#Richard Meeker

[erik-even-gayer]

Love tears my ribs apart and cracks my thighs,

Love's irons are scorching out my too-sharp eyes.

Love gnaws, a black jaguar, at my red heart,

Love snaps the pieces of my brain apart.

Love is a dove? Love is a petal-boy?

Love is a rural song? A pale, calm joy?

All you who say so lie. Love is a beast

Stretching his claws from West to bloody East.

If you should hear him snarl, and be afraid,

Hide like the mole, be circumspect and staid;

He'll pass you by -- and you will breathe as well,

But you will have forgone the joys of hell.

You will grow old respectably and shriven,

But you will have forsworn the pangs of heaven.

From Better Angel by Forman Brown (1933)

[mariocki]

Brannigan (1975)

"Well, if it was up to me, I'd get some men out thumping on the streets, passing out some 'e pluribus unum'. That's what ninety percent of police work is today."

"The murder rate in your country, I'm sure, gives ample testimony to your superior police methods."

[misterivy]

[savethelifeofmychild]

okay okay all the books that i remember reading in 2023... surely there are others but i dont keep track of the books i read unfortunately.. ah also... Not in order:

who killed kennedy? by thomas g. buchanan

the season of the witch by james leo herlihy

brideshead revisited by evelyn waugh

parents' day by paul goodman

better angel by richard meeker

these violent delights by micah nemerever

sal mineo by h. paul jeffers

frankenstein by mary shelley (i think it was this year?)

after dark by haruki murakami

when harlie was one by david gerrold

the electric kool-aid acid test by tom wolfe

revolution for the hell of it (abbie hoffman)

there but for fortune by michael shumacher

in memory of angel clare by christopher bram

ill get there. it better be worth the trip. by john donovan

the talented mr. ripley by patricia highsmith

ripley under ground by patricia highsmith

ripley's game by patricia highsmith

bob dylan in america by sean wilentz

just kids by patti smith <33333

on the road by jack kerouac

a clockwork orange by anthony burgess

there are a few others that i cant for the life of me remember the names of...its really gonna bug me now aghh and probably other ones im just forgetting altogether who knows

[dalekofchaos]

Things I'd change about the Halloween movies

I did a similar post and just about the DGG trilogy before. But this time I am focusing on the original timeline(but with both Thorn trilogy and H20)

Halloween

For Halloween, the only changes I’d include is I would have Paul show up and both Annie and Paul would be killed by Michael and Dr Loomis would explain to Sherriff Brackett that he warned everyone in the hospital that Michael should be kept in a maximum security facility, but was denied, so rather than blaming Loomis, Brackett would “damn” Smith’s Grove.

Halloween II

Dr Loomis’ personality stays with the original. A more calm and in control Loomis who is trying to stop Michael and cared for everyone's well being and had the look that he knew Michael was going to get up and is in control and not manic nor is he hysteric to the point where he is willing to shoot an innocent kid in a different mask and causes an accidental death. So yes Loomis would be more calm, caring and in control.

Brackett and Deputy Hunt begrudgingly agree to continue working with Loomis, after he cools down he sees that Loomis is not at fault for Michael's escape and understands "damned red tape". When everyone reaches the hospital Brackett goes down in an attempt to sacrifice himself to stop Michael.

Halloween II ends with Michael burning. But make it clear Loomis got blown out the hospital to show his survival and keep in Loomis "NO! LET IT BURN! LET IT BURN!"

Halloween 4

A better mask. Looks as advertised. Edit by JSComicArt

Michael's hands are more visibily burned

The major change is instead of the Carruthers adopting Jamie, it’s The Wallaces. Lindsey is Jamie’s step-sister and she promised Laurie that she would watch other Jamie. Tommy promised too. Now there was a script that got rejected where Tommy and Lindsey would return, the trauma that Tommy experiences makes Lindsey’s parents wary of him, but Lindsey still loves him regardless.

