History Alive Guide To Notes 37
SEASON 1 (EPISODES 5, 6, 15, 16, 25, 26), SEASON 2 (EPISODES 21, 22, 37, 38, 39, 47, 48, 57, 58), SEASON 3 (EPISODES 10, 16, 17, 24) Second only to Burgess Meredith as The Penguin, Cesar Romero appeared in Batman as The Joker in 19 episodes in total. Known for his bright green hair, stark white makeup, and wide smile, Romero’s Joker would become one of the show’s most memorable villains. The actor famously refused to shave his signature mustache and you can see it under the white face paint particularly well on the high-definition transfers included on this Blu-ray box set. FREEZE (GEORGE SANDERS). SEASON 1 (EPISODES 27, 28), SEASON 2 (7, 8, 53, 54), SEASON 3 (6, 23) Ever the performer, Victor Buono’s over-the-top performance as Batman original villain King Tut earned him appearances in eight separate episodes over the show’s three seasons. The actor loved playing the character because it allowed him the opportunity to overact, one of the aspects of the character that makes King Tut so beloved (and if there’s ever a place to overact, the Batman series was a great place to do it).
BOOKWORM (RODDY MCDOWALL). SEASON 2 (EPISODES 13, 14), SEASON 3 (EPISODES 8, 9, 15) It’s hard not to love Vincent Price’s hilariously campy portrayal of Egghead during five episodes in Batman’s run.
With his signature white and yellow suit and enormous bald head, Price overacted to perfection as the extremely intelligent, eggcentric (get it?) villain. The character had a lair decked out with bacon and egg drawings on the wall and tossed laughing and tear gas eggs at his foes. Egghead is, quite possibly, the most lovable of all Batman villains. CHANDELL (LIBERACE). SEASON 2 (EPISODES 31, 32) Not to be confused with The Riddler, Maurice Evans as Puzzler also liked to keep Batman and Robin confused with clever puzzles, word games, and tricks. He was often seen reciting Shakespeare and had a thing for aviation. According to, Puzzler’s appearance only came about because Frank Gorshin no longer wanted to play The Riddler during season two, so the show slotted Puzzler into these two episodes instead.
Of course, John Astin would play The Riddler later in season two and Gorshin would return to the green tights in season three. SANDMAN (MICHAEL RENNIE). SEASON 3 (EPISODES 2, 3) Siren, played by Joan Collins, began her entrance into the world of Batman as a bit of a sidekick in The Riddler’s devious plan to take over Gotham City’s boxing game. By her second episode, however, the singing Siren made a plan to uncover Batman’s true identity all by herself. Memorable for her beauty, luxurious outfits, and her ability to mesmerize men with her high-octave tunes, Siren made an indelible mark on the series in the span of only two episodes. LOLA LASAGNE (ETHEL MERMAN). SEASON 3 (EPISODES 7, 18) Louie the Lilac, on the other hand, made a huge mark on Batman by being such a bright, colorful character (with such a recognizable face behind it) that two episodes are more than enough to make fans remember him.
History Alive Guide To Notes 37 Weeks
There’s a whole lot of Milton Berle himself in Louie’s demeanor, even down to the actor’s signature cigar, which is part of what makes the character (created specifically for the show) work. Louie the Lilac also went on to appear in five episodes of the animated series Batman: The Brave and the Bold. OLGA, QUEEN OF THE COSSACKS (ANNE BAXTER). SEASON 3 (EPISODES 8, 15) Remember how we told you that Zelda the Great would not be the last you’d see of Anne Baxter in Batman? That’s because she’s the show’s only guest villain to ever return to play a different villain on the show later. This time around, she portrayed Egghead’s main squeeze, Olga, Queen of the Cossacks.
The showy villainess mostly sat back while Egghead and his henchmen took care of business, but she’s a memorable character nonetheless. LORD MARMADUKE FFOGG (RUDY VALLEE). SEASON 3 (EPISODES 11, 12, 13) The coolest thing about Lord Marmaduke Ffogg (who appeared in three episodes as the co-villain alongside his sister Lady Penelope Peasoup) was easily his Pipe of Fog. All the venerable lord had to do is light that thing up and the room would start to fill with a white, puffy smoke—perfect to conceal his getaway.
