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[suitelifeoftravel]

Little Fish Brewing Co., Athens, Ohio

While visiting family in Athens, one of my favorite breweries to visit is Little Fish Brewing Co.  Opening the summer of 2015, the owners Jimmy Stockwell and Sean White focused on their mission to create beers from Ohio-grown ingredients.  The following year, their  “Barrel-Aged Woodthrush” won the 2016 World Beer Cup Gold Medal in the Belgian- and French-style Ale category. In addition to their…

[vintagetvstars]

CLOSED! Preliminary Hot Vintage TV Men List

Alright folks! We have one week left on submissions for the Hot Vintage TV Men's Bracket! As promised here is a list of all the Hot Vintage TV Men who have been submitted and passed our preliminary eligibility checks. There are a handful of guys on this list and one or two not on it that we are currently still debating on so reminder that this list is not final and subject to change.

Currently we have 231 Hot Vintage TV Men!

Also in advance of the competition I'd like to remind anyone submitting propaganda for someone that starred in a show that aired only partially during our timeframe or was under 18 for a part of a shows filming, to please make sure you are only submitting propaganda that is from within our timeframe and when the actor was 18 years or older. This is also just good to keep in mind in general as several people submitted actors for shows that aren't eligible for our tournament either because it was outside our time period or in one case the actor was underaged for the entirety of the show (though many were eligible for other shows they were submitted for). We do our best to screen for these things but sometimes it's hard to tell or it’s a show we don't personally know well enough so we appreciate help from y'all letting us know if you do catch anything.

List below the cut

Preliminary Hot Vintage TV Men List

Dick Van Dyke

Alan Alda

Hugh Laurie

Peter Falk

Adam West

Donnie Wahlberg

Kevin McDonald

Scott Thompson

David Duchovny

Henry Winkler

Leonard Nimoy

Scott Bakula

James Garner

Tom Selleck

Dave Foley

John Astin

Joe Lando

Patrick Troughton

William Shatner

DeForest Kelley

Michael Ontkean

Russell Johnson

Kyle MacLachlan

Bruce McCulloch

William Hopper

George Clooney

Jeffrey Combs

Michael Horse

Mark McKinney

Jensen Ackles

Alejandro Rey

Mitch Pileggi

David Cassidy

Jeremy Brett

Anthony Head

George Takei

David Selby

Rod Serling

Paul Gross

Desi Arnaz

Tom Baker

Richard Dean Anderson

David Keith McCallum

Richard Chamberlain

Charles Shaughnessy

David James Elliot

Vincent Van Patten

Darren E. Burrows

David Hyde Pierce

Randolph Mantooth

Ricardo Montalban

Gene Anthony Ray

William Hartnell

Patrick McGoohan

René Auberjonois

Alexander Siddig

Reece Shearsmith

Michael T. Weiss

William Shockley

Spencer Rochfort

Danny John-Jules

David Hasselhoff

Conner Trinneer

Patrick Stewart

Jonathan Frakes

Paolo Montalban

Scott Patterson

Armin Shimerman

Anthony Andrews

David Schwimmer

Blair Underwood

Sylvester McCoy

Andrew Robinson

Pierce Brosnan

Thorsten Kaye

Anthony Starke

Darren McGavin

Clint Eastwood

Joseph Marcell

Michael Vartan

Richard Ayoade

George Maharis

Michael J. Fox

Dwayne Hickman

John de Lancie

Andre Braugher

Robert Carlyle

Dean Stockwell

Matthew Perry

Robert Fuller

Michael Hurst

Dana Ashbrook

Jonathan Frid

Dirk Benedict

Martin Milner

Demond Wilson

Robert Conrad

Telly Savalas

Peter Davison

Michael Praed

Jason Bateman

David Tennant

Brian Blessed

Miguel Ferrer

Micky Dolenz

Wayne Rogers

Mike Farrell

Michael Dorn

Cesar Romero

Eddie Albert

Nate Richert

Nicholas Lea

Brent Spiner

Dick Gautier

John Corbett

Jeremy Irons

David Suchet

Raymond Burr

LeVar Burton

David Wenham

Clint Walker

Larry Hagman

John Goodman

Matt LeBlanc

Tom Smothers

Erik Estrada

Jeremy Sisto

Colm Meaney

Stephen Fry

Ted Bessell

Ron Perlman

Luke Halpin

Ted Cassidy

Kevin Sorbo

John Cleese

Colin Firth

Colin Baker

Fred Rogers

Ben Browder

Keir Dullea

Randy Boone

Kent McCord

Jimmy Smits

Mark Lenard

Jon Pertwee

Fred Grandy

Mark Hamill

Ted Danson

Adam Brody

Noah Wiley

Eric Close

Lee Majors

Jamie Farr

Tony Danza

Kabir Bedi

Seth Green

Rik Mayall

Hal Linden

Diego Luna

Peter Tork

Sean Bean

Sam Neill

Eric Idle

Ted Lange

John Shea

Ron Glass

Tony Dow

Mr. T

John Hurt

Avery Brooks 

Billy Dee Williams 

James Marsters 

Robert Vaughn 

Kevin Smith 

Davy Jones 

Luke Perry 

Robert Duncan McNeill 

Simon MacCorkindale 

Keith Hamilton Cobb 

Chad Michael Murray 

James Earl Jones 

Bruce Boxleitner 

Timothy Olyphant 

Andreas Katsulas 

Valentine Pelka 

Peter Wingfield 

Sebastian Cabot 

Michael Nesmith 

Timothy Dalton 

Michael Shanks 

Joshua Jackson 

Michael O’Hare 

Robert Beltran 

Simon Williams 

Paul Johannson 

Daniel Dae Kim 

David Boreanaz 

Boris Karloff 

Robert Wagner 

Brandon Quinn  

Walter Koenig 

Richard Hatch 

Christian Kane  

Francis Capra  

Nathan Fillion 

John Forsythe 

Patrick Duffy 

Tony Shalhoub 

Ioan Gruffudd 

Garrett Wang  

Joe Flanigan  

Rider Strong  

Michael Tylo 

Bruce Willis 

Skeet Ulrich  

Jeff Conaway 

Paul McGann 

Scott Cohen 

Mario Lopez  

Martin Kove 

John Stamos 

Judd Hirsch 

Johnny Depp 

Tom Welling 

Matt Bomer 

Grant show 

David Soul  

Bob Crane  

Tim Russ 

Rob Lowe 

Neil Patrick Harris 

[ulkaralakbarova]