Kyle Richards and Brian Andrews returns to play Tommy and Lindsey

Sheriff Ben Meeker is replaced with Gary Hunt

Tommy survives Michael's attack instead of taking Brady's fate

Halloween 5

Lindsey lives and Tina dies instead

Dr Loomis is trying to save Jamie from becoming like Michael

Jamie isn't far gone. It's a struggle of her mental health and suppressing of the killer urges that Michael transferred to her.

I would keep the link between Jamie and Michael, but have her get glimpses of what he is up to after 4. She knows he’s coming back, but the stronger he gets the more inaccurate the visions are because he is controlling what she sees.

A better mask edit by Kaerus_Hellomiya

Actually use the Myers house

Michael's face isn't "Like Jamie" he looks fucking burned. Hair completely burnt off and his face is horribly disfigured Edit by AV_boogeyman

Tommy and Loomis work together to trap Michael.

Ends how it does in our universe, but with the cut scene of the Thorn cult abducting Jamie.

Halloween:The Curse of Michael Myers

Retitle it to the "Cult of Michael Myers"

Danielle Harris would return to play Jamie and Jamie is not killed off. There is no baby and no Strode family. Jamie has been held hostage by the Man In Black. The MIB is grooming Jamie to become the next Michael, but when Jamie escapes, Michael gives chase, eventually she looses Michael and she runs into Loomis.

...Already stated before but I'm saying it bluntly. Jamie is not disrespected, Danielle Harris is not fucked over. Jamie lives and most fucking importantly. No fucking incest baby or rape baby in general. What the fuck were you people thinking??? Good fucking god I hate this fucking movie

The Thorn Cult don't control Michael Myers and make him evil, they worship him because he's pure evil and to them he is the idol of Samhain.

Dr Loomis is more of a main character than what he was in the original piece of shit. When he hears that phone call, he immediately leaves and finds her in time.

Tommy and Lindsay would return and reunite with Jamie. Together Jamie, Tommy, Lindsay and Dr Loomis would work together to end Michael.

Christopher Lee plays Wynn. The part was originally written for Lee, in the script that enticed Donald Pleasance into playing Loomis one final time, Wynn is pretty much the Anti-Loomis and since Lee was originally considered to play Loomis, I thought it fitting. So what Dr Sartain was in the 2018 movie. Someone who saw what Michael was and embraced Michael’s evil and encouraged it.

Michael is on the loose and carves a brutal rampage on Haddonfield while looking for Jamie. It’s Halloween night. Michael starts killing the population of Haddonfield. However, he finds Jamie at his home. He wants to kill her and everyone there, but The Man In black compels him to bring Jamie to him. 

Michael attacks. Their trap nearly works, but the Man In Black appears. Shoots everyone with tranquilizer darts and Michael abducts Jamie.

Wynn reveals himself to Loomis as The Man In Black. Wynn is the Anti-Loomis, so basically Wynn explains his role in Michael’s evil. Wynn was so captivated that for no reason, a young boy killed his sister. So when Loomis was his doctor, Wynn was his true doctor. Telling him to always hold onto the feeling he had when he killed his sister. You are not a man, you are The Shape. He taught him how to drive. He encouraged Michael’s evil and let him escape. Wynn also reveals he is a believer of Samhain. I am keeping this because it was a nice set up in Halloween II. Wynn believes that Michael is the way he is because it’s connected to Samhain (and have them pronounce it correctly). And as Loomis once put it, Wynn believes Michael is the lord of the dead. 

Once again it's the struggle over Jamie's mental health and her struggle over good and evil with Dr Loomis being the one to represent her goodness while Wynn is what represents her inner darkness

Jamie finally overcomes the evil Michael and the cult inflicted on her

Loomis shoots Wynn

Wynn in his final breath tells Michael "this is the final harvest, kill them" and Michael head stomps him like he did to Sartain

there is no rhyme or reason for what Michael does. He is the boogeyman and The Shape. There is no reason as to why he kills. Michael goes on a rampage and kills EVERYONE in Smith’s Grove.