Played by Rudy Vallee, the villain also wore a special cast on his foot to make people think he had the gout and was, therefore, incapable of pulling off his crimes. LADY PENELOPE PEASOUP (GLYNIS JOHNS). SEASON 3 (EPISODE 19) It’s almost a shame that someone as talented as Barbara Rush ( It Came from Outer Space) was saddled with another of Batman’s least memorable villains. In her one appearance on the show, Nora Clavicle used her wits and charm to convince Mayor Linseed to give her the Commissioner job, which is all part of a devious plan to destroy Gotham City and collect on an insurance claim. How did she plan to do it, though? With mechanical mice.
Since she replaced the police force with housewives, they’re all afraid of mice. Pretty sexist, right? Ahh, those crazy 1960s. CALAMITY JAN (DINA MERRILL).
SEASON 3 (EPISODES 21, 22) It’s a shame that Batman didn't really let Dina Merrill’s Calamity Jan be much more than arm candy for their western spoof villain Shame, but at least the actress does the best she can with the material she’s got. Calamity Jan came across as adorable and silly, but just smart enough to probably be able to ditch Shame and bring Batman and Robin to their knees. Sadly, we’ll never know if that’s true since she’s mostly playing second fiddle to Cliff Roberston’s Shame. CASSANDRA SPELLCRAFT (IDA LUPINO). SEASON 3 (EPISODE 25) Ida Lupino helped pave the way for female directors of our time, so it should come as no surprise that she was very much the leading power in the villainous duo that headlines Batman’s penultimate episode.
Cassandra Spellcraft comes from a long line of female alchemists, but she’s determined to be the only successful one. So she uses her power to bring down the Bat. Or tries, at least. She’s a bright, colorful character in many ways, but the way she puts her silly husband Cabala in his place is the very best thing about her.
CABALA (HOWARD DUFF). SEASON 3 (EPISODE 25) After a few episodes that featured female villains mostly relegated to storylines dominated by male power (Nora Clavicle and Calamity Jan), it was great to see one where the man completely and utterly does anything he can to make his wife happy. Played by Howard Duff, Cabala is less a villain and more a sidekick to Dr. Cassandra Spellcraft. He’ll do anything to please her, calls her “Doccy Baby,” and can often be caught checking himself out in the mirror rather than plotting villainous schemes. MINERVA (ZSA ZSA GABOR). SEASON 3 (EPISODE 26) Batman’s final villain is also one of its most glamorous.
Played by Zsa Zsa Gabor, Minerva opened a health spa in Gotham City and used her Deepest Secret Extractor to run amok. She’s pulling off robberies left and right, and even Alfred gets involved going undercover to help The Dynamic Duo. What makes Minerva so memorable, however, is the star power of Gabor. Sure, she’s mostly just said “Darlings” a lot, but her appearance as the platinum-dressed villainess will likely never be forgotten.
All images courtesy of Warner Home Video unless otherwise noted. Christmas is a time for donning festive garb, singing holiday songs, festooning your home in decorations, and giving thoughtful gifts. Of course, all those tasks turn out a bit more twisted when assigned to the denizens of Halloween Town. The Nightmare Before Christmas, which arrived in theaters 25 years ago, mixes light and dark with jolly and macabre with great success.
Even if this Halloween/Christmas movie mash-up movie is part of your regular holiday tradition, we'd roll Oogie Boogie's dice that you don't know all of these secrets from behind the scenes. TIM BURTON DID NOT DIRECT THE MOVIE.
It is a common misconception spurred by the film's alternate title: Tim Burton's The Nightmare Before Christmas. Burton was busy with Batman Returns and handed this hefty responsibility to his old Disney Animation colleague, who made his feature directorial debut here. Burton's name goes above the title for serving as producer, creating the story, and coming up with the look and the characters for The Nightmare Before Christmas. It probably doesn't hurt that his name was much bigger than Selick's at the time, thanks to the success of, and. JACK SKELLINGTON RESURFACED IN HENRY SELICK'S LATER FILMS.
