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jian-wei-uh · 10 days ago

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Blog Post #3: Beyond the Screen: The Transmedia Universe of Avatar: The Last Airbender

The entertainment industry, along with individuals who simply want to share their stories, uses transmedia storytelling to bring unique and parody stories to audiences worldwide, whether for commercial reasons (like minecraft, Disney Films, Boku No Hero Academia) or just for fun (Welcome Home ARG, Fan fictions, game jams, roleplaying communities).

Transmedia storytelling is narrative technique where different parts of a story are shared across various entertainment methods, like movies, books, or games, to create one big, connected experience. Each mentioned methods adds its own unique piece and helps to build the story in a way that all comes together smoothly (Jenkins, 2007). This technique has been used by major entertainment franchises like Harry Potter, Marvel, and Star Wars. Majority these franchises achieved great success using this method. For example, Harry Potter franchise starting off with novels before gradually expanding universe's lore into animation, films, video games, merchandise and eventually having a dedicated theme park (Maschler, 2023). Tapping into different entertainment mediums with promotion intention, where each medium has a large, specific audience, would be highly beneficial to entertainment companies in terms of popularity and commercial (Schiller, 2018). The reason behind it being that this strategy would attract said new groups of fans to the franchise which directly increasing the company's profits by purchasing more types of product of the mentioned franchise. The new influx of audience will contribute to fan production of the franchise and increase the popularity or even guide the franchise storyline (Schiller, 2018).

Figure 1: Avatar: The Last Airbender Promotion Poster for Season 1. (VladTen1350, n.d.)

This blog post will focus on the Avatar: The Last Airbender (2005) franchise and explore how it serves as an example of transmedia storytelling. I argue that the franchise successfully utilises transmedia storytelling technique to reach wider audiences across multiple platforms. Evidence of this includes the continuation of the main series through the production of a sequel series, live-action adaptations, merchandise, web series, and novels after the original show ended.

Avatar: The Last Airbender follows Aang, a young yet centuries-old boy and the last surviving Airbender, who is also the missing Avatar. Still with the mentality of a child, he must bring balance to a war-torn world that fell apart during his absence. The world is divided into four nations which are Water, Earth, Fire, and Air. Among the populations of these nations are benders who has the ability to "bend" their respective nation's elements. Aang, along with his friends Katara, Sokka, and later Toph, embarks on a journey to master all four elements, a feat that only the Avatar could master, and defeat Fire Lord Ozai, who seeks to dominate and subjugate the world.

Figure 2: Map of Avatar: The Last Airbender. (mapofasia, 2023)

One characteristic of transmedia storytelling is the creation of a complex and expansive fictional universe that would give plenty of creative space for audiences to speculate about what could be happening and develop their own understanding of the world (Jenkins, 2007; Baroni, Anaïs Goudmand and Ryan, 2023). In the three main seasons of the animated series Avatar: The Last Airbender, Aang and his friends travel across the world, but many aspects of the world’s lore remain unexplored. Numerous locations were not covered by the series, leaving room for audience speculation or later exploration through other media or dialogue. A prime example is the location shown in the zoomed-in box in Figure 2. This area, although not significant in the main series, became extremely important in the sequel series The Legend of Korra. Set after Aang’s era, The Legend of Korra introduces Republic City, a central location for most of the series. While The Legend of Korra focuses heavily on this city, little is revealed about what lies beyond it or how the world has changed since Aang ended the Fire Nation's war. This lack of information allows audiences to creatively fill in the gaps and speculate on the broader world. It prompts the audience to ask themselves questions like, 'Have the Water Tribes recovered from the war?', 'Is the Fire Nation now a peaceful country?', and 'Is the Earth Kingdom free from corruption?' In an indirect way, it encourage audience participation which could help direct the story's narrative and creates a community around the franchise story (Jenkins, 2007).

This curiosity about both explored and unexplored aspects of the environment and lore inspires audiences to craft their own interpretations or fan fiction. Personally, I was captivated by the Earth Kingdom’s environment and complex politics, which motivated me to create my own character within this universe. Many others, like myself, continue to contribute content long after the series ended, keeping the world alive and thriving through fan creations.