Ypsilanti, Michigan, 1945. Engineer Preston Tucker dreams of designing the car of future, but his innovative envision will be repeatedly sabotaged by his own unrealistic expectations and the Detroit automobile industry tycoons. Credits: TheMovieDb. Film Cast: Preston Tucker: Jeff Bridges Vera: Joan Allen Abe: Martin Landau Eddie: Frederic Forrest Jimmy: Mako Howard Hughes: Dean Stockwell Junior: Christian Slater Marilyn Lee: Nina Siemaszko Frank: Marshall Bell Kerner: Peter Donat Alex: Elias Koteas Kirby: Jay O. Sanders Noble: Corin Nemec Stan: Don Novello Johnny: Anders Johnson Bennington: Dean Goodman Ferguson’s Agent: John X. Heart Millie: Patti Austin Stan’s Assistant: Sandy Bull Judge: Joe Miksak Floyd Cerf: Scott Beach Oscar Beasley: Roland Scrivner Narrator (voice): Bob Safford Doc: Larry Menkin Fritz: Ron Close Dutch: Joe Flood Gas Station Owner: Leonard Gardner Garage Owner: Bill Bonham Ferguson’s Secretary #1: Abigail van Alyn Ferguson’s Secretary #2: Taylor Gilbert Woman on Steps: David Booth Newscaster (voice): Al Hart Security Guard: Cab Covay Man in Audience: James Cranna Board Member: Bill Reddick Mayor: Ed Loerke Head Engineer: Jay Jacobus Bennington’s Secretary: Anne Lawder Singing Girl #1: Jeanette Lana Sartain Singing Girl #2: Mary Buffett Singing Girl #3: Annie Stocking Recording Engineer: Michael McShane Tucker’s Secretary #1: Hope Alexander-Willis Tucker’s Secretary #2: Taylor Young Police Sergeant: Jim Giovanni Reporter at Trial: Joe Lerer Ingram: Morgan Upton SEC Agent: Ken Grantham Blue: Mark Anger Jury Foreman: Al Nalbandian Senator Homer Ferguson (uncredited): Lloyd Bridges Girl at Mellon Publicity Event (uncredited): Sofia Coppola Film Crew: Executive Producer: George Lucas Director: Francis Ford Coppola Producer: Fred Roos Additional Music: Carmine Coppola Director of Photography: Vittorio Storaro Production Design: Dean Tavoularis Editor: Priscilla Nedd-Friendly Casting: Janet Hirshenson Sound Re-Recording Mixer: Richard Beggs Producer: Fred Fuchs Casting: Jane Jenkins Music Editor: Mark Adler Supervising Sound Editor: Gloria S. Borders Sound Re-Recording Mixer: Tom Johnson Set Decoration: Armin Ganz Costume Designer: Milena Canonero Unit Production Manager: Ian Bryce Foley Artist: Dennie Thorpe Sound Effects Editor: Tim Holland Leadman: Doug von Koss Second Unit Director: Buddy Joe Hooker Assistant Costume Designer: Judianna Makovsky Assistant Makeup Artist: Karen Bradley Set Designer: Jim Pohl Camera Operator: Jamie Anderson Foley Editor: Sandina Bailo-Lape Stunts: Jimmy Nickerson Screenplay: Arnold Schulman Sound Re-Recording Mixer: Randy Thom ADR Editor: Louise Rubacky Original Music Composer: Joe Jackson Researcher: Anahid Nazarian Assistant Sound Designer: Mildred Iatrou Location Casting: Aleta Chappelle Stunts: Gary McLarty Screenplay: David Seidler First Assistant Director: H. Gordon Boos Stunts: Dick Ziker Makeup Artist: Richard Dean ADR Editor: Tom Bellfort Art Direction: Alex Tavoularis Assistant Hairstylist: Terry Baliel Technical Advisor: Enrico Umetelli Property Master: Douglas E. Madison Script Supervisor: Wilma Garscadden-Gahret Still Photographer: Ralph Nelson Jr. Stunts: Steve M. Davison Sound Effects Editor: Robert Shoup Stunts: Tim A. Davison Assistant Sound Editor: Martha Pike Hairstylist: Lyndell Quiyou Costume Supervisor: Winnie D. Brown Assistant Sound Editor: Michele Perrone Foley Editor: Diana Pellegrini First Assistant Camera: Billy Clevenger Assistant Property Master: Douglas T. Madison Construction Coordinator: John J. Rutchland Jr. Unit Publicist: Susan Landau Finch Second Assistant Director: L. Dean Jones Jr. Production Sound Mixer: Michael Evje Assistant Sound Editor: Clare C. Freeman Assistant Sound Editor: Paige Sartorius Location Manager: Rory Enke Second Assistant Director: Daniel R. Suhart Gaffer: Pat Fitzsimmons Dialogue Editor: Melissa Dietz Associate Producer: Teri Fettis-D’Ovidio Boom Operator: D. G. Fisher Special Effects Supervisor: David Pier Production Accountant: Joe Murphy Negative Cutter: Donah Bassett Second Assistant C...

[gsmattingly]

Review "To Live and Die In L.A."

I watched "To Live and Die In L.A." directed by William Friedkin. It stars Willem Dafoe as Eric Masters, a counterfeiter, William Petersen as Richard Chance, a secret service agent, John Pankow, as John Vukovich, also a secret service agent who becomes the second partner in the film to Richard Chance, Darlanne Fluegel, as Ruth Lanier, an informant to Chance who basically abuses his power (as wikipedia puts it, his "sexual-extortion relationship with parolee/informant ") and threatens to turn her into her parole officer in order to gain intimacy and information from her, Debra Feuer as Bianca Torres, girlfriend to Masters who also seems to aid him in his criminal endeavors, Dean Stockwell as Bob Grimes, lawyer for Eric Masters, Michael Greene as Jim Hart, Chance's first Secret Service partner, and numerous others. Debra Feuer also seems to have been one of the stunt coordinators for the film, according to wikipedia. The very brief summary from IMDb, "A fearless Secret Service agent will stop at nothing to bring down the counterfeiter who killed his partner. " Richard Chance is the agent who will stop at nothing. Jim (Jimmy) Hart is the initial partner who gets killed relatively early in the film. There is an amazing car chase on the freeways, streets and alleys of L.A. Chance turns to crime to get money for a deal to buy counterfeit money from Masters in order to arrest him, since Chance's boss won't approve the amount, $30,000. Chance verbally and mentally coerces Vukovich to aid him in the crime.. A lot of the film centers on the relationships between people and also the abuse of power. There is also a certain eroticism in the actions of the main characters, both figuratively and literally. There's quite a bit of action, violence with fists and guns, and a fairly entertainng soundtrack to go along with it all. The music for the film is by Wang Chung.

I thought this film was good but I didn't really enjoy it that much. It seemed that there was a lot of surface action but that it wasn't a particularly deep movie. It was a grimy neo-noir that didn't really involve a lot of character development. Oh, there was some but not enough to be particularly interesting to me. I suppose I was also put off by the up front sexuality and abuse of sex or use of it as power. Willem Dafoe was certainly good at getting me to not like his character.

I thought the cinematography was good and well thought out but I thought the lighting, overall, was a bit bright for its attempts at being noir. Maybe that is just because the setting was LA and, well, L.A. is known for being quite sunny and bright. There were dark scenes in bars and such but I thought at least some of the office and room scenes were a bit bright and didn't really use light and dark, brightness and shadows, to the extent it could have, and, which I think, would have made it better.

Member supporters of the Roxie get to choose a film to be shown at the Roxie once a year and this was the one chosen for this year. I did not immediately RSVP that I was going to get my ticket. My first reason was that it was to be shown on a Saturday night and I didn't really want to go into San Francisco and a theater on Saturday night, due to crowds and normal Saturday night activities in the city. However after watching the film here at home, it did not enamor me to an extent that I would want to go to the theater to see it at any time. As the Roxie release email puts it, "To Live and Die in L.A. is William Friedkin at his pedal-to-the-metal best, from its pumped-up overture opening which depicts the counterfeiter’s art over Wang Chung’s slammin’ synth soundtrack to its still-shocking last act shift of narrative focus." The film's ending certainly had a number of mind-wrenching twists and shifts, and not everything was that predictable in that ending. It just is not my favorite film and it certainly wasn't my choice on voting on a film to be shown. My first choice for the film to be shown was "Stalker"

I think my opinion of the film is far closer to that of Paul Attanasio who reviewed it for the Washington Post in 1985, ""To Live and Die in L.A." will live briefly and die quickly in L.A., where God hath no wrath like a studio executive with bad grosses. Then again, perhaps it's unfair to hold this overheated and recklessly violent movie to the high standard established by "Starsky and Hutch.""

In the classic films list, They Shoot Pictures Don't They, this is number 1360.

[stockwellarchives]

[kwebtv]

Robert Dean Stockwell (March 5, 1936 – November 7, 2021)  Film, television, and stage actor with a career spanning over 70 years.As a child actor under contract to Metro-Goldwyn-Mayer, he first came to the public's attention in films such as Anchors Aweigh (1945), The Green Years (1946), Gentleman's Agreement (1947), The Boy With Green Hair (1948), and Kim (1950).

His television roles include playing Rear Admiral Albert "Al" Calavicci in Quantum Leap (1989–1993), Navy Secretary Edward Sheffield on JAG (2002–2004) and Brother Cavil on Battlestar Galactica (2004���2009).

 in 1956. He guest-starred on shows such as Front Row Center, Matinee Theatre, Schlitz Playhouse, The United States Steel Hour, Climax!, Men of Annapolis, Cimarron City, General Electric Theater, and Wagon Train (in 1957 as "Jimmy Drew", brother to Shelley Winters in "The Ruth Owens Story" (S1E3).

