Had you tuned in to the small television station KTMA on Thanksgiving Day, 1988, you would have been one of the few witnesses to pop culture history being made. On that day, viewers in and around St. Paul, Minnesota, were treated to a genuine oddity, in which a man and his robots, trapped within a defiantly DIY sci-fi set, cracked jokes while watching a terrible movie. It was a cockeyed twist on the local TV programs of the past, in which a host would introduce old, cheaply licensed films. And though its origins may have been inauspicious, Mystery Science Theater 3000 captured the spirit of what had been a beloved pastime for generations of wags, wiseacres, and smartalecks, and would soon go on to inspire countless more. The Worst We Can Find is a comprehensive history of and guide to MST3K and its various offshoots—including Rifftrax, Cinematic Titanic, and The Mads Are Back—whose lean crew of writers, performers, and puppeteers have now been making fun of movies for over thirty years. It investigates how “riffing” of films evolved, recounts the history of these programs, and considers how a practice guaranteed to annoy real-life fellow moviegoers grew into such a beloved, long-lasting franchise. As author Dale Sherman explains, creative heckling has been around forever—but MST3K and its progeny managed to redirect that art into a style that was both affectionate and cutting, winning the devotion of countless fans and aspiring riffers.
For more than 50 years John Waters has been staging a coup against the good taste of the American public. From the ultimate gross-out in Pink Flamingos to the amazing general-audience rating of his biggest hit Hairspray, Waters has been subverting viewers' expectations with comedies that stretch past the boundaries of even today's jaded audiences. A provocateur of bad taste in a glorious way, Waters started out as an outsider with a camera and a small circle of fellow delinquents. In tearing down icons of the silver screen, Waters would create his own that are used still by others in movies and television. And that's only part of the tale. John Waters FAQ looks at how a nice boy from the right side of the tracks would end up becoming a demon of society and the influences that drove his ambition in moviemaking. Also featured are biographical information of the Dreamlanders -- the actors and crew members who would join Waters on his adventures in filmland over the years, including Waters's best-remembered find Divine. Beyond chapters dedicated to the making of each of his films -- from Hag in a Black Leather Jacket to his most recent A Dirty Shame -- there are those covering his career as a writer and artist. Also reviewed are his acting career in other people's television shows and movies over the years, Water's interest in music, and projects that never were to be. John Waters FAQ covers it all in the career of a man who started out with a dream of becoming an underground filmmaker and became so much more.
Four Scores and Seven Reels Ago: The U.S. Presidency Through Hollywood Films investigates the numerous ways Hollywood has portrayed the presidency of the United States, both through biographical portraits of those who served and fictional presidents for dramatic and fantastical movies.
(FAQ). Here's the lowdown on the unforgettable show about the Forgotten War. M*A*S*H began as a novel written by a surgeon who had been in a Mobile Army Surgical Hospital during the Korean War. After being rejected multiple times, the novel would go on to become a bestseller, leading to 14 sequels, an Oscar-winning movie that propelled its director and actors to stardom, and a multiple-Emmy-winning television series that lasted nearly four times the length of the war. M.A.S.H. FAQ looks at how the novel came to be, its follow-ups in literary form, the creation of the popular movie, and most importantly the television series that transformed comedy and television in the 1970s. Included are chapters on the top-20 pranks of M*A*S*H , the cast members' careers before and after the television show, famous guest appearances, and movies shown in the mess hall. Beyond the fiction, M.A.S.H. FAQ also features a brief chapter to put the war into perspective for easy referral and looks at what led to the Korean War, how such medical units functioned, and how M*A*S*H shaped our perception of the era.
(FAQ). Mankind has been predicting its own demise through various methods, from fables and religious scriptures to hard-core scientific studies since the dawn of time. And if there is one thing Hollywood knows how to exploit, it is the fears of Things to Come. Movies about the end of the world have been around since the early days of cinema, and Armageddon Film FAQ is a look into the various methods we have destroyed ourselves over the years: zombies, mad computers, uptight aliens, plunging objects from space, crazed animals, Satan, God, Contagions, the ever-popular atomic bomb, sometimes even a combination of these in the same movie! Armageddon Films FAQ goes from the silent days of filmmaking to the most recent (literally) earth-shattering epics, from cinema to television and even the novels, from comedies to dramas, from supernatural to scientific. It also explores other aspects of the genre, such as iconic but unfilmable apocalyptic novels, postnuclear car-racing flicks, domestic dramas disguised as end-of-the-world actioners, and more from the most depressing to the happiest Armageddons ever!
(FAQ). Quentin Tarantino is a man who came to Hollywood and didn't break the rules so much as make plain that he didn't even notice them. Making the films he wanted to see, Tarantino broke through with Reservoir Dogs in 1992 and then cemented his reputation in 1994 with the release of Pulp Fiction . As his fame grew, he spread his love for movies that are far from commonplace through his promotion of older films and theaters and by reviving the stalled careers of actors such as John Travolta, Pam Grier, and David Carradine. Quentin Tarantino FAQ examines the movies directed by Tarantino, the influences on his work, and the inspiration he gave to others. There are also chapters on certain recurring elements in his films, from fake "product placement" to the music, actors, and even cinematic moments used. The book also reviews his work in television, the articles written about him or by him over the years, his acting career, his public battles, and some of the projects he abandoned along the way. It all comes together to tell the story of a man who forged his own unique path and helped shape the way movies are made today.
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