Figure 3: "The Promise", one of Avatar: The Last Airbender comics. (Fresh Comics, 2013)

We know there are two main animation series that covers Aang's timeline to defeat the fire lord and Korra's timeline to save Republic City. For audience who were curious about the in-between period like what happened to the world after protagonist gang defeated the antagonist, they can turn to another medium which is the comic series. They cover many aspects such as post-war world, modernisation and those against it, and social issues.

Figure 4: Avatar: the Last Airbender: The Kyoshi Novels and The Yangchen Novels Bundle

Besides tapping into comic market, they also wrote novels that cover stories about Avatars before Aang for audience who are curious how other avatars maintain balance during their timeline. It is understandable why they have chosen comics and novels to cover the parts in-between the two main animation series as it is cheaper to produce compared to full animations.

Figure 3: Avatar: The Last Airbender video game. [Gaming Console Version, Left] (Super Cheats, n.d.) Figure 4: Avatar: The Last Airbender video game. [Gameboy Advance Version, Right] (Super Cheats, n.d.)

There were also interactive media for this franchise such as video games. The video games let players control characters from the main animated series and navigate through the same storyline as the animated series. This would make the player feel immerse with the story as they are interacting with the video game to understand and progress the plot of the story.

Figure 5: The Last Airbender. [Left] (Bomb Report, 2022) Figure 6: Avatar: The Last Airbender. [Right] (Glazebrook, 2024)

Over the years, live-action adaption for the animated series were produced as well. However, The Last Airbender (2010) received a poor reception from audiences and was plagued with numerous noticeable issues (Curran, 2020). The long gap between these live-action adaption may be due to difficulties in securing investors or funding, as the first live-action adaptation performed so poorly that it lost much of the fan base’s trust in live-action adaption. Without the fan base’s trust and interest, the potential for profit would be significantly reduced. However, the lasting impact of the original animated series has kept the audience's loyalty and memory alive, likely contributing to the support for Netflix's live-action adaptation. To prove that the audience's interest are still strong with the series would be after four days since Netflix's live-action adaptation release on February 2024, It became a top 10 English series in 92 countries, with 21.2 million views (Netflix, 2024), and has reached 71.1 million views as of June 2024 (Netflix, 2024).

Figure 7: Funko Pop figurines of Avatar: The Last Airbender's characters. (Schwellenbach, 2018) Figure 8: Avatar: The Last Airbender Elements BST AXN 5-inch Action Figure. (DaRedHorse, n.d.)

Avatar: The Last Airbender also collaborate with merchandise companies to produce physical merchandises for fans who wishes to collect exclusive collectables or younger audience who wishes to play with their favourite characters physically.

By expanding into different entertainment mediums, it creates new entry points for audience (Jenkins, 2007) to enter into the franchise's main medium which is the main animated series. This multi-platform approach allows fans to explore the story's world from various perspectives, deepening their connection and sustaining interest in the franchise up to the present day.

Reference

Avatar: The Last Airbender. (2024). Netflix.

Avatar: The Last Airbender. (2005–2008). Nickelodeon Animation Studio.

Avatar: The Last Airbender. (2006). THQ.

Baroni, R., Anaïs Goudmand and Ryan, M. (2023). Transmedial Narratology and Transmedia Storytelling. Springer eBooks, pp.1–25. Available at: https://doi.org/10.1007/978-3-030-91263-5_16-1. [Accessed: 6 November 2024].

Curran, B. (2020). What Went Wrong With The Last Airbender Movie. ScreenRant. Available at: https://screenrant.com/last-airbender-movie-bad-problems-explained/. [Accessed: 7 November 2024].

Jenkins, H. (2007). Transmedia Storytelling 101. Henry Jenkins. Available at: https://henryjenkins.org/blog/2007/03/transmedia_storytelling_101.html. [Accessed: 6 November 2024].

Maschler, N. T. (2023) Transmedia Storytelling in the World of Harry Potter, Charles University. Available at: https://dspace.cuni.cz/bitstream/handle/20.500.11956/185957/120457570.pdf?sequence=1. [Accessed: 6 November 2024].

Netflix. (2023) Top 10 Week of Feb 19: Avatar: The Last Airbender and Tyler Perry's Mea Culpa. Available at: https://about.netflix.com/en/news/top-10-week-of-feb-19-avatar-the-last-airbender-and-tyler-perrys-mea-culpa. [Accessed: 7 November 2024].

