#Parade Magazine

[themusicsweetly]

HAPPY BIRTHDAY, SAM HEUGHAN!

[girltirl]

Kathryn Hahn Reveals Which of Her Characters She'd Want to Hang Out With

[brian-in-finance]

Photos: Screen Rant

⚠️ This post is ridiculously long. It includes three passages from Bees that relate to Season 7’s surprising cliffhanger ending, and an explanation from Diana Gabaldon on what put that crazy idea in the scriptwriter/showrunner heads.

From “the book”

"This is all I have," she said, her voice hoarse as a young toad's. "Just this and her wock — locket."

"This?" Jamie stirred the little pile gently with a big forefinger and withdrew a small brass oval, dangling on a chain. "Is it a miniature of Jane, then, or maybe a lock of her hair?"

Fanny shook her head, taking the locket from him.

"No," she said. "It's a picture of our muv — mother." She slid a thumbnail into the side of the locket and flicked it open. I bent forward to look, but the miniature inside was hard to see, shadowed as it was by Jamie's body.

"May I?"

Fanny handed me the locket and I turned to hold it close to the candle. The woman inside had dark, softly curly hair like Fanny's — and I thought I could make out a resemblance to Jane in the nose and set of the chin, though it wasn't a particularly skillful rendering.

Behind me, I heard Jamie say, quite casually, "Frances, no man will ever take ye against your will, while I live."

There was a startled silence, and I turned round to see Fanny staring up at him. He touched her hand, very gently.

"D'ye believe me, Frances?" he said quietly.

"Yes," she whispered, after a long moment, and all the tension left her body in a sigh like the east wind.

Jemmy leaned against me, head pressing my elbow, and I realized that I was just standing there, my eyes full of tears. I blotted them hastily on my sleeve and pressed the locket closed. Or tried to; it slipped in my fingers and I saw that there was a name inscribed inside it, opposite the miniature.

Faith, it said.

…

Faith. Our mother, Fanny had said. I'd looked more than once at the miniature in the locket — but it was too small to show anything more than a young woman with dark hair, maybe naturally curly, maybe curled and dressed in the fashion of the times.

No. It can't be. I rolled over for the dozenth time, settling on my stomach and burying my face in the pillow, in hopes of losing myself in the scent of clean linen and goose down.

"It can't be what, Sassenach?" Jamie's voice spoke in my ear, sleepily resigned. “And if it can't, can it not wait 'til dawn?"

I rolled onto my side in a rustle of bedding, facing him.

"I'm sorry," I said, and touched him apologetically. His hand took mine automatically, warm and firm. "I didn't realize I'd said it out loud. I was... just thinking about Fanny's locket."

Faith.

"Ach," he said, and stretched himself a little, groaning. "Ye mean the name. Faith?"

"Well... yes. I mean — it can't possibly... have anything to do with—”

"It's no an uncommon name, Sassenach." His thumb rubbed gently over my knuckles. "Of course ye'd... feel it. I did, too."

"Did you?" I said softly. I cleared my throat a little. "I — I don't really do it anymore, but for a time, just—just every now and then — I'd think of her, of our Faith — out of nowhere. I'd imagine I could feel her near me."

"Imagine what she might look like — grown?" His voice was soft, too. "I did that, sometimes. In prison, mostly; too much time to think, in the nights. Alone."

I made a small sound and hitched closer, laying my head in the curve of his shoulder, and his arm came round me. We lay still, silent, listening to the night and the house around us. Full of our family— but with one small angel hovering in the calm sweet air, peaceful as rising smoke.

"The locket," I said at last. "It can't possibly have anything whatever to do with—”

"No, it can't," he said, a cautious note in his voice. "But what are ye thinking, Sassenach? Because ye're no thinking what ye just said, and I ken that fine."

That was true, and a spasm of guilt at being found out tightened my body.

"It can't be," I said, and swallowed. "It's only…” My words died away and his hand rubbed between my shoulder blades.

"Well, ye'd best tell me, Sassenach," he said. "Nay matter how foolish it is, neither one of us will sleep until ye do."

"Well... you know what Roger told me, about the doctor he met in the Highlands, and the blue light?"

"I do. What…"

"Roger asked me if I'd ever seen blue light like that — when I was healing people."

The hand on my back stilled.

"Have ye?" He sounded guarded, though I didn't know whether he was afraid of finding out something he didn't want to know, or just finding out that I was losing my mind.

"No," I said. "Or not — well, no. But... I have seen it. Felt it. Twice. Just a flash, when Malva's baby died." Died in my hands, covered with his mother's blood. “But when Faith was born, when I was so ill. I was dying — really dying, I felt it — and Master Raymond came."

"Ye told me that much," he said. "Is there more?"

"I don't know," I said honestly. "But this is what I thought happened." And I told him, about seeing my bones glow blue through the flesh of my arms, the feeling of the light spreading through my body and the infection dying, leaving me limp, but whole and healing.

