in their own quasi-intellectual community and their sense of belonging therein. They are for the most part a more intelligent, more grammatically proficient group than are the people populating the Space: 1999 Facebook communities. But this is not really saying much, as the Space: 1999 fans in the Facebook "echo chambers" do tend to be rather low on the scale of true intellectualism and writing ability. And maturity.

I am not going to quote people verbatim this time. The general "thrust" on the Roobarbian attacks of late upon Season Two of Space: 1999 has been focused on the differences between it and Season One (big yawn) and on the alien costume designs, the look of alien creatures, the general aesthetic of the second season's episodes. Okay. To begin, Season Two ought to be judged, first and foremost, on its own merits, and not solely or primarily on how much that it follows Season One in style and retention or no of certain characters. Those of us who saw Season Two first were not lumbered with prejudices against it for it not "carrying over" certain elements of the first season. We assessed it on what it had to offer in and of itself. And that is as unclouded and reasonable a judgement as one could desire. Distinct dissimilarity with Season One was a requisite of Lew Grade to resume producing the television series, and the decision was made to not throw at the viewers set-in-stone explanations for characters not being there, to leave such explanations to the option or the discretion of the viewer. Not unlike a decision made for production block two of Gerry Anderson's UFO. Where were Freeman, Ellis, Bradley, Ford, and Waterman? It was left to the imagination of the viewer to "fill in" those "blanks".

And as far as the look of the episodes and their aliens go, this is not an objective angle of attack. Appreciation or lack thereof of the look of the second season is ultimately a matter of personal taste. Such is what it "boils down to". And that, people, is sheer subjectivity. And the opinion of a majority is still subjective. And majorities can be wrong. The majority of the people pre-1492 thought the Earth to be flat. A majority of people used to believe the Earth to be the centre of the Solar System. So, throwing numbers of closed-minded people at me in defence of the anti-Season Two position, is not a victory. It is a presumption that numbers of people thinking a certain blinkered way equals fact. Poppycock. There is no written law of the universe that says that alien dress sense must follow a certain, specific track of design comparable to what is commonplace on present-day Earth. Aliens could evolve a culture wherein a set of garments like the shorts, boots, and cape worn by Vindrus of Sunim in "A Matter of Balance" is quite acceptable. Even a standard sartorial comportment. Besides, for credible functionality of story, Vindrus had to be garbed in a way as to be both alien and physically attractive to Shermeen. Shermeen's attraction to Vindrus would not be believable if Vindrus were garbed in flowing robes from neck to toe, his particular physical endowments obscured. The production design of Space: 1999 with regards to aliens and alien garments always was in the direction of the strange or the eccentric. This goes for both seasons. Aliens did not dress in blandly coloured military fatigues. Dione certainly did not dress that way in Season One's "The Last Enemy". I say eccentric in regards to experimenting with extrapolations of ancient, Classical civilisations and their styles of garment. Oftentimes melding such with 1970s clothing design, or some of the more unusual flourishes thereof. A traceable aesthetic from Space: 1999 (e.g. the cape, the boots, and the loin-covering shorts, in the case of Vindrus) through to what warriors of ancient times wore, may be said to exist and be worthy of aesthetic appreciation. There is also not a law that states that alien creatures must all look a certain way. That they must all evolve humanoid forms. That none should ever look like Thaed in "A Matter of Balance". The creatures of Season Two are outlandishly alien in their appearance. That was the intention, aptly following the worlds-beyond-belief tag-line to the television series. This said, I can concede that criticism of the use of the same monster head three times in episodes produced within the same three-week time period, does have a validity. It does betray a lack of time and/or money and a cutting of corners, made evident in a most ostentatious display in a costume design that already had a potential to "off-put" some segments of the audience. But one of those iterations of the monster head was the result of a delirious Maya's nightmare. In Maya's delirium, she might have assumed a hybridised form of the monster encountered in a previous episode. And the people of one world could have based their robot design of a seemingly alive creature on some of the physical characteristics of a creature on a neighbouring solar system's planet. It is not unbelievable. One might say that there is a certain logic to it. It certainly is not a thoroughly, for all of Season Two, damning act of repetition. There was also a degree of concerted effort to re-dress the head from episode to episode.

Concentrating on only the most superficial aspects of a work and using subjective slighting of such as a basis for despising the work as a whole and advocating suppression of it in the Zeitgeist and berating of persons having a different regard for it, is a shaky proposition at best for a real intellectual. And I do not brand these people as intellectuals. Much better though they may be at writing the Queen's English than are the denizens of Facebook's Space: 1999 communities.

On a Buck Rogers in the 25th Century Roobarb's discussion "thread", someone says that, with regard to Season Two of Buck Rogers, he cannot think of another example of a television programme so comprehensively revamped in its second production block as to remove everything that had made it appealing. And oh, yes. Oh, yes! To this, inevitably somebody has to come along with a reply of Space: 1999. With a question mark. And accompanied with a big-smile emoticon, of course. Right. So, the only things appealing about Space: 1999 were Victor Bergman, Paul and Sandra, Kano, philosophising, horror in a few episodes, and metaphysical interventions by a mysterious force. Not the Eagles. Not reconnaissances to alien planets. Not Martin Landau and Barbara Bain. Not space battles. Not the stun guns and commlock communicators. Not the Greco-Roman motifs. Not the visual aesthetic of space and the aural aesthetic of alien cultures. Not the vivid imagination. Not anything of what Season Two did "carry over" from Season One. Just Victor, some supporting characters, overt philosophical commentary, some occasional horror, and a deux ex machina. That was all that Space: 1999 was about. Its only appealing components. Right. People, young people as we all were, did not care about the Eagles, the guns, the communicators, and so forth. Right.

And someone "trots out" the old Season Two of Space: 1999 being campy and silly refrain. Camp, people, is intentional satire, with sometimes homosexual undertones. Wilfully "making fun" or "sending up" of a genre. Camp is defined as such. Camp is Batman. Camp is Lost in Space. Camp is The Brady Bunch Movie (which "sends up" the television show, The Brady Bunch, and its tropes). Doctor Who sometimes dabbled in it in its Tom Baker years. Anyone who cannot see that Season Two of Space: 1999 was rendering its genre seriously with occasional nod to some non-satirical humour (humour largely stemming from characters and their foibles, heterosexual romance, or hobby), cannot rightly be said to have acuity of observation. Obviously the subtle "touches" of Season Two's episodes and its chronology are lost on them. Best they "stick" to being told what episode A and episode B are about by Victor and John in conversation. And silly is, again, a word for people lacking in imagination.