As well as working on Broadway and in film Stockwell continued to work heavily in TV on such shows as Playhouse 90, Johnny Staccato, and Buick-Electra Playhouse.  He continued to work mostly on television including in episodes of Checkmate, The DuPont Show with June Allyson, Outlaws, Alfred Hitchcock Presents, Hallmark Hall of Fame (The Joke and the Valley), Bus Stop, The Twilight Zone ("A Quality of Mercy"), Alcoa Premiere, The Alfred Hitchcock Hour, and The Dick Powell Theatre. He appeared with Millie Perkins on Wagon Train playing the lead character in the episode "The Will Santee Story".

He subsequently guest starred on Combat!, The Greatest Show on Earth, The Defenders, The Eleventh Hour, Kraft Suspense Theatre, Burke's Law, and had a six-episode arc on Dr. Kildare.   Stockwell guest starred on Mannix, The FBI (again), Night Gallery, Orson Welles' Great Mysteries, and Mission: Impossible and had the lead in some TV movies, Paper Man (1971) and The Failing of Raymond (1971) as well as a support part in Adventures of Nick Carter (1972).

He continued to guest for TV shows such as Police Surgeon, The Streets of San Francisco, Columbo, Joe Forrester, Three for the Road, Cannon, Ellery Queen, Police Story, McCloud, Tales of the Unexpected, Greatest Heroes of the Bible, Hart to Hart, The A Team, and Simon & Simon.   Following the end of Quantum Leap, Stockwell appeared in Bonanza: The Return (1993),

He tried another regular series, Street Gear (1995) but it only lasted 13 episodes. Stockwell was in episodes of Snowy River: The McGregor Saga, Nowhere Man, The Commish, Can't Hurry Love, and Ink.  He later had a regular role on The Tony Danza Show (1998) which only ran 14 episodes.

He guest starred on First Monday, Star Trek: Enterprise (reunited with Scott Bakula from Quantum Leap), Stargate SG-1, JAG, and Crash with Hopper. He had a semi-regular part on Battlestar Galactica from 2008 as John Cavil.  (Wikipedia)

[scotianostra]

Remembering the entertainer and actor Jimmy Logan born James Short who passed away on April 13th 2001

Logan received his first round of applause when he was carried on stage as a baby, his parents were the music hall act Short and Dalziel, his aunt (from whom he took his surname) was Ella Logan, star of Broadway musicals and his sister jazz singer Annie Ross.

Jimmy was educated at Gourock High School, in his teens he had left school and was performing in pantomimes and summer variety shows and became the comedy lead in his parents’ show ‘The Logan Family’.  The Logan Family first played as an ensemble in the Summer Show of 1947 at the Metropole in Stockwell Street. Their act was well-received and they returned to perform in Summer Shows at the Metropole for the following six years.

He was soon known for the catchphrases: “Sausages is the boys” (derived from Tommy Lorne) and “Smashin’, isn’t it?”

  Logan was a versatile performer, equally at home as a comedian, cabaret artist and straight actor. In 1964, just as television was becoming a powerful medium, he bought the Metropole Theatre in Glasgow where for almost ten years he staged variety, farce and revue shows. Logan was most proud of his tribute show to Sir Harry Lauder, which he toured internationally.

Logan was awarded an honorary doctorate by Glasgow Caledonian University, an OBE for his charitable works and was elected a Fellow of the Royal Scottish Academy of Music and Drama.

  His personal life was traumatic; three of his four marriages ended in bitter divorce and he faced humiliation when it was revealed that twins by his third wife were not actually his.

  Logan died of cancer of the oesophagus  in Clydebank nine days after his 73rd birthday. Jimmy had earlier said that he  wanted his funeral to be in Glasgow Cathedral and his coffin draped with the flag of Scotland.

The black and white pics is of The Logan Family, Jimmy seated on the piano.

[milliondollarbaby87]

MOTION PICTURES

Outstanding Performance by a Cast in a Motion Picture Parasite

HYAE JIN CHANG / Chung Sook YEO JEONG CHO / Yeon Kyo WOO SHIK CHOI / Ki Woo HYEON JUN JUNG / Da Song ZISO JUNG / Da Hye JUNG EUN LEE / Moon Gwang SUN KYUN LEE / Dong Ik MYUNG HOON PARK / Geun Se SO DAM PARK / Ki Jung KANG HO SONG / Ki Taek

Outstanding Performance by a Male Actor in a Leading Role Joaquin Phoenix, Joker

Outstanding Performance by a Female Actor in a Leading Role Renee Zellweger, Judy

Outstanding Performance by a Male Actor in a Supporting Role Brad Pitt, Once Upon a Time in Hollywood

Outstanding Performance by a Female Actor in a Supporting Role Laura Dern, Marriage Story

TELEVISION Outstanding Performance by an Ensemble in a Drama Series The Crown

MARION BAILEY / Queen Elizabeth the Queen Mother HELENA BONHAM CARTER / Princess Margaret OLIVIA COLMAN / Queen Elizabeth II CHARLES DANCE / Lord Mountbatten BEN DANIELS / Lord Snowdon ERIN DOHERTY / Princess Anne CHARLES EDWARDS / Martin Charteris TOBIAS MENZIES / Prince Philip, Duke of Edinburgh JOSH O’CONNOR / Prince Charles SAM PHILLIPS / Equerry DAVID RINTOUL / Michael Adeane JASON WATKINS / Harold Wilson

Outstanding Performance by an Ensemble in a Comedy Series The Marvelous Mrs. Maisel

CAROLINE AARON / Shirley Maisel ALEX BORSTEIN / Susie Myerson RACHEL BROSNAHAN / Midge Maisel MARIN HINKLE / Rose Weissman STEPHANIE HSU / Mei JOEL JOHNSTONE / Archie Cleary JANE LYNCH / Sophie Lennon LEROY McCLAIN / Shy Baldwin KEVIN POLLAK / Moishe Maisel TONY SHALHOUB / Abe Weissman MATILDA SZYDAGIS / Zelda BRIAN TARANTINA / Jackie MICHAEL ZEGEN / Joel Maisel

Outstanding Performance by a Male Actor in a Drama Series Peter Dinklage, Game of Thrones

Outstanding Performance by a Female Actor in a Drama Series Jennifer Aniston, The Morning Show

Outstanding Performance by a Male Actor in a Comedy Series Tony Shalhoub, The Marvelous Mrs. Maisel

Outstanding Performance by a Female Actor in a Comedy Series Phoebe Waller-Bridge, Fleabag

Outstanding Performance by a Male Actor in a Television Movie or Limited Series Sam Rockwell, Fosse/Verdon

Outstanding Performance by a Female Actor in a Television Movie or Limited Series Michelle Williams, Fosse/Verdon

STUNT ENSEMBLES Outstanding Action Performance by a Stunt Ensemble in a Motion Picture