"So... um... I know this is nothing but pure fantasy, the sort of thing you think in the middle of the night when you can't sleep..."

He made a low noise, indicating that I should stop apologizing and get on with it. So I took a deep breath and did, whispering the words into his chest.

"Master Raymond was there. What if — if he found... Faith... and was able to... somehow bring her… back?"

Dead silence. I swallowed and went on.

"People… aren't always dead, even though it looks like it. Look at old Mrs. Wilson! Every doctor knows — or has heard — about people who've been declared dead and wake up later in the morgue."

"Or in a coffin." He sounded grim, and a shudder went over me. "Aye, I've heard stories like that. But — a wee babe and one born too soon — how…”

"I don't know how!" I burst out. "I said it's complete fantasy, it can't be true! But — but —" My throat thickened and my voice squeaked.

"But ye wish it were?" His hand cupped the back of my head and his voice was quiet again. "Aye. But... if it was, mo chridhe, why would he not have told ye? Ye saw him again, no? After he'd healed ye, I mean."

"Yes." I shuddered, momentarily feeling the King of France's Star Chamber close around me, the smell of the King's perfume, of dragon's blood and wine in the air — and two men before me, awaiting my sentence of death.

"Yes, I know. But — when the Comte died, Raymond was banished, and they took him away. He couldn't have told me then, and he might not have been able to come back before we left Paris."

It sounded insane, even to me. But I could — just — see it: Master Raymond, stealing out of L'Hôpital des Anges after leaving me, perhaps ducking aside to avoid notice, hiding in the place where the nuns had, perhaps, laid Faith on a shelf, wrapped in her swaddling clothes.

He would have known her, as he'd known me...

Everyone has a color about them, he said simply. All around them, like a cloud. Yours is blue, madonna. Like the Virgin's cloak. Like my own.

One of his. The thought came out of nowhere, and I stiffened.

"Jesus H. Roosevelt Christ." What if — all right, I was insane, but too late for that to make a difference.

"What if he — if I, we — what if Master Raymond is — was — somehow related to me?"

Jamie said nothing, but I felt his hand move, under my hair. His middle finger folded down and the outer ones stood up straight, making the sign of the horns, against evil.

"And what if he's not?" he said dryly. He rolled me off him and turned toward me so we were face-to-face. The darkness was slowly fading and I could see his face, drawn with tiredness, touched with sorrow and tenderness, but still determined.

"Even if everything ye've made yourself think was somehow true — and it's not, Sassenach; ye ken it's not — but if it were somehow true, it wouldna make any difference. The woman in Frances's locket is dead now, and so is our Faith."

His words touched the raw place in my heart, and I nodded, tears welling.

"I know," I whispered.

"I know, too," he whispered, and held me while I wept.

— Go Tell the Bees That I Am Gone, Chapter 24, Alarms By Night

"Ian — I wanted to ask you a favor." One eyebrow went up.

"Name it, Auntie."

"Well... Jamie said that you plan to stop in Philadelphia. I wondered.." I felt myself blushing, much to my annoyance. His other eyebrow rose.

"Whatever it is, Auntie, I'll do it," he said, one side of his mouth curling. "I promise."

"Well... I, um, want you to go to a brothel."

The eyebrows came down and he stared hard at me, obviously thinking he hadn't heard aright.

"A brothel," I repeated, somewhat louder. "In Elfreth's Alley."

He stood motionless for a moment, then turned and put the cheese back on the shelf, and glanced down at the clear brown water of the creek rushing past our feet.

"This might take a bit of time to explain, aye? Let's go out into the sun."

— Go Tell the Bees That I Am Gone, Chapter 59, Special Requests

IAN CAME BACK from his visit to Elfreth's Alley in something of a brown study, oblivious to the shouts of dairymaids and beer sellers.

He'd thought he might have to expend considerable time and money in order to get the inhabitants of the brothel to talk, but the mere mention of Jane Pocock's name had opened floodgates of gossip, and he felt as one might after being washed overboard from a ship and carried ashore in a flurry of foam and sharp deb-ris.

Now he wished he had paid more attention to Fanny's drawing of her sister.

The loudly stated opinion of Mrs. Abbott, the madam, was that Jane Pocock had been strange, plainly very strange, demented and probably a practitioner of Strange Arts, and how it was that neither she nor any of her girls had been murdered in their beds, she did not know. Ian wondered why a young woman with such skills would have been working as a whore, but didn't say so, under the circumstances.

It took some time for the talk about the murder of Captain Harkness to die down, but Ian Murray did ken his way around a brothel, and when the flow diminished, he at once ordered two more extortionately priced bottles of champagne.