Schiller, M. (2018). Transmedia Storytelling: Stories, pp.97–108. Available at: https://doi.org/10.2307/j.ctv5rf6vf.10. [Accessed: 6 November 2024]

The Last Airbender. (2010). Paramount Pictures.

The Legend of Korra. (2012–2014). Nickelodeon Animation Studio.

What's on Netflix. (2024). Search Netflix’s Engagement Reports for 2023 and 2024. Available at: https://www.whats-on-netflix.com/most-popular/netflix-engagement-report-search/ [Accessed: 7 November 2024].

Yang, G., DiMartino, M. D., and Konietzko, B. (2010–2017). Avatar: The Last Airbender [Comic series]. Dark Horse Comics.

Yee, F. C. (2023). Avatar, The Last Airbender: The Dawn of Yangchen. Amulet Books.

Yee, F. C. (2023). Avatar, The Last Airbender: The Legacy of Yangchen. Amulet Books.

Yee, F. C. (2019). Avatar, The Last Airbender: The Rise of Kyoshi. Amulet Books.

Yee, F. C. (2020). Avatar, The Last Airbender: The Shadow of Kyoshi. Amulet Books.

#sources and significance

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michaelconlon-blog1 · 5 years ago

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SW 150 Blog Post 1

There are many social issues that are represented throughout arts. Many songs, books, pictures, and movies are made to bring awareness to a “Social Norm” that need to be changed. One thing that motivates me to try and fix a social problem is the movie Remember the Titans. I was introduced to this movie when I was in middle school, taking a sports films class. Going into watching this movie, I wasn’t really expecting it to have an impact on me, because I didn’t understand how deep the movie was. This movie motivates me to make a social change in accepting everybody, no matter who they are.

Remember the Titans is a movie about a high school football team, that was originally an all-white school, but was now allowing everybody to come to the school. Many of the players did not want to have African Americans on their team, and vice versa. They were separated, all because of their social beliefs. They wanted nothing to do with each other when they were assigned to go to a football camp. When the coaches made the rooming arrangements to where it would be one white player and one African American player, they were all unhappy. They just didn’t accept each other because of their beliefs. As the movie progresses, the team begins to untie, ending the separation between the two races. All of the players learn to like one another and treat each other respectfully, and they really become brothers. This movie is a perfect example of whole wrong some social ideas are, and when they are put into a situation of that social norm, they prove that it isn’t how things should be. At the time of the film, the two races didn’t think they were supposed to like each other, didn’t think they could sit in the same room as one another, but when they are put in a situation where they are together, they could actually learn to really like one another. This movie inspired so many people across our country, to accept one another for who they are, and put a big dent in segregation issues.

Growing up, I never looked at anyone different from myself. I never thought low of anyone because of their race. What this movie made me realize, however, is that at the time, all of the people in my life where the same race as me. Not that I wouldn’t become friends with different kinds of people, but because in my town, there wasn’t a big mix of people. According to a demographic chart of my town, Seaford, New York, of the 1,507 people of my town, 91.2% of people are white, 1.8% are Asian, and 6.4% are Hispanic. This list may be a few years off, but it shows how I never really had experience with different races of people growing up. Shortly after I saw this movie, there was a new kid in my class, who happened to be African American, and I was inspired from that movie to make sure that he didn’t feel different from anyone else. I couldn’t imagine how nervous he must have been when he came to school, with new people he has never met, and I wanted to make him feel welcome. Well, about 4 years later, he is one of my best and closest friends. Nobody in my school gave him issues about his race, and he seemed to be liked by everybody. I was very proud that he was able to fit right in to my town, and that really shows me that not only Remember the Titans, but the entire social act of bringing people together was accepted by people.

When I came to the University at Buffalo, I was in almost a completely different world coming out of my town. The demographics of UB are so spread out, I was excited to meet a bunch of new people from different areas that I would probably never meet back in my town. I transferred here after a semester of community college, and I was put in a dorm room with three Chinese boys. I will forever be grateful that I was put in that room, because I became friends with the most respectful, caring people I have ever encountered in my life. They helped me successfully adapt to life here at UB. As I walk around the campus, I see groups of people of different races who seem to be very close and like each other, and it makes me very happy. This movie made me realize the importance of bringing people together and how much of a better place the world will be.