AVENGERS: ENDGAME Marija Juliette Abney Janeshia Adams-Ginyard George “Gee” Alexander Derek Alfonso Nate Andrade Christopher Antonucci Randy Archer Brandon Arnold Steven S. Atkinson Ben Aycrigg Jennifer Badger Christopher Balualua Danya Bateman Loyd Bateman Kelly Bellini Joanna Bennett Carrie Bernans Felix Betancourt Gianni Biasetti, Jr. Mike Bishop Tamiko Brownlee Troy Butler Jwaundace Candece Marc Canonizado Janene Carleton Elisabeth Carpenter Sean Christopher Carter Kevin Cassidy Hymnson Chan Courtney Chen Anis Cheurfa Fernando Chien Alvin Chon Tye Claybrook, Jr. Marcelle Coletti David Conk John A. Cooper Brandon Cornell Thomas Joseph Culler Jahnel Curfman Gui Da Silva-Greene Chris Daniels Keith Davis Martin De Boer Robbert de Groot Isabella Shai DeBroux Holland Diaz Josh Diogo Jackson Dobies Justin Dobies Cory Dunson Jessica Durham Justin Eaton Jared Eddo Katie Eischen Kiante Elam Jazzy Ellis David Elson Jason Elwood Hanna Tony Falcon Guy Fernandez Mark Fisher Alessandro Folchitto Colin Follenweider Glenn Foster Simeon Freeman Shauna Galligan Monique Ganderton Johnny Gao Jomahl Gildersleve Denisha Gillespie Daniel Graham Ryan Green Carlos Guity Califf Guzman Dante Ha Akihiro Haga Garrett Hammond Lydia Hand Daniel Hargrave Kandis Hargrave Sam Hargrave Regis Andrew Harrington III Thayr Harris Zedric Harris Jimmy Hart Alex Hashioka Zachary Henry Danny Hernandez Mark Hicks Maria Hippolyte Bobby Holland Hanton JT Holt Crystal Hooks Niahlah Hope Damita Howard Justin Howell Jacob Hugghins Lindsay Anne Hugghins Michael Hugghins Tony Hugghins Scott Hunter James Hutchison III Pan Iam CC Ice Sarah Irwin Mami Ito Duke Jackson Michael Jamorski Kirk Jenkins Preshas Jenkins Floyd Anthony Johns Jr. Richard M. King Ralf Koch Khalil La’Marr Matt LaBorde Danny Le Boyer Matt Leonard William Leong Bethany Levy James Lew Marcus Lewis Jefferson Lewis III Eric Linden Scott Loeser Rachel Luttrell-Bateman Adam Lytle Tara Macken Dave Macomber Julia Maggio Ruben Maldonado Richard Marrero Rob Mars Andy Martin Aaron Matthews Tim R. McAdams Taylor McDonald Kyle McLean Crystal Michelle Mark Miscione Heidi Moneymaker Renae Moneymaker Chris Moore Tristen Tyler Morts William Billy Morts Marie Mouroum Spencer Mulligan Travor Murray Jachin JJ Myers Anthony Nanakornpanom John Nania Nikolay Nedyalkov Carl Nespoli Paul O’Connor Marque Ohmes Olufemi Olagoke Noon Orsatti Rowbie Orsatti Jane Oshita Leesa Pate Natasha Paul Gary Peebles Nathaniel Perry Josh Petro Lloyd Pitts George Quinones Taraja Ramsess Greg Rementer Antjuan Rhames Meredith Richardson Bayland Rippenkroeger Ryan Robertson Christopher Cody Robinson Donny Rogers Carrington Christopher Eric Romrell Michelle Rose Corrina Roshea Marvin Ross Elena Sanchez Maya Santandrea Matthew Scheib Erik Schultz Jordan Scott Joshua Russel Seifert Brandon Shaw Bruce Shepperson Joseph Singletary III Tim Sitarz Dominique Smith Dena Sodano Robert D. Souris Jackson Spidell Daniel Stevens Jenel Stevens Diandra Stoddard Milliner Granger Summerset Phedra Syndelle Mark Tearle Hamid-Reza Thompson Tyler J. Tiffany Aaron Toney Amy Lynn Tuttle Tony Vo Todd Warren Kevin Waterman Amber Whelan Aaron Wiggins Joseph Williams Matthew M. Williams Thom Williams Zola Williams Mike Wilson Tyler Witte Michael Yahn James Young Marcus Gene Young Woon Young Park Casey Zeller Keil Zeperni

Outstanding Action Performance by a Stunt Ensemble in a Comedy or Drama Series GAME OF THRONES Boian Anev Mark Archer Kristina Baskett Ferenc Berecz Richard Bradshaw Michael Byrch Andrew Burford Yusuf Chaudhri Nick Chooping Jonathan Cohen David Collom Christopher Cox Jacob Cox Matt Crook Matt Da Silva Levan Doran Dom Dumaresq Daniel Euston Bradley Farmer Pete Ford Vladimir Furdik David Grant Lawrence Hansen Richard Hansen Nicklas Hansson Rob Hayns Lyndon Hellewell Jessica Hooker Gergely Horpacsi Paul Howell Rowley Irlam Erol Ismail Troy Kechington Paul Lowe John Macdonald Leigh Maddern Kai Martin Kim Mcgarrity Carly Michaels Nikita Mitchell Chris Newton David Newton Jason Oettle Bela Orsanyi Ivan Orsanyi Radoslav Parvanov Oleg Podobin Josh Ravenscroft Andrej Riabokon Zach Roberts Doug Robson Stanislav Satko Paul Shapcott Mark Slaughter Sam Stefan Jonny Stockwell Ryan Stuart Gyula Toth Marek Toth Andy Wareham Calvin Warrington Heasman Richard Wheeldon Belle Williams Will Willoughby Leo Woodruff Ben Wright Lewis Young

WINS BY STUDIO Disney – 1 Neon – 1 Netflix – 1 Roadside Attractions/LD Entertainment – 1 Sony Pictures – 1 Warner Bros – 1

WINS BY NETWORK Amazon – 3 FX – 2 HBO – 2 Netflix – 1 Apple – 1

SAG Awards 2020 – Winners MOTION PICTURES Outstanding Performance by a Cast in a Motion Picture Parasite HYAE JIN CHANG / Chung Sook…

[alcalavicci]

[Jill: I looked at a lot of David Bowie stuff at the library, but couldn't find any reference to Dean Stockwell being with Bowie during the summer of 1975, when Iggy Pop was in the mental hospital (nor could I find Iggy Pop's biography). For that, I will have to wait until I can get a copy of that 'Q' magazine with the David Bowie interview. However, I did find quite a bit printed about Bowie during that time. Apparently he was living in Hollywood, hooked on cocaine, and pretty much going insane himself. A lot of the stories to come out of those days came from just one interviewer: 17 yr. old Cameron Crowe. One author has a theory that Bowie may have been putting on an act for Crowe's benefit. I'll type up the stuff I found. Basically, Bowie sounds paranoid delusional. Like Dennis Hopper. Just what DO Dean and his friends sit around and talk about?? :-)]

[From BOWIE: LOVING THE ALIEN by Christopher Sandford, 1996]

In Spring of 1975 Bowie moved from New York to Los Angeles. Bowie now drifted off into a binge of addiction, diabolism and madness. Bowie himself later admitted that the whole year was a blank, bulk-erased through substance abuse.

[From DAVID BOWIE: LIVING ON THE BRINK, by George Tremlett, 1996]

Readers familiar with other Bowie biographies will know that this period in his life - January 1974 to September 1975 - is treated oddly. There are stories that Bowie drew Black Magic symbols, saw disembodied beings, thought he was the new Messiah, kept bottles of his own urine in a fridge to use in occult rituals, thought a scriptwriter was a CIA agent, suspected The Rolling Stones of talking to him through their record sleeves, saw UFOs coming over every night at 6:15 pm.......and many, many more stories in similar vein.

The trouble with all these stories is that they are written second-hand, based on the writings of 17-year-old Cameron Crowe who managed to break through the Bowie security cordon with a tape recorder and followed him around for several days. Crowe then sold separate narratives to Rolling Stone and Playboy. Other writers have lifted this material without knowing what was true and what was not. Bowie frequently played with interviewers, and I suspect something like that happened to Crowe.

.........[However] Cocaine kept Bowie supercharged, pulling something extra from within, able to keep on working when others flagged. Bowie would veer emotionally, from tears to screams and howls of rage if he thought anyone might have let him down or taken him less seriously than he sometimes takes himself.

........Years later, he said "By the end of the week my whole life would be transferred into this bizarre, nihilistic, fantasy world." Crowe caught him like this, without realizing Bowie was still in control, not necessarily of every faculty, but still watching himself carefully.

.......When the filming schedule [for THE MAN WHO FELL TO EARTH] had to be delayed three months, Bowie accepted that and spent that time fooling around in Hollywood, staying with different friends, while the finances and production details were sorted out. This was the period when Bowie took more cocaine than any other, between late March 1975 when he left for Hollywood and his late June departure for New Mexico to begin work on the film.

