The Muppets are long-known for their festive spirit. Be sure to join them for a chorus of bells, too!

See you in 2012!

My first outing with this functionality was a promotional video for an annual fundraising event. Since the fundraiser had already been held by the time I got my hands on iMovie, I didn't have any footage of my own to work with. I instead downloaded existing YouTube videos and recut them for my purpose, using the "sports" genre of film. When I showed the final product to the original videographer, she responded, "I just saw your movie trailer and I LOVE IT!!  You created a great, professional quality, energetic piece. I might bug you to do this again with what we['ll shoot next year]!"

My most recent trailer is the only one I've shot for fun. On June 12, 2011, two friends joined me in my annual ascent of Mount Monadnock, the world's most-climbed mountain. It was a last-second impulse to bring my video camera, a Kodak Zi8, and I got several candid and staged shots throughout the state park. I originally tried casting it as a horror film, but in the end, it worked best as an adventure.

But the trailer that was most meaningful is the one I made as a gift. I spent Christmas 2010 with friends, and I wanted to show my appreciation for letting me into their home to share this special holiday. Over the course of a week and as innocuously as possible, I shot several clips of B-roll. Most of them were no longer than five seconds, though one, a Christmas pageant, was fifteen minutes. Altogether, I ended up with about thirty minutes of film, which I whittled down to a brief trailer.

When I debuted a rough cut to the friends, they were extremely moved, immediately wanting to watch it again — and again — and again! They shared it with everyone in their immediate and extended family, and I could tell from my online analytics that the video was viewed every day for at least a month. As its audience was not computer savvy, they had no idea that the quality of what they were seeing wasn't the result of me being a professional video editor. Thanks to iMovie, I was able to keep my secret!

Just in time for me to re-create this gift for my own family this year, Vimeo, my video-hosting service of choice, has offered these tips for shooting great holiday video. Their suggestions are simple yet effective and will give you plenty of grist for later editing.

Happy holiday filming!

But I found 2010 to be mildly disappointing, due to a variety of logistical decisions. The Q&A sessions are scheduled for specific times and days, but the event coordinator chooses not to publicize those schedules ahead of time, such as on the Super Megafest Web site; my email requesting this data confirmed that it is not available in advance. Although I realize celebrities' schedules often cannot be determined until the last minute, it's frustrating for me to not know if I should be at the conference on Saturday at 10 AM or 5 PM, or on Sunday. Without the Q&A, I need only an hour or two to absorb the event in its entirety; it's unreasonable to block out an entire two-day weekend for whenever the Q&As might be.

The comfort of the celebrities is of course the organizers' priority, so rather than have the stars stand for an hour during Q&A, they're allowed to sit. But the session is held in a conference room large enough that folks in the back can't see someone seated at the front. A simple riser that would elevate the celebrity would be a simple fix.

Last year, I calculated the cost of admission plus that of Christopher Lloyd's autograph and decided it was worth getting the "VIP speed pass", which included admission and autographs by Lloyd and Lea Thompson. The "speed" aspect allowed me to bypass the line for this celebrity, which would otherwise take hours to traverse. But there was no fine print indicating that this privilege was valid only from 9:30 AM to 10:30 AM! The Web site informed me only that I was paying for "a beat-the-line speed pass". Such vague terminology bordered on the deceptive.

Despite all that, I was still glad for the opportunity to meet the stars. Few people had paid for the speed pass, which also granted exclusive access to Lloyd's Q&A session, which made for an intimate setting. Everyone got to ask a question, with mine being: "Does an actor of your renown still have to audition for parts, or are they written for or handed to you?" Lloyd said that sometimes, the writers say to themselves, "Oh, this script calls for a drunk? Let's get Lloyd." But more often, he still needs to audition, as it's not always clear whether he or someone else will be right for a part. Lea Thompson never showed up, so my pass got me two Lloyd autographs instead.