Not only has the movie, “Remember the Titans”, made a big impact in my life, but it has around the world. The movie is about fighting racism and separation through football. This was portrayed in real life by a famous quarterback named Colin Kaepernick. He started to kneel during the national anthem before every game, saying that he is doing it to fight for minorities. This quote comes from an article about Colin’s movement. “I am not looking for approval. I have to stand up for people that are oppressed. … If they take football away, my endorsements from me, I know that I stood up for what is right.” While his heart is in the right place, and he’s only trying to bring people together, it is a very controversial topic in the US. People say if he wants to bring awareness to this issue, he should do it another way. Standing up to the flag is disrespecting the men who fought for us to live our lives. Me personally, I am torn between the issue. I like the message he is sending, but I also don’t want to kneel for the national anthem. I have two grandfathers who both risked their lives for our country, and I will always be grateful for their sacrifice. This movement has been a big topic in the US for years, and that’s exactly what Kaepernick wanted, to have people talk about what he’s doing, and why he’s doing it. This is a successful movement. It didn’t completely end the problem that he is trying to fix, but he definitely spread awareness to his issue or everyone being treated equally.

Many athletes all over the world have been using their fame and status to spread awareness through civil rights. Many NBA players have spread awareness through their social media accounts about how there still needs to be a change. A Log Angeles clippers owner, Donald Sterling, stated that he didn’t want anyone of a different race attending his teams’ games. This was something that all of the athletes knew they needed to step in and get their message across that this kind of disrespect will not be allowed in today’s world. Not only clippers players wanted him to get banned from the NBA for life, but other players around the league, including Star Lebron James, wanted him gone, and were going to protest if he wasn’t. “Last May, the Clippers protested team owner Donald Sterling’s racist comments—in which he said he didn’t want black people coming to his games—by turning their warmups inside out and hiding the team’s name and logo. In the days that followed, Golden State was prepared to walk off the court and boycott a playoff game against Los Angeles and there were rumblings that LeBron James would lead a league-wide sit-out if Sterling were allowed to remain owner in power.” This quote is from an article about how NBA players have fought racism through using their high status to spread awareness. I am very proud that people who are well known around the world are trying to fight this social issue. Social Media allows these famous men and women to talk about social issues and try and fight them.

“Remember the Titans” has made a huge impact on me. I would never be as focused on people being equal if I haven’t watched that movie. Even though even before that movie I knew that this was a problem, seeing it in the movie made me realize that this issue has to be resolved, because although there is progress, this movie came out in 2000, and it is now 2019 and there are still many issues on this topic that come up around the world. I know throughout my life, I will put an extra effort to make everyone around me feel equal, and fight against racism, through all races. I was inspired by “Remember the Titans”, and I will always be grateful that this movie was brought in to my life.

Works Cited:

“NBA Players Making Their Voices Heard on More than Just Basketball.” SI.com, 26 May 2015, www.si.com/nba/2015/05/26/nba-civil-rights-lebron-james-carmelo-anthony-trayvon-martin-eric-garner.

Schiller, Andrew. “Seaford, NY Demographic Data.” NeighborhoodScout, NeighborhoodScout, 10 June 2019, www.neighborhoodscout.com/ny/seaford/demographics.

TheUndefeated. “Colin Kaepernick Protests Anthem over Treatment of Minorities.” The Undefeated, The Undefeated, 3 Sept. 2016, theundefeated.com/features/colin-kaepernick-protests-anthem-over-treatment-of-minorities/.

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chicago-geniza · 2 years ago

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Ok! To do

Meds, inhalers, T ✅

Take out kitchen trash ✅

Wash face ✅

Read on the balcony for a bit - GO OUTSIDE

Draft email to V

Send email

Invoice 1

Invoice 2

Text S

Reply to Signal messages

Draft email to [redacted]

Send email

Draft email to roundtable group if someone hasn't already started thread

Send email

Outline shorter version of conference paper

Watch film Institute lecture on Dybbuk and Pan Tadeusz again, pull quotes, take notes

Make folder for PowerPoint images (screencaps)

Unpack antiquarian books, in part because you need the following:

Boy's quote on Tog un nakht; quote from book on silence & sound in film till '39 re: Dybbuk & Pan Twardowski; quote on what Ordyński allegedly said to Wyspiański about his work; Stef's rebuttal on Threepenny Opera re: the inappropriateness of placing Schiller & Ordyńdski in the same category; Wiadomości London survey where Stef says Wyspiański's Dziady is her earliest memory of the theater, a formative experience; Wallis on Grottger's second Warsaw cycle; catalogs from Grottger and Matejko exhibitions in the late 30s; Anna Pilch on Stef's uniqueness as a film critic - the question of form; Debora Vogel & Stef on Jewish art, Chagall, P&A; HURAGAN.

