#Hal B. Wallis

[jerrylewis-thekid]

A.A. Adams with Jerry Lewis and his agent Mickey Sherman

[citizenscreen]

Producer Hal B. Wallis, born on September 14, 1898/9 #botd

[dweemeister]

The Strawberry Blonde (1941)

During the height of the Old Hollywood Studio System – when studios themselves contracted directors, actors, writers, and other craftspersons – Warner Bros. found its niche as the “dark” studio. Warners might not have invented the gangster picture, but they codified its archetypes and tropes, becoming synonymous with the subgenre. In the early 1940s, director Raoul Walsh (a film noir pioneer; 1940’s They Drive by Night and 1941’s High Sierra) was nearing the peak of his career and actor James Cagney (1938’s Angels with Dirty Faces, 1949’s White Heat) was perhaps Warners’ most bankable star. Walsh was known for his proto-noir works and crime dramas; Cagney arguably the era’s definitive gangster actor. By 1941, both needed something different to work with.

Adapted by brothers Julius J. and Philip G. Epstein from James Hagan’s pastoral stage play One Sunday Afternoon, The Strawberry Blonde was exactly what both men sought. The Strawberry Blonde – often billed as a romantic comedy because it is a much lighter adaptation than 1933’s One Sunday Afternoon (starring Gary Cooper and Fay Wray) – is a celebration of simple, unadorned love. Though not a gag-a-minute comedy, Walsh’s uncharacteristic film shines through the performances from Cagney and especially Olivia de Havilland (three years removed from The Adventures of Robin Hood and two from Gone with the Wind). It is a joyous and nostalgic production; perhaps it should be no wonder it was a career favorite film for Walsh and a highlight for Cagney.

The Strawberry Blonde occupies two time periods. The film is set in New York City sometime in the late nineteen aughts or early 1910s, but primarily told through flashback during the late 1890s. In the flashback, Biff Grimes (James Cagney) aspires to become a dentist and yearns for a strawberry blonde socialite named Virginia Brush (Rita Hayworth; whose singing voice is, in a fleeting scene, not dubbed for the only time in her career). Along with his buddy and soon-to-be business partner, Hugo Barnstead (Jack Carson), they go on a messy double date with Virginia and her friend, the nurse and suffragist-leaning Amy Lind (Olivia de Havilland). Upon first impressions, Biff considers Amy to be the less attractive, amusing, and sociable girl. When fate – or, more precisely, Hugo’s duplicity – intervenes, Biff and Amy find love together and marry. While Biff begins studying for a dentistry diploma by mail correspondence, the two navigate financial and personal travails. Despite the marriage, Biff harbors a stewing resentment towards Hugo and a lingering covetousness towards Virginia apparent in the film’s bookends.

Among the bit players are Alan Hale as Biff’s father; George Tobias as Biff’s and Amy’s Greek immigrant friend, Nicholas Pappalas; Una O’Connor as Mrs. Mulcahey; and George Reeves (a future television Superman) as a belligerent, loudmouth, mustachioed college man who – due to his sweater – I choose to believe is from Yale. The four actors listed here, all Warner Bros. contractees at the time, each have their memorable moments.

The Strawberry Blonde serves as a memorialization to the time of Walsh and Cagney’s upbringing, similar to Vincente Minnelli’s Meet Me in St. Louis (1944) at Metro-Goldwyn-Mayer (MGM) and, if one wants to draw a modern throughline, the Duffer Brothers’ Stranger Things. In many ways, the film also feels like a musical. There are numerous diegetic performances of songs – whether by our central cast or a band – popular during the turn of the century. “The Band Played On” (from which the film derives its title; “Casey would waltz with a strawberry blonde / and the band played on”), “Bill Bailey��, “The Fountain in the Park”, “Meet Me in St. Louis”, “Wait ‘Till the Sun Shines, Nellie”, and much more fill the soundtrack. Composer Heinz Roemheld’s (1942’s Yankee Doodle Dandy, 1947’s The Lady from Shanghai) work adapts many of these songs into a boisterous, energetic score. Roemheld knows when to dial his orchestra back during the film’s most intimate scenes, but this wall-to-wall score evokes the period. Ostensibly, according to the screenplay, it was a time of romantic walks and live music performances in almost all social settings. In a sense, these decisions make The Strawberry Blonde into a sort of half-musical.

With his most recent movie being the film noir High Sierra (1941) with Ida Lupino and Humphrey Bogart, the transition from a largely outdoors-set crime drama to interior-heavy romantic comedy nevertheless suited Walsh. Walsh receives immeasurable help from one of the best cinematographers ever in James Wong Howe (1941’s Abe Lincoln in Illinois, 1963’s Hud). Howe’s signature high-contrast, low key lighting – generally associated with film noir – is not present much in The Strawberry Blonde. But what Walsh and Howe accomplish is making a bygone decade contemporary again. Outside the film’s romantic scenes including Cagney and de Havilland or Cagney and Hayworth, the film’s frames overflow with activity. With masterful use of blocking and mise en scène in these moments, Walsh and Howe’s frames are always dynamic, moving – but not swooping – alongside masses of extras and supporting characters rather than staying put, as if taking still photography. A static camera during Biff’s dates out on town would immediately render The Strawberry Blonde as a dusty artifact, a creaky throwback. Stationary cinematography has its uses when there are plenty of actors on-screen, but such a decision would make this remake too much like its 1930s original. Instead, in conjunction with Orry-Kelly’s (1951’s An American in Paris, 1959’s Some Like It Hot) outstanding costume design, the past leaps out of the history books and memories to be present again.

The notable instances in which Walsh and Howe keep their camera as rigid as possible are when Biff finds himself at the park bench where he and Amy first met. The set for the park also happens to be art director Robert M. Haas’ (1941’s The Maltese Falcon, 1949’s The Inspector General) plainest craftsmanship in the entire film. These scenes are the most obviously soundstage-bound moments – the too-perfect grass, the flatness, and lack of discernible lighting – despite the extras strolling in the deep background. The Strawberry Blonde’s park scenes mark the beginning and the renewal of Biff and Amy’s relationship, rendering them arguably the romantic highlights of the film. The contrast from these scenes to places such as the beer garden, the Central Park Zoo, or the Statue of Liberty make them the least “present” of the film. Some viewers less experienced in Old Hollywood (or those who, wrongfully, dismiss the style altogether) might complain about the obvious artifice in those park bench scenes with Biff and Amy, but my goodness does the aesthetic contrast make one take notice. Not only that, but the Epstein brothers’ dialogue for Cagney and de Havilland here is gently funny, and filled with warmth.

