#TELEVISION SHOW MARK ANDREWS

[callmebrycelee]

9-1-1 REACTION

This week’s episode marks the 100th episode for 9-1-1 and it is a total banger! I figured nothing could get better than Bobby and Athena trapped inside an upside-down cruise ship, but this week’s episode walked up to the bar and said, “hold my beer”. If you’re reading this, you know exactly why this episode is truly *that girl* and I promise you we’re gonna talk about those last 4 minutes and 23 seconds that had us collectively clutching our pearls, pillows, and pets and left us with nary a hair on our scalps. We’ve got a lot of ground to cover so let’s not waste another second. This reaction is for the season 7, fourth episode “Buck, Bothered and Bewildered” which originally aired April 4, 2024. The episode was written by Andrew Meyers and Bradley Michael Marques and directed by actor turned directed Chad Lowe. Spoilers ahead!

“She has anthrax! Or glitter.” – Bachelor Producer, to everyone

We start things off at the Bachelor mansion where we see real-life runner up of season 20 of The Bachelorette and star of season 28 of The Bachelor, Joey Graziadei. I have never seen an episode of The Bachelor, but I have watched the first two seasons of VH1’s Flavor of Love so I’m quite familiar with the concept of a bunch of women competing for the affections of one man. The opening to this episode does a great job of parodying the hit ABC dating and relationship reality television series while also being respectful. After all, the show and it’s many spin-offs are beloved by many, including 9-1-1 viewers. 

We see a handful of hopeful contestants pull up to the mansion in limos, each of them providing a cheesy introduction very reminiscent of RuPaul’s Drag Race and the Real Housewives. I love that two of the contestants are named Ashley because of course there would be two Ashleys cast in the same season of a show like this. My favorite contestant, however, is Ashley A., a flight attendant who looks like she just stepped out of the one-season wonder Pan Am starring Christina Ricci, a pre-Barbie Margot Robbie, and Mike Vogel. Now that I think about it, wasn’t Pam Am an ABC show?

The last contestant arrives with a bottle of glue and introduces herself as Conchata. Joey is all of us and asks her about her name because for those of you who haven’t seen the episode, this woman is the whitest shade of pale and is the last person I expect to have the name Conchata. The producers (played by Jamie Denbo and Rique) scramble behind the scenes trying to find out who this woman is because she is definitely not Conchata. The contestant comes clean about who she really is and introduces herself (again) as Bailey, an aesthetician from Sheboygan, Wisconsin. She takes the bottle of glue and pours it all over the cobblestone driveway. She then lies flat on the driveway in attempt to glue herself to the surface. Our two producers attempt to remove her, but her skin has adhered to whatever glue she poured on the ground. 

Cue title card.

“I love dalmatians.” – Ashley C., Bachelor contestant, to Evan Buckley and Eddie Diaz

Our favorite 911 dispatch, Maddie, gets a call from the season 5 bachelor and host of The Bachelor, Jesse Palmer. We learn Maddie and Josh (played by Bryan Safi) are uber fans of the show and I cracked up when Josh commandeered the phone call and started grilling Jesse about the new bachelor. Maddie deploys the 118 to the Bachelor mansion and it’s heavily insinuated the location of this particular emergency is outside of the area the department usually responds to. Way to keep it professional, you guys!

The 118 arrive on the scene and Chimney and Hen attend to Bailey (played by Sarah Fletcher). Chimney sees Joey and he is awestruck. I can totally see he and Maddie piling up on the living room sofa after they’ve put Jee-Yun to bed to watch The Bachelor. There’s a funny moment where the other contestants flirt heavily with Eddie and Buck. Eddie tells them he’s taken but points to Buck and says that he is single. Buck tells them he has a rule about not dating people he meets on calls which is hilarious considering he nearly got fired in the first episode of the series for taking one of the firetrucks to a booty call with a woman he saved. 

Eddie and Buck breakout the jackhammer to cut away the piece of driveway Bailey is stuck to so she can be transported to the nearest hospital. Meanwhile, Chimney answers a FaceTime call from Maddie and Josh who want to know the identity of the latest bachelor. Chimney flips the camera around and tries to be sneaky about filming Joey, but he gets caught. He ducks behind the limo Bailey pulled up in and sees another woman passed out in the backseat. We learn this is the real Conchata and she has been chloroformed by Bailey. Speaking of Bailey, as she is loaded into the ambulance, she yells for Joey to visit her in prison. Yeah, I don’t think Joey Graziadei is going to be visiting you, Bailey.

“That night was the most fun I’ve had since getting struck by lightning.” – Evan Buckley, to Tommy Kinard

We next head over to Air Operations One which I’ve learned is a part of the Los Angeles Fire Department. Tommy Kinard (played by Lou Ferrigno Jr.), our former 118 firefighter turned helicopter pilot, is giving Buck a tour of the unit. I got so excited seeing these two share a scene together because it’s no secret that Buck is my favorite character on the show, and I really like how they’re brought Tommy back into the show this season. Buck is in awe of everything Tommy’s telling him, but the latter believes he has ulterior motives for being there. He asks if Buck is thinking about changing career paths. Buck tells him that he really got a thrill flying in the middle of a hurricane to save Bobby and Athena. It’s the most fun he’s had since getting struck by lightning. 

Buck asks Tommy what got him into flying. Tommy tells him that he used to be a pilot in the Army. Buck lights up and tells Tommy that Eddie was in the Army, too. Tommy already knows this. Buck then tells Tommy that he met his ex (Taylor) responding to a helicopter crash and then realizes in that moment that maybe that was a sign of things to come. Tommy agrees that saving someone’s life and dating them never turns out the way you want it to. Upon second (and third) viewing of this episode, I find it interesting how the both of them are ambiguous about the genders of the people they are speaking about. Buck could’ve mentioned Taylor by name, but he chose to just say ex instead. Now back to the topic at hand, Buck says he isn’t sure if he’d want to leave where he is now to pursue being a pilot and Tommy assures him he can do both which seems to be the thesis of this episode. Tommy offers to teach Buck how to fly for fun. Buck offers to buy him a beer and Tommy says he’d love that. Again, how did I not pick up on the subtle flirtation the first time I saw this episode. These two’s chemistry is off the charts. 

However, our little meet cute is cut short when Eddie arrives. Eddie is surprised to see Buck there and asks Tommy if he got three tickets to the fight. Tommy says ‘no’ but he wishes he did. Here’s another thing I really liked about this scene. I’m sure, by now, Tommy knows that Buck goes by Buck but each time he addresses Buck he calls him ‘Evan’. I’ve always equated the characters on this show who refer to him as ‘Evan’ as having more of an intimate connection with him, i.e., Maddie his sister or Eddie his best friend. Anywho, Buck is surprised to learn that Tommy and Eddie have tickets to a big fight in Vegas and they’re taking one of the helicopters there. Now I have a question. If Buck wasn’t allowed to drive the firetruck to his hookups back in season one, how is Tommy flying to Vegas with Eddie in one of the LAFD choppers okay? Also, I didn’t know helicopters could fly that great of a distance. Anyway, Tommy and Eddie leave to board the helicopter and our poor Buck is left behind feeling both a little confused and a lot jealous.

“It is so good to have you back.” – Athena Grant, to Harry Grant

Speaking of surprises, Athena does not sleep with her hair wrapped. No shade, but no Black woman I know is going to lay her head down at night without doing something to protect her hair. Okay, I’m gonna leave Athena alone because she is thrilled to have her son back home. Yes, you read that right. Harry Grant is back home but he looks a bit different. The character is now aged up played by a new actor – Elijah M. Cooper. Now, in case you forgot, Harry went to live with his dad in Florida back in season five and we really haven’t seen him since then. When Athena says she can’t believe Michael didn’t say anything about Harry coming to visit. Harry tells her his dad has been really busy and had to fly back to Haiti. Bobby is immediately suspicious of this because he figures that Michael would’ve called about something like this. Athena doesn’t seem to concerned about any of this and is basically just happy to have her youngest back under her roof. 

“I saved a baby in a pipe once although it was a preemie and it didn’t speak.” – Evan Buckley, to everyone

Meanwhile, Buck, Eddie, and Ravi (played by Anirudh Pisharody) respond to an emergency at a restaurant where the dishwasher (played by Jibre Hordges) claims he hears a voice coming from inside the sink. Ravi doesn’t think it’s possible that someone could be trapped inside a drain but Buck reminds him of the time he pulled a newborn out of a sewer pipe. The firefighters do finally hear someone yelling for help and the restaurant manager (played by Cesili Williams) shows them footage of a motorcyclist being struck by a car and knocked into a storm drain. 

Buck, Eddie, and Ravi head outside and Ravi, being the newest member of the 118, is lowered down into a manhole to extract the poor guy. During this time, Buck grills Eddie about his outing with Tommy. He learns that in addition to going to Vegas, Tommy is also teaching Eddie the Muay Thai style of boxing and they’ve even worked on Eddie’s Chevelle together. Buck does his best to hide his jealously, but he can’t help pressing his best friend for more details. He asks Eddie when he plans on seeing Tommy again. Eddie tells him that Tommy has this karaoke/trivia thing he does on Wednesdays and asks Buck what his plans are for that day. Buck perks up and says his schedule is wide open. Eddie asks if he would watch Christopher for him. He would ask Marisol, but she’s already watched Christopher twice already. Yikes! So, a lot to unpack here. First, is Eddie using his girlfriend as childcare? Second, does this mean Buck’s level of importance to Eddie has decreased now that Tommy and Marisol are in the picture. Lastly, is Eddie really that oblivious? I get wanting to have a new friend, especially one who you have a lot in common with, but he knows Buck, or rather he should know Buck, and him saying these things, even though Buck technically asked him for this information, is hurtful for Buck to here. This, I’ve noticed, is a continuing trend of certain characters getting upset whenever Buck does something wrong, but having little to no regard when it comes to his feelings. This isn’t the first time Eddie has done something like this and I have to believe that he really is oblivious because the alternative means that he’s doing these things because he’s trying to get his friend all riled up. Of course, Buck agrees to watch Christopher because of course he’s going to watch Christopher. 

“Is it circled with a heart around it?” – Maddie Buckley, to Evan Buckley. 

A few days later, Buck updates Maddie on Eddie’s new friendship with Tommy. Buck is so jealous of the new friendship that he’s gathering intel from Christopher. Although Buck is being a little bit extra about all of this, a part of me can relate to the emotions he’s feeling. He worries that Tommy has made such an impression on not only Eddie but Christopher in such a short period of time. What I find fascinating is that while Buck is jealous, he harbors no ill-will towards Tommy.  In fact, he agrees with Eddie and Christopher. Tommy is cool. Buck tells his sister that Christopher would not stop talking about Tommy. Maddie wonders if it’s because Buck kept asking him questions about Tommy. Buck mentions that Eddie has a date written down on his calendar and it’s for a weekly pick-up basketball game with Tommy and other first responders. The date is circled. Buck mentions that Eddie has asked him to this before. Maddie reminds Buck that he doesn’t like basketball and he agrees and says that’s why he always tells Eddie ‘no’ but now Eddie is going with Tommy. Chimney hears the tail-end of their conversation and tells Maddie that Tommy flew Eddie to Vegas for a fight in a chopper. Chimney teases Buck by saying that Tommy’s so cool. 

“We have a problem.” – Bobby Nash, to Athena Grant

Back over at the Grant-Nash household, Bobby tells Athena he talked to Michael. Michael is not in Haiti, and he also had no clue Harry had left and come to Los Angeles which means Harry lied to the both of them. Athena wonders why Harry would lie, and Bobby says it’s because the police is looking for him. They showed up to Michael’s house while he was on the phone with Bobby. Bobby tells his wife that Harry got into a fight and assaulted someone. There’s now a warrant out for his arrest due to him fleeing the jurisdiction. Yikes! Poor Athena. You think you know your kids.

“That’s Jeremy. That’s my son, he’s a doctor.” – Dorothy Nelson, to Athena Grant

Maddie receives a call from an older woman named Dorothy Nelson who is reporting an intruder in her home. Maddie instructs her to stay calm and tells her to find a place to hide until the police get there. The woman panics and tells Maddie she has a gun. Maddie tells her that arming herself can only make the situation she’s in more dangerous. Dorothy starts screaming and then we hear a gunshot. 

Athena, Hen, and Chimney arrive on the scene and find a man dead in the Dorothy’s living room. Chimney tends to her and learns she recently sustained a fall in her garden. Athena looks around the room and sees a photo on the mantle above the fireplace. She realizes the man in the photo looks an awful lot like the dead man on the floor. Hen posits Dorothy has face blindness which means she wouldn’t have been able to recognize the guy even if she does know him. This emergency reminds me of a similar one on Lone Star where a kid locked himself in the bathroom because his dad thought he was an intruder.

Athena goes over to Dorothy (played by Meagen Fay) and asks her if she recognizes the man in the photo. She tells Athena that the man in the photo is her son, Jeremy, and he’s a doctor. So, this lady has killed her own son, and the sad part is, she still thinks that it’s an intruder she shot. This is beyond sad, and I felt so bad for her. I also feel bad for Athena who will have to be the one to tell her the truth. Hen asks her if she can imagine looking into her own child’s face and not even recognizing him. Athena says yes she can.

“That’s how they wake you up in jail for sleeping in. Except the water won’t be clean and it probably won’t be water.” Athena Grant, to Harry Grant

Athena returns home and confronts her son. I did not like the way Harry was talking to his mom and I was wondering why Athena didn’t slap him across his lips. Then I realized, she already did this back in season 5 when Harry started mouthing off at her. Athena is extremely patient in this scene while Harry tells her about the incident involving him assaulting a man. The man, in question, is the manager of a convenience store. Apparently this man was following Harry around while he was inside the convenience store and accused Harry of stealing. The man wouldn’t let Harry leave and got aggressive with him which is why Harry hit him. Harry is upset because he believes she is taking law enforcement’s side over his much like he thinks she did when his father was pulled over several seasons ago. Athena reminds him she is a cop, and he counters by reminding her that he is still his mom. He asks her which one is more important to her but says he already knows the answer to that question. 

