Jul. 24th, 2016

froodle: (Default)
[personal profile] froodle
Sunday challenge time. Today's prompt: afternoon
froodle: (Default)
[personal profile] froodle
I have not seen Eerie Indiana since it aired on channel four way back when in around 1991/1992, but yet I still remember the opening credits, the actors and the stories for my favourite episodes. This is quite some achievement considering it is now 2008 as I am writing this.

Amongst some of my favourite TV shows of the early 90's was one short but very great series of Eerie Indiana. I would place it along side my favourite TV shows of all time; Gamesmaster, Guyver, Firefly, Lost, Friends, Round The Twist, Fresh Prince, Animals of Farthing Wood, Smallville, South Park, Home Improvement and Reboot.

Before 'Are you afraid of the Dark', before 'Goosebumps' and the aformentioned 'Round the twist' and even before the 'X-Files' there was 'Eerie Indiana'. If you have seen any of the other shows (especially AYAOT Dark and RT Twist) then you have pretty much got 'Eerie's themes and story down.

Staring the now very unemployed Omri Katz as Marshall Teller; a kid that has recently moved into Eerie Indiana from New jersey, he soon begins to realise that his new life in a quiet suburb is not nearly as peaceful as his parents would have foretold.

Eerie Indiana turns out to be a very likely candidate for the Bermuda triangle, ergo his neighbour is Elvis, bigfoot raids his trash in the morning and the neighbourhood dogs plan to one day take over the world some day.

It's pretty ingenious stuff and yet after the first season it was abruptly cancelled in a fairly similar manner to a more recent Firefly's example. And just like Firefly, it left a cult following. Its pretty obvious to see why.

There's the episode where two teenage lovers are separated by a tragic accident to later be reunited by a heart transplant, the one with the bureau of lost; where all lost things go, and the bloody Mary cocktail that cures warewolf-ism. Errie's idea was to turn typical suburbia in to a mythological odyssey, akin to Edward Scissorhands. Unfortunately Errie also suffered the fate of the cancelled TV show rip off. 'Pleasentville' ripped of the episode with the remote control that brought things from the TV alive and 'Groundhog day' ripped off the episode where the same hour keeps repeating. Or at least these ideas came fist in Eerie.

I also forgot how good the credits music is.

And just like Firefly, watching it again does not release the pain of its cancellation. Especially when you hear of how there was meant to be an episode called 'jolly rogers' where pirates invade Marshall's house.

With it's 90's corny Micheal Myers inspired Americana suburb, great spooky music and Spielberg type adventure directing, Eerie Indiana is a great series to watch on or off Halloween. TV could easily bring it back each Halloween and get great ratings with today's audience. I would not get my hopes up though. Thank god for the magic of DVD re-releases.
froodle: (Default)
[personal profile] froodle
Kattenoog – Het Geheim van de Grizelclub is a 2015 Belgium television series starring Kurt Rogiers, Ian Thomas Hoelen & Nathan Naenen. The fiction series takes place in ‘Kattenoog’, a small and characteristic village at the edge of a mysterious lake. The members have the duty to protect the village and its inhabitants for witches, vampires, werewolves and other scum that is out on the ‘Kattenoog’, a mysterious witch stone with magical powers hidden on the lake. Shudder with a wink, humor and friendship are central to the series. Ian plays as Max. The score is composed by Joris Hermy.

I’m a big fan of supernatural movies and TV series, but I had honestly never heard of this one before I got the score from Kronos Records. It’s probably not so surprising since I don’t think it’s being aired very much outside of Belgium. Should be very interesting to hear the score though. The score opens with the opening credits theme ‘Kattenoog Opening Titles’, which is OK, but nothing fantastic. It has that “mystic” thing going for it and I think the percussion is supposed to be a click ticking away. It has some nice female voice over it as well giving it a more creepy sound. Now for the score itself. I always put a lot of emphasis on the first actual cue, maybe it’s just me but I think it sets a tone for the rest of the score. I’m always extremely excited to hear it. ‘The Magical Stone’ is indeed magical sounding and very dark, but I’m starting to wonder who the audience of the show is? This sounds a bit like Eerie, Indiana and Goosebumps, do you know what I mean? It doesn’t sound like Supernatural for example. It has that slight “childish” sound. Nothing wrong with that, but it’s important to know that before you decide to purchase it.