James Cagney, with his vaudeville background, was known for his physically exaggerated performances that nevertheless maintained a raw emotional core. That works to his benefit throughout The Strawberry Blonde, in which the character of Biff often sounds calm and measured, but his words bely fearfulness and bitterness. Despite the tough-guy gangster persona he often played in Warners’ gangster pictures, there are shades of Cagney’s later performance as George M. Cohan in Yankee Doodle Dandy here. Look at the grace in his dancing at the beer garden, a seemingly spontaneous cartwheel upon learning wonderful news, and how he putters about restlessly when conversing with Amy for the first time while expecting Virginia to show up. But also notice his weariness during the film’s bookends, how he accepts – but does not despair about – his station in life.

Olivia de Havilland is Cagney’s equal in this film, and a great foil to Rita Hayworth (whose character of Virginia is depicted as more conventionally attractive, but possesses a casual cruelty and vanity that gradually reveals itself). A middle-class nurse is an unusual role for an actress known at the time for mostly playing rich women and/or Errol Flynn’s love interest in swashbucklers or Westerns. As Amy, de Havilland curiously receives two “introductory” scenes in the film – both radically different from the other in storytelling function, reflecting the rarity of a second first impression and Biff’s tendency to see only surface details. Seemingly reserved but playful when she wishes to be, de Havilland’s Amy is an absolute delight of a character from the moment she appears. One crucial moment late in the film – in which Biff is dancing around an implied truth so that he can soften the blow for Amy – is heartbreaking acting from both. De Havilland’s movement and her glance outside the window in that scene epitomizes the agony in that moment. Knowing both actors’ resumes, I initially came into The Strawberry Blonde thinking that, on paper, Cagney and de Havilland would be a romantic mismatch. What a happy surprise it is to be completely wrong.

Unlike contemporary films that might take a nostalgic trip to a decade like the 1970s, ‘80s, or ‘90s, The Strawberry Blonde feels, at times, truly transporting. The incredible attention to visual details and especially the diegetic music (too often those newer nostalgia-driven movies resort to pin drops of non-diegetic music) help immensely. Though the film suggests an immigrant experience that would have been appropriate for turn-of-the-century New York, The Strawberry Blonde declines to say more about it – most likely a result of the original source material (“pickaninny”, a derogatory term that refers to black or dark-skinned children, is casually used in a song’s lyric).

At the center of this rich period detail lies an honest love between two people flowing through life’s currents. Sometimes their love is troubled with melodramatics, but they find ways to comfort and help the other with humor and goodness. Sure, it can be sentimental stuff. But it endures an upsettingly difficult test. The Strawberry Blonde has no designs to being other than a sincere love story and a fond lookback of another time. As such, it triumphs – with just one more chorus of “The Band Played On”, if you please.

My rating: 7.5/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL). Half-points are always rounded down.

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

[luzzarm]

Hal B. Wallis, Jerry Lewis and Dean Martin

1949

Dean looking like a proud father while Wallis is checking that he doesn't destroy the crap out of it

[thecoparoom]

Magnavox TV ad detail

Hal Wallis is on my mind, because he was behind a lot of Elvis movies among other legendary movies.

[wondersinwaynemanor]

let's pretend that this is the right timeline because what if Dick becomes Batman at the same time when Wally becomes The Flash?

let's also say that this is just like the Justice League animated series wherein the League members don't know each member's identities (except of course Bruce, he knows everybody).

how funny would it be if Dick and Wally are together and the rest of the League are confused because all of a sudden Batman and Flash are close like super close? i mean they have witnessed how Flash gets intimidated by Batman. now, that's not the case anymore.

during a meeting:

Hal, leaning to John during a League meeting, whispers: I'm not losing my mind, right?

John, whispers back: I think I know what you mean.

Hal: Why is Flash making heart eyes to Bats????

John: I know??? Flash doesn't even look him in the eyes before.

Hal: That's so odd, dude.

Batman glances at the two Green Lanterns which makes them shut up.

meanwhile, across the table, Martian Manhunter has a light smile on his lips and Superman covers his laugh with a cough.

-

at the cafeteria:

Ollie: Hey, Dinah. Have you noticed something unusual between Batman and Flash lately?

Dinah: It is quite unusual, huh? I was talking to Hawkgirl the other day and she said she saw Flash bridal carry Bats.

Ollie: What the actual fu-

Flash, approaches the couple's table with a big bowl of nachos on his hand: Hey, guys! Mind if I sit with you?

Ollie and Dinah give a knowing look at each other. a conversation they definitely will finish later.

-

during in an another planet mission:

Batman, after announcing everyone's partners for the mission:... And lastly, I will pair up with Flash in today's mission.

Flash grins widely, that has Arthur thinking his cheeks might be hurting after that.

Arthur: Yeah, yeah. At this point, we already know, Bats!

the Green Lanterns, along with Captain Marvel and Booster Gold, snicker at his comment.

Batman ignores Arthur's comment and the rest of the members scatter to their assigned locations.

Victor, who was paired with Arthur: Was gonna give that comment too.

Arthur: It's like they are inseparable all of a sudden.

Victor, shakes his head: Well, I have seen weirder things.

-

in the meeting hall:

Wonder Woman, pulls Batman in the corner of the room: Okay, that's enough. You are truly ignoring me. What is going on with you lately?

Batman: Did the rest of the League put you up to this?

Wonder Woman, has her hands on her hips: They didn't need to. So, tell me. And don't you ever lie to me, I can see right through you, Batman.

Batman, sighs: It's hard for me to explain. I can't-I can't tell you right now.

Wonder Woman: Hera! Now, Bru-Batman.

before Batman responses, the door of the meeting hall opens and in comes Robin with his katana. the conversations between the League members come to a stop as they stare at the young hero.

Robin, glances at everyone, before approaching Flash: I need help with an important matter.

Flash, smiles and ruffles Robin's hair, as if that's second nature: Of course, little dude.

Hal, stands up from his seat: THAT'S IT! Can somebody tell me what the hell is going on????

Ollie, stands up with him: Are we in another dimension that I don't know about?????

Dinah pulls Ollie down by his arm to make him sit again.

the rest of the League members start to converse against each other.

Superman, floats a bit from his seat: Why don't we all settle down? There's nothing to be alarmed about.

Robin, shakes his head: Tt. Absolute fools.

by the time Bruce and Barry are back:

-

Bruce, pinches the bridge of his nose: Chum, you could at least be discreet with Wally.

Dick: It's not my fault, B! I swear I was going to explain to Aunt Diana then Dami entered the room.

Damian: Tt. Don't blame me, Grayson. Why don't you lecture West on how to be more responsible? He left me on read when I asked help for my Science project.

Dick, sighs: And what about Timmy? He could have helped.

Damian: I don't want anything to do with Drake.

Bruce massages his temples as he feels a headache coming up.

-

Barry: Wally!!!!

Wally, zooms right in front of Barry: I couldn't help it, okay?? Dick is just irresistible.

Iris giggles as she prepares the table for dinner.