This altered the air of accommodation to something more focused but less vituperative, and within half an hour, Mrs. Abbott had retreated to her sanctum and the whores had reached their own silent accommodation amongst themselves. He found himself on the red velvet sofa common to such establishments, with Meg on one side and Trixabella on the other.

"Trix was friends with Arabella — Jane, I mean," Meg explained. Trix nodded, doleful.

"Wish I hadn't been," she said. "That girl hadn't any luck at all, and that kind of thing can brush off on you, you know. What are those things on your face?"

"Can it?" lan touched his cheekbone. “It's a Mohawk tattoo."

"Ooh," said Trix, with slightly more interest. "Was you captured by Indians?" She giggled at the thought.

"Nay, I went of my own accord," he said equably.

"Well, me too," Trix said, with an uptilted chin and a wave of the hand presumably meant to draw his attention to the relatively luxurious nature of her place of employment. "Not Arabella, though. Mrs. Abbott got her and her sister off a sea captain what didn't have the scratch to pay his bill. Those girls were indentures."

"Aye? And how long ago was that? Ye canna have been here more than a year or two yourself." In fact, she looked to have been in the trade for a decade, at least, but minor gallantries were part of the expected pourparlers, and she laughed and batted her eyes at him in a practiced manner.

"Reckon it would have been six — maybe seven — years ago. Time flies when you're havin' fun, or so they say."

"Tempus fugit." Ian filled her glass and clinked his against it, smiling. She dimpled professionally, drank, and went on.

"Mind, I wasn't but two years older than Jane..." Bat-bat. "Mrs. Abbott wouldn't've bothered with them, save they were pretty, both of 'em, and Jane was just about old enough to... um... start."

Ian was counting back; six years ago, Jane would have been about the age Fanny was now. Old enough...

After a few accounts of harrowing initial experiences in the trade, he managed to drag the conversation back to Jane and Fanny.

"Ye said a sea captain sold the girls to Mrs. Abbott. Do either of ye by chance recall his name?"

Meg shook her head.

“I wasn't here," she said. "Trix...?" She lifted a brow at her friend, who frowned a little and pressed her lips together.

"Has he come back here — since?" Ian asked, watching her closely. She looked startled.

"I — well... yes. I only saw him twice, mind, and it's been a long while, so I maybe don't recall his name for sure."

Ian sighed, gave her a direct look, and handed her a golden guinea.

"Vaskwez"" she said without hesitation. "Sebastian Vaskwez."

"Vas — was he a Spaniard?" lan asked, his mind having smoothly transmuted her rendering to "Sebastiàn Vasquez."

"I don't know," Trix said frankly. "I've never had a Spaniard — knowin'-like, I mean-wouldn't know what they sound like."

"They all sound the same in bed," Meg said, giving Ian an eye. Trix gave her friend a withering look.

"He sounded foreign-like, no doubt about that. And no talking through his nose or that gwaw-gwaw sort of thing Frenchies do. I've had three Frenchmen," she explained to Ian, with a small showing of pride. "Was a few of'em in Philadelphia while the British army was here."

"When was the last time Vasquez came here?" he asked.

"Two... no, maybe close to three years ago."

"Did he go with Jane then?" Ian asked.

"No," Trix said unexpectedly. "He went with me." She made a face. "He stank of gunpowder — like an artilleryman. He wasn't one, though; they've all got it ground into their skin and their hands are black with it, but he was clean, though he smelled like a fired pistol."

A thought occurred to Ian — though thinking was becoming difficult. He wasn't bothered by the fact that his body was taking strong notice of the girls, but arousal seldom did much for the mental faculties.

"Could ye tell if he was still a sea captain?" he asked. Both girls looked blank.

"I mean — did he mention his ship, or maybe say he was taking on crew, anything like that? Did he smell of the sea, or — or —fish?"

That made them both laugh.

"No, just gunpowder," Trix said, recovering.

"Mother Abbott called him 'Captain, though," Trix added. "And 'twas clear enough he weren't a soldier."

A few more questions emptied both bottles, and it was clear that the girls had told him all they knew, little as it was. At least he had a name. There were sounds in the house, opening doors, heavy footsteps, men's voices and women's greetings; it was just past teatime and the cullies were beginning to come in.

He rose, arranged himself without shame, and bowed to them, thanking them for their kind assistance.

— Go Tell the Bees That I Am Gone, Chapter 80, A Word For That

From “the author”

“They actually did get the (general) idea from me, though,” she admits. “When chatting with [showrunner] Matt [Roberts] about All Things plot wise, I mentioned that if I had written a second graphic novel (I didn't, for assorted reasons), I would have shown what actually happened after Faith's presumed death at the Hopital des Anges, and how/why Master Raymond resuscitated and nurtured the baby secretly, but wasn't able to come back with her before Claire and Jamie left France. So, they liked that idea and ran with it.” — Diana Gabaldon, Parade

Remember… Claire is only one of more than a dozen time-travellers in the story… Brianna was conceived in 1746 and born in 1948… Family Beardsley is a threesome… it’s Outlander, anything can happen.