1996 saw the release of Selick's follow-up, a stop-motion/live-action adaptation of Roald Dahl's. It also saw the resurrection of The Nightmare Before Christmas's bare bones protagonist, who appears in one spooky scene as a skeletal pirate captain. He's much harder to spot in Selick's 2009 translation of Neil Gaiman's Coraline, but if you look closely as the Other Mother makes breakfast, you'll see Jack's smiling skull hidden in the yolk of a. THE PLOT WAS INSPIRED BY THE RECURRING COLLISION OF HOLIDAY STORE DECORATIONS. In the film's, Burton explains that his childhood in ever-sunny Burbank, California was not marked by seasonal changes, so holiday decorations were an especially important factor in the year's progression. When it came to fall and winter, there was a melding of Halloween and Christmas in stores eager to make the most of both shopping seasons. This, he claimed, planted the seed for his tale of the king of Halloween intruding on Christmas.
A BURTON POEM PREDATED THE NIGHTMARE BEFORE CHRISTMAS. While Burton was working as an animator at Disney on productions like The Fox and the Hound and The Black Cauldron, he began toying with cartoon projects of his own. This eventually led to animated shorts like 'Vincent,' as well as the penning of a called 'The Nightmare Before Christmas.' A sort of parody of Clement Clarke Moore's 'A Visit from St. Nicholas' (also known as 'The Night Before Christmas'), this poem focused on Jack Skellington's inescapable ennui and featured his ghost dog Zero as well as Santa. RANKIN/BASS WAS THE INSPIRATION FOR THE STOP-MOTION APPROACH.
Walt Disney Pictures In the same DVD commentary, Burton admits the animated Christmas specials from Rankin/Bass Productions were hugely influential. BURTON ORIGINALLY IMAGINED THE FILM AS A TELEVISION SPECIAL. Like Rankin/Bass's Rudolph The Red-Nosed Reindeer or Santa Claus Is Comin' To Town, Burton envisioned his take on Christmas could play well on television annually. This turned out to be true, but in a way he had not expected. He initially pitched the animated effort to TV studios. When that failed, he tried book publishers. No one bit until he pitched it as a full-length feature film.
On the commentary track, Burton estimates that roughly 20 years passed between the project's earliest inception and its theatrical debut on October 29 th, 1993. RONALD SEARLE AND EDWARD GOREY WERE ALSO INFLUENTIAL.
In a behind-the-scenes about The Nightmare Before Christmas's backbreaking creation, a narrator notes that the production design team took a page from the pen and ink drawings of these two memorable artists, aiming to create in the physical set designs the kinds of cross-hatching and textures found within their works. Selick explains that they'd smear sets in plaster or clay, then scratch lines into this material 'to give it that sort of etched texture or feel to make it look like a living illustration.' SHOOTING BEGAN BEFORE THE SCRIPT WAS COMPLETED. Stop-motion demands a great deal of time, so when Danny Elfman had mastered most of the film's songs, Selick plus a team of 13 specially trained animators and an army of prop makers, set builders, and camera operators got to work without a final screenplay. Animators began by crafting Jack's big moment of discovery with 'What's This?' Shooting 24 frames per second meant the animators had to create unique motions for total. One minute of the movie took about a week to shoot, and The Nightmare Before Christmas took 3 years to complete.
SELICK IS RESPONSIBLE FOR JACK'S SIGNATURE SUIT. In Burton's original sketches, Jack was dressed all in black. It is revealed in the film's commentary track that it was director Selick who gave Jack a marvelous makeover that added white stripes to his slim-fit suit. More than a smart sartorial choice, the addition of the pinstripes was needed to help Jack pop. In early camera tests, it became a major concern when Jack's flat black suit blended in to the dark backdrops of Halloween Town.
DISNEY FOUGHT FOR JACK TO HAVE EYES. Because of the dark and deeply weird nature of Burton's Nightmare Before Christmas, Walt Disney Studios decided it was too off-brand to be released under their banner. So the film was made through their branch Touchstone Pictures.
