Episode #15 of the Close Encounters of the 4th Kind podcast sees Tee-J, Imran and Dan discuss whether comedy should have limits or whether a comedian has free reign to target any section of society. Joan Rivers once said "comedians are the truth-tellers" - was she right or is that too noble a title for comedians to bestow upon themselves in order to make people laugh about taboo subjects?
(Please note that absolutely nothing in this podcast is said with the intention of causing offence to anyone. It is simply an honest and open conversation which we hope will inspire you to get in contact with your own thoughts and opinions.)
Dillinger Escape Plan Interview
By Dan Collacott
Back in 2010 I spoke to The Dillinger Escape Plan about the release of their album 'Option Paralysis,' possibly one of my favourite albums from this incredible live act that disbanded in 2017. If you are a fan of that album or the band then check out the full interview below.
Dillinger Escape Plan have been described as mathcore, mathrock and more recently tech rock - all these labels aside all you need to know about massively revered New Jersey quintet is that they rock like a complete and total mutha bitch! In fact since they first hit the rock scene in 1997 they have evolved their sound and challenged metal conventions with each and every release.
Their fourth full length studio album 'Option Paralysis' doesn't disappoint as it serves up a aural maelstrom of disorder and intelligently crafted song writing. Sure the band have veered slightly away from the measured chaos of some of their previous records, instead opting for a more structured sound with Puciato's full vocal range coming more to the fore. Slower tracks such as the haunting and claustrophobic 'Parasitic Twins' and the piano driven 'Widower' are both as beautiful as they are disturbing. 'Gold Teeth on a Bum' feels like a slice of neurosis channelled through Mike Patton's own skewed mind, whilst 'Farewell Mona Lisa' and 'Crystal Mornings' showcase the band's trademark aggression, intensity and sweeping tempo changes.
Although this record might divide some of the band's more hardcore fans who expect and want the same formula repeated over and over, with this release the band have still managed to maintain their importance and relevance, proving that they are one of the most important metal bands of the last fifteen years.
'Mathcore to me implies putting the technical aspect of playing, above the emotional. We've never done that. Ever. The emotion and attitude comes first. Being a good player is just a tool to reach the end, it isn't the point.' Greg Puciato
From the opening quote above you can tell that the Dillinger Escape Frontman is a intelligent and deep human being we continued to press the versatile lead singer about the brilliant new album and got intimate insight into the albums lyrics and writing, the rigours of touring, the bands progression and the past, present and future.
What's it like touring UK and London?
Fantastic as always. The UK was one of the first overseas places that really embraced us, and seems like they've always stuck by us. It's something we really appreciate, and we always enjoy being there.
You have an awesome reputation as a live band - how do you maintain your focus and intensity on stage?
There are so many things that come together to make a show great and there are so many things that can derail your focus or your intensity, especially with a band like ours where those things intrinsically need to be at a really high level. We aren't a band where the playing is second to the hanging out or the partying. The playing is the point, and we tour for a long time and it's very physically and emotionally demanding. You have to stay on top of your health, not just physically but mentally, and you have to know how to keep yourself from getting worn down by the more grueling aspects of touring. There is no one secret, you just learn as you go along. Sink or swim really. We just try and control the things that we can, like our diets and health and having a routine, things like that, that way all the random insanity that can derail you is easier to deal with.
Can you tell me about Option Paralysis how it was recorded and the stories/inspirations behind the songs, titles and writing?
We had the title “Option Paralysis” before we wrote one note or one lyric. The title refers to an instance of having so many options, so much bombardment, that you end up being frozen and unable to make a choice. That is sort of a thing that we see is happening right now in the world. We are bombarded, whether it be by marketing, technology, or just sensory overload. It's causing what we feel to be some sort of cultural recession, as people struggle to figure out how to retain the core of the human experience, how to decipher the melody through the noise so to speak. This concept flavored some of the lyrical themes, but the lyrics also reflect a mindset that I was in at the time regarding things and issues in my personal life. I don't really want to get specific, because it really isn't any one's business for me to get specific about them, but people can read into what they want from the lyrics that are there. That's the point of lyrics. The art is the art, it's not really up to the creator to spend time explaining what the art is about. Lets just say that I was in a very depressive mindset about a number of things, and writing the lyrics really made me face a lot of things that I had buried for a long time in my subconscious. It's kinda like if you have a ten year party, and at the end of that party you look around and realise that there's a lot of shit you need to clean up because your place is a fucking mess, and you have to take responsibility for a lot of it. There's a lot of that in there, and there's a lot of what I said before, commentary on the situation I see going on in the world as far as cultural stagnation and detachment is concerned.