Barry, sighs: That's alright. I'll talk to Bats on how we can explain it to the team.

Wally, grins and sits down by the table: It was hard not to laugh at them. They were so confused.

Barry, chuckles: I'm sure Hal's expression was the funniest.

Wally, laughs: You have no idea, Uncle Barry.

[incorrectbatfam]

Bruce goes to meet the other fathers? Have a barbecue with Clark, Oliver, Berry and talk about their kids?

"Damian told me that I was cool, it's been a while since one of my kids told me that" or "Mia is doing so well at school these days"

those moments when they are all (old men) father proud of the mess the kids are?

The dads: *lounging on beach chairs*

Clark: It's nice to finally get a day off. I think Jon needed it more than me. He's still reeling from growing up and suddenly turning back into a kid again.

Ollie: How'd that happen, anyway?

Duke, walking by: That's just this blog.

Clark: What?

Duke: Nothing. Hey, B, can we use the jacuzzi?

Bruce: Sure, go ahead.

Duke: *gives Emiko a thumbs up*

Emiko: *drains the jacuzzi*

Harper and Cullen: *start cleaning the pipes*

Ollie: I know how you feel, Clark. Roy's the happiest I've seen him with Lian back but it's still a big change. We're working on getting her enrolled in school this fall so she can catch up on what she's missed.

Roy: *sprays the tub with disinfectant*

Jason: *dries it with a leaf blower*

Hal: Speaking of changes, Jaime graduated with honors. I know he's not my kid but I can't help but feel like a proud uncle. Kyle got a new concept artist job, by the way, and I think he really likes it.

Jaime: *turns the jacuzzi back on*

Kyle: *sets up folding tables*

Barry, chuckling: Bart tried to enter a marathon the other day.

Clark: Kon wanted to pay money to go skydiving. I don't get it.

Aquaman: I remember when Kaldur joined an amateur scuba class at that age. Perhaps it's an attempt to feel more human.

Bruce: It's easy for us to forget sometimes too.

Kon, carrying a giant pot: Boiling hot soup, coming through!

Kon: *pours it into the jacuzzi*

Cass: *adds spices*

Tim, with a clipboard: One down, eleven more to go. Bart, stop eating the ingredients.

Bart: It's just tofu.

Tim: That's for Damian. What's he gonna do now, starve?

Bruce: Dick's been coming home more often lately. I can tell Alfred's really happy when he sees us all together.

Dick: *drapes tablecloths over the tables*

Wally: *sets up plates*

Steve, walking in: Mind if I join? Diana's running a little late so she sent me and the girls ahead.

Clark: Of course, feel free.

Donna, holding a basket: Where do these vegetables go?

Barbara: I'll take them. Could one of you get some spoons from the kitchen?

Cassie: On it.

Steve: So where are all the ladies?

Bruce: They're in the living room. Selina's showing off her latest... um... collection. Alfred has tea in the kitchen if you want some.

Steve: Don't mind if I do.

Yara: Should I put the meat in now?

Jon: One sec.

Jon: *scoops some soup aside*

Jon: You're good now. I just needed a vegetarian portion for Dami.

Kon: MORE SOUP COMING!

Ollie: Honestly, I'm surprised everyone's doing fairly well given the industry we're in.

Steph, leading a crowd into the yard: And here's where our main event will be.

Bette: *checking names off a guest list*

Bette: That's almost everyone. Wonder Woman and Martian Manhunter are gonna be a little late. Avery's on a mission in Shanghai so she can't make it. Beast Boy and Raven stopped to buy desserts. And the We Are Robin kids just got stuck on a stalled subway train but they should be here pretty soon.

Clark: I think it's a matter of good mentorship and giving them plenty of time and space to get acclimated to the superhero lifestyle.

Jesse: *making lemonade*

Ace: *fills the coolers with ice*

Garth and Kaldur: *handing out drinks*

Barry: And giving them plenty of room to grow at their own pace.

Hal: Very true.

Bruce, sighing contently: You can't help but be proud of them.

The kids, chanting: HOT POT! HOT POT!

[junespriince]

Wally, pissed: B, what the hell. I called you last night for some help and you ignored my calls! I had to ask Rayner's bitch ass to help me, what was so important my calls weren't?

Bruce: you didn't need me, your villains are childs play compared to mine, just needed to stop being lazy and relying on others to help you out.

Wally, eye twitches in my villains ain't child's play: okay, okay, so did you need help with your villains?

Bruce: psh, you wouldn't last a minute in Gotham against mine. I don't need someone I have to carry out of there.

Wally, slams fist on table that scared Clark: bullshit! You let children fight along side you, it can't be that hard.

Bruce: whatever, Allen never had an issue he couldn't solve.

Wally: because he had HAL! you moron!

Bruce: I'm not a mor—

Diana: enough! Settle this like adults or like men.

Wally: fine. I want to be a Gotham villain for a week, if you can defeat me I'll shut my mouth up and never complain about this again.

Bruce, has a file on how to defeat Barry: deal.

Two weeks later

Bruce, on a building with his head in his hands: how is he that good! I have a file on how to neutralize him!

Dick: that's on Barry... You do know speedster are different from one another.

Bruce: they are!? How!?

Dick: Wally can go through walls. Barry can. That's one difference.

Jason: and apparently he can make damn good pipe bombs, can I add him to the outlaws I need a good pipe bomber for the team.

Bruce: this is a nightmare!

Tim: could be worse, at least he's not destroying anything valuable and he's protecting citizens.

Stephanie: and his suit is serving cunt, get the penguin let him see what drip is.

Duke, yelling out: yo Walls! I'd love a hamburger!

Wally, zips in: here ya go bud. *Leaves*

Duke: god, can he stay, he so convenient.

Bruce: No!

Kate: boooo pussy baby man.

Damian: he can blow up stuff but I stab one person I'm ground for six weeks.

Dick: because stabbing the mailman because you think he's an intruder.

Damian: he looked sus! Chat defend me!

Barbara: chat says no stabbing.

Damian: tt.

Bruce, to Dick: how do I stop him! You have a file on him, tell me!

Dick: no, I won't. There's finally a hot redhead villain now, and I'm going to pull a you real quick and flirt with the sexy villain, bye! *Leaves*

Bruce: noooooo, you were my son! Diana gonna laugh at me!

Jason: auntie gonna laugh at you? Shit let me help make this more of a problem for ya.

Bruce: betrayal!!

Cass: betrayal, maybe but it funny.

Wally, on a megaphone: do you YIELD Batman.

Bruce, and his ego: NEVER!

Continue on for two years

[madds-is-ace-trash]

Nightwing why are you warring a cape? Well for the baby of course! Dcxdp

This takes place in the same universe as my fic Mother of the storm and her star child.