Lindsay and Tommy plant C4 all over Smith's grove

Tommy beats the shit out of Michael with a lead pipe

Michael rises up and is choking the life out of Tommy.

Jamie makes a stand. She grabs Loomis’ gun and shoots Michael in the head 6 times and grabs her old pair of scissors and stabs him repeatedly. Jamie lets loose and takes revenge on the 7 years she lost. “Die Boogeyman” is all she can utter as she takes her revenge. Loomis stops her and tells her it’s over and hugs her. As Loomis embraces her, he whispers something “your mother is alive, go to her” Jamie, Tommy and Lindsey escape. But Loomis stays behind and just tells them run and do not look back and live. Jamie pleads with Loomis to come with them. Loomis says “No, I have some business to attend to. Goodbye Jamie.” Loomis rigged Smith’s Grove with bombs and sacrifices himself. It started in Smith’s Grove with him and Michael it ends with Loomis and Michael in Smith’s Grove. "It’s over Michael.” presses the detonator and they both blow up. We would see Michael’s burning mask, and the movie ends with Tommy and Lindsey taking Jamie to see Laurie. Laurie is remorseful for not being able to take care of her daughter and before she can apologize, Jamie just embraces her mother with a hug.

Halloween H20

This would coincide with my Thorn Trilogy rewrite, so Jamie would've reunited with Laurie and Jamie got to spend a few years getting to know John and help Laurie with her trauma, while Jamie has some deep resentment for being left behind.

We would use the cut storyline of a copycat killer. Gist is this is a student that got expelled by Laurie and he's looking for revenge. He could be Charlie like in the original script. At first he just wants to scare "Ms Tate". But eventually he gets the taste for blood. The copycat is wearing the dreadful mask with visible eyes. While Michael has the mask from the opening when he kills Marion.

Jamie and Billy write letters to each other

Like Laurie, Jame practically stays away from Halloween as a holiday and will not attend the party.

Jamie gets letters from Tommy and Lindsey. "Laurie, if you're hearing this, Nurse Chambers is dead and Michael knows where you are. Run. Take Jamie and John and run." The letter to Jamie. "Jamie, I really hope you don't have to use this, but just in case" it's Jamie's old pair of Scissors. The pair she almost killed Mrs Wallace with and the pair she used to beat Michael into submission

Jamie's PTSD episode ends up ruining Laurie's date with Will and this gets Laurie's ire.

Laurie and Jamie's unloads years of resentment, abandonment issues, shared trauma, but ultimately Jamie forgives her mother. "IF he's really back, we have to kill him once and for all"

Charlie takes the mask off and apologizes to everyone "this was just supposed to be a prank, I didn't mean to take it this far…" that's when Michael comes out and kills Charlie. Everyone is on the run.

Laurie and Jamie come to the rescue

Jamie drives off with John. While Laurie goes to fight Michael.

Jamie has a change of heart and comes back.

When Laurie takes Michael's body(with it actually being Michael because fuck you) Michael has his hands around Laurie's throat and that's when Jamie rams him with the car. Jamie gets out of the car. John says "Sis, what the hell are you doing? He's dead" "No he's not." Jamie grabs her trusty pair of scissors and right when Michael does the sit up, Jamie stabs him in the fucking throat. "Hello uncle Boogeyman, did you miss me?" Jamie gets in the truck Laurie was in and John is driving Jamie's When Michael gets up, they ram both sides of him.

Jamie and John smash Michael's body with their cars, keeping him trapped and that's when Laurie cuts his head off. Laurie toss Michael's mask into the fire and the Strode family lives in peace.

[docrotten]

THE BLOB (1988) – Episode 270 – Decades of Horror 1980s

“All I saw was an old man with a funky hand, … that’s all I saw.” Well, there’s a lot more to see than a funky hand! Join your faithful Grue Crew – Crystal Cleveland, Bill Mulligan, and Jeff Mohr, along with special guests Jeff Farley and Ralph Miller – as they get down and dirty and gloppy with The Blob (1988) and its special effects. [NOTE: Technical issues forced Jeff Farley to drop out early in the recording. Bill and Jeff rescheduled a later discussion with Jeff, which was spliced near the end of the original recording.]