I also met Marina Sirtis, better known as Deanna Troi from Star Trek: TNG. She was very friendly and fun, laughing and smiling and calling everyone "hon". When I saw the various 8"x10" glossies she had available to autograph, I chose an off-camera shot from First Contact, commenting, "You were so funny in that film!" She responded, "I was more myself in that Star Trek movie than in any other."

I had some time to kill between sessions, so I sat in on a Q&A by Kristin Bauer, who plays Pam De Beaufort on True Blood. I'd never seen this show so wasn't very interested, but she redeemed herself with the credit of playing Lt. Laneth on an episode of Star Trek: Enterprise.

I ended the show by getting Peter Mayhew's autograph. The taciturn Wookie didn't have much to say and didn't offer to personalize his signature, though he did do so after I handed it back with the request.

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The headliners for this year's Super Megafest are Patrick Stewart and Sean Astin. After a month of waffling, and with just a week to spare, I coughed up the dough for another VIP speed pass. I'm a bit disenchanted with Super Megafest, though, and would not have been roped in for another expensive pass for anyone other than Captain Picard.

I understand Netflix's appeal and the purpose it serves: it provides its customers with easy opportunities to expose themselves to a variety of movies and television shows they'd otherwise never see, and for a more affordable price than traditional purchases or rentals. Doing all this without leaving home is convenient, and the option of streaming it directly to your set-top box makes it unnecessary to anticipate your desires more than a few minutes in advance.

All these DVDs can be yours, for the right price: free.

Anyone with a library card can borrow movies and TV shows for free. Much like Netflix, such requests can be made online: just search the library's online catalog, click a button, and the item will be set aside as soon as it becomes available. If the local branch doesn't carry a specific title, odds are their interlibrary loan (ILL) program can procure it at no additional charge. They'll even send an email when the item is ready to be picked up.

True, libraries don't provide streaming media — but my limited understanding of this aspect of Netflix gives me the same opinion of that service as I did of DivX a decade ago. Streaming media does not offer the wealth of bonus features and other additional content that add value to the physical disc. Viewers who still want those can order the disc from Netflix — but at that point, why not use the library?

Besides there being no monthly charge, no limits on borrowing, and no commitment to persistent membership fee even when life is too busy for movies, there's a far more important reason to consider the library. The challenges of today's economy have afflicted civic services, and libraries are one that we cannot afford to lose. Libraries are a vital element of not just a democracy, but a thriving economy. In one study, every dollar invested in library services returned an increase of $9.08 in gross regional product and $12.66 in total state wages, making them one of the best investments our society can make.

Fortunately, your patronage is just as valuable as your money. Library usage is at an all-time high at the same time funding is reaching all-time lows. When it comes time to allocate next year's budget, one of the best arguments libraries can make is to demonstrate the need and desire for their services by pointing to current usage trends. Every DVD borrowed from libraries is another point in their favor, allowing them to continue to encourage a literate and employable citizenry, both in today's generation and tomorrow's.

No alternative — not Netflix, not Best Buy, and especially not piracy — offers cineasts as much bang for the buck as the public library. Where else can one promote literacy without reading a word or paying a dollar?

If that's not a bonus feature, I don't know what is.

This is Showbits' fifth annual Christmas greeting from MST3K and harkens back to the first, when the site was less than two weeks young and run by someone who was recently out of a text-based environment and still unsure how to use multimedia.

May our holidays be rich with humor and cheer!

This musician and artist has previously created 8-bit versions of Dr. Horrible's Sing-Along Blog, Twilight, and Jersey Shore, rending these overwrought performances into interactive adventures modeled after role-playing games of yesteryear. But his latest reimagining is solely an aural experience. The music album After These Messages is a tour-de-force of nostalgia for any fan of the Eighties, as it features nearly three dozen melodies from the era's sitcoms, cartoons, game shows, and commercials.

Here's the full album listing:

Although Doctor Octoroc's previous album, 8-Bit Jesus (a timely purchase for the holiday season), is available from iTunes, After These Messages is a direct purchase from the artist himself. The price? You name it! Just make a donation to his PayPal account, and all the above songs are yours.

