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twopoppies · 3 months

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Would you have a rolling stone subscription or any of your followers please? https://www.rollingstone.com/tv-movies/tv-movie-features/american-idol-lgbtq-contestants-1235027350/

It doesn't seem to be behind any sort of paywall for me, but I tend tp be cautious when reposting entire articles because blogs have been taken down for it before. Here's most of the worst of it, though. DM me if you want more and can't access it.

Travis wasn’t aware that he couldn’t carry a tune until his audition aired on TV a year later, in January 2006. Seated in the living room of the same halfway-house counselor who had driven him to the audition, he thought to himself, “God, I do suck.” But the realization was too late. His phone was already being blitzed with calls, first check-ins from friends and family members and then requests for interviews with People and Us Weekly. Soon after, Travis says the LGBTQ+ advocacy group GLAAD (which did not respond to a request for comment on this story) telephoned with the offer of taking action against Idol on his behalf. He thought to himself, “What the fuck did I just do?”

The public reaction to Travis’ off-key rendition of Whitney Houston’s 1993 single “Queen of the Night” is perhaps most succinctly summed up by the title of a YouTube video of the tryout: “American Idol Audition Boy or Girl.” Travis wore bell-bottom jeans in a feminine cut and a white tank top to his audition, pulling his wavy blonde hair behind his ears. Simon Cowell, infamously the harshest critic among the show’s original trio of judges, appeared horrified by the sight of Travis, his mouth agape. After Randy Jackson, the panel’s swing vote, kicked things off by asking the contestant to say “something interesting” about himself, Cowell asked, “That’s necessary, is it?” Cowell proceeded to stop Travis in the middle of his performance, which he called “confused.”

Travis has come a long way since Idol. After pivoting to a successful career in gay porn under the name Kirk Cummings, he retired from the adult entertainment industry and now works as a dog groomer, a profession he finds peaceful. But even 19 years later, he finds the footage of his audition tough to watch. As he left the studio in tears, editors added the theme music to The Crying Game, the 1992 film that uses the sight of a trans woman’s body to shock viewers. Today, Travis presents as male and uses masculine pronouns, but at the time of his audition, he had hoped to someday transition. He even had his new name picked out: Kelly. When he was incarcerated, others would try to dissuade him from pursuing a future as a trans person by telling him that it’s a “really hard life,” and Idol seemed to prove them all right.

“I thought, ‘Wow, if this is how my life’s going to be, then I don’t want any part of it,’” he says. “My experience is not the normal experience of a trans person, but because I had chosen to be on a television show, I saw the worst of it.”

Open cruelty is no longer part of the Idol brand, now that the show is in its second run on ABC after Fox canceled the long-running program in 2015. The series, like much of contemporary reality TV, now trades on positivity, and the annual tradition of airing bad auditions has long been discontinued. But during the height of its popularity in the 2000s, schadenfreude was a major part of the show’s appeal. While launching the careers of instant household names like Kelly Clarkson and Carrie Underwood, Idol was also the show where tens of millions of viewers watched Cowell tell Season Three contestant Heather Piccinini that she’s “ugly” when she sings and belittle Season Five’s Crystal Parizanski for overtanning; he even pulled Parizanski’s mother into the room to humiliate the contestant further. The show’s June 2002 premiere, in which Cowell advised a young woman to sue her vocal coach, made it clear what Idol would be selling.

That feed-them-to-the-lions approach made Idol the number-one program on TV six years running, the longest stretch at the top in broadcast history — but the show tended to prey on its most vulnerable contestants, perhaps unwittingly. Idol producers were forced to issue an apology after Cowell compared Season Six hopeful Kenneth Briggs, who has facial malformations due to Aarskog Syndrome, to a “bush baby.” Season Five’s Paula Goodspeed took her own life outside judge Paula Abdul’s home in 2008 after Cowell criticized the contestant’s metal braces following a performance of the Creedence Clearwater Revival/Ike and Tina Turner standard “Proud Mary.” Goodspeed was reportedly an obsessive stalker who changed her given name in tribute to Abdul, and the contest judge publicly criticized Idol’s producers for not doing more to protect her, saying she alerted them to Goodspeed’s behavior prior to the audition. (A spokesperson for the show did not comment on Abdul’s accusation at the time.)

Among those most targeted by Idol’s alleged abuses were anyone who was outside of the norm, as defined by the extremely narrow standards of Bush-era popular culture. This often included contestants who were experiencing mental health issues, individuals with disabilities, people of color, and plus-size singers like the late Mandisa Huntley, the Season Five contestant of whom Cowell infamously asked: “Do we have a bigger stage this year?” But Idol enjoyed a particularly contentious relationship with the queer contestants who hoped that the series would offer their big break into an unforgiving industry, many of whom had only started to come to an understanding of their LGBTQ+ identities. In another exchange condemned by GLAAD, Cowell told Travis’ fellow Season Five hopeful Charles Berry, who now is an out gay man, to shave off his beard and “wear a dress,” saying that he would make a “great female impersonator.”

Keith Beukelaer, whom Cowell famously called “the worst singer in the world,” knew immediately after his Season Two audition that it would end up being broadcast. “It’s something that I don’t know if I ever fully recovered from,” he says. “I remember it as if it was yesterday.” A devoted Madonna fan, he performed “Like a Virgin” in a green mock-turtleneck sweater, gyrating his body in sync with the song’s suggestive lyrics. Beukelaer has come to understand himself as having Asperger’s Syndrome, although he didn’t have the language for it at the time, and he came out as gay a few years after appearing on the program. He still struggles with the notoriety that his brief appearance on Idol brought, the decades of mockery that followed six minutes of air time.

Cowell did not return multiple requests for comment for this story. Neither did Jackson, longtime host Ryan Seacrest, or Idol creator Simon Fuller — who based the show off his own U.K. series Pop Idol, which aired from 2001 to 2003. But a source close to the production, who requested not to be named in this story, defended the show by affirming that “every single person who came on Idol, whatever their race, color, creed, or sexual preferences, was placed squarely in the firing line for Simon’s barbed critiques.”

[...]

What was a queer paradise for some, however, was a nightmare for others. Of those who spoke on the record, many say that Idol effectively forced them into the closet, and they believe it’s because the show was fearful that an openly queer contestant would alienate the show’s largely conservative viewership.

[...]

There was no rule saying that queer contestants couldn’t discuss their personal lives, but some singers say that Idol made it clear that some things were best kept secret. R.J. Helton, who uses they/them pronouns, went back into the closet and started dating a woman before they auditioned for Idol’s first season, hoping to make their family happy. Helton’s parents always envisioned that they would become a pastor or a Christian music artist, and when Helton’s boy band, the Soul Focus, went their separate ways, competing on Idol felt like a logical next step. Having recently broken things off with their fiancée, not wanting to live a lie, Helton began seeing their Idol stand-in during the season. Although they kept the romance a secret from producers, Helton says the other contestants knew. “None of them cared,” they say. “It was the first time that I felt accepted by a group of people.”

Idol producers never found out about the relationship, but the stakes were nonetheless made clear when executive producer Nigel Lythgoe, the show’s most influential creative voice, pulled Helton aside after seeing them exchange a friendly peck on the cheek with a male member of the crew. “Listen, we love you,” Helton says the producer told them. “We think you’re great, but let’s continue on the sweet side, with the Christian boy thing.” In their on-camera interviews and stage performances, Helton says they tried to tone down their natural ebullience, “butching it up” and staying as quiet as possible. A team of publicists, they recall, followed Helton everywhere “because they didn’t want me to break character.”