A few years have passed and Danny is completely settled in and moved to bulhaven with dick. Eventually around the time he’s Turing 9 he insists that he wants to go out at night with dick. Dick is hesitant but Danny insist, pointing out how his abilities would make him the perfect recon detective. Dick can no longer argue when Danny beats both Damian and Cass the first day of training and he is out out in the field.

Danny hose out in his ghost form and picks the name phantom because it feels right and now nightwing patrols with a bird if his very own for the first time in a while. Danny is very good on patrols, he sticks close to dick often clinging to him and hiding behind him when dick is interacting with people. He’ll often turn invisible but it still doesn’t fell like enough to dick. He quickly released that he missed the cape and the layer of securing it added when Damien was his Robin.

So nightwing starts wearing a cape, and the people of his city starts coming up with all sorts of theories for the sudden change. The range from him practicing because he’s taking over the cowl to him hiding new gadgets. Very few have seen Danny and those who have are often not believed because, “nightwing had glowing eyes under his cape!” Is not very believable.

He doesn’t wear the cape all the time just when he has Danny, the cape is long the outside is black but the inside has a blue and black feather design so it looks like wings when he glides. It has a feature where it retracts in to a role on his back when he need more freedom of movement. And I’m addition to the cape he now has an extra loop hanging form his belt for Danny to grab on to as the hop rooftops. (Danny can will him self to weigh nothing so dick tends to pull him along as he floats any way)

As the news of dicks sudden costume adjustment is circulating he has to come to the watchtower with B for a mission. Danny tags along hiding in his cape like all the Robin had before him with Bruce. Meanwhile Bruce is totally not going all mushy over his grandson he is totally normal about this. All of the Leagers keep giving dick looks.

Until flash finally ask

Wally: so um nightwing what’s with the cape? I thought you hated them?

Dick*with a bright smile across his face*: it’s for my shadow!

Wally: your shadow? How is a cape ganna hide your shadow.

Dick: no not my actual shadow it’s to hide my bird.

Diana: your bird?

*Dick flares one side of the cape revealing the feathered pattern underneath but nothing else is visible hidden under the cape*

Wally: I don’t se-

Dick: whistles like a bird call

Danny slowly fading in to view giving the league a small wave as he scrambles to hide behind dicks legs: Hello

Hal: really Bruce another one!?

Dick Smiling at the small boy in his cape before closing it : nope this one’s all mine!

Meanwhile John Constantine who is present for this mission is freaked the fuck out. Because that kid with the flowing white hair and glowing freckles is definitely not human. And worse than that from what he can sense it’s pretty darn powerful to. He watches as all of his coworkers are working to get the boy out from hiding cooing over him.

Clark: he’s looking a lot better nightwing

Wally: Waite you already new about him?

Clark: yes the boy is nightwings child I’m guessing he only is just now joining the team

Diana: what’s your name little one?

Danny poking his head out of the cape: phantom my name is phantom

Fuck why was that name familiar? Oh shit that’s right John had heard rumors of the new ghost king and a prince milling around the infinite realms this must be the little ghost prince. How the fuck did dick end up with him? Waite sups said that was dicks kid, hold did dick?

John: ha Oh my god! You crazy fucker you fucked the ghosts king!

[ao3sbatfamily]

Do you have any Nightwing joins the justice league, but the justice league don’t know about the batfam™️ fics that you like?

'The One Where the Justice League Almost Didn’t Figure it Out' by batsandthebirds

Author: @bats-and-the-birds

After a few seconds of silence, Dick said, “Hey, B?”

Bruce grunted in acknowledgement, eyes still focused on his research.

“Do you think we should tell the League that you raised and trained me?”

Bruce’s fingers paused on the keyboard and he slowly turned around to face Dick. “…Do they not know?”

Dick laughed so hard he doubled over, clutching his sides. “No! You’ve worked with most of them since I was a literal child and they had no fucking clue that I exist. I wonder whose fault that is, Mr. I-Work-Alone! Now I’ve earned Hal’s respect because he thinks I hate you, I think Clark is worried for my sanity and physical wellbeing, and Wally told me that Barry might be on the verge of a mental breakdown.”

[niiwa-angel]

During a run

Wally West: Uncle B? Why does Uncle Hal call you babygirl?

Barry Allen: How about we stop talking for a little while

[hooked-on-elvis]

ONE NIGHT WITH YOU OF SIN ❤️‍🔥

50s Elvis can't sing something like this!

Well, this is something I just found out. That's why I love listening to Elvis' songs and researching on them. We always can learn interesting things that took place during the recording sessions, which makes EP's songs much, much precious.

I was listening to "Elvis: From the Vaults 50's" album, released as part of the 60-CD set "Elvis Presley: The Album Collection" (2016) — I love the "Elvis: From the Vaults" trilogy to death, by the way — when I crossed something very interesting.

The song "One Night (With You)", that Elvis performed with such passion during the '68 Comeback Special, was recorded by him in the 50s and originally had a slightly different lyrics.

The most known version, the "light" or "family friendly" (per say) version of the chorus of this one song goes like this:

"One night with you is what I'm now praying for."

The "explicit" version tho, as originally written by Dave Bartholomew and that came to be a R&B hit for Smiley Lewis in 1956, the version of the song Elvis recorded in 1957, actually sounds like this:

"One night of sin is what I'm now paying for."

I mean, the lyrics is clearly about sex in either words, but why the change in the words actually happened really intrigued me. I, as usually, looked for answers in one of my favorite books, and that's what I'm gonna share with you now.

So, Elvis was recording songs for the '57 Loving You movie soundtrack when the song was recorded. "One Night" was meant to be featured in this soundtrack album but it wasn't. The track went through a long way before it was put out there to Elvis' audience. To give you an idea, Elvis released the Loving You soundtrack album (June 20, 1957), recorded the songs that were featured in the Jailhouse Rock movie (there wasn't an official soundtrack album out for this movie), released one Christmas album ("Elvis' Christmas Album" - October 15, 1957) and the King Creole soundtrack album too (September 19, 1958), all of this before "One Night (With You)" could be finally released in October 1958, moment he was already officially "Private Presley", serving the US Army while stationed in Germany. But... what happened? Why this song wasn't featured in the Loving You movie and its soundtrack album released in 1957? Why the lyrics changed?

LET'S DIG INTO IT:

SOUNDTRACK RECORDINGS FOR PARAMOUNT’S LOVING YOU - JANUARY 15–18, 21–22 (PARAMOUNT SCORING STAGE) AND FEBRUARY 14, 1957 (RADIO RECORDERS, HOLLYWOOD) (...) When Hal Wallis asked for a few more songs for the movie, Elvis and the boys spent some time rehearsing cover versions of Fats Domino’s current hit "Blueberry Hill" and Smiley Lewis’s "One Night (Of Sin)," written by Domino’s musical partner Dave Bartholomew and credited in part to Bartholomew’s wife.