Decades of Horror 1980s Episode 270 – The Blob (1988)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! Click the alert to get notified of new content! https://youtube.com/gruesomemagazine

Gruesome Magazine is partnering with the WICKED HORROR TV CHANNEL (https://wickedhorrortv.com/) which now includes video episodes of Decades of Horror 1980s and is available on Roku, AppleTV, Amazon FireTV, AndroidTV, and its online website across all OTT platforms, as well as mobile, tablet, and desktop.

Synopsis: A deadly entity from space crash-lands near a small town and begins consuming everyone in its path. Panic ensues as shady government scientists try to contain the horrific creature.

Directed by: Chuck Russell

Writing Credits:Chuck Russell & Frank Darabont (screenplay)

1958 Version: Theodore Simonson and Kay Linaker (as Kate Phillips) (screenplay); Irvine H. Millgate (story)

Produced by: Jack H. Harris & Elliott Kastner

Cinematography by: Mark Irwin

Make up effects designed and created by: Tony Gardner

Creature effects designed and created by:Lyle Conway

Selected crew members:

Jeffrey S. Farley (creature effects crew)

Ralph Miller III (blob mechanic: blob effects crew)

Special visual effects by: Dream Quest Images

Visual effects supervisor: Hoyt Yeatman

Selected Cast:

Kevin Dillon as Brian Flagg

Shawnee Smith as Meg Penny

Donovan Leitch Jr. as Paul Taylor (as Donovan Leitch)

Jeffrey DeMunn as Sheriff Herb Geller

Candy Clark as Fran Hewitt

Joe Seneca as Dr. Meddows

Del Close as Reverend Meeker

Paul McCrane as Deputy Bill Briggs

Sharon Spelman as Mrs. Penny

Beau Billingslea as Moss Woodley

Art LaFleur as Pharmacist / Mr. Penny

Ricky Paull Goldin as Scott Jeske

Robert Axelrod as Jennings

Bill Moseley as Soldier #2 (in sewer)

Frank Collison as Hobbe

Michael Kenworthy as Kevin Penny

Jack Rader as Col. Hargis

Billy Beck as Can Man

Jack Nance as Doctor

Erika Eleniak as Vicki De Soto

Jacquelyn Masche as White Suit #2

Julie McCullough as Susie

Daryl Sandy Marsh as Lance (as Daryl Marsh)

Richard Anthony Crenna as Soldier Outside Town Hall (as Richard Crenna Jr.)

Pons Maar as Theatre Manager

Portia Griffin as Gospel Singer

First, there was the original The Blob (1958), covered by Decades of Horror: The Classic Era #123. After that, there was the sequel, Beware! The Blob (1972), braved by the Grue Crew in Decades of Horror 1970s #63. Then came The Blob (1988), an updated retelling of the original as imagined by Frank Darabont and Chuck Russell and discussed by a previous 80s Grue Crew in Decades of Horror 1980s #126. 

Finally, the current 80s Grue Crew, having some contacts in the effects community, decided to do a deeper dive into The Blob (1988) with a focus on the film’s effects work and enlisted the aid of effects artists Jeffrey S. Farley and Ralph Miller III who worked on Lyle Conway’s blob crew. Ralph shares several mechanical devices used for blob manipulation and stories of the hard work put into the film. Jeff focuses on his work on The Blob, occasionally wandering to other aspects of his career, including Abruptio, his current release.

At the time of this writing, The Blob (1988) is available to stream from Peacock, Paramount+, PlutoTV, and multiple PPV sources. It is also available on physical media as a Limited Edition Steelbook 4K Ultra HD + Blu-ray and as a Collector’s Edition [4K UHD] from Scream Factory. 