“Hey, what are you doing on Thursday?” – Evan Buckley, to Howard "Chimney" Han

Over at the 118, Buck is trying his best to get Eddie’s attention, but the latter is too wrapped up in his phone call with Tommy. Buck tries to impress by bench-pressing a lot of weight but he’s clearly struggling with isn’t too believable for me because have you seen Buck? The guy is a tank! Ravi asks him if he needs help and Buck declines. I wish Buck wasn’t so short-sighted because as much as he wants Eddie and Tommy to notice him, I think Ravi wants Buck to notice him. For him, I think, Buck is the cool one. Chimney brings Buck a package addressed to an M. Buckley which I found funny because either Buck doesn’t have his own Amazon Prime account or maybe he shares one with Eddie and didn’t want his friend knowing what he’s ordering. Turns out, the item Buck has ordered is a new basketball. When Buck sees Eddie again, he suggests that they can get a basketball hoop. Eddie barely acknowledges this before returning to his conversation. Yeah, I’m beginning to think Eddie is doing this on purpose. 

“He was shot when he was mistaken as an intruder.” – Athena Grant, to Dorothy Nelson

Athena puts her cutest outfit and goes to see Dorothy Nelson at the hospital. She rips off the Band-Aid and tells Dorothy her son is dead. When Dorothy asks what happens, Athena tells her that he was killed because he was mistaken as an intruder. I like how Athena delivered this news because it wasn’t accusatory. She lets Dorothy figure out the rest and the moment it dawns on her that she is the one who killed Jeremy she is rightfully devastated. Kudos to the actress playing Dorothy Nelson because she really sold this scene for me. This is the most devasting thing I’ve seen on this show since the story back in season 5 where two best friends were struck during the middle of a parade and one of them died. The scene ends and I’m left wondering what will become of this woman. I can’t imagine the pain she’ll have to live with knowing she killed her son. 

“So, I’m your basketball beard. I feel so bonded.” – Howard “Chimney” Han, to Evan Buckley

Buck convinces Chimney to go with him to the pick-up basketball game. Buck pretends to be surprised to see Eddie and Tommy there. Eddie asks Chimney how he managed to talk Buck into playing basketball because every time he asks him, he says ‘no’. Chimney decides to play coy and tells Eddie he has his ways. I love seeing Chimney being supportive of Buck because very soon they are going to be brothers-in-law. The two square off against Eddie and Tommy and the latter are dominating. Buck lets his jealousy get the better of him and trips Eddie up right as he’s about to make a lay-up. We hear something pop as Eddie falls to the ground. Chimney goes into paramedic mode and assesses Eddie’s injury. He thinks Eddie may have a fracture or sprain. Tommy says that Eddie rode with him, so he’ll be the one to take him to urgent care. Eddie gives Buck a hurt look and Buck immediately feels horrible. Tommy lifts Eddie up and takes him away. Chimney looks at Buck and says, “Well you bucked that up, didn’t you?” Geez, I really feel bad for Buck. He is spiraling!

“It seems unjust, but in reality that’s just the way it is.” – Athena Grant, to Harry Grant

With a cooler head, Athena decides to talk to her son. He apologizes for how he spoke to her. He tells her he is not sorry for hitting the convenience store manager. Athena reminds him that he is not only representing himself and their family, but also his community, which means he can’t go around punching people. He tells her that’s a lot of pressure, but she says that’s the reality of the world they live in. She tells him has to be smarter and he asks her if that means he’s not allowed to be angry. Athena tells him it’s okay to be angry because at the end of the day, he’s a human and that’s what humans do – they get angry when they are upset. However, she reminds him that things could have been worst for him. What if the convenience store manager had a gun? Harry asks her what would have been the right thing for him to do in the situation and I like that Athena admits she doesn’t know. At the end of the day, you have to do whatever you have to do to make it home alive. That’s sentiment is so sad to me but as a Black man living in America, in the South to be specific, I totally get it. It’s not fair but it is what it is. 

Athena shows him the footage of what happened at the convenience store. Harry watches as the manager confronts him and even gets aggressive. He also sees himself punch the man. It’s sobering for him to see this video. He says it’s like watching someone else. Athena tells him that everyone has something they’ve done that they aren’t proud of (you hear that Buck?) but the true test of character is being able to face the consequences of one’s actions. Harry tells her he doesn’t know what to do and she tells him they’ll figure it out together. Whatever happens, she will be right there with him because he is her son, and she loves him no matter what.

“I’m not a fourteen-year-old girl.” – Evan Buckley, to Maddie Buckley. 

Buck brings Maddie lunch at the dispatch center and catches her up on what happened with Eddie.  She asks Buck how Eddie is feeling, and he tells her he doesn’t know because he hasn’t talked to him. Maddie is surprised to hear this considering Buck and Eddie are so close. Buck tells her he doesn’t think Eddie wants to hear from him since he’s the one who hurt him. Maddie says it’s an accident, but Buck tells her he was pissed about Eddie and Tommy hanging out so much that he allowed his jealousy to get the better of him. He’s the reason why Eddie got injured. Buck says he was only trying to get his attention. Maddie tells him that is not the way to get someone’s attention. When I first watched this scene, I thought Maddie was going a little overboard with her disapproval of what Buck did. Then I realized, violence is how her husband Doug would get her attention back when they were married. Buck tells her he feels awful for what he did to Eddie, and she tells him not to do it again. 

She admits she knows how he feels because she had a similar situation with her best friend growing up. Her friend became friends with another girl and Maddie did everything she could, including dyeing her hair blonde and attempting to change her name, to get her friend to notice her. It never occurred to her that she could have still been friends with her friend even if her friend was friends with someone else. Maybe they could have all been friends. But Maddie was too jealous to realize this. The situation made her look desperate, and she would’ve been better off just explaining to her friend how she felt. 

“It’s good to see you Harry.” – Captain Elaine Maynard, to Harry Grant

Athena accompanies Harry to the police station, and they are met by Captain Elaine Maynard (played by Claudia Christian). The captain tells Athena and Harry she spoke with the Miami Dade Police Department, and they have no interest in extraditing for a misdemeanor assault. However, both jurisdictions recommended Harry remain in Los Angeles with Athena and complete 100 hours of community service. Harry is surprised he isn’t going to jail but Athena makes it known that him being under her watchful eye will be worse. 

“It’s not like I could ever replace you.” – Tommy Kinard, to Evan Buckley

Now, we’ve finally made it to my favorite scene of the episode. We head over to Buck’s loft. There’s a knock at the door and when he goes to check, he finds Tommy on his doorstep. Tommy asks if they can talk, and Buck invites himself inside. I love the subtle detail of Tommy being in awe of Buck’s loft. Buck offers him a drink and reminds him that he owes him a beer. Tommy declines and says he won’t be staying long. He tells Buck he wants to clear the air between the two of them and he didn’t want to do so over the phone or through a text message. Tommy calls him Evan and says it was never his intention to cause any bad blood between him and Eddie. Buck assures him there’s no bad blood and owns up to his bad behavior. He tells him that he and Eddie make perfect sense as friends. Tommy agrees and reminds Buck that Eddie can have more than one friend. 

Tommy says that he would never be able to replace him. He says that Christopher cannot shut up about Buck. I love the smile on Buck’s face when Tommy says this because it’s a reminder that Buck, seven seasons later, still craves the approval and the acceptance of those around him. Even Christopher. Buck asks Tommy if Eddie is mad at him. Tommy tells him Eddie is not mad at him. If anything, he feels bad (they both do) for excluding Buck. He tells Buck that he and Eddie hanging out was never about Buck, but Buck says that’s the problem. He admits he can get pretty jealous. I’m so proud of Buck for just owning everything in this scene. Lisa Rinna would be proud. 

Tommy admits that Buck isn’t the only one who’s been jealous. Buck is surprised to hear this. Tommy explains that he’s jealous of what’s become of the 118. When we were first introduced to Tommy, it was back during the ‘Begin’ episodes for Hen, Chimney, and Bobby. The 118 didn’t use to be the family it is now. In fact, the previous captain went out of his way to cultivate a highly toxic environment and it’s because of Chimney, Hen, and Bobby that the team is what it is today. It’s the reason why Buck and Eddie and Ravi were able to be accepted right away without having to be hazed by the other firefighters. Tommy admits he wishes he were a part of what the 118 has become and Buck reminds him that he is. He reminds Tommy of how he made fake mouth static at the fire chief during their daring mission to save Bobby and Athena. Tommy says he’s renowned for his fake mouth static, but Buck says it wasn’t very convincing. The banter between these two men is so cute I could actually explode. Buck tempers his teasing by reminding Tommy that he was willing to put his job on the line to help the rest of them out. That was the moment Buck realized that Tommy was cool and that he liked him. He tells Tommy that’s the reason he called him for the tour. It’s not because he’s thinking about leaving the 118; it’s because he wanted to get to know him. It’s Tommy’s turn to be surprised. Buck says things took a turn when Eddie arrive, but he understands why Tommy wants to hang with Eddie. It was so cute the way Buck gushes about how great Eddie is that he’s known Eddie is great since the first day he worked with him. Aww! At this point, I’m literally yelling at my TV.

“That was better than fake mouth static.” – Evan Buckley, to Tommy Kinard

The flirting is turned up to level 100 when Buck tells Tommy it’s his attention he’s been trying to get and frankly he’s exhausted. Again, Tommy is surprised to hear this. Buck reminds him that he maimed his best friend, and that Maddie told him there are better ways to get someone’s attention. Before Buck can even finish the statement, Tommy leans in and kisses him. There’s a brief hesitation in Buck, most likely because he is shocked, the Buck starts to kiss him back. This moment was beyond shocking to me and even now, three days later, I still have to watch the clip to remind myself that Tommy kissed Buck and Buck definitely kissed him back. I spent years thinking something like this would never happen and I’ve gone back and forth with Buddie shippers online telling them that Buck or Eddie coming out as anything other than straight was an impossibility. Yeah, maybe that was the case when 9-1-1 was on FOX but this is a new network baby and ABC said, let them boys kiss! And yes, it’s not Eddie and Buck that are kissing but in my opinion, this is an even better direction for the characters to go in. I’ve always believed that if either character were to come out as queer, it would be Buck. We’ve only seen Buck in relationships with women, but he’s always struck me as someone who is open to whatever experiences come his way. Perhaps this explains why he's always had difficulty in the relationships he’s pursued on the show. Eddie, on the other hand, is a lot more reserved than Buck and the writers are going to have to put in work to convince me he is anything other than a heterosexual man. I’m not saying it’s out the realm of possibility, but I think the writers did a good job getting us where we are now, and they’ll need to do the same for Eddie in the future should that be the direction they want to go in for that character. Also. bringing Tommy into the equation is a brilliant move on their part because rewatching those ‘Begin’ episodes, there are insinuations there that he may be gay or bisexual. 

Okay, back to the scene. The way Tommy is looking at Buck gives me all the feels. The way he’s looking at Buck tells me that if he didn’t have to leave for his shift, they would be going at it on Buck’s new sofa. I’m so happy this isn’t just a one-sided interest. After the kiss, Tommy asks Buck if he’s okay with the moment they just shared. Buck is looking every bit of the bewildered that’s a part of the title of this episode. He tells Tommy that the kiss was better than his fake mouth static. Tommy tells him he has a shift, but he wants to take Buck out on a proper date. Buck tells him he’s free and man is that statement layered. Free to go out. Free to be who he wants to be. Free to kiss anyone he wants to kiss. Tommy tells Buck he will come around on Saturday at eight to pick him up. Tommy goes to leave but before opens the door, he tells Buck to call Eddie. We end the scene with Buck looking the happiest he’s looked in a long time. 

This episode is hands down one of the best of the series and that’s just not recency bias. I feel that way about all the episodes we’ve gotten this season. 9-1-1 is firing on all cylinders at this point and things feel fresh and new again. The plot with Athena and Harry was perplexing at first but then I grew to like it by the end. I like that the show reminds us that Athena being a Black woman and a cop is controversial, especially in today’s climate, and I like that her kids aren’t afraid to call her out. I love seeing Athena reckon with both identities and how they relate to each other. I especially loved her conversation with Harry because it’s very reminiscent of conversations I’ve had with my own mom. Her telling Harry that it’s unfair that he has to always be on his best behavior but necessary rang so true to me. Athena has always known this, even before she had kids, yet she chooses to continue to work within a system that reinforces this kind of thinking. 

The storyline with Buck was also fun. It was a nice balance to the sadness of the story with the woman killing her son on accident. I like how Buck is never afraid to be vulnerable, even if it’s to his detriment. I hope we get a conversation between him and Eddie next episode because I love their friendship and I don’t want it to ever change, and something tells me Buck is going to lean heavy on his friendship with Eddie now that he might be dating Tommy. And I hope that Eddie continues to be supportive of his friend when he finds out the truth about his sexuality. I don’t think Eddie would have a problem with it. After all, Hen is an out and proud lesbian, and we also have Josh who is gay. I do know that some people do question the legitimacy of bisexual people but again, I don’t think Eddie will have a problem with whatever Buck labels himself as. Maybe we’ll even get a double date between Eddie, Marisol, Buck, and Tommy. That would be fun.

Lastly, I wanted to talk about Buck and Tommy. I think the show did a great job getting us to the moment where they shared a kiss this episode. As I mentioned earlier, I have seen this episode quite a few times and I’ve watched the scenes involving Buck and Tommy more than that. If you watch the scene where Buck is visiting Tommy, there’s so many little looks the two are giving each other. I think at that point that Buck is only infatuated but Tommy is clearly interested. Also, if you go back to the previous episode, at the end once everyone has been rescued, there’s a look Buck gives when he is telling Tommy goodbye. I love things like that and it’s proof to me that this isn’t just gaybaiting or queerbaiting. This is the show telling us that one of their beloved characters is queer and they have taken special care with letting us know that. I love how Oliver Stark and Lou Ferrigno Jr. are invested in this story. In fact, the cast is supportive of Buck going in this direction. I’m so happy that the fans have this moment. It’s been so fun engaging with people online about this episode and while there are viewers who have and will balk at Buck being a queer character, I say screw those people. If a character’s sexuality can make you that upset, you clearly haven’t been watching the show and you’re not a fan.