@marian4456 @saint-hildegard-of-bingen @kiaora45 @dlansing53 @young2evans @gotraveltheworldluv @krisrose16 @frenchyses @bcacstuff @pinkblizzardgladiator @thetruthwilloutsworld @its-moopoint @stellarpuffin @outlanderfandomfollies @loveisloveislove76 @castlemaine123 @dragonflydreams47

[vintagegoddesses3]

[70ssmut4]

[colferpics]

Chris Colfer Reveals How 'Glee' Cast Keeps Naya Rivera's Memory Alive With Her 9-Year-Old Son

by: Olivia Jakiel and Lanae Brody [posted March 2, 2025]

Rivera, who starred as Santana Lopez on 'Glee,' died in 2020.

Chris Colfer and the rest of the Glee cast are doing everything they can to keep their late co-star Naya Rivera's memory alive for her 9-year-old son, Josey.

"Jenna Ushkowitz did this really beautiful thing where she created an email address for him so we could all send him stories about his mom," Colfer, 34, exclusively told Parade on the red carpet at Elton John's AIDS Foundation Oscar Party on Sunday, March 2.

He added of Rivera: "I'm getting emotional thinking [about] how she was just the greatest."

Colfer and Ushkowitz starred alongside Rivera on the award-winning Ryan Murphy musical/comedy series Glee, which ran for six seasons from 2009 to 2015. The series also starred Lea Michele, Jane Lynch, Matthew Morrison, Kevin McHale, Amber Riley and the late Cory Monteith, amongst others.

Rivera died in July 2020 after accidentally drowning while boating with son Josey, who was 4 years old at the time. She shares Josey with ex-husband Ryan Dorsey.

After her death, Colfer penned an emotional tribute to his longtime friend and co-star in an essay for Variety.

"For as long as I’ve known Naya, the thing she wanted most in life was to be a mother. She spent hours telling us what she was going to name her kids, how she was going to dress them and all the free babysitting she’d bamboozle out of us," he wrote in part at the time. "When her son Josey was born in 2015, it was like a missing piece of Naya had finally arrived. Their connection was magnetic, their affection was radiant and I’ve never seen a person look happier than when Naya gushed over her little boy."

He added: "Being a mom was perhaps Naya’s greatest talent of all, and as her final moments proved, Naya was an extraordinary mother until the very end."

[d-criss-news]

[UHQ] Darren Criss (Best Performance by an Actor in a Leading Role in a Musical, Maybe Happy Ending) (Photo by Michael Hull) | Source

Once Upon a Time, They Considered Giving Up. Now They’re 2025 Tony Nominees (Exclusive)

---------- Darren Criss, Tony-nominated for his performance as a robot named Oliver in the endearing new musical Maybe Happy Ending, reveals to Parade that he has a group chat with his former Glee pals, which includes Groff — whom he is up against for best lead actor in a musical. “We got a whole group thread going, man,” Criss says. “It’s the nice thing about working on Broadway. We’re all on the same campus. We’re all within several blocks of each other. We all know each other. We all know each other’s work. We’ve all, you know, been in rooms together before. We’re not all separated. There’s a real fraternity there, and that’s not just some canned line. It’s true. We’re all working [in the] same village. It’s such a fun, amazing thing. We all grew up loving this so much. The fact that we get to do it is already such a huge ‘W,’ so getting to be in a category together for a fancy party is just a fun little bonus.”

[sillyname30]

parademag: Oh to be a Tony nominee! ⭐️ For these Broadway stars the path wasn't always easy. Parade chatted with Jonathan Groff, Darren Criss, Jasmine Amy Rogers, Conrad Ricamora, Joy Woods, LaTanya Richardson Jackson and more about their road to the Tony's stage.⁠ ⁠ For the full interviews, head to our link in bio.⁠ .⁠ .⁠ #tonyawards #tonys #jonathangroff #darrencriss #broadway

[maritamorgado]

Jeffrey Dean Morgan wanted to play a role on Prime Video's "The Boys" for years, but scheduling conflicts kept getting in the way. Here's the story of how he finally made it happen and found himself in a recurring role in the show's fourth season

[judi-daily]

Parade Magazine, 2006 Photographer: Larsen and Talbert

[buddieisgoingcanon25]

https://parade.com/tv/9-1-1-ryan-guzman-interview-buck-coming-out-eddie-sexuality

I wonder why all the Ryan interviews? You’d think it should be Oliver doing the interviews or even Aisha…

[seriouslycromulent]

The Surprising Reason John Larroquette Took His Career-Defining Role on 'Night Court'

The comedy ninja reveals all this week's 'Parade' cover story.