How does this record differ from Ire Works?
It's more cohesive, more to the point. Ten songs, no interludes, no instrumental songs. The songs are longer, we took them to their logical limits. We really fought our tendency to let our short attention spans dictate our song output. It was written really organically, most parts were written in a room with guitar and drums and not as much electronics, and with much less inner band turmoil than any other album.
Do you think mathcore adequately describes your sound or do you hate such labelling?
I understand where the term comes from and what it means. Having said that, I think we're at a point where we're painting with a little too many colors to be labeled as mathcore. Mathcore to me implies putting the technical aspect of playing, above the emotional. We've never done that. Ever. The emotion and attitude comes first. Being a good player is just a tool to reach the end, it isn't the point.
Your music is often brilliant and also challenging, what is the ethos and intention behind your music? To push boundaries and provoke people into feeling like they've experienced something. Not to just be. To push back against the world around us, not just allow it to push us. Our music is not trying to change the world, we have no grand agenda, we're just trying to keep our vision pure, uncorrupted, and honest. We don't have a mission statement that we repeat everyday. We just go out and try and show people that we're alive, that they're alive, that art and expression is alive, and this is our contribution to keeping it all going. If art and human expression were taking its dying breath, I wanna be part of the oxygen up until the very end.
Do you feel the new album has developed your sound and/or taken you in a different direction?
It always does. If it didn't, we would stop playing. There's no point in staying the same. You have to move, as an artist. If you don't, you may as well do nothing. Art doesn't HAVE to be made, it's not a product for us. If we have nothing new to say, nothing stimulating us to change, to destroy, to grow, in any direction at all, we would stop. We certainly don't keep doing this because of the pay check involved.
What is your favourite track off of the new album and why?
It is so soon it's hard to be objective. Right now I love playing “Farewell” live, and I love playing “Good Neighbor” live, but I am also really happy and proud of “Widower”, it is a really different song for us, a really special collaboration, and really honest moment for me as a lyricist and singer. Very fulfilling in every way that creating could be.
Do you think the new material will please the core fans and/or bring in new ones?
I have no idea. It seems so far that fan reaction has been overwhelmingly positive, which definitely feels good, because we put so much into this, that seeing our fans enjoy it is definitely rewarding. All in all though, I have no idea. It really doesn't matter too much does it? We already wrote it. We try not to think too much about that kinda stuff because too much thinking of whether people like what you do corrupts the purity of the creative process and puts too much emphasis on the “product” aspect of it, rather than the quality of the substance itself.
Are you enjoying the freedom of being on your own label?
Yeah it makes a lot of sense for us right now. We've been around a long time and we've learned enough a long the way to know how we do and don't want things to be done as far as the business aspect of our band is concerned. This time period in the “industry”, is total chaos. The only way to survive is go first of all, be good. Aside from that, at our level, you need to be self sufficient and flexible. Starting Party Smasher Inc, and the structure we have in place on this album with Season Of Mist, allows us to have those things.
You're line-up has changed many times do you feel that has hindered your progress as a band or helped you stay fresh and develop your sound?
It's like pruning a tree. You don't keep the dead leaves, you pluck 'em off, or they fall off on their own. Either way, it's necessary for the health and growth of the tree. For us, we don't lose members, with the exception of people being physically unable to continue, we don't lose members and think of it negatively. When someone goes, it's been pretty mutual aside from the injuries. You can feel that there's dissonance. Why would you wanna keep someone that didn't wanna be there anymore? Who's heart wasn't in it anymore? On the flip side, why would someone wanna stay if their heart wasn't in it? It's good for everyone. We lose the dead weight. Right now, this lineup is extremely healthy, and extremely fruitful creatively. I think we'll be able to get a lot of mileage out of this particular group of people, just based on how killer the shows have been and how organic and, in a way, easy, the writing process was this time.
What is the most rock n roll thing any of you have ever done?