The very comical ‘Previously’ is obviously to a “previous on the show” montage. It’s overly comical in fact, and a bit gothic as well which is the style they are going for. Yeah this show has a lot of sneaking around, I can feel it based on this music. It also has a lot of comedy and a show like this could be fun just to watch without getting too heavy like other shows. The music should be listened to with this premise and just enjoy the silliness of it. It is actually quite a nice and refreshing listen. The score is quite unique compared to what is released this day. It might be compared to the music from R.L. Stine’s Monsterville: The Cabinet of Souls which was released last year. Look, it was never going to be a television classic, but I enjoyed it even though I wouldn’t necessary put any cues on my rotating playlists. Treat it for what it is and you might have a good time as well.
froodle: (Default)
[personal profile] froodle
(for basic info on BGS see the company webpage here)

I haven't much hands-on with BubbleGumshoe, so I may get some of the more intricate details wrong, but the basics are simple enough. The system is stripped-down Gumshoe, so if you've already played Trail or any of the other Gumshoe products, you know the core gameplay already. The big thing to bear in mind is, as a teen, you don't have nearly as many points in your pools as your adult counterparts, so you need to be careful about ability selection.

The other thing to bear in mind is that, since this really isn't a combat-oriented game, you'll be spending much less on fighting abilities than in other Gumshoe products. This can be huge; combat abilities are a significant point sink in, say, Night's Black Agents, such that a minimum of 20 General pool points ought to be sunk into each character's fighting abilities. But since that isn't the case here, you're free to design quirkier character types.

Relationships are much more important than martial arts. Who loves you, hates you, likes you? Using these relationships propels the drama, but it also gives you access to a host of abilities you otherwise wouldn't be able to use. Friends with a cop? Then Interrogate, Forensics, or Cop Talk become available. Or a host of other benefits; really, the only limit is the players' imagination. Mechanically this works much as Network does in Night's Black Agents, except that where Network cannot refresh, these Relationship pools can.


Read more... )
froodle: (Default)
[personal profile] froodle
Not having a regular living-room TV for the next six months, I started catching up on box sets by streaming them on my phone. This caused a judder of horror among friends, but download time and pixel density is great, and if you wear headphones the viewing experience is much enhanced.

I’d avoided BSBing* until ‘Breaking Bad’ ate part of my life. And yet…even that groundbreaking show trod water in places, with whole episodes failing to move the story on. Then ‘Game of Thrones’ pulled the same trick. I hated the sexplanation** sequences and really don’t like sword ‘n’ sorcery stuff, and of course it’s like a soapier, shagfestier cycle of sub-Shakespearean history plays, but there were enough jaw droppers (the Red Wedding, Hold the Door etc) to keep me hooked.

I then started creeping into the less heralded areas of the New Golden Age of Television, and discovered ‘Wayward Pines’ (actually the ‘hottest show in America’ according to its over-emphatic Amazon book blurb) although it had passed me by, as a great many things do. This had the benefit of being based on a shorter book cycle, so the ten 42-minute episodes played at far greater speed, with all fat trimmed off. I’m a sucker for stories set in isolated towns where there’s something a bit off (cf ‘Twin Peaks’, ‘Eerie, Indiana’, ‘The Prisoner’, ‘Banshee’ etc) and ‘Wayward Pines’ knows I am, deliberately playing on those tropes. But it ventures to go where few US series have been before – and to do so on the ad-driven no-sex-or-swearing Fox network seems little short of miraculous. Because what we have here is Subversion 101.
froodle: (Default)
[personal profile] froodle


Over on BBC1, Ashley Pharoah’s The Living and the Dead, all of which is available on iPlayer, is a properly creepy period tale set in rural Victorian Somerset, which follows Colin Morgan’s Nathan Appleby, man of science and rational thought, as he deals with ominous crows, endless hints of something nasty lurking in the woodshed, and much talk of possession.

If The Living and the Dead nods to the British Gothic tradition – Pharoah has described it as “Thomas Hardy with ghosts” – Stranger Things, which tells the story of a young boy who seemingly disappears into thin air, draws its inspiration from a more recent period.

Pitched somewhere between a wide-eyed Spielbergian vision of small-town childhood and the more horrifying Stephen King version of the same, Stranger Things is an homage to the great horror films of the 1980s. There are references to Poltergeist, Nightmare on Elm Street and The Amityville Horror; the score nods to Alan Howarth, the man who came up with the spooky soundtracks to everything from Halloween to They Live; and even the title screenshot is designed to evoke nostalgia, recalling the covers of 1980s pulp-fiction classics such as Virginia Andrews’ Flowers in the Attic or King’s It.

Yet all that attention to detail means nothing if the chills aren’t there – as the recent half-baked X Files sequel demonstrated. Luckily for fans of 1980s horror, Stranger Things delivers. As the missing boy’s frazzled mother, Ryder is the perfect combination of anger and despair; the supporting cast is strong; and the show earns extra points for the smart way in which it focuses on the missing child’s friends and their search for their lost pal, recalling two enjoyably creepy cult 1990s series, American Gothic and Eerie, Indiana, along the way.