MARA REINSTEIN

UPDATED:JAN 19, 2023

Get in a car and drive about 30 miles north of Portland, Oregon, into southwest Washington. That’s where you’ll find actor John Larroquette.

He and his wife, Elizabeth, have lived on a piece of rural property for about five years. He collects books and likes to narrate plays in his home recording studio. Sometimes the couple head into the city to try new restaurants and go to the theater and concerts. “It’s really beautiful,” he says. “And at my age, it’s time to slow down and be out somewhere.”

In fact, Larroquette is so fond of his far-from-Hollywood lifestyle that not too long ago, he considered himself retired from the business with a fulfilling career and a room full of trophies to show for it. Never did he think he’d return to grueling TV work, let alone reprise the very role that made him a household name.

Guess what happened next?

Yup, Larroquette, 75, is suiting back up as wise-cracking, endearingly smarmy lawyer Dan Fielding in a new version of the irreverent sitcom Night Court (premiering Jan. 17 on NBC). Set decades after the 1984-92 original, it still chronicles the colorful cast of characters passing through the New York City after-hours courtroom. But now, the Honorable Abby Stone (Melissa Rauch), the daughter of Judge Harry T. Stone (Harry Anderson), bangs the gavel.

Fielding starts the series as a process server, though not for long. “As an actor, I thought it would be an interesting idea to revisit a character 35 years later in his life and see what happened to him,” Larroquette says. “I can’t do the physical comedy and jump over chairs anymore, so my conversations with the producers were about how to find the funny.”

Call it the latest unexpected turn for a seasoned star who began his professional journey as a DJ for “underground” radio in the 1960s, moved from his native New Orleans to Los Angeles to jumpstart his career, once took a gig in exchange for marijuana, played a Klingon in the third Star Trek movie and completed rehab to kick his heavy drinking—all before his very first audition for Night Court in 1983. After the sitcom’s last episode, he won his fifth Emmy (for the drama The Practice) and a 2011 Tony for the Broadway revival of How to Succeed in Business Without Really Trying. He and Elizabeth, wed for 47 years, have three grown children.

“I honestly wish I had a tape recorder going at all times because he’s led such an interesting life and has such wonderful stories,” marvels Rauch, his co-star and a Night Court executive producer. “He’s super-quick, funny and definitely tells it like it is.”

Exhibit A? His interview with Parade, in which he discusses life and death, and everything in between.

Did you sign on to the series right away or was it a tough sell?

When Melissa [Rauch] presented the idea to me, I immediately said, “No thank you.” I didn’t like the idea of being compared to my 35-year-old, younger self. These conversations went on for a year. Then, one day, she told me that she wanted to be on-camera as well, so I decided to try and do it. We ended up pitching the show together, and it got picked up. You know, in New Orleans, there’s a French word called “lagniappe,” which means “a little bonus.” That’s what I consider myself. She’s the heart of the show.

Sadly, a few of your co-stars—including Harry Anderson and Markie Post—have died in recent years. What was it like being on the set without them?

Very emotional. Harry passed away in 2018, but it’s still a tender spot in my heart because he and I were together for a long time even outside of work. Markie and I were very close, and we had exchanged a few emails about the show before she died [in 2021]. She was a big cheerleader for it. And Charlie [Robinson, who played the clerk “Mac”] died when we were shooting the pilot last year. I saw him a lot because we both love the theater. Being on the set—I don’t say this glibly—but it was like seeing dead people. I’d always remember how I had this bizarre and completely sincere family for nine years.

Going back to the 1980s, why did you originally take the Dan Fielding role?

It was a paycheck. This was 1983, and I was still a journeyman actor going from job to job. I was a regular on a series in the ‘70s [Baa Baa Black Sheep], but then I took a few years off to do some extremely heavy drinking. After I got sober and realized I wasn’t going to die, I thought, “What am I going to do?” I had been in a pretty big [1981] movie called Stripes with Bill Murray. I read for Ted Danson’s role in Cheers.

Wait, how far did you get in the Sam Malone casting process?

Oh, I just walked in and did a cold reading along with every other 32-year-old actor at the time. But then I auditioned for the judge in Night Court. The producers asked me to read for this other role of Dan Fielding and I said, “Sure.” Even if I hated the role, I would have taken it because I needed to make money to help pay the rent and support my family and be a responsible member of society. It was luck that I really liked it. Then I got lucky again when NBC picked up the show as a mid-season replacement.

During the height of the show’s popularity, you earned four consecutive Emmys for your performance. That must have felt beyond validating.

Obviously, being acknowledged by your contemporaries was an incredible honor. I don’t say that blithely. It was a remarkable, remarkable feeling. And I was up against some formidable talent—mainly all those guys from Cheers.

Why do you think the character was and is so appealing?