......He committed himself totally to the film, with his free days spent visiting Taos, where D. H. Lawrence painted and wrote short stories.

.......A few days before his departure for New Mexico, Bowie found Iggy [Pop], abandoned and destitute, in the Neuropsychiatric Institute at the University of California, Los Angeles. Iggy, a voluntary patient, was being treated for heroin addiction. Bowie visited him every day, forging the closest of all intangible bonds, for Iggy has that same high-tensile manic quality that sometimes comes with extreme intelligence.

[From BOWIE, by Jerry Hopkins, 1985]

Nic Roeg's film, THE MAN WHO FELL TO EARTH, had been delayed until June, giving David three months in which to drift.

.........David recalled some years later that "I was one of those people you see on the streets who suddenly stops and says, 'They're coming! They're coming!' Every day of my life back then I was capable of staying up indefinitely. My chemistry must have been superhuman. I'd stay up for seven or eight days on the trot! The Stones would be absolutely floored by me. They'd see me days later and find out that I hadn't been to bed! It was unreal, absolutely unreal.

"Of course, every day that you stayed up longer - and there's things that you have to do to stay up that long - the impending tiredness and fatigue produces that hallucinogenic state naturally. Well, HALF-naturally. By the end of the week my whole life would be transformed into this bizarre, nihilistic fantasy world of oncoming doom, mythological characters, and imminent totalitarianism.

"I was living in a house with Egyptian decor. It was one of those rent-a-house places, but it appealed to me because I had this more-than-passing interest in Egyptology, mysticism, the Cabala, all this stuff that is inherently misleading in life, a hodge-podge whose crux I've forgotten. But at the time it seemed transparently obvious what the answer to life was. So the house occupied a ritualistic position in my life."

It was during this frenetc period that David let Rolling Stone magazine's seventeen-year-old boy-genius Cameron Crowe follow him around with a tape recorder. The interview he got was staggering in its scope, and during the week or so he followed David he was never bored.

...........Right in the middle of a speech, David would suddenly leap to his feet and rush to a nearby picture window, where he quickly drew the shade. The Rolling Stone interviewer noticed a large Star of David had been inked on the shade, then circled. Underneath was the word AUM.

"I've got to do this," David explained. "I just saw a body fall."

He then rushed to the dresser and lit a black candle, and immediately blew it out to leave a thin trail of smoke floating upward.

"Don't let me scare the pants off you," David said. "It's only protection. I've been getting a little trouble from the neighbors."

..........By then David moved in with Michael Lippman, and for two months practiced occult rituals that made Lippman's hair stand on end.

He created huge, symbolic sculptures in his bedroom and painted all night in sprints of chemical energy. One sculpture had its vaguely human foot shoved through a world globe, a baby in its misshapen arms, a penis shaped from 3-D Hollywood postcards (a Mickey Mouse pencil sharpener on the end). Others were inflated with a bicycle pump.

Sometimes David disappeared for days. .....................Then in June Jimmy Osterberg [Iggy Pop] failed to show up at the recording studio. David called everywhere without success. Jimmy was his closest friend and David grew even more concerned. Finally he found his friend at the UCLA Neuropsychiatric Institute, a voluntary patient. Over the next several days David visited him.

It was with this warning experience fresh in his mind that David left Los Angeles in June to travel by train to New Mexico for the filming of THE MAN WHO FELL TO EARTH.

..................During the eleven-week shoot David visited some of the local sights, including the Carlsbad Caverns, the opera house in Santa Fe, and a Tibetan monastery near Taos.

[douxreviews]

Quantum Leap - Season Three Review

"I always do the right thing, Al. And where does it get me?"

Season three is when the formula started to wear thin a bit... and I got a little tired of "Oh, boy," even though Scott Bakula valiantly did his level best to make it sound different every single time. Al hitting his hand link also got a little old. It was also pretty obvious by this point that God has a sick sense of humor. The way Sam is dumped into ridiculous and/or dangerous situations with no knowledge of what is going on is like an ongoing practical joke. Why would God leap Sam into a magic box being pierced by swords, or just in time to sprinkle talc on a naked guy's underwear?

What works

Just like season two, the best episodes of season three are the premiere and the finale. In fact, the premiere is considered to be the best episode of the series, because Sam finally got to leap home. Sort of.

3.1 "The Leap Home, Part 1 (November 25, 1969)": How many of us would give nearly everything for a chance to go back in time and fix what went wrong in our own lives? It's tragic that when Sam leaped into himself at sixteen, he longed to save everyone in his family, but had to face the fact that it was not what God sent him there to do.

In a way, "The Leap Home" paralleled "M.I.A.", where Al refused to believe Ziggy's projections because he wanted the leap to be about saving his marriage to Beth. Here, Sam also refused to believe what Al was telling him because he was certain he was there to save his brother from dying in Vietnam, his father from dying of lung cancer, and even that he could keep his little sister Katie from ruining her life by marrying an abusive man. It's so easy for the audience to put themselves in Sam's shoes. I confess that I've often fantasized about going back in time somehow so that I could find a way to save my sister's life.

But no, you really can't go home again. With the possible exception of Al dancing with Beth in "M.I.A.," "The Leap Home" gave us the strongest scene in the series as Sam told his little sister Katie the truth about time travel and the bad stuff that was coming, and tried to prove it by singing his favorite song that hadn't been written yet. (A beautiful vocal by Scott Bakula, and by the way, "Imagine" is, coincidentally, my favorite song of all time, too.) Katie's face as she slowly realized that she'd never heard the song before and that it meant their brother Tom would die was genuinely heartbreaking, and Sam was forced to say that he was making it all up. This scene was made even more poignant, if that's possible, by Al almost wordlessly telling Sam not to share with Katie what happened to John Lennon. Honestly, I'm dripping tears just writing about it.

In the scenes that followed, Sam for the first time expressed his anger at what God was forcing him to do, to save other people but not the people that Sam himself loved. Al, who had also lost his chance to fix his life with time travel, was the one to remind Sam that God also gave him an amazing gift: the chance to spend Thanksgiving with his family one more time.

Scott Bakula played both Sam and Sam's father. That was okay, but it felt too much like a gimmick. I wonder if maybe some of the scenes might have worked better if I hadn't been distracted by Bakula playing two roles?

That's a nitpick, though. This is an excellent, emotionally resonant episode.

3.2 "The Leap Home, Part 2 (April 7, 1970)": Part two was also terrific. It felt like God was rewarding Sam for his sacrifice in part one by allowing him to save Tom's life. Andrea Thompson (Babylon 5) gave a good performance as dynamic reporter Maggie Dawson, who died for her Pulitzer. It made me think about whether or not it would be worth dying to create something that would live forever.

But I was unhappy that the unsuccessful mission was all about rescuing Al from his POW prison back in 1970. It felt like the writers were rubbing in the fact that Sam and Al couldn't use time travel to change their own lives... except that Sam actually could, this time. Why was Sam rewarded but Al punished? (Maybe I'm taking this too personally.)

3.6 "Miss Deep South (June 7, 1958)": I dislike pretty much everything about beauty pageants, but couldn't help loving this episode. Maybe I really liked the feminist slant, that Sam had to perform well in the pageant so that the young woman he'd leaped into could become a doctor and save a whole lot of lives — or maybe it was that he was also there to save another young woman from making an epically bad choice in life, like his sister Katie.

Okay, okay, it was probably Scott Bakula singing "Great Balls of Fire" while dressed like Carmen Miranda.

3.12 "8 1/2 Months (November 15, 1955)": Another excellent episode where Scott Bakula played a woman, this time an unmarried, pregnant sixteen-year-old girl. I particularly liked the emphasis on how helpless an underage pregnant girl was and how few choices she had back in the fifties. I also want to mention again what a strong actor Scott Bakula is. He's a masculine-looking guy, but he can wear women's clothing, even flowery maternity clothes, and I'm still focused on his performance instead of what he's wearing.

