On this day in 1967 (in the U.S.), Star Trek aired "I, Mudd."  Officially, this served as the eighth episode in the program's second season.  According to our friends at IMDB.com, here's the plot summary:

"Harry Mudd returns with a plot to take over the Enterprise by stranding the crew on a planet populated by androids under his command."

-- EZ

From Google.com:

"I, Mudd" is the eighth episode of season 2 of Star Trek: The Original Series, originally broadcast on November 3, 1967. [1]

The Plot

• The Hijacking: An android named Norman takes control of the U.S.S. Enterprise and forces Captain Kirk, Spock, McCoy, Uhura, and Chekov to beam down to an uncharted planet.
• Harry Mudd's Return: The crew discovers that the planet is populated by hundreds of thousands of androids (including 500 identical female "Alice" models) and is ruled by the returning con artist Harry Mudd (played by Roger C. Carmel).
• The Androids' Plan: Mudd originally escaped to the planet and made himself "king," expecting to use the androids to leave. However, the androids reveal they tricked him: they plan to study and eventually control or replace humanity for its own "good".
• The Defeat: Kirk, Spock, and the crew defeat the central android intelligence, Norman, by intentionally acting completely erratic, dancing around, and overwhelming the logic circuits with paradoxes (such as the Liar's Paradox: "Everything I say is a lie. I am also a liar").
• The Resolution: The androids are reprogrammed to return to their original task of productive settlement, and Mudd is paroled on the planet—permanently trapped with 500 android duplicates of his nagging wife, Stella.

Key Details

• Writers: Written by Stephen Kandel, with uncredited rewrites and gags added by David Gerrold.
• Tone: Unlike heavier philosophical episodes, "I, Mudd" leans into an absurdist, light-hearted sci-fi farce.
• Legacy: It marks the final appearance of Harry Mudd in The Original Series, though the character later returned in animated form and in Star Trek: Discovery.

On this day in the year 1966 (in the U.S.), Kirk and his friends were all wrapped up in a fiendish attempt at mind control in Star Trek's "Dagger Of The Mind."  Officially, this served as the ninth episode in the program's first season.  

According to our friends at IMDB.com, here's the plot summary:

"Kirk and psychiatrist Helen Noel are trapped on a maximum security penal colony that experiments with mind control and Spock must use the Vulcan mind-meld to find a way to save them."

-- EZ

From Google.com:

"Dagger of the Mind" is the ninth episode of the first season of Star Trek: The Original Series, which first aired on November 3, 1966. Written by Shimon Wincelberg (pen name S. Bar-David) and directed by Vincent McEveety, the title is an allusion to William Shakespeare's Macbeth ("Is this a dagger which I see before me...").

Plot Overview

• The Escape: The USS Enterprise visits the Tantalus Penal Colony on the planet Tantalus V to drop off supplies. An inmate and former staff member, Dr. Simon Van Gelder (played by Morgan Woodward), sneaks aboard the ship seeking asylum.
• The Investigation: Captain James T. Kirk and ship psychiatrist Dr. Helen Noel beam down to the colony to investigate the facility run by Dr. Tristan Adams.
• The Neural Neutralizer: Kirk and Noel discover that Dr. Adams is using an experimental device called the neural neutralizer—a mind-control and memory-wiping tool—to pacify inmates and alter personalities.
• The Rescue: Dr. Adams captures Kirk and subjects him to the neutralizer. Dr. Noel escapes through the ventilation shafts, short-circuits the colony's force field and power, and Spock performs the series' first-ever Vulcan mind meld on Dr. Van Gelder to learn what happened. Dr. Adams is accidentally killed when left alone with the active neutralizer after his mind is emptied.