In an email to Rolling Stone, Lythgoe asserts that he “never stopped any contestant from coming out” and says he “never would have done so.” “I did work with a number of individuals who, sadly, were struggling with issues around coming out, and I provided feedback that was very common at the time: that they should let their talent do the talking and not allow others to denigrate them based on their personal lives,” he says. “If anyone was hurt by my advice on those issues, I can only apologize, but I only ever wanted to help and support the wonderful young people who competed on the first seasons of Idol, several of whom, tragically, were torn between a desire to live their truth openly and a great fear about how they would be treated on returning home by their families, by their communities, and even by God.”

Helton, now with the clarity of hindsight, wishes they’d had the confidence to present their full self to America. After being dropped from their record label following a 2006 interview in which they came out as gay, Helton recently came to the realization of their nonbinary identity. “I know it was a different generation, but there are parts of me that think: ‘If I could have worn a gorgeous evening gown with a full beard, I could have won,’” Helton says. When producers would tap them on the shoulder to remind them, “Hey, we don’t talk about this,” it made Helton scared of losing the only affirmation they’d ever had. “As a young person, that really plays with your psyche, especially when you’re not used to the spotlight, loads of fans, or the money. You just do what you’re told. I don’t know if that’s selling your soul to the devil, but it did feel like that. They lifted me up, put me on a pedestal, and told me that the pedestal will only be there as long as I play this part.”

Helton’s fellow Season One cast member Jim Verraros has spent years in therapy working to unlearn many of the unfortunate lessons he says Idol taught him, namely that it wasn’t OK to be himself. That education began with the Pygmalion-esque makeover given to the show’s aspiring superstars: Idol immediately traded in his nerdy aesthetic — wiry glasses and jean jackets with the collar popped — for a generic rock look, sleeveless vests with leather cuff bracelets. He got contacts, lowered his voice half an octave, and put away what he calls the “theatrical and stage part of me that comes also from having deaf parents and being expressive.” “It comes at a cost,” he says. “When you’re told that you aren’t enough — or that this version of you doesn’t work — you spend a big part of your life taking parts away from you so that you can achieve those dreams.”

Although Verraros made the Top 10 of his season, he struggled with the role created for him, and the miscasting of a nebbishy gay Midwestern boy as a conservative-friendly heartthrob led to friction with the show’s creative team. Former co-host Brian Dunkleman, who emceed Idol’s first season alongside Ryan Seacrest, says he overheard Cowell and Randy Jackson discussing plans to directly target Verraros, hoping to get a strong reaction out of him that they could film. “We’re gonna nail Jim,” he recalls the judges saying as they were having coffee in an Idol break room. Cowell tended to reserve his harshest critiques of the show’s inaugural cast for Verraros, and following that discussion, he told the contestant live on air, “I think if you win this competition, we would have failed.”

Idol did get the emotional reaction it sought from Verraros in a scene that ultimately landed on the cutting-room floor. Prior to the announcement of the season’s Top 10 finalists, Dunkleman says that Cowell informed the contestants they would be using the “judges’ veto” to oust one of them from the show. “Jim, you’re out of the competition,” Cowell told Verraros, prompting the young singer to burst into tears. (That’s when Dunkleman recalls that Lythgoe came over and instructed everyone to sing a modified version of the Monkees’ “Daydream Believer” to brighten Verraros’ spirits. “Cheer up, sleepy Jim,” fellow contestants sang together in unison.) For reasons that are unclear, Lythgoe opted to backtrack on the judges’ decision, Dunkleman says, allowing Verraros to move forward to the next round after all. “Later that night, I was at dinner and I got a pretty frantic message from Nigel saying, ‘Look, there’s been a change. Jim is back in the competition. Just please don’t tell anybody about anything that happened today,’” Dunkleman remembers. “And then the next night he made the Top 10.”

Those incidents, Dunkleman adds, played a major role in his decision to part ways with Idol, calling the program “evil.” He also recalls that a judging panel needed to be refilmed so Cowell could call Helton a “loser” instead of a “monkey.” “That’s what it was,” he says of Idol. “It was about how mean they were. It was about how shocking this was and how much they were making fun of these singers.” He isn’t sure, though, why the show singled Helton and Verraros out in particular. “Is it conscious targeting or is it subconscious? That kind of undertone, maybe they weren’t even aware of it.”

[...]

AMERICAN IDOL often strained to fit queer contestants into an instantly recognizable mold that producers could market for the widest possible audience. Simon Cowell declared that he would quit the program if Sanjaya Malakar, an affable Season Six hopeful with a perpetual smile, won the competition. Malakar, who is half Bengali and performed with the Hawaii Children’s Theater during his time living in Kauai, was unlike any singer the show had ever seen. He was earnest and goofy, striding up to the judges’ table to dance with Paula Abdul during a performance of Irving Berlin’s “Cheek to Cheek.” He also straddled the lines of gender, flat-ironing his chameleonic locks for a winsome cover of John Mayer’s “Waiting on the World To Change.” After weeks of all but begging viewers to vote Malakar off the show, Cowell commented regarding the latter song: “Maybe it’s your hair that’s keeping you in. I don’t know.”

Malakar came out as bisexual many years after Idol was over, finding himself after taking a job at a karaoke bar in New York where he found freedom in anonymity. What was hardest for Malakar to navigate, he says, was not the constant scrutiny from Idol’s judges but the vitriolic reaction from fans. A MySpace blogger vowed to stop eating until Malakar was sent home, although the contestant outlasted the hunger strike, which ceased after 16 days. The website Vote for the Worst, which urged fans to subvert the Idol system by keeping on its quirkiest and most divisive contestants, took up Malakar as a personal cause.

Looking back, Malakar believes that it’s the ambiguity of how he presented that bothered people so much. The judges and viewers just couldn’t figure him out because, as a 17-year-old kid who hadn’t graduated high school yet, he hadn’t figured himself out. “There was no way to really understand how to define me,” he says. “They didn’t know what culture I was. They didn’t know what sexuality I was. They didn’t know what genre I was. I was this anomaly that made people uncomfortable.”

The queer singers who had the most painful time being reshaped by the Idol system were those who stood out the most, whether they were flamboyant and over-the-top in their performance style, like Malakar, or their gender presentation skewed toward the effeminate. Season Eight runner-up Adam Lambert — who declined to speak for this story, citing his shooting schedule for The Voice Australia, on which he is a judge — has said that queer contestants who didn’t have the ability to hide were used by Idol as “comic relief.” “Anytime someone came on the show that was perceived to be gay or it was obvious enough that they were gay, they were a joke,” he remarked to the British music magazine NME in a 2018 interview. He added: “To be fair, some of them weren’t great singers, but there were a couple of really good singers that came on. And they weren’t taken seriously.”

