In the meantime, enjoy this trailer for Season Three of Longmire...
Thursday, May 15, 2014
Are You Ready for Season Three of Longmire?
In just a few short days we will begin our countdown to the season premiere. We will be posting a recap of each season two episode every day leading up to June 2nd. Keep an eye out for it!
In the meantime, enjoy this trailer for Season Three of Longmire...
In the meantime, enjoy this trailer for Season Three of Longmire...
Sunday, January 26, 2014
2014 Acting Outlaws Calendar Reviewed
As a Spank certified* art critic, the duty falls to me to review the 2014 Acting Outlaws calendar. Let us not delay any more and dive right in, shall we? As an advocate of the black and white aesthetic, I must note that the limited chromatic range gives a more simplistic sophistication to this calendar in comparison with the 2013 edition that cannot escape the stranglehold of modern color consumerism. The cover of this 2014 calendar juxtaposes the soft, smooth flow of Katee’s light hair and airy attire with Tricia’s wild angular waves and tight to the body vest while still declaring the beauty of both figures with their equality of primacy.
With regard to the issue of content, we move into January and February with their divergent handling of light. January’s use of highlight and shadow to bring the viewer’s gaze to the shoulder, collarbone and eyes against the busy background reflections is in direct contrast to February’s entirely black background that creates a spotlight effect on the foregrounded face and the reductive quality of the hot white light. The exploration of the montage elements in March brings these two faces together in perpendicular perspective. The sublime beauty of the purity of line threatens to penetrate the essentially transitional quality.
I find April and May playful because of the optical suggestion of the sexual signifier visually and conceptually activates the subconscious mind without inherent over specificity. In April the direct gaze, and open body posture are confident and daring, a challenge to the viewer while the parted lips and fringe of hair that partially obstructs that almost menacing gaze making the subject more accessible and beckoning the viewer to engage. May however does not invite to the viewer to participate but instead to watch. The gaze is down and the posture is closed off with the arms crossed in front of the body as if to protect herself from the viewer’s site but she smiles in her private story.
The aura of the summer heat notated by the desert background and subject attire is brings within the realm of discourse the intrinsic hotness of Katee Sackhoff and Tricia Helfer. Yeah, okay, so these ladies are hot and it had to be said. I didn’t have a snootier artsier way of saying that but seriously, they risk setting the page aflame!
July demonstrates the iconicity and internal dynamic of the sexy fish paradigm. It should be added that the subaqueous qualities of the pose spatially undermines the potential indecency of the nudity. While the gaze in July is direct and challenges us to see impropriety in its elegance, the gaze in August is cast back over the subject’s shoulder and asks us to empathize instead of judge. The distinctive formal juxtaposition is completed by the coyness of gesture. A long and lovely line begins at the timidly lowered chin, along an elegant neck and down a curving back. The strength of this line against the apprehension of the gaze and gesture suggests the subject may have been surprised by the presence of the viewer.
September fractures the pattern of difference in the images. In previous month pairs or dual subject images there has been an element or theme that contrasts the women. In September, however, the spatial relationships and use of repetition verge on codifying beauty in the minds of the audience. After this repetition in September we see a month pair full of similarity in October and November. Both images are soft and unchallenging with a sense of vulnerability. The metaphorical resonance of the figure narrative contextualizes the devious simplicity of beauty.
The muted tone of December evokes the impression of beauty carved out of stone. It is smooth, complex, strong, elongated, angular, intimate, flowing…. Okay, I’ve been caught again in my falsehood. When confronted by the level of perfection seen in the December photograph, the pretext of art critique fails. Are there really words to express such beauty? I think not. So instead, you should just buy the calendar through the Acting Outlaws Store or Red Bubble so that you can have 13 images of astonishing beauty in your hands and to display as you please.
* a self-appointed title that should not be taken to signify any education in the field of art criticism beyond the assistance of Pixmaven
With regard to the issue of content, we move into January and February with their divergent handling of light. January’s use of highlight and shadow to bring the viewer’s gaze to the shoulder, collarbone and eyes against the busy background reflections is in direct contrast to February’s entirely black background that creates a spotlight effect on the foregrounded face and the reductive quality of the hot white light. The exploration of the montage elements in March brings these two faces together in perpendicular perspective. The sublime beauty of the purity of line threatens to penetrate the essentially transitional quality.
I find April and May playful because of the optical suggestion of the sexual signifier visually and conceptually activates the subconscious mind without inherent over specificity. In April the direct gaze, and open body posture are confident and daring, a challenge to the viewer while the parted lips and fringe of hair that partially obstructs that almost menacing gaze making the subject more accessible and beckoning the viewer to engage. May however does not invite to the viewer to participate but instead to watch. The gaze is down and the posture is closed off with the arms crossed in front of the body as if to protect herself from the viewer’s site but she smiles in her private story.