I could never ever ever put those things in print. Suffice it to say that in ten years of being in this band we have seen and done things that most people would never see or do in a hundred lifetimes. What has been seen and done cannot be unseen and undone. It's like how some people came home from Vietnam and were shell shocked forever, but could NEVER talk to other people about that shit. That's what it's like. Imagine the gnarliest shit you could ever think of when you think of stereotypical rock n roll debauchery. Multiply that exponentially in terms of scope, weirdness, and insanity. Then bury it deep down inside ha ha and don't ever let that shit out.
What is the best and worst thing about touring?
Best things are doing what you love every night, the relationships you form, the things about yourself you learn, the crazy life situations you go through, the places and people you see that you'd never otherwise see. There's a lot of “bests”. The worst? Realizing that one day you'll probably be thinking about it in the past tense. That's what I worry about. When you're on the biggest high ever, you kinda know in the back of your mind that you could never ever get any higher. You just have to get the most and give the most, live fully in it 100% all the time, because one day we'll all be sitting around reminiscing about it, being sixty years old or something, if we make it that long. Or hopefully, if it suits us at that point in our lives, we'll be like Iggy and still doing the damn thing and still loving it. People talk about not being able to have a home life, but that's not true, they're just looking at it the wrong way. This is your home life.
Is there one thing about yourselves that no-one knows?
There's a reason that no-one knows those things.
What is your career low light and highlight so far?
Highlights have been many, it's very hard to pick one. Low is easy. Being almost naked in Kerrang left a bad taste in my mouth, even though I greatly appreciated being on the cover, I would have preferred to have clothes on.
Who have most you enjoyed working with/touring with so far?
Every relationship has a different point. Best and worst lists are hard to make, things aren't really that black and white. I like the guys in Between The Buried And Me because they are good friends and we get along really well on tour. I liked being out with Nine Inch Nails because we learned a lot from them every night, almost like mentors in some way. I'm assuming you are talking about touring only, but if you're talking about working relationships in general, with people who aren't in the band, I would have to say our producer Steve Evetts. We've really done a lot together and our creative/working relationship has continued to grow, and we've become really great friends in the process. That's the working relationship in general that has been the most important to me.
Do you think the rise of downloading and fall of the CD has meant that bands have to work harder and tour harder to get money and recognition?
Yeah, it's just a whole new paradigm. Not a little different, it's a whole new thing. The revenue stream from music sales just isn't there like it used to be. Obviously that changes things. It's weeding people out. There's not enough money to be in this to make it worthwhile for people that don't REALLY wanna do it for the right reasons; they won't survive. We've always worked hard, so it doesn't matter to us. It's not better or worse, it's just different. We're better off now than we were when people bought more CDs, you just have to love what you do and love doing it. If you are good at something and passionate about doing it and not lazy, you'll be fine.
What was filming the video to Farewell Mona Lisa like?
It was refreshing because we didn't have any crazy external scenes. We just went back to the style we had for “Panasonic Youth”, which I really like, which is just a band in a room doing what they do. Of course we have lights and edits and things to try and match the craziness of the music or perhaps our live experience, but for the most part it's pretty stripped down and honest, just us in a room being what we are... a band.
What aspects of the current rock/metal scene do you hate or love most?
I hate how much people concern themselves with the business of it all. The marketing. Things like that. Just write awesome songs and kick ass and put your heart and soul into what you do. The other shit is secondary. It drives me nuts that bands have a Myspace page before they even write a song. They put a page up and start collecting friends, have a name, etc, and it'll say “songs coming soon”. I hear bands talk about the “image” they wanna have, things like that, before they even have good songs or have learned to even play together. I hate that people focus on technicality of playing, how fast someone can do scales or something. Who cares? This is rock...its metal...its punk...its fucking attitude. It's not an exercise. It's energy, it's sweating in a basement or a garage with your friends on a hot summer day because all you wanna do is play loud music from noon til midnight. It's finding that spark with a new girl that blows your mind, it's getting punched in the face for the first time by the person who ends up being your best friend, its realizing that the best high in the world is the one that comes from being in that moment where you and other human beings are right there on the same wavelength together, and in our case we're trying to find that moment over and over through playing music together. It's not about collecting friends on the internet, how put together or cool you think you look, or how fast and clean you can play guitar. People are losing sight of that, and it really bothers me. Art is feeling and expression, not thought and deliberation.
Who do you tip for success that you have seen or toured with?
