WordWolf

Often, but having the benefit of hindsight doesn't guarantee anyone will figure out CORRECTLY what happened in the past, and it doesn't relate to the DIFFERENT, NON-CHARISMA reasons people joined twi- which is a major discussion-point of the thread.

"Comedy Central presents Maria Bamford (2001)." ALMOST in the 90s. "Hey, Maria. I've been taking this class that's really changed my life. Would you like to come to a newcomer's class at 7:30pm? There's no obligation, and it's free!" "S-sure I'll join your cult." The scene where they try to put the squeeze on her to pay for a not-free class with obligations is totally worth seeing.

I think the price is what they think the market would bear. They're not targeting kids because it's about MERCHANDISING now as much as anything else. Who has all the money? To some extent, they're targeting teenagers and 20s. (A lot of the X-titles and new characters pander to a left slant. That appeals to youths more pretty much always, and has the advantage of making the comics more "inclusive" (of those who claim exclusion the loudest, at least.) There's a small subgroup targeted towards older, old-school comics geeks, which explains why they keep retconning progress in characters like Hal Jordan, Oliver Queen, etc.) If you're targeting a handful of fans who want their characters preserved in amber and spend handfuls of money on them, then you're going to preserve the characters. I expect kids can watch the cartoons, and then get the toys, but the comics may be a bit inaccessible to them right now. (My opinion only-you're free to disagree as always.)

His area of study was HOMILETICS. He specifically studied how to put together a sermon and deliver it, hopefully in a relevant, useful, and interesting fashion. (He studied that FORMALLY and got his degree thereby.) To this, he added scholarly materials from some people (Bullinger) and more hands-on material from others (Stiles) and some that focus more on a result (Leonard). So, when he did anything, his style could reflect any of that. We know he lacked the drive to do his own scholarly work, so his books either reflected copying the work of others, transcripts of sermons/presented classes, or, later, the research of the research department, to which he added his name before it went to print (they all said "by Victor Paul Wierwille" on the covers.) His style in the pulpit/ when teaching could work well for people or not. He had the advantage of having a PRIMED audience most of the time. People were told the pfal class was truly fantastic, so they went in expecting that, and often found it because they expected it. Long ago, I played one of his teachings from an ROA for someone who'd never heard of him. They found he spent a lot of time joking and fooling around before finally getting to the subject. They were right. (ROA 77, "the Healing of Naaman" keynote teaching.) Sometimes the presentation style changed radically- vpw copied the wording, tonage, and even the ACCENTS of others when presenting their material which he said was the result of his own research. vpw, by himself, could be a bit brusque, and when he wasn't, he often stopped to have the audience fill in a word while reading. (I've done that a little to emphasize what was said was NOT what would be expected. He did it as a matter of course.) Other times, he could sound like a MUCH nicer person. "Don't you want to speak the wonderful works of God?" (vpw copying Leonard or Stiles, probably Stiles.) So, his style was inconsistent but could work well or fall down, depending on the presentation, the listener's expectations, and whether he was copying or speaking more from himself.

It's just as well. The comics aren't written for kids anymore. They're secondarily for purchase, primarily for advertising products for merchandising (toys, cartoons, movies, shows...) As for the feel of the shows, Flash is brighter, like classic Superman, and Arrow is darker, like Batman. DC is going to have to actually LISTEN to the fans before Superman can be a BRIGHT hero of HOPE again. That may take a long time and cost them a lot of money first. In general, we don't want our kid watching "Gotham" regardless of when it airs, so I agree about the time-slot. It's solely for adults and is grim and gritty. BTW, Ollie DID use a boxing-glove arrow ONCE. In the Wildcat story, he was in a gym. He stuck a boxing glove on an arrow before firing it a short distance. He's used some kind of bola-arrow recently. I'm waiting for Ollie to make some of his super-spicy chili.

Indeed. The "original" one by Universal.