Although the album is less than 36 minutes long, the number of tracks prompted me to consider it no less a full-fledged effort. I bought it for $10, as I would any iTunes album, and am digging these creative interpretations of some of my favorite shows. The only issue I have is that there's no dead air or fade-out at the end of each track. If you're playing the tracks sequentially, the playlist goes from one song to the next without break, making for one long song instead of 33 shorter ones.

Here's a sample, starting with The A-Team:

Share your thoughts on this album below! Or if Doc Ock missed your favorite show or decade, let me know where you think he should focus his attention next.

The pub rechristened itself Cheers in 2001, to capitalize on the success of the show. Its owner opened another location in nearby Faneuil Hall, built to closely resemble the television's set, as most Bostonians know by now that the original Bull & Finch has a dramatically different layout from its more popular fictional sibling. Fortunately, my guests for lunch were not like most Bostonians: with four Cheers fans from Melbourne, Australia, and my Missourian girlfriend who'd never seen the show, I figured the pub would be a good place for a quick bite to eat en route to the airport.

This sign, seen at the opening of every episode of Cheers, greets visitors to the former Bull & Finch.

Like the layout, the bar's atmosphere was also unique from that of the show. Our corner booth had intimate lighting, but the noisy atmosphere of other diners close enough to touch and several widescreen televisions sometimes made it difficult to be heard. The room was decorated with local mementos, referencing everything from pilgrims to Celtics but with few appearances by Sam Malone, Coach, or its other televised employees.

Serving us was Rachel, who was attentive and friendly but not gregarious — unless provoked. As I quizzed her on the bar's history as it related to Cheers, she confessed, "I don't understand why it's a big deal. It wasn't a great show." She was somewhat placated by my familiarity with the show, separating me from other tourists who think Cheers was actually filmed at the Boston bar.

We dove into the menu of standard pub fare: mozzarella sticks and buffalo wings, soups and salads, burgers and sandwiches, and a bit of pasta. Italian dishes were named for Carla, the show's stereotypical cynic, while other characters' names were slapped almost indiscriminately onto other items: Frasier's chicken panini, Sam's turkey wrap, Rebecca's fish and chips. Of course, the Cheers bar didn't have a kitchen, with the only edibles being peanuts and beer, but we passed on the drinks — Woody's Wonder, Cliff's Cranberry Crush — and went right to the entrees: three burgers, one mug of clam chowder, a bowl of macaroni and cheese, and a grilled cheese sandwich.

Crisp salads were delivered first for those dishes that came with them, followed soon after by the main course. My international guests found New England's seafood lived up to the hype, with chowder that was creamy with a good balance of potatoes and clams that weren't too chewy. My Aussie guests found the "eNormous" burgers, which varied only in portion, to be average, accompanied by warm and well-salted "chips" (what we could call french fries). The macaroni and cheese was topped with bread crumbs that added little crunch to the dish, while the grilled cheese — which consisted of three cheeses, fire-roasted red peppers, olives, and tomatoes — was the better of the two vegetarian choices.

The six of us proceeded to finish the meal with a selection of brownie sundaes and vanilla ice cream. The sundaes were buried beneath a disproportionate amount of whipped cream, obscuring the smaller and only slightly warm brownie beneath. The dish of ice cream was deliciously worth the effort of chipping away spoonfuls of the frozen stuff.

The bill for six meals, three desserts, and assorted drinks amounted to $127.28, roughly a reasonable $21 per person. We chose not to add to that amount with any purchases from the gift shop, which included t-shirts, golf balls, and other memorabilia emblazoned with the Cheers logo.

When adapted for fiction, real life can often seem a letdown by comparison, but it all depends on your expectations. I had no delusions that Cheers would be anything like Cheers, and I did not leave disappointed: a visit to the former Bull & Finch was much like a visit to any other pub. Although the food was enjoyable, the television bar did not succeed on the reputation of its menu, and neither will this one. The best part was sharing the company of friends I'd not seen in a decade, making any destination into one where everybody knows your name.