All right. This is my spiel for today, May 23, 2018.

May 20, 2018.

Kino Lorber has provided to its customers a listing of planned Blu-Ray titles for the remainder of this year. Volumes 3, 4, and 5 of the Pink Panther cartoons are in the list, but all clustered within the year's final four months. I believe that the plan is to release six volumes, and the sixth and final volume has evidently been pushed into 2019.

But with that final volume, all of the DePatie-Freleng theatrical cartoons will have been released on Blu-Ray. And that, I must say, is a most remarkable "sell-through video" breakthrough for cartoons. Especially for cartoons from so late in the history of hand-drawn cartoon animation. Much as I may quibble with Kino Lorber's quality control. It still vexes me that the original title music for two Inspector cartoons cannot be heard accompanying high-definition visuals and that audio for the Ant and Aardvark cartoon, "Technology, Phooey", is out of synchronisation with the video.

Still, nevertheless, my hat is off to the people at Kino Lorber for so comprehensive a release of cartoons on Blu-Ray. If only Warner Brothers would be willing to "licence out" the Looney Tunes and Merrie Melodies cartoons to Kino Lorber or to a similar company!

Okay. So, what are my favourite people, the high-minded populace of on-Facebook discussions Space: 1999, "up to" now?

Beneath a picture of Sandra (Zienia Merton) screaming at the sight of one of the "Bringers of Wonder" aliens (of the Season Two episode, "The Bringers of Wonder") is this delightful Facebook string of comments.

"I'm amazed she had time to scream before fainting. Didn't all the women on Moonbase Alpha faint every time something happened? Loved the show but hated the incredibly sexist fainting spells of the women."

"...and the men always have this strange death grip on the women. The photo of Martin with his arm across Barbra is crazy. I can never tell if he is protecting her or restraining her."

"Ziena Merton tells a very interesting tale of one of the directors on Season One saying just that and that these women would be intelligent scientists and not likely to pass out at the slightest thing! Sadly, this idea seamed to be reversed by 'Year 2'."

Zienia, not Ziena.


Anyway, here we go. What is being said by these ever so astute, ever so infallible Space: 1999 fans is that in Season One, women on Moonbase Alpha were intelligent scientists and did not faint. And that in Season Two, they did. Routinely.

Other than Annette Fraser in "The Metamorph", which healthy female Alphans in Season Two fainted? I cannot think of any.

Sandra fainted in Season One in "Black Sun". She did not faint in Season Two.


That again. I have already debunked that generalisation. Putting it all in capital letters does not make this person's remark any more persuasive.

Back to how women were portrayed in Space: 1999. I can put together a list of instances of women screaming, fainting, panicking, becoming hysterical. It is not difficult to do this. My late mother had an intolerance of hysterical, screeching, or screaming women (she hated Laverne and Shirley for this reason). She tended more, much more, to complain about hysterics and screaming on the part of women in Space: 1999's first season than in that television show's Season Two.

Onward I go.

"Black Sun". When Mike Ryan's Eagle is caught in the crushing gravitational forces of the black sun and explodes with Ryan inside of it, a grief-stricken Sandra (who had "a thing" for Ryan) faints onto the Main Mission floor.

"Another Time, Another Place". Regina Kesslann becomes hysterical after she embraces Alan only to realise that in her mind he is dead. Her hysterics are as melodramatic as melodrama can be imagined. Earth Sandra screams twice at the sight of Helena in the window of the Earth Alphans' settlement structure.

"Guardian of Piri". After the Guardian of Piri explodes and there is an urgent return by Alphans to Eagles to return to Moonbase Alpha, female Alphans are screeching and screaming in a panicky fluster.

"Alpha Child". Cynthia Crawford (or Sue Crawford, or whatever her name is) screams most loudly from the very bottom of her lungs three times as her infant Jackie grows explosively into a five-year-old.

"Collision Course". As the time for initiation of the shockwave is nearing, a woman in Main Mission becomes hysterical and needs to be comforted by Prof. Bergman.

"The Full Circle". Sandra stupidly opens the Eagle door. And a Stone Age man enters the spaceship and abducts her, as she shrieks, screams, and squeals ear-shatteringly. She later screams in the cave as caveman Koenig and cave-woman Helena both sit in front of her, looking at her. And again as Spearman tries to unclothe her. And she screams and screams as cave-woman Helena threatens to kill her.

"End of Eternity". Female operative screams after Balor touches her. Women in corridor are panicking and screaming and falling to floor at the sight of Balor. Woman in Main Mission faints and has to be pulled by Alan to standing as Balor struts into the Alpha control centre.

"War Games". Cornered against a cubicle by the two aliens, Helena screams at length from the bottom of her lungs.

"Space Brain". Flustered women need to be guided by level-headed men out of the foam in the corridors.

News-flash, people. These are all "Year One" episodes. Mind, I have not listed the death scream of Laura Adams in "The Troubled Spirit" and the screams of the certain victims of the monster in "Dragon's Domain", as screaming in those circumstances is the only reasonable thing that should be expected. And the men in the same mortal circumstances in those episodes scream, too. All told, though, women fare poorly in Season One with regard to being calm and composed in urgent or upsetting situations. And they fare poorly in not resorting to screaming.

Now, let us examine "Year Two". Does Alibe scream or faint? No. Does the much-maligned Yasko? No. Does Sandra? She screams only once. She screams when she suddenly discovers, to her shock, that what she thought for some time was her fiance, Peter, is a horrible, repulsive monster. And that Command Centre is replete with such monsters. I think that in that sudden instant, screaming is a natural reaction to the sight before one's eyes. It is the only time in Season Two when Sandra screams. Who else screams? Sally Martin does as she is dying in agony in "The Lambda Factor". But like the screams of Laura Adams and the monster's victims, it ought to be an admissible screaming under lethal circumstances. Does Eva in "The Seance Spectre" scream? No. Nor does Cranston in "Seed of Destruction". In "A Matter of Balance", Shermeen neither faints nor screams when Vindrus appears to her. She does not scream, nor does she faint, when she sees Thaed. She is understandably distraught when she is "taken down" by Vindrus' people and needs some comfort from Maya after she is brought back to the matter universe (with her helping Maya to operate the switches on the conversion machine). But does she scream? Does she faint? No.