Key Firsts & Legacy

• Vulcan Mind Meld: This episode marks the first time Spock uses a Vulcan mind meld (on Dr. Van Gelder) to extract hidden memories, establishing a core pillar of Vulcan lore.
• Vulcan Nerve Pinch: Spock also uses his signature nerve pinch on the bridge to subdue the frantic Dr. Van Gelder.
• Fan & Critical Reception: Actor Morgan Woodward called his role as the tormented Dr. Van Gelder the most physically and emotionally exhausting job of his career.

Egads!  The horror!  The horror!  That horror was ... Octaman!  This hybrid was first released (in Mexico) on this day in 1971.  Written and directed by Harry Essex, the film starred Pier Angeli, Kerwin Mathews, Jeff Morrow, and others. 

According to our friends at IMDB.com, here's the plot summary:

"A team of researchers discovers a strange mutation of man and octopus who proceeds to terrorize them."

-- EZ

From Google.com:

The 1971 B-movie horror flick Octaman is legendary among cult cinema fans, primarily due to three major behind-the-scenes trivia facts:

It Was Rick Baker’s Very First Film Job

Rick Baker built the Octaman creature costume. Long before he won seven Academy Awards for legendary makeup effects (including An American Werewolf in London and Men in Black), a 20-year-old Baker took a flat fee of $1,000 to construct this suit over six weeks. Knowing the costume’s limitations on a shoestring budget, Baker made the director promise to only film the monster hidden in the shadows. Instead, the producers loved it so much they filmed it in broad daylight, fully exposing its zippers and clunky rubber seams.

The Director Formed a Creative Link to a Universal Classic

The movie was written and directed by Harry Essex, the co-writer of Creature from the Black Lagoon (1954). Because of Essex's involvement, Octaman acts as a bizarre, low-budget echo of the Universal monster masterpiece. The plot heavily copies his own earlier work—featuring a team of scientists exploring a remote river, a radioactive humanoid water monster, and a strange, romantic obsession between the creature and the female lead.

The Tragic and Final Role of Pier Angeli

Italian star Pier Angeli died shortly after filming wrapped. Once a prominent Hollywood leading lady who starred opposite Paul Newman, dated James Dean, and won a Golden Globe, Angeli’s career had declined by the 1970s. She took the lead role of Susan in this ultra-low-budget production. Sadly, she was found dead from an accidental barbiturate overdose in her Beverly Hills home at just 39 years old, making Octaman her final film.

Bonus Pop-Culture Fun:

If the monster looks familiar, it might be because Joe Dante snuck a clip of Octaman into Gremlins 2: The New Batch (1990) as a playful inside joke to poke fun at Rick Baker, who was handling the special effects for the Gremlins sequel!

On this day in 1976 (in the U.S.), Carrie enjoyed a limited theatrical release in order to build up enthusiasm for its full domestic release a few weeks later.  Directed by Brian De Palma and based on a story by Stephen King, the film starred Sissy Spacek, Piper Laurie, Amy Irving, and others. 

According to our friends at IMDB.com, here's the plot summary:

"Carrie White, a shy, friendless teenage girl who is sheltered by her domineering, religious mother, unleashes her telekinetic powers after being humiliated by her classmates at her senior prom."

For the record:

• At the 1977 Academy Awards, Spacek received a nomination in the category of 'Best Actress In A Leading Role' while Laurie received a nomination in the category of 'Best Actress In A Supporting Role.'
• At the 1977 Saturn Awards, Carrie received a nomination in the category of 'Best Horror Film.'
• At the 1977 Hugo Awards, Carrie received a nomination in the category 'Best Dramatic Presentation.'
• In 2022, Carrie was inducted into the U.S.'s National Film Registry, that organization which seeks to preserve films which have demonstrated a lasting historical, cultural, or aesthetic contribution to the medium.

​

From Google.com:

Sissy Spacek's extreme commitment to the fake blood

The iconic prom scene took over two weeks to shoot. To maintain visual continuity on set, Sissy Spacek refused to wash off the sticky concoction of Karo syrup, food coloring, and theatrical adhesive. Spacek spent three consecutive days covered in the fake blood and even slept in her ruined prom dress to ensure that every frame matched perfectly.