LISTEN TO SMILEY LEWIS’S "ONE NIGHT (OF SIN)":

So, Elvis first covered this song, and it was recorded in studio, as originally written but the official song he performed had a new lyrics. Let's understand why he recorded the song again before putting it out there for us to listen to.

STUDIO SESSIONS FOR RCA JANUARY 19, 1957: RADIO RECORDERS, HOLLYWOOD (...) Both the Colonel and RCA had serious reservations about the words of the song, but Elvis liked it so much that they appealed to Hill & Range to negotiate with the song’s copyright holder, Lew Chudd of Imperial Records, for permission to rewrite the lyrics.

--

STUDIO SESSIONS FOR RCA FEBRUARY 23–24, 1957: RADIO RECORDERS, HOLLYWOOD (...) Meanwhile the new, bowdlerized lyrics for the Dave Bartholomew song had been produced as requested; "One night of sin is what I’m now paying for" became "One night with you is what I'm now praying for," and the deal they'd prayed and paid for freed them to pencil the song in for the Loving You album. In the end, the rewrite was a fortunate stroke. The discerning listener might have missed the more direct lyrics of the original, but Elvis's performance on the new version made up for it: Freed from worry about the song itself, he was all intensity and command. "One Night" was so good, in fact, that it was eventually dropped from the soundtrack and picked as a single with "I Beg Of You" for some indeterminate future date.

So, yes, the song needed the change in the lyrics because of its content. It was too sexual, too explicit to Elvis' audience, mainly composed by teenagers. Elvis apparently wasn't bother by this. He liked the song anyway, even with the new lyrics. He liked the idea of releasing this song but although "One Night", as recorded by Elvis in 1957, was considered a fine material for a new single, Elvis was such a perfectionist he used to redo many of his recordings before he considered they were proper to be released. He was the man picking his own singles, so they always needed his approval before they were out. He wanted work some more in "One Night" because he was not satisfied with the result, but other songs came in the way.

One work after the other, there wasn't time to redo this track recording before Elvis became a soldier in 1958. When "One Night" was finally released it was against Elvis' will. It was not about the new lyrics tho, he just thought the song could sound much better than it was. Even so, the RCA and Colonel Parker, his manager, had to make choices without his consent once his main focus was in being a soldier, between 1958-1960. Elvis used to work "by demand", that means if there was a movie to be filmed, soundtrack recording sessions were made specifically for it, if there was a new Elvis album planned to be released, then recording sessions were scheduled specifically for the new album. They didn't use to work on recording sessions to "save" tracks to be future released. Very few songs used to surplus from each recording session and that only happened when some of the tracks originally planned to be featured in one specific release weren't considered good enough, concerning the quality of the material, or due to contractual deals that weren't still set by the time that specific LP (or EP) needed to be released. When Elvis was officially inducted in the US Army, in March 1958, there wasn't enough material for 2 years of future releases and this caused a lack in songs for the RCA and Colonel Parker to work with considering they needed a certain amount of new tracks to fill an album. For 1958 and 1959, there was a certain lack in new recording material to be out but they needed to keep Elvis' name in the spotlights since there was still a huge demand for him and they couldn't miss the chance to make money just because the US Army would keep their golden boy busy to work in his records for the next couple of years, besides Colonel had promised Elvis (and of course it was his interest as well) that when he came back from the Army he would still have a career to linger on. They chose to release "One Night "as a single, the way it was recorded in 1957, even if Elvis himself didn't agree with this. It was needed.

THE RELEASE (1958):

As you can notice, plans change. The same way "One Night" wasn't featured in the originally planned "Loving You" album in 1957, when the song was released as a single the opposite track wasn't "I Beg of You" as planned previously, instead they picked "I Got Stung" as the A-side.

1958–59: GOETHESTRASSE A new single had to be chosen, and both Sholes and the Colonel were still pulling for "One Night" over Elvis’s objections; the publishing company had made a deal for part of the royalties, but the deal depended upon the song’s release as a single and couldn’t be extended past October 31, 1958. The Colonel felt it would be foolish not to take advantage of the deal, and at last he persuaded Elvis to agree. With "I Got Stung" from the June session as the B-side, the new single caused an immediate sensation. DJs clearly preferred the A-side, but both cuts shot up the charts right away, eventually reaching number four and number eight, respectively. Split airplay may well have been what stopped "One Night" from going to number one on the charts, but the single sold several hundred thousand copies more than the last two releases, even matching "Don’t"/"I Beg Of You."

All the excerpts comes from the book "Elvis Presley: A Life in Music" by Ernst Jorgensen. Foreword by Peter Guralnick (1998).

Singles "One Night" and "I Got Stung". Released October 21, 1958. Recorded on February 23, 1957.

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AFTERWARDS:

As far as I know (and I say this because I am still studying Elvis' career and many things can come to my knowledge in the future), ever since released, Elvis performed the song as it was officially out, leaving "One Night (Of Sin)" to be heard only as a posthumous released track, after 1983 as it came out featuring the album "Elvis: A Legendary Performer (Vol 4)".

"One Night Of Sin" and "One Night" were featured together in the 2006 Follow That Dream (FTD) label re-issue of the "Loving You" soundtrack album. On the previous year (2005) FTD re-issue of the same album, there was only "One Night Of Sin" in the album, as it was supposed to be if the lyrics hadn't changed and the song had came out in the album it was meant to be in.

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LET'S DISCUSS IT:

First of all, I totally understand Colonel Parker's fears over the lyrics. "One Night (Of Sin)" would have been a risky song for Elvis in the 50s to perform/release and, the way I see it, the change in the lyrics came as a way of not giving munition to conservative people to "cancel" Elvis, to cause an even bigger fuss on his already pretty "stained" image as a "troublemaker", a "rock and roller rebel", an "imoral young man who's such a bad influence on the America's youth". Let's face it, have a conservative parent heard their kids listening to "One night of sin is what I'm paying for" there would have been "Loving You" LPs being burned in trashes all over the US, a lot more of badmouthing Elvis' name scenes with older folks using this song as an example of Presley's kind of "antics" and "imoral behavior", and maybe even the Loving You movie could have been forbidden if the song was performed in it, suffering boycott fired up by church leaders and all.