Karen in "The Taybor" does scream (but not to the bottom of her lungs). She does so after she is hit by a blinding light ray. A natural reaction to sudden physical harm. Oh, yes, Zamara in "One Moment of Humanity" screams most loudly- but she is an alien android, not an Alphan, and she is screaming in death. Michelle Osgood has a serious heart condition. So, her fainting should be admissible. Carolyn Powell does become maniacal and is hysterical in one scene with Tony, but she is under the influence of the Lambda variant. Helena screams briefly at the abrupt, sudden death by disintegration of Lew Picard right in front of her in "The Metamorph". She then whimpers briefly before Koenig pulls her away from the death scene. I suppose that one may quibble with that. But it is scarcely comparable to Helena's protracted, all-out scream in "War Games". And to her defence, Helena maintains composure and reason as she is held captive by the rock in "All That Glisters". Maya screams when feverish, delirious, and nightmare-wracked in "Space Warp" and while she is being caused great pain, her brain being almost torn apart, by the Dorcon probe in "The Dorcons". At all other times, Maya does not scream. She is an emotionally strong woman. Even when she is trapped by the rock in "All That Glisters", she does not scream. Annette Fraser in "The Metamorph" is the only incontrovertible instance in Season Two of a hysterical, fainting woman. She faints when her husband's Eagle is enveloped in light, and she becomes hysterical when Tony orders her husband's death in the destruction of Psychon. Whether her behaviour is passable under the circumstances is for an individual to arbitrate, I suppose. But generally, women on Alpha in Season Two are portrayed as calm and collected. Helena commands Alpha on one occasion. Sahn runs Medical Centre after Helena is overcome by the sickness in "The Beta Cloud". Alibe is rational and assertive while meeting Elizia in "Devil's Planet". She cries understandably at believing that Koenig is dead. But her crying is restrained. Not melodramatic.

But leaving aside my defences of Season Two and concentrating on the numerous instances in Season One of women fainting, screaming, being hysterical, the fact that these fans so clearly fail to acknowledge the recurrent presence in their vaunted Season One of women acting in the way that they claim is ubiquitous in Season Two, is a further indictment of their tendency, deliberate or no, toward falsification, or at the very least intellectual dishonesty. Their attempt to mis-characterise Season Two as a damnable departure from Season One's perfect portrayals of professional females, falls flat with a thud. And yet I am the only articulating person to respond to it. They will contend Season One's superiority over Season Two on shaky footing, and do so with confounded degree of supreme confidence, slurring Season Two with daily derogatory comment. In their bid to prevent fair regard for Season Two and to perpetuate the cliches that keep Season Two mired in pejoratives and sweeping denunciations and its beleaguered pundits like myself derided, ostracised, forever lumbered with bad reputation. These people have been shown by me in this Weblog to be wrong about Season Two time and time and time again. Yet, their point of view is the only one that ever is acknowledged as definitive.

Now, having said all of this, it did not and does not concern me much how either Season One or Season Two portrayed female reactions to situations. Both seasons were products of the years in which they were made and should be assessed as such. I have no interest in deconstructing forty-year-old television series on the basis of gender studies, gender roles, gender stereotypes, and present-day sensibilities on those subjects. I am not on the political Left. Identity politics do not interest me. They never have. If women are portrayed as admirably strong in a production, I will laud it for such, with sincere appreciation. But I can have many reasons for venerating a production. And presentment of gender roles has never been of paramount consideration for me. I did not initially watch Space: 1999 or Star Trek or Doctor Who because I wanted to see strong female role models. I watched those television shows because I liked to see otherworldly phenomena and imagined encounters of our technological civilisation with such. Being a boy and not a girl, I naturally found identification as a male with the heroic men. And I chose to play them when friends and I played Space: 1999. I did, however, enjoy Catherine Schell as Maya. It was a bravura achievement in characterisation of an alien heroine. And to this, I would add that The Bionic Woman was one of my favourite television shows of my youth. The quality of the writing was excellent, I thought. And combined with that was Lindsay Wagner's compelling performance as Jaime Sommers. Wagner had more of a presence on screen, by my reckoning, than Lee Majors as Jaime's bionic counterpart, Steve Austin. And her emotional responses to difficulties in adjusting to and managing her bionic powers and in confronting opposing forces and daunting situations were believable as those of a woman. She had a gravitas because of that. And she prevailed against her antagonists in just about every episode. If a female leading character is compelling, I will watch the television show or movie with her in prominence in it. But a science fiction/fantasy opus like Space: 1999 has an imagination-based and aesthetic appeal to me that goes beyond considerations of strength of the women in it. And it does not hamper my enjoyment of it for a woman to scream or faint on occasion. Though I do still wince with my conditioned-over-the-years expectation that my mother will make some disapproving comment, and perhaps insist that I turn the audio volume down (to reduce the sound of the screaming).

Another ever so impressive undertaking by the good people at the Facebook groups for Space: 1999 is the capture of video frame of a character briefly shouting with their mouth wide open and their eyebrows highly raised, or of a Maya transformation of a few seconds into a monster, and putting the captured images together in a montage to attempt to portray all of Season Two as an undignified, non-beautiful, constant deluge of shouting, gurning, overwrought characters and rubber-suited monsters. And then, the fans "have at it" with more venomous denunciations of it and Mr. Freiberger (or some distortion of the proper spelling of his name). Anybody can try to capture the most extreme actor expressions possible in a selected scene and maybe some cheap-looking visualisation and patch together a "hit piece". It could be done for Season One. A video frame of Koenig shouting with his mouth wide-open. Another video frame of a cardboard Eagle. A video frame of a gurning Anton Zoref. And a screaming Cynthia Crawford. Cave-woman Helena screaming. Stone Age men looking befuddled. Kano grimacing as he is being connected to Computer. Etcetera. It could be done for just about anything. The question is, why do it?

No need for me to answer. Regular readers of my Weblog will anticipate the answer with precision.

May 18, 2018.

