#Produce 101 s4

[secangkircoklatsusu]

Best Dramas & Others TV Show All The Time

[Disclaimer, rating ini hanyalah penilaian pribadi, bisa saja selera kita berbeda, jadi mohon tidak salty ya!]

[List akan bertambah seiring berjalannya waktu]

[List random banget, disesuaikan dengan tahun release, dan hanya memasukan rating 9.0-10.0]

My Own Rating is 10.0/10.0

2004

Full House (Korean Drama)

2012

Reply 1997 (Korean Drama)

2013

Reply 1994 (Korean Drama)

Secretly Greatly (Korean Movie)

2014

It's Okay, That's Love (Korean Drama)

2015

Reply 1988 (Korean Drama, 2015)

2016

Goblin (Korean Drama)

Moon Lovers: Scarlet Heart Ryeo (Korean Drama)

2017

Prison Playbook (Korean Drama)

Suspicious Partner (Korean Drama)

2018

Little Forest (Korean Movie)

100 Days My Prince (Korean Drama)

Eulachacha Waikiki (Korean Drama)

2019

Be Melodramatic (Korean Drama)

Eulachacha Waikiki S2 (Korean Drama)

The Fiery Priest (Korean Drama)

The Light In Your Eyes (Korean Drama)

Kim Jiyoung: Born 1982 (Korean Movies)

Search: WWW (Korean Drama)

Hotel Del Luna (Korean Drama)

Prison Life of Fools (Korean TV Show)

2020

Hospital Playlist (Korean Drama)

A Piece Of Your Mind (Korean Drama)

Mr. Queen (Korean Drama)

The Uncanny Counter (Korean Drama)

2021

Hospital Playlist S2 (Korean Drama)

Joseon Exorcist (Korean Drama)

Doom At Your Service (Korean Drama)

Mad Of Each Other (Korean Drama)

2023

Moving (Korean Drama)

2024

Lovely Runner (Korean Drama)

My Own Rating is 9.5/10.0

2009

Boys Over Flowers (Korean Drama)

2013

My Love from the Star (Korean Drama)

2015

The Silenced (Korean Movie)

2016

The Sound of Your Heart (Korean Drama)

2017

School 2017 (Korean Drama)

Hyori's Bed and Breakfast (Korean TV Show)

2018

Hyori's Bed and Breakfast S2 (Korean TV Show)

You Drive Me Crazy (Korean Drama)

2020

It's Okay to not be Okay (Korean Drama)

Sixth Sense (Korean TV Show)

2021

Waiting for Rain (Korean Movies)

Vincenzo (Korean Drama)

Law School (Korean Drama)

Hometown Cha-Cha-Cha (Korean Drama)

Happiness (Korean Drama)

Sixth Sense S2 (Korean TV Show)

2022

My Liberation Notes (Korean Drama)

Sixth Sense S3 (Korean TV Show)

2023

Twinkling Watermelon (Korean Drama)

My Own Rating is 9.0/10.0

2001

My Sassy Girl (Korean Movie)

2002

The Way Home (Korean Movie)

2004

A Moment to Remember (Korean Movie)

2010

From Me To You (Japanese Movie)

2011

Dream High (Korean Drama)

2013

Master's Sun (Korean Drama)

Miracle in Cell No.7 (Korean Movie)

2015

Kill Me, Heal Me (Korean Drama)

Sassy Go Go (Korean Drama)

Who Are You - School 2015 (Korean Drama)

Midnight Diner (Japanese Movie)

EXO Next Door (Korean Drama)

New Journey to The West S1 (Korean TV Show)

2016

Age Of Youth (Korean Drama)

Dr. Romantic (Korean Drama)

Signal (Korean Drama)

Youth Over Flowers: Africa (Korean TV Show)

New Journey to The West S2 (Korean TV Show)

Train to Busan (Korean Movie)

Unforgettable (Korean Movie)

Missing (Korean Movie)

My Annoying Brother (Korean Movie)

2017

A Korean Odyssey (Korean Drama)

Chicago Typewriter (Korean Drama)

The Boy Next Door (Korean Drama)

The King (Korean Movie)

I Can Speak (Korean Movie)

New Journey to The West S2.5 (Korean TV Show)

New Journey to The West S3 (Korean TV Show)

Produce 101 S2 (Korean TV Show)

New Journey to The West S4 (Korean TV Show)

Night Goblin (Korean TV Show)

Newlyweds Diary S1 (Korean TV Show)

Master Key (Korean TV Show)

SJ Returns S1 (Korean TV Show)

Wanna One Go S2: Zero Base (Korean TV Show)