To illustrate his point, Lambert noted the example of Adore Delano from Seasons Six and Seven, who would later contend on the reality competition show RuPaul’s Drag Race. Delano declined to participate in this story, but in a 2023 Instagram video publicly announcing her transition, she said that she went back into the closet to compete on Idol. Appearing on the show led her to suppress her transness in order to present herself as “something that was so uncomfortable,” she recalled. And yet her effervescent femininity couldn’t be contained: During her second appearance on Idol, she performed a sassy rendition of “Jailhouse Rock” by Elvis Presley that Cowell deemed “hideous” and “verging on the grotesque.” Delano was ultimately eliminated from the Top 16 after a performance of Soft Cell’s queer anthem “Tainted Love” that Cowell declared “absolutely useless.” She dyed her silky hair purple for the number.

Like Delano, Atlas Marshall auditioned for Idol twice, making it to the Top 36 in Season Eight and then trying out again for Season 16. Both experiences were extremely fraught. Following a performance of Meat Loaf’s “I’d Do Anything For Love (But I Won’t Do That)” during her first appearance on the show, Cowell looked at Marshall and remarked, “I think you probably would.” Even as a guileless 18-year-old with frosted emo bangs and angel-bite piercings, Marshall realized it was a “loaded comment.” “The joke around that song is that it’s about anal sex,” she says. After the audience booed Cowell’s remark, Ryan Seacrest, then the show’s sole emcee, invited Marshall to come sit on the judge’s lap, but Paula Abdul intervened and beckoned the contestant to rest on hers instead. Marshall was voted off Idol the next day.

[...] Marshall’s mother, who recently passed away, was a lesbian, and she raised her child in a queer household where it was OK to be “open, flamboyant, and fabulous,” as Marshall recalls. Being taught by Idol that the outside world might mock the parts of herself she was taught to embrace was a rude awakening. “For so long, there was a lot of shame around it,” she says of her first Idol experience. “I felt gross. I didn’t like myself.”

[...]

While the team behind Idol’s current iteration did not offer a comment on the record, the source close to the Fox production contests the idea that the show stopped contestants from expressing their most authentic selves, while adding that “coming out might have damaged certain contestants’ chances for success.” “No one ever prevented anyone from doing so, but there was often a sense — right or wrong — that it would be better if the American public’s vote was based more on their judgment about the performers’ talent rather than their sexual orientations,” the source says.

[...]

Although it would feel convenient to point the finger solely at Idol, the show at its peak reflected America’s culture as much as it defined it. When the series premiered in 2002, polling from Gallup showed that 43 percent of the U.S. populace still thought homosexuality should be illegal; Lawrence v. Texas, the Supreme Court ruling that struck down sodomy laws in the 14 states where gay sex was still illegal, wouldn’t be issued for another year. A majority of Americans wouldn’t support the right of same-sex couples to marry until 2011, during Idol’s tenth season on the air. That was also, coincidentally, the first season not to feature either Paula Abdul or Simon Cowell on the judges panel. Abdul, hailed by sources as a major supporter of queer contestants behind the scenes, parted ways with the program after Season Eight. Cowell left the following year to launch the U.S. spinoff of The X Factor, the British singing competition he created in 2004.

[...]

For all the troubles that some queer contestants say they had on the show, many argue that Idol’s missteps paled in comparison to how cruelly they were treated by the rest of the media, the music industry, and even America at large. Idol voters eliminated Season Seven’s David Hernandez the week after an Associated Press story revealed that he had previously worked as a dancer at a Arizona strip club that catered to a “mostly male” clientele. By that time, photos that allegedly showed Hernandez bartending at a gay nightclub had already been published on Vote for the Worst, although Hernandez says the pictures weren’t even of him. He says that Idol was already well aware of his work history by the time the reports surfaced, as he disclosed the information in the extensive questionnaire the show required contestants to complete; spanning over 100 pages in length, it also asked singers to name their past sexual and romantic partners.

[...]

The media persecution of queer Idol contestants was so de rigueur during the show’s imperial era that few even questioned it. Jim Verraros’ coming out in 2002 prompted a two-page spread in the Globe, a U.S. supermarket tabloid, asking: “Who’s Next?” Chatter surrounding Adam Lambert’s sexuality made the New York Times after photos circulated of the singer, eyes covered in makeup and glitter all over his face, locking lips with another man. Following the Season Two finale, Clay Aiken says that the first question that he was ever asked by a reporter was: “Are you gay?” He wouldn’t formally come out until a 2008 People magazine cover story coinciding with the birth of his son, and for years, he says, confirmation of his sexual orientation “was the only thing that anybody in the press wanted” from him. “I never did an interview where somebody was not trying to ask me if I was gay,” he says, later adding: “Everybody wanted to be the one who got it.”

Aiken says that speculation regarding his sexuality reached such a fever pitch that, for a time, he stopped leaving his house. Even then, there was no hiding from it: “If I heard anybody setting up a gay joke on a sitcom or a late-night show, I held my breath because I knew my name was coming. Eighty percent of the time I was right.” The topic was a frequent punchline of late-night host Jimmy Kimmel, who frequently booked Aiken to appear on his show, and comedian Kathy Griffin spent a full 15 minutes discussing Aiken’s sexuality in a 2005 stand-up special on Bravo. “I do find him to allegedly be the gayest man in the free world,” she said in the routine, calling him “Gayken” to hearty applause from the crowd. Even two years after he had actually come out, a Season Eight episode of Family Guy saw Stewie, during a parody of Family Feud, being asked to name a “popular fruit” and responding: “Clay Aiken.” “I laugh at them now,” he says of the jokes, noting that he calls Griffin a friend. “I find them hilarious now, but at the time, it hurt a lot.”

Full article here

#american idol #clay aiken #adam lambert #simon cowell is a bag of dicks #suicide tw

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rainbowskittle · 1 year

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My theory (or hope 🤞🤞) for season 7 is still the couch theory.

Sooo I feel like they knew the show was probably going to end. Since Oliver shared something like they didn’t know until few minutes before the rest of us ABC picked them up (THANK YOUUU! It be so sad if it ended!) … So with that I’m thinking they made the ending where Buck tells Natalia let’s go get a new couch. Or something right? Like they knew if it ended at least Buck will get a new couch. Sooo I’m hoping now that they know (once strike is over.) they will be back now. Sooooo I hope for season 7 Buck and Eddie are moving in together, which leads to the famous blue couch into their new place. Then they sit down and kiss on it after it’s moved in. Christopher walks in and does the tween groan at his parents kissing making both guys laugh and pull apart. Christopher sits in the middle with both his dad and Buck his bonus dad on the couch. Then it fades out to show how Buck and Eddie got together. Like how they do the rewind 12 hours earlier or something. But this could be couple months ago or even weeks or days haha. Don’t get me wrong I love Buck’s loft but yeah for Buckley Diaz Family next step is moving in together, being boyfriends, having Tarlos over in their new place, and other friends laughing around the couch. Can even do a montage just Buckley Diaz Family on the couch in their new place. Playing video games again, eating dinner Buck made as a movie plays, tickle fights, sharing kisses, drinking beer as Christopher watches a tv show, … etc !

Sooooo please Ryan Murphy, Oliver Stark, Ryan Guzman, ABC… and anyone else involved with BUDDIE make them

CANON! ❤️‍🔥❤️‍🔥❤️‍🔥❤️‍🔥❤️‍🔥❤️‍🔥❤️‍🔥

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1americanconservative · 9 months

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We received about 20 inches of snow this week. So……….

8:00 am: I made a snowman.

8:10 - A feminist passed by and asked me why I didn't make a snow woman. 8:15 - So, I made a snow woman.