It has come to my attention that using Firefox as Internet browser and accessing through Google my Website using the www. prefix to the URL will result in images not being visible on the Web pages. The solutions to this are typing into the Website address space, using an Internet browser other than Firefox, or utilising something other than Google as search engine.

I have come upon on YouTube the first minutes (with advertisements) of some of the STARS OF SPACE JAM videocassettes of late 1996. An enjoyable trek down Memory Lane. Here is one of these YouTube videos.

I had all five of those videocassettes. Those were the days! When Warner Brothers would open the vaults, dependably those of post-1948, to commercially release newly remastered cartoons on a routine basis. Days long-gone now.

May 17, 2018.

Another day, more sorties against Season Two of Space: 1999 on that paragon of high-mindedness, the Facebook Space: 1999 group.

Here is a fan's commentary on the character, Tony Verdeschi.

"I did think Tony was a liability. Every time he was on screen the tension and mood seemed to drain out of a scene. He was such a sterotypical, cardboard character that he turned the series into a soap opera. The ill conceived effort to turn him into an action hero fell flat. He became security chief as well as second in command so he could run around and look dynamic. This was in contrast to Paul who rarely ventured out of main mission doomed to be an over the top melodramatic figure of fun rather than the low key but more rounded, credible and cerebral Paul."

This, ladies and gentlemen, is the typical attitude of the Space: 1999 fan. "I did think..." "I felt that..." Always clinging to their initial negative reactions, being unwilling to budge on them. And none of this tirade is supported with cogent examples to give to it even the slightest degree of credible objectivity. And everything said can be questioned and challenged from a rational viewpoint. How is the effort to make Tony an action hero ill-conceived? I had a friend who liked him. He was my friend's favourite character. My friend liked Tony because Tony was an appealingly assertive character. A man of action, sometimes. Sometimes, he was a barker of orders to others. Either way, he has to be what he is. He is in charge of Security. He has to respond to threats to the security of the Moonbase and its people. Wherever on Moonbase those threats may be. To defend the Moonbase most promptly and efficiently. He cannot just limit himself to a Command Centre desk, especially at a time when most Security guards are incapacitated, as in "The Beta Cloud". He has to be "on the move". And "hands-on". His men would not respect him if he were not so. And when in command of Alpha, he is authoritative and under some circumstances humane. He is effective in responding to Patrick Osgood's accusations about Koenig with a measured mix of disapproving indignation and humane sympathy for his friend Osgood's troubled and volatile state of mind. He is rightly angry at Sahala for Sahala's incapacitating of Maya and suspicious of her as a result, but is at the same time willing, with reluctance, to listen to Alan, his trusted associate, who is giving to Sahala benefit of the doubt.

The tension was sustained in the scene in "Catacombs of the Moon" between Tony and Osgood. It was not in any way drained. It built to the fight that happened when Tony tried to persuade Osgood to talk to Helena about his visions.

How is he stereotypical? How is he cardboard? A man of action who has a hobby. An alcoholic beverage hobby. And is not particularly adept at that hobby. How is this stereotypical? Stereotypical men of action are usually not shown to have hobbies, and those of them who are will tend to excel at the hobby, the perfect specimens of male heroes that they are. A Security Chief on a Moonbase falling in love with a resident alien. Not something that is seen in next to every opus of the space science fiction/fantasy genre. And therefore not a stereotype. And that scene in "The Beta Cloud" wherein he puts aside all pretenses of romantic indifference (which is common to we humans afraid to commit to someone for fear of being rebuffed or of appearing sentimental and vulnerable and weak) and confesses his love for Maya always has impressed me. Tony Anholt did a most effective job of enacting it. I like the Psychon-is-my-favourite-planet way that he chooses to segue into the love admission. Stereotypical? I have never seen another character in a science fiction/fantasy work pivot toward expressing love with that sort of comment. And then later when Tony attempts to "dial back" his expressed love for Maya and return to the old, reticent, playfully noncommittal modes of interaction with her with which he is more comfortable, he is believable, the invulnerable man of Security that he is, that he must be. Believable, too, is his private smile of pleasure at knowing that Maya is "really crazy" about him. What is cardboard about this? And just because some behaviour is believably common to we humans, does not mean that it is stereotypical. It is humanity, for crying out loud. How is humanity stereotypical? Humanity, the very thing that fans claim that they want to see. His reaction in "The Bringers of Wonder" to seeing his brother, Guido, on the video screen is a perfect mix of shock, incredulity, and surge of hope for relieved longing. It is not a stereotype for a person to act in a so believable, so human a way under fantastically far-fetched circumstances. A television show has to have believable character reactions to events. And Tony Verdeschi as played by Tony Anholt offered that. Which, given that Anholt did not like science fiction and was not enamoured with what he was doing in Space: 1999, is remarkable.

I think that Tony Anholt consistently delivered a competent performance as a man unaccustomed to tenderness and in charge of Security, a man needing the dis-inhibiting effect of beer to "unwind" from the mental stresses of his job. A Security man whose instincts about a person, like Carolyn Powell, are honed to precision. And yet believably doubts himself when he questions the mental competence of his seeming leader, an impostor of the man whom he trusts with his life. I almost always found Verdeschi to be believable, whether as a man who is desperate to find his friends lost in time or as a hobbyist who has to good-naturedly endure the slights of his peers with regard to his hobby. Or as a man not practised in gently and sensitively turning away the unrequited affection of an infatuated young woman (Shermeen). Or as a man furious at the prospect of alien Dorcons turning his beloved lady into a living husk and in their having the effrontery to want the Alphans to be a willing party to that obscenity. Anholt is particularly effective as the crazed Tony in "The Immunity Syndrome", very menacing indeed with his gun set to kill John, and later as the lucid, near-death Tony telling to John what happened with Lustig. Tony's fury with the actions of the mutinous Sanderson is believable. And also credible is his reluctant and strained and sad compliance with Koenig's order to destroy Psychon and everyone thereon in "The Metamorph".

The only quibble that I would have with Anholt's performance would be in "The Exiles". Tony's objections to Koenig's caution regarding Cantar's people joining Alpha. One would expect that Tony, being man of Security and having the instincts that he has about potential threats to security, would side with John. I do not find Tony to be credible in that instance. It is more due to writing than Anholt's acting, granted. But Anholt does not help the cause any with his very loud "Have you gone mad?!" proclaiming when Koenig stuns Cantar. It is rather "over-the-top". That may have been his first scene filmed with both Landau and Bain (it probably was), and he misjudged and overplayed his performance. It can happen.