3.13 "Future Boy (October 6, 1957)": Sam leaped in to help Moe, the star of a children's TV show about time travel. Moe constructed a faux time machine in his own basement, and his adult daughter Irene believed that Moe was losing his marbles and wanted to have him committed. Touchingly, Moe built the machine because what he wanted more than anything was to go back in time and be a better husband and father. I don't know whether or not it was intentional, but there was some ambiguity in this Moe situation, since it was pretty clear to me that Moe really had lost touch with reality and should have been hospitalized. But it was still touching that Sam was able to bring Moe and Irene back together as family.

3.22 "Shock Theater (October 3, 1954)": As I've mentioned before, many Quantum Leap episodes feel like homages to specific movies. Here, it was One Flew Over the Cuckoo's Nest, as Sam was subjected to shock treatment against his will, which made him dissociate into various personalities. The best part was that all of those personalities were the real people that Sam leaped into, and that this time, Sam wasn't faking it -- he actually was his leapees: Tom Stratton, Jesse Tyler, Samantha Stormer, Jimmy, Kid Cody.

Nearly every episode of Quantum Leap puts Sam in some sort of danger, but we usually feel that he'll be okay in the end. In this one, it felt like things were spiraling out of control as Sam suffered abuse and was in genuine peril. In the end, Sam was forced to ask for the shock treatment that he dreaded, and he and Al somehow wound up leaping together, leaving us with a pretty serious and unusual cliffhanger.

Okay, there were a couple of problems with this one. Al rapping to teach Scott Lawrence's character to read made me uncomfortable. It was also hard not to wonder what happened to Sam's unfortunate leapee after the treatment, and how unfair that whole thing was to him.

Honorable mention

3.17 "Glitter Rock (April 12, 1974)": It's always fun when an episode features Scott Bakula singing, and for some reason, I absolutely loved the technicolor pseudo-Kiss makeup. But what the hell was Al wearing? A decorative stop sign? Wouldn't that be dangerous if he were walking down a road somewhere?

3.18 "A Hunting Will We Go (June 18, 1976)": It's hard to pull off this much slapstick in a single episode and do it well, but I thought they did: this episode was pretty darned funny. Good job by Scott Bakula as well as Jane Sibbett, who gave a vibrant performance; I always saw her as David Schwimmer's bland ex-wife on Friends, and didn't realize she was capable of stuff like this. I also appreciated the homage to the famous Clark Gable/Claudette Colbert hitchhiking scene from It Happened One Night.

What doesn't work

There are a few weak episodes, but this one's awfulness stood out from the crowd:

3.5 "The Boogieman (October 31, 1964)": This truly idiotic and poorly written episode is about a dream Sam had, while unconscious, of mysterious murders at a Halloween spook house. It included a replica of Al as the devil trying to stop Sam from fixing things while leaping — possibly Dean Stockwell's poorest performance of the series — and a teenage Stephen King with his dog Cujo.

Bits and pieces:

-- Famous people: Jack Kerouac, and as mentioned above, Stephen King.

-- Notable actors: C.C.H. Pounder, Kurt Fuller, and Peter Noone from Herman's Hermits. And Olivia Burnett, who did such a terrific job playing Sam's little sister Katie, also played another little girl named Susan in season two's "Another Mother."

-- Here's a question for those of you better at this online app stuff. Is Quantum Leap available for free at nbc.com (with commercials)? If it is, what did they do about the music replacement issue?

To conclude

I thought season three was good, but not quite as good as season two. And in fact, rewatching season three drove home for me that as a series, Quantum Leap was episodic, not serial. Honestly, I'd forgotten. But as my mother used to say, it is what it is.

On to season four.

Billie Doux loves good television and spends way too much time writing about it.

[mirrorcollecter-blog]

Division and Outrage

Many would agree that the American chain of political discourse has gotten considerably more hostile and less open to discussion over the years, alongside the rise of increasingly radical politics and spread of ideas through the internet. Statistics also seem to support this theory, with pew research citing that 92% of republicans are more conservative than the median democrat and the average democrat 94% more liberal than the moderate conservative. Even through simply interacting online through social media, people in general seem to have become exceptionally angrier over the last few years. So, in the spirit of identifying the causes behind the United State’s newfound division, let us discuss the reasons we seem to be at each other's throats.

As mentioned earlier, the U.S. was not always so polarized. Ronald Reagan’s first election in 1980 illustrates this quite well, with the former actor swamping the electoral college with 489 votes and winning the popular vote by almost 8.5 million votes over Jimmy Carter.

Since then, electoral maps have become substantially more split, especially when compared to the infamous 2016 election. To quickly recap, Donald Trump actually managed to lose the popular vote to Hillary Clinton by about 3 million votes despite gaining well over the 270 electoral votes needed to win the election.

But what has caused such a divide since the good old days of unity pre -1994?

Journalism has always had a large impact on public opinion as a whole, most notably in instances of extreme emotional disarray. The story of the USS Maine typically springs to mind when thinking of journalism’s role in public outrage. To briefly explain, the USS Maine was a United States battleship stationed in Cuba in 1898 that exploded for unknown reasons, but was played off as an attack by the spanish by news outlets. Despite the mistakes of the past, in today’s world it would seem that outrage journalism has only become more frequent.

Just a few days ago the left-leaning New York Times published an exceptionally anti semitic cartoon depicting the sitting president as a blind Jew being led by a dog depicted as the israeli prime minister in its editorial section. Likewise, the fringe right wing website Breitbart managed to play dirty throughout Alabama’s last election cycle, where they routinely elected to downplay and discredit the substantial sexual assault allegations against Roy Moore. Reactionary and outrage pieces like these are certainly good for business, as advertisers use instances of online engagement to determine how much they pay these news sites for ads. In a fantastic piece by Tobias Rose-Stockwell at Medium.com, it is discussed that the more outrageous and “clickable” an article is, the more money it makes.

What's even more brutal is that people in general don’t seem to care all that much. Another piece of the vast puzzle that is political outrage comes from the concept of internet “echo chambers,” where people are entretching themselves in an ever deepening sea of identical “news” sources. According to The Guardian, an estimated 61% of millennials use social media as their primary source of news, a statistic that certainly helps promulgate echo chambers. Tech companies, namely Facebook and Twitter just so happen to show their users content that is closely related to what they may be currently following, which in turn boosts their own profits.

Thanks to algorithms like the aforementioned, “alternative” news organizations are able to function quite well by capturing new members of angry and outraged viewers. Despite what I have mentioned thus far however, reactionary outlets like the previously mentioned Breitbart are not the only ones able to survive in this new climate. More trustworthy organizations like Zero Hedge and Signs of the Times have also managed to materialize thanks to readers who have a vested interest in the truth, the whole truth, and nothing but the truth to its best possible extent.

The rise of more unbiased and publicly funded journalism does signal that there are more influencing factors at work than just a monetary incentive for our newfound charged political atmosphere. For these reactionary groups to continue maintaining a viable business, there still has to be a social cause for why people choose to ignore less biased media in favor of their prefered outrage, which leads me to an interesting look at the culture of politics in the U.S.

It would seem that the only way that media pushing outrage can stay in business is if people continue to want something to be outraged at. An article published in the Chicago Tribune puts it quite well:

“This is the current pitch of outrage culture, where voicing an opinion someone says she sees as a threat qualifies you for instant annihilation, no questions asked. Why ask questions when it's more expedient, maybe more kick-ass, to turn anything you might disagree with into an emergency?

A sense of emergency is what people on all sides have developed an addiction to. Show us the next person to hate and we are so there; we take an animalistic pleasure in destroying the kid in the MAGA hat, in fashioning a decades-old interview with John Wayne into a knife with which to posthumously eviscerate the actor. And then we look for the next target.

Because we need that next hit, we need it right now. Being in a constant state of emergency — a condition in which people notoriously make terrible decisions — is like having a fire raging inside the body, one that needs to be fed. It needs new fuel, and so we seek new enemies.

Meanwhile, some of us are watching from the sidelines, trying to stay out of the way, hoping not to be next. (Good luck with that.)” - Nancy Rommelmann

This passage illustrates a very good picture of why people seem to gut each other at the first possible opportunity. Maybe we truly enjoy the process of getting angry and delving into our own personal circles where we feel right at home. At a minimum, the process feels a bit cathartic to say the least.