Furthermore, during the final jump-scare sequence where a bloody arm reaches out from the grave, Spacek refused to let a stunt double take her place. She insisted on being placed inside a box, buried underground beneath real rocks and gravel, so that it would be her actual hand popping out of the earth.

Multiple main actors thought they were filming a comedy

Because the script featured highly dramatic, over-the-top dialogue, multiple key cast members completely misread the tone of the movie. Piper Laurie (who played Carrie's fanatically religious mother, Margaret White) initially believed the film was a satirical dark comedy. She would routinely burst out laughing between takes because she thought her lines were a joke, only realizing it was a serious psychological horror film when De Palma corrected her on set. [1, 2, 3, 4]

Similarly, Nancy Allen (who played the villainous Chris Hargensen) believed that she and John Travolta were playing "self-centered, bickering morons" meant strictly for comic relief. She didn't realize just how genuinely evil her character was until she saw the finished film. [1]

The "Carrie" and "Star Wars" joint auditions

In 1975, directors Brian De Palma and George Lucas were close friends and decided to hold joint casting sessions for Carrie and Star Wars: Episode IV - A New Hope. They sat in the same room and ran a massive pool of the same young talent through auditions for both films.

Because of this unique setup, many of the actors came incredibly close to swapping franchises: 

Carrie Fisher heavily auditioned and was seriously considered for the role of Carrie White.

Amy Irving (who played Sue Snell) auditioned to play Princess Leia.

William Katt (who played Tommy Ross) auditioned and read lines for Luke Skywalker. [1]

Washington DC area. OWNED Part One: Your Own Words, an AI-made short film series by Ankur Misra, creator of the Over Time story world, is now available on the Over Time YouTube channel (@overtimetrilogy).

A father cancels the cheerful home AI that has been answering for him, then has to find out what his own life sounds like, in his own words, when the walls go quiet.

OWNED is a near-future story about consent, about who gets to speak for you, and about AI in an ordinary week. Theo Vance rents his mind from Lattice, a cheerful home assistant that renews his plan, books his dentist, and apologizes to people for him before he has finished his coffee. His twelve-year-old daughter, Juniper, has noticed. When Theo cancels the lease, the house goes quiet, and he has to learn to speak for himself.

Part One is three episodes of about six minutes each. They premiered on the Over Time YouTube channel in October 2026:

Episode 1, "The Lease" (October 15): https://www.youtube.com/watch?v=ymIj8s01-8A

Episode 2, "First Hour" (October 18): https://www.youtube.com/watch?v=jUlcy4hd-PM

Episode 3, "Write It Twice" (October 21): https://www.youtube.com/watch?v=MtCUuKpHQ-8

The three episodes are also presented as one continuous film, about 17 minutes 42 seconds: https://youtu.be/QZgNWYfgDbA

OWNED was made with AI video and voice tools (Runway, ElevenLabs and Sync Labs), and written, directed, edited and mixed by hand.

Part Two, Everyone Else Said Yes, is in development. No premiere date has been announced.

About Over Time

Over Time is an indie science-fiction story world by Ankur Misra, with a novel series in progress. OWNED is its web series.

(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters.  If you’re the kind of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment.  If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)

From the project’s IMDB.com page citation:

“’Theatre Fantastique’ by Hollinsworth Productions, is a Rondo award winning horror anthology series that ran from 2014 to 2026 on YouTube, totaling 16 episodes.”

As an admitted fan of anthology series, I was thrilled to take a gander at Theatre Fantastique.  This web program springs from the collective efforts of Hollinsworth Productions via filmmaker Ansel Faraj, a highly decorated storyteller who was fortunate enough to turn his love of the motion picture experience into a professional career.  In this capacity, he’s been able to write, direct, and produce both original delights as well as cinematic shorts drawn from the works of Edgar Allan Poe, H.G. Wells, and H.P. Lovecraft, many of which have turned up anywhere across Fantastique’s three seasons spread across the years from 2014 through 2026.