8:17 - My feminist neighbor complained about the snow woman's voluptuous chest saying it objectified women everywhere.

8:20 - The gay couple living nearby threw a hissy fit and moaned it should have been two snowmen instead.

8:22 - The transgender man / woman / person asked why I didn't just make one snow person with detachable parts.

8:25 - The vegans at the end of the lane complained about the carrot nose, as veggies are food and are not to be used to decorate snow figures.

8:28 - I was being called a racist because the snow person is white. 8:30 - I used food coloring to make the snow person a different color and be more racially inclusive.

8:37 - Then I was accused of using a black face on the snow person. 8:39 - The middle eastern gent across the road demanded the snow woman be completely covered.

8:40 - The police arrived saying someone had been offended.

8:42 - The feminist neighbor complained again that the broomstick of the snow woman needed to be removed because it depicted women in a domestic role.

8:43 - The 'council on equality' officer arrived and threatened me with eviction.

8:45 - TV news crew from ABC showed up. I was asked if I know the difference between snowmen and snow-women? I replied "Snowballs" and am now a sexist.

9:00 - I was on the news as a suspected terrorist, racist, homophobe, and sensibility offender, bent on stirring up trouble during difficult weather.

9:10 - I was asked if I have any accomplices. My children were taken by social services.

9:29 - Far left protesters offended by everything, marched down the street demanding that I be arrested.

9:45 - The boss called and fired me because of the negative association with work that had been all over social media

10:00 - I cry into my drink because all I wanted to do was build a snowman...

Moral: There is no moral to this story. It is what this world has become because of a bunch of snowflakes.

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911bts · 1 year

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I am not here to debate the finale episode because I like that you keep it to the facts. I was just wondering, I see a lot of people complaining about KR. Does ABC have the power to remove her as a showrunner or can they influence her choices for the show direction? I am clueless about how TV business is structured.

"Can they influence her choices for the direction of the show"

I need everyone to understand that we don't know what goes on behind the scenes.

We don't know what choices are being made by who. There's levels of people who have their hands in what the show does. Kristen isn't the top of the food chain. She's in the middle. Here's an article that breaks down her role.

She makes choices, but so do the network, creators, and producers.

In fact, we don't want the network influencing decisions. The role of showrunner is in part to try to make sure that the networks (and co) don't interfere with the creative directions of the show and fight for it when they do. At the end of the day, the network and such have the say, though.

So we truly don't know who makes what choices, but the showrunner is the one who will always get the blame. If it's a network decision, they won't say, because it could burn bridges easily.

(And before someone says well xyz interview, please remember this is all about business. When someone does an interview, their intention is to promote the show. It's something they're generally getting paid to do. They're gonna do what makes their bosses happy.)

Anyways, none of this is trying to be pro or against anything, but it is to say, consider the possibilities and the way of the industry.

#anon #answered

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mydaddywiki · 11 months

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M. Emmet Walsh

Physique: Husky Build Height: 5'10" (1.78 m)

Michael Emmet Walsh (March 22, 1935 – March 19, 2024; aged 88) was an American character actor who appeared in over 200 films and television series, including small but important supporting roles such as Earl Frank in Straight Time (1978), the Madman in The Jerk (1979), Captain Bryant in Blade Runner (1982), Harv in Critters (1986), and Walt Scheel in Christmas with the Kranks (2004). He starred as private detective Loren Visser in Blood Simple (1984), the Coen Brothers' first film for which he won the Independent Spirit Award for Best Male Lead.

With his paunchy physique, retreating hairline, ruddy hangdog face, and flat but chilling cadence, Mr. Walsh made a name for himself as one of America’s pre-eminent and hardest working character actors in the business. More importantly, He wasn't shy about taking his clothes off in front of the camera as there are many television shows and movies where he has done so. Like in Straight Time in which he's handcuffed to a fence in the middle of a busy freeway, then gets pantsed and left there with his ass out to see for passing traffic. Look closely and see some backsack!

While flesh fiends of the world will probably lament the lack of flesh shown from Walsh in the decades since the 2010s. Nonetheless, his acting career has continued to flourish both on the boob tube and silver screen. You can see him as a silver fox in recent flicks like Shifting Gears, Change in the Air, Faith, Hope and Love, Raising Buchanan, Knives Out, The Mimic and The Immaculate Room. TV series with Mr. Walsh include Sneaky Pete and The Righteous Gemstones. We wish this dude would shed those pants and underwear and show off his righteous gemstones sometime in the very near future!

Walsh died from a cardiac arrest on March 19, 2024, at the age of 88, three days before his 89th birthday. He is survived by his niece, nephew and two grandnephews. I have been in lust with this man for longer than I can remember, but realistically it wasn't until at least 1996. I know little about his private life, just that he never married and most likely straight. I will not speculate about his private life either. I am secure in the knowledge that he loved me and was going to marry me. He just didn't know any of that yet.

RECOMMENDATIONS: (1970) The Traveling Executioner - Rear nudity. (1978) Straight Time - Rear nudity. Starsky and Hutch (TV Series) - The Action (1978) - Shirtless. (1982) Fast Walking - Shirtless, full frontal, rear nudity, sex scene. ABC Afterschool Specials (TV Series) - The Woman Who Willed a Miracle (1983) - Shirtless pool scene. (1984) Missing In Action - Shirtless bed scene. (1984) Scandalous - Shirtless bed scene. (1992) Killer Image - Shirtless scene. The Outer Limits (TV Series) - The Refuge (1996) - Open shirt. (2001) Christmas in the Clouds - Shirtless shower scene. (2007) Big Stan - Shirtless scene. (2007) Man in the Chair - Shirtless scene. (2019) South of Bix - Shirtless scene.

And that’s not including some with him just in his underwear.

#m. emmet walsh #mydaddywiki actors

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thewolvesof1998 · 11 months

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Tagged by:@pirrusstuff @hoodie-buck @disasterbuckdiaz @jesuisici33

shuffle your ON REPEAT playlist and list the first 10 songs

Vampire by Olivia Rodrigo

Blame The Moon by Hazlitt

What Was I Made For? By Billie Eilish

The Middle by Jimmy Eats World

Dylan’s Dad by Gene Fontanella

Homesick by Noah Kahan

Bad Idea Right? By Olivia Rodrigo

Put It On Me by Matt Mason

We’re All Gonna Die by Joy Oladokun and Noah Kahan

La Vie en Rose by Con O’Neill

your top 15 favorite tv shows can say a lot about your personality

Our Flag Means Death

9-1-1

Julie and the Phantoms

Heartstopper

Star Wars The Clone Wars

Legend of Vox Machina

Vampire Academy

Heartbreak High

Star Wars Rebels

Stranger Things

Sense 8

The Last of US

Sons of Anarchy

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Good Omens

Tagging (no pressure): @wikiangela @wildlife4life @eddiebabygirldiaz @spotsandsocks @try-set-me-on-fire @loserdiaz @bekkachaos @buddierights @forthewolves @911-on-abc @hippolotamus @i-ghostgirl @mrevanpumpkinley @sammy-souffle @chaoticgremlinwholikescheese @eddiediaztho @your-catfish-friend @exhuastedpigeon @911onabc @shitouttabuck @daffi-990 @bigsistersyndrome @fortheloveofbuddie @steadfastsaturnsrings @mangacat201 @theotherbuckley @eowon @rainbow-nerdss @ladydorian05 @watchyourbuck @king-buckley @buckleyobsessed @evanbegins @smilingbuckley @giddyupbuck @nmcggg

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kwebtv · 1 year

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Mark Goddard (born Charles Harvey Goddard; July 24, 1936 – October 10, 2023) Film and television actor who starred in a number of television programs. He is probably best known for portraying Major Don West in the CBS series Lost in Space (1965–1968). He also played Detective Sgt. Chris Ballard, in The Detectives, starring Robert Taylor.