Conclusion can add new material: Dybbuk centennial, Wajda's Wyzwolenie-Dziady as "national martyrology" film that collapses the Powstanie into Auschwitz into Katyń, Zubrzycki's Resurrecting the Jew, AG's corresponding work on Ukr poets re: Babyn Yar and Holodomor, the work of nationalism, the absent figural Jew restored to "rightful place" in history / "the collective story we tell" about the past but safely in Israel in the present as a cornerstone of "progressive" European national narratives that position themselves over-against far-right ethnonationalism, how this is deceptively conservative, not...unlike certain expressions of Piłsudski-ite ideology positioned vis-a-vis Endecja

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pelismov-hd · 4 years ago

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Fecha de estreno : 2020-09-10 Géneros : Comedia, Terror Runtime : 101 Minutes Home Page : https://www.netflix.com/title/81012366 IMDb Page : https://www.imdb.com/title/tt11024272 Company : Wonderland Sound and Vision, Boies/Schiller Film Group Reparto : Judah Lewis, Jenna Ortega, Emily Alyn Lind, Robbie Amell, Andrew Bachelor, Bella Thorne, Hana Mae Lee, Ken Marino, Leslie Bibb, Chris Wylde Tagline: Enfréntate a tus demonios. Sobrevive a la noche. Overview : Dos años después de derrotar a la secta satánica liderada por la niñera Bee, Cole trata de olvidar su pasado para centrarse así en sobrevivir al instituto. Cuando viejos enemigos regresan, Cole no tendrá más remedio que volver a enfrentarse a las fuerzas del mal.

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myflixhall · 4 years ago

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imaxon · 4 years ago

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dailybox112 · 4 years ago

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scumdogsteev · 4 years ago

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October Horror Films 2020 | Day 14 | Countdown (dir. Justin Dec; STX Films/Boies / Schiller Film Group/Wrigley Pictures 2019)

Trailer:

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Block: Killer Apps

#october horror films 2020 #countdown #countdown 2019 #horror movies #horror films #movie posters #trailers #justin dec

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if-only-angels-could-prevail · 8 years ago

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On the soon-to-be demolished stage of the Weismann Theatre, a reunion is being held to honor the Weismann's "Follies" shows past, and the beautiful chorus girls who performed there every year between the two world wars. The once resplendent theatre is now little but planks and scaffolding (”Arrival”). As the ghosts of the young showgirls slowly drift through the theatre, a majordomo enters with his entourage of waiters and waitresses. They pass through the spectral showgirls without seeing them.

Sally Durant Plummer, "blond, petite, sweet-faced" and at 49 "still remarkably like the girl she was thirty years ago", a former Weismann girl is the first guest to arrive; her ghostly youthful counterpart moves towards her. Phyllis Rogers Stone, a stylish and elegant woman, also arrives with her husband Ben, a renowned philanthropist and politician. As their younger counterparts approach them, Phyllis comments to Ben about their past. He feigns disinterest; there is an underlying tension in their relationship. As more guests arrive, Sally’s husband, Buddy, enters. He is a salesman, in his early 50s, appealing and lively, whose smiles cover inner disappointment.

Finally, Weismann enters to greet his guests. Roscoe, the old master of ceremonies, introduces the former showgirls ("The Way Old Friends Do"). Former Weismann performers at the reunion include Max and Stella Deems, who lost their radio jobs and became store owners in Miami; Solange La Fitte, a coquette, who is vibrant and flirtatious even at 66; Hattie Walker, who has outlived five younger husbands; Vincent and Vanessa, former dancers who now own an Arthur Murray franchise; Heidi Schiller, for whom Franz Lehár once wrote a waltz (or was it Oscar Straus? Facts never interest her; what matters is the song!); and Carlotta Campion, a film star who has embraced life and benefited from every experience.