Most of all, though, both The Living and the Dead and Stranger Things work because their creators are so invested in the spooky nature of their stories. They might nod to the past, but they do so with straight faces. Their spine-tingling moments feel earned – which is why I’ll be spending this summer glued to their episodes with a pillow half-covering my face.

froodle: (Default)
[personal profile] froodle
In 10 Words or Less:
Two kids discover the weird world of middle America


The Show
Once in a rare while, someone in TV-land will realize that you don't need to talk down to kids in order to make a kids show. That someone gets his chance, sees his show run about half a season, and is promptly fired for his efforts. The executive who greenlit "Eerie, Indiana" is one of those someones. But thanks to his foresight, kids tuned into NBC in 1991 were able to enjoy a fun take on the themes "The X-Files" would start tackling a few years later.
Marshall Teller (Omri Katz) has been transplanted from New Jersey to the safety of the Midwest. His family settles in Eerie, Indiana, with a not-at-all-ominous population of 16,661. From the start he finds that his new neighborhood is a bit odd. From seeing Elvis to hearing dogs talk, Eerie is loaded with the bizarre. The only other local who notices these things is Simon, his next-door-neighbor and only friend. Together, they try to figure out what's going on in their town, keeping the evidence in a locker, away from prying eyes.

There's no real ongoing storyline to the show, with each episode mainly sticking to the current "case." The cases all involve some odd paranoid conspiracy theory on the part of Marshall, putting it into a genre populated by iconic characters. But in this case, our hero is a mix of some of the best there's been. Marshall's inner monologue serves to narrate the show, sounding like a junior Agent Cooper, lost on his way to "Twin Peaks," while his obsessive desire to root out the weird is inherited from Carl Kolchak of "Kolchak, the Night Stalker."

But the main character isn't the only one with a pop pedigree. Throughout the series, music cues, plot points and actions are lifted liberally from memorable movies and TV. In one of the most obvious references, the show added the character of Dash X, a silver-haired kid doing a bad Christian Slater in Heathers imitation. This mélange of pop culture references is sure to entertain any TV or movie fan.

The show takes place on level of reality similar to that of "Parker Lewis Can't Lose." Colors are brighter, behavior is exaggerated and personalities are cartoony. Because of this heightened reality, the outlandish storylines are more acceptable as they are free of pesky real-world expectations. Even the over-the-top performances by many of the actors don't bring down what is an entertaining show.
froodle: (Default)
[personal profile] froodle
Israeli actor Omri Katz played J.R.'s son on Dallas (seen here hugging his gay-vague nanny, played by Christopher Atkins), and a scientist's son zapped into a world of sentient dinosaurs in Adventures in Dinosaur City. But he's probably most famous for the gay-vague classic Eerie Indiana (1991-92).

It lasted for only 17 episodes (plus an eight-episode spin-off starring Daniel Clark), but it is still remembered and discussed by fans. One of the first of the teen-paranormal series of the 1990s, it drew on Twin Peaks (1990-1991) to depict a small town with an overarching mystery to be solved, with minor mysteries along the way.

Marshall Teller (Omri) moves with his parents to a small town in Indiana where weird things happen. Tupperware containers keep you alive forever. Time stops. ATMs aren't what they seem. There's a tornado every year on the same date.

A world full of bizarre events, where everyone has a secret agenda and nothing is what it seems? That's the life of every kid, of course, but it also reflects the journey of gay boys as they try to negotiate the mine-field of adult heterosexism, the constant "What girl do you like?" and "You'll meet a girl someday."

Marshall pairs up with local kid Simon Holmes (11-year old Justin Shenkarow) to investigate. They are often assisted by mysterious grayhaired boy, who has no name and no memory of his past, but calls himself Dash X (16-year old Jason Marsden, right). But more often he has a hidden agenda of his own.

There were few girl-crazy plotlines -- neither Simon nor Dash X so much as glances at a girl -- but there's lots of captures and daring rescues. However, Marshall remains just a close friend with Simon, while he is quite obviously attracted to the infuriating, mysterious, powerful yet somehow vulnerable Dash X. If they had more time, the two might have fallen in love. Unfortunately, the series ended before they could unravel the mystery or develop the homoromance, leaving viewers with more questions than answers

After the excellent "things are not what they seem" Pleasantville (1993), the Halloween comedy Hocus Pocus (1993), and a tv movie, Omri Katz moved to Israel, where he appeared occasionally in short films (which sometimes feature nudity), including the gay-themed Journey into Night (2002). He now works as a hairdresser in Los Angeles.

Justin Shenkarow remains an actor and producer with credits in Home Improvement, Picket Fences, W.I.T.C.H., and Aliens in America.

Profile

eerieindiana: (Default)
Eerie Indiana

May 2025

M T W T F S S
   1 234
56789 1011
1213141516 1718
19202122232425
262728293031 

Most Popular Tags

Style Credit

Expand Cut Tags

No cut tags
Page generated Jun. 1st, 2025 10:18 am
Powered by Dreamwidth Studios