But this didn't keep Disney from dropping some serious studio notes, including the insistence that Jack Skellington's empty sockets be filled with a pair of friendly eyes. A common guideline in animation and puppet-creation is that eyes are crucial to having an audience connect to a character, but Selick and Burton wouldn't budge, and ultimately proved their anti-hero didn't need oculars to connect. THE MOST DIFFICULT SHOT WAS OPENING A DOOR. Walt Disney Pictures Because of the filmmakers' dedication to be as true to shooting like live-action as possible, one Nightmare Before Christmas shot proved especially challenging. When Jack discovers the part of the forest with pathways to other holiday worlds, he looks longingly at the Christmas tree door. A of its shiny golden knob reflects this mournful skeleton as well as the trees behind him as he advances to open it.
Getting the reflection just right took a great deal of time, care, and attention. VINCENT PRICE WAS NEARLY NIGHTMARE'S SANTA. Burton had previously worked with the renowned horror icon on and 'Vincent.' From there, Price had agreed to give voice to the plump and flustered Santa who is kidnapped by treacherous trick 'r treaters Lock, Shock, and Barrel. However, this plan was derailed when Price's wife Coral Browne passed in 1991. Selick explained in the commentary track that the actor was so grief-stricken that the director felt he sounded too sad for Santa.
Edward Ivory was then brought in to replace him. PATRICK STEWART WAS CUT FROM THE FILM. Early on, The Nightmare Before Christmas planned to rely heavily on its poetic inspiration. As such, star was called in to read poetry that was intended for the film's opening and closing narration. The lengthy monologues were eventually pared down to a few lines, and those were reassigned to the film's Santa,. However, Stewart's version can be found in full on the. TIM BURTON WAS SUPPOSED TO HAVE A CAMEO.
Unearthed in cut footage is an alternate version of the vampires playing hockey. In the theatrical and all subsequent releases, the ice-skating vampires swat a jack-o-lantern. However, the original version of this scene had them batting about a recognizable decapitated head. With its ghostly pallor, black spiky hair, angular shape, and deep bags under its eyes, the creepy creation is clearly Burton. But this seems to have been deemed too grisly for a kids' movie. THERE ARE SOME HIDDEN MICKEYS.
Walt Disney Pictures Since the film became a success, Disney has become less shy about their association with Nightmare Before Christmas. But the commentary track reveals that, despite their reluctance, Disney allowed Selick and Burton to include a in the form of a menacing toy. In the scene where Jack's Christmas gifts attack, there's a flying stuffed animal with a sharp-toothed grin that's meant to be the Burton version of Mickey Mouse.
Also, the girl it attacks is wearing a Mickey print nightgown, while her brother's pajamas are covered in Donald Duck faces. THERE'S A HIDDEN ED WOOD REFERENCE. While The Nightmare Before Christmas was in production, Burton not only completed Batman Returns but also dug into pre-production on, a biopic about the notoriously untalented filmmaker. A to Wood's works is found tucked into the fearsome folk of Halloween Town—the burly, bald Behemoth is a sweet-natured brute who bears a striking resemblance—down to the scars on his face—to Swedish wrestler Tor Johnson as seen in Wood's. THERE'S A HIDDEN DANNY ELFMAN CAMEO. The former Oingo Boingo front man began collaborating with Burton back in the early 1980s when he composed the score for Burton's feature directorial debut,. The pair reteamed for, Batman and Edward Scissorhands before Elfman was called to write the music and lyrics for The Nightmare Before Christmas.
He also lent his singing voice to Jack Skellington, and for all this he gets the dubious distinction of a cameo as the redheaded tucked away in the upright bass of the ghastly Halloween Town band. BURTON CALLED ON OTHER PAST COLLABORATORS TO BE HEARD. Aside from Jack's singing voice, Elfman also lent his pipes to mischievous Barrel as well as the menacing clown with the tear-away face. Filling out the trio of trick 'r treaters was Pee-Wee's Big Adventure star Paul Reubens as Lock, and Beetlejuice's Catherine O'Hara as Shock. O'Hara also voiced the stitched up and besotted Sally, while her former co-star Glenn Shadix played the two-faced mayor of Halloween Town. DELETED SCENES INCLUDED BEHEMOTH'S SOLO AND AN ALTERNATE OOGIE BOOGIE REVEAL. On the DVD, storyboard presentations reveal that never made it to production.