As the guests reminisce, the stories of Ben, Phyllis, Buddy and Sally unfold. Phyllis and Sally were roommates while in the Follies, and Ben and Buddy were best friends at school in New York. When Sally sees Ben, her former lover, she greets him self-consciously ("Mamma Mia"). Buddy and Phyllis join their spouses and the foursome reminisces about the old days of their courtship and the theatre, their memories vividly coming to life in the apparitions of their young counterparts ("Our Last Summer"). Each of the four is shaken at the realization of how life has changed them. Elsewhere, Willy Wheeler (portly, in his sixties) cartwheels for a photographer. Emily and Theodore Whitman, ex-vaudevillians in their seventies, perform an old routine ("Me And Bobby And Bobby’s Brother"). Solange proves she is still fashionable at what she claims is 66 ("Dancing Queen"), and Hattie Walker performs her old showstopping number ("Does Your Mother Know").

Buddy warns Phyllis that Sally is still in love with Ben, and she is shaken by how the past threatens to repeat itself. Sally is awed by Ben’s apparently glamorous life, but Ben wonders if he made the right choices and considers how things might have been ("Another Town, Another Train"). Sally tells Ben how her days have been spent with Buddy, trying to convince him (and herself) ("Super Trouper"). But it is clear that Sally is still in love with Ben – even though their affair ended badly when Ben decided to marry Phyllis. She shakes loose from the memory and begins to dance with Ben, who is touched by the memory of the Sally he once cast aside.

Phyllis interrupts this tender moment and has a biting encounter with Sally. Before she has a chance to really let loose, they are both called on to participate in another performance – Stella Deems and the ex-chorines line up to perform an old number ("Gimme! Gimme! Gimme! (A Man After Midnight)"), as they are mirrored by their younger selves. Afterward, Phyllis and Ben angrily discuss their lives and relationship, which has become numb and emotionless. Sally is bitter and has never been happy with Buddy, although he has always adored her. She accuses him of having affairs while he is on the road, and he admits he has a steady girlfriend, Margie, in another town, but always returns home. Carlotta amuses a throng of admirers with a tale of how her dramatic solo was cut from the Follies because the audience found it humorous, transforming it as she sings it into a toast to her own hard-won survival ("I Wonder (Departure)").

Ben confides to Sally that his life is empty. She yearns for him to hold her, but young Sally slips between them and the three move together ("Crazy World"). Ben, caught in the passion of memories, kisses Sally as Buddy watches from the shadows. Sally thinks this is a sign that the two will finally get married, and Ben is about to protest until Sally interrupts him with a kiss and runs off to gather her things, thinking that the two will leave together. Buddy leaves the shadows furious, and fantasizes about the girl he should have married, Margie, who loves him and makes him feel like "a somebody", but bitterly concludes he does not love her back ("Knowing Me, Knowing You"). He tells Sally that he's done, but she is lost in a fantasy world, and tells him that Ben has asked her to marry him. Buddy tells her she must be either crazy or drunk, but he's already supported Sally through rehab clinics and mental hospitals and cannot take any more. Ben drunkenly propositions Carlotta, with whom he once had a fling, but she has a young lover and coolly turns him down. Heidi Schiller, joined by her younger counterpart, performs "When All Is Said And Done", her aged voice a stark contrast to the sparkling coloratura of her younger self. Phyllis kisses a waiter and confesses to him that she had always wanted a son. She then tells Ben that their marriage can't continue the way it has been. Ben replies by saying that he wants a divorce, and Phyllis assumes the request is due to his love for Sally. Ben denies this, but still wants Phyllis out. Angry and hurt, Phyllis considers whether to grant his request ("The Winner Takes It All").

Phyllis begins wondering at her younger self, who worked so hard to become the socialite that Ben needed. Ben yells at his younger self for not appreciating all the work that Phyllis did. Both Buddys enter to confront the Bens about how they stole Sally. Sally and her younger self enter and Ben firmly tells Sally that he never loved her. All the voices begin speaking and yelling at each other. Suddenly, at the peak of madness and confusion, the couples are engulfed by their follies, which transform the rundown theatre into a fantastical "Lovelight", an extravaganza even more grand and opulent than the gaudiest Weismann confection: "the place where lovers are always young and beautiful, and everyone lives only for love". Sally, Phyllis, Ben and Buddy show their "real and emotional lives" in "a sort of group nervous breakdown."