On the other hand, Tony is credible in "One Moment of Humanity" when he and Helena discover they they are alone on what seems to be Alpha. His strained-to-be-controlled upset feeling is sympathetic. And he is naturally dubious of Helena's claim that they could wish their way back to planet Vega, but he is willing against his feelings of incredulity to try it. His anger at Taybor's deception in "The Taybor" is credible, too. Taybor is trying to abscond with the woman for whom Tony has affection. Tony's frustration in "Journey to Where" with Dr. Logan, demanding a thorough explanation for the gone-awry transference of John, Helena, and Alan, is competently conveyed. As is his suspicion of the lying Pasc in "The Mark of Archanon".

Really, fans do not like Tony Verdeschi because he was not in "Year One" and because he replaced a character that was in "Year One". A character for whom fans had a liking. That is the essential truth. Their attempt to buttress their dislike by portraying Tony Verdeschi and the actor, Tony Anholt, as a complete and utter misfire on the part of production, is not credible and is downright ludicrous.

How, exactly, is Paul "more rounded, credible, and cerebral"? He plays the guitar (Tony brews beer). He loves Sandra (Tony loves Maya). But though he loves Sandra, he is not demonstrably jealous when Alan suddenly has "a thing" for Sandra in "The Full Circle". He lost a parent, his father, to the Queller Drive, but how did that loss of a father figure impact his personality? No noticeable sign of any effect. I am not going to "diss" Prentis Hancock's performance. I have always liked the Paul character. But, really, Hancock was not given more to do with his character than Anholt was given with Tony Verdeschi. Both conveyed madness effectively in episodes wherein that was scripted. Both were effective leaders of Alpha on occasion, giving to the assigned job an authoritative presence. Paul may have known Bible passages that Tony did not. But is that knowledge necessarily being cerebral, or being intellectual, or just the result of a capacity for recitation by rote of something learnt in childhood.

I have given examples to support my position. The fan berating Tony Verdeschi gave none to support his.

Today is Tuesday, May 15, 2018.

Firstly for today, I will report further additions to my autobiography, to Era 3 specifically.

Secondly, I will share the good news that my Bugs Bunny and Mr. Hyde vinyl figures have arrived and have a position of prominence on one of my shelves.

Thirdly, my quest for a new kitten his met with a deep disappointment. The expectant mother was not as fertile as I had hoped that she was, and I was not first in the queue of hopeful adopters of feline. Hope. Hope was a comedian who lived to be one hundred years-old. That is all that hope really ought to be for me. When I entertain it as a vehicle of optimism, it is quashed. This has been true for my life for almost thirty years now. With very rare exceptions.

I await the release of the second Blu-Ray of Pink Panther cartoons. It plus The Martian Chronicles and first Tom Baker season of Doctor Who Blu-Rays. All of those Blu-Rays are being released within the same week in late June.

Recently, I purchased the German DVD release of The New Avengers and am disappointed with the variable quality of the episodes' film-to-video transfers. Many of the second season episodes have "washed-out" colours, with a colour timing tending toward a sickly yellow. The episode, "Trap", is blurry and almost unwatchable. Some of the episodes, "To Catch a Rat" most especially, suffer from film wear damage in the form of black, vertical lines. Resolution is still vastly superior to that of New Video Group's 2002 and 2003 DVD releases of The New Avengers, and there is an audio commentary for "The Eagle's Nest" (one of the better-looking episodes in the DVD box set) by Gareth Hunt and Brian Clemens. But alas, a top-quality release of The New Avengers on DVD or Blu-Ray remains elusive. From what I understand, the original film elements for The New Avengers cannot be found.

All right. The Space: 1999 Facebook groups have been mounting a barrage of increasingly populated attack "threads" of discussion upon the second season of Space: 1999, its episodes, its producer. One of them has trotted out an old article to which I have already responded, an article concerning changes between seasons of science fiction/fantasy television series. The others are just dumping heaping amounts of negativity, some of it vulgar, upon the beleaguered Space: 1999 season as pictured in photographs. It is assuredly becoming worse and worse with each passing day and with the addition of more and more quasi-intellectual, Johnny-come-lately, repeat-the-prevailing-prejudice people of stunted imagination and no reasonable consequence. People of no humility, no self-awareness. Just declaiming to the choir for said choir's hearty approval and upward-extended Facebook thumbs.

I am tired and cannot be bothered responding to most of the bile being flung in Season Two's direction of late. It is garble from people of limited imagination, blinkered mindset, an arrogant attitude founded on wilful ignorance, and the confirmation bias of an "echo chamber" that in growing in numbers of individuals is becoming more and more and more removed from fair and reasoned judgement and outlook.

That more people are joining the congregation and iterating the same hostile-to-Season Two contentions and sentiments in a "circle-jerking" unison, does not make their bearing any more persuasive as true intellectualism or as the definitive "word" on artistic quantity within the Space: 1999 oeuvre. Not to anyone with an open and considered mind, that is. It just makes them look all the more arrogant and insufferable in their confounded expanding group-think.

I will, however, respond to this criticism of "The Immunity Syndrome". It is articulated in a fairly rational way, without the usual bilious rancour of conceited closed-mindedness amongst an approving crowd.

"It was never explained how Tony survived when everyone else exposed to the creature died shortly after they became lucid. Did the creature somehow cure him or did he just need some routine medical attention on Alpha? I assumed the reason they couldn't stay was because they needed to get Tony back to Alpha in order to save him. It was never stated that way but it would answer both questions."

Yes, the articulation is rational in its wording, but it is indicative of an inability to "fill in blanks" with the most sensible inferences based on given information. Yes, Tony recovers. And it is implicit that the creature did intercede into Tony's terminal condition and somehow reverse it. For a creature that can alter the atmosphere composition and the chemical properties of vegetation of a planet, arresting and reversing a brain cell expansion in a human body ought not to be particularly difficult, after Koenig, following a reference to it having earlier caused deaths, asked it for its help and its reply to John was in the affirmative. It could not resurrect the dead. It could not bring Lustig and the other dead Alphans back to life. Or Zoran and his people. The creature's abilities only extend to being able to effect change to life and biosphere conditions in the present. As to why the Alphans cannot enact Operation Exodus, the person doing the criticising is either not paying attention to all dialogue or is not interpreting dialogue correctly. Fraser clearly states that there is not much time for the landing party and rescue party to return to Alpha, that the Moon is moving out of range. Ergo, there is no time for an Exodus.