One of these has Behemoth belting beautifully about 'pretty' presents during 'Making Christmas.' Another shows an abandoned concept of Oogie Boogie boogeying with the bugs that fill his stitched up form, and a third clip displays a very different finale. Instead of Boogie being torn up and reduced to bugs, he's unmasked to be evil scientist Dr.
Finkelstein in disguise! In this version, his whole scheme was revenge-fueled because Sally loved Jack, even though Finkelstein made her to be his mate. THE SET WAS BUILT WITH SECRET PASSAGES FOR ANIMATORS. Reminiscent of the cut-out pathways used by Muppeteers, the animators behind and beneath The Nightmare Before Christmas had cut into the 19 sound stages worth of 230 model sets so they could more easily reach in and manipulate their peculiar puppets.
From these vantage points, they can move the armatures hidden within the creatures or swap their faces out for one of hundreds made to allow for a wide range of emotion. Jack Skellington alone had more than 400 heads.
BURTON REJECTED A CGI SEQUEL. Though Disney has found success pumping out straight-to-DVD sequels of their animated hits, Burton has no interest in making The Nightmare Before Christmas 2. He told “I was always very protective of Nightmare Before Christmas, not to do sequels or things of that kind. You know, ‘Jack visits Thanksgiving world’ or other kinds of things, just because I felt the movie had a purity to it and the people that like it.
Because it’s not a mass-market kind of thing, it was important to kind of keep that purity of it. I try to respect people and keep the purity of the project as much as possible.”. Fans have been itching to find out everything possible about, and a recent alleged leak suggests that in the final installment of the Skywalker saga, Daisy Ridley's Rey will have a (biological) family reunion. A quick recap: In Star Wars: The Last Jedi, Rey experienced a major revelation about her parents, though it wasn't really relevant to the rest of the film.
However, The Daily Express claims to have learned about a scene being filmed for Episode IX involving a young boy who believed to be either Rey's son or brother. The Express: 'A description dubbed ‘Family Reunion’ has Rey in a black vest white tunic and grey pants. Next to her is a young adult male that has a striking resemblance to Rey. He has longish brown hair similar to Obi-Wan’s from Attack of the Clones. He wears a beige robe with brown gloves. The pants are coloured white with a black belt and dark brown cape.
Rey’s hand rests on his shoulder. 'Behind then is an older man with a ponytail and to the left of Rey is a woman with dirty blonde hair and a white outfit. In front of them all is a young boy with black hair. They all stand on a cliff with a sunset background.'
We recommend taking this alleged leak with a grain of salt, because we don't know whether there's any real truth behind it or not. One thing is for sure, though: we'll learn all of the secrets of when it premieres in December 2019.
Book of Ezekiel Chapter 37 Summary. In a vision, God sets Ezekiel down in a valley full of dry bones. He asks Ezekiel if these bones can live, and Ezekiel replies, saying that only God himself knows. Right answer. God tells Ezekiel to prophesy, telling the bones that they'll live, that the breath of God will enter them, causing them to put on sinews (tendons and ligaments) and flesh again. So Ezekiel prophesies and the bones all rattle together, forming skeletons. They have flesh and muscle grow on them, forming complete human bodies, but they're still not alive, with no divine breath in them.
God tells Ezekiel to prophesy for the breath to enter the bodies, and when Ezekiel does so, they all come alive. Zombie Apocalypse?. God explains that these are the bones of the House of Israel. The people believe that their fate is sealed and that there'll be no restoration of their kingdom and their land.
But there will, and this is the meaning of the dry bones coming to life. Them Sticks. God tells Ezekiel to take two sticks and make them into one stick (by binding them together or whatever). He's supposed to write on one stick that it represents Judah, and on the other that it represents Joseph (or Ephraim) and the Israelites associated with it. (That kingdom had been long gone courtesy of the Assyrian conquest.). God says the meaning of this is that these two peoples will be made into one. He will lead them both back into their lands, making them into a single kingdom.
This time they'll be obedient, observing all of his laws and giving up idol worship. David will be their king, and they'll all have one ruler. They'll never leave the land again, and their children will inhabit it forever. God will dwell with them, blessing them and making sure they multiply.