Joshua Gulch
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joshgulch.bsky.social
Joshua Gulch
@joshgulch.bsky.social
46 followers 140 following 70 posts
I like spaceships and dinosaurs. He/him.
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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
joshgulch.bsky.social
Didn't plan to watch 'Muse' for this challenge until the credits said Marcin Masecki adapted music based on motifs by Padula and Carmichael. If music is a universal language then musical notation is its written form, and in 'Muse,' the music plays an instrumental (pun) role in telling the story.
Screenshot from the end credits of Muse. Particularly the section reading "Music: Marcin Masecki, Based on motifs from "Noche de las Estrellas" by Jose Louis Padula and "Stardust" by Hoagy Carmichael / Mitchell Parish, Copyright EMI Mills Music Inc / Sony Publishing, Poland."
September 15, 2025 at 5:34 AM
joshgulch.bsky.social
... as well as a pre-Debut Björk in her film debut 'The Juniper Tree' (1990), Alana Haim and Tom Waits acting inappropriately in 'Licorice Pizza' (2021), Frank Sinatra planning an assassination in 'Suddenly' (1954), and Jeff Bridges rustling cows and being a nuisance in 'Rancho Deluxe' (1975). (2/2)
The poster for The Juniper Tree. It features a black and white photo of Björk, sitting on the gravel-strewn ground, staring upwards toward the upper left corner. "She's got a weird expression on her face," to borrow a line from a Sugarcubes song. Near the bottom right corner, in a large blank space below the picture, are small silhouettes of some birds flying. The title is at the very top, squeezed into a narrow space above the photo, in a black serif font. The poster for Licorice Pizza. It's a painted illustration. Alana Haim makes up the central focus, filling most of the space, as she stands with her hand on her hip, holding out her other hand toward us, staring us in the eyes with her offering. In her hand is a small teenage boy, sitting cross-legged. In circles around her head are portraits of the many supporting characters. The title is centered, below her outstretched hand, in jaunty white letters that look kind of handwritten. The poster does not indicate the gross relationships that fill this movie. The poster for Suddenly. Against, a yellow background, a sepia-toned drawing of Frank Sinatra grabbing a woman by her shoulders and she looks distressed and tries to pull away. He's sneering at her as his hand squeezes her arm. The tagline proclaims "Sinatra... as a savage, sensation-hungry killer!" Below, in scrawled orange lettering, is the title, with an exclamation point on the end for emphasis. The poster for Rancho Deluxe. It's an illustration featuring a woman with a tight red t-shirt, white vest, cowboy hat, boots, and gloves, and cut-off denim shorts, sitting on a vehicle whose front is a full on bull, as in an actual cow with a nose-ring and horns, and whose back is a trike motorcycle with large back wheels and exhaust pipe. An engine block sticks out of the cow's back. She's twirling a lasso above her head, the rope spelling out the title in cursive. Needless to say the cow-bike-thing doesn't actually appear in the movie, though I think it could, nay, should have.
September 1, 2025 at 7:40 AM