Youth Overs Flowers: Australia (Korean TV Show)

Kang's Kitchen S1 (Korean TV Show)

Youn's Kitchen S1 (Korean TV Show)

2018

Life On Mars (Korean Drama)

Mr. Sunshine (Korean Drama)

Love+Sling (Korean Movie)

Suits (Korean Drama)

Memories of the Alhambra (Korean Drama)

Your House Helper (Korean Drama)

Youn's Kitchen S2 (Korean TV Show)

Super TV S1 (Korean TV Show)

Little House in The Forest (Korean TV Show)

SVT Club (Korean TV Show)

Hyena on The Keyboard (Korean TV Show)

New Journey to The West S5 (Korean TV Show)

SJ Returns S2 (Korean TV Show)

Eat in Style (Korean TV Show)

The Witch: Part 1. The Subversion (Korean Movie)

To. Jenny (Korean Drama)

A-Teen (Korean Drama)

Priest (Korean Drama)

The Last Empress (Korean Drama)

2019

A-Teen S2 (Korean Drama)

Diary of a Prosecutor (Korean Drama)

Extraordinary You (Korean Drama)

Kingdom (Korean Drama)

Doctor Prisoner (Korean Drama)

He Is Psychometric (Korean Drama)

The Nokdu Flower (Korean Drama)

Parasite (Korean Movie)

Arthdal Chronicle (Korean Drama)

Graceful Family (Korean Drama)

Kill It (Korean Drama)

Vagabond (Korean Drama)

V.I.P (Korean Drama)

Pegasus Market (Korean Drama)

Crash Landing On You (Korean Drama)

When The Camellia Blooms (Korean Drama)

Miss & Mrs. Cops (Korean Movie)

Coffee Friends (Korean TV Show)

Boarding House in Spain (Korean TV Show)

Kang's Kitchen S3 (Korean TV Show)

Delicious Rendezvous (Korean TV Show)

Three Meals in Iceland (Korean TV Show)

New Journey to The West S7 (Korean TV Show)

2020

Kingdom S2 (Korean Drama)

Itaewon Class (Korean Drama)

Live On (Korean Drama)

Mystic Pop-Up Bar (Korean Drama)

Dr. Romantic S2 (Korean Drama)

The King: Eternal Monarch (Korean Drama)

The World of The Married (Korean Drama)

Hi! Bye Mama (Korean Drama)

Find Me in Your Memory (Korean Drama)

The Temperature of Language: Our Nineteen (Korean Drama)

Missing: The Other Side (Korean Drama)

My Unfamiliar Family (Korean Drama)

Oh My Baby (Korean Drama)

Handsome Tigers (Korean TV Show)

House on Wheels S1 (Korean TV Show)

Lee's Kitchen Alone (Korean TV Show)

Gamsung Camping (Korean TV Show)

New Journey to The West S8 (Korean TV Show)

Things That Make Me Groove S1 (Korean TV Show)

2021

So I Married an Anti-fan (Korean Drama)

Yumi's Cells (Korean Drama)

The Witch Diner (Korean Drama)

The Devil Judge (Korean Drama)

You Are My Spring (Korean Drama)

So Not Worth It (Korean Drama)

One The Woman (Korean Drama)

Work Later, Drink Now (Korean Drama)

Sinkhole (Korean Movie)

Youn's Stay (Korean TV Show)

Spring Camp (Korean TV Show)

Seventeen in the Soop (Korean TV Show)

House on Wheels: for Rent (Korean TV Show)

Three Meals a Day: Doctors (Korean TV Show)

2022

Alenoid 1 (Korean Movie)

Seoul Vibe (Korean Movie)

Alchemy of Souls (Korean Drama)

Thirty Nine (Korean Drama)

Twenty Five Twenty One (Korean Drama)

Extraordinary Attorney Woo (Korean Drama)

Kiss Sixth Sense (Korean Drama)

Gaus Electronics (Korean Drama)

May It Please the Court (Korean Drama)

Alchemy of Souls S2: Light and Shadow (Korean Drama)

Work Later, Hike Now (Korean TV Show)

Young Actors' Retreat (Korean TV Show)

In The Soop: Friendcation (Korean TV Show)

2023

Celebrity (Korean Drama)

Maiko-san Chi no Makanai-san (Japanese Drama)

Not Others (Korean Drama)

Nagatan to Aoto: Ichika no Ryourijou (Japanese Drama)

Boyhood (Korean Drama)

Seventeen in the Soop S2 (Korean TV Show)

2024

A Shop for Killer (Korean Drama)

[highquality-lq]

[clowninyourfeed]

The power 2 Seung hold by just standing there

[youngjolvr]

Produce x 101 ✧ Han Seungwoo

[vitaminhee-blog]

Damn this photo is so powerful

A VOCAL god to a VISUAL god ❤❤

[zaytothenah]

KIM YOHAN WHAT EVEN

[me-evil-never]

Anyone else hate the new x rank thing on produce x 101? No? Just me? Ok.

