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In Season 2 of Mary Shelley's Frankenhole, we find Victor Frankenstein a lot more domesticated, a little more vulnerable, but with the exact same amount of narcissism coursing through his immortal veins. Together with his wife Elizabeth, their adopted artificial son The Creature, and a bunch of other idiots they tackle various mortal problems such as: Who are your biological parents when you're stitched together from cadavers; how can you destroy vampires when there's a group of undead rights activists protecting them; and who's better at giving birth-men or women?

Mary Shelley's Frankenhole is created by Dino Stamatopoulos (Moral Orel and Mr. Show with Bob and David) with writer/producer/director Scott Adsit (30 Rock: Dance Like Nobody's Watching), and voice talent Britta Phillips (Satisfaction), and Jeff Davis (Arli$$: The Immortal).

Here is a new photo from Mary Shelley's Frankenhole Season 2, Episode 2.01: H.G. Wells' Scary Monster Contest.

Mary Shelley's Frankenhole...

"Jo-Jo at the Gate of the Lions, '' an independent feature that played at the Sundance Film Festival in Park City, Utah, is receiving a Los Angeles playdate at UCLA tonight. Although it may appear excessively theoretical at first glance, the black-and-white film, which plots the course of a troubled young woman guided by mysterious voices, ends up being quite naturalistic in its emotional specificity. The picture's fate should be largely confined to festivals and non-theatrical venues.

Lorie Marino plays Jo-Jo, an attractive young woman who has gingerly slid into a relationship with Jon (Chris Shearer), an astronomer. However, this kind of love is not enough for Jo-Jo; she submits herself to various penitential pains that one of her mysterious voices suggest will help Jo-Jo prevent nuclear war.

Worse, finding herself out of work, she is drawn into the orbit of a sleazy phone sex operator, Luke (David Schultz), when she takes a job from him.

Some of the action suggests that both of Jo-Jo's relationships are equally damaging to her sense of self, and that the escape into putative madness -- although it's never called that -- is a logical, if dangerous, alternative. Individual scenes, built around cast improvisations, approach this idea with a frequently irresistible emotional force, never more so than in one wrenching phone encounter Jo-Jo has with a caller pursuing a rape fantasy.

Visually, the film is composed in pale gray, which suggests the evasive nature of Jo-Jo's reality and, for that matter, the feature ends with a shot in which Jo-Jo nearly dissolves into air.

JO-JO AT THE GATE OF THE LIONS

Writer-producer-director Britta Sjogren

Cinemato grapherGreg Watkins

Music Jonathan Sampson

Editor Britta Sjogren

Black and white

Cast:

Jo-Joorie Marino

Jon Chris Shearer

Luke David Schultz

Running time -- 103 minutes

No MPAA rating

No MPAA rating(140 words - Issue Date: April 1992)

JELLY'S LAST JAM

The Virginia Theatre

Direction, book George C. Wolfe

Music Jelly Roll Morton

Lyrics Susan Birkenhead

Choreography Hope Clarke

Tap Choreography Gregory Hines, Ted L. Levy

Musical adaptation, orchestrations Luther Henderson

Scenic design Robin Wagner

Costume design Toni-Leslie James

Lighting design Jules Fisher

Executive producer David Strong Warner Inc.

Producers Margo Lion, Pamela Koslow, PolyGram Diversified Entertainment, 126 Second Ave. Corp., 03

Hal Luftig, Roger Hess, Jujamcyn Theatres, TV Asahi, Herb Alpert

CAST:

Jelly Roll Morton Gregory Hines

Young Jelly Savion Glover

Chimney Man Keith David

Jack the Bear Stanley Wayne Mathis

Anita Tonya Pinkins

Miss Mamie Mary Bond Davis

The Hunnies Mamie Duncan-Gibbs

Stephanie Pope, Allison Williams

Gran Mimi.Ann Duquesnay

Buddy Bolden Ruben Santiago-Hudson

(c) The Hollywood Reporter...