"Open the pod bay doors, HAL." "I'm sorry, Dave. I'm afraid I can't do that."

"Henry - In the name of God!" "Oh, in the name of God! Now I know what it feels like to be God!" "Dangerous? Poor old Waldman. Have you never wanted to do anything that was dangerous? Where should we be if no one tried to find out what lies beyond? Have your never wanted to look beyond the clouds and the stars, or to know what causes the trees to bud? And what changes the darkness into light? But if you talk like that, people call you crazy. Well, if I could discover just one of these things, what eternity is, for example, I wouldn't care if they did think I was crazy." "It is one of the strangest tales ever told. It deals with the two great mysteries of creation: life and death. I think it will thrill you. It may shock you. It might even horrify you. So if any of you feel that you do not care to subject your nerves to such a strain, now is your chance to, uh... Well, we've warned you." " You're crazy!" "Crazy, am I? We'll see whether I'm crazy or not." "The neck's broken. The brain is useless. We must find another brain."

I'm slightly behind on Gotham because the Mrs got bored with it partway through last season, and only catches updates when convenient. So, I haven't sat down to watch this week's episode yet. (I'm behind on Supergirl also, and next week I will be out of contact and will briefly fall behind on everything for most of the week. Just FYI.)

The show WAS "Star Trek." (The Original Series.) The song was not "Beyond Antares." That was actually sung by Nichelle Nichols to Charlie X in the episode "Charlie X." "Beyond The rim of the star-light My love Is wand'ring in star-flight I know He'll find in star-clustered reaches Love, Strange love a star woman teaches. I know His journey ends never His star trek Will go on forever. But tell him While he wanders his starry sea Remember, remember me." http://www.snopes.com/radiotv/tv/trek.asp " Pressured by Roddenberry, Courage had made a "handshake deal" a couple of years earlier that gave Roddenberry the option of composing lyrics for Courage's Star Trek music (and Courage signed a contract — unknowingly, he later claimed — to that effect). Roddenberry exercised that option, writing lyrics for the main theme and then asserting his right to half the performance royalties as a co-composer. It made no difference that the lyrics were not intended to be used in the show itself and had not been recorded or released. As the lyricist, Roddenberry was entitled to an equal share of the royalties, whether or not the lyrics were ever used. Courage protested in vain that although the arrangement may have been legal, it was unethical: Roddenberry's lyrics added nothing to the value of the music and were created for no reason other than to usurp half the composer's performance royalties. An unsympathetic Roddenberry proclaimed, "Hey, I have to get some money somewhere. I'm sure not going to get it out of the profits of Star Trek." " As a business decision, it was legal. Since Courage refused to score any more episodes nor add the music for scenes, it probably was a bad decision for the quality of the show in the long run. Then again, even GR didn't think the show would survive long enough to begin syndication.

This show became more popular in syndication than it was in its original airing. The executive producer conned 50% of the fees for the composer of the main title theme. The song was an instrumental. The producer wrote lyrics for it which were NEVER used-and insisted he wrote 1/2 the song and was entitled to 1/2 the royalties.

Must be "Ghostbusters."

"The Green Hornet"?

"Henry - In the name of God!" "Oh, in the name of God! Now I know what it feels like to be God!" "Dangerous? Poor old Waldman. Have you never wanted to do anything that was dangerous? Where should we be if no one tried to find out what lies beyond? Have your never wanted to look beyond the clouds and the stars, or to know what causes the trees to bud? And what changes the darkness into light? But if you talk like that, people call you crazy. Well, if I could discover just one of these things, what eternity is, for example, I wouldn't care if they did think I was crazy." "It is one of the strangest tales ever told. It deals with the two great mysteries of creation: life and death. I think it will thrill you. It may shock you. It might even horrify you. So if any of you feel that you do not care to subject your nerves to such a strain, now is your chance to, uh... Well, we've warned you." " You're crazy!" "Crazy, am I? We'll see whether I'm crazy or not."