In 1959, after just three weeks in Hollywood, he landed a role in the CBS Four Star Television series Johnny Ringo, having played the character of Cully, the deputy to Don Durant's character of Ringo. At this time, he changed his name to Mark Goddard at the suggestion of his friend and mentor Chuck Connors of The Rifleman. Goddard appeared as Norman Tabor in the 1960 episode "Surprise Party" of the CBS anthology series The DuPont Show with June Allyson. He was cast as Sheldon Hollingsworth in the 1960 episode "To See the Elephant" of the ABC Western series The Rebel, starring Nick Adams. He played Tod Rowland in the 1960 episode "The Mormons" on Dick Powell's Zane Grey Theatre. Goddard also appeared in The Rifleman as Marty Blair in 1962 in the episode “Mark’s Rifle.”

The Detectives, another production of Four Star Television, was a hit series which ran on ABC and NBC from 1958 to 1961; Goddard was signed for a role lasting three years (64 episodes). In 1963, Goddard appeared as Roy Mooney on the Perry Mason episode "The Case of the Potted Planter". In 1964 Goddard appeared as Richard on The Virginian in the episode titled "The Secret of Brynmar Hall." That same year he guest starred as a wild killer named “Boyd” in the episode “Journey For Three” on the TV Western series Gunsmoke (S9E36).

Goddard's next role was Major Don West on Lost in Space (1965–1968). A blossoming romance initially existed between West and Judy, the elder daughter of the Robinson family, but by the middle of the second season, West maintained an adversarial relationship with the hapless, sociopathic Dr. Zachary Smith

Goddard guest-starred on three ABC series, The Fugitive, The Mod Squad, and The Fall Guy and for a while, moonlighted as a Hollywood agent. In 1970, Goddard co-starred with Kent McCord and Martin Milner in an episode of Adam-12, in which he plays a friend of Pete Malloy (Milner), who is killed in the line of duty. The episode was titled "Elegy for a Pig" (so titled and announced by Jack Webb himself). Mark Goddard also played Ellie May's beau on the Beverly Hillbillies. Goddard played a supporting role in a 1974 episode ("Dark Legacy") of CBS's Barnaby Jones.

In 1979, Goddard starred as Ted Clayton on One Life to Live and as Lt. Paul Reed on The Doctors. Later, he starred as Derek Barrington on General Hospital. (Wikipedia)

IMDb Listing

#Mark Goddard #TV #Obit #Obituary #O2023 #Johnny Ringo #The Detectives #Lost in Space

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thislovintime · 2 years

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Peter Tork, Davy Jones, and Micky Dolenz with Ben Savage, Rider Strong, Jeff Sherman, Danielle Fishel, and Rhino managing director Harold Bronson on the set of the Boy Meets World episode “Rave On” (aired on November 17, 1995). Photos by ABC Photo Archives/Disney General Entertainment Content via Getty Images, and unknown.

“‘I’ve sung Monkees songs all my life,’ quips Tork, 53, between chomps of a candy bar on the ‘Boy Meets World’ set in Hollywood. ‘I had almost forgotten how [to sing other songs]. I have never sung anything else in 30 years. In the shower, I sing nothing but Monkees songs. The same songs over and over. I sing all the parts. That’s all I ever sing.’

Well, not really. In fact, Tork released his own album this year, ‘Stranger Things Have Happened.’ ‘It’s kind of middle-of-the-road, up pop,’ he says. ‘Micky and [ex-Monkee] Mike Nesmith sing backup on a couple of songs. If it isn’t available in your local record store, you can get it by calling 1-800-Not-Ribs-0!’

In the ‘Rave On’ episode, Cory (Ben Savage) and Eric (Will Fredel) enlist the help of three of their parents’ friends (guess who?) after their plans to combine an underground party and a surprise wedding anniversary party backfire.

‘I was in the show last year playing the same character,’ says Tork, who plays Jedidiah, the father of Cory’s love interest, Topanga (Danielle Fishel). Dolenz also has previously been on the series as family friend Gordy.

‘My thing is I am, like, some guy who shows up [that] the parents had met 20 years ago,’ offers Jones, 49. ‘I sort of, like, house crash.’

The reason?

‘I’m here to protect you,’ he says wryly.

‘He’s the eldest, you see,’ pipes in Jones. ‘You probably figured that out.’

Yes, your birth dates were printed on the back of your first album, ‘The Monkees.’

‘They lied [about my age],’ Tork confesses. ‘They lied because they didn’t want anybody 24 [in the group].’

‘I didn’t realize that,’ says Jones, the youngest. ‘What’s your name again?’

‘George Harrison,’ Tork deadpans.

[...] The trio still seem to exude the goofy chemistry that endeared them to millions of teeny-boppers in 1966. Sitting in the empty bleacher area of the darkened sound stage, the group jokes and banters around. Though Tork has already chatted with the set visitor, he’s decided to sit in with Dolenz and Jones.

So what’s it like to be performing together and not playing the Monkees?

‘That’s all I have ever done in my life is to play a character,’ replies Dolenz, 50, who sports a tiny ponytail. ‘The Monkees was a character I played.’

‘No! No!,’ Tork retorts. ‘You were that character.’

Dolenz looks up at Tork. ‘Are you going to do this interview for me?,’ he says with mock disdain. ‘Thank you.’

‘I am here to keep the record straight,’ Tork says with a smile.

‘I always approached [the Monkees] as a part I was playing,’ Dolenz says. ‘I remember Bob Rafelson, the director and creator, talking about it and the original brief on my part was Jerry Lewis. They wanted a Jerry Lewis-type. They wanted a Huntz Hall-type. They wanted a Will Rogers-type.’

‘And,’ Jones interrupts, ‘a Peter Tork-type.’

‘You’ve got to remember, the reality was that the Monkees was not a band,’ Dolenz continues. ‘But a TV show about a band. We became a band in every sense of the word. But we do a lot of acting. Peter just did a thing on “Wings,” didn’t you?’

‘Yep,’ Tork replies. (Tork’s appearance as himself on ‘Wings’ airs Tuesday.)

‘I just did “The Love Bug” for a movie-of-the-week,’ Dolenz says. ‘I’m doing a series for USA called “Pacific Blue” where I play the mayor of Santa Monica. I’m also directing.’

Though Jones isn’t a big fan of sitcoms, doing ‘Boy Meets World’ is ‘a fabulous way of getting exposure’ for their upcoming 30th-anniversary tour.

‘What I find so incredible,’ Dolenz concludes, ‘is the entire project only lasted two years. I have had dinner parties that were longer than the original project. And here we are!’” - Los Angeles Times, November 12, 1995

“The networks and studio then (stupidly) told me the Monkees appearance was not be ‘an event’ for them unless I could get all four. Did I mention networks can be stupid? They ordered me to enlist Mike Nesmith, too. Micky had warned me this would never happen, but I valiantly tried; called Mike Nesmith at home. He listened to my pitch and, after a rather long moment of silence, in his slow Texan drawl, he flatly told me, ‘I'd really rather not.’ Micky explained that, for years, Mike was not very anxious to appear as a Monkee -- he'd moved on. [...]