Okay, this reaction has gone on way too long. I’ll say it one last time. I’m so happy Buck is bi!!!! I can’t wait to see what happens next! Until next time …

#abc 911 #911 abc #evan buckley #tommy kinard #lou ferrigno jr #oliver stark #maddie buckley #athena grant #howard chimney han #hen wilson #bobby nash #eddie diaz #ravi panikkar #buck x tommy #buddie #911 7x04 #blw reactions #buck is bi #911 reactions #bisexual buck

[d-criss-news]

Video: Little Shop of Horrors' Darren Criss on How Howard Ashman Is His 'Roman Empire'

Following his first week of performances as Seymour in Little Shop of Horrors Off-Broadway, Darren Criss (sporting perfectly thematic lime green nail polish) took the time to chat with Playbill about his endless enthusiasm about the role—plus, his musings on the brilliance of the academic undertones of the show's story being set to a timelessly catchy score. 

"I'm just pleased as punch to be part of the legacy that is this show, not just this production, but the legacy that everybody [has] known since the 1980s," Criss shared in his interview with Playbill. 

Prior to his breakout role on the musical television series Glee, Criss was known by his fans not only for his part in pioneering the viral theatre company StarKid Productions, but his YouTube covers of Alan Menken-Howard Ashman standards. For nearly two decades, Criss' deep admiration for the Ashman-Menken theatrical canon has been evident. "It's a very special show because of Howard Ashman. His fingerprint is such a huge part of my own relationship to creativity and he's been a north star in my life for as long as I can remember. As the kids say, he's my Roman Empire," Criss says, referring to a viral TikTok trend where users share the historical event they contemplate at least once a day. And now Criss is singing Menken and Ashman's songs eight times a week at the Westside Theatre, opposite longtime friend Evan Rachel Wood as Audrey.

While the Emmy winner, in some ways, admits that this long-awaited opportunity feels surreal, he is also confident in his ability to handle the material. "As a lover and ravenous consumer of the Ashman-Menken legacy, I have put in the hours of absolutely loving and being invigorated by this stuff stuff that it stands to reason that I could be here. It is surreal, but it also makes perfect sense," he shares.

With such a long-established and beloved role, countless performers have had the opportunity to leave their mark on the role of Seymour, and each interpretation offers infinite possibilities within the larger mold of the character. For Criss, his take on the character is rooted in theatre history.

"In the past few years—I don't know if it's a coincidence, and I don't know what it says about me—I seem to have played a lot of guys that are willing to do anything for greatness," muses Criss. "This is an ancient tale. I think people forget that Little Shop, for all its fun and catchiness, is a Faustian tale. All that very academic stuff is baked into this cake and I think that's why Howard Ashman was a genius. He could really toe that line between academia and accessibility...It is very smart, as fun as it is."

To see Criss' full interview with Playbill's Jeffrey Vizcaíno, watch the video above.

Criss joined the hit Off-Broadway production of Little Shop of Horrors at the Westside Theatre January 30. Wood and Criss succeeds Constance Wu and Corbin Bleu, who played their final performances in the long-running revival January 28.

Criss came to global fame on the Ryan Murphy musical television series Glee, and since appeared on Broadway in How to Succeed in Business Without Really Trying, Hedwig and the Angry Inch, and most recently, American Buffalo. He is an Emmy winner and Golden Globe winner for portraying murderer Andrew Cunanan in The Assassination of Gianni Versace: American Crime Story.

#darren criss #playbill #little shop of horrors bway #little shop of horrors #press #video #feb 2024

[kwebtv]

Steve Lawrence (born Sidney Liebowitz; July 8, 1935 – March 7, 2024) Singer, comedian and actor, best known as a member of a duo with his wife Eydie Gormé, billed as "Steve and Eydie", and for his performance as Maury Sline, the manager and friend of the main characters in The Blues Brothers. Steve and Eydie first appeared together as regulars on Tonight Starring Steve Allen in 1954 and continued performing as a duo until Gormé's retirement in 2009

When he was 18 years old, Lawrence was hired by Steve Allen to be one of the singers on Allen's local New York City late night show on WNBC-TV in 1953, along with Eydie Gormé and Andy Williams. When the show got picked up by NBC to be seen on the national network, becoming The Tonight Show, Lawrence, Gormé and Williams stayed on until the program's end in 1957.

Primarily a singer Lawrence was also an actor, appearing in guest roles on television shows in every decade since the 1950s. After getting his start with Steve Allen's late night show, he was seen in programs such as The Danny Kaye Show; The Judy Garland Show; The Julie Andrews Hour; Night Gallery; The Flip Wilson Show; Police Story; Murder, She Wrote; and CSI.

Lawrence and Gormé starred in the 1958 summer replacement series on NBC, The Steve Lawrence and Eydie Gormé Show. Lawrence made many appearances on The Carol Burnett Show (1967–78), with and without Eydie. The Steve Lawrence Show, with supporting actor Charles Nelson Reilly, ran for 13 weeks in 1965, a variety show that was one of the last CBS television shows to only air in black and white. Lawrence also served as a panelist on What's My Line? (1950–67).

Lawrence played Mark McCormick's father, Sonny Daye, in two episodes of Hardcastle and McCormick. He appeared on The Nanny several times - first as himself in season 2, episode 14, and then as the much-talked about, but never really seen, Morty Fine, father of Fran Fine in a few of the final episodes of the show. In 2011, he portrayed Jack, a wealthy love interest of Betty White's character, Elka Ostrovsky, on Hot in Cleveland. In 2014, he guest-starred in an episode of Two and a Half Men on CBS, and sang the theme song to the parody miniseries The Spoils of Babylon. (Wikipedia)

IMDb Listing

#Steve Lawrence #TV #Obit #Obituary #O2024 #The Tonight Show starring Steve Allen #The Steve Lawrence and Eydie Gorme Show #The Carol Burnett Show #The Nanny #Hardcastle and McCormick

[paralleljulieverse]

70th anniversary of Cinderella London Palladium, 122 performances (24 December 1953 - 6 March 1954)

This month marks the 70th anniversary of a milestone in the early career of Julie Andrews: the opening of Val Parnell's lavish Christmas pantomime, Cinderella, at the London Palladium on 24 December 1953. Cinderella would be Julie’s fifth and final UK pantomime, following earlier runs in Humpty Dumpty (1948), Red Riding Hood (1950) Aladdin (1951), and Jack and the Beanstalk (1952). It was the biggest theatrical production Julie had yet undertaken and it would prove a turning point in the young star's career.

'No Pigtails for Julie'

By 1953, Julie was turning 18 and fast outgrowing the "infant prodigy" label of her early career. Efforts had been made for some time to update Julie's star image with a more mature look and an expanded musical repertoire. Much was made in the press about the new "[g]rown up now (or almost) Julie Andrews" (Bendle 1953: 2). "The tiny pigtailed schoolgirl who at age 13 sang in a Royal Command Performance," remarked one newspaper commentator, "is now a long-limbed attractive young lady who is wearing her first strapless dresses" (Pearce 1954: 6). As an archetypal tale of girl-to-woman metamorphosis, Cinderella was an ideal vehicle with which to advance these transformative ambitions. It not only gave Julie titular 'principal girl' status, but called on her to assume a role of emotional nuance and adult sophistication.

Even Julie's mother, Barbara, is reported to have exclaimed:

“Julie, this is the perfect part for you at the perfect age. It couldn’t have come at a better time in your career" (Andrews 2008: 156-57).

Val Parnell presents...

Underscoring the significance of Cinderella was the fact it was a Val Parnell production. Dubbed 'Britain's Mr. Show Business', Parnell was a hugely influential impresario who dominated the British entertainment scene for many decades. He had started in provincial variety management before progressively rising up the ranks to assume control of the prestigious Moss Empires theatre chain (Bullar & Evans 1950: 219). Later, Parnell would go on to play a significant role in the expansion of the British television industry as General Manager of ATV, the first commercial television network in the United Kingdom (Sendall 1982: 250). Renowned for his astute promotion of new talent, Parnell had been instrumental in launching Julie's career when he cast her in her first professional show at just 12 years of age: the now legendary  Starlight Roof at the London Hippodrome in 1947/48 (Alldridge 1954: 1). Cinderella would bring the two together again for the first time in six years. To hear Parnell tell the story, it was a reunion long in the making.

"From the moment [I] first heard her sing," he declared, I "made a mental note that one day [I] was going to present Julie Andrews as Cinderella." As he explained:

"So many child performers are inclined to be precocious...But Julie was not. She had that appealing simplicity which she still retains. It struck me at the time that she had all the qualities of an ideal Cinderella -- youth. freshness, charm" (Lanchbery 1954: 1).

At the London Palladium

Of all the theatres managed by Parnell, none was more celebrated than the London Palladium, a 2200 seat theatre noted for its opulent architecture and state-of-the-art stage facilities (Woodward 2009). Parnell's adept leadership propelled the Palladium to international acclaim as the most famous variety theatre in the world and a top drawcard for international stars. "To appear at the Palladium is the goal to which every artist strives," noted a 1957 newspaper commentary, "to appear at the Palladium is to have achieved star status!" (Hoddinott 1957: 4). The Palladium was also an important venue for Christmas pantomimes. Under Parnell, the Palladium "became the home of spectacular pantomime" with audiences eagerly anticipating each year's offering (Baker 2014: 219). Parnell applied the same triumphant formula to the humble British panto that he used in his variety revues: a blend of star power, spectacle, and money.

Writing in 1952, Ian Beven chronicled Parnell's studied approach to his annual pantomime at the Palladium:

"Each year...Parnell has tried to produce something bigger and better than the year before...He starts in midsummer, with a bare stage. By the third week in December, he has spent about £25,000 on scenery, costumes, musical arrangements, script, and rehearsals...Running costs of the show are high, as Parnell is prodigal with talent and fills his stage with people, and there are only about 140 performances on which to make a profit; but there is no disguising the fact that pantomime in this manner is a highly remunerative proposition, for there is rarely an empty seat throughout the run" (Seven 1952: 223).

Val Parnell's Magnificent 'Cinderella'

Cinderella would be Parnell's sixth pantomime at the Palladium. It would also be the only fully-staged panto in the West End for the 1953 Christmas season. In a sign of the rapidly changing post-war theatre scene, most of the other major London houses were tied up with long-running musicals and plays, largely imported from America. In addition, arena-style ice spectaculars were increasingly in vogue with a slew of new-fangled pantos "on ice" scheduled for suburban venues, leading some wags to quip that Parnell should call his show "Cinderella on Wood" ('Old fashioned Val' 1953: 6).  While many lamented it as a sign of "the decline and fall of the honoured institution" of the traditional panto, the absence of competition gave Parnell a distinct commercial advantage ('At the Pantomime', 1954: 4). When pre-sales for Cinderella opened in the autumn of 1953, the booking office was inundated and the show would become the theatre's most successful pantomime to date (Alldridge 1954: 4).

It also spoke to Parnell's innate sense of theatrical traditionalism. Though he was certainly not averse to innovation and was quick to adopt state-of-the-art technologies, Parnell was a producer of the old school. He believed in sticking to the tried-and-true and giving audiences what they expected. "Audiences haven't changed at all," he opined, "Certainly not the Palladium audiences. It's the same as it ever was. People go the the theatre to enjoy themselves...My job is to give it to them in bigger and better shows" (Hoddinott, 1957: 4)

True to this crowd-pleasing philosophy, Parnell determined to make Cinderella his most spectacular panto yet. Planning for the show started early in 1953. "I always start pantomime with a bare stage," he declared, "Everything must be new" (Fagence 1958: 4). Heading the production team were two influential figures who were something of righthand men to Parnell: Charles Henry and Charles Reading. Henry was Chief of Production at the Moss Empire chain for over thirty years. During his tenure, he would produce over 200 revues and pantomimes, as well as fourteen Royal Command Performances (Born & Frame 1960: 4; 'Charles Henry' 1959: 1). Known as a canny talent-spotter with an encyclopaedic memory -- Bud Flanagan famously called him "a blinking card index of comedy" -- Henry was fondly remembered by Parnell at his passing in 1968 as "one of the theatre's greatest backroom boys" and "my closest associate" (Evening Standard Reporter 1968: 17).

Reading was an equally trusted majordomo for Parnell. A true theatre polymath, Reading trained as an actor before expanding into production, direction, writing, and design. It was the latter talent that brought Reading initial fame with a series of innovative opera and ballet designs for Sadler's Wells and the Old Vic. He subsequently moved into designing more commercial fare in the West End and, in 1947, was contracted by Parnell as resident designer and production assistant at the Palladium (Barker 199: 20; Vallance 199: 36).

Together Parnell, Henry, and Reading set about staging Cinderella as an unparalleled spectacular. Set and costume design alone was budgeted at over £20,000, which equates to almost £700,000 in today's money (Webster 2013). Reading designed an intricate series of progressively spectacular sets, including a palatial Ballroom, a Cave of Crystal Lustres, and a Palace of Porcelain for the grand finale (V&A 2015).

Famed stage couturier, Robert St John-Roper, designed a complementary suite of costumes including a dazzling ballgown and bejewelled wedding dress for Julie. In her 2008 memoir, Julie recalled the breathtaking splendour of it all:

"Everything about that 1953/1954 production of Cinderella had a certain elegance...The production values on the show were terrific; there were revolving stages, and real white ponies pulling the spectacularly gilded coach...In the grand finale wedding sequence, my crinoline was so huge that I had to arrive backstage dressed in my bodice, sleeves, and petticoat, and walk into the crinoline skirt, which was braced on a stand because it was so bejewelled and cumbersome. The company, Prince Charming, and I were brought up from below stage on a hydraulic elevator, to be revealed in a sparkling white set and costumes for the final tableau" (Andrews 2008: 155-57).

Spectacle, Humour, and Charm

Careful attention was equally paid to the other production elements of Cinderella to ensure a well-wrought work of quality theatrical entertainment. To write the script, Parnell commissioned a trio of talented young writers who were only then beginning to make a name for themselves but who would go on to become giants of British comedy: Eric Sykes, Spike Milligan, and Mike Bishop. Their original treatment hewed closely to the core elements of the well-known fairy story but embroidered with innovations and, true to panto style, comic flourishes.

In the Sykes et al script, the story opens with Baron Pastry of Stoneybroke Hall lamenting that he has fallen on hard times (Stoneybroke...get it?!). He lives with his beloved daughter, Cinderella, and their faithful but hopeless retainer, Buttons who carries an unrequited flame for Cinderella. The Baron announces he has just married a wealthy widow in the vain hope of restoring his fortune. She comes to the Hall with her two unloved and unlovable daughters -- the Ugly Stepsisters, of course -- and they set about making Cinderella's life a misery. The requisite Royal Ball, benevolent Fairy Godmother, and Glass Slipper hunt all ensue before the inevitable happily-ever-after ending (Sykes et al. 1953).