I wonder if that song was in fact in the movie tho. The Loving You movie is very, very "family friendly", all cute and sweet. I can't even imagine Deke Rivers singing "One Night Of Sin" onstage, since we know Elvis performed songs using not only his voice but his whole body. I mean, of course he performed "One Night (With You)" with the usual sex appeal inherent of him but the original lyrics would add much more sensuality into the performance, no doubt. I wish I could've watch him performing this son,g with its original lyrics, in the 50s... it would be something else, I tell ya. But it would also be quite scandalous for his image back then. Even so, I can't quite understand how that song was never performed by him the way he recorded at first, "One Night of Sin", during the '68 Comeback Special - or any other Elvis performance. He had no more reasons to try to play the "cool and nice southern religious boy" anymore by then, so why Elvis didn't sing this song the way it was originally recorded? I guess, concerning the '68 TV Special, this time it was a matter of being on television - you know... the sponsorship for the show would probably not agree with such "explicit" lyrics considering it was supposed to be a Christmas TV special, again, family oriented. Maybe he never performed the song with its original lyrics because nobody heard him sing it before since it was only released for the public after Elvis died. Such a shame.

As far as I know, Elvis never performed One Night Of Sin live but it would have been EXTREMELY suitable for his late 60s/70s stage persona. It wouldn't be a shock, you know? Like when he sings Steamroller Blues and a bunch of other tracks with lyrics under that sexy vibes. It feels like Elvis. Anyway, I personally would give almost anything to watch him singing this song in the 70s, really but I guess it is what it is. The timing wasn't that good when this track came to him — or it actually was because, if you think about it, now we have two versions of that song by Elvis. What could be better than one Elvis song than two (and hundreds more) of them?

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You can listen to "One Night (Of Sin)" by Elvis Presley on:

"Elvis: A Legendary Performer" Vol 4. (1983)

"The King of Rock’n’Roll – The Complete 50’s Masters" (1992)

"Loving You" (2005) – FTD (re-issue)

"Loving You" (2006) – FTD (re-issue)

"Elvis: From the Vaults: 50's" (2016)

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UPDATES - JUNE 6, 2024: This article has been corrected on the typos and general English grammar errors, plus the year Elvis was inducted into the Army, which I originally confused 1958 with the year he was discharged, 1960, and just now I realized that. I also added a few other personal comments.

I'm sorry a few of you "had to" share this article with its errors but THANK YOU SO MUCH FOR SHARING ANY WAY. I appreciate it when you engage with the content I share because, first and foremost, it means you liked it. It makes me feel like it's worth spending time here. I love you guys. Oh, by the way, if you see anything that could be improved in this or any other post on my blog, make me know it. I would like to leave accurate and easy-to-understand articles about Elvis for future fans to read. Of course they have all the Elvis library available but it's fun to read things straight from other Elvis fans too because we know exactly how El makes us feel. So let's keep building a safe community, saving easy-to-reach material about Elvis Presley for future generations together, shall we? ♥

[toulousewayne]

Batfamily Shenanigans:Head-canons Pt: 2

Dick and Tim have the most inside jokes,Jason ignores them and Damian is but jealous. But the two bonded a lot before the arrival/return of the other two.

Jason takes his little brothers to Diner’s at 2 am. Alfred would rather he do it during regular hours,but then he remembers they’re nighttime activities and is just happy he’s not trying to shoot them.

Talia before having Damian loved seeing a young Dick Grayson as Robin.He was so full of cheer and it warmed Talia’s heart, she hoped to have a son as bright as him. (She did he’s just a little shy)

Cass doesn’t have her drivers license and prefers to be passenger princess.

Duke has naturally curly hair but cuts most of the time for easier management.

Jason can mimic voices the best. He can do a pretty decent Bruce Wayne impression and it has made Bruce ask his children multiple times if he sounds like that. Alfred gets a chuckle out of it too.

The Robins most definitely play pricks on JL members who annoy their Dad, that’s there job. Hal goes to pay his bills and all his passwords have been changed, Oliver is getting dressed for a party and all his clothes are pink.

Bruce is a big baby when he’s sick. He cannot find for hisself and his family take turns caring for him. Jason makes him soup, Tim gives him medicine, Damian and Duke make him rest, The girls block him from working on cases files and Alfred makes sure he has plenty of fluids. And if that fails they call in the big guns. Diana.

Speaking of Wonder Woman, she visits the Manor every Sunday and her and Damian feed and pet his animals.

Tim,Jason and Dick all have “R” tattoos. Dick promised Damian he could get on when he turns 18, and they let Damian sketch it too.

Dick’s is on his right hip, Jason’s is on his left wrist, and Tim’s is on his right ankle.

Stephanie and Selina are tied for the most ear piercings.

Jason is the only former Robin who can drive stick currently. Dick hasn’t done it in years but probably could after a few lessons, Tim never learned, Damian can but prefers not to. Jason is currently teaching Duke and Steph and had regretted it ever since.

Alfred enjoys making lunches for everyone still. Some days he gets to make everyone lunch. He first makes Damian(PB&J with crust cut off, and cut into triangles) and Duke’s(Ham and cheese toasted sandwich with pickles slices) school lunches.

Bruce usually leaves for the office before breakfast so when Tim eventually comes downstairs Alfred will have his breakfast Togo and both their lunches. (Usually for B it’s a BLT with turkey bacon and cheese. And Tim’s is Tuna and Swiss on whole grain bread.)

Dick on Tuesdays and Friday’s, sometimes Sundays spends the night the prior at the Manor. He’s usually the only home so Alfred can make whatever he wants for lunch. He’s top two favorite lunches are Janija one of the only dishes Alfred can make that tastes similar to how Dick’s Mom prepared it. And Bangers and Mash. When he first arrived he say Alfred eating this and wanted to try it. He always requests this dish,but only if he can eat it with Alfred.

Jason likes either Club subs or a simple pasta with fresh spinach and a cream sauce.

Depending on the day Alfred will drop off lunch to the Clocktower for Barbara and the girls. Sometimes the other birds are in town and he always knows when to make extra. Most of the times me it’s wrapped sandwiches a mix of cold cuts and vegetarian options. Barbara always get turkey with cheddar, Steph gets chicken salad on a croissant bread and Cass gets ham and cheese pinwheels.

He even makes weekly meals and drops them off for the Titans and Young Justice. Seeing as most of them cannot cook. He packs extra knowing their speedsters on each time. Looking at you Wally and Bart. They’re all just grateful they don’t have to eat Pizza or Big Belly Burger for a few nights. Dick enjoys when Alfred visits and so does Kory. Tim and his friends are over the moon to have Alfred visit them too, and Bart even makes request for his next meal.

The league even gets random lunch. They return from training and find fresh out meals at the sits. Batman just shrugs but Superman and Wonder Woman make him call Alfred so he can be thanked.

Sunday’s are days that’s it mandatory for everyone to come for dinner. Once a Month several members are the League are expected to come for dinner and everyone better be on their best behavior.No wants an angry butler, so everyone always attends.

Jason and Duke are the only people allowed to help with preparing food, Dick isn’t allowed because he sampled everything to the point he’s eaten half of the dish. Tim and Damian are assigned to setting the table. And Bruce must stay either in the living room or dinning room if Alfred even hears the grandfather clock tick he’s going to skin a bat.