What follows is a series of musical numbers performed by the principal characters, each exploring their biggest desires. The two younger couples sing in counterpoint of their hopes for the future ("I Have A Dream"). Buddy then appears, dressed in "plaid baggy pants, garish jacket and a shiny derby hat", and performs a high-energy vaudeville routine depicting how he is caught between his love for Sally and Margie's love for him ("As Good As New"). Sally appears next, dressed as a torch singer, singing of her passion for Ben from the past- and her obsession with him now ("SOS"). In a jazzy dance number, accompanied by a squadron of chorus boys, Phyllis reflects on the two sides of her personality, one naive and passionate and the other jaded and sophisticated and her desire to combine them ("Nina, Pretty Ballerina"). Resplendent in top hat and tails, Ben begins to offer his devil-may-care philosophy ("Dance (While The Music Still Goes On)"), but stumbles and anxiously calls to the conductor for the lyrics, as he frantically tries to keep going. Ben becomes frenzied, while the dancing ensemble continues as if nothing was wrong. Amidst a deafening discord, Ben screams at all the figures from his past and collapses as he cries out for Phyllis.

"Lovelight" has dissolved back into the reality of the crumbling and half-demolished theatre; dawn is approaching. Ben admits to Phyllis his admiration for her, and Phyllis shushes him and helps Ben regain his dignity before they leave. After exiting, Buddy escorts the emotionally devastated Sally back to their hotel with the promise to work things out later. Their ghostly younger selves appear, watching them go. The younger Ben and Buddy softly call to their "girls upstairs", and the Follies end.

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papermoonloveslucy · 8 years ago

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Lucy, the Camp Cook

S3;E6 ~ October 25, 1964

Synopsis

When Lucy and Viv want their boys to stay an extra week at camp, they take a job in the camp’s kitchen, but only succeed in nearly destroying the place on their first (and last) day.

Regular Cast

Lucille Ball (Lucy Carmichael), Vivian Vance (Vivian Bagley), Gale Gordon (Theodore J. Mooney), Candy Moore (Chris Carmichael), Jimmy Garrett (Jerry Carmichael), Ralph Hart (Sherman Bagley)

Guest Cast

Harvey Korman (Mr. Slater, Camp Director) is best known as a cast member of “The Carol Burnett Show” (1967-1977), four episodes of which featured Lucille Ball. He will make two more appearances on “The Lucy Show.” In 1977 he had his own show on ABC which lasted just one season. At the time of this episode he was a regular on “The Danny Kaye Show” (1963-67) which aired Friday nights on CBS. Lucille Ball guest starred on the episode aired on Saturday, October 24, 1964, the night before her show, which generally aired on Mondays.

Madge Blake (Woman Driver) is probably best remembered as Aunt Harriet Cooper on TV’s “Batman” (1966-1968). On “I Love Lucy,” she played Martha, a prospective new tenant who has a fear of heights in “Lucy and Superman” (ILL S6;E13). Blake had already appeared as hat shop proprietor Mrs. Mulford in “Ricky Loses His Temper” (ILL S3;E19). She also played Aunt Anastacia in Lucy and Desi’s 1954 film The Long, Long Trailer.

This is the second episode in a row this season to be written by Bob Schiller and Bob Weiskopf. Although they departed the series as regular writers in season two, Lucille Ball convinced them to contribute several scripts to season 3.

This episode was first aired on Sunday, October 25, 1964, one day earlier than its usual Monday night time slot.

Once again, Chris’s friend Cynthia is mentioned; her parents are said to be waiting outside to drive the girls on their vacation. When last we saw Cynthia in season 1, she was played by Lucie Arnaz. It is never stated where Chris and Cynthia are going.

Jerry and Sherman call their camp group “The Rat Finks.” In “Lucy Gets Amnesia” (S3;E4) Chris says her pet name for her ex-boyfriend Bobby Edwards was “The Fink.”

Viv makes fun of Jerry’s fondness for Beatles records. Lucy calls them his “Beatle” records. The Beatles were previously mentioned in “Lucy and the Plumber” (S3;E2) and “Lucy and the Great Bank Robbery” (S3;E5).

Mr. Mooney’s son is also at the camp, although the character is never seen on screen. Arnold Mooney was played by Barry Livingston in “Lucy and the Scout Trip” (S2;E26) and in “Lucy Gets Locked in the Vault” (S2;E4).