Woven around these well-worn plot points were a series of comic interludes designed to accomodate the pantomime conventions of audience participation and novelty acts. These ran the gamut from a demonic door and a bomb-toting spaceman ("it's behind you") to jive singing footmen and a giant electric washing machine that tumbled a hapless Baron Pastry along with an assortment of oversized clothes (Sykes et al. 1953).

Song and Dance

No pantomime would be complete without music and dance and Cinderella served both in abundance. Overseeing the musical side of things were another pair of Palladium panto stalwarts: Phil Park and Bobby Howell. 

Park had been a star cinema organist during the picture palace era but, following the war, he turned his attention to composing and arranging. It was in this capacity that Park worked frequently for Parnell on his Palladium pantos which he "tailored to the stars appearing in the shows but always preserved the time-honoured tradition" ('Obituary: Phil Park' 1978: 6).

Bobby (aka Bobbie) Howell was a prominent band leader of the inter-war years, touring the cinema and dance circuits. After the Second World War, he became a musical director in the West End, working on a string of successful shows such as Strike a New Note, The Lisbon Story, and Piccadilly Hayride. He also worked as musical director and conductor on many of Parnell's pantomimes, including Cinderella ('Bobby Howell' 1962: 3).

In crafting the musical score for Cinderella, Park and Howell followed typical pantomime form of mixing existing well-known tunes with bespoke compositions. Many of the latter were written by Park including a humorous duet between Cinderella and Buttons (played by Max Bygraves). In this duet, Cinderella fantasises about a romantic future with the Prince, while Buttons humorously interjects with sardonic quips:

Cinders: There's a lady -- and she curtseys, Who she is, I cannot guess. She might be me, except that she Has such a pretty dress. And there's her handsome partner, Who is he, do you suppose? Buttons: All I see's a turkey, With a whopping parson's nose! Cinders: Now I see him very clearly, With a smile upon his face; I'm certain he's a Prince, Because he bows with royal grace. See now he takes her hand, And lifts it gently to his lips! Buttons: He looks like George Dawson, With a plate of fish and chips!

In addition to the duets, Julie had two showcase solos in Cinderella: "Chasing Shadows", a 1935 torch song by Silver and Davis, and "Is it Any Wonder," a lilting pop ballad by Bob Hayes and Roy Rodde which had been a recent chart hit for Joni James. 

Interestingly, both solos were modern pop standards and, thus, a marked departure from the light classical repertoire that had been Julie's stock-in-trade. She did get to do some limited coloratura trilling in the extended Transformation Scene at the climax of Act 1 where Strauss waltzes formed the musical accompaniment, but the strong emphasis on popular tunes was indicative of the strategic shift in Julie's image mentioned earlier.

A number of reviewers remarked that Julie didn't seem to do as much singing in Cinderella as they were expecting. She did, however, compensate with quite a bit of dancing -- more dancing in fact than she'd ever done in a professional context. 

Not only was there the mandatory waltz with the Prince, but Julie had a solo dance early in Act 1. She was also a key part of the pre-intermission ballet sequence. Choreography for Cinderella was provided by Pauline Grant with whom Julie had worked so happily the previous year in Jack and the Beanstalk. Pre-show publicity photos showcased Julie's dance rehearsals with Grant, underscoring her now mature lithe figure and womanly style. 

A Who’s Who of Cinderella

Alongside Julie, the cast of Cinderella was a roster of star names and variety notables:

Max Bygraves as Buttons: Born in 1922 in London, Bygraves was a versatile entertainer known for his Cockney persona, humorous storytelling, and sentimental singing. His endearing catchphrases and relaxed chummy style made him a beloved figure in British entertainment. Growing up in a modest family, he showed early signs of showmanship, encouraged by his prizefighter father. Bygraves left school at 14 and served in the RAF during WWII, where he began entertaining troops. His career took off post-war with various stage and radio appearances, including Educating Archie where he first performed alongside Julie. He made several films in the 1950s and his recordings, often nostalgic or comedic, were hugely popular. He continued performing internationally for many years, eventually settling in Australia. Recognised for his contribution to entertainment, he was awarded an OBE in 1982. He passed away in 2012 (Leigh 2012: 37).

Richard Hearne as Baron Pastry: Born in Norwich in 1909, Hearne came from a family with deep roots in music hall and circus arts, and he started performing on stage as a child. Hearne's career in variety and revue culminated in the creation of the beloved Mr. Pastry, a bowler-hatted, walrus-moustached character that brought him success in West End shows, pantomime, and TV, both in the UK and internationally. His role in Cinderella was effectively an adaptation of Mr Pastry complete with his signature comic dance, "The Lancers". A dedicated philanthropist, Hearne was a very active supporter of handicapped children and was honoured with an OBE in 1970 for his charity work. He passed away in 1979 ('Obituary: Richard Hearne', 1979: 27).

Adele Dixon as Prince Charming: Born in South London in 1908, Adele Dixon was a versatile performer known for her roles in London and Broadway musicals, Palladium pantomimes, and Shakespearean plays. After training at the Italia Conti Academy and the Royal Academy of Dramatic Art, she joined the Old Vic company. There, she shone in roles like Juliet and Ophelia. Dixon's transition to musical comedy in the 1930s made her a celebrated figure in the West End, admired for her red-gold hair, expressive brown eyes, and clear soprano voice. Her noteworthy performances included leading roles in Lucky Break, Anything Goes, and Over She Goes. Additionally, she appeared in the film Calling the Tune and became the first female performer on BBC Television in 1936. Dixon continued her success in post-war years with major hits like The Fleet's Lit Up and All Clear. She was also highly acclaimed as a Principal Boy in pantomimes, performing in these trouser roles 14 times throughout her career. Her portrayal of Prince Charming in the 1953 production of Cinderella marked her last appearance on the West End stage. While she continued to perform in provincial roles, health issues forced her into early retirement in the late 1950s. Dixon passed away in 1992 (Thornton, 1992: 29).

Joan Mann as Dandini: Welsh-born Mann trained as a dancer and started touring the variety circuit in her teens where she appeared on bills with stars including Max Miller and Tommy Trinder. A tall attractive brunette with a pleasant voice and shapely dancer’s legs, Mann was a perfect pantomime boy. She played opposite Julie in Jack and the Beanstalk (1952) and also toured with her as part of the musical revue, ‘Cap and Belles’ in 1953 (Andrews 2008: 146). Though she wasn't Principal Boy in Cinderella, Mann played the other leading pants role of Dandini, the Prince's Squire. Mann’s greatest fame came later as part of the celebrated Fols-de-Rols variety troupe with whom she performed for almost two decades. She also starred opposite Dame Anna Neagle in the hit West End musical, Charlie Girl in the late-1960s. Mann died in 2007 aged 87 (P.N., 2007: 53).

Jon Pertwee as Buttercup: Born in 1919, Pertwee was a versatile actor who left a significant mark in television, radio, theatre, and film. Educated at Sherborne, he belonged to a family of distinguished artists and made his acting debut in 1939 in Brighton. His notable wartime service on the HMS Hood led to a fruitful collaboration with Eric Barker in comedy writing and radio. Pertwee became a household name with his long-running role in the BBC radio series, The Navy Lark. He gained even greater international fame on television as the third Doctor Who from 1970 to 1975, and as Worzel Gummidge. Pertwee's career spanned over 100 films, including two Carry On movies, and numerous stage productions. In Cinderella, Pertwee took on the comic drag role of Buttercup, one of the Ugly Sisters. Pertwee passed away in 1996, leaving a legacy as a unique and memorable actor (Newley, 1996: 38).

Tony Sympson as Dandelion: Born in East London in 1907, Tony Sympson had a dynamic career in music and theatre. Initially trained as a choral scholar at St Clement Danes Church Strand, he made his stage debut as a specialty dancer in Dear Love. A mainstay character actor in West End theatre, he appeared in plays, musicals, revues, pantomimes, and operas. Sympson also featured in television ads where he earned a reputation for well-conceived characterisations. A pantomime regular, Sympson played the second of the Ugly Sisters, Dandelion, in Cinderella, a role he would repeat in subsequent productions. Sympson died in 1983 at the age of seventy-six (Marriott, 1983: 7).

Cyril Wells as Baroness Pastry: Born in Belfast in 1907, Wells' entry into acting was fortuitous. Initially a bank clerk, his passion for dancing led him to become a rehearsal partner for actress Jessie Matthews. This collaboration resulted in Wells being cast as her dance partner in the 1936 film It's Love Again, his only appearance on screen but a stepping stone into show business. He then featured in West End musical comedies like Order to View (1938), Here's Looking at Them (1939), and The Charcoal-Burner's Son (1939). Post-war, Wells shifted to comic roles in theatre and variety, notably in pantomime. In Cinderella, he played the Dame role of the blue-wigged Baroness. Wells passed away in 1958 in Southport, Lancashire ('Obituary: Cyril Wells', 1958: 9).

Ted and George Durante as the Broker's Men: One of several novelty acts to appear in Cinderella, the Durantes were a popular acrobat comic duo who found popularity on the post-war variety circuit. Contrary to their billing as brothers, the duo actually comprised two unrelated individuals, Ted Aston and George Mooney. They met in 1946 while performing as part of an acrobatic troupe and decided to branch out as partners, adopting the Durante surname at random. Their act ran for nine years till the late-1950s when Ted married and formed a new double act with his wife, becoming 'Ted and Hilda Durante'. This husband-and-wife team continued for many decades, becaming regulars on TV variety shows in the sixties and seventies (Wilmut, 1985: 182).

Elaine Garreau as the Godmother: Anglo-French actor Garreau, born in 1903, had an extensive and diverse career in British theatre, film, and television. She trained as a dancer, starting on the London stage at age 11 with a company of child artists. At 16, she was principal dancer at the Théâtre des Ambassadeurs in Paris and, at 20, understudy to the legendary Mistinguett. Returning to the UK, Garreau transitioned to acting and performed for many years in various London and provincial troupes across drama, comedy and musicals. Throughout the 40s and 50s, Garreau appeared frequently in pantomimes. In Cinderella, she took on the role of the magical Fairy Godmother. A few years later in 1958, Garreau would play again opposite Julie as part of the original London production of My Fair Lady, in the role of Lady Boxington. Garreau would remain with the show for over 10 years in both the Drury Lane and touring productions, racking up over 3,000 performances which was a world record. In her later career, Garreau increasingly appeared as a character actor in film and television. Garreau died in 2000 at the grand age of 97.

Silvia Ashmole as the Fairy Queen: Born in 1926, Ashmole enjoyed an idyllic childhood, travelling through Europe with her affluent parents and attending Cheltenham Ladies College. A trip with her mother to the ballet in London inspired Ashmole to take dancing lessons and, at age 16, she enrolled in the Cone-Ripman School of Dance, where she quickly excelled. Soon thereafter she secured a place in the coveted Royal Ballet (Sadler's Wells) and toured with them for several years. During a season at Glyndebourne, she met and eventually married the renowned Anglo-German opera director Peter Ebert. Ashmole continued her career as a dancer, often performing in operas at Glyndebourne and Edinburgh. She also worked frequently with choreographer Pauline Grant who contracted her to appear as the Fairy Queen in Cinderella (Wigglesworth 2018).

The Casavecchia Troupe as the Clowns: Billed as the "World's Greatest Comedy Tumblers," the Casavecchia Troupe was a team of acrobats who had worked individually in circus and variety before combining their talents. They toured widely in the UK variety circuit during the late-40s and early-50s. In Cinderella, they appeared as part of the Harlequinade sequence where their slapstick routine offered well-received comic relief.

William Barrett and Edna Busse as Harlequin and Columbine: Barrett and Busse were a pair of classically trained ballet dancers who danced the classic roles of Harlequin and Columbine in the Act 1 Harlequinade. Barrett was born in 1919 in Staffordshire and joined the Sadler's Wells Ballet company in the late-40s, touring with them to the US ('From Farm' 1954: 11). In the 60s and 70s, he performed in theatre and TV as a resident member of the Black and White Minstrel Show. He later retrained as a drama teacher and passed in 1995 (Jevons 1995: 29). Edna Busse was born in Melbourne in 1918. A protégé of Edouard Borovansky, she later honed her skills in London with Mathilde Kschessinska. Returning to Australia, she continued to perform, before transitioning into a revered ballet teacher. She passed in 2019, aged 100 (Yeo 2019).

The Aida Foster Babes: One of many companies of dancing juveniles popular in the era, the Aida Foster Babes were students of the Aida Foster Academy in Golders Green, London. Established in 1929, the Academy trained several generations of young hopefuls till ists closure in 1970, including several famous alumni such as Jean Simmons and Barbara Windsor ('End' 1970: 43). For Cinderella, Foster provided a group of 12 ‘babes’ who performed in several of the show’s lavish dance sequences.

Critical and Popular Reception

Cinderella was very well received by audiences and critics alike. The following excerpts give a sense of the uniformly glowing notices earned by the show, with particular mention of Julie:

Daily News: "Mr. Val Parnell has really done us proud. There can hardly be two more endearing comics than Max Bygraves and Richard Hearne. Julie Andrews, less operatic than I would have expected, is just the girl for Cinders, and she dances gracefully...a most spiffing pantomime" (E.F. 1953: 4).

The Tatler: "Cinderella has taste, beauty and elegance...But if there is more spectacle than of other good things who will complain, since the result...is so giddily splendiferous. The lighting and the costumes and the scenery could not better done...The principals are worthy of their splendiferous surroundings. Miss Adele Dixon has the right princely strut and Miss Julie Andrews, though she is less vocal than she was expected to be, makes Cinderella a young lady of character and charm" (Cookman 1954: 10).

Daily Mail: "Star names may shine all over the programme -- Max Bygraves and Richard Hearne here; Adele Dixon and Julie Andrews there -- but spectacle is the real star of Val Parnell's typically sumptuous pantomime. Instead of scuffling through the usual sleight-of-stagehand transformation scene Cinderella escapes from the kitchen by way of magic force, fairy spinning wheel, and luminous flying ballet to the cave of crystal lustres: a silvery-white vision as glittering as a wedding cake brush to life" (Wilson 1953: 4).

