📷 X/Gordon Morris @Gordonpmorris
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A few choice extracts...
“My Budapest hotel room neighbour was Anthony Flanagan, who played John Morfin, and because we spent so much time together on set, we became good friends and would spend a lot of time wandering around together taking in the sights.
“I also remember getting an invite to Tobias Menzies’ birthday party in Budapest and thinking how much my life had changed, as Fintry used to be my cut off point for parties!”
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“It was a joy watching Paul Ready play [Goodsir] so compassionately and I loved sharing scenes with him. When you’re playing very emotional roles, you try to break out and have fun between takes to keep yourself sane.
We had a lot of fun between takes. For instance, the costume department would come around and take photos of you for continuity, then the next morning you would have a photo left in your trailer so you could make sure everything was exactly as it was the day before.
One morning I went into my trailer and looked at my continuity photo and Paul was standing in the background making a very rude gesture towards me!”
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“I was invited to a private screening of the first three episodes in London and after helping a very lost Tobias Menzies to find the venue, I sat down and watched the show. Within the first 10 minutes I knew it would be a hit: the writing, the direction, the music, the cinematography, the acting – everything about it was brilliant!”
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Gordon said he has never encountered such a passionate fandom, which he described as being an array of “extremely talented, knowledgeable and just plain lovely people”.
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peep the newest chapter and I’m looking forward to their fight!! 🖤🐂
(persona colours style)
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Beginning of the End (1957)
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Joseph Gordon - New York City Ballet - photo by Marcus Morris
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Portraits of Jane Morris · II of II
This picture is one of the most remarkable in the series, especially the two prints that are preserved in the Victoria and Albert album. Mrs. Morris is posed outdoors against the backdrop of a billowing canopy, with her hands clasped at her midriff. She is turned facing the camera, though she looks away to the right. The other V&A print [image # 3] is cropped down from the original negative, as is the Birmingham copy. The modern prints shows the composition of the original negative and is far... [ . . . ]
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Jane Morris standing, in marquee. The older V&A print (1865)
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Lizzy: Ok! We got Madame Doom! Now we have to find the others.
Matt: They could be scattered around Horrorland! If we only we have a shortcut…
Sam: Hm? Miss Lizzy? Why is your pocket glowing?
Lizzy: Huh?
Lizzy: Wait - This is one of the pocket horrors we got back then! How is it still here? And why is it glowing?
Ray: Strange - When we have them, they look like figurines - And they definitely don���t have that red drawing there!
Lizzy: Looks like.. A sigil?
Ray: Just why is it glowing like that?
Ray: Oh.. Because of this portal…
AAAAAAAAAHHHHH!
OOFPH!
Matt: Crud - Are you kids ok?
Ray and Sam: Yeah…
Lizzy: Ugh… Wait - I see Robby! And Carly Beth and Sheena!
Ray: And there’s Marco! And Jessica!
Robby: GUYS?! WAIT - THE OOZE!
Matt: Huh?! Yeah, I know you’re a fan -
Robby: NO! I MEAN - WATCH OUT!
Matt and Lizzy: Oohhhh… Shittake Mushrooms.
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Buzz buzz, here comes THE WASP WOMAN (1959) from Roger Corman himself! The film stars Susan Cabot, Michael Mark, Fred Eisley, Barboura Morris and William Roerick.
We discuss wasp facts, the history of cosmetics, and Susan Cabot's sad biography in this episode, so there's plenty to chew on.
Thanks for your patience in our delays getting this episode ready, I think it was worth the wait!
Context setting 00:00; Synopsis 26:32; Discussion 43:57; Ranking 1:04:30
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“(440):
Made up a full house drinking game
(216):
On my way.“
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From a new interview with Gordon Morris (John Weekes):
Dr Potter was so impressed that he is now in discussions with The Terror creator, David Kajganich, about putting together an audio CD that would include other key cast members alongside Gordon reading from the letters of the characters they portrayed.
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THE SHE-CREATURE (1956) Reviews of hypno-regression horror - free to watch online
THE SHE-CREATURE (1956) Reviews of hypno-regression horror – free to watch online
‘It can and did happen! Based on authentic facts you’ve been reading about!’
The She-Creature is a 1956 American horror film about a hypnotist who reverts his female assistant back into a prehistoric sea monster.
Directed by Edward L. Cahn (The Four Skulls of Jonathan Drake; Curse of the Faceless Man; It! The Terror from Beyond Space; Invasion of the Saucer Men; Zombies of Mora Tau; Voodoo Woman;…
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W A T C H I N G
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Portraits of Jane Morris · part I
John R. Parsons :: Jane Morris, née Burden, posed by Rossetti, 1865. Albumen print from wet collodion-on-glass negative | V&A museum
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All images in this post are from: Album of Portraits of Mrs. William Morris (Jane Burden) Posed by Rossetti, 1865. Composed by Gordon Bottomly in 1933
This book is an album of photographic prints that were made from photographs shot by John Parsons under Rossetti's directions. All the photos seem to have been shot on 7th June 1865 at Rossetti's house on Cheyne Walk.
This portrait is closely related to another picture in the Jane Morris series of photographs: the picture is virtually the mirror image of image # 2 in this post, where Mrs. Morris faces right in much the same pose. | text adapted from Rossetti Archive
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Ma’am?….. Hey! Hey…….. Wake up!
Ugh….. Where?
Lizzy: Wait — You two….
Ray Gordon? Sam Waters?
Ray: Oh good! You know us! Help!
Sam: Who are you? H-how?
Lizzy: Long story, but where are the others? Are you kids hurt?? Where are we?!
…..
Oh no….
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