I think because he allowed the audience to know that he wasn’t a bad guy. He was more like a feckless buffoon. He also really wanted to be loved. As a matter of fact, in our pitch, we screened an old scene of Fielding in a hospital bed telling Harry, “I don’t have a life; I have a lifestyle. Nobody has ever said, ‘I love you.’” So when we find Fielding again, he’s loved and lost. And Harry’s daughter forces him out of his cave. It’s a real full-circle moment.

Let’s go back to your own start. Did you have any music skills coming out of New Orleans?

Well, I started playing clarinet in third grade, then I moved to the saxophone in the 1960s. But I euphemistically say that I could talk better than I could blow. So, I took that sax out of my mouth and became a DJ and started using my voice as much as I could. I’ve always loved the analog aspect of audio. I still have some reel-to-reel tape recordings and old microphones.

Is that how you ended up narrating the opening prologue for [the 1974 horror classic] The Texas Chainsaw Massacre?

No, no, that wasn’t through any kind of past work. In the summer of ‘69, I was working as a bartender at a small Colorado resort in a little town called Grand Lake because I wasn’t sure what I wanted to do with my life. [Director] Tobe Hooper happened to be in town and we became friendly. Flash forward four years, and I found myself in L.A. collecting unemployment checks and trying to decide if I wanted to be an actor. Tobe heard I was in town and asked for an hour of my time to narrate something for this movie he just did. I said, “Fine!” It was a favor.

Per the Internet, he gave you a joint in lieu of payment. True?

Totally true. He gave me some marijuana or a matchbox or whatever you called it in those days. I walked out of the studio and patted him on his back side and said, “Good luck to you!” Now, I have also narrated the consequential films and did get paid. You do something for free in the 1970s and get a little money in the ‘90s. I’m not a big horror movie fan, so I’ve never seen it. But it’s certainly the one credit that’s stuck strongly to my resume.

But you’ve appeared on the big screen plenty of times. Did you have movie-star aspirations following all your TV success?

The movies I’ve done are mostly forgettable. Blind Date [from 1987] is an exception, but that’s because of Bruce Willis and Kim Basinger. And Blake Edwards directed it. It was funny. But my face is not made for a really big screen. It’s a broad, clown-like face. It’s good for a TV two-shot. And you ride the horse in the direction that it’s going and television was always right there and offering me stuff, so I kept doing that.

You also performed in a musical for the first time in How to Succeed in Business Without Really Trying in 2010. How was that change of pace?

I was hesitant to do it because I had never sung and danced on stage. I was convinced I was going to be fired in the first two or three weeks. I’d keep going in my head, “five, six, seven, eight!” just trying to get the steps down. But I loved the lifestyle of being a stage actor in New York. I loved working with Daniel Radcliffe, and we became fast friends. It got to a point where I couldn’t wait to get to the theater and try it again that night. If you’re given the opportunity to do something that may be a stretch, I think it’s important to try and see if you can pull it off.

Can you talk a bit about your personal life? You seem a little reclusive.

Reclusive isn’t accurate, but I’m definitely an introvert. Elizabeth and I met doing the play Enter Laughing and got married in 1975. She puts up with me, and you can’t ask for much more than that. Our kids are grown. My daughter Lisa is a graphic designer and my son Jonathan has had a podcast for the past 17 years called Uhh Yeah Dude. And my youngest son, Ben, is a musician who graduated from the Berklee School of Music. He actually composed the new theme music for Night Court. They’re all lovely, and I love them dearly.

That’s quite a professional and personal success story, no?

You know, considering where I’m from and the kind of culture I grew up in, yes. I’ve been very successful in my chosen field. And I’m grateful for having done that because there were times when I thought I would not live, much less have a career. It’s nothing to be taken for granted. But I’m very old now. Three quarters of a century. I’m sort of playing with house money from now on, regardless of what happens.

Sorry, but 75 isn’t very old!

Yes, it’s old. It’s old. Please. It’s old. There are certainly people who live longer, but I can go down the list of wonderful friends and coworkers who are now deceased. One being Kirstie Alley, my costar in [the 1990 comedy] Madhouse, who was younger than I am. She was a lovely person, and so funny. There are only a few more exits on the freeway and you’ve got to choose one. But I’m not afraid of the hereafter and I don’t bemoan it. It’s been an interesting ride, and all rides eventually end.

Do you have any sort of words to live by?

As corny as it sounds, take things one day at a time. You know, I learned when I stopped drinking at age 32 that all you have is right now. Use the present in your life as much as you can.

Source: https://parade.com/celebrities/john-larroquette-night-court-cover-story

-----

My thoughts (please feel free to ignore):

I'm sure someone in the fandom has already posted this interview John did last year with Parade magazine when the new Night Court premiered. But I can say that it's new to me, so I'm sharing it in case it's new to someone else too.

I apologize for the highlighted purple sections above. That's just me marking the parts of the interview that resonated with me the most.