The aura of the summer heat notated by the desert background and subject attire is brings within the realm of discourse the intrinsic hotness of Katee Sackhoff and Tricia Helfer. Yeah, okay, so these ladies are hot and it had to be said. I didn’t have a snootier artsier way of saying that but seriously, they risk setting the page aflame!
July demonstrates the iconicity and internal dynamic of the sexy fish paradigm. It should be added that the subaqueous qualities of the pose spatially undermines the potential indecency of the nudity. While the gaze in July is direct and challenges us to see impropriety in its elegance, the gaze in August is cast back over the subject’s shoulder and asks us to empathize instead of judge. The distinctive formal juxtaposition is completed by the coyness of gesture. A long and lovely line begins at the timidly lowered chin, along an elegant neck and down a curving back. The strength of this line against the apprehension of the gaze and gesture suggests the subject may have been surprised by the presence of the viewer.
September fractures the pattern of difference in the images. In previous month pairs or dual subject images there has been an element or theme that contrasts the women. In September, however, the spatial relationships and use of repetition verge on codifying beauty in the minds of the audience. After this repetition in September we see a month pair full of similarity in October and November. Both images are soft and unchallenging with a sense of vulnerability. The metaphorical resonance of the figure narrative contextualizes the devious simplicity of beauty.
The muted tone of December evokes the impression of beauty carved out of stone. It is smooth, complex, strong, elongated, angular, intimate, flowing…. Okay, I’ve been caught again in my falsehood. When confronted by the level of perfection seen in the December photograph, the pretext of art critique fails. Are there really words to express such beauty? I think not. So instead, you should just buy the calendar through the Acting Outlaws Store or Red Bubble so that you can have 13 images of astonishing beauty in your hands and to display as you please.
* a self-appointed title that should not be taken to signify any education in the field of art criticism beyond the assistance of Pixmaven
Friday, September 6, 2013
The (not so) Epic Countdown to Riddick: Reason #1
Did we Mention....
KATEE SACKHOFF IS IN IT!!!
If you seriously need any other reason than this to go see the new Riddick film, there is something wrong with you. So, forget the other 29 reasons (except reason #15, which is also "Because Katee Sackhoff is in it." Yeah, we used this one twice, DEAL WITH IT!), and go to your nearest movie theatre (or the fifth nearest, we don't really care where you see it) TODAY and watch this film! Seriously, do it. Watch it. Watch it a few times. Take your friends. If you have a lot of money, we encourage you to buy up a bunch of tickets and pass them out to strangers.
Wednesday, September 4, 2013
The (not so) Epic Countdown to Riddick: Reason #2
The Return of the MEZ!
The Magical Expression Zone (MEZ) is a beautiful, beautiful thing. It is the wonderful region between Katee's eyes, just before you reach the forehead, where literally a "shit ton" of emotional magic is taking place. We're not kidding, it's spectacular. Katee acts more with this square-inch region of her face than most people do with their entire body. Don't believe us? Just go and watch ANYTHING KATEE SACKHOFF HAS EVER BEEN IN and you, too, will notice the MEZ! Any excuse to see the MEZ in the act is a good reason to watch this film.
(sigh, I'd give you a link to the wonderment that is the Magical Expression Zone, but Spanks have a nasty habit of deleting pictures from their photobuckets after a certain length of time. So, the MEZ page is full of broken picture boxes. We'll fix this. I am quite certain an updated MEZ blog post is high on our list of priorities. The problem is that Spanks are also a bit lazy. We're working on this, too.)
Tuesday, September 3, 2013
The (not so) Epic Countdown to Riddick: Reason #3
We Get to See Katee Take a Shower ....Again!
Spanks and fans of Katee Sackhoff are no strangers to Katee in the shower. We saw her take a shower in The Last Sentinel (greatest movie of all time, cinematic brilliance! If you haven't seen it, go watch it, now. Right now. Seriously. Stop reading this blog post and go watch TLS, then come back and finish reading this blog post) and we saw her take a shower in Battlestar Galactica. We also saw her take a bath in The Big Bang Theory. We are looking forward to THIS shower scene so much more, though, because it will be on a huge screen in a dark theatre and the entire audience will be staring at her, so we won't have to feel like we're alone in our perviness.
^^Crappy screencap from an international Riddick trailer. Why no shower scenes for American trailer?^^
Monday, September 2, 2013
The (not so) Epic Countdown to Riddick: Reason #4
Dahl is "Ten Times Tougher than Starbuck"
Wha?? How is that even possible?! We cannot wait to see this film and find out what "Ten Times Tougher than Starbuck" looks like. Wow. Just wow.
Sunday, September 1, 2013
The (not so) Epic Countdown to Riddick: Reason #5
We Just Really Want to Know More About THIS:
I keep seeing this picture and I have NO CLUE what is going on in here, but I really, really, really want to know. And I really can't wait to find out what, exactly, Katee is doing in this scene. Is it serious? Should I be turned on? I don't know how to feel!! I'm in awe.
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