[aikatsuandprecureconfessions]

episode Solo kind of gives me Produce 101 vibes for some reason. More specifically, Produce 48. Also, Nekkoya (Pick Me) from Produce 48 really sounds like a song that would suit the voices of the S4 members perfectly.

Submitted by: Anon

[chacusha]

ST: Discovery season 4

So yeah, I finished watching Disco season 4 and wow. I had so much difficulty making it through it at all, which is an experience I can't say I've ever had with any other season of Star Trek. So yeah, here is my Discovery season 4 rant. (Did I push through all my overdue TNG rewatch posts just so I could rant about the writing sins of Discovery while they were still relatively fresh in my mind? Yes. Yes, I did.) Lots of Star Trek: Discovery season 4 negativity:

God, where do I start?

Let me start with the positive: I appreciate the diverse and very LGBT cast of Discovery. I like the hope and optimism and No Villains ethos of the show. I like how different each season of Discovery has been and how they aren't afraid to completely alter the status quo of the show each season. The first half of season 4 wasn't great but it had some interesting plots and development of the characters. The second half was 😬 but at least its B-plot with Book and Tarka had some interesting stuff going on both in terms of plot and character interaction and backstory.

Another positive: I could tell that this season was trying to flesh out the bridge crew, which was a pretty glaring issue in previous seasons and this is definitely a step in the right direction. HOWEVER, they went about doing this in the clunkiest way possible. You had characters basically turning to camera and saying, "Hey, this situation reminds me of [my token hobby] which I totally 100% have, but have never mentioned up until this point! Look at that! I have one (1) trait!" First of all, having a hobby is not a personality trait/does not count as fleshing out a character. But more to the point, this is, like, the least effective and least efficient way imaginable to establish character traits/give characters dimension. I don't understand why they don't simply go with the tried-and-true route of giving each character their own episode. I'm not talking about a plotline where the fact that a character likes surfing or whatever turns out to be important for solving a science problem -- I'm talking about when you have a plot that only happens because of quirks specific to a character. You throw a character (or two characters) in a situation that stresses them and you show how they respond, and how their weaknesses and the solutions they come up with are unique to that character. This is an easy way to establish characterization. This is writing 101. Instead, all of the bridge members seem even more empty after this attempt at fleshing them out. It's like there's nothing there to explore.

The second cardinal sin committed by Discovery season 4 is that it's just boring. There clearly isn't enough story to fill all the episodes allotted. They really could use some wacky episodic hijinks where two characters go on a Character Establishing Adventure together because there isn't enough content otherwise. I kind of wonder if part of season 4's issues is due to being produced under COVID lockdown? Because season 2 of The Witcher, which was also produced under a similar timeframe, was also markedly bad, and there, too, there just wasn't enough story to fill all the time they had, in ways very similar to Disco S4. In any case, whatever the circumstances that might have led to the bad writing, I feel like the Disco writers need to go back to basics: if you cannot write a solidly entertaining 40-minute piece of television, there is no way in hell you are pulling off a remotely satisfying 13-hour piece of television. I think the writers really need to master the basics before trying something more ambitious.

Another thing exacerbating the "lazy fleshing out of supporting cast characters" issue above and something that I think really weakened season 4 in particular is that Discovery keeps on either (a) having characters complete their character journeys and turn into emotionally mature wise people rather than flawed characters needing to find strategies to compensate for their weaknesses, and/or (b) writing their fleshed-out supporting cast off the show. By the second half of season 4, most of the characters that Discovery has put actual effort into fleshing out (with success) have left: Lorca died; Sarek, Ash, Pike, and L'Rell are all left behind in the past; Mirror Georgiou went back to her world; Tilly completed her character arc and left; Saru completed his character arc and is still present but in a much-diminished role; Stamets has had a lot of his neurotic, abrasive characteristics filed off; Culber has marginally more going on with him than he had in previous seasons but the starting place was so low, so that's not saying much. At this point, Michael (who completed her character arc) is basically carrying the show, with some support from the relative newcomers of Book and Vance. There are a lot of dangers involved with this situation: (1) The show feels really different from its season 1 cast. I miss a lot of the characters, and the show is very different without some important Burnham relationships (e.g. Burnham+Sarek, Burnham+Georgiou, Burnham+Tyler). Especially Burnham+Georgiou -- I felt like that relationship was really core to Discovery and I'm not sure what the show is without it. Gabrielle is still around but they don't really make as much use of Michael's existing relationship with her. (2) I feel like it's a shame to write off a lot of the characters because I think a lot more could have been done with them. Rather than deep-diving into the characters, the show tends to just move on quickly, which means it's paying quite a steep opportunity cost where it COULD potentially make deep, multifaceted, memorable characters by giving them more to do and more room to grow and more things to bounce off of, but instead the show moves quickly onto another set of characters. (3) The show now has a lot of leftover lower-tier characters who have had to very rapidly step up and become interesting, but without the show having invested in them from season 1. (4) Characters with completed character arcs are just, well, less interesting. It was fun seeing some of Burnham's unique brand of neuroticism, for example. She is less interesting now that she is more psychologically stable.