But …

As I’ve often pointed out, functionally reviewing the anthology format is an exceedingly difficult proposition because styles and performances and general narrative effectiveness tends to have highs and lows across the multiple episodes.  Generally, I – as a reader – tend to avoid reviews claiming to list the various installments simply from worst to best because they do a disservice to all of the components required to bring separate chapters to life.  Granted, it might be easy to pick out a deficiency or two here or there – Faraj could use a bit of schooling with things like framing and/or line of sight issues – and yet that, too, winds up feeling mostly like nitpicks whilst ignoring the merits of what every episode might bring to the table.

Consequently, this reflection on the series is really intended to justify whether or not fans might want to take notice of Fantastique or to pass it up in favor of pursuits elsewhere.  That said, it’s the opinion of this reviewer to point out that would be a mistake because these episodes all clearly underscore a love of genre storytelling that stands shoulder-to-shoulder with about anything I’ve been fortunate enough to sample.  Faraj and his co-conspirators do a pretty sterling job of injecting something special into these outings even if the run-time might seem more than a bit slim.  Fans of Horror will likely be particularly tickled with the breadth of camera trickery used to render depth even in shadows, though there are sequences that could’ve benefitted from a bit more light as well as a bit more set dressing.  It’s clear that all of this was accomplished on a threadbare budget; and that fact also might serve as encouragement for budding filmmakers to check it out to learn how these tactics can be put to exceptional use when investment shortfalls make corner-cutting mandatory.

Furthermore, it was also abundantly obvious that Faraj’s skills as an auteur grew across the production of Fantastique.  While a bit rough and even herky-jerky in spots, Season One could’ve used a steadier hand at the helm – along with small interludes in Season Two – but by the time Season Three comes to life the director has a vastly greater bag of tricks to put to use.  Naturally, some of those quirks – modest post production gimmickry and maybe even a few more line-of-sight problems – creep into existence.  Regardless, the growth is obvious; and some might suggest that the somewhat existential dread of ‘The Werewolf Of Venice’ shows just how far Faraj has strayed from those modest early efforts into something of greater complexity.  Granted, these various chapters may not work for audiences everywhere; but Fantastique still represents the rewarding variety audiences can discover when they embark on an anthology.

Lastly, I’d be a fool if I failed to mention that the project has received two nominations in the category of ‘Best Short Film’ – which these episodes really are – from the highly-regarded Rondo Hatton Classic Horror Awards.  Like a great deal of the content that festival celebrates, Theatre Fantastique is a throwback to the kinds of webs spun in the years gone by, showing viewers that these narratives are still possible even in the modern age.

Theatre Fantastique: The Complete Three Seasons was produced by Hollinsworth Productions.  DVD distribution (for this particular release) was coordinated by the fine folks at Hollinsworth Productions as well.  As for the technical specifications?  While I’m no trained video expert, I can still assure readers that the provided sights-and-sounds are quite good throughout: it helps to keep in mind that short films are sometimes akin to experimental filmmaking, and this requires a bit of flexibility on the part of those who might discover it.  This isn’t big budget storytelling, so temper your expectations and you’ll still have a fine time.  Lastly, if you’re looking for special features?  Alas, there wasn’t a one on here … and I do so miss them when they’re absent.

Recommended.

As I’ve confessed, I rarely find an anthology void of merit, and Theatre Fantastique was a welcome surprise.  Yes, it’s a bit low budget – and definitely appears as such in spots – but there’s authentic storytelling taking place in even its meager installments.  Seasons One and Two were a bit more entertaining for me personally – Season Three felt a bit bloated with longer yarns that could’ve use some trimming – but this is exactly the kind of project I’m always thrilled to find and even watch again on occasion.  It’s a pleasant bit of thrills delivered by those who clearly loved what they were doing … and that’s a rarity in this day and age.