When we see people that have “it”, we try to help them. I've tried to help the kids in Genghis Tron, and I'm really happy right now about Tosin Abasi, a guitar player we have on tour with us playing in his band Animals As Leaders. He's a phenomenal guitar player, and he's got the right attitude. He happens to be immensely gifted and technically proficient, but it never gets in the way of the emotion of his playing. We just try to turn people on to things we think are good, and help the people we think are good if we can.
What are you up to right now?
At this exact instant: Sitting in the bus, on tour in Dallas, in the SNOW believe it or not(snow in Texas is pretty absurd), just finished eating dinner, doing this interview, Rules Of Attraction is on the TV, and Jeff Tuttle just walked by with hot sauce talking about how much he loves chicken. It's a slow day ha ha.
I Sell The Dead (film review)
by Dan Collacott
Director: Glenn McQuaid
I Sell The Dead isn't really a traditional Zombie film, in fact only in the second half of this low budget period horror comedy does it wave a big spade at that genre.
The film centres on the slap stick-esque grave robbing antics of Arthur Blake (Dominic Monaghan) and Willie Grimes (Larry Fessenden). The story is told through a series of death row conversations between Blake and Father Duffy (Ron Perlman).
The first half anecdotes/flashbacks concentrate on how a young Blake and Grimes first became a notorious grave robbing partnership. The second half shifts to their more profitable and specialist acquisition of the undead, and not to mention their less fortunate encounters with a deranged rival gang.
The setting of a fog soaked period England creates a perfectly macabre and bleak atmosphere throughout the film, yet somehow the morally obscure duo's humorous exchanges keeps the mood light. The film isn't really laugh out loud funny but certainly has its fair share of very comic moments, it also refreshingly avoids too many cliché buddy/bromance set pieces, or boy meets woman yawns. In fact aside from the main partnership there is little other character depth there and nor is it needed!
Monaghan and Fessenden's on screen chemistry is both well pitched and believable, as is the world they inhabit and the protagonists they tackle. Perlman (Hellboy) puts in a neat turn as the priest and Irish director Glenn McQuaid's direction is tight and effective throughout.
Although I Sell The Dead breathes knew life into a tiring genre, it feels more like a TV film or an introduction to a series than a feature film. Now I don't mean it is in anyway bad, in fact it is very watchable but it just feels like there is a lot more mileage in each individual story told and in the characters themselves. I would watch a HBO series based on the film in a heartbeat, as for me 90mins wasn't enough.
The twist is evident early on (and doesn't really pretend to be that complex) and the actual main plot strand feels like an after thought. But the fact I wanted to see more really shows that the film both frustrated and delighted me in equal measures.
I Sell The Dead gets some kudos for originality, it's worth checking out the Graphic Novel the film is based on.
Well let's get this out of the way very early. Throughout this series, there will be some controversial comments and perspectives so we may as well get the first one out of the way right off the bat... I like 'The Incredible Hulk'.
Inexplicably to me, this film has developed a considerably bad reputation and perhaps ranks fairly low amongst the films on offer within the MCU. But there's genuinely a lot I like about it. I thought Ed Norton did really well in the role - unfortunately due to whatever reasons there were, he was unable to continue as Bruce Banner - but despite his fairly dignified silence regarding the split, he clearly had a vision for the role that contradicted what Marvel had in mind.
There's something about every live action iteration of Hulk which involves him being chased - from the TV series to Ang Lee's 'Hulk' (2003) - and while this film doesn't deviate from that template, there is a lot of firsts that we did get, namely, Hulk in an actual fight. Tim Roth's Emil Blonsky was perfectly played as the past-his-prime marine hungry for the limitless power being wasted by Banner and their final confrontation, with Blonksy having evolved into Abomination, still makes for a great watch today.
While we know that William Hurt's General Ross reemerges in 'Civil War', unfortunately there are a lot of loose ends in the movie including the notable absences of Liv Tyler's Betty Ross and the Tim Blake Nelson's The Leader who have not even warranted a mention in subsequent MCU movies which, bearing in mind we've not had another Hulk movie, I suppose is understandable.
Conversely though, the film does deliver on planting seeds towards MCU's future: the introduction of the super soldier program that Captain America is born of makes its debut by demonstrating its darker characteristics, namely the negative effect it has on Blonsky. And then there's the introduction of Tony Stark at the film's conclusion - the first character within the MCU to cross over into another movie was such a big deal at the time.