Assuming this is true, and that people have a fondness towards conflict and will neglect to take a rational approach to political discourse, how are we supposed to tame our tendencies and return to a less confrontational state? Unsurprisingly, some of the solution requires a healthy dose of personal responsibility and motivation. Readers should at least attempt to open their echo chamber to more centered outlets, such as the publicly funded ones mentioned earlier. As sociologists, we may also be able to help “lead the way,” so to speak. As we study people and populations, we are somewhat responsible for telling people that they are allowing themselves to buy in to stigmas and assumptions fed to them by their own outlets. As a citizen of a country with such a free and open platform for discussion, I truly hope we can work past our tendencies to discredit and damage before civil debate.

Links and resources:

https://www.people-press.org/2014/06/12/political-polarization-in-the-american-public/

https://www.270towin.com/1980_Election/index.html

https://www.pbs.org/crucible/tl10.html

https://www.cnn.com/2019/04/28/media/ny-times-anti-semitic-cartoon/index.html

https://www.theamericanconservative.com/dreher/breitbart-fake-news-alex-marlow/comment-page-2/

https://medium.com/@tobiasrose/the-enemy-in-our-feeds-e86511488de

https://www.theguardian.com/science/blog/2017/dec/04/echo-chambers-are-dangerous-we-must-try-to-break-free-of-our-online-bubbles

https://medium.com/real-social-post/top-10-alternative-media-list-1ed52befa70c

https://www.chicagotribune.com/news/opinion/commentary/ct-perspec-outrage-culture-metoo-meneither-portland-0226-20190225-story.html

I would just like to state that I found all of these articles very interesting and thought-provoking on their own, and would highly recommend that you visit and read them yourself. Thank you for reading.

[papermoonloveslucy]

LUCY: 40 YEARS OF TELEVISION

1960

The Ricardos and Mertzes make one last appearance in the new decade. Lucille Ball and Desi Arnaz divorce, and Lucille has a new movie with Bob Hope, “The Facts of Life.” 

“Hedda Hopper’s Hollywood” ~ January 10, 1960

Hedda Hopper had appeared on “The Desilu Revue” (the “Westinghouse Desilu Playhouse” 1959 Christmas special) and in return Lucille appeared for Hopper in her special, a tour of ‘her’ town and the stars who work in it.  Lucille is found entering her Desilu Workshop.  

“Buick Electra Playhouse: The Snows of Kilimanjaro” ~ March 25, 1960

A 90-minute dramatic anthology series produced by and aired on CBS from 1959–60 sponsored by Buick Motors. There were a total of four episodes, all based on the works of Ernest Hemingway (above center, with A.E. Hotchner, who adapted the stories, and Dean Stockwell, who starred in one of the episodes). Lucy, Desi, and comedian Ernie Kovacs appear in a promo for the final “Lucy-Desi Comedy Hour” airing a week later. 

“Lucy Meets the Mustache” (LDCH E13) ~ April 1, 1960

The final episode of “The Lucy-Desi Comedy Hour” and the last time we will see the Ricardos and the Mertzes. The mustache of the title is Ernie Kovacs, who guest stars with his wife, Edie Adams. The day after this episode aired, Lucille Ball filed for divorce from Desi Arnaz, ending an era. 

“The Gary Moore Show” (S3;E1) ~ September 27, 1960

Lucille Ball appears to promote her film The Facts of Life by showing outtakes titled "Someone Goofed" which features Bob Hope and Lucy in a sequence that had to be re-shot several times after Lucille and Bob kept on breaking up laughing during a kissing scene. Carol Burnett was a series regular, making this the first time Lucille Ball and Burnett shared the same stage. 

“Eleanor Roosevelt's Diamond Jubilee Plus One” ~ October 7, 1960

A follow up to a similar special the previous year honoring her 76th birthday. Bob Hope was the host and the stars included Jack Benny, Carol Channing, George Burns, Nat King Cole, Paul Newman, Joanne Woodward, Jimmy Durante, Mahalia Jackson, Irene Dunne Mary Martin, Simone Signoret and Lucille Ball.  Aired on NBC.   

“The Jack Paar Tonight Show” ~ December 29, 1960

Lucille Ball’s first appearance on “The Tonight Show” is with guest host Hugh Downs. Eight months after her divorce, she also brings along her children, Lucie Arnaz and Desi Arnaz Jr. Lucy is in New York City appearing in the Broadway musical Wildcat.  

Also in 1960...

“The Dinah Shore Chevy Show” (S4;E27) ~ April 3, 1960 

Keith Thibodeaux (Little Ricky) and Desi Arnaz Jr.  are musical guests, playing in what was called The Little Ricky Combo. Shore concentrates on Desi Jr., and does not ask any questions of Thibodeaux. Despite the above promo photo, Lucille Ball does not appear on the show. 

[vintagetvstars]

Hot Vintage TV Men’s Bracket - Round 2

Round 2 (All Polls)

Dick Van Dyke Vs. Russell Johnson

Claude Rains Vs. Patrick Troughton

Eric Idle Vs. Michael Nesmith

Ted Danson Vs. Demond Wilson

Robin Williams Vs. John de Lancie

Andrew Robinson Vs. Brent Spiner

Colm Meaney Vs. LeVar Burton

John Hurt Vs. Hugh Laurie

John Corbett Vs. Skeet Ulrich

Timothy Olyphant Vs. Eric Close

Jonathan Frid Vs. Ted Cassidy

John Astin Vs. Cesar Romero

Woody Harrelson Vs. Dean Butler

Henry Winkler Vs. Wayne Rogers

Tom Selleck Vs. Ron Perlman

Anthony Head Vs. Mitch Pileggi

Will Smith Vs. John Stamos

Luke Perry Vs. Matthew Perry

David Tennant Vs. Seth Green

Rik Mayall Vs. Richard Ayoade

James Garner Vs. George Maharis

Larry Hagman Vs. DeForest Kelley

Alan Alda Vs. Walter Koenig

Fred Rogers Vs. Peter Davison

Avery Brooks Vs. James Earl Jones

Jonathan Frakes Vs. Michael Dorn

John Shea Vs. Danny John-Jules

Sylvester McCoy Vs. Patrick Stewart

Keith Hamilton Cobb Vs. Michael Shanks

Andre Braugher Vs. Tony Shalhoub

Robert Fuller Vs. Michael Landon

Clint Eastwood Vs. Richard Dean Anderson

Jimmy Smits Vs. Billy Dee Williams

David Soul Vs. Ricardo Montalban

Michael Praed Vs. Kyle MacLachlan

Spencer Rochfort Vs. Sean Bean

Michael Horse Vs. Christian Kane

Alexander Siddig Vs. David Wenham

George Clooney Vs. Scott Cohen

Tom Welling Vs. Paolo Montalban

George Takei Vs. Kabir Bedi

Leonard Nimoy Vs. Jon Pertwee

Desi Arnaz Vs. Jamie Farr

Mike Farrell Vs. Peter Falk

Luke Halpin Vs. Micky Dolenz

Gene Anthony Ray Vs. Craig Charles

Charles Shaughnessy Vs. Joseph Marcell

Jeffrey Combs Vs. Tim Russ

Daniel Dae Kim Vs. Connor Trinneer

Rob Lowe Vs. Blair Underwood

David McCallum Vs. Dean Stockwell

Richard Chamberlain Vs. Robert Wagner

Jeremy Brett Vs. Simon Williams

Erik Estrada Vs. David Hasselhoff

Ron Glass Vs. Scott Bakula

Bruce Campbell Vs. James Marsters

David Duchovny Vs. Dana Ashbrook

Garrett Wang Vs. Michael J. Fox

David Boreanaz Vs. Nicholas Lea

Milo Ventimiglia Vs. Jensen Ackles

Rod Serling Vs. Robert Vaughn

Pierce Brosnan Vs. Sam Neill

Timothy Dalton Vs. Colin Firth

Nathan Fillion Vs. Neil Patrick Harris

[ulkaralakbarova]