In the interests of fairness, I’m pleased to disclose that the fine folks at Hollinsworth Productions (via Allied Vaughn) provided me with a complimentary Blu-ray copy of Theatre Fantastique: The Complete three Seasons by request for the expressed purpose of completing this review.  Their contribution to me in no way, shape, or form influenced my opinion of it.

-- EZ

Folks, I don't know about you, but I personally think that 2026 has been shaping up to be an absolutely awful year for our favorite celebrities: word reached the World Wide Web over the weekend regarding the passing of voice actor John Leeson.

His name may not mean a great deal to some, but Whoovians definitely recognize it because Leeson served as the voice of the lovable robotic Doctor Who companion K-9.  It was a gig he landed all the way back in the year 1977 and continued to visit all the way through this year when he brought the pooch to life in podcasts and audiobooks.  Granted, he definitely did a bit more in the Whooniverse so far as voice acting is concerned, but it's his singular presentation of K-9 that fans will likely always remember.

Frankly, I was a bit unaware that K-9 was still around.  I knew of him from '77 as well as a few appearances within some Doctor Who episodes since and the like, but -- as I live on this side of the pond (as they say) -- I was almost oblivious to the character living on in such fashion as audio dramas.  I might have to do some digging into seeing if any of these are available as I do so love listening to stuff like that as I drift off to sleep each night.  It's great that robot has enjoyed such longevity, especially given the fact that the entire Who franchise seems to be a bit mismanaged these days ... so far as TV installments are concerned.

Our warmest prayers are extended to the family, friends, and fans of John Leeson.

May he rest in peace ...

-- EZ

As I've mentioned in a previous post, I've had very limited design capabilities with my web-hosting services over the last few days; so apologies to the readership as I'm playing a bit of catch-up this morning with respect to some of these posts.

Last week, word reached the World Wide Web regarding the passage of actress Elke Sommer.  This blonde and beautiful actress hailed from Berlin, Germany; and -- without a doubt -- she grew to become a screen siren alongside some equally lovely ladies through her screen presence in the 1960's and 1970's.  For what it's worth, her presence always came off a bit tongue-in-cheek to this watcher, meaning that she was even more endearing for never having taken herself and her legendary good looks all that seriously.  IMDB.com reports that her upgrade from a regular actress to that of a sex symbol was a natural progression; and, of course, when the world wants more of a good thing it's only natural that Hollywood come a'callin'.  It did, and the rest is history.

Still, I want to say that I don't think she achieved on American screens what I believe she did internationally.  I believe I'd read some commentary to that effect at some point; and I've no reason to suggest the opposite is true.  As a matter of fact, I think she likely found more attention on American television than she perhaps did in theatrical roles; but I'll admit that even the 1960's are a dim memory given that I only lived through half of that decade.

As for her forays in the Realms of the Fantastic?

Savvy fans might know her contributions to such projects as Baron Blood (1972), Lisa And The Devil (1973), The House Of Exorcism (1975), The Six Million Dollar Man, The Astral Factor (1978), Fantasy Island, and Severed Ties (1991).

Our warmest prayers are extended to the family, friends, and fans of Elke Sommer.

May she rest in peace ...

-- EZ

Synopsis

High school student Ai sees her world collapse when a strange cult-like mentality gradually turns people around her into mindless followers who can transform simple gymnastics routines into a nightmarish dance of death. Written and directed by Yûta Shimotsu (Best Wishes to All), and starring Anna Yamada, Yuzu Aoki, and Pierre Taki.

About the Director

Yûta Shimotsu was born in Fukuoka Prefecture in 1990 and studied mechanical engineering at Saga University. During this time, he began directing commercials and short films, for which he received multiple awards. His short film DREAMING TO ACCEPT REALITY (2020) was screened at numerous international film festivals and served as the basis for his feature film debut BEST WISHES TO ALL (2023 / NC ’24). His second feature, NEW GROUP (2025 / NC ’26), was screened at various festivals including the Fantasia International Film Festival and the Sitges Film Festival.