Every two weeks, Gruesome Magazine’s Decades of Horror 1980s podcast will cover another horror film from the 1980s. The next episode’s film, chosen by Bill, will be Cannibal Ferox (1981), directed by Umberto Lenzi with special effects by Gino De Rossi. Yup. It must be time for a film initially banned in 31 countries.

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans – so leave them a message or comment on the Gruesome Magazine Youtube channel, on the Gruesome Magazine website, or email the Decades of Horror 1980s podcast hosts at feedback@gruesomemagazine.com.

Check out this episode!

[clemsfilmdiary]

The Best of December 2023

Best Discovery: Eyes of Fire

Runner Up: Fanny and Alexander

Best Rewatch: Short Cuts

Close Second: Slap Shot Runners Up: The Blues Brothers, The Killing of a Chinese Bookie, Superman III, Who Framed Roger Rabbit

Most Enjoyable Fluff: No Hard Feelings

Runners Up: Broadcasting Christmas, A Dream of Christmas, Haul Out the Holly: Lit Up, Leave the World Behind, A Magical Christmas Village

Best Leading Performance: Paul Newman in Slap Shot

Runners Up: John Belushi and Dan Aykroyd in The Blues Brothers, Charles Fleischer and Bob Hoskins in Who Framed Roger Rabbit, Ben Gazzara in The Killing of a Chinese Bookie, Paul Giamatti in The Holdovers, Jennifer Lawrence in No Hard Feelings, Julianne Moore in May December, Richard Pryor and Christopher Reeve in Superman III

Best Supporting Performance (male): Jan Malmsjö in Fanny and Alexander

Runners Up: Cab Calloway and Charles Napier in The Blues Brothers, Jack Lemmon, Matthew Modine, Chris Penn and Tim Robbins in Short Cuts, Christopher Lloyd in Who Framed Roger Rabbit, Strother Martin, Michael Ontkean and Brad Sullivan in Slap Shot

Best Supporting Performance (female): Anne Archer in Short Cuts

Runners Up: Lindsay Crouse and Kathryn Walker in Slap Shot, Jennifer Jason Leigh, Julianne Moore, Annie Ross, Madeleine Stowe and Lily Tomlin in Short Cuts, Annette O'Toole, Annie Ross and Pamela Stephenson in Superman III

Most Enjoyable Ham: Meryl Streep in The Iron Lady

Runners Up: Kristin Chenoweth in 12 Men of Christmas, Marlo Thomas in A Magical Christmas Village, Cindy Williams in A Dream of Christmas

Best Mise-en-scène: Eyes of Fire

Runners Up: Fanny and Alexander, Short Cuts, Who Framed Roger Rabbit

Best Locations: The Blues Brothers (various Chicago cityscapes)

Runners Up: Eyes of Fire (wild Missouri forest and river locations), The Holdovers (wintery Massachusetts small town and campus), The Naked Spur (Colorado Rocky Mountains)

Best Score: Short Cuts (Mark Isham)

Runner Up: Eyes of Fire (Brad Fiedel)

Best Leading Hunk: Bob Hoskins in Who Framed Roger Rabbit

Runners Up: Dean Cain in Broadcasting Christmas, Ben Gazzara in The Killing of a Chinese Bookie

Best Supporting Hunk: Ralph Meeker in The Naked Spur

Runners Up: Adam Lolacher in Time for Him to Come Home for Christmas, Allan F. Nicholls in Slap Shot, Jessie Pavelka in 12 Men of Christmas

[byneddiedingo]