His scene ends with the tantalising line of "We're putting a team together" which, in some ways, could be argued as being a little ambiguous. When 'Iron Man' came out, there were rumours that the upcoming Avengers movie was actually to pit Iron Man, Thor and Captain America against the Hulk before, I imagine, ultimately aligning with him. I don't know if that was ever a legitimate plan but it was an intriguing one.
As I say, for me, this is a really good movie and I think a real shame that we've not had a follow-up standalone movie for Hulk. If you're someone who put this in the thumbs down camp, it would definitely be worth an open-minded reviewing as you may have a different perspective this time round.
Episode #14 of the Close Encounters of the 4th Kind podcast sees Tee-J, Imran and Dan - and special guest Richard Roth - discuss the toys that had the biggest impact on us growing up and we relive the heartache when also highlighting the ones that got away.
By Dan Collacott
If you were a child of the 80s and 90s then you would have seen not quite the birth but definitely the household take over of big franchise toys. Each toy line spearheaded by its own cartoon series or film. Your box shaped television promised you play sets, vehicles and figures in loud, colourful and repetitive advert form. Your Argos catalogue (or similar) told you the value of the toys and where to buy them so you could pester your parents into submission. We did a survey of our manly friends and listeners who were children of the 80s or 90s to pick out the most sought after toys that we either never owned or treasured when we did.
The criteria for our choices were that these toys could not include lego, puzzles, board games, bikes or video/lcd games. Further disclaimer some of these toys made their debuts in America and other countries years before they came to the UK and the retail prices vary. Listen to our top toys podcast here
10. Thundercats: Thundertank: Released 1985 (Reissued in 2012)
Value then: £14 - Value now: £100+ loose complete, £200-300+ boxed complete
Features: It’s claws would rise up and the mouth ramp would open when in pop out mode. Two figures could sit in it one behind the other. The Thundertank was a mighty hunk of tank shaped plastic that kids in the 80s loved.
9. Real Ghostbusters: Ecto 1 - Released: 1984
Value then: £16 - Value now: £50+ loose complete, £80-£150+ boxed
Features: Grappling arm and claw to catch ghosts. Weird pull out chair with guns on it that could clip onto the roof. It looked good but was a bit clunky and naff to play with, not that it mattered!
On a random note Ecto 1 from the far less successful Extreme Ghostbusters cartoon and toy line (featuring cool flashing lights and a siren) was definitely an upgrade on the first toy. Extreme Ghostbusters was released in 1996 meant as a sequel to Real Ghostbusters and was the next generation of ghostbusters semi-led and taught by the original team. Although in reality this only seemed to be Egon, Janine and Slimer (although the rest did cameo at the end).
8. Star Wars: Ewok Village - Play set - Released 1983
Value then: £32, Value now: £120+ loose complete £200-300 boxed complete
Features: Net Trap and cage on pully, hollow plastic tree stumps you could put Ewoks in. It’s a big chunk of plastic that didn’t really do much, but the fact you could recreate scenes from Return of the Jedi made it something that made most kids most wanted lists.
The play set like most Star Wars play sets had a lot of moving and individual parts, it wasn’t that rare to get hold of in the 80s and it isn’t rare now. But to get hold of a complete set with all the Ewoks and accompanying figures is clearly a lot harder nowadays as some of the last Ewoks made cost over £100 each loose.
7. Thundercats: Cats Lair - Play set - Released 1986
Value then: £30-40+ Value now: £80+ loose complete £150-200 boxed complete
Features: Giant laser shooting head, trap door and dungeon, plus electronic FX.
It looks awesome but in reality like most play sets it was pretty limited in what it did, but hey it had a giant cat head that swivels... so who cares!
6. Real Ghostbusters: Firehouse Set - Released 1986 (probably closer to 1988 in the UK)
Value then: £40 or less - Value now: £70+ loose complete £200-300 boxed complete
Features: A swivelling fire pole, doors that you can wheel Ecto 1 through, goop grates and a ghost containment unit and a single ghost trap.
This big ass chunk of plastic was a must have for Real Ghostbusters fans (and fans of the films), it had some nice features without setting the world on fire (no pun intended).
5. Mask: Rhino - Released: 1985
Original cost around: £30. Value now: £60+ loose complete £120+ boxed complete.
Features: Mini buggy that forms the back axel, hidden bomb and launcher, front bumper ram.
After Optimus Prime any big rig lorries were cool and Rhino didn’t disappoint in terms of size feel and hidden features. Rhino wasn’t that rare at the time of release but as Mask arguably wasn’t quite as popular as the other cartoon franchises at the time it wasn’t as common for you or the kid next door to own one.