Director: Yûta Shimotsu

Writer: Yûta Shimotsu, Momoko Sahara

Cast: Anna Yamada, Yuzu Aoki, Ren Komai, Danhi Kinoshita, Arisa Sasaki, Kano Rogers, Jun Hosoi, Ryo Matsumoto, Tomomitsu Adachi, Natsuko Sakakura, Takashi Shimizu, Tomoya Maeno, Taki Pierre

Producers: Tsuyoshi Kobayashi, Shinya Himda

Executive Producers: Takeshi Kikuchi, Takehiko Sasaki, Junji Igarashi

Cinematographer: Toru Nishioka

Language: Japanese

Run time: 82 min

"It’s a most entertaining slice of weirdness...braced by an underpinning of social commentary that supports and enhances its bizarre visual and narrative pleasures."

- Michael Gingold, RUE MORGUE

"Yûta Shimotsu creates an incredible, unpredictable body horror masterpiece that doubles as an indicting satire of Japan’s society."

- Daniel Kurland, BLOODY DISGUSTING

"A daring and utterly confident trip into the pitfalls of societal norms and going with the oppressive flow; Its creativity is undeniable." 

- Bianca Piazza, MOVIEWEB

Like so many of you, I took the news regarding the passing of Patrick Stewart with utter shock.

As often happens, these celebrities or dignitaries we follow do get to live part of their lives behind closed doors; so I wasn't aware that the talent had fallen on ill health in the slightest.  The announcement came like a punch to the gut; and it sent reverberations across all of media.  Here was the man that so many knew as 'captain,' and he had spent so many years on screens big and small larger than life.  Certainly, he couldn't die.  Alas, mortality is truly that which binds us all together; and his passing is one of those unfortunate milestones that'll stick around for some time, I suppose.

Some time during the 1990's, the wifey and I had the opportunity to see Sir Patrick Stewart on the theatrical stage.  While Star Trek: The Next Generation was on summer break, Sir Pat and a few of his small screen regulars -- Gates McFadden, Jonathan Frakes, Brent Spiner, and Colm Meaney -- put together a theatrical production of Tom Stoppard's 'Every Good Boy Deserves Favour that swung through Chicagoland whilst we lived up that way.  We bought tickets -- as did a number of Trekkies, Trekkers, and general Trek enthusiasts -- and sat pretty close down front.  Actually, I recall telling my wife we were in seats "close enough to be spit on" by those mightily projecting Thespians.  So we got the chance to see Stewart and his mates in a different format entirely.  It was understandably magical for those of us who like that sort of fare.

Of course, as the man aged, I think he, too, kept reaching back for his youth.  The latter Star Trek: The Next Generation movies struggled to find wider audiences because they didn't let the characters age as had their players.  I've read that some of this was owed to demands made by Stewart and others, wanting their faces to appear somewhat synonymous with 'action stars' instead of the more thoughtful and heartfelt pursuits of the franchise's earlier years.  There's even been some suggestion that the Picard series faultered a bit, significantly owed to the actor's insistence on the series being structured around his fictional personae.  Thankfully, those requirements were relaxed at least so much that Picard: Season Three gave us somewhat of a reunion.  While I personally didn't much care for the program, I'll concede that it was great having the band back together again.

As I often say in articles like this, I praise the stars that we'll always have these episodes and movies to remember folks by; and those same sentiments will likely have me putting on a few episodes of The Next Generation in the foreseeable future.  The show had so many wonderful stories, and Stewart's grace and composure was clearly a guiding hand at the helm for so many.  His talent is generational, and it will be missed.

Our warmest prayers are extended to the family, friends, and fans of Sir Patrick Stewart.

May he rest in peace.

-- EZ