Kirk Douglas and Adolphe Menjou in Paths of Glory (Stanley Kubrick, 1957) Cast: Kirk Douglas, Ralph Meeker, Adolphe Menjou, George Macready, Wayne Morris, Richard Anderson, Christiane Kubrick, Jerry Hausner, Peter Capell, Emile Meyer, Bert Freed, Kem Dibbs, Timothy Carey, Fred Bell, John Stein, Harold Benedict. Screenplay: Stanley Kubrick, Calder Willingham, Jim Thompson, based on a novel by Humphrey Cobb. Cinematography: Georg Krause. Art direction: Ludwig Reiber. Film editing: Eva Kroll. Music: Gerald Fried. Kirk Douglas gives an uncharacteristically restrained performance in Paths of Glory, but the real star of the film is director Stanley Kubrick, who lends the big battle scene a kind of choreographed intensity. Kubrick had begun his career as a photographer for Look magazine and had been his own cinematographer on his early short films and his features Fear and Desire (1953) and Killer's Kiss (1955). Although the cinematographer for Paths of Glory is Georg Krause, it's easy to sense Kubrick's direction as he anticipates the battle scene's relentless motion with long takes and tracking shots in the earlier parts of the film, when the camera observes Gen. Broulard (Adolphe Menjou) persuading Gen. Mireau (George Macready) to commit his troops to the suicidal assault on the German-held "Ant Hill." We follow Broulard and Mireau as they move through the opulent French headquarters (actually the Schleissheim Palace in Bavaria), circling each other as Broulard plays on Mireau's ambition and overcomes his resistance, Then we move to the trenches, a sharp contrast in setting from the palace, where the camera tracks Mireau as he walks down the long narrow ditch, greeting soldiers in a stiff, formulaic way and berating one who is stupefied by shell shock as a coward. The tracking shot of Mireau's tour of the trenches is then repeated with Col. Dax (Douglas) in the moments before the suicidal assault on the Ant Hill, although this time the air is full of smoke and debris from the shelling. Then Dax goes over the top, blowing a shrill whistle to lead his troops, and we have long lateral tracks punctuated by explosions and falling men. Film editor Eva Kroll's work adds to the power of the sequence. If the acting and the screenplay were as convincing as the camerawork, Paths of Glory might qualify as the masterpiece that some think it is. Douglas, Menjou, and Macready are fine, and Wayne Morris and Ralph Meeker have a good scene together as members of a scouting party on the night before the battle, in which the drunkenness and cowardice of Morris's character has fatal consequences. But the scenes in which the three soldiers court-martialed for the failure of the assault face the prospect of the firing squad go on much too long, and are marred by the overacting of Timothy Carey as the "socially undesirable" Private Ferol and the miscasting of Emile Meyer, who usually played heavies, as Father Dupree. (Carey was actually fired from the film, and a double was used for some scenes.) And the film ends with a mawkish and unconvincing scene in which a captured German girl (the director's wife-to-be, Christiane Kubrick) reduces the French troops to tears with a folk song. Paths of Glory has to be described as a flawed classic.

[themovieblogonline]