Thanks to the Internet and social media, cultural artifacts can be disseminated in a distributed fashion faster than ever before. When something attains phenomenon status via viral means, it becomes a meme. But, just like a real virus, memes can quickly die off. What's everyone talking about today that will be gone tomorrow? Ken Gagne demonstrates what a double rainbow means and who your man could smell like.

The timing was perfect, as in mid-July 2010, two different Internet phenomena were swiftly making their way into the public consciousness: Double Rainbow and Old Spice Guy. In fact, interest in the latter peaked the week of July 11–17, the week leading up to KansasFest, yet many geeks were still unfamiliar with these memes. KansasFest 2010 was a limited-time opportunity to share this hot topic before it became yesterday's news.

The first meme was "Double Rainbow", which has as its root this video of a mountain man who is overcome by the double rainbow in his backyard. The longer he records the experience, the more emotional he becomes:

The video, uploaded in January 2010, didn't achieve viral status until June, when it was tweeted by comedian and television host Jimmy Fallon. Soon, the video was everywhere, as were its spoofs — from the autotuned music video and the KFC drive-thru (both available in the above YouTube playlist) to Bill Amend's own FoxTrot strip.

I then moved on to a more voluminous meme. In February 2010, Old Spice began a creative marketing campaign that implied use of their body wash could make its customers as attractive as former NFL wide receiver Isaiah Mustafa. "We're not saying this body wash will make your man into a romantic millionaire jet fighter pilot," says the original video's description, "but we are insinuating it."

On June 29, 2010, Old Spice debuted a second video with all the discontinuity of a dream. Again, everyone was talking about it — but the real genius happened two weeks later, on July 12. Old Spice collected over a hundred blog posts, YouTube comments, and Twitter tweets talking about the commercials and uploaded individual YouTube responses to each one. From bigwig entities like Starbucks and GQ to Internet users Anonymous and Pancakehumper, Mustafa had something to say to almost everyone. The most notorious replies were those directed at former Who's the Boss? star Alyssa Milano; despite being a married woman, she was nonetheless the subject of Mustafa's outrageous flirtations. Again, these videos are available in the above playlist.

Though these videos are not strictly show business, they are remarkable examples of how videos can disseminate to an audience of millions, both with and without corporate backing — potentially providing a lucrative sum in YouTube partnership revenue and associated merchandise.

Here is a video of my presentation of these videos.

Thanks to all KFesters for their positive reception to this tangent!

Upon arriving, I made a beeline for the corner, where there was hardly no wait to meet Brent Spiner, who played Data on Star Trek: The Next Generation. Instead of a handshake, he offered a fist bump, citing a cold. Though I'm sure he was sincere, even if he wasn't, it seemed an effective tactic to avoid getting sick, given the number of fans I'm sure he was to meet at such an event. I had him sign a picture of Data as a poker dealer, though had I noticed that a shot of him as Sherlock Holmes on the holodeck was also available, I might've opted for that one. As he signed it, I told him how encouraging it was to grow up watching a show where an intelligent, socially awkward individual could be a respected and contributing member of a team. "Yeah, that's a neat thing they did there, isn't it?" he replied. While he next signed the insert from my CD of his 1991 album, Ol' Yellow Eyes Is Back, I commented that a film I rarely hear his fans mention is Out to Sea, a delightful 1997 comedy with Jack Lemmon, Walter Matthau, and Dyan Cannon in which he played a fantastic villain. "I thought that was a great film!" I told him. "So did I!" he agreed.