Maybe a half-hour before our evening taping, out of the corner of my eye, I saw a tall, lanky fellow with dark glasses and big sideburns slip by me and into the dressing room area. Michael Nesmith had shown up! All four of the Monkees were here in the same place -- for the very first time in years and years. I could see them through the little window to the area, shaking hands, hugging, laughing. Unbelievable!

As a major Monkees nut from when the show originally aired on NBC, this was dreamlike. I couldn't figure it out. Mike told me there was no way he wanted any part of this. My friend, Harold Bronson, who co-founded and was running Rhino Records (and arguably the biggest Monkees fan in the world, next to me), explained to me that Rhino had recently re-released all the Monkees albums on CD and they had all gone multi platinum. Because the guys were all going to be gathered, he invited Mike down to take photos with Davy, Micky and Peter backstage on our set with their platinum records!

My boss, Michael Jacobs, found me gawking through the window, slapped my back and said, ‘Sherm? Go get him!’ He said that Mike Nesmith was physically here in this building and, as a producer, it was my duty to go get him to appear with the other guys. I explained, again, that Nesmith had turned us down. He repeated, ‘Get! Him!’ He literally pushed me through the door.

Sort of awestruck and scared at the same time, I paced up to the four guys. Micky saw me and said, ‘Hey Jeff, come meet Mike!’ I came over, shook his hand and introduced myself as the fellow who'd called him a couple of weeks ago. He stared at me a beat, then half nodded. Mike went back to talking to Micky and the guys. It was very warm between all of them. It was truly beautiful. I heard them talking about maybe going into a rehearsal hall together, ‘See what we sound like,’ Mike said.

My mouth dropped open. This was rock 'n roll history and I was standing right there witnessing it. All the guys were really into it, started making plans of when and where. I didn't want to interrupt this, sort of backed away. Turning, I saw my boss staring at me through the window, insistently pointing at Mike. I took a deep breath, walked back up. Mike slowly turned to me. I said something like, ‘So, Mike, you know we're shooting the show in a couple of minutes. Since you're here and since it would be such an incredible --’

‘I'd really rather not,’ he twanged. He stared me down, then returned to chatting with Davy, Micky and Peter about an out of the way rehearsal hall he knew about where no one would bother them. I backed out of the room, through the swinging door and Michael Jacobs said, ‘Well?!’ I explained that Nesmith did not want to be on our show. Michael explained that no one ever wants to do these things, but it was my job as a producer to get back in there and convince him. Two network people walked up and seconded that.

Fearing my job was on the line, I took a deep breath and went back in. Covering my abject fear and loathing with a nervous grin, I slowly walked back up to the guys who were all excitedly talking about meeting up and jamming. Micky, then Davy, then Peter saw me nearing again. I never got a word out. The last one to turn, very slowly and deliberately, was Mike Nesmith. Laser beams were shooting from his eyes through my soul. He slapped his knees, slowly stood WAY up and said one last time, definitively, slowly and with a deeper tone -- ‘I'd... really... rather... not.’ I think I maybe whimpered ‘'K,’ gave a wimpy finger salute and somehow escaped from the room.

Emerging again, my boss, the network folks and now our entire staff moved back from watching me through the portal. ‘Well!?’

‘He'd... really rather not,’ I sighed, and hurried off to look for something to drink and update my resume.

The rest of the night was dreamlike. The whole week was, in fact. It was electric rock 'n roll literally and emotionally in that t.v. studio. Great laughs, great energy. Everyone there knew this was a rare and special night. Even the moments with actor Dave Madden (Manager ‘Reuben Kincaid’ from The Partridge Family) were huge laughs. Everything was perfect.

Nesmith never did appear on the episode, but it was incredibly thrilling to see Micky, Davy and Peter perform live together. They sang live to playback tracks they'd recorded together earlier in the week -- and YES -- they really played and sang and REALLY PLAYED AND SANG amazingly at the session. I was there. What great musicians and vocalists they were together. What classic interplay and rhythm in their acting, as well! The episode was incredible and got huge, huge ratings. [...] I hope people will go back and watch the ‘Rave On!’ episode -- and think -- Mike Nesmith was just maybe 50 feet away!” - Art Brodsky, Huffington Post, March 4, 2012

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perfectlyfinespacebacon · 9 months

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my roman empire: shows of tv past

sometimes at night or even in the middle of the day, i think about all the unanswered and unfinished stories from cancelled tv shows. i petition that once they cancel a show they have to do sit down interviews to tell you what would've happened if the show continued. ones that immediately come into mind (that i've watched because there are literally too many to count):

the society (definitely the one that keeps me up the most)

warrior nun

the wilds

the secret circle

everything sucks

first kill

stumptown

prodigal son

1899

icarly revival

the royals (this needed to end though because of the showrunner)

stitcher

fate: the winx saga

the family (the one that was on abc)

finding carter

star-crossed

teenage bounty hunters

cloak and dagger (sort of...)

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emeraldspiral · 2 months

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IDK if this is a Mandela effect or what but I very distinctly recall there being a TV movie biopic about Tr*mp back when he was mainly known as the guy from The Apprentice, and which ends at the point where he was approached about creating The Apprentice. I could swear I remember Topher Grace starring as Tr*mp. But whenever I try to look it up it doesn't show up in his filmography and all the search results are about Topher being in Blakkklansman or going on two dates with Iv*nka in 2009.

The only other detail I really remember is there was a montage in the middle of the movie set to this specific remix of "Puttin' on the Ritz" which was the first time I ever heard that song.

youtube

On a related note, I am fairly certain the same network that produced that biopic also did a Martha Stewart biopic. I believe it came out at the time when she was still serving her sentence for insider trading, so the movie ended with someone talking to her about investing in Enron.

I'm pretty sure I remember watching these movies at my mom's house, and outside of a very brief period of time when we had cable the only channels we got were NBC, FOX, UPN, PBS, ABC, and maybe one or two others.

Does anybody else remember either of these movies?

#topher grace #martha stewart #has this become lost media #or did i get topher confused with a different actor #Youtube

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margaret-hilda-thatcher · 6 months

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🎙Today I figured I’d compile a Top 10 of my favourite Margaret interviews, with a bit (or a lot) on what I loved about each of them 🫶

Let me know whether you have any favourites that weren’t included!

1. TV Interview for Yorkshire Television Woman to Woman (02/10/85)

https(:)//youtu.be/Bzof-se9VKo?feature=shared

No notes, 10/10, golden buzzer, etc. For starters, I love love love Miriam Stoppard. The two were already acquainted due to Margaret being friends with Miriam’s husband, so that must’ve contributed to this absolute banger of an interview. She has a lovely voice, is very respectful, and extremely skilled at making Margaret open up without being intrusive. This felt less like a series of questions and more like a heart-to-heart. It chronicles her childhood, university years, marriage, and early political career, whilst providing loads of insight into the circumstances which have shaped her into who she is (the frugality of her upbringing being one of them). It’s really rare to get an extended and candid recollection of her personal life directly from the source (she herself has said that she was neither introspective nor retrospective, yet here she manages to be both) so if you don’t know much about her or have only ever consumed a one-sided narrative, I’d 100% recommend watching this.