"Being Mary Tyler Moore:" Documentary Screens at SXSW 2023

Director James Adolphus, who helmed the documentary “Being Mary Tyler Moore,” was asked about his exposure to Mary Tyler Moore before he undertook to make this extraordinarily intimate 2- hour film about her life. He admitted that he had never watched any of her shows, that she was more of a figure that his mother knew about. (“I knew her from the lyric in the Weezer song.”) He then said, “It’s odd to make a film about someone you don’t know and to fall in love with someone after the fact. She felt like my cousin, my sister. She had to fight back against the patriarchy.” The documentary is an attempt to reconcile the insecure woman who looked so proud and regal with the real woman who was not that way at all. It was an attempt to show the real person beneath the veneer. With the help of many clips from “The Dick Van Dyke Show” and “The Mary Tyler Moore Show” and various interviews, it more than succeeds. One week after the 18-year-old MTM graduated from high school, she got a job portraying Happy Hotpoint in television ads. The problem was that the young Mary had married Richard Meeker in 1954, at age eighteen. She soon turned up pregnant, giving birth to her only child, Richard, and losing the Happy Hotpoint job in the process. Later in the film, we learn that Moore’s own mother would give birth to a daughter, Elizabeth, at age 40, only a few months after Richard’s birth, giving Mary a younger sister, as well as a brother, John, who was 7 years younger. There were references to Mary’s mother’s alcoholism, but they were married for more than 50 years. Her mother eventually sobered up and even took on the duties of caring for the two youngsters, Elizabeth and Richard, who were so close in age. Mary’s marriage to Meeker did not last; she would marry again, in 1962, barely a month out of her first marriage, to Grant Tinker, to whom she would remain married for 18 years. Her career, in 1959, included a stint as Sexy Sam, the faceless voice on “Richard Diamond, Private Investigator.” When she asked for a raise from her $85 per episode salary, she was fired. Enter Carl Reiner, a comic mentor who envisioned her as the character Laurie Petrie, the wife in a 1960 pilot dubbed “Head of the Family,” which eventually morphed into “The Dick Van Dyke Show.” When David Susskind suggested, in a somewhat offensive interview, that women should not work, Mary retorted, “I could waste a lot more energy sitting around chatting with other gals all day.” She became exactly what the network was horrified by: a contemporary woman. She also insisted on wearing pants, which broke new ground. (As a former junior high school teacher who insisted on wearing pants suits in 1969 at a time when they were banned, I could relate.) Throughout the documentary, we learn just how groundbreaking Mary Tyler Moore would become. This was just the beginning. In interviews, Mary referred to the period as “An unenlightened time. I believe in figuring out a way to contribute.” At the end of the 5-year run of “The Dick Van Dyke Show” Mary was a hot property who charmed men without antagonizing their wives. She had a comic flair that no less an expert than Lucille Ball recognized and applauded. She was offered a picture deal with Universal and---unusual for the time---had the right to refuse to do pictures that she did not think would benefit her image. However, in order to be given permission to star in a musical version of “Breakfast at Tiffany’s” on Broadway, Mary would give up that right of refusal. Following the Broadway bomb the show became, she would end up in films like “Change of Habit” (1969) opposite Elvis. In 1968, when she was 32, a miscarriage led to her diagnosis of a diabetes. With a blood sugar level of 700, she was fortunate to have been discovered to have the disease, which would end her life at the age of 80 in 2017. Broadway having bombed, CBS offered her her own show, and Mary and Grant Tinker, her then-husband, jumped at the chance. Tinker saw that forming their own company would be beneficial and Mary Tyler Moore Enterprises was born. Tinker ran the business and Mary Tyler Moore was the figurehead and the talent. At one time, MTM Enterprises had 6 shows on the air at once. Meanwhile, Tinker hired Jim Brooks and Allan Burns to write Mary's show, which would place Mary Tyler Moore in Minneapolis as a woman making it on her own at the age of thirty as an independent entity. I remember how groundbreaking it was for the goal to be not just to marry ASA{. but to be independent and live on one’s own. My own mother had lived the life accepted by today's women in 1927, so, for me, Mary was embodying the idea of utilizing female talent for more than just making babies and cleaning the house. Ironically, at this point, in her real-life Mary Tyler Moore had never been on her own; she had been married since she was 18 years old. The entire idea of pushing young women into marriage was covered in 1979’s “Kramer versus Kramer,” where Meryl Streep articulated this “never been on my own” status all the way to 5 Oscars. Mary Tyler Moore lived the fifties ideal of