I mean, George wrote the thing in an hour and all. But that hasn’t stopped “Yellow Submarine” from being turned into a book.

Apparently, in Rochester, NY, the late John Gardner still has groupies. It’s been twenty-two years since Gardner died in a motorcycle accident, but that hasn’t stopped folks from festooning leather jackets.

Either The Magic 7 has spent years in development or someone really knew how to plan for a 2004 release in the early 1990s. Or there’s some digital weirdness. Or…well, you make the call. Two dead talents, John Candy and Madeline Kahn, are involved with this animated production. Candy himself has been dead for a decade. Now it’s worth noting that writer-director Roger Holzberg hasn’t helmed a film since 1995. But I’m seriously creeped out by the idea of taking voices from the past and putting them down to contemporary cinema. Is someone sitting on some John Belushi tapes? Can we expect Andy Kaufman to voice the next Disney extravaganza with unreleased Janis Joplin audition tapes set to horrid Sting sequencing? Holzberg owes us all an explanation.

Carrie A.A. Frye’s over at Maud’s this week, “primed in her tangerine muumuu.” This makes a good deal of sense to me, largely because I’ve always associated prime numbers with the color orange. Other immediate color associations which come to mind: sepia tones and oddball diner to-go cartons, goldenrod mimeographs, and the wild chartreuse decor of mid-1990s urban splendor. What happened to tie-dye camoflauge or Wired’s early chromatic schemes? When did pink and emerald green (the color that the eye perceives the strongest; hence, night vision goggles) become so dreaded? There’s a particular colored gel look in Dario Argento’s 1970s films that suggests an hyperrealized haunted house, and I haven’t seen it in a while. And a publicist has encouraged me to generate images in red and black. These days, it’s either over-the-top vibrancy or the subdued racket.

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