Blue Origin’s second human spaceflight has returned to Earth after taking a brief flight to the edge of space this morning. Among the four passengers on board — there is no pilot — was William Shatner, the actor who first played the space-traveling Captain Kirk in the Star Trek franchise.
“The covering of blue. This sheet, this blanket, this comforter that we have around. We think, oh, that’s blue sky,” an emotional Shatner said after returning to earth.
“Then suddenly you shoot through it all of the sudden, as though you’re whipping a sheet off you when you’re asleep, and you’re looking into blackness, into black ugliness.”
Enter Sean Connery, dark hair slicked with pomade, eyes locking hungrily upon a beautiful green-eyed girl.
Her return glance leaves no doubt—the feeling is mutual. His slouch and casual banter exude languor and nonchalance, but there’s an undercurrent of coiled menace to this man, as though he might, at any moment, spring into table-overturning, crockery-shattering action.
Except nothing of the sort happens. Instead, the other fellow in the scene cuts the tension by taking out his fiddle and favoring the room with a jaunty tune learned, he says in a stagy brogue, “in the old ruins on the top of Knocknasheega!” This isn’t a James Bond picture.
It is 1959, and Connery is putting in time in a cornball live-action Disney feature called Darby O’Gill and the Little People. He’s the second male lead, billed beneath not only Albert Sharpe, the elderly Irish character actor in the title role—a kindly farmhand who sees leprechauns—but also the green-eyed girl, the ingenue Janet Munro. Though verily pump-misting pheromonal musk into the air, to a degree unmatched before or since by any actor in a Disney family movie, Connery is still a jobbing scuffler, not a star. He has no idea of what lies in store for him.
Across fantasy and science fiction (with the occasional stop in horror), there are any number of amazing fictional libraries we’d love to visit—especially to meet up with the guardians of the stacks!
After all, what’s a fantasy story without an awe-inspiring tower full of potentially curséd books?
Or a sci-fi adventure without the cumulative knowledge of civilization stored somewhere to guide our heroes on their quest?
We decided it was time for an overdue celebration of the keepers of knowledge, from experts in Egyptology to far-future book-lovers fighting tyrannical governments to sword-wielding barbarians, we have a librarian for every occasion.
Editor’s Note: Lots of listing in the article, and check out the comments as well.
“Serendipity” is one of those movies that was out in the world before people figured out how special it really was.
The film, a romantic comedy set in holiday-time New York City, starring John Cusack and Kate Beckinsale, followed two star-crossed strangers, Jonathan and Sara, who risked ruining their relationships to find one another again.
On paper, it looked to be another early 2000s hit for studio head Harvey Weinstein and his thriving indie juggernaut Miramax Films.
Suddenly, director Peter Chelsom — whose only real challenge during filming was figuring out a way to make his stars look like they were on wintery New York City streets during July — had a major issue on his hands.
Not only was the movie one of the first to open in theaters after the cataclysmic event, but weeks before it hit screens on October 5, Weinstein demanded that Chelsom erase the Twin Towers from a skyline shot in the movie.
Today we celebrate National Silent Movie Day by opening the treasure chest and sharing some of the resources that the Library of Congress offers to research and expand your interest in these classic and iconic motion pictures.
The American silent feature film era lasted from 1912 to 1929 with nearly 11,000 feature films produced, but sadly today, more than 70% are believed to be completely lost and gone forever.
The Library of Congress has the largest single collection of American silent feature films in the world, although many important titles are also held at other national institutions and universities.
After nearly a decade of anticipation, the Academy Museum of Motion Pictures will open on Thursday, September 30, in Los Angeles.
To toast the occasion on Saturday night, a room of Covid-compliant Oscar winners, history-makers, and hopefuls took a trip down the green carpet, a right past Dorothy’s ruby slippers, and a left under a massive fiberglass shark from Jaws, before crossing over the Barbra Streisand bridge to the top floor of the Renzo Piano-designed glass dome for the Opening Night Gala.
Creative director Lisa Love and Artistic Director Raul Ávila transformed the 360 degree vista into a modern Cocoanut Grove complete with 30 palm trees, a band stand, and a fleet of horns.
The evening recalled the Golden Age of Hollywood, and included toasts by Tom Hanks, Laura Dern, Bob Iger, Annette Bening, Ava DuVernay, Nicole Kidman, and Ted Sarandos. Admission (seats sold for upwards of $50,000) raised money for the museum’s access, education, and programming initiatives, and honored the Ethiopian filmmaker Haile Gerima and Italian supernova Sophia Loren, with help from co-chairs DuVernay, Jason Blum, and Ryan Murphy.
The host committee included industry titans Spike Lee, Brian Lourd, Ralph Lauren, Barry Diller, Diane Von Furstenberg, and Vanity Fair’s own Radhika Jones, as well as the museum’s director, Bill Kramer, and its Chief Artistic and Programming officer, Jacqueline Stewart.