I next got in a rather long line for James Marsters, best known as the undead Spike on Buffy the Vampire Slayer. As with Mr. Spiner, I continued my trend of acknowledging the actors' lesser-known works, as I know from my limited experience in community theater that it's not always your best performance that's the one people remember. "I thought you were a great Lex Luthor," I told Mr. Marsters. He seemed genuinely surprised to hear that: "Oh! Thanks! It was particularly interesting to go back and do Smallville after that," he reflected, referencing his appearance on that show as Brainiac. He parodied a conversation with Michael Rosenbaum, that show's Luthor: "'So, you played my role, eh?'" Mr. Marsters told me he'll be doing more voice work on the Clone Wars animated series, though he doesn't yet know what part he'll play.

I hurried from Mr. Marster's table to the celebrity Q&A session, occurring every half-hour. I arrived a few minutes late to Mr. Spiner's session, at which point I was surprised to find fans asking not about his life on the Enterprise, but his life on the stage. Mr. Spiner is an accomplished stage actor, having appeared on Broadway before he did on Star Trek. He told us about his 1997 performance in the musical 1776: "We had the Tonies wrapped up… until Cabaret opened a week before the awards." Someone else also brought up Out to Sea, to which he said: "My life would be very different if people had seen that movie. My life would also be very different if Kevin Kline had never been born."

Mr. Spiner is a prolific Twitter user and spoke about the medium. "There is some Twitter pressure. If I don't write anything for three days, they have the cops looking for me." He asked my partner-in-crime, Gene, "Do you follow me on Twitter?" "I don't," he admitted, which prompted Mr. Spiner to ask: "What's wrong with you?"

Such acerbic commentary was surprisingly characteristic of Mr. Spiner's session. He badmouthed people he's worked for ("The Family Guy episode was awful. If I'd known I'd get three lines, I never would've done it. Couldn't Seth MacFarlane have given Patrick Stewart 43 lines instead of 47?"), expressed confusion over why people are so illogical as to wear shorts ("Because it gets so hot down there!" he sarcasticaly observed), and expressed no enthusiasm to reprise his role as Data ("I'm too old to be putting on that makeup. Do you remember what Harpo Marx looked like near the end? Maybe if they pay me $5 million.") But, like Don Rickles, he ensured "You know this was all in fun, right?" We did, and it was hilarious.

Surprisingly, the biggest laugh of the session didn't come from Mr. Spiner. Near the end of the session, I raised my hand for a question, and he called on me: "Ken, right?" I was absolutely shocked that he remembered me from an hour earlier. In that moment I was stunned, he explained, "I remember the names of everyone I've ever met. It's the strangest thing." I offered, "Wow — it's like you're a robot or something!" I thought it was a throwaway line, but the audience roared, during which Mr. Spiner stood there and silently glared at me. When he could be heard again, he turned to the back of the room, pointed at me, and called, "Security!"

But I did get to ask my question, and as I did the previous year with Jonathan Frakes, I told Mr. Spiner that I loved Gargoyles and asked what his favorite part of voice acting is. "I get to wear my own clothes, for one." But he confessed to not having seen not only JJ Abrams' Star Trek, but also most of TNG or any of Gargoyles. "The whole time I was recording that show, I had no idea what [Puck] looked like," he commented, referring to his character.

There were still several questions remaining when Mr. Spiner's time was up, so he quickly tossed out some answers: "When I was 14… It depends… and Mozart, I guess." What the corresponding questions might've been, we'll never know.

Next up was Peter Tork of The Monkees, who was in attendance at Super Megafest with fellow Monkee Micky Dolenz. Mr. Tork's session was well-attended but a bit more subdued. I couldn't tell if he actually liked the attention or not, and when he spent five minutes retelling his favorite Bugs Bunny skits, it seemed like a diversionary tactic to avoid speaking his own mind. But when asked direct questions, he didn't shy from the truth — such as regarding the prospect of a Monkees reunion. "When hell freezes over," he was quick to reply. Who's the holdout? "I will not work with Mike [Nesmith]. He renegs — he doesn't keep his word."

Another fan asked what kind of music Mr. Tork likes nowadays. "I like singer/songwriter. I'll be spinning the dial and come across a country song that's truly inspired, and the singer has something to say… Then the next song will be, 'My girlfriend left me so I'm drinking myself stupid.' I don't care for that." As a country music fan, I appreciated Mr. Tork's willingness to separate content from style.