And I will respond to this.

"In that the second season was already an obvious ripoff of Star Trek, but to give one of the episodes the same name as one of the better Original Trek episodes is just inexcusable."

Good God, people! The harsh and damning language just does not "let up", does it? Not even after more than four decades.

Is it really inexcusable? It is any less excusable than "War Games" bearing a title used previously for a Doctor Who serial? Or "This Side of Paradise" being reiterated in "Guardian of Piri"? It is excusable if it aptly pertains to what happens in the episode? A planet's immune system yielding a syndrome of sicknesses and deaths and deadly circumstances. Yes, if it has an artistic purpose in calling attention to the Gaia principle, it is excusable. Also, I am not really sure that "The Immunity Syndrome" was one of Star Trek's better episodes. I find it to be boring. And I do not find it to be obvious that Space: 1999's second season is a Star Trek "rip-off". "The Rules of Luton" is based on the same premise as "Arena" of Star Trek, yes. But that is one episode. And it has some its own flourishes that set it apart from "Arena". Maya is a "resident alien" like Spock but very different from him in personality and in her transformation powers. All in all, Season Two of Space: 1999 differs from Star Trek more than it resembles Star Trek. Most cogently, it differs in how the heroes approach the phenomena that they encounter. They have no Federation of Planets for "back-up" and must be concerned, ultimately, for their survival as they are reconnoitring worlds. And they are doing that for survival purposes, not mere fact-finding. The Alphans are not seeking to bring alien worlds into a Federation. Nor are they invested in upholding a non-interventionist ideal (Star Trek's vaunted Prime Directive). They will intercede in an alien society's politics if doing so is necessary for their survival. They are not going to planets on missions on orders from an agency. They are their own agency.

The beauty in Season Two is in its concepts, in their symbolisms, and in how the episodes and their subject matter are "patterned" within the given chronology as stated in Dr. Russell's Moonbase Alpha Status Reports. I am privy to such. It exists. The evidence for it, once presented comprehensibly to me, was- and still is- undeniable. And I extrapolated observations of my own and a symbological "thread" for one episode. As much as I wish that my former associate would just write his book outlining and elucidating the beauteous nature of Season Two, he has not done so and seems to be content to only share his findings with select individuals. Given the tendency of fandom to be the swine that slobbers and defecates all over one's pearls, I suppose that his chosen way of disseminating his work has some sense to it, though it is not helping Season Two's cause in the wider world, in which the asinine opinions of the fan collective are regarded, unjustly, as definitive.

It should go without saying that fans of Space: 1999 are among my least favourite inhabitants of this planet. I cannot abide the thought of ever again being in the same room with them. And every day, I am given further impetus to flinch fitfully at the notion of ever again having to endure their presence.

All for today. God, I miss my cat, Sammy! Below is a photograph of him a few weeks before his death.

Okay. Another day, another patently spurious assault upon the second season of Space: 1999. Today, it is "The Exiles" that receives centre stage for a throwing of rancid tomatoes.

"The one thing that drove me nuts was that Helena causes the one exile to age by basically scratching his protective layer. I was OK with that, but then Koenig asks, 'How did you know that would work,' and Helena replies, 'I'll tell you later,' and we heard nothing else on the subject. I was OK with the episode up to then but that was kinda pathectic"

What? I have seen "The Exiles" on several broadcasts, on laser videodisc, on DVD, and on Blu-Ray. I have never seen a scene wherein this dialogue occurs. So, are the fans now resorting to inventing scenes and dialogue to use as brickbats?

And spelling of the word, pathetic, is the latest to be incorrect. Something is pathetic, all right. But it is not "The Exiles".

And the response on the "thread" of discussion to this concocted scene and dialogue?

"Well I'm afraid that pretty well sums up Season 2. Many of the episodes were slap dash, cobbled together in a make shift manner. This one was fairly watchable though."

The only thing cobbled together in a makeshift (it is one word, not two) manner is the fans' justifications for belittling Season Two. And sure, go on contending that the newly conjured lines of dialogue are there in the episode as it has existed since 1976. Do not correct anybody on their blatant falsification. Just add to it.

As to the scene of Helena piercing Cantar's protective membrane. Helena detected the membrane when she first examined Cantar and said to John that part of the answer to the aliens' ability to suspend animation was in that membrane. It was an inference on her part that piercing the membrane might weaken or incapacitate Cantar. And she proceeded to act against Cantar by digging her fingernails into the membrane on his face. And shortly thereafter, she saw that Cantar was showing signs of ageing and then reasoned that the breaking of the membrane was going to cause him to go through three hundred years of decay of his body. And she started informing Cantar of that.

It makes sense to me. It did when I was ten years-old.

And as to how the protective membrane, combined with deep freezing, made suspended animation possible, and why the membrane must be permanently intact to preserve the suspended-animation subject's youth. That would fall under "economy of detail".

And then there is this delightful statement.

"Indeed 90% of series 2 episodes were utter shite, but this one is above average."

The fact that not a single person challenged it indicates how far gone the fan movement now is toward total, abject group-think blinkeredness. An association of people completely devoid of any capacity for enlightenment. Fan movement? To use the vernacular of it in its current state, it is akin to a bowel movement. Long, tedious, painful. And it stinks. It reeks. As rank as the foulest smell imaginable.

My disgust for these people is at an all-time high.

On some happier notes, I have added more images to my Web pages for The Littlest Hobo and Star Blazers, my Mr. Hyde and Bugs Bunny vinyl toy figures are a day or two away from my door, and I am hopeful of adopting a purebred Himalayan kitten sometime within the next three to four weeks.

All for today. May 9, 2018.

Windy Saturday, May 5, 2018.

