In issue #2 of Orphan Black: Deviations, tensions rise to extreme levels. No one knows who to trust or where answers may lie. As the Clone Club is busy trying to put the pieces of their complicated lives together, Heli Kennedy’s brilliant script conveys the idiosyncrasies of each character. Alison’s quips provide humorous moments amid intense interrogation of Sarah. And Beth is starting to develop more, as we see how she fits into the group. Since we don’t get to see these interactions in the show, it is refreshing to have her character so active and involved—even if she is just really angry and tense so far. We also witness her coping mechanism, which shows how much her character is struggling on the inside. Hopefully, once Sarah is welcomed into the group, Beth will be able to release some of her pain.

When I first heard that When Wrong Is Right, now playing at the Eclectic Company Theatre in Valley Village, CA, involved a dance marathon, my thoughts immediately went to the movie, They Shoot Horses, Don’t They? Indeed, this play and that film have a lot in common. They’re both set during the Great Depression, and both stories have an air of hopelessness and despair. When Wrong Is Right, however, uses those elements to weave a very different kind of story.

While disco was hot and bell bottoms were cool, the late 1970s saw an influx of popular culture milestones on the silver screen that included the release of Star Wars, Close Encounters of the Third Kind, Halloween, Apocalypse Now, and Alien. Director Ridley Scott introduced a new kind of science fiction space horror in which he re-appropriated and re-imagined the slasher genre. With this film, Scott explored themes of survival, isolationism, the final girl concept, and the uncanny valley, as well as showcased the visual aesthetic created by German artist H. R. Giger. In Alien, Scott introduced audiences to LV-426, one of the three moons orbiting Calpamos, but it was in James Cameron’s 1986 Aliens that revisited LV-426, no longer devoid of human life, but inhabited with a terraforming colony called Hadley's Hope. Needless to say, there wasn’t a whole lot of hope or colonists by the time Ripley returned to the xenomorph-infested moon.

"I heard that Fox was gonna do Alien vs. Predator, which really depressed me, because I was very proud of the movies. I’ve nothing against building a movie on a video game, but at the time it was, as Jim Cameron said, I think publicly, ‘Why would you want to do that'? It’s like making Alien Meets the Wolfman.”

Though Alien and Aliens were released in 1979 and 1986, respectively, it was in the 1990s that Aliens, as a universe, solidified and proliferated itself across a variety of other narrative media and paratexts. While the '90s saw the release of the Alien 3 and Alien: Resurrection films, it is easily these other forms of storytelling that provided the greatest contributions to the Aliens franchise, both in tangible products to sell, as well as lore and stories to expand the universe (canonical or not). Dark Horse Comics contributed the majority to the narrative through their various Aliens and Aliens vs. Predator comics, an IP they still generate material for to this day. Bantam Books released a plethora of Aliens books in the '90s before DH Press took the reins in the 2000s.

The following is an interview with Jaime Prater, host of Perfect Organism: The Alien Saga Podcast. In this interview, Fanbase Press President Bryant Dillon talks with Prater about his love of the Alien franchise, the origins of the podcast, and more.

“Chimera”
7.14 (aired February 17, 1999)

“You’ve done many things, been many things, but you’ve never known love.”
“Compared to the Link, it is a pale shadow. A feeble attempt to compensate for the isolation that monoforms feel because they are trapped within themselves.”
“Perhaps the fact that it’s not easy is what makes it worthwhile.”
    -- Odo and Laas

What do you think I am, crazy?  You’ll shut off the flashlight when I’m halfway across!

The following is an interview with Chris Piccaro (Hunter's Prayer, Pride + Prejudice + Zombies), music supervisor for the company, Supe Troop. In this interview, Fanbase Press Editor-in-Chief Barbra Dillon chats with Piccaro about the creative mission of Supe Troop, the role of a music supervisor within a film or TV project, his creative process, and more!

Say a flip to the flop, and it all goes pop.

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