Lucy says to Mr. Mooney: “Compared to you Jack Benny is Diamond Jim Brady.” Comedian Jack Benny (1894-1974) recently guest starred on “Lucy and the Plumber” (S3;E2). Jack Benny’s comic persona was that of a skinflint who still had every penny he ever made. Conversely, James Buchanan Brady (1856-1917) was a real-life millionaire and philanthropist who was fond of jewels (hence the nickname). He had a longtime relationship with singer Lillian Russell. In the late 1960s, Lucy was announced to play Russell to Jackie Gleason’s Brady in a film project that never materialized. He was first mentioned in “The Business Manager” (ILL S4;E1).

Mr. Mooney’s red convertible is a 1964 Ford Falcon Sprint. The Sprint was overshadowed by the Mustang and was discontinued after 1965.

After Mr. Mooney runs out of gas (because the last filling station didn’t give trading stamps), Lucy and Viv try hitchhiking. Viv says “Let’s give it that old Claudette Colbert try.” Viv is referring to a scene from the 1934 film It Happened One Night in which Colbert ‘schools’ Clark Gable in how to get a driver to stop by hiking up her skirt above the knee. Coincidentally, the film featured Irving Bacon as a gas station attendant. Bacon played Ethel Mertz’s father Will Potter in “Ethel’s Home Town” (ILL S4;E15).

Viv: “Did Tommy Thompson hide his pet snake in somebody’s bed again?”

Tommy Thompson was the name of one of “The Lucy Show” producers. He was previously mentioned in “Lucy and Viv Play Softball” (S2;E3) by his nickname, Art Thompson.

Lucy says that when she and Viv were in the WAVES they cooked for the entire company. Lucy is fibbing to get the job. Viv reminds her that they only cooked one meal and everyone got seasick – on dry land. Their past as WAVES is first introduced in “Lucy Becomes an Astronaut” (S1;E6).

Lucy says the stove in the camp kitchen was made in 1903 by Mother’s Handy Household Helper. Viv says the last time she saw a stove like it Hansel and Gretel were cooking a witch in it.

Mr. Slater says the last cook left them enough frozen pop-over batter to sink Boys Town. Boys Town was founded in December 1917 as an orphanage for boys. In 1938, Spencer Tracy played their founder, Father Flanagan, in a film titled Boys Town, which won two Oscars and spawned the sequel Men of Boys Town, also starring Tracy. Boys Town was previously mentioned in “Lucy is a Referee” (S1;E3).

When Lucy says to Viv “I’ll show you how to handle eggs” the studio audience audibly gasps in expectation of what is to come. Perhaps they are recalling the episode of “I Love Lucy” where “Lucy Does the Tango” (ILL S6;E20)?

From Mr. Slater’s brief crooning of the camp song, it sounds like the name of the camp is ‘Camp Awa-ha-haki,’ although he has a large yellow letter “T” on his cap.

Callbacks!

Broken eggs were the cause of the longest recorded laugh on “I Love Lucy” in “Lucy Does the Tango” (ILL S6;E20).

Ethel Mertz worked as a short order cook while she was in vaudeville, as seen in “The Diner” (ILL S3;E27).

Blooper Alerts!

Seasonal Scenario? Although the episode may have been filmed at the start of the summer of 1964, it was not aired until October, which makes the boys being at summer camp and Chris’s long vacation a bit untimely. They would probably all be in school!

Holy Give-Aways! There is a telltale square on the floor painted a slightly lighter shade of gray where the frozen pop-over batter will fall through.

Audience Participation! When Lucy spreads a towel on the floor to get the frozen batter out of the pot, a single audience member can be heard muttering “Upside down…” in expectation of what she is going to do next.

Watch Yer Step! When Viv moves to help Mr. Slater out of the hole in the floor, the towel Lucy spread on the floor gets underfoot and nearly trips her up.

Cap Catcher! When Mr. Slater yells “Out!” at Lucy and Viv, his hat flies off his head. Harvey Korman catches it before it hits the ground.

“Lucy, the Camp Cook” rates 4 Paper Hearts out of 5

#The Lucy Show #Lucy the Camp Cook #Lucille Ball #Vivian Vance #Gale Gordon #Ralph Hart #Harvey Korman #Madge Blake #Candy Moore #Jimmy Garrett #Tommy Thompson #Boys Town #Jack Benny #Diamond Jim Brady #The Beatles #1964 #Ford Falcon #TV #CBS

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