Mr. Tork closed by inviting an audience member from the audience to do the Monkee walk, creating a wonderful memory for one lucky fan.

Also in attendance at Super Megafest 2009 was Larry Storch, whom I was fortunate enough to meet at the 2007 event; and Cindy Morgan, with whom I neglected to reminisce about a time, six years and three thousand miles ago, when I said something that prompted her to punch Bruce Boxleitner.

My expenses at this year's Super Megafest were typical for such an event. Brent Spiner cost $40 per autograph, or $70 for two, including the glossy headshot. James Marsters was $40, plus $5 for the photo. Peter Tork and Micky Dolenz were $25 each; I took advantage of the former to have signed my DVD insert from The Brady Bunch Movie. New this year was a local studio offering professional photos with your favorite celebrity. I saw a few of the pics, and they were high quality — but at $40 a pop, not including JPEGs, reprints, or autographs, it seemed an unnecessary indulgence even to someone who's willing to pay for celebrity signatures. Unfortunately, the studio's exclusivity meant no more impromptu posed pictures at the autograph table, like I got with Ray Park in 2007.

The Super Megafest is always a great opportunity to meet the stars, but this year, I feel like I also got to know them. I can't wait to see what other celebrities future Megafests will make real.

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• On Saturday, November 14th, the touring "Star Wars In Concert" comes to the TD Garden for both a 3:00 PM matinee and an 8:00 PM performance. The concert is described as "John Williams' breathtaking score from the epic Star Wars saga … performed by a live symphony orchestra and chorus, accompanied by a stunning video montage on an enormous LED screen." Anthony Daniels (C-3PO) has been narrating this concert, though it's unclear if that's only at specific venues. Us Bostonians are no stranger to hearing Mr. Williams' soundtracks performed live, as the composer is also the director emeritus of the renowned Boston Pops Orchestra and often serves as guest conductor, but a dedicated concert to this particular score is a rare treat. Tickets are $32.50, $52.50, or $72.50, plus applicable taxes and fees.

• That same weekend is the New England Fan Experience (NEFX) sci-fi convention. Star Trek headliners include Bostonian Leonard Nimoy (Spock Prime) as well as John de Lancie (Q), though the former will be available only on Saturday, competing with the aforementioned Star Wars concert. Online tickets (via a Web site that is remarkably reminiscent of a GeoCities page) are available through November 6th for $45 each, or for $50 at the door.

• NEFX 2009 is held a week earlier than in 2008, avoiding the conflict that occurred last year with the annual Super Megafest, traditionally held the weekend before Thanksgiving. That means this year, you can attend NEFX one week and Super Megafest the next! The latter is held in Framingham, less than a half-hour west of Boston. The expo — which features an unusual amalgam of sci-fi actors, comic book artists, TV show stars, and pro wrestlers — will this year present Brent Spiner (Star Trek's Data), Ray Park (Star Wars' Darth Maul and, more recently, G.I. Joe's Snake Eyes), and James Marsters (Buffy's Spike). In addition to signings, each star also has a half-hour Q&A session, though the schedule is unknowable prior to the event: an email from its coordinator informed me, "No, panels will not be posted on the site. Most celebs will do Q&A sessions both days. However sat is probably the better day to see more Q&A sessions." Last year I happened to show up just in time to see Jonathan Frakes; otherwise I would've been out of luck. The actual show floor is quite small but packs a lot into it. Tickets for the entire November 21-22 weekend are only $20.

Though the two conventions offer cheaper admittance than the orchestral concert, they also have the most potential to drain your allowance, based on how many celebrity autographs you want to go home with; typical fees range from $20 to $50 or more per signing. This will be my third Super Megafest, and I usually budget $100 for at least three autographs.

If you'll be attending either the Star Wars matinee or the Super Megafest, be sure to say hello to Showbits!