Cardinal sin #3: "Show don't tell" is violated left, right, and center, with the multiple repeated speeches where characters just directly explain what is going on with them emotionally, about 5 or 6 times per episode. I can't believe that this is someone's idea of good writing. And yes, there ARE benefits to telling rather than showing but there's a reason why "show don't tell" is a general rule of thumb. It's just not as interesting to have everything spelled out for you. Part of the benefit of fiction and acting is that you can depict the emotions and the reader can understand and feel the emotions themselves without you needing to describe in words everything that is going on. Another part of what makes fiction interesting is when there are multiple layers of what is going on and what a character believes or admits is going on may not actually be what is really going on. Hiding information from the viewer and from the characters is key to driving narrative tension and dramatic irony, which is what makes fiction interesting and worth watching.

In some ways, I think Discovery suffers because it has a very realistic/verisimilitudinous way of writing their characters where (1) its characters who have similar backgrounds and training tend to have similar values, personalities, goals, etc. which makes them very generic and not distinguished from each other and utterly lacking in tension with each other, (2) they opt to depict a lot of boring stuff onscreen when it's not very interesting and could/should be cut in order to have an interesting plot each and every episode, (3) many of its characters are emotionally mature which is something that can happen in real life, and (4) in real life, people DO experience doubt and talk about their feelings with their friends -- that is normal. So having long, extended conversations where someone just says exactly what they're feeling isn't unrealistic. But this is another cardinal sin of writing, in my opinion: People don't read fiction because it's realistic -- they read it because it is unrealistic in interesting ways.

So for characters and characterization: Rather than have characters who are normal and unremarkable in every way, what people want in fiction is (for example) to see odd traits about themselves reflected in the characters, but exaggerated so as to be important and noticeable. Or characters who are puzzles with layers you have to figure out because they self- and other-deceive -- maybe this is not realistic, but it is fun. This is character-driven storytelling, which should be the centerpiece of your narratives. And it's not like Discovery doesn't know how to do this -- Michael, a human woman with a boy's name raised Vulcan who is a disgraced first officer now serving as a science officer... this is interesting. This is unfamiliar and fantastical and weird, but it provides a way to understand familiar human characteristics like socialization and what it feels like to have to navigate a society that does not accommodate you/your body/your brain in any way and the conflict between loyalty and detached ideas of duty and what it feels like to have to restart what was once a promising career. This is a character who you can slowly get to know over a season and in doing so you also understand more about the world she inhabits because of her unique perspective on it.

The characters should be unique rather than cookie-cutter and replaceable with each other. Compare the bridge crew of Discovery to that of TNG -- all of the members on both shows are confident, competent, psychologically well-adjusted, cool under pressure, etc. They've all gone to the same academy. But TNG also goes out of its way to establish that its characters react differently to the same kinds of situations. Take for example Wesley asking various senior officers for romantic advice in 2x10 "The Dauphin" -- every person he asks has a different reaction (Geordi: "Um look I don't have time for this, OK? *climbs up a ladder to extract himself from the situation*"; Worf: "*utterly contemptuous of human courtship ritual* Beg... like a human."; Data: "According to the definition of 'romantic compatibility'..."; Will: "*gets carried away whispering sweet nothings to Guinan*"). It's a bit of comic relief that isn't necessarily realistic. But having all the characters have a distinct way of trying to solve the same problem has the effect of establishing that they are not the same character. It's a bit of unrealism for the sake of having a more entertaining show.