On the subject of a chronology for Spiderman, here is what I have put together thus far. 1962 being the year in which Spidey first appeared in Marvel Comics' publications, it would be the most apt year to begin the web-swinger's crime-fighting tenure. And a newspaper article fantasised by Jameson in "Trick or Treachery" has a November 2, 1967 date. That episode coming rather late in Spiderman's battles against evil-doers. Peter begins his Spiderman experience while as a high school student (he refers to school a number of times in the early second season episodes) with a foothold in college, attending the occasional course there. He is totally enrolled in university in September, 1963 and is undeniably in a college setting in "The Evil Sorcerer", in which some foliage in background is autumnal. "Trouble With Snow" is the only Spidey television series entry clearly transpiring in the winter. As many first season episodes occur with ample green foliage on trees, they must occur between late May and October at the very latest.

I have "sprinkled in" origin episodes for some of the villains.

"To Cage a Spider" logically follows "The Menace of Mysterio" if one infers that Spidey's audiotape-recording of Mysterio's confession is ruled inadmissible, Jameson retracts nothing in his news coverage of Spidey, Mysterio is freed, and Spidey remains under suspicion as being the perpetrator of the crime committed by Mysterio in Spidey's guise. Spidey's attitude in "To Cage a Spider" and the hostility of the New York populace toward him in that episode, makes perfect sense in this context. From then onward, Spidey is wary of the police, whose top officers (other than Captain Stacy) are operating against Spidey's interests on Jameson's insistence. The mayors of New York, however, are content to believe in Spidey's innocence (he did, after all, defeat Blotto and prevent New York's destruction, which impressed the mayor of that time) and to seek his assistance on occasion. Specific amnesia following his fall in "To Cage a Spider" is the reason why Spidey does not remember the Conner family, how to spell the Conner name, and where that family lives when he visits the Conners again in "Conner's Reptiles". Dr. Vespasian dies from unexpected physical complications of his use of his invisibility serum. Which explains why Spidey later says that Dr. Noah Boddy is the only man who could enter a prison without being seen; Dr. Vespasian is dead by then. It is also reasonable to assume that the Robinson laboratories' invisibility serum referenced in "Criminals in the Clouds" meets with a similar snag in their development of a serum-based invisibility. Which would be why Jameson scoffs at Dr. Noah Boddy's theory of invisibility, as invisibility has been proved in government-sanctioned laboratories to be unworkable. The death of Dr. Vespasian attracts one of his evil colleagues, Calvin Zabo, alter-ego Mr. Hyde, and Hyde's associate, the Cobra, to New York City, in pursuit of some stolen fortune that Vespasian ensconced somewhere in Manhattan.

"The Origin of Spiderman" (September, 1962)
"King Pinned" (September, 1962)
"Swing City" (October, 1962)
"Criminals in the Clouds" (November, 1962)
"False Implication" (February, 1963) (Kingpin) (first time that Spidey is accused of being a criminal)
"Menace From the Bottom of the World" (March, 1963)
"Diamond Dust" (June, 1963)
"Wrath of the Vulture" (June, 1963) (Adrian Toomes/Vulture, and Kingpin) (Vulture's origin)
"Helium Heist" (July, 1963) (Dr. Dumpty)
"Multi-Armed and Dangerous" (August, 1963) (Otto Octavius/Doctor Octopus) (Doctor Octopus' origin)
"Spiderman Battles the Molemen" (August, 1963)
"Phantom From the Depths of Time" (August, 1963)
"Origin of the Green Goblin" (September, 1963) (Norman Osborn/Green Goblin)
"The Evil Sorcerer" (September, 1963)
"Vine" (September, 1963)
"Pardo Presents" (September, 1963)
"Cloud City of Gold" (September-October, 1963)
"Neptune's Nose Cone" (October, 1963)
"Home" (October, 1963)
"Blotto" (October, 1963)
"Thunder Rumble" (October, 1963)
"Spiderman Meets Skyboy" (October, 1963)
"Revenge of the Green Goblin" (December, 1963) (Norman Osborn/Green Goblin)
"Cold Storage" (May, 1964)
"The Power of Doctor Octopus" (June, 1964)
"Sub-Zero For Spidey" (June, 1964)
"Where Crawls the Lizard" (June, 1964)
"Electro the Human Lightning Bolt" (June, 1964)
"The Menace of Mysterio" (July, 1964)
"To Cage a Spider" (August, 1964)
"A Strange Case of Amnesia" (September, 1964)
"Horn of the Rhino" (September, 1964)
"Kilowatt Kaper" (October, 1964)
"The Peril of Parafino" (October, 1964)
"The Winged Thing" (October, 1964)
"Conner’s Reptiles" (October, 1964)
"Trouble With Snow" (December, 1964)
"Spiderman Vs. Desperado" (April, 1965)
"Return of the Flying Dutchman" (May, 1965)
"Farewell Performance" (June, 1965)
"The Golden Rhino" (June, 1965)
"Blueprint For Crime" (June, 1965)
"Sky Harbour" (July, 1965)
"The Big Brainwasher" (July, 1965)
"The Vanishing Doctor Vespasian" (July, 1965)
"Scourge of the Scarf" (July, 1965)
"Super Swami" (July, 1965)
"The Birth of Micro Man" (August, 1965)
"Knight Must Fall" (August, 1965)
"The Devious Dr. Dumpty" (August, 1965)
"Up From Nowhere" (September, 1965)
"Rollarama" (September, 1965)
"Revolt in the Fifth Dimension" (September, 1965)
"Specialists and Slaves" (September, 1965)
"Down to Earth" (September, 1965)
"Trip to Tomorrow" (September, 1965)
"The Sky is Falling" (September, 1965)
"Captured By J. Jonah Jameson" (September, 1965)
"Never Step On a Scorpion" (October, 1965)
"Sands of Crime" (October, 1965)
"Diet of Destruction" (October, 1965)
"The Witching Hour" (October, 1965)
"The Spider and the Fly" (October, 1965)
"The Slippery Dr. Von Schlick" (November, 1965)
"The Death of Doctor Vespasian" (December, 1965)
"Hyde in Plain Sight" (January, 1966) (Calvin Zabo/Mr. Hyde, Cobra)
"Rhino" (April, 1966)
"The Madness of Mysterio" (May, 1966)
"The One-Eyed Idol" (June, 1966)
"Fifth Avenue Phantom" (June, 1966)
"Revenge of Dr. Magneto" (June, 1966)
"The Sinister Prime Minister" (July, 1966)
"The Night of the Villains" (August, 1967)
"Here Comes Trubble" (August, 1967)
"Spiderman Meets Dr. Noah Boddy" (August, 1967)
"The Fantastic Fakir" (August, 1967)
"The Vulture's Prey" (August, 1967)
"The Dark Terrors" (September, 1967)
"The Terrible Triumph of Doctor Octopus" (September, 1967)
"Magic Malice" (September, 1967)
"Sting of the Scorpion" (October, 1967)
"Trick or Treachery" (October-November, 1967)
"To Catch a Spider" (November, 1967)
"Double Identity" (May, 1968)
"Fountain of Terror" (May, 1968)
"Fiddler On the Loose" (June, 1968)

I need to do further viewings of the episodes before I can settle conclusively on this sequence. And I lack the desire right now to do more frame-grabbing work for images to go with the chronology's text.