Cass enjoys getting ingredients from the fridge and pantry for them. And Stephanie is on Bruce Watch, if he moves she sprays him with water like a misbehaving kitten.

Most the the time Barbara is greeting the guests and depending on is Stephanie is needed to help bring the food out Barbara will have Bruce greet everyone with her. She especially makes him greet Green Arrow and Green Lantern.

Sometimes Alfred asks other to bring dishes for a potluck.Clark will usually bring Jon,Lois and Conner with him and he’ll bring pies. Diana always bring Donna. Usually they bring wines and vegetables.Ollie and Dinah usually are late but the bring brownies and cobbler, Roy and Lian bring meatballs, Hal brings beer and he’s makes a mean Mac and cheese on his smoker, Barry and Iris bring sodas, Arthur provides fresh fish, and J’onn brings a tasty and beautiful charcuterie board.

It’s a blast and all the kids have fun too with their friends and Alfred swears he sees Bruce double over laughing at Hal and Barry fighting for the last brownie.

All in all the butler that would take on the entire League of Doom himself enjoys making food for his family and spending with them too.

[luzzarm]

Jerry Lewis ₊ ⊹₊ ⊹🪐

Jerry Lewis as Kreton during the filming of Visit to a Small Planet

1959

[marcmarcmomarc]

Once Upon a Lamp - list of characters

In honor of Once Upon a Studio turning one year old

EXT. THE STEVE JOBS BUILDING - EARLY EVENING

The Adventures of André and Wally B.

André

Wally B.

Luxo Jr.

Luxo Jr.

Luxo Sr.

Red’s Dream

Lumpy

Red

Tin Toy

Tinny

Gumbo

Flip ‘n Beth

Ace

Clocky

Spot

Zoo Train

Chrome Dome

Rallye Guy

Fire Hydrant

Helicopter Sheep

Toypot

Frodo

Bouncy

Eben’s Car

Les

RenderMan

Knick Knack

Knick

Sunny Miami

Sunny Florida

Sunny Egypt

Sunny Jamaica

Sunny Palm Springs

Sunny Israel

Surf Death Valley

Sunny Atlantis

Toy Story (Toys)

Woody

Buzz Lightyear

Jessie

Mr. Potato Head

Slinky Dog

Rex

Hamm

Bo Peep

Mrs. Potato Head

Bullseye

Mr. Pricklepants

Dolly

Trixie

Buttercup

Chuckles

Stinky Pete

Barbie

Ken

Lots-o-Huggin’ Bear

Big Baby

Twitch

Stretch

Chunk

Sparks

Chatter Telephone

Bookworm

Peas-in-a-Pod

Forky

Giggle McDimples

Ducky

Bunny

Duke Caboom

Gabby Gabby

The Dummies

Billy, Goat, and Gruff

Toy Story (Human side)

Andy Davis

Mrs. Davis

Molly Davis

Sid Phillips

Hannah Phillips

Bonnie Anderson

Bonnie’s Mom

Bonnie’s Dad

Buster

Scud

Geri’s Game

Geri

A Bug’s Life

Flik

Hopper

Princess Atta

Princess Dot

The Queen

Molt

Slim

Heimlich

Francis

Manny

Gypsy

Rosie

Tuck

Roll

P.T. Flea

Dim

Mr. Soil

Dr. Flora

Thorny

Cornelius

Thumper

Aphie

For the Birds

Bluebird Flock

Gawky Bird

Buzz Lightyear of Star Command

Commander Nebula

Mira Nova

XR

Booster Sinclair Munchapper

Warp Darkmatter

Gravitina

N0S-4-A2

XL

Monsters, Inc.

James P. Sullivan

Mike Wazowski

Boo

Celia Mae

Randall Boggs

Henry J. Waternoose

Johnny Worthington

Scott “Squishy” Squibbles

Don Carlton

Terri and Terry Perry

Art

Tylor Tuskman

Val Little

Fritz

Katherine “Cutter” Sterns

Duncan P. Anderson

Roz

Yeti

Jeff Fungus

Banana Bread

Roger Rogers

Suzy “Sunny” Sunshine

Finding Nemo

Marlin

Dory

Nemo

Hank

Boundin’

Jackalope

Lamb

The Incredibles

Bob Parr

Helen Parr

Violet Parr

Dashiell Parr

Jack-Jack Parr

Lucius Best

Edna Mode (E)

Buddy Pine

Winston Deavor

Evelyn Deavor

Mirage

Rick Dicker

Voyd

One Man Band

Bass

Treble

Tippy

THX

Tex

Cars

Lightning McQueen

Tow Mater

Cruz Ramirez

Lifted

Stu

Mr. B

Ratatouille

Remy

Alfredo Linguini

Chef Skinner

Colette Tatou

Django

Emile

Anton Ego

Presto

Presto DiGiotagione

Alec Azam

WALL-E

WALL-E

EVE

Captain B. McCrea

John

Mary

M-O

GO-4

The Defective Robots

Hal the Cockroach

Partly Cloudy

Gus

Peck

Up

Carl Fredricksen

Russell

Dug

Charles Muntz

Alpha

Beta

Gamma

Kevin

Kevin’s Babies

Day & Night

Day

Night

La Luna

Bambino

Papà

Nonno

Brave

Merida

Elinor

Fergus

Hamish

Hupert

Harris

Fergus’ Dogs

Angus

The Witch

Maudie

Lord MacGuffin

Lord Macintosh

Lord Dingwall

Young MacGuffin

Young Macintosh

Wee Dingwall

The Witch’s Crow

Conan the Clan Dingwall Hunk

The Blue Umbrella

Blue

Red

Lava

Uku

Lele

Inside Out (Mindscape)

Joy

Sadness

Anger

Fear

Disgust

Anxiety

Envy

Ennui

Embarrassment

Nostalgia

Inside Out (Humans)

Riley Andersen

Jill Andersen

Bill Andersen

Grace Hsieh

Bree Young

Valentina Ortiz

Dani

Ally

Sofia

Nour

Coach Roberts

Sanjay’s Super Team

Sanjay

Sanjay’s Father

Hanuman

Durga

Vishnu

The Good Dinosaur

Arlo

Spot

Henry

Ida

Buck

Libby

Nash

Ramsey

Butch

Thunderclap

Downpour

Coldfront

Frostbite

Windgust

Bubbha

Lurleane

Pervis

Earl

Forrest Woodbush

Fury

Destructor

Dream Crusher

Debbie

Piper

Piper

Lou

Lou

J.J.