At Pacific Palisades High, a poor Latino falls hard for a troubled girl from the affluent neighborhood. Credits: TheMovieDb. Film Cast: Nicole Oakley: Kirsten Dunst Carlos Nuñez: Jay Hernandez Tom Oakley: Bruce Davison Luis: Herman Osorio Eddie: Miguel Castro Victor: Tommy De La Cruz Hector: Rolando Molina Mrs. Nuñez: Soledad St. Hilaire Courtney Oakley: Lucinda Jenney Maddy: Taryn Manning Coach Bauer: Richard Steinmetz Rosa: Ana Argueta Jimmy – The Pilot: Neil Looy Morgan Oakley: Marion Moseley Dr. Linehan: Mike Jones Mrs. Ellis: Carolyn McKnight Assistant Football Coach Stover: Michael J. Fisher Wilcox: Cory Hardrict Foster: Keram Malicki-Sánchez Lainie: Kimi Reichenberg Davis: Matthew McKane Detail Supervisor: Jim Jackman Mr. Kane: Kevin Kane Taco Vendor: Griselda Diaz Spandexed Latina Girl: Claudia Soundy Photo Teacher: Rick Dallago Blanca: Berenice Ayala Aunt Eva: Virginia Sánchez Guy on Street: Hank Mendoza Oakley’s Receptionist: María Díaz Casey: Louie Liberti Police Officer: Bob Sattler Police Officer: John Marrott Curtis: Josh Vaughn Band Singer: Devon Williams Band Singer: David Benitez Luz: Tracy Claustro Jackie: Jackie Napal Dealer: Gary Cruz Dealer: Magdaleno Robles Jr. Quarterback: Matt Hobbie Football Official: John Pemberton Pacific High Student (uncredited): Michael Beardsley High School Kid (uncredited): Conor Dean Smith Football Player (uncredited): Joshua Feinman Football Player (uncredited): Matt Holly Film Crew: Producer: Harry J. Ufland Editor: Melissa Kent Screenplay: Phil Hay Screenplay: Matt Manfredi Producer: Rachel Pfeffer Director: John Stockwell Director of Photography: Shane Hurlbut Production Design: Maia Javan Co-Producer: Rick Dallago Original Music Composer: Paul Haslinger Music Supervisor: Evyen Klean Costume Design: Susan Matheson Casting: Sarah Halley Finn Set Decoration: Maria Nay Executive Producer: Guy Riedel Casting: Randi Hiller First Assistant Editor: Andi Kasen Bergman Art Direction: Tom Meyer Producer: Mary Jane Ufland Special Effects Coordinator: Frank Ceglia Music Supervisor: P.J. Bloom Script Supervisor: Monica Ochoa Production Office Assistant: Scott Tuft Stunts: Shauna Duggins Movie Reviews:

[dannyreviews]

Entertainment Legends Who Should Receive The Kennedy Center Honors (2018 Edition)

Here is an update of the list that I did last year. I’m putting in new names and taking off those that have since passed away. I will update periodically.

Actors:

Alan Alda, Jane Alexander, Michael Caine, Zoe Caldwell, Leslie Caron, Diahann Carroll, Glenn Close, Billy Crystal, Daniel Day-Lewis, Olivia de Havilland, Judi Dench, Robert Duvall, Harrison Ford, Boyd Gaines, Joel Grey, Gene Hackman, Rosemary Harris, Anthony Hopkins, Glenda Jackson, Kevin Kline, Frank Langella, Nathan Lane, Jessica Lange, Ian McKellen, Helen Mirren, Christopher Plummer, Carl Reiner, Maggie Smith, Dean Stockwell, Dick Van Dyke, Denzel Washington, Betty White

Composers/Conductors:

John Adams, Daniel Barenboim, Valery Gergiev, Phillip Glass, John Corigliano, Dave Grusin, Gershon Kingsley, Francis Lai, Michel Legrand, Johnny Mandel, Ennio Morricone, Krzysztof Penderecki, Mike Post, Simon Rattle, Steve Reich, Lalo Schifrin, Leonard Slatkin, Michael Tilson-Thomas, La Monte Young, Hans Zimmer

Dancers/Choreographers:

Toni Basil, Savion Glover, Cynthia Gregory, Kenny Ortega, Susan Stroman, Tommy Tune

Directors:

Woody Allen, Francis Ford Coppola, Stanley Donen, Ron Howard, James Ivory, Norman Jewison, Franco Zefferelli

Musicians:

Herb Alpert, Vladimir Ashkenazy, Emanuel Ax, Burt Bacharach, Yefim Bronfman, Larry Carlton, Ron Carter, Ry Cooder, Chick Correa, Stanley Drucker, Bela Fleck, James Galway, Evelyn Glennie, Jimmy Heath, Keith Jarrett, Kim Kashkashian, Wynton Marsalis, Jean-Luc Ponty, Arturo Sandoval, Peter Schickele, Wayne Shorter, Pinchas Zukerman

Singers:

ABBA, Paul Anka, Charles Aznavour, Janet Baker, Cecilia Bartoli, Kathleen Battle, Shirley Caesar, José Carreras, Carol Channing, Eric Clapton, Judy Collins, Phil Collins, Renee Fleming, Barry Gibb, Kiri Te Kanawa, Allison Krauss, Jerry Lee Lewis, Gladys Knight, Little Richard, Patti Lupone, Audra McDonald, Bette Midler, Sherrill Milnes, Liza Minnelli, Van Morrison, Bernadette Peters, Samuel Ramey, The Rolling Stones, Linda Ronstadt, Renata Scotto, Bryn Terfel, Frankie Valli, Frederica von Stade, Willard White

Theatrical People:

Emanuel Azenberg, Alain Boubil/Claude-Michel Schonberg, Peter Brook, Michael Frayn, Athol Fugard, David Hare, Sheldon Harnick, Bill Irwin, James Lapine, David Mamet, Terrence McNally, Alan Menken, Trevor Nunn, Tim Rice, Stephen Schwartz, Peter Sellars, Tom Stoppard, Charles Strouse, Jonathan Tunick, Jerry Zaks

[stockwellarchives]

Plays

11/15/43-12/18/1943: “Innocent Voyage” as John Thornton (had only one line). Theatre Guild, Belasco Theatre, New York City 10/24/1957-2/22/1958: “Compulsion”, Ambassador Theater, New York City as Judd Steiner with Roddy McDowell in other lead role 8/12-16/1959: “Mother Courage” Schoenburg Hall (UCLA), Los Angeles, CA ~1960: “Look Back in Anger” in little theater on Sunset Boulevard with Shirley Knight and Bobby Driscoll (1) 9/1-10/14/1961: "Endgame & The New Tenant" (Double Bill) - (Director only) Coronet Repertory Theatre, Los Angeles, CA 3/8-21/1974: "Relatively Speaking" Albuquerque Little Theater, NM 2/18-3/14/1976: “Sunday in New York” Midnight Sun Dinner Theater, Atlanta, GA 9/9-10/17/1976: “Come Blow Your Horn”, Stage West, Edmonton, Alberta, Canada. Also performed during September-December 1979 in Union Plaza, Las Vegas  12/15-17/1978: "Short Nightgown and Panties: A Tribute to Janis Joplin" (director only) Pilot Theater, Hollywood (produced by La Mama Hollywood) 5/13-6/16/1979: "Man With Bags" (Director/Producer) Starred Russ Tamblyn. Pilot Theater, Hollywood (produced by La Mama Hollywood) 7/20/1980: "Eagle in New Mexico", D. H. Lawrence Festival, Paolo Soleri Theatre, Santa Fe, New Mexico 1/21-3/1/1981:  "Here Lies Jeremy Troy" Sebastian's West Dinner Playhouse, San Clemente, CA 

(1) Stockwell played opposite Knight, meaning he most likely played Jimmy while Knight played Alison, and Driscoll most likely played Cliff. In the interview we pulled this information from, Knight didn’t say who played Helena or the Colonel), directed by Robert Blake, for Builders Workshop. In a 1960s interview, Stockwell said this was a classroom play.