I don't know about anyone else, but some parts of his answers to the questions made me feel kind of sad. Partially because he's clearly experiencing grief at the loss of his friends. And partially because John himself may not be with us for much longer (although I hope I'm wrong and he beats Betty White to 100).

But I was talking to my mother about some of his answers, and she said that as someone who has reached an age milestone herself, she understands his perspective. And I guess I do too.

It's important to remember that in any other profession, John would likely be retired by now. So we should really be grateful for any roles he takes or public appearances he makes, and hope that his days ahead are filled with the calm, joy and laughter that he so rightly deserves.

[hooked-on-elvis]

Pictures of Elvis as Clint Reno on "Love Me Tender" (1956) | "The Rainmaker" screen test in Hollywood (March 26-28th, 1956) + magazine article | On "Love Me Tender" production and premiere (November 15, 1956). 🎬

He had never even been in a school play, but he loved the silver screen and dreamed of seeing himself upon it. In April of 1956*, his chance arrived when legendary Hollywood producer Hal Wallis gave him a screen test. He was asked to read a part from 'The Rainmaker' with actress Cynthia Baxter, who later confessed that her initial reaction to working with Elvis had been "Ugh!" Afterward, however, Baxter said she found him "amazing to work with." Elvis told Wallis he didn't like the Rainmaker role: The character was too "happy, jolly, lovesick." Well, Wallis asked him, what kind of part would you like to play? "One more like myself," he said, "so I won't have to do any excess acting." Four months later (after Wallis and Colonel Parker had negotiated a three-picture-deal for $400.000) he was on the set of 'Love Me Tender' playing Clint Reno (seen here) — a passionate, naive young man, destined to die young.

*Elvis' Hollywood screen test was actually held, not in April but in March 1956, between Monday, the 26th and Wednesday, the 28th. Elvis would later say he memorized every line of the script of 'The Rainmaker' (not only his lines, the whole script!) in preparation for the screen test. A couple of months later, however, he told Robert Johnson of the Memphis Press-Scimitar that he had misgivings from the start about the character he would play. “It was a good part, but I just couldn’t see it for me. A good-natured, happy teen-ager, but with nothing up here. After I read the script, I just wanted to do another kind of part,” said Presley to the reporter.

This thing the magazine wrote about Elvis wanting "not to do any excess acting" is total bullshit. EP would never say such thing once he was so happy to kick off his acting career. He dedicated himself and wanted to make it as good actor. Elvis was excellent memorizing lines even before he was an actor, when he would memorize lines from all his favorite movies (such as 'Rebel Without a Cause'). Once he was indeed on the other side of the screen, filming his first movie, Elvis didn't miss the chance and talked to many veteran actors in hopes to have hints on how to make it better in front of the camera. He dedicated himself the best he could — and as the years went by, even so his roles were less and less interesting or challenging, sometimes even silly as he feared in the beginning of his career, Elvis achieved the goal in being a natural in front of those Hollywood filming cameras, and this is something absolutely undeniable. The thing about complaining of the role he performed on his screen test in 1956, probably had something to do with the image Elvis wanted to project onto his young audience, and that was not one of a "good-natured" guy.

Elvis wanted serious roles and, besides, he liked the 'bad boy' atitude James Dean and Marlon Brando had... the menacing glances, the defiant rebel posture. Elvis mentioned this to Lloyd Shearer, in 1956 during a photo session at the Peabody Hotel, in Memphis, Tennessee. Lloyd was photographing Elvis when the Presley politely asked the photographer to promise not to snap him "not even smiling slightly". His objection was explained with:

"I've made a study of Marlon Brando. I've made a study of poor Jimmy Dean [actor James Dean had recently died in a car crash]. I've made a study of myself. And I know why girls, at least the young ones, go for us. We're sullen, we're broodin', we're something of a menace. I don't understand it exactly, but that's what girls like in men. I don't know anything about Hollywood. But I know that you can't be sexy if you smile. You can't be a rebel if you grin. If you don't mind, let me pose myself." — Elvis, 1956.

On his screen test in March, 1956, Presley did two scenes from 'The Rainmaker' (and also was asked, and performed against his will since he didn't wanted to sing on the screen at all, to 'Blue Sued Shoes') Later that year, Elvis recalled the dramatic tests. “I knew my script,” he said. “I got out there and just tried to put myself in the place of the character I was playing, just trying to act as naturally as I could.”

In May, Elvis told Will Jones of the Minneapolis Tribune that he favored the second of the two scenes. “I took this screen test where I came in and was real happy and jolly and I didn’t like it. I did this other one where I was mad at this girl, and I liked that better — it was me.”

Elvis worked with veteran actor Frank Faylen in one test scene and with twenty-one-year-old actress Cynthia Baxter (later Cynthia O’Neal) in another scene.