And for "show don't tell" -- in real life, people ARE often just going to explain things as they are. And I can see what Discovery is going for in setting up as many opportunities as they can for characters to be emotionally vulnerable with people who they trust. This is realistic writing but it isn't good writing. Good writing keeps some things hidden from the viewer. Sometimes emotions are felt deeper because the character does NOT say them outright -- think for example of the how in TNG 3x16 "The Offspring," Data repeatedly laments that he cannot feel love for his daugther Lal. The episode doesn't spell out its themes, but if you watch it, you can understand that what Data is referring to and what he wishes to experience is the felt emotion of love. But for everyone else around him including Lal, what is actually more important isn't what is going on in your mind when you see someone but how you express your attitude toward someone with your actions, and Data's actions toward Lal are consistently loving. You don't need to have any character to say to another, "But in his own way, Data really did love Lal, didn't he?" It certainly is in-character for various characters to make this observation so you COULD put it in, but the viewer doesn't need to have their hand held throughout the episode to understand either Data's love or the rest of the crew's and Lal's conviction that Data loves her -- it is obvious in Data's actions, the way the crew fights so hard for Data to be able to keep Lal, and in Lal's own happiness and flourishing under him. Or another example, in TNG 3x15 "Yesterday's Enterprise," the episode ends with Guinan just saying, "tell me about Tasha Yar." In such a simple line, the show manages to convey many things such as (1) the way Guinan has interest in individual members of the crew (shown not told throughout the whole of the episode), (2) Guinan carrying the emotional weight of having asked a whole crew to sacrifice their lives for the sake of the future and her remembering that sacrifice when no one else does or can, something that is both an emotional burden on her but also hopeful and optimistic because it means their sacrifice is acknowledged and remembered by someone, and (3) that Guinan herself has gained something from this experience (she now knows about Tasha, a person who she can admire and respect). More importantly, there is some ambiguity here because the show has NOT directly told us what Guinan is thinking and feeling: how much does Guinan even remember? Given that she could not remember the original timeline, just had vague feelings that something was off/wrong, it's possible that Guinan herself doesn't actually fully remember Yar, only has a vague shadow of a recollection that is enough to prompt her to ask about a crewmember she otherwise would have no knowledge of -- but that doesn't matter. Because the viewer remembers all the events of the episode in crystal clarity even if Guinan may not. The weight and memory of honorable sacrifice I talked about above? It's not Guinan carrying that weight now -- it's the viewer. That one line can be pulling so much weight is not necessarily realistic writing but it is good writing. The viewer is then left with the weight of all the emotions of the show to process on their own, and that is what good, well-crafted art can do.

Anyway, it was probably a bad idea to watch TNG season 3 right before finishing up DSC season 4. The contrast in quality is just so stark. TNG is far from perfect but it has many of these basics down at least: One, it uses episodic plots centered around specific characters where that character drives the plot in order to establish the shape of various characters' personalities and the way different characters react differently to the same situation. Even plot-irrelevant teasers at the opening of episodes is used to flesh out characters -- a very easy kind of writing that Discovery easily has excess time to dedicate to. Two, each episode (for the most part -- there are some stinkers) is polished and worked on enough to meet the requirement of having an interesting and satisfying plot in itself. Three, it keeps characters around for long periods of time, which lets the audience come to understand them and what makes the character tick and see multiple aspects of their characters, which leads to more complex, multifaceted characters that you can really get attached to. Four, it trusts the events and the actors to convey the emotions of a story without having to spell everything out again a second time as a speech given by a character.

So yeah, in my opinion, Discovery is really trying and I appreciate that, but season 4 really fails at the most basic, fundamental level in terms of its writing that it actually provides an informative case study in how not to write fiction IMO.

[papermoonloveslucy]

DINNER FOR TWELVE

October 14, 1950

“Dinner for Twelve” (aka “Liz Cooks Dinner for Twelve”) is episode #101 [some sources say #100] of the radio series MY FAVORITE HUSBAND broadcast on October 14, 1950.

This was the sixth episode of the third season of MY FAVORITE HUSBAND. There were 31 new episodes, with the season ending on March 31, 1951.  

This episode was fully animated and can be found on Vimeo. It was created by Wayne Wilson in 2012. 

Synopsis ~ George has invited ten dinner guests on the maid’s day off and Liz is determined to prove to George's mother that she can prepare a dinner for twelve without any help.