The Guardian: "Pantomime, though represented only by a single Cinderella in Central London, still flourishes...Cinders (Julie Andrews) croons before the dying kitchen fire...Max Bygraves and Richard Hearne use routine 'biz' to good effect...But what is really remarkable and characteristic of Pantomime 1953 is the standard of the ballet: the scene before Cinders goes off in her glittering coach is as smart, fast, extravagant and excitingly danced as a finale at the Moscow Opera" (F.B. 1953: 3).

The Observer: "The new Palladium Cinderella is magnificent to the eve and its Transformation Scene has fine taste as well as sumptuosity...Julie Andrews is a most attractive Cinderella but not so vocal as I expected" (Brown 1953: 6).

Daily Telegraph: "Cinderella...is up to the best Palladium standard. Elaborate spectacle and attractive dancing combine to delight one's eye. Adele Dixon is an admirable Prince Charming -- she has always been able to fill a big stage with her personality -- and Julie Andrews, kept oddly short of chances to sing, makes Cinderella a young lady of character and charm" (Darlington 1953: 7).

The People: "This is a grand and glamorous show with Julie Andrews as Cinderella. But it would have been grander still had they let her sing more. Adele Dixon constantly charms as the Prince. Max Bygraves and Richard Hearne provide a crescendo of laughs" (Shepherd 1953: 5).

The Times: "It is a hard fact for traditionalists to swallow that there is only one pantomime on the grand scale in the West End...yet if the dismayed traditionalists go the Palladium..., they will soon be cheered up....Here, it seems to say with complete confidence, is one of the few things in a changing world that have remained constant...The humour...is received with every sign of enjoyment and the romantic side of the show is from the first in good trim...Miss Adele Dixon and Miss Julie Andrews belong to the order of unobtrusively pleasant principles. They are an appealing pair, and they have in Mr. Max Bygraves an affable Buttons" ('The Palladium' 1953: 8).

The Stage: "Mr. Parnell has thrown everything into a demonstration of faith, assembling a director's dream of a cast and applying it to all the skill, experience and efficiency that have set the Palladium high in the world of entertainment. He lavishes talent and creative art, he employs every device of lighting, mechanical contrivance and novel effect that the theatre possesses, underlines it all with a defiant and traditional Harlequinade, and the result is the pantomime of pantomimes...Julie Andrews's fragile charm graces Cinderella's rags and raiments alike, and Adele Dixon's slim figure and are of intelligent humour are a delight" ('Christmas Shows' 1953: 5).

The Sketch: "It is the happiest panto-subject, and this is as happy a version as I remember. Richard Hearne in the bowels of a washing-machine, Adele Dixon and Julie Andrews to end rightly as Prince and Princess, Max Bygraves to chant 'Bighead!' -- here they all are, and Val Parnell has never had a spectacle more satisfying than the magical creation of coach and gown." (Trewin 1954: 18).

A Real-Life Cinderella

In many ways, Cinderella signalled something of a pinnacle for Julie's early British career. She was now a young woman in a starring role on the West End stage and, in professional terms, could scarcely go much further. Julie herself writes that "I felt that with Cinderella, my career had peaked" and whatever future she may have would be a continued cycle of "radio, vaudeville and pantomime" (Andrews 2008: 157). 

But the theatre gods had other plans and a real-life Fairy Godmother materialised to change the course of Julie's life forever. Midway through the run of Cinderella, Julie was paid a backstage visit by Vida Hope, the producer of the smash hit London musical, The Boy Friend. There were plans to take the show to New York with a new company, but the producers were struggling to cast the lead role of Polly Browne. At the suggestion of Hattie Jacques, Julie's former co-star in Educating Archie, Hope went to see Julie in Cinderella and offered her the role. 

It is part of theatrical lore that Julie was initially reluctant to accept the offer, but she was eventually persuaded to seize the opportunity (Andrews 2008: 157-58). Five months after the close of Cinderella, Julie flew off to New York and the rest, as they say, is history...

References:

Alldridge, John (1954). 'Oh, for another Gracie! says Mr Show Business.' Manchester Evening News. 12 October 1954: 1.

Andrews, Julie (2008). Home: A memoir of my early years. London: Weidenfeld and Nicolson.

'At the Pantomime.' (1953). Belfast Telegraph. 30 December: 4.

Baker, Richard Anthony (2005). British Music Hall : An Illustrated History. Stroud: Sutton.

Barker, Dennis. (1999). 'Obituary: Charles Reaaing.' The Guardian. 19 May: 20.

Bendle, Alan (1953). 'Keeping a Straight Bat on a Sticky Wicket.' Manchester Evening News. 15 August: 2.

Bevan, Ian (1952). Top of the Bill: The Story of the London Palladium. London: Frederick Muller Ltd.

'Bobby Howell.' (1962) The Stage and Television Today. 8 February: 3.

Brown, Ivor (1953). "At the Theatre: Not on Ice." The Observer. 27 December: 6.

Bullar, Guy R. & Evans, Len (1950). The Performer: Who's Who in Variety. London: The Performer Ltd.

Cameron, Don (1958). 'The Val Parnell Story Parts 1-4'. The :

Chanticleer (1953). 'People: Old Fashioned Val.' Daily Herald. 3 November: 6.

'Charles Henry Resigning.' (1959). The Stage. 2 April: 1.

'Christmas Shows: The Palladium "Cinderella'".' (1953). The Stage. 31 December: 5.

Cookman, Anthony (1954). 'At the Theatre: Cinderella (London Palladium).' The Tatler and Bystander. 6 January: 10.

Cottrell, John (1968). Julie Andrews: The Story of a Star. London: Arthur Barker.

Darlington, W.A. (1953). "Christmas Shows: Modern Twist to Cinderella, Elaborate Show at Palladium." Daily Telegraph. 28 December: 7.

Double, Oliver (2012). Britain Had Talent: A History of Variety Theatre. London: Palgrave MacMillan.

E.F. (1953). 'A Most Spiffing Pantomime." Daily News. 28 December: 4.

Even Standard Reporter. (1968). 'Ex-Palladium Showman Dies.' Evening Standard. 28 February: 17.

Fagence, Maurice (1958). 'Curtain Up on Mr. Palladium'. Daily Herald. 17 February: 4.

F.B. (1953). "From a Nose in Egypt to Abandon in the Outer Suburbs." The Guardian. 28 December: 3.

Frame, Colin & Boorn, Bill. (1960). 'Palladium Nights.' The Birmingham Evening Mail. 9 November: 6.

Hoddinott, Derek (1957). 'Val Parnell Speaks". The Stage. 29 August: 4.

Lanchbery, Edward (1954). 'Teen-age Cinderella task to the CN: Julie Andrews' dream comes true.' Children's Newspaper. 16 January: 1.

Leigh, Spencer (2012). 'Obituary: Max Bygraves.' The Independent. 3 September: 37

Marriott, R.B. (1983). 'Obituary: Tony Sympson'. The Stage and Television Today. 21 April: 7.

Newley, Patrick. (1996). 'Obituary: Jon Pertwee'. The Stage. 23 May: 38.

'Obituary: Cyril Wells' (1958). The Stage. 17 April: 9.

'Obituary: Phil Park' (1978). The Stage and Television Today. 23 November: 6.

'Obituary: Richard Hearne' (1979). The Stage and Television Today. 30 August: 27.

Pearce, Emery (1954). “No Pigtails for Julie.” Daily Herald. 11 January: 6.

P.N. (2007). ‘Obituary: Joan Mann’. The Stage. 6 December: 53.

Ray, Ted (1956). 'Palladium Nights.' The Liverpool Echo. 27 October: 3.

Sean, Neil (2014). Live from the London Palladium: The World's Most Famous Theatre in the Words of the Stars Who Have Played There. London: Amberley Publishing.

Shepherd, Ross (1953). "London Holiday Shows." The People. 28 December: 5.

Sykes, Eric; Milligan, Spike; Bishop, Michael; and, Park, Phil. (1953). Val Parnell's Cinderella: For production at the London Palladium Xmas 1953. Moss Empires Ltd. [Manuscript held in the Lord Chamberlain's Plays Collection, British Library].

"The Palladium: Cinderella." (1953). The Times. 28 December: 8.

Thornton, Michael. (1992). 'Obituary: Adele Dixon.' The Stage. 4 June: 29.

Trewin, C.W (1954). "At the Theatre: Cinderella (Palladium)." The Sketch. 13 January: 18.

V&A (2015). 'Charles Reading.' V&A Theatre and Performance Collection. https://collections.vam.ac.uk.

Vallance, Tom. (1999). 'Obituary: Charles Reading.' The Independent. 17 June: 36.

'Variety Stage: Palladium Plans' (1953). The Stage. 17 September: 3.

Webster, Ian (2013). 'U.K. Inflation Calculator.' In2013dollars.com. https://www.in2013dollars.com/UK-inflation.

Wilmut, Roger (1985). Kindly leave the stage! : the story of variety, 1919-1960. London: Methuen.

Wilson, Cecil (1953). "Spectacle gets the star role." Daily Mail. 28 December: 4.

Woodward, Chris (2009). The London Palladium: The Story of the Theatre and its Stars. Huddersfield: Northern Heritage Pub.

©2023, Brett Farmer. All rights reserved.

#julie andrews #pantomime #london palladium #cinderella #west end #theatre history

[denimbex1986]

'Many iconic heroes from literary history, due to their status within the public domain, have been adapted countless times to the big screen. There's bound to be a new film or series about King Arthur, Robin Hood, Zorro, Tarzan, or the Three Musketeers every few years, but there isn’t a character with more screen appearances than Sir Arthur Conan Doyle’s Sherlock Holmes. Many adaptations of the character have tried to replicate the tone intrinsic to Doyle’s original stories, but the BBC series Sherlock made the radical decision to set the character in modern times, completely inverting expectations about his mythology. Although Sherlock did a great job of revamping some of the most iconic stories from Doyle’s era, Andrew Scott’s scene-stealing performance as the brilliant Jim Moriarty instantly ranked among television’s greatest villains.

Andrew Scott's Moriarty Added Legitimate Stakes to 'Sherlock'

What was most remarkable about Sherlock is that, despite minor shifts meant to reflect the new historical setting, the show was relatively faithful to the dynamics at play in Doyle’s original stories. Benedict Cumberbatch’s version of Sherlock is a dogmatic, isolated loner whose expertise at deduction makes him an integral (albeit obnoxious) ally to London’s Metropolitan Police Force, including Detective Inspector Greg Lestrade (Rupert Graves). After pairing with the veteran John Watson (Martin Freeman) to work on the “A Study in Pink” case, Sherlock realizes that the two have a potentially lucrative opportunity to work together in solving London’s most beguiling cases. As entertaining as the chemistry between Cumberbatch and Freeman was, Sherlock needed a legitimately intimidating villain in order to raise the stakes. Without a larger threat at play, Sherlock risked becoming just another network buddy cop mystery series, such as the rival Doyle adaptation Elementary.

A sure way to introduce a greater level of intensity to the series is to add Holmes’ most iconic villain, and the series did a great job at building up to Scott’s first debut as the character. Although initially Sherlock’s brother, the governmental agent Mycroft (Mark Gatiss) appears to be a barrier within his new detective agency, it’s eventually revealed that there are more insidious forces at play. Scott’s version of Moriarty is the show’s only character who is Holmes’ intellectual equal. While many of the most entertaining moments on Sherlock involve Cumberbatch belligerently proving his opponents wrong, Scott’s Moriarty is a man whose motivations he cannot crack. The conversations between Scott and Cumberbatch spark with energy because Holmes can’t be two steps ahead of his new rival; for once, Holmes is the one who is just trying to keep up.

Beyond the intellectual threat that he poses to the titular detective, Scott’s Moriarty has completely opposite morals compared to Holmes. Although Sherlock is often bewildered and willfully ignorant of the patterns of human behavior, he seeks to bridge a great understanding that would allow him to connect with others. None of that empathy is present within Moriarty; he views his intelligence as a commodity and callously disregards anyone who can’t keep up with him. While Sherlock seems to enjoy pointing out the errors in others’ ways, Moriarty takes a sick pleasure in creating scenarios where people are forced to make morally compromising decisions. By showing the negative effects that extreme intelligence can have, Moriarty forces Sherlock himself to find his inner heroism. It’s a level of nuance that simply isn’t present in other depictions of the character.

Andrew Scott’s Moriarty Is the Best Version of the Character

Scott certainly isn’t the first great actor to step into Moriarty’s shows; Jared Harris memorably appeared as the ruthless professor in Guy Ritchie’s action sequel Sherlock Holmes: A Game of Shadows. While other versions of the villain tend to emphasize his formal background and influence upon London’s high society, Scott’s interpretation of Moriarty embodies modern fears about internet terrorism and outsiderism. Often concocting various schemes in order to catch the attention of the media, Scott’s Moriarty revels in the opportunity to “play the bad guy” on a public stage. While there are escalating stakes once he begins putting real people in danger, Moriarty can’t help but view his plans as one part of an elaborate game.

Sherlock utilized many of the best works from Doyle’s bibliography as inspiration for Moriarty, with great episodes inspired by the classic stories “The Great Game” and “The Reichenbach Fall.” Despite these classical inspirations, Moriarty’s depiction on Sherlock was retrofitted to reflect Scott’s personality. This is a version of Moriarty who is flamboyant, comically manipulative, and desperately seeking attention; in one instance in the finale “The Final Problem,” he has an entire dance sequence dedicated to Queen’s “I Want To Break Free.” It was a bold reimagining of the character that nonetheless reflected his literary roots as an agent of chaos, leading to Sherlock's Moriarty becoming one of the most defining villains of the modern “prestige television era.”

‘Sherlock’ Suffered Without Moriarty

While the early seasons of Sherlock sparked lively reactions with their creative new versions of classic narratives, the series began to suffer dramatically in terms of quality as it moved forward. Sherlock’s decline can partially be linked to the absence of Moriarty within the story; without a character that showed what Sherlock could become if his more chaotic impulses took over, Cumberbatch’s portrayal felt rather one note. The dark sense of humor that Scott had introduced to the series was also largely absent, leaving Sherlock in an uncomfortable place of self-seriousness.

