This is a very interesting article, so check it out. But I am most intrigued by this quote:

Marvel sells reprints of back issues. However, Marvel Time undermines and devalues the best stories. As Jerome Thomas wrote, “"I wonder how ‘One More Day’ impacted the sales of the many popular married Spider-Man stories that are still available in reprint? Stories like 'Kraven’s Last Hunt’ are now 'wrong.’ … One of the most touching issues of Amazing Spider-Man ever written was the Death of Aunt May issue. Marvel proceeded to crap all over that story by revealing that it was a really a genetically modified actress hired by the green goblin to blablabla and the real Aunt May was alive and well. Had Marvel not chickened out and kept Aunt May dead like they should have done, I think that a Death of Aunt May trade paperback could have been a nice little seller for decades to come.”
Marvel will of course reply that old comics don’t sell so well.. except for the 1960s stuff. And why does that sell? Because of a feedback loop. Readers constantly hear about those stories, so they have to buy them. Imagine if every great story was canon, and remained so. Everything would be connected. (And because death would be permanent, the back story would never become too complicated.) Over the years a reader would become aware of more and more connections between new and old stories, until every major story became a “must have” just like the 1960s stuff.
Connections between comics form a positive feedback loop for sales. Marvel Time destroys those connections.

(PAPP) Bonding- On Her Majesty's Secret Service

On Her Majesty’s Secret Service

You want to talk about polarizing, look no further than here. While Fleming’s novel is often considered one of the best, the first and only Bond film to star George Lazenby is alternately praised and slammed. After the over-the-top excitement of You Only Live Twice, editor-turned-director Peter Hunt decided to tone things down in the sombre On Her Majesty’s Secret Service. But is Sean Connery’s absence a sore reminder of a bygone era? Or is Lazenby an underrated performer who actually does a good job?

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Remember when the 1776 cast met President Nixon at the White House?

K Edwards: Any idea what Nixon was saying? Everybody is laughing.

Peter Hunt (the director): Sorry, I don’t remember but clearly he cracked a joke. He had notes written on a 3x5 card in his breast pocket. I remember he spoke of Abigail hanging out the wash in the East Room where we were performing. He also mistakenly gave me credit for writing 1776 and did not take kindly to the fact that later in the evening I attempted to tell him he was mistaken.

For me there’s no question that cinematically ON HER MAJESTY’S SECRET SERVICE is the best Bond film and the only one worth watching repeatedly for reasons other than pure entertainment (certainly it’s the only Bond film I look at and think: I’m stealing that shit). Shot to shot, this movie is beautiful in a way none of the other Bond films are—the anamorphic compositions are relentlessly arresting—and the editing patterns of the action sequences are totally bananas; it’s like Peter Hunt (who cut the first five Bond films) took all the ideas of the French new wave and blended them with Eisenstein in a Cuisinart to create a grammar that still tops today’s how fast can you cut aesthetic, because the difference here is that each of the shots—no matter how short—are real shots, not just additional coverage from the hosing-it-down school of action, so there is a unification of the aesthetic of the first unit and the second unit that doesn’t exist in any other Bond film. And, speaking of action, there are as many big set pieces in OHMSS as any Bond film ever made, and if that weren’t enough, there’s a great score by John Barry, some really striking sound work, and what can you say about Diana Rigg that doesn’t start with the word WOW?
—  Steven Soderbergh gets it.
Baby Cambridge 2.0 Masterpost

Want to live blog the royal birth? Here are the best people to hear from! *The list will be getting updated constantly, if you have any suggestions, message me to put them on there or just put them on there yourself, I don’t mind. 


Press -

Major Press Accounts: 

Other Press Accounts:

Hashtags to follow on Twitter:

#royalbaby, #GreatKateWait, #lindowing, #RoyalBabyWatch, #RoyalBaby2

On Tumblr:

I will be tagging all of my posts with Baby Cambridge 2.0 as a bunch of other people in the fandom will be. But there will also be tags under ‘Royal Baby’, and obviously Duke & Duchess of Cambridge. I will only be using this tag to live blog the birth, after that I will tag the baby by his or her name. 

So at the moment, that’s all I can think of, like I said, just add other contacts on there. This is just a press master post, BUT if you want to add fan twitter accounts that you think are reliable and have good sources, then go ahead. Hope this helps guys!


McLaren wins by country: Top 10 nations

1st - Great Britain 54 wins: Lewis Hamilton (21); David Coulthard (12); James Hunt (9); Jenson Button (8); John Watson (4)

2nd - Brazil 40 wins: Ayrton Senna (35); Emerson Fittipaldi (5)

3rd - Finland 30 wins: Mika Hakkinen (20); Kimi Raikkonen (9); Heikki Kovalainen (1)

4th - France 30 wins: Alain Prost (30)

5th - Austria 11 wins: Niki Lauda (8); Gerhard Berger (3)

6th - New Zealand 7 wins: Denny Hulme (6); Bruce McLaren (1)

7th - Spain 4 wins: Fernando Alonso (4)

8th - Colombia 3 wins: Juan Pablo Montoya (3)

9th - USA 2 wins: Peter Revson (2)

10th - Germany 1 win: Jochen Mass (1)

'On Her Majesty's Secret Service' is my idea of 007th heaven

On Her Majesty’s Secret Service is my favorite movie. Not just my favorite James Bond movie, but my favorite movie. I watch it at least once a year, and it never fails to thrill me and to move me.

I revel in nearly every moment, from George Lazenby’s daring plunge to one knee during the opening gun barrel sequence to the bullet-shattered windshield in the haunting final image. Both of these scenes are paired with John Barry’s rejuvenated, Moog-enhanced version of the Bond theme, and the fact that the meaning of the famous music changes so drastically over the course of the film – rousing at the beginning, harshly ironic at the end – explains what makes OHMSS special among the Bond films.

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