4. Scaletrix - Knightrider Pursuit Mode - Released 1986
Cost then: £30-40 - Estimated value now: £30 loose £70 boxed
Featured a silver Datsun 260Z (which in my set was actually faster than K.I.T.T which ruined any chases). Even though many consider Scaletrix as the king of trigger press slot car racing brands, it was rivals Tyco that bought the more interesting franchises licenses and featured anything from Transformers to A-Team and Thundercats themed sets. Tyco were bigger in the US so us Brits didn’t have as much choice.
3. Transformers: Optimus Prime Released 1984:
Cost then: £14 Estimated value now for an original standard release: £50-70 loose and complete £150-250+ boxed complete. Reissues and KOs can be cheaper.
Like most transformers, 80s Prime has so many parts that he is difficult to get hold of with his fuel hose and pipe, missiles, separate fists that pop off easily plus roller and big gun! But the fact his trailer opened up into a mini base with operating table/crane made him a popular toy.
Prime has possibly more toy variations than any other toy in existence (not just Transformers) from a French red feet version, to the original Diaclone big convoy version that predated the Hasbro release. Then there are countless reissues and KO versions, not to mention thousands of versions of him that came in the toy lines that followed the 80s version (and then the terrible toys from movies). Even today he is being retooled in new toy lines as well as Masterpiece versions that retail at nearly £400.
2. Star Wars: Millennium Falcon - Released 1979
Cost then: £32 - Estimated cost now: Loose £100-200+ if complete and in good condition
£500+ if boxed and mint
Features: Chair you could sit a figure in that was attached to the main gun that turned round.
The Falcon was tricky to keep complete as a kid (or later to find complete) as it had so many random removable parts, like the radar dish, main gun, trapdoor legs, chess board table and worst of all a small ball and training arm.
There have been over hundreds of different versions of the Falcon since the original including new versions for the final trilogies, and many all new moulds and sizes including Lego (although the 95 version may use the same mould as the original or close). The king of the Falcons is considered to be the giant 30 inch (2 feet long) 2010 Legacy Millennium Falcon which has a raft of parts and sound fx, only downside is because it’s so huge it’s hard to find space for it.
AND THE WINNER!
1. Masters of the Universe - Castle Grayskull - Play set - Released in 1983
Cost then: around £35 - Estimated value now: £150-300 loose depending on condition and if it’s complete. £500+ if boxed and mint.
Features: Gun tower, weird pulley lift, chair that when turned triggers a cool trapdoor.
Castle Grayskull was made as a play set for both the 1980s and 2002 Masters of the Universe toy lines (before being released again in 2013 when the toys were rebooted again). It is considered by many as king of the 80s play sets, because who doesn’t want a giant green plastic skull on their bedroom floor!
Other nominated 80s toy favourites:
Mask: Boulder Hill, Star Wars: AT AT
Ominibot 5402, Speak and Spell, Transformers: Metroplex
WWF: Ring Playset Blue, Big Trak, Thunderbirds: Tracey Island play set
GI Joe: HQ play set, GI Joe: Cobra play set, TMNT: Turtle Blimp
My Pet Monster, Marvel Secret Wars: Tower of Doom play set
Real Ghostbusters: Ghost Zapper, TMNT: Sewer play set
TMNT: Technodome Playset, Photon/Lazer Tag set
Masters of the Universe: Snake Mountain - Play set
Thundercats: Tomb Fortress, Star Trek The Next Generation: Enterprise D Bridge
Transformers: Fortress Maximus, Micro Machines: Lunch Box play set
Micro Machines: Gas Can Play set, Eliminator TS-7, Mr. Potato Head
Teddy Ruxpin, Star Wars: Jabba's Palace, Scalextric: Le Mans 24hr
Power Wheels, Masters of the Universe: Eternia, Zoids: Zoidzilla
G.I. Joe: U.S.S. Flagg, G.I. Joe: Space Shuttle, Stretch Armstrong
Thundercats: Hovercat, Thundercats: Sword of Omens
Emanating from London, UK, and hosted by Dan Collacott, Tee-J Sutherland and Imran Mirza, our 4ever in Electric Dreams website and accompanying podcasts are designed to help us celebrate the things we loved growing up and the things that continue to excite and inspire us today.