Coco (Land of the Living)

Miguel Rivera

Dante

Abuelita Elena Rivera

Enrique Rivera (Papá)

Luisa Rivera (Mamá)

Tío Berto Rivera

Tía Carmen Rivera

Tía Gloria Rivera

Abuelito Franco Rivera

Abel Rivera

Rosa Rivera

Socorro Rivera

Benny Rivera

Manny Rivera

Coco (Land of the Dead)

Papá Héctor Rivera

Ernesto de la Cruz

Mamá Imelda Rivera

Pepita

Mamá Coco Rivera

Papá Julio Rivera

Tía Rosita Rivera

Tía Victoria Rivera

Tío Óscar Rivera

Tío Felipe Rivera

Bao

Mom

Son

Dad

Cindy

Purl

Purl

Lacy

Office Bros.

Office Ladies

Kitbull

Kitbull

Dog

Smash and Grab

Smash

Grab

Float

Father

Son

Wind

Ellis

Ellis’ Grandma

Onward

Ian Lightfoot

Barley Lightfoot

Laurel Lightfoot

Corey

Colt Bronco

Blazey

Soul (Living World)

Joe Gardener

Libba Gardener

Dez

Curley

Dorothea Williams

Connie

Soul (The Great Before)

22

Moonwind

Terry

Counselor Jerry A

Counselor Jerry B

Loop

Renee

Marcus

Out

Greg

Jim

Manuel

Greg’s Parents

Gigi

Luca

Luca Paguro

Alberto Scorfano

Giulia Marcovaldo

Ercole Visconti

Massimo Marcovaldo

Daniela Paguro

Lorenzo Paguro

Grandma Libera Paguro

Ciccio

Guido

Machiavelli

Nona

Nona

Renee

Twenty-Something

Gia

Nicole

Turning Red

Meilin Lee

Miriam Mendelsohn

Abby Park

Priya Mangal

Tyler Nguyen-Baker

Ming Lee

Jin Lee

Grandma Wu Lee

Auntie Chen

Lily

Helen

Auntie Ping

Mr. Gao

4*Town

Lightyear

Izzy Hawthorne

Sox

Mo Morrison

Darby Steel

Commander Burnside

Alisha Hawthorne

Kiko Hawthorne

Elemental

Ember Lumen

Wade Ripple

Bernie Lumen

Cinder Lumen

Gale Cumulus

Fern Grouchwood

Clod

Brook Ripple

Harold Ripple

Alan Ripple

Lake Ripple

Eddy Ripple

Marco Ripple

Polo Ripple

Ghibli

Flarrietta

Flarry

Self

Self

Win or Lose

Coach Dan

Vanessa

Rochelle

Elio

Elio Solis

Elio’s Aunt

Ambassador Questa

Ambassador Grigon

Hoppers

Mabel

King George

———————————————————————————-

Notes

Everybody is all smiles for the group picture, from heroes to villains and everything in-between. Even characters who were otherwise sticks in the mud like Hank genuinely smile for the picture. Villains such as Muntz, de la Cruz, Lotso, Thunderclap and his gang, Syndrome, Evelyn, Randall, Waternoose, Hopper, Skinner, and Ercole, as much of evil psychopaths they were, are seen tenderly and respectfully singing along. Even Sid, who was a massive bully to Hannah, is seen giving her a kind brotherly embrace. Also, most movies’ main cast seem to be cramped together. Even the villains stand near their respective heroes, everyone in a healthy relationship with their families and loved ones are tenderly holding each other close, and many of the larger characters offer their bodies for the smaller ones.

Forky, Heimlich, Dory, Jack-Jack, Mater, WALL-E, and one of the triplets wave at the camera.

Dim and Wee Dingwall give the camera dopey smiles.

The egg-shaped bluebirds and the gawky bird stand perched above the entrance. The bluebirds are happy to have the gawky bird with them, a far cry from how they treated him in their short.

Sulley carries Boo tenderly in his arms. Helen does the same to Jack-Jack, as do Presto with Alec, Carl and Russell with Kevin’s babies, Elinor and Fergus with their triplet sons, Embarrassment with Envy, Massimo with Machiavelli, and Izzy with Sox.

Terri attempts to dance before his other half stops him.

Hank carries Marlin, Dory, and Nemo in a coffee pot.

Voyd and Abby giddily bounce in place, clearly the most excited for the photo.

Linguini carries Remy while Colette holds Django and Emile.

WALL-E and EVE hold the umbrellas from The Blue Umbrella.

HAN-S still can’t stay still, shaking aggressively as the photo is taken.

Kevin and her babies take the time to mimic Carl once again.

Maudie and the Clan Dingwall hunk share a loving look.

Young Macintosh flexes his pecs while giving the camera a cocky smile, the same type of smile given by characters like Terry, Darby, and Clod.

The Witch has her Crow standing perched on her shoulder.

Being stationary volcanoes, Uku and Lele are unable to leave their photo. Thankfully, they have Thunderclap to hold it so they can be in the group picture.

Nostalgia sticks her head out from behind Embarrassment, clearly hiding from the other emotions.

Riley, Grace, and Bree all carry Knick together while Riley’s parents carry the Miami and Florida knick knacks, Val and the Fire Hawks carry the Egypt, Jamaica, Palm Springs, Israel, and Death Valley knick knacks, and Coach Roberts carries Sunny Atlantis in her fish bowl.

Cindy, Son’s fiancée, winks at the camera as the photo is taken.

Machiavelli gives the camera his standard bored look.

Mei has her red hair, panda ears, and panda tail, continuing to embrace her panda.

Aaron Z gives the camera a thumbs up while Tae Young makes a heart with his hands.

Izzy gives Sox a neck scratch.

Alisha and Kiko’s inclusion also counts due to their backlash following the movie’s release.

[junespriince]

Bruce: you're late for the meeting, West. What were you doing that was more important than this meeting?

Wally, done with this man: your son, duh. Now short story on this meeting auntie, please.

Diana: Bad guys moving guns and we're going to stop them.

Wally: cool, and Bruce ya vein on your forehead is pounding loudly again, you should get that checked out.

Bruce: I will make you clean the bathrooms if you say that again.

Wally: you asked, and fuck no you ain't the boss of me, I ain't cleaning the bathrooms.

Bruce: I don't need to know your private life or sex life with my son, ever, again.

Wally: then fire me.

Bruce: no.

Wally: ugh, you're a buzz kill. I'll get changed. *Leaves*

Hal: I miss Barry being here, but damn if this is not the most drama this team has had, I'm thrilled to have him here, honestly.

Oliver: when it pointed towards B, definitely, but man that kid scare as hell... He knows too much...

Bruce, still pissed: both of you shut the fuck up.

Diana: you asked him what he was doing, you should have known better.

Clark: sorry B, I'm on Diane's side on this. He doesn't like you so he's gonna say things to make you more pissed than a sore tail cat. You could just easily fire him and—

Bruce: Kent, shut up. This is War. A war I plan to win.

Arthur: horrible choice, he's stubborn bats.

Bruce: and I can be more stubborn!

Diana: stupid man thing... At least this will be entertaining.