Favourite quote: “Women always somehow, if they are left to cope, can cope. The whole world can be falling around your ears and someone will get up and carry on.”

2. TV Interview for ITN (28/06/91)

https(:)//youtu.be/L9H5nGDVfQ8?feature=shared

This was her first time opening up about her resignation - which had occurred eight months earlier over the course of a week - and I thought it was very interesting to hear her perspective on how things went down. I can't think of another occasion when she went into this much detail about it apart from the DSY memoir and the 1993 Breakfast with Frost segment. I generally like Michael Brunson and he’s one of her recurring interviewers so she must like him too. I don’t love how eager and pushy he came across at certain times here (eg: asking her to elaborate further on situations when she wanted to move on) but I think he did a solid job overall. If you're unfamiliar with the events, I'd advise you to first go watch the statement she made in Paris upon finding out she hadn't received enough votes to avoid a second ballot, then the confidence motion in the House of Commons, then her last speech outside of Downing Street, and THEN watch this interview. You'll not only have a lot more context but it also goes to show how much strain and internal struggle she was enduring, all the while appearing composed in public.

Favourite quote: “What you've done well, you're relieved about. It's a matter for relief, not for crowing."

3. TV Interview for ABC News This Week with David Brinkley (1983)

https(:)//youtu.be/wPUMEn9gJBs?feature=shared

This is literally a masterclass on how to quietly dominate and lead an interrogation while being outnumbered by your interviewers. She was being questioned about the Middle East conflicts by three men who were clearly hoping to disarm her, but she was so self-assured and unbothered that it made their sternness look silly. There's another iconic interview in the same style from her first visit to the Soviet Union but I cannot for the life of me find it without the Russian dubbing. Whoever DM's me the original version will be named in my will.

On a superficial note, I'm obsessed with how she looked in 1983 specifically. While my favourite era for her fashion is the '90s, her hair and face in 1983 were - in my opinion - at their most stunning, and this interview is the best example of that.

Favourite quote: "I'm not quite sure about the significance of your second question. It seems strangely put."

4. Life & Career of Margaret Thatcher (09/03/91)

https(:)//www.c-span.org/video/?17011-1/life-career-margaret-thatcher

This one took place during her visit to the US for the Presidential Medal of Freedom. I love Brian Lamb’s style of asking intentionally broad questions and diminishing his own presence in order to let his guests shine, something many interviewers lack the humility to do. There's a quote of his that says: "Too many interviewers try to make us think they're smarter than the person they're interviewing. I assume I'm not smarter, and if I am smarter, I don't want the audience to find out." The complete interview is 30+ minutes and he maybe talks for a total of three - as is his habit. In turn, it gives her room to speak at length with no pressure. Considering she had a reputation amongst media members for being a feisty interviewee, it's nice to see how relaxed she is when she's not feeling like she's about to be interrupted or challenged in bad faith. I imagine this would be particularly interesting to watch if you’re American because she touches on the differences between the UK and US system (in terms of the role of the monarchy, the parliamentary debates, the government's accountability to the public, etc.) If you're someone who feels strongly about her privatisation policy, I'd also advise watching this because she does go into detail as to why it was needed, especially regarding the broadcasting industry.

Favourite quote: “Some of the press who opposed me most vigorously would never have existed but for my policies of increasing liberty and getting rid of restrictive practices and enabling them to start up. But they then opposed me. So what? That's life.”

5. TV Interview for Thames TV Afternoon Plus (01/06/81)

https(:)//youtu.be/CFY6e2r2_hA?feature=shared

This was an interview that employed three different formats: the typical face-to-face questioning by the main journalist, then a pre-recorded vox pop of working-class people talking about their situation with Margaret having to comment on them, and then a live studio audience of career women there to debate her about various issues. I love this system because it showed how skilled she was at spontaneously handling any question/complaint. I think it was probably also beneficial for her to see and hear about the tangible effects of her policies in a context other than getting yelled at by protestors on the street. It was a much more productive way of connecting her with everyday people and letting their voices be heard. I also like that she talked about how difficult the task of cabinet reshuffling was (contrary to the common belief that she was sacking her ministers for sport).

Favourite quote: “If you put yourself in the front line you must expect to be shot at.”

6. TV Interview for Channel 4 A plus 4 (15/10/84)

https(:)//youtu.be/saA-gfBqpqw?feature=shared

This was her first official interview after the Brighton Bombing and I’m so admirative of her for doing this despite how traumatic it must’ve been to revisit the events. She seems eerily calm here and I don't know how much of it is shock and how much is genuine serenity but either way, she spoke very well as per usual. The interviewer seemed sweet and well suited to cover such a sensitive topic in my opinion. She also did a great job at bouncing back on replies and making the conversation flow seamlessly. They got the stuff about terrorism out of the way pretty quickly and then moved on to usual topics (mostly unemployment, and the role of business owners in creating jobs), which I felt was the best way to handle it as opposed to dragging it on for the full 30 minutes. Then she answered questions sent in from members of the public, which covered a range of stuff from her scientific background to capital punishment. Overall I like that she got to have a talk that wasn't wholly focused on the attack but also got to say what she wanted to say on it.

Favourite quote: “The sun was just coming through the stained glass windows and falling on some flowers right across the church and it just occurred to me that this was the day I was meant not to see."

7. TV Interview for BBC1 Val meets the VIPs (05/03/73)

https(:)//www.margaretthatcher.org/document/208941

This one merges two of my favourite things: her interacting with a live audience, and her interacting with children. A lot of politicians (and adults in general) tend to take a patronising approach when talking to kids but I loved how she treated them with the same seriousness as any other interviewer, and made sure to give heartfelt, detailed replies. While the questions are naturally more basic than the likes of which she would normally receive, she does a great job at elaborating on each, and therefore I found this interview as interesting and revealing as any other. The fluidity and eloquence with which she speaks is also absolutely lovely to listen to, as is the case for all of her 1970s appearances.

Favourite quote: “Some women are very argumentative, you know, and might even win.”

8. TV Interview for Canadian TV (CBC TV) The Journal (27/09/83)

https(:)//www.cbc.ca/player/play/1662159934

Once again... 1983 my beloved. I remember being obsessed with this interview a few years ago largely because of her smudged eye makeup (intentional or not). The main theme here was national defence, and I loved her comments on why nuclear weapons were a necessary evil (she talked about that in much more detail with Robin Day in 1987 if it's something you're into). They also talked about trade unions and her attitude towards strikes. I actually quite enjoyed how argumentative the interviewer was, just enough to counter Margaret's points without coming across as stubborn. It's interesting to me that this interview is apparently iconic in Canada for being "explosive" and for the two "clearly hating each other" because I didn't get that impression at all? They obviously disagreed fundamentally but I've seen interviews where both Margaret and the journalist were much more aggressive (the Brian Walden fiasco, hello???) This one felt cold at most, but not *that* combative. Years later Barbara Amiel described the whole exchange as "rather like watching a pretty lizard mistakenly programmed to kill a mongoose" which I admit is a pretty funny way to put it, and also applicable to anyone who tries to confront Margaret 😭 (While we're here, daily mantra that Barbara Amiel is a disgrace to both journalism and womankind 🫶)

Favourite quote: “The day when this country, or any country, departs from old nostrums it will first have to decide what it’s going to put in their place.”