“My Favorite Husband” was based on the novels Mr. and Mrs. Cugat, the Record of a Happy Marriage (1940) and Outside Eden (1945) by Isabel Scott Rorick, which had previously been adapted into the film Are Husbands Necessary? (1942). “My Favorite Husband” was first broadcast as a one-time special on July 5, 1948. Lucille Ball and Lee Bowman played the characters of Liz and George Cugat, and a positive response to this broadcast convinced CBS to launch “My Favorite Husband” as a series. Bowman was not available Richard Denning was cast as George. On January 7, 1949, confusion with bandleader Xavier Cugat prompted a name change to Cooper. On this same episode Jell-O became its sponsor. A total of 124 episodes of the program aired from July 23, 1948 through March 31, 1951. After about ten episodes had been written, writers Fox and Davenport departed and three new writers took over – Bob Carroll, Jr., Madelyn Pugh, and head writer/producer Jess Oppenheimer. In March 1949 Gale Gordon took over the existing role of George’s boss, Rudolph Atterbury, and Bea Benaderet was added as his wife, Iris. CBS brought “My Favorite Husband” to television in 1953, starring Joan Caulfield and Barry Nelson as Liz and George Cooper. The television version ran two-and-a-half seasons, from September 1953 through December 1955, running concurrently with “I Love Lucy.” It was produced live at CBS Television City for most of its run, until switching to film for a truncated third season filmed (ironically) at Desilu and recasting Liz Cooper with Vanessa Brown.

MAIN CAST

Lucille Ball (Liz Cooper) was born on August 6, 1911 in Jamestown, New York. She began her screen career in 1933 and was known in Hollywood as ‘Queen of the B’s’ due to her many appearances in ‘B’ movies. With Richard Denning, she starred in a radio program titled “My Favorite Husband” which eventually led to the creation of “I Love Lucy,” a television situation comedy in which she co-starred with her real-life husband, Latin bandleader Desi Arnaz. The program was phenomenally successful, allowing the couple to purchase what was once RKO Studios, re-naming it Desilu. When the show ended in 1960 (in an hour-long format known as “The Lucy-Desi Comedy Hour”) so did Lucy and Desi’s marriage. In 1962, hoping to keep Desilu financially solvent, Lucy returned to the sitcom format with “The Lucy Show,” which lasted six seasons. She followed that with a similar sitcom “Here’s Lucy” co-starring with her real-life children, Lucie and Desi Jr., as well as Gale Gordon, who had joined the cast of “The Lucy Show” during season two. Before her death in 1989, Lucy made one more attempt at a sitcom with “Life With Lucy,” also with Gordon.

Richard Denning (George Cooper) was born Louis Albert Heindrich Denninger Jr., in Poughkeepsie, New York. When he was 18 months old, his family moved to Los Angeles. Plans called for him to take over his father’s garment manufacturing business, but he developed an interest in acting. Denning enlisted in the US Navy during World War II. He is best known for his  roles in various science fiction and horror films of the 1950s. Although he teamed with Lucille Ball on radio in “My Favorite Husband,” the two never acted together on screen. While “I Love Lucy” was on the air, he was seen on another CBS TV series, “Mr. & Mrs. North.” From 1968 to 1980 he played the Governor on “Hawaii 5-0″, his final role. He died in 1998 at age 84.

Bea Benadaret (Iris Atterbury) was considered the front-runner to be cast as Ethel Mertz but when “I Love Lucy” was ready to start production she was already playing a similar role on TV’s “The George Burns and Gracie Allen Show” so Vivian Vance was cast instead. On “I Love Lucy” she was cast as Lucy Ricardo’s spinster neighbor, Miss Lewis, in “Lucy Plays Cupid” (ILL S1;E15) in early 1952. Later, she was a success in her own show, “Petticoat Junction” as Shady Rest Hotel proprietress Kate Bradley. She starred in the series until her death in 1968.

Ruth Perrott (Katie, the Maid) was also later seen on “I Love Lucy.” She first played Mrs. Pomerantz, a member of the surprise investigating committee for the Society Matrons League in “Pioneer Women” (ILL S1;E25), as one of the member of the Wednesday Afternoon Fine Arts League in “Lucy and Ethel Buy the Same Dress” (ILL S3;E3), and also played a nurse when “Lucy Goes to the Hospital” (ILL S2;E16). She died in 1996 at the age of 96.

Bob LeMond (Announcer) also served as the announcer for the pilot episode of “I Love Lucy”. When the long-lost pilot was finally discovered in 1990, a few moments of the opening narration were damaged and lost, so LeMond – fifty years later – recreated the narration for the CBS special and subsequent DVD release.

Gale Gordon (Rudolph Atterbury, George’s boss and Iris’s husband) does not appear in this episode, although the character is mentioned. 