It is something that I often sardonically say. The best way to insure that a Web page will go unvisited is to update it. All of the work that I did this past week to upgrade my Littlest Hobo Page's images, and what is the result? Daily traffic to it has utterly ceased. As if on cue. Update the Web page, and accessing of it reduces to zero.

How can I motivate myself to make improvements to Web pages when this most vexing phenomenon occurs?

Anyway, I will report that my Era 2 memoirs have had further text and image additions, and my interview with Simon Christopher Dew has also received an images upgrade.

I am also working on a chronology for Spiderman. That is a project that I have undertaken before, only to abandon it as my initiative dwindled in a low-morale situation. Time will tell if this time I will succeed in bringing a Spiderman chronology to a state of completion.

Fredericton is a major flood zone. The downtown area is beset with pools of dirty water, and places further down the Saint John River are thoroughly inundated. My home is outside of the floodplain, but the flooding in the city's major arteries of traffic has impacted routine daily movement. And I have noticed a slowing of mail delivery. My Mr. Hyde and Bugs Bunny vinyl figures set is en route to me, but it seems that I must expect delays. At least my house is safe from the flood water. My parents chose it wisely back in 1977. I remember one of the first houses for sale that we visited (on Wednesday, May 25, 1977 while I was thinking about the Space: 1999 episode, "Space Warp", that had aired for the first time on CBC Television the Saturday previous) was on Burpee Street, which is now very much underwater. Thank goodness we did not move into that house.

All for today, Friday, May 4, 2018. And no, I am not going to make a lame, pun-based reference to a certain line of dialogue in a 1977 movie whose name I will refrain from stating. Every year, I have to endure it on Facebook, and it has become quite a cliche. Where cliches go, it cannot hold candle to the refrains of the fandom of Space: 1999. Pavlov would have a "field day" analysing those. By the way, I was talking at a local mall's food court with a friend the other day, and he concurred with me that there is a pathology of some sort in the Space: 1999 fan attitude toward Space: 1999's second season. Mind, with regard to psychoanalysis, we are both lay people, but still such a hypothesis is a rational one for a lay person to consider, under the circumstances. The fans are vilifying the Season Two episode, "Seed of Destruction", today after having venomously assailed "Brian the Brain" in their latest systematic slurring of everything Season Two. In between the usual "shots" at Season Two for not having Main Mission and Victor Bergman in it. Cliche. Cliche. Cliche. Four-decades-old cliches.

And the same person in the Space: 1999 fan group on Facebook still cannot spell the word, chrysalis, or the word, damn.

Anyway, now this is all for today.

I am still pulling my chin off of the floor after I discovered this two evenings ago.

I have learned that this set of vinyl toy figures was manufactured last year in a very limited production run of 850 units for selling at the July, 2017 San Diego Comic-Con. I was not aware of it until two evenings ago because I have been "out of touch" with cartoon fandom for several years (besides, I doubt that the cartoon fans with whom I was associated would have noticed or remarked about the item). It was in doing a simple Google search for "Hyde and Hare" (I do those from time to time) that I came upon the above image of the Mr. Hyde and Bugs Bunny toy figure set.

And yes, there was no way that I could resist finding and purchasing a set. The prices that this item is fetching at eBay are exorbitant, and I am paying one of those prices. But I just have to possess the item. With my history with "Hyde and Hare", there can be no question of me foregoing the toy figures set. I do not buy much merchandise memorabilia anymore, but this is a special case. It is astonishing that a toy set based on "Hyde and Hare" would be made on an assembly line to be sold to buyers. In fact, I have to wonder if I am dreaming this. I mean, the Warner Brothers cartoons had never been as unpopular and unrecognised as they are these past couple of years, and "Hyde and Hare" was scarcely one of the most sung-of-praise efforts of the Warner Brothers cartoon studio.

Someone has a video on YouTube with a discussion of the Mr. Hyde and Bugs Bunny toy figures set and of the cartoon on which the toy figures set is based.

I cannot hope to satisfactorily express my gratification at the attention and acclaim that "Hyde and Hare" is currently receiving. A cartoon that merited no mention in Joe Adamson's Bugs Bunny book apart from the shortest possible synopsis toward the end of the book. A cartoon that has long been among the lowest rated of Bugs Bunny's films at the Internet Movie Database. A cartoon that the ever-so-expert denizens of the old Termite Terrace Trading Post routinely proclaimed to be one of the poorest cartoon shorts (if not the poorest cartoon short) for the rabbit. The cartoon of which a steadfastly held stance of detraction on the part of the most prolific and the most supercilious contributors to the discussions at the Termite Terrace Trading Post finally precipitated my acrimonious departure from that vaunted association of persons.

Yes, I am revelling in this unexpected change of fortune for "Hyde and Hare". And I will for the remainder of my life own a souvenir of that change of fortune in the collector's item that is now en route to me.

Now, how about a Blu-Ray release of "Hyde and Hare"? Either in a further Blu-Ray set of the Warner Brothers cartoons or as a bonus feature in a Blu-Ray release of the 1932 Dr. Jekyll & Mr. Hyde? Please? Pretty please?

The Littlest Hobo Page is now upgraded with improved images. It is the last of my Web pages to receive such an improvement. Unfortunately, with there not being a complete DVD release of that television series, image quality is still not optimal. But at least the digital blockiness and graininess of the old images is gone, finally.

May 2, 2018.

Kevin McCorry's Home Page