Although the show attempted to introduce a few new antagonists, there wasn’t another villain on Sherlock who matched Moriarty’s screen presence. Compared to the energetic performance that Scott gave, Lars Mikkelsen’s Charles Augustus Magnussen felt like just another brooding terrorist, and Sian Brooke’s Eurus made for more of a half-hearted tie to Sherlock’s past. While these actors can’t be faulted for their performances, it’s hard living up to the incredible work Scott did in modernizing one of the greatest villains of all time.'

#Sherlock #Moriarty #Benedict Cumberbatch #Queen #���I Want to Break Free” #Mycroft #Mark Gatiss #John Watson #Martin Freeman #Andrew Scott #Ripley

[arqueete]

Spring Awakening Broadway: Where Are They Now? (Part 2)

It's been 18 years since Spring Awakening opened on Broadway. In part 1 I looked up what the original cast members are doing today, and here in part 2 I'll be looking at all of the actors who joined the cast after the show opened.

Kyle Riabko Melchior

Went straight from the Broadway production to the first national tour. Later starred in Hair on Broadway and Close To You: Bacharach Reimagined (pictured) in the West End. He is currently composing music for children's television through a production company called Can-Land Music that he founded with his wife.

Hunter Parrish Melchior

Appeared on Broadway again in Godspell but has otherwise largely stuck to TV roles, most recently in The Other Black Girl (pictured.)

Alexandra Socha Wendla, Ensemble (u/s Wendla, Anna, Martha, Thea)

Returned to Broadway in Brighton Beach Memoirs and Head Over Heels. Is currently starring in the Broadway production of Wicked (pictured.)

Blake Bashoff Moritz

Went straight from Broadway to the first national tour. After that, he moved away from acting and now lives on a farm.

Emma Hunton Ilse

Was in Next to Normal on Broadway and the national tour, as well as the national tour of Wicked. She is currently on TV in Good Trouble (pictured.)

Drew Tyler Bell Hanschen

Continued in his longtime role on The Bold and the Beautiful (pictured) until 2010. Since then, he doesn't appear to be acting and it's not clear what he's been doing since.

Matt Doyle Hanschen, Ensemble (u/s Melchior, Hanschen, Ernst, Otto, Georg)

Later briefly played Melchior in the first national tour. Has returned to Broadway several times in shows like War Horse and The Book of Mormon, and won the Tony Award for Best Featured Actor in a musical for his performance in Company in 2022 (pictured.) He has also released solo albums. He most recently starred in Sinatra: The Musical.

Blake Daniel Ernst

Has had a few acting roles since, most recently in the movie Dicks: The Musical.

Andrew Durand Georg (u/s Moritz)

Has appeared in several other Broadway shows including Head Over Heels and Shucked (pictured.) He is currently in Dead Outlaw off-Broadway.

Gabriel Violett Otto

Appeared as a contestant on The Voice in 2016 (pictured.)

Amanda Castanos Martha

Had a handful of appearances at theater festivals and on TV shows like Blue Bloods (pictured), but doesn't seem to be doing any acting in recent years.

Caitlin Kinnunen Thea

Returned to Broadway in The Bridges of Madison County and was nominated for Best Leading Actress in a Musical for her role in The Prom (pictured) in 2014. She recently appeared in The Magnificent Seven off-Broadway.

Emily Kinney Anna (u/s Wendla)

Appeared on stage again in the national tour of August: Osage County but since then has been doing a lot of TV, most notably on The Walking Dead (pictured.) She has also released several albums as a singer-songwriter.

Kate Burton Adult Women

She continues to have an extensive film and television career, with notable roles on shows like Grey's Anatomy and Scandal (pictured), for which she was nominated for an Emmy for Outstanding Guest Actress in a Drama Series. She returned to Broadway in 2017 in the play Present Laughter.

Kristine Nielsen Adult Women

Has since been nominated for the Best Lead Actress in a Play Tony in 2013 for Vanya and Sonia and Masha and Spike and Best Featured Actress in a Play in 2019 for Gary: A Sequel to Titus Andronicus. She most recently appeared in the TV show The Gilded Age (pictured.)

Ken Marks Adult Men

Has appeared again on Broadway in shows like Spider-man: Turn off the Dark and most recently in Take Me Out (pictured.) He is currently in Dead Outlaw off-Broadway.

Glenn Fleshler Adult Men

Has returned to Broadway in shows like Guys and Dolls and Death of a Salesman. He also has extensive credits in movies like Joker and TV shows like Billions (pictured.)

Tony Carlin (u/s Adult Men)

Returned to Broadway over a dozen times since, as well as off-Broadway in shows like The Trial of an American President (pictured.) He most recently appeared in Days of Wine and Roses.

Eryn Murman Anna, Ensemble (u/s Wendla, Ilse, Anna, Martha, Thea)

Has done some regional theater, including playing Wendla in San Jose Rep's production of Spring Awakening (pictured) before later marrying the actor playing Melchior, with whom she started the band 5j Barrow. She now also works as a massage therapist.

Jenna Ushkowitz Ensemble (u/s Anna, Martha, Thea)

Notably appeared on the TV show Glee. She returned to Broadway in Waitress (pictured) and has won two Tony Awards as a producer.

Alice Lee Ensemble (u/s Wendla, Ilse, Anna, Thea)

Notably appeared in the off-Broadway production of Heathers (pictured.) Competed in the reality singing competition Rising Star. She has had TV roles on shows like Zoey's Extraordinary Playlist and most recently did voice acting for My Adventures with Superman.

Jesse Swenson Ensemble (u/s Melchior, Hanschen, Otto, Georg)

Returned to Broadway in The Addams Family. He has now moved way from acting to become a writer and filmmaker.

Matt Shingledecker Ensemble (u/s Melchior, Hanschen, Ernst, Otto, Georg)

Went straight to the first national tour as Georg. Since then, he's appeared on Broadway again in West Side Story and on the national tours of shows like Wicked and Les Miserables (pictured.) He is currently performing in the musical The Wedding Banquet in Taiwain.

Morgan Karr Ensemble (u/s Moritz, Hanschen, Ernst, Otto, Georg)

Now a successful indie pop musician performing under the name Morgxn.

Zach Reiner-Harris Ensemble (u/s Moritz, Hanschen, Ernst, Otto, Georg)

Seems to have moved away from acting but still makes appearances as a musician.

#spring awakening

[mustangs-flames]

is there any way to tell if Six is at all genuine? or is it all straight-up manipulation. because if he supposedly learns this parental role here and carries it on with adam, some of it could be genuine? definitely not on the same level as "cesar," but there's gotta be something that made him change tactics from suffocating Mark in his sleep to at least being a somewhat consoling figure.

Six is complicated and the only way to really understand what he's thinking with Mark would be if he was telling the story from his perspective (which isn't something I plan on writing for the AU at this point - but we'll get some of his side much later on through Adam!). But, in a strange way, he supposes he owes a favour to this tiny human who (no matter how unwittingly) summoned Six into the physical world after a year lying dormant in the Heathcliff television set.

Mark gave Six a tangible form that can hold itself together well despite how odd it may look, gave him his own name ('Stanley' had originally been given to him by the Morningstar as a means to use it to try and establish a bond with the child in the household he'd been planted in), and even a concept of gender and self - Six, much like alt!Cesar, didn't initially identify as any gender when he woke up. Mark gave him that, the same way he later inadvertently gave alt!Cesar that too.

Six knows he shouldn't feel like owing Mark a favour, but in a perverse sense of gratitude, he wants to show how thankful he is that Mark has allowed him to exist in the physical realm with all these 'gifts' so he can finally fulfil his job like the Morningstar (Gabriel) has asked of him.

Maybe there is a glimmer of something, somewhere, deep down, that's relieved to know that Andrew will now be too afraid to even look at his own son the wrong way for the next few years. Or maybe there isn't. Maybe that's just wishful thinking - anthropomorphising a concept, a horror, that can only ever destroy, right?

Maybe it's just manipulation, through and through. Alternates are selfish beings after all.

#hail true body au #htb mark #htb six #six is a complex guy with complex thoughts I suppose... #mustang answers! #maybe there's some parallels to part 1 though #who knows? :)

[bedtimestoriesforbrokengirls]

The Daily Dad — Dec 23, 2023

Things you might want to know:

Ryan Gosling Unveils 'Ken The EP' With New Christmas Version ❝ The EP includes a seasonal spin on his Barbie soundtrack hit, “I’m Just Ken (Merry Kristmas Barbie),” along with a video of Gosling, Mark Ronson, and Andrew Wyatt in the studio. Additional “I’m Just Ken” renditions include “In My Feelings Acoustic,” “Purple Disco Machine Remix,” and the original.

Apple Wants to Partner With Major Publishers to Train AI - MacRumors ❝ Apple has approached several major publishers to establish deals that would allow the Cupertino company to train generative artificial intelligence...

“Fentanyl exposure” is not a thing ❝ Illicit use of fentanyl has been linked to overdoses since the 1970s. In this video, Dr. Marino explains why accidental exposure is highly unlikely. Learn more about fentanyl overdose facts in this blog post!

Google’s ChatGPT competitor Bard is nearly as good — just slower 💭 For now, Bard is my go-to LLM front-end. It’s frequently wrong or confused —like all LLMs— but provides enough value to pull me back from time to time. And it’s free, which makes its annoyances a little less annoying.

Police have unlimited warrantless access to Americans' medical records via Walgreens, CVS, Rite Aid and other pharmacies ❝ U.S pharmacy chains such as Walgreens, CVS and Rite Aid provide police warrantless access to customers' medical records, reports Ars Technica. Some don't even have legal professionals review the requests,…

Raquel Leviss: Why the Heck Did I Return to Vanderpump Rules?!? 💭 Because you’re a fame-whore, honey. Because you’re a fame-whore.

The persistence of tradition: the curious case of Henry Symeonis ❝ Christmas is a time for tradition, and the University of Oxford is well known for diligently preserving its traditions for centuries. Many of these have long outlived the people who established the…

Surgeon punches patient during operation ❝ A surgeon in China is in trouble after punching a patient three times in the head during an operation. Viral footage of the incident has outraged the nation and already…

Joe Biden Pardons Federal Marijuana Possession Convictions ❝ On Friday, President Joe Biden announced that he's pardoning federal and D.C. marijuana possession convictions.

From the Depths of Wikipedia: none of the phrasing from the 2003... ❝ From the Depths of Wikipedia: none of the phrasing from the 2003 “Ship of Theseus” page on Wikipedia remains

Jan. 6 rioter nabbed in Bumble dating app sting pleads guilty to assaulting officers ❝ Her strategy, she said, was to say, "Wow, crazy, tell me more,” on repeat until guys gave her enough to send their information to the FBI.

South Park: Snow Day! Announces Release Date With New Trailer - IGN 💭 Given how bad the Beavis & Butthead games were, South Park has had it pretty easy… The Stick of Truth was actually pretty damned good. So there’s at least a chance that Snow Day won’t be complete dog-shit… but I’m limiting my optimism until something bolsters it.

Facebook Marketplace Is Being Ruined by Zelle Scammers ❝ I tried to sell a futon on Facebook Marketplace and nearly all I got were scammers.

Apple's Mac Mini M2 falls back to a low of $479 💭 If you’ve already got a monitor/mouse/keyboard, this is an excellent deal.

The Gilded Age renewed for a third season 💭 I was completely unaware that there’s a subset of the audience that hate-watches this show; I’m mystified. Is it great television? Not really. But it’s as good as any latter season of Downton Abbey, and I enjoy seeing Cynthia Nixon play something so un-Miranda. I can understand being bored by TGA, but there’s nothing actually bad about it.

Starfield will get updates every six weeks beginning in February 2024 💭 I’m left shockingly cold by the opening minutes of Starfield, and haven’t even bothered to finish lift-off from the starting planet. It all just seems so generic, in contrast to the weirdness of Fallout 4’s opening, or the world-building and Big Plot Stuff that occupied the beginning of Skyrim. There’s only so much they can patch, but I hope they improve it.

Bluesky posts are finally visible if you’re not logged in ❝ Bluesky remains an invite-only decentralized Twitter alternative, but now, you don’t need to be logged in to be able to see posts on the platform. The app has a new logo, too.

#news

[misaverawrites]

Television Show/Movie Masterlist

This is my masterlist for all my fanfiction based on television shows and movies, I write for The Walking Dead, Grey's Anatomy, Private Practice, Station 19, Star Trek, and the MCU!

The Walking Dead

Glenn Rhee:

Talk To Me

Dyin' Ain't So Bad

Grey's Anatomy

Meredith Grey:

Strain

Alex Karev:

Everything will be alright

Morning Relaxation

Intern Lounge Blues *SMUT*

Mark Sloan:

Never

Crushin’ Part 2 *REQUEST*

Together

Big White Wedding

Love

Intern Lounge Blues *SMUT*

Addison Montgomery:

Safe

Self-Care *REQUEST*

Tease *REQUEST*

Forget-Me-Not *REQUEST*

A Complex Chessboard of Doctors *REQUEST*

The Harmony of Tragedy *REQUEST*

Wedding Bells *SMUT* *REQUEST*

Derek Shepherd:

Oopsie-Baby

Someone To Rely On

Intern Lounge Blues *SMUT*

Closer *SMUT* *REQUEST*

Amelia Shepherd:

Fighter

Mia Amore *REQUEST*

Owen Hunt:

Kiss Me in the Dark *SMUT*

Death and All His Friends

Sanctuary *REQUEST*

Intern Lounge Blues *SMUT*

After *REQUEST*

Your Hand In Mine *REQUEST* *SMUT*

George O'Malley:

Keep me in your thoughts

Arizona Robbins:

Teenage Dream *REQUEST*

Andrew DeLuca:

Crush, Crush, Crush *REQUEST*

Stronger *REQUEST*

Break Your Heart *REQUEST*

Intern Lounge Blues *SMUT* *REQUEST*

MerDer:

Crushin’ *REQUEST*

Quiet

Slexie:

According to Plan (Not x-reader)

Callie Torres:

Two’s Company, Four’s a Crowd *REQUEST*

Jackson Avery:

Time After Time *SMUT* *REQUEST*

Star Trek (TOS and AOS)

James T. Kirk:

On My Mind

James

“Captain” series: (Nurse!Reader)

Part One “Captain.”

Part Two “Captain’s Orders.”

Part Three “Frozen.”