9. TV Interview for BBC1 My Favourite Things (07/01/87)

https(:)//www.youtube.com/watch?v=qeU_H6prrF8

This is truly such a wholesome one, and I find the concept so unique. Basically what it says on the tin, the interview is structured around her favourite things. She'll have objects or people that she picked beforehand, and then explain why she loves them, like a little show-and-tell 🥹 It's everything from sculptures to poems to paintings, and she will tell a story about the influence that it has had on her life, and then the journalist will ask related questions to keep the interview moving. It's one of the longer ones, which is great because I love to hear her expand on topics that she personally loves. She doesn't talk about herself very often so it's so nice to hear about small things like her nightly routine or how happy doing wallpaper makes her. It's also educational to watch even if you don't particularly love or know her because she knows a lot of historical facts about people like Michael Faraday, so you'll definitely still learn things!

Favourite quote: “The Good Lord is no respecter of backgrounds. Never has been. He plants genius the world over. It is up to us to find it.”

10. KERA, a conversation with Margaret Thatcher (1991)

https(:)//youtu.be/Gbiohe_Baks?feature=shared

Finishing off with this purely for my own nostalgia because it was one of the first (if not the first) interviews of hers that I ever watched. It's not particularly special or different from the ones mentioned above but she talks a bit about the importance of a classical education (learning Latin and Greek, as well as memorising poetry) which I found pretty interesting. The interviewer was well-versed about her subject and had clearly prepared very thoroughly, which Margaret pointed out, and they seemed to get along really well.

Favourite quote: “In my case, you just had to have a star to steer by.”

#margaret thatcher #historical figures #history #uk politics #politics #interviews #ranking #journalism #top 10

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ptbf2002 · 11 months

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here's My Top 10 Favorite Cartoons From France (Or I Should Say That Cartoons Produced Or Animated In France)

#10 Little Spirou

#9 Monster Buster Club

#8 Robotboy

#7 SamSam

#6 The Garfield Show

#5 Zig And Sharko

#4 Sonic Boom

#3 Magiki

#2 Angelo Rules

And #1 Oggy And The Cockroaches

Honorable Mentions: Boy Girl Dog Cat Mouse Cheese, Nate Is Late, Molang, Sally Bollywood, Team Galaxy, A.T.O.M Alpha Teens On Machines,

Original Template: https://www.deviantart.com/el-crany-racha-da/art/Top-10-Favorite-French-Cartoons-962082542

Little Spirou (TV Series) (2013) Belongs To Jean-Richard Geurts, Philippe Tome, Virginie Jallot, Dupuis Editions & Audiovisuels, Araneo Belgium, LuxAnimation, Belvision, Dreamwall, OUFtivi, Radio-télévision belge de la Communauté française (RTBF), Télétoon+, CANAL+ S.A. Groupe CANAL+ S.A. Vivendi SE, M6 Kid, M6 (TV channel), Metropole Télévision S.A. And Groupe M6

Monster Buster Club Belongs To Vincent Chalvon-Demersay, David Michel, Designstorm Animation Studio, Marathon Animation, Marathon Media Group, Zodiak Kids Studios France, Banijay S.A. Image Entertainment Corporation, Mystery Animation, TF1, Groupe TF1 S.A. Jetix Europe N.V. Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company YTV, YTV Canada, Inc. And Corus Entertainment Inc.

Robotboy Belongs To Jan Van Rijsselberge, Digital eMation, Inc. Monigotez, Carbunkle Cartoons, Gaumont Animation, Gaumont Film Company, France 3, France Télévisions S.A. LuxAnimation, Splash Entertainment, LLC. Cofinova 1, Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Discovery Europe, Middle East & Africa, Warner Bros. Discovery International, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

SamSam Belongs To Serge Bloch, Blue Spirit Studio, Sinematik, Bayard Jeunesse Animation, Grupo SM, Araneo Belgium, France 5, France Télévisions S.A. Gulli, Canal J, TiJi, Metropole Télévision S.A. And Groupe M6

The Garfield Show Belongs To Jim Davis, Philippe Vidal, Infinite Frameworks Pte. Ltd. Tiger Bells Animation Pvt. Ltd. Paws, Inc. Nickelodeon Group, Paramount Media Networks, Inc. Paramount Global, Dargaud Media, Mediatoon Distribution, Les Éditions Dargaud, France 3, France Télévisions S.A. Cartoon Network, Boomerang (TV network), The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Zig And Sharko Belongs To Olivier Jean-Marie, Armada TMT, DongWoo Animation Co. Ltd. Xilam Animation, TF1, Groupe TF1 S.A. CANAL+ S.A. Groupe CANAL+ S.A. Vivendi SE, Gulli, Canal J, TiJi, Metropole Télévision S.A. Groupe M6, Super RTL, RTL Deutschland GmbH And RTL Group S.A.

Sonic Boom Belongs To Yuji Naka, Naoto Ohshima, Hirokazu Yasuhara, Evan Baily, Donna Friedman Meir, Sandrine Nguyen, Infinite Frameworks Studios, SEGA Corporation, SEGA Sammy Holdings Inc. OuiDo! Productions, Technicolor Animation Productions, Lagardère Thématiques, Jeunesse TV, Gulli, Canal J, CANAL+ S.A. Groupe CANAL+ S.A. Vivendi SE, Metropole Télévision S.A. Groupe M6, Boomerang, Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Magiki Belongs To Eryk Casemiro, Cyril Deydier, Pegbar Animation, Animasia Studio, Rainbow S.P.A. Paramount Media Networks, Inc. Paramount Global, DeAgostini Publishing Italy S.P.A. DeAgostini Editore S.P.A. DeAKids, DeA Junior, DeAgostini S.P.A. DeAPlaneta Kids And Family, DeAPlaneta Entertainment, Télé Images Productions, Zodiak Kids Studios France, Banijay S.A. Ketchup TV, KidsMe S.R.L. Gulli, TiJi, Metropole Télévision S.A. Groupe M6, Frisbee, Switchover Media, Discovery Italia S.R.L. Discovery Networks Italia, Discovery Networks EMEA, Discovery Networks International, Discovery, Inc. And Warner Bros. Discovery, Inc.

Angelo Rules Belongs To Sylvie De Mathuisieulx, Sebastien Diologent, TeamTO, CAKE Entertainment Ltd. France 3, France 4, France Télévisions S.A. Télétoon+ CANAL+ S.A. Groupe CANAL+ S.A. Vivendi SE, Expand Drama, Super RTL, RTL Deutschland GmbH, RTL Group S.A. International Rheingold Productions, Cartoon Network (Middle Eastern and African TV channel), Turner Broadcasting System Europe Limited, WarnerMedia EMEA, Turner Broadcasting System International, WarnerMedia International, WarnerMedia & Warner Bros. Discovery, Inc.

Oggy and the Cockroaches Belongs To Jean-Yves Raimbaud, Big Star Enterprise, Armada TMT, Digital Emation, Inc. Neon Pumpkin, DongWoo Animation Co. Ltd. Gaumont Multimedia, The Gaumont Film Company, Xilam Animation, France 3, France Télévisions S.A. CANAL+ Family, CANAL+ S.A. Groupe CANAL+ S.A. Vivendi SE, Gulli, Canal J, Metropole Télévision S.A. And Groupe M6

8 notes · View notes