GUEST CAST

Eleanor Audley (Leaticia Cooper, George’s Mother) previously played this character in “George is Messy” on June 14, 1950. She would later play Eleanor Spalding, owner of the Westport home the Ricardos buy in “Lucy Wants To Move to the Country” (ILL S6;E15) in 1957, as well as one of the Garden Club judges in “Lucy Raises Tulips” (ILL S6;E26).

Richard Crenna (Delivery Boy) would make his television debut with Lucille Ball as Arthur Morton in “The Young Fans” (ILL S1;E20). The character is virtually a carbon copy of Walter Denton, the role he played for four years on radio’s “Our Miss Brooks” starring Eve Arden. In 1952, Desilu brought the show to television where Crenna recreated his role. He later starred in Desilu’s “The Real McCoys.” He would become one of Hollywood’s busiest actors, starring in "Vega$” and Sylvester Stallone’s Rambo films. He died in 2003.

THE EPISODE

ANNOUNCER: “In a little white two-story house located at 321 Bundy Drive in the bustling little suburb of Sheridan Falls, George Cooper is just leaving for the bank.” 

Before leaving for work, George breaks the news to Liz that his mother is coming to dinner that night. 

At the dinner table that evening, Mother Cooper (Eleanor Audley) is reminding her son to eat his spinach, thinking Liz is not feeding him properly.  George suddenly remembers that he’s invited the Atterbury’s and some out-of-town clients to dinner on Monday night - dinner for twelve. The only problem is, Katie is going away on vacation on Sunday, so Mother Cooper suggest Liz cook the dinner herself. 

Liz brags that she made the soufflé herself.  Mother Cooper insists that Liz give her the recipe - right now!  

LIZ: “Well, you just put all the cheese and things in a bowl. They you take a piece of ‘souff’ and put it on the top.”

Liz vows to cook dinner Monday night - all on her own. Monday morning, Liz cooks breakfast for George. The eggs are stone cold. Liz says she cooked them the night before and froze them to save time. 

In “Lucy’s Schedule” (ILL S1;E31), to save time, Lucy prepares Ricky’s breakfast the night before and freezes it. She serves him frozen fried egg, exactly what Liz served George two years earlier! 

Liz has invited Iris Atterbury over to help her cook the dinner for twelve. George leaves for work and the women repair to the kitchen to get a start on dinner. When Liz says she’s decided on chicken as the main course, Iris wonders assumes it will be broiled chicken. 

LIZ (indignant): “Please! Does Oscar of the Waldorf serve broiled chicken? We are having poulet almondine.” 

Oscar Tschirky (1866-1950) was a Swiss-American restaurateur who was maître d'hôtel of Delmonico's Restaurant and subsequently the Waldorf-Astoria Hotel in Manhattan, New York, United States. He was widely known as "Oscar of the Waldorf" and published a large cookbook. He is credited with having created the Waldorf salad, and for aiding in the popularization of the Thousand Island dressing. He died three weeks after this episode aired.

Liz realizes that she needs mushrooms but that she doesn’t have any in the house. She wonders whether she can use the mushrooms growing in the backyard. Iris points out that they may be toadstools, which are poisonous. Liz decides to use walnuts instead. 

The girls peel onions for the dressing. They begin to tear-up from cutting the onions.  

LIZ (tearfully): “This is the best time I’ve had in ages!” IRIS (crying): “Me too!”

In “The Million Dollar Idea” (ILL S3;E13) in 1954, Lucy and Ethel were awash in tears when they peeled onions to make Aunt Martha’s Old Fashioned Salad Dressing. 

ANNOUNCER: “As we return to the Cooper’s it’s several hours later and we find the kitchen knee deep in dirty saucepans, greasy skillets, broken eggshells, and well-thumbed cookbooks. Surveying the wreckage are Liz and Iris Atterbury.” 

Iris wonders whether the chickens are ready to come out of the oven. Liz says she put them on at 9am at 600 degrees!  Iris points out that they were only supposed to cook at 300 degrees. 

LIZ: “I know but we have two chickens so I doubled it!” IRIS: “I never would have thought of that.”

They open the over and find their two chickens have burned to a crisp and resemble “two little lumps of charcoal with legs and wings”!  Just then, Mother Cooper arrives. 

Lucy burned two chickens in “The Matchmaker” (ILL S4;E4) when preparing dinner for Sam (the spider) and Dorothy (the fly) a dating couple Lucy hopes to lure into matrimonial bliss. 

Liz and Iris don’t tell Mother Cooper about the burned chickens. Chicken almandine is her favorite dish. She advises Liz on her cooking technique: 

MOTHER: “You just keep your eye on them until they’re a nice crinkly brown.” IRIS: “How about a nice crusty black?”