"God" Peter Minuit Benjamin Franklin 'Benny' Linn From his post-Marx Brothers days. In "Skidoo", "the Story of Mankind", and "A Girl in Every Port." Emile J. Keck Detective Sam Grunion Lionel Q. Deveraux "Double Dynamite", "Love Happy"- introducing Marilyn Monroe, and more of a Harpo movie than a Marx Brothers movie, although Chico also appeared. Groucho narrated and played a detective. Devereaux was from "Copacabana", opposite Carmen Miranda. Ko-ko (Lord High Executioner) George Schmidlap Gordon Miller Groucho was a fan of Gilbert & Sullivan musicals, and finally got to play in "the Mikado." Schlidlap was from "Will Success Spoil Rock Hunter?" Gordon Miller was from "Room Service," an un-Marx Brothers movie by the 3 brothers. It was an adaptation of someone else's story, which is why he doesn't have a wackier name. Wolf J. Flywheel S. Quentin Quayle Dr. Hugo Z. Hackenbush "The Big Store", "Go West", and "A Day at the Races." In that last movie, his last name is repeated a lot in the telephone scene by Sig Ruman (and in the scene when Harpo tried to tell Chico something about him. Ronald Kornblow J. Cheever Loophole Professor Quincy Adams Wagstaff "A Night in Casablanca,"the last true Marx Brothers movie. "At The Circus" and "Horse Feathers." Captain Geoffrey T. Spaulding Rufus T. Firefly Otis B. Driftwood "Animal Crackers", "Duck Soup" and "A Night at the Opera." His characters get named a few times in each- ANatO opens with him being paged. I couldn't use "Monkey Business" because their characters are named "Groucho", "Chico" "Harpo" and "Zeppo" in that one. Otherwise, I used all the movies that had Groucho, Harpo and Chico.

It is Groucho. I thought a FEW of the names might be memorable.

"God" Peter Minuit Benjamin Franklin 'Benny' Linn Emile J. Keck Detective Sam Grunion Lionel Q. Deveraux Ko-ko (Lord High Executioner) George Schmidlap Gordon Miller Wolf J. Flywheel S. Quentin Quayle Dr. Hugo Z. Hackenbush Ronald Kornblow J. Cheever Loophole Professor Quincy Adams Wagstaff Captain Geoffrey T. Spaulding Rufus T. Firefly Otis B. Driftwood

"God" Peter Minuit Benjamin Franklin 'Benny' Linn Emile J. Keck Detective Sam Grunion Lionel Q. Deveraux Ko-ko (Lord High Executioner) George Schmidlap Gordon Miller Wolf J. Flywheel S. Quentin Quayle Dr. Hugo Z. Hackenbush Ronald Kornblow J. Cheever Loophole Professor Quincy Adams Wagstaff

Someone once commented that the social sanctions in twi fell short of actual physical beatings for refusing to obey leadership, but only just short of that.

Ok, finding out who was in it, we have James Belushi Red Heat Peter Boyle

That's the Adam West "Batman" movie, isn't it?

"God" Peter Minuit Benjamin Franklin 'Benny' Linn Emile J. Keck Detective Sam Grunion Lionel Q. Deveraux Ko-ko (Lord High Executioner) George Schmidlap Gordon Miller Wolf J. Flywheel S. Quentin Quayle Dr. Hugo Z. Hackenbush

"God" Peter Minuit Benjamin Franklin 'Benny' Linn Emile J. Keck Detective Sam Grunion Lionel Q. Deveraux Ko-ko (Lord High Executioner) George Schmidlap Gordon Miller

God Peter Minuit Benjamin Franklin 'Benny' Linn Emile J. Keck Detective Sam Grunion Lionel Q. Deveraux

Human gets the credit, but the artist was Bobby "Boris" Pickett and the Crypt-Kickers. (They're named in passing during the song, also.)