She later told TV Guide, “When the Wallis people told me I was to make a test with him, my reaction was ‘Ugh!’ But, you know, he is a very interesting boy — kind of amazing to work with. As an actor, he has a lot of work ahead of him, but he has wonderful attributes to start with.”

Actress Cynthia O'Neal (former Baxter). The picture (right) is the only still from 'The Rainmaker' scene she played with Elvis for his screen test on March 26th, 1956. No footage was released until today, unfortunately.

March 27th, 1956: Elvis with veteran actor Frank Faylen. The scene Elvis did with Faylen was this one below (no footage, sadly, but there's pictures from his test on the video, following the scenes):

Allan Weiss was not as impressed with the dramatic part of Presley’s test as he was with the musical portion. “Elvis played the rebellious younger brother with amateurish conviction — like the lead in a high school play. His performance was believable, but lacked the polished subtleties of a professional.” On the other hand, after viewing the acting part of the test, Paramount dramatic coach Charlotte Clary thought Elvis might have a future as an actor. “The boy is a natural,” she judged. “There’s nothing fresh or obnoxious about him at all.” Source: http://www.elvis-history-blog.com/elvis-screen-test.html

On March 28th came Presley’s third screen test, the King lip-synched to “Blue Suede Shoes” in front of a set of rather shiny curtains. It was a wild audition, with Elvis giving his trademark gyrations and sneer. He was doing what he did majestically already, so he enchanted the screenwriter Allan Weiss.

“The transformation was incredible. We knew instantly that we were in the presence of a phenomenon; electricity bounced off the walls of the sound stage. One felt it as an awesome thing — like an earthquake in progress, only without the implicit threat. Watching this insecure country boy, who apologized when he asked for a rehearsal as though he had some something wrong, turn into absolute dynamite when he stepped into the bright lights and started lip-synching the words of his familiar hit. He believed in it, and he made you believe it, no matter how ‘sophisticated’ your musical tastes were.” — Allan Weiss, Screenwriter.

This reaction may have set Elvis' fate in Hollywood, among other things (money-seeking, as naturally any company would be bound to be), but up until then as far as EP knew he would act in a non-musical role, so this kept him thrilling. Elvis' fans, as always, were very supportive, and couldn't wait to watch the rock star on the big screen.

(Above) August 16, 1956: Elvis left Memphis on an American Airlines flight for Los Angeles where he reported to 20th Century Fox for pre-production meetings for his first movie. The fans greeted him at the airport, holding "Presley for President" posters. 🥹

As the production for Elvis' first movie begun, things were... different. The studio/producers eventually altered the script to include 4 songs Elvis would sing, 'Love Me Tender' being one, and they altered the title of the film too — originally entitled 'The Reno Brothers' — so it could follow the name of that one Elvis song.

This turned things bittersweet to Presley. Elvis did not want to sing on the screen and he confessed to his close friends how upset watching as they promised him one thing and ended up eventually changing plans (to profit on his music career) without him being able to do anything about it (June Juanico was one girlfriend he vented about this).Top this to the fact that Elvis indeed preferred his part to be a little more to the 'bad boy' side, and Clint Reno was everything but a bad boy, and you can imagine how Elvis felt about his first movie, not fully satisfied after all. Still he kept hopeful about his acting career could evolve and he could eventually become a serious actor. This hopeful mood followed his next films, but it did not last long.

Either way, the premiere for 'Love Me Tender' was a huge success.

Arlene Cogan, a young fan that not much after this would become friends with Elvis, shared in her book "Elvis, This One's for You" that when she went to watch the movie she spent the whole day rewatching it in the theater, over and over again. She says that no one seemed to leave the room.

"When Elvis appeared on the screen, everyone screamed so much that you couldn't hear him." — Arlene Cogan on her book "Elvis, This One's for You".

On the day 'Love Me Tender' premiered in the theaters on November 15, 1956.

November 21st 1956. 1413 Main Street, Columbia, S.C., Richland County. A crowd of teenagers in the lobby of the Palmetto Theater for the opening of the Elvis Presley movie Love Me Tender.

November 16, 1956: Fans wait in line to see Elvis Presley in 'Love Me Tender'.

Even so Elvis' start in Hollywood wasn't quite as he expected (in personal satisfaction wise), Presley did it great as a sweet country boy, Clint Reno. Some critics didn't go for him and harshly bashed his acting skills (much going with their previous opinions on Elvis as a performer and the controversial about his 'antics' on the stage in the 50s), as much as some supported his initial kick off, but one thing's for sure: the young audience adored him regardless either if he was a "bad boy" onscreen or not. ♥

Elvis on "Love Me Tender", 1956.

[vintagegoddesses3]

[70ssmut4]

[d-criss-news]

ParadeMagazine: For Darren Criss, choosing not to give up on his Broadway dreams is an everyday challenge.

For more from our Tony's cover stars: https://l8r.it/Rzjz⁠

#darrencriss #broadway #glee #tonys