Mother Cooper discovers that Liz has burned the dinner. They trade insults and Mother storms out in a huff. Iris promises to help Liz cook a new dinner, but first she has to go to the beauty parlor to have her hair done. 

When Iris gets home from the beauty parlor she phones Liz to see how the dinner is going. Liz is dazed and confused. 

LIZ: “Iris, you are talking to a woman who’s gone through eight chickens today.”

Liz reports that the pressure cooker exploded and the chickens are still on the ceiling. 

When Lucy and Ethel are working at the chocolate factory in “Job Switching” (ILL S2;E1), Ricky and Fred are cooking dinner at home. Ricky puts two chickens in the pressure cooker, which explodes and strands the birds on the ceiling! 

Liz’s fifth and sixth birds were accidentally thrown in the garbage disposal. The seventh and eighth birds arrived from the butcher still alive!  Iris asks Liz if she has cooked them yet.

LIZ: “Cook ‘em? I can’t even catch ‘em! When last seen, seven and eight were going east on Bundy Drive.” IRIS: “You poor thing! Eight chickens and nothing to show for it!” LIZ: “Oh, yes I have. Before she left seven laid an egg on the kitchen table.”

Iris tells Liz everything will be alright. Just then, a delivery boy from Johnson’s Catering Service (Dick Crenna) arrives at the Cooper’s back door with a meal for twelve: Roast prime ribs of beef, green beans, potatoes, and Yorkshire pudding.  The meal was sent by Katie!   

Just as she is about to call Katie to thank her, the Delivery Boy returns with another catered dinner: Lobster Thermidor with French fries and asparagus. This meal was sent over by Iris! 

The Delivery Boy returns yet a third time!  This time with Pheasant under Glass sent by Mr. Atterbury!  Liz tips the boy with a bowl of Yorkshire pudding. 

Oops!  Yorkshire pudding is not served in a bowl. It is not a pudding in the American sense, but similar to pop-overs, designed to sop up the drippings and gravy when served with a roast beef. 

The phone rings and it is Mother Cooper telling Liz that she has made a dinner for twelve and will bring it over. Liz says thanks but no thanks, and invites her to make the dinner party 13. 

The phone rings once again - it is George. He has called to tell Liz that he has made a mistake. The dinner isn’t until next Monday night!  

LIZ: “Oh, no!”

Announcer Bob LeMond reminds listeners that Lucille Ball can currently be seen in The Fuller Brush Girl and that they can read about her in the current issue of Pageant Magazine. 

[oddxeyes]

oh NO i just thought about watching hannibal again...for the third time......oh no...

[airmanisr]

Hawker Hunter F.2 ‘WN904 / Q’ by Alan Wilson Via Flickr: c/n S4/U/2912. Built 1954. British military serial WN904. Among the 1,972 Hunters built, the F.2 was a rare mark. It was powered, along with the F.5, by the 8,300lbf Armstrong Siddeley Sapphire 101, instead of the Rolls-Royce Avon used in all other marks of Hunter. Built by Armstrong Whitworth at Coventry, only 45 were produced and this is now the only surviving example. Delivered to 257sqn at Wattisham in September 1954, she remained with the unit until severely damaged in January 1956. Although repaired, she was then stored until 1958 when she went to the Melksham School of Technical Training as ‘7544M’. In 1974 she was donated to the Imperial War Museum collection at Duxford, but was later loaned out to serve as a gate guard at Waterbeach Barracks, the former RAF Waterbeach. Now permanently preserved at the Sywell Aviation Museum, she has recently been repainted and now wears genuine 257 Squadron colours on her port side, as seen here. Her starboard side is now in 263 Squadron markings. Sywell Aerodrome, Northamptonshire, UK. 21st August 2019

[victon-fy]

[!] Produce 101 S4 Rumors

Hello everyone! This is important, so please take the time to read it if you can. There have been several articles published rumoring that members of VICTON will be joining the next season of Produce 101. Plan A Ent. denied it at first, but then later said that it was in discussion for several of the members. Please don’t take anything concretely right now, as nothing has been confirmed. They might join, but they still might not. And if they do join, please support them. They’re going to be working very, very hard on this and they deserve success. Please help them achieve that success if they do join the show. I will keep everyone updated!

[clowninyourfeed]

Seungwoo making people Gay Panic vs him Gay panicking:

His weakest muscle is his heart

[youngjolvr]

produce x 101 ✧ han seungwoo ✧ m! countdown

[vitaminhee-blog]

Up10tion Wooshin HQ pics during PD X 101 Runway show