Part Four “Better Safe Than Sorry.”

Part Five “Rearrangement.”

Part Six “Docking.”

Part Seven “Drop Down.”

Part Eight “My Captain.” (finale)

Leonard “Bones” McCoy:

Misconceptions *REQUEST*

Secrets On The Bridge

Spock:

Fascination

Part One

Part Two

Marvel Cinematic Universe

Steve Rogers:

What If You Kissed Me?

Little Talks

Stranger Things

Eddie Munson

Roll For Charisma

Robin Buckley

Space Girl *REQUEST*

Supernatural

Castiel:

If I Only Could (Make a Deal with God)

Fleabag

Fleabag x The Priest

Fuck You, Then *SMUT*

The Only Heaven I'll Be Sent To (Is When I'm Alone With You)

Doctor Who (2005)

Tenth Doctor

Hello My Old Heart

#amc the walking dead #the walking dead #twd #amc twd #the walking dead fanfic #the walking dead fandom #the walking dead fanfiction #the walking dead masterlist #telltale the walking dead #telltale games

[mike-haters-dni]

‘SENT TO THE GULAG’ IS KILLING ME

okay yes hop has probably atoned for his sins by now and his monologue at rock bottom was really good but it still pisses me off sometimes idkk. im just waiting for the payoff of seeing him actually DO better this time😭

and exactly! the angst in s2 is like- messy- but that’s good television! it gave us a top 5 millie preformance how can i even be mad

men in stranger things are weird sometimes cuz you have to overlook their CRIMES, (i’ll be like “omg jancy!” then i REMEMBER…) it’s weird when a character is randomly at their worst for a scene or a season just to meet the story’s requirements

jopper can scream at each other all sam and diane for nostalgia in s3 but when you look at it in a larger context it’s kinda dicey. like how weird of hop to doubt her when he already knows to trust her instincts.

and also it’s just like- nobody drags him enough for me! he’s so loved- male characters can do ANYTHING kinda- so i have to get him. out of principle. and i see that hopper (and like david harbour) is too important to kill off in the show and that him and el’s relationship isn’t all lows, not even in s2. i think i’m just bitter that 1. st tiktok treats el like she was SO unreasonable in that scene>:( (i need to stop going there it makes me want to rant on tumblr) and 2. how much time was devoted to bringing him back last season like my cali boys were so neglected. :( (after 2 failed prison escape attempts i was like (why i am still looking at this insanely bruised man) so-

but yeah i need to stop typing now cause i have a million thoughts in my head about hopper and the way that he is. and the way the show treats him. (how funny is it that even the viewers can have a complicated relationship with him. maybe i’m not giving the writers enough credit in that regard)

: )

-No like, I agree 100%. We forgive but we never forget

-I have a hard time even being really mad at Jonathan for the Incident cuz like, that was such a weird ooc moment that was clearly just so the plot would happen. Like he got possessed by the spirit of the writers to do that shit. And like I can't even be mad at the writers either because like, the plot they were servicing is really fucking good? I might be the only person in the world who thinks this but I think this show is phenomenally written esp from a plot structure perspective. Near perfectly even. Like this show single-handedly instilled a sense of how to do super satisfying setup and payoff, and how to have every scene push multiple things forward, and how everything seen on screen needs to be relevant to as much as possible. Its so tightly written that its like...yeah Jonathan had to do that shit. It allowed like 3 perfectly intersecting plotlines to play out. There was no other option. And like there probably was and maybe I'm coping or whatever but like...idk it's perfect to me :) But still we forgive but we never forget. And we only forgive after they display a marked change in behavior. And we still never forget <3 (side note: remember when El dumped him and Mike ((and Lucas)) went full andrew tate for a second? That's the one thing he's ((they've)) actually ever done wrong lmaooo ((tbf they were also 13 so like)))

-Who tf is saying she was being unreasonable??? child???? traumatized??? isolated in a tiny cabin for a year?????? With Hopper?????? A cop????????? HellO?????????? Bro ppl HATE her bro this needs to stop

-I think the biggest problem with the Russia plotline is just that it's not fun? Watching Hopper get tortured in a labor camp is not fun? I came here for 80s vibes, friendship and supernatural shit and it only delivers that whenever Joyce and Murray are onscreen (who are really fantastic together tho) and once the monster finally shows up way too late into the proceedings. There should have been inklings of monster throughout to add some intrigue and let us know that this was all going to have a point that tied into the plot of Stranger Things the 80s Monster Show. But alas.

#I've hated a character in canon so much that I actively deleted them from the fanfiction I'm always writing in my head #can't say anyone in this show is near that level #but like #well I only care about the party lmao #everyone else is side characters #anyway thank you for the essay as usual u are correct and I will be citing this in my college thesis #acab

[msclaritea]

One of the organizers of the past tense named event honoring a foreign television show starring a foreign-born dual threat A-list actor says he was always lovely. He loves the fans and would never say no to any request BUT, was also the reason the event barely made any money because of his security demands and what he charged for appearances. Who was the worst cast member to deal with? This foreign born recurring actor on the show who has been nominated/won a lot of the UK big awards. He says no more often than yes to the requests of fans and is generally rude to all fans and you can tell he only does the event for money.

Past tense named event: Sherlocked

Foreign-born dual threat A-list actor:   Benedict Cumberbatch

His security demands and what he charged for appearances: Hiring bodyguards to ‘protect’ him from the watchers, enforcers etc. working for Team Soso…the irony is strong in this one. His agents and blackmailers demanded a sizeable cut so blame them for the hefty fees.

‘Rude’  foreign-born recurring actor: Mark Gattis or Andrew Scott 

@gatorfisch peep it. Oldie but goodie.

#Cleaning The Drafts #I SO got this one right #Mark Gatiss #Andrew Scott #Blind Item #Sherlocked

[allekha]

It’s Pride month, so let’s celebrate some of our LGBT skaters!

While skating is stereotyped as a ‘gay sport’ for men in the US and Canada, homophobia, transphobia, and a strong push for conformity to old-fashioned gender norms remain a huge problem. But despite the bullying and disgusting comments, and even the ravages of the AIDS pandemic, queer skaters have been out there making their mark on the sport for decades, and there have been more out skaters at the elite level than can fit in one gifset (or even several!). And of course, there are many more at the recreational and adult levels as well. The skaters featured here are:

Jason Brown (2019 Worlds SP) - Beloved by fans for his skating skills, graceful and complex programs, flexibility, and ray of sunshine personality, Brown is the 2015 US champion and has finished in the top 10 at two Olympics eight years apart. After competitions, he visits Ronald McDonald houses to personally share the toys thrown at him with the kids or make meals for families. Rumor has it that the Greensboro Coliseum had to be shut down for repairs after he skated there in 2014 because the crowd blew the roof off the building in their excitement for his Riverdance.

Fleur Maxwell (2006 Olympics SP) - A 3-time Luxembourg national champion, and the only competitor from Luxembourg in any sport at the 2006 Olympic games, Maxwell’s international senior career spanned more than a decade, even excluding the three years she retired in the middle. With flexibility, lovely arms, and fast spins, she was a beautiful skater to watch. She now runs a fitness business out of New York City. The asteroid 255019 Fleurmaxwell was named in her honor.

Axel Médéric (1988 Olympics FS) - Médéric was a French national champion and one of the earliest black skaters to go to the Olympics when he competed there in 1988. While he sometimes struggled with his jumps, commentators praised the quality of his transitional movements and his flow over the ice, and he was a lively performer. After he retired, he toured and performed for many years, doing shows and competing in pro tournaments.

Ondrej Nepela (1973 Worlds FS) - The 1972 Olympic champion, 3-time World champion, and 5-time European champion, Nepela became interested in skating as a child in when he watched a fellow Czechoslovakian win the men’s European title on the television. While not the most artistically inclined, he was known for his precision and working very hard at practice. After retirement, he performed in shows and coached a student to become European champion in her own right. He died in 1989 due to complications of AIDS; the Ondrej Nepela Memorial competition is named in honor of him.

Kaitlyn Weaver (On Ice Perspectives solo) - With her partner Andrew Poje, she won three world medals and two GPF championships in ice dance. The team were known for their emotional skating and interesting, innovative programs. She came out in June 2021 and openly discussed how she was afraid that coming out while competing would hurt her and Poje’s scores. Since then, she has been one of several skaters consulted by the ISU on how to make skating more inclusive and is on Skate Canada’s working group for equality and inclusion.

Rachel Parsons (2017 GP Russia FD) - In the 2016-2017 season, Parsons, along with her brother, was the National, GPF, and World champion at the junior level in ice dance. As a team, they brought interesting positions and sense of ease to their skating. She retired in 2019 due to an eating disorder, which she recently said she has made a lot of progress in recovering from, and came out as bisexual a few months later.

Javier Raya (2016 Worlds SP) - Raya was the 2011 Spanish champion and a six-time national silver medalist. While he was still competing, he had a chance to work in media for summer sports and also did commentary for figure skating events. Raya came out as gay in 2016, and in June 2020, he started the Skate Proud project to share interviews with out and ally skaters. He is now working at the IOC with the mission of promoting inclusion and diversity.

Christoper Caluza (2021 Finlandia Trophy FS) - The 3-time Philippines national champion, Caluza first began with roller skating, before discovering ice skating when his local roller rink closed; he developed a graceful and emotional style. After the 2013-2014 season, he took a break from competitive skating for several years to do professional shows, including on cruise ships. He decided to return to competition when he learned that the Philippines would be hosting the South-East Asian Games, where he ended up winning the silver medal, before he retired again in 2022.

Timothy LeDuc (2022 USNats SP) - Two-time National champion and a 4CC silver medalist with their partner Ashley Cain, LeDuc was the first elite figure skater to come out as non-binary, as well as the first out non-binary athlete to compete at the Winter Olympics. Their programs emphasized the pair’s wonderful lines and synchronization, and LeDuc was open about wanting to portray a sense of equality between partners rather than the traditional ‘stem (man) and flower (women)’ image of pairs.

#fskateedit #figure skating #lgbt #Jason Brown #Timothy Leduc #Christopher Caluza #Fleur Maxwell #long post #gifs #Happy pride 🌈 #(There's a limited amount of space per gifset; please don't tell me I forgot someone)

[cinemaupdates]

Heath Ledger: The Legendary Joker and Beyond

Introduction

In the annals of Hollywood history, certain actors shine so brightly that their brilliance continues to illuminate the industry long after they are gone. Heath Ledger, a charismatic and talented Australian actor, was undeniably one of these luminaries. From his early life to his iconic portrayal of the Joker in "The Dark Knight," Ledger left an indelible mark on the film industry and the hearts of countless fans worldwide.

Early Life and Career Beginnings

Heath Andrew Ledger was born on April 4, 1979, in Perth, Western Australia. From a young age, Ledger displayed an innate passion for the performing arts. He took his first steps into the world of acting with small roles in local theater productions and television shows.

Breakthrough Role: "10 Things I Hate About You"

It was in 1999 that Ledger secured his breakthrough role as Patrick Verona in the teen romantic comedy "10 Things I Hate About You." His magnetic screen presence and impeccable acting skills garnered critical acclaim and put him on the radar of Hollywood's major players.

Rising Stardom: "A Knight's Tale" and "The Patriot"

With his star on the rise, Ledger delivered captivating performances in the medieval adventure film "A Knight's Tale" (2001) and the historical drama "The Patriot" (2000). Audiences and critics alike took note of his versatility and ability to immerse himself fully in his characters.

The Legendary Joker: "The Dark Knight"

The year 2008 saw Ledger's career reach stratospheric heights with his portrayal of the Joker in Christopher Nolan's "The Dark Knight." Ledger's mesmerizing and chilling interpretation of the iconic Batman villain was nothing short of a revelation. He delved deep into the character's psyche, employing his unique approach to method acting to create an unforgettable, anarchic performance.

Heath Ledger's Method Acting

Heath Ledger was known for his commitment to the craft of acting, often delving deep into the minds of his characters. His preparation for the role of the Joker in "The Dark Knight" was legendary. Ledger isolated himself and maintained a diary filled with the Joker's thoughts and motivations. The result was a hauntingly realistic and unpredictable character portrayal.

Personal Life and Tragic Demise

Despite his professional success, Ledger faced personal challenges and battles with anxiety and insomnia. Tragically, on January 22, 2008, the world was shaken by the news of his untimely passing at the age of 28 due to accidental prescription drug intoxication. Hollywood mourned the loss of an exceptional talent taken too soon.

Legacy and Impact on the Film Industry

Heath Ledger's legacy lives on through his remarkable body of work. He posthumously received critical acclaim for his portrayal of the Joker and earned numerous awards, including the Academy Award for Best Supporting Actor. His dedication to his craft and the raw intensity he brought to his roles continue to inspire actors and filmmakers worldwide.

Awards and Recognitions

Heath Ledger's exceptional talent did not go unnoticed during his lifetime or after his passing. In addition to his Academy Award, he received multiple prestigious awards for his roles in "The Dark Knight" and other films. Ledger's name became synonymous with excellence in acting.

Iconic Quotes and Memorable Characters

From the witty lines of Patrick Verona in "10 Things I Hate About You" to the haunting words of the Joker in "The Dark Knight," Ledger's performances gifted the world with unforgettable quotes that continue to echo in the minds of fans.

Heath Ledger's Influence on Future Actors

Heath Ledger's acting prowess and his dedication to his craft have left an enduring impact on aspiring actors. His unique approach to method acting and his fearlessness in exploring complex characters have set a high bar for future generations of performers.

Documentaries and Tributes

Numerous documentaries and tributes have been dedicated to the life and career of Heath Ledger. These projects offer an intimate look into the man behind the roles and celebrate the brilliance he brought to the silver screen.

Conclusion

Heath Ledger was not just an actor; he was an artist who had the power to touch the hearts and souls of those who watched him perform. His contribution to the film industry and the depth of his performances ensure that his memory will live on forever. Although his time in this world was tragically brief, his impact was immense and continues to inspire and captivate audiences around the globe.

FAQs

What is Heath Ledger's most famous role? Heath Ledger's most famous role was undoubtedly his portrayal of the Joker in "The Dark Knight," for which he posthumously won the Academy Award for Best Supporting Actor.

How did Heath Ledger prepare for the role of the Joker? To prepare for the role of the Joker, Ledger isolated himself and immersed himself in the character's mindset, maintaining a diary filled with the Joker's thoughts and motivations.

