Joshua Gulch
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joshgulch.bsky.social
Joshua Gulch
@joshgulch.bsky.social
46 followers 140 following 82 posts
I like spaceships and dinosaurs. He/him.
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joshgulch.bsky.social
I sympathized with the father in 'Walkabout.' I, too, would have abandoned this child in the desert.
The boy child in Walkabout. The most obnoxious child I have seen in a film. I rooted for dehydration to swell his tongue so that a lizard may bite it off. Justice for the father.
January 19, 2026 at 6:44 AM
joshgulch.bsky.social
'Young Sherlock Holmes' had been on my mental watchlist for 30 years, since seeing a clip on 'The Making of Jurassic Park' VHS tape in 1995, where the glass man scene was used to demonstrate how far digital graphics had come in the eight years between 1985 and 1993. I can finally check that one off.
January 5, 2026 at 7:27 AM
joshgulch.bsky.social
...Then watched 'Young Sherlock Holmes' (1985), with the first fully CGI character in a live-action film, and finished off with a double-feature of 'THX 1138' (1971) and 'Duel' (1971), which were George Lucas and Steven Spielberg's debut features. 2/2
The poster for Young Sherlock Holmes. Within a framed rectangle in the center of the black poster, the Sherlock Holmes we all imagine, with his deerstalker hat and pipe, looks in a large magnifying glass, which is filled with the face of a much younger man. Below are two teenagers -- a blond girl and a boy with glasses -- as well as a shadowy figure in a swirl of smoke and a Victorian flying machine. The title is below in red serif letters, the center bar of the H and O in Holmes being formed by the handle and ring of a magnifying glass. The poster for THX 1138. The top is a large black and white photo showing the face of a robot police officer, with a human-like face but a smooth silvery mask, wearing a police helmet. Below, side by side, are a photo of one of those cops wielding a long baton beside a bald man and a photo of the same bald man driving a futuristic car. The photos are all blown out, distorting the features. The title is below in simple black letters. The poster for Duel. It is yellow, framed in brown. In the yellow area, the top half is a close up of a mustachioed man's face, yelling, mouth open, eyes squinted. Below, the bottom half is a huge semi truck with trailer crashing over a car. The title is below in bold white letters.
January 5, 2026 at 6:37 AM
joshgulch.bsky.social
What about taking those box things around the TOS 1701's deflector and sticking them up against the pylons on the saucer, Miranda-ish? Angling their forward edges could reflect the pylon structures on Nimitz, and even justify a much narrower trench to the saucer rim.
December 31, 2025 at 7:47 AM
joshgulch.bsky.social
Challenge credits:
'Fargo' was watched by CoinToaster, mrdadiao, TheLast_Lovetta, mham91, & Undercik.
'Beyond the Infinite Two Minutes' was watched by AGP, DudeByTheSea, GingerCaat, mrdadiao, & PirateDJ.
'Rodan' was watched by Undercik.
'Wicked Little Letters' was watched by 505pike.
December 29, 2025 at 10:18 AM
joshgulch.bsky.social
That's a whole bunch of Memories.
December 22, 2025 at 1:20 AM
joshgulch.bsky.social
I think the idea is the pod's doors open into the port on the ship. The doors are the light grey strips on the pod's docking ring which slide into cavities inside the edges of Enterprise's port. The pod's doors have a rectangular hole that matches a bump in the ship's notch to pull the doors open.
A still from Star Trek: The Motion Picture, showing the travel pod just about to plug into Enterprise's docking port. it shows the hardware on the pod's docking ring and within the ship's receptacle. The pod's doors slide through the edges of its docking ring into matching cavities on the ship side. A still from Star Trek: The Motion Picture, from a little earlier when the same travel pod departs the orbital office. The lighting shows the interior of the station's docking port a little better.
December 19, 2025 at 5:11 AM
joshgulch.bsky.social
... And finished up with a science fiction double feature that consisted of 'Moscow-Cassiopeia' (1974) from week 2 and 'Aniara' (2018) from week 37. Didn't know going in that 'Moscow-Cassiopeia' was only part one, so now I gotta watch 'Teens in the Universe' (1975) to finish the story. 2/2
The poster for Moskva-Cassiopeya, or, Moscow-Cassiopeia. It's done up in a cartoony 1970s pop art style. At the top, a boy in a yellow spacesuit floats horizontally, facing down at another boy, in a shirt and shorts, trapped within a transparent pyramid, also floating in the deep red backdrop. In the distance is a tube shaped spacecraft, different from what's shown in the film, with four children looking out the elliptical window. The title is across the center, in a futuristic looking white font. The poster for Aniara. It is very abstract. In the center, a red sphere of mars against the black backdrop. Lines radiate outward from the planet, creating a moiré effect. Down to the lower right, a rectangular shaped spacecraft pierces upward like a spear, distorting the moiré rays, penetrating up into the beams which bend and deflect from the spacecraft's mass. The title is at the bottom, in thin white letters.
December 15, 2025 at 7:31 AM
joshgulch.bsky.social
...Finished up with four silent shorts of Harold Lloyd and cars. In 'Speedy' (1928) he drives a stubborn taxi and an old trolley, in 'Get Out and Get Under' (1920) his car fights him to get across town, in 'Hot Water' (1924) his in-laws ruin his car, and 'Now or Never' (1921) is set on a train. 2/2
The poster for Speedy. A large circle is set against a red background. Within the circle, Harold and a woman in a red dress and cloche hat lean back to back in one of those old rotating tunnels at Coney Island that probably got a lot of people hurt, which is why they don't do those rides anymore. Some speed lines surround them. Harold Lloyd's name is arcing above the circle while the title is arcing below in big white letters with speed lines. The title for Get Out and Get Under. Against a while background, Harold Lloyd's head makes up most of the poster, the tones of his form made up entirely by the words HAROLD LLOYD with some letters being darker and some being lighter to form shadows and details. It's an ASCII drawing from 1920. There's a splash of orange behind his head for contrast, and the title is down in the lower right corner in black Art Deco letters. The poster for Now or Never. A large image of Harold Lloyd laughing makes up the poster. He's tinted blue and set against a solid deep yellow background. There are L shaped decorative brackets in the corners, like a photo album. The title is in the lower right in white serif letters. The poster for Hot Water. It's a full painting of Harold Lloyd sitting behind a stack of packages wrapped in brown paper. He's sitting on a trolley car, holding a bundle of leafy veggies under one arm and a live turkey wearing a green bow in the other. He looks royally pissed, grimacing to the right of frame. The title is printed on the front of the packages in a red serif font. The man is not having a good day.
December 1, 2025 at 7:05 AM
joshgulch.bsky.social
Thanks! Looking forward to what you cook up for us this week.
November 3, 2025 at 5:30 PM