What other awards did Heath Ledger win for his role in "The Dark Knight"? In addition to the Academy Award, Ledger received several other awards, including a Golden Globe and a BAFTA Award, for his exceptional portrayal of the Joker.

Did Heath Ledger leave behind any unfinished projects? Yes, at the time of his passing, Ledger was in the middle of filming "The Imaginarium of Doctor Parnassus," and his role was completed with the help of other actors as a tribute to him.

What is Heath Ledger's lasting legacy in the film industry? Heath Ledger's lasting legacy is his impact on acting, inspiring future generations of actors to fully commit to their characters and bring depth and authenticity to their performances.

#movies #tv shows #web series #joker

[hallmark-movie-fanatics]

TAMERA MOWRY-HOUSLEY, CHELSEA HOBBS, ROGER CROSS AND ANDREW J. HAMPTON TAKE THE STAGE IN ‘DREAM MOMS’ A NEW, ORIGINAL MOVIE PREMIERING MAY 13, ON HALLMARK CHANNEL

STUDIO CITY, CA –– April 19, 2023 – Tamera Mowry-Housley (“Inventing the Christmas Prince,” “Girlfriendship”), Chelsea Hobbs (“The Holiday Sitter,” “The Picture of Christmas”) Roger Cross (“A Snowy Day in Oakland,” “The Murdoch Mysteries”) and Andrew J. Hampton (“Blockbuster,” “So Help Me Todd”) star in “Dream Moms,” a new, original movie premiering Saturday May 13 (8 p.m. ET/PT), on Hallmark Channel. The movie also launches Hallmark’s “Make Her Mark” Women’s Directing Program.

Mowry-Housley is given the opportunity to show off her vocal talents and performs “Dream That Dream,” “Bring it Back” and “So Right,” three original songs that were written expressly for the movie.

Danielle (Mowry-Housley), a one-time off-Broadway performer and former backup singer, and Claire (Hobbs), a once-aspiring dancer, both had dreams of making it to the Broadway stage. Many failed auditions and years later, Danielle is married Mark (Cross), a successful lawyer, and has a ballerina daughter, who is positioned for NYC ballet, living in the Upper East Side. Claire is a single mother raising two sons and working as a bookkeeper in the Garment District. Now consumed with motherhood, they no longer have time for themselves and have deferred their own dreams. Danielle’s brother RJ (Hampton) introduces the two after Claire begins taking classes at his dance studio. He is impressed with Claire’s dance technique and wants to bring the women together to compete in a nationally televised talent contest. As they start practicing for the show, Danielle and Claire begin to regain their sense of self and passion they once had as performers. When competing priorities arise with their families and cause them to reconsider, the pair ultimately realizes they need to show up for themselves and set an example to never give up your dreams. They compete in the talent contest and with the support of their families, Danielle and Claire learn it’s never too late to become what or who you want to be.

“Dream Moms” is from Front Street Pictures. Roxanne Messina Captor is executive producer. Charles Cooper serves as producer. Jessica Harmon directed from a script by Jessiline Berry based on a story by Messina Captor.

#dream moms #hallmark channel #press release #tamera mowry housley #chelsea hobbs #roger cross #andrew j. hampton #hallmark movies

[nephilimborn]

CANON COMPLIANT INFORMATION : early life ➻ mark / miach blackthorn was born in 1991 of lady nerissa from the seelie court and andrew blackthorn from the prestigious blackthorn nephilim family. raised as an intengral part of the shadowhunter circle, little mark always knew of the fae blood running through his veins, as well as his eldest sister helen did. it caused some trouble, such as the scathing remarks thrown around by other angelborns their age behind their backs, undoubtedly inherited from elders, judging by the even nastier whispers that followed the siblings everywhere they went. nonetheless, life was colorful and kind to the blackthorns, days were spent training, playing, laughing, eating delicious food and watching annoyingly mundane television shows. thoughts of uncertainty, of being an outsider, never crossed his young mind, too occupied with building the perfect pilowfort for his youngests to question his place in the world. that would all change a fatidic night in the city of glass, the home in which they were supposedly safe would never be the same again, crimson ichor tainting the intricate architecture as the glass towers would crumble down ; taking with them every semblance of normality and familiarity mark had ever felt. that was the night he had to shoot his father in the face, the night his adoptive mother's hands twisted and pulled at his neck until it was black and blue. the night mark blackthorn quietly died at sixteen.

the wild hunt ➻ once cerulean eyes opened, painfully adjusting to the darkness that surrounded him, he found himself reborn in the body of a young malnourished man. it is him, translucent skin and golden hair included, the sight rune reminding him of the holy legacy he borns, yet there is no mark blackthorn anymore. the months of torture have ensured his stable docility, a mockery of the angelic runes he is so fond of now decorates his skin, bloody and ragged as he catches his breath poised by gwyn ap nudd's feet. quite a burly man, it unconciously reminds mark of his own deceased father, bringing a chill to his spine. a bittersweet welcome, filled with mud and blood, to what it would be the rest of his life. his days became a blur of charioting through the jeweled skyline between faerie and earth, reaping lost waging souls. his family was dead, or so he had been told, furthermore, the nephilim had evicted fae from the human world and downworlders relations were tense to say the least. yet mark hunter lives on. finding refuge in the comraderie of an exiled unseelie prince, kieran, their relationship one of fiery passion and need ; in those moments is where mark blackthorn comes alive, and he whispers over and over i am a shadowhunter in the space between their mouths.

➻ canon starts here

#i decided to write his timeline pre-canon a bit better #bc its very important to who he is #since he is basically confused and unaware of most of what is happening #most of the time #trapped by these events in the past #➻ meta ; canon

[denimbex1986]

'At the start of our interview, Andrew Scott and I are squeezing into a booth in the restaurant at the British Film Institute. It is very similar to the one occupied by Billy Crystal and Meg Ryan's characters in When Harry Met Sally. Quick as a flash, the actor smiles at me and says, “I'll have what she's having.”

Scott goes on to remark that he often dreads reading interviews with actors and hopes this won't be another that he recoils from. “Sometimes talking about acting can be reductive and a bit boring. Of course,” he adds, breaking into a wry, self-mocking grin, “I'm not like that. I'm completely fascinating. Everything I say is a bon mot. It's epigram after epigram. It's like sitting with Oscar Wilde... Although I have better hair!”

Witty. Mischievous. Charming.

These are precisely the qualities that catapulted Scott to stardom as Moriarty in BBC1's worldwide hit drama, Sherlock. People were already talking about him as a striking new talent after his first brief, if completely scene-stealing, 10-minute appearance in Steven Moffat and Mark Gatiss's compelling modern-day reworking of Sir Arthur Conan Doyle's classic detective stories.

His performance as Holmes's dastardly foe – by turns mesmerising and menacing – won Scott the best supporting actor Bafta award last year, beating his co-star Martin Freeman (who plays John Watson in Sherlock) in the process.

It was not exactly an overnight success for Scott – the 37-year-old Irishman had for many years been turning in very creditable, if not such conspicuous performances in dramas such as Lennon Naked (in which he gave a memorable Paul McCartney opposite Christopher Ecclestone's John Lennon), The Hour, John Adams and Band of Brothers.

But Moriarty, who appeared to come to a sticky end at the end of the last series on Sherlock, transformed Scott's profile. Moriarty is the archetypal baddie who has all the best lines, and his popularity meant that the actor was soon being offered leading roles in ITV1 dramas such as The Town and The Scapegoat.

Scott, who was raised in Dublin, where his father worked in an employment agency and his mother was an art teacher, has the volume turned down in real life and has no need to turn the dial up to 11 in the way that Moriarty does. But you can see that he still possesses the same razor-sharp instincts as Sherlock's arch-enemy.

The actor is the first to acknowledge that playing the role of Moriarty has moved his career up several notches. Picking at a croissant, he reflects that: “Sherlock has changed all our careers, and I'm really pleased about that. It gives you the benefit of the doubt because executives like to see recognisable faces.

“It was overwhelming to be on a TV show that is quite so popular. That took me totally by surprise. People had an instant affection for it from the first episode. The reaction was extraordinary. People still come up to me in the street all the time, wanting to talk about it.”

Sherlock fans are known as some of the most passionate in the business, but Scott says they are generally delightful. “There is this impression that the fans are crazy, but they're not – they're very respectful. They don't overstep the mark. I get a lot of fan mail. Of course, some of it is a bit creepy, but mostly it's very moving and creative. People send me drawings and their own versions of Sherlock stories. It's a source of escapism for people and that's great.

“I'm an enthusiast for people, and I don't want them to become the enemy. I've seen that happen to colleagues who are disturbed the whole time, but there's a certain degree of control you can have if you keep yourself to yourself. The kind of actors I admire move through different characters and genres. That's the kind of actor I try to be. If you want that, you have to be circumspect about your private life.”

Scott thinks the character made such an impact because, “Moriarty came as a real surprise to people”. He adds: “He doesn't have to do the conventional villain thing. He is witty, and people like that. He is also a proper match for Sherlock. He's very mercurial, too. I have since been offered to play a lot of different characters, and that's because Moriarty is a lot of different characters. He changes all the time.”

The next legacy of the “Sherlock Effect” is that Scott is starring in a one-off BBC2 drama entitled Legacy. An adaptation by Paula Milne of Alan Judd's bestselling 2001 espionage novel, this is an absorbing contribution to the BBC's “Cold War” season. In this film, set at the height of the conflict between the UK and the USSR in 1974, which goes out on Thursday 28 November, Scott plays Viktor Koslov, a KGB spy.

Charles Thoroughgood (Charlie Cox), a trainee MI6 agent, tries to reconnect with Viktor, an old friend from their Oxford days, in an attempt to “turn” him. However, Victor adroitly turns the tables on Charles with a shocking revelation about the British spy's family. Deliberately shot in Stygian gloom, Legacy captures the murky world of the secret services where cynicism and duplicity are part of the job description. Its tagline could well have been: “Trust no one.”

The film convincingly conjures up the drabness of the 1970s, all three-day weeks, petrol rationing and power cuts. Scott says: “Characters in those days called from phone boxes – whoever does that now? The film fits the era. It has a melancholic tone. It's very brown and downbeat.”

Scott particularly enjoyed playing the ambiguity of Viktor's character. “I like the idea that you don't know who he is. It's important that you feel for Viktor and his predicament. You have to feel he's a human being with a family. But both he and Charles are elusive figures – it's not clear whose side they're on. It's not at all black-and-white, and that's why the film is so shadowy.”

The actor boasts a terrific Russian accent in Legacy. Where did it come from? “There isn't a huge amount of footage of Russians speaking English as a second language, so I started looking at Vladimir Putin videos on YouTube. But then Putin introduced anti-gay legislation this summer – so, being a gay person, I switched to Rudolf Nureyev videos instead. It was another Nureyev defection of sorts!”

Scott is low-key on the subject of his sexuality. “Mercifully, these days people don't see being gay as a character flaw. But nor is it a virtue, like kindness. Or a talent, like playing the banjo. It's just a fact. Of course, it's part of my make-up, but I don't want to trade on it. I am a private person; I think that's important if you're an actor. But there's a difference between privacy and secrecy, and I'm not a secretive person. Really I just want to get on with my job, which is to pretend to be lots of different people. Simple as that.”

Scott is very much getting on with the job at present. He has many intriguing projects in the pipeline, including starring in Jimmy's Hall, the new Ken Loach movie about a political activist expelled from Ireland during the “Red Scare” of the 1930s. He is also appearing with Tom Hardy and Ruth Wilson in Locke, a film about a man whose life is falling apart, and in The Stag, a movie about a stag weekend that goes horribly wrong. In addition, he is headlining alongside Bill Nighy, Dominic West and Imelda Staunton in Matthew Warchus's movie Pride, a true story about an alliance between the mine workers and the lesbian and gay community during the 1984 miners' strike.

If he can possibly find any spare time, Scott is also open to comedy offers. “Everything in life has to have an element of comedy about it. I did Design for Living at the Old Vic in 2010 – Noël Coward was a master of comedy. The audience were convulsing every night. It's such a joyous feeling to hold a pause and wait for the laughter. There is no better high. Forget about drugs!”

But despite the fact that producers are now cold-calling him like overeager mis-sold PPI salesmen, Scott won't be rushing into the first role he's offered. One positive by-product of his success is his ability to be choosy about what he does. He observes: “You have to be brave to turn things down, but there is a certain power to that. I've had offers to do more regular TV series, but I don't regret rejecting them. If money and fame are not your goals, then it becomes easier. American agents use the expression, 'this could be a game-changer'. The implication is that you want the game to change. But I don't. I don't have a plan. I like unpredictability and randomness.

“People get distracted by box-office figures and take jobs because they think it will advance their careers. Of course, it's nice to get a big cheque and be able to buy a massive house, but my view is that we're not here long, so why not do something of value?”

So Scott is very happy with where he's at. “To do all these different things is a dream for me. My idea of a successful actor is not the most recognisable or the richest – it's someone who is able to do a huge amount of different stuff. I don't want to be known for just one thing.”

It's true that Scott is now broadening his career far beyond Moriarty. But I can't resist one final question on the subject: Is there any chance that Moriarty will, like his nemesis, be making a Lazarus-like comeback in the new series of Sherlock? Scott has, after all, been photographed filming scenes for the upcoming third season.

“People ask me that every day. It's a small price to pay for having been in such a wonderful show,” he teases. But he is forbidden from spilling the beans about Moriarty's fate in Sherlock even to close family members.

So has Moriarty played one more dastardly trick on us by faking his own suicide? Or are the scenes the actor has been shooting merely flashbacks? Scott could tell us, but then – like some ruthless Cold War spy – he would have to kill us...'

#Legacy #Andrew Scott #Moriarty #John Adams #The Hour #Lennon Naked #Martin Freeman #Benedict Cumberbatch #Steven Moffat #Mark Gatiss #British Film Institute #Sir Arthur Conan Doyle #Christopher Eccleston #Band of Brothers #Paul McCartney #The Town #The Scapegoat #Design for Living #The Old Vic #Noel Coward #Paula Milne #Alan Judd #Viktor Koslov #Charlie Cox #Jimmy's Hall #Locke #The Stag #Matthew Warchus #Pride #Imelda Staunton