marriage after school "as soon as possible," but, personally, she remained mired in marital bliss until she was 44 years old when she and Tinker divorced and she moved to New York City. The show that Mary Tyler Moore launched, about a thirtyish woman making it on her own in the Midwest at a small TV station, was a risk. It was almost killed by a terrible time slot, until Fred Silverman took over the network, axed a lot of comedies like “Green Acres’ and moved “The Mary Tyler Moore Show” into the best time slot on television. It was, as Rosie O’Donnell termed it, “Appointment TV” and placed her show on the same night as “All in the Family” and alongside Bob Newhart’s show on Saturday nights. The rest is history, as the talented cast garnered multiple awards and still has one of the best endings of any series sitcom on television, past or present. Mary Tyler Moore won 7 Emmies, and 3 Golden Globes, and earned an Oscar nomination (for “Ordinary People”). And, as the documentary terms it, “As Mary Tyle Moore goes, so goes the nation,” which also meant welcoming the 1973 Supreme Court decision to allow women the right to decide whether or not to have an abortion. In 1980, immediately after her divorce from Tinker, Mary conquered Broadway with her performance replacing Tony-winner Tom Conti in the play “Whose Life Is It, Anyway?” Meanwhile, she described herself as “going through adolescence” in New York City, as she was said to be involved with Michael Lindsay-Hogg, the director of the play. She was socializing after years of marriage. However, she was drinking more than she should have been, and, as he noted, sometimes that could lead to belligerence on her part. She would curb this possibly inherited tendency towards alcoholism through a stint at the Betty Ford Clinic. In 1980, Mary Tyler Moore was nominated as Best Actress for her role as Beth in “Ordinary People” opposite Donald Sutherland and Timothy Hutton. Director Robert Redford said he had always been fascinated by the possibility of a dark side to MTM, who might have been brittle inside, harboring a pensiveness, anger, hurt, and confusion over such issues as her inability to connect meaningfully with her son Richard. In 1980 Richard, then aged 24, would die of a gunshot wound. The documentary says he had a gun collection, was inherently clumsy, and it was an accident. Three weeks after his death, MTM would be nominated for an Oscar as Best Actress for her role in “Ordinary People.” She would also lost her younger sister, Elizabeth, age 21, to suicide and her younger brother John would die of kidney cancer as she held his hand. Mary met Dr. Robert Levine, her third husband when he cared for her ailing mother in 1982. The line from the documentary is that “She fell in love for the first time in her life,” (which seems debatable.) However, the 14-years-younger Levine would remain her husband till the end. Her friends say that he may have kept her alive for an additional ten years, as she was hospitalized numerous times. The couple was devoted to one another and lived a bucolic life in rural Connecticut. The now 73-year-old Levine reached out to Lena Waithe (“Ready Player One,” “Master of None”) after reading an interview in “Vanity Fair,” in which she expressed an interest in doing a documentary about Mary Tyler Moore’s life. When asked about his decision to share his private film of Mary with Producer/Director/Writer Waite, Dr.Levine said, to laughter, “To have a Black queer girl from the South side of Chicago want to tell her story. Are you kidding me?” Dr. Levine was asked what surprised him after seeing the film, and he responded, “I had never seen the bridal shower footage with Betty White. It was simple and natural. She talked about me making her a tuna fish sandwich in the middle of the night. Things like that had the most impact. In life, it is the simple kindnesses that really have the most impact. The journey of her life was the journey of women in this country.  As a human being, she felt the need to keep going forward.  I didn’t want a derivative feeling. A new voice coming forward (Lena Waithe) was interesting to me.” Waithe added, “I wanted to give a real sense of how she was as a person." The decision to use voice-over(s) rather than the talking head documentary approach was said to be Waithe’s. The documentary is long, at 2 hours, but it is very good.  I would highly recommend it if you were or are a fan of Mary Tyler Moore’s work. She helped raise over $2 billion for Juvenile Diabetes and gave many other working women a model that remains groundbreaking. Credits: Venue: SXSW Film Festival (Documentary Spotlight) Distributor: HBO Production companies: HBO Documentary Films, Fifth Season, Hillman Grad, The Mission Entertainment, Good Trouble Studios Director: James Adolphus Producers: Ben Selkow, James Adolphus, Lena Waithe, Rishi Rajani, Debra Martin Chase, Andrew C. Coles, Laura Gardner Executive producers: S. Robert Levine, Michael Bernstein, Nancy Abraham, Lisa Heller Cinematography: James Adolphus Editor: Mariah Rehmet Archival Producer: Libby Kreutz Music: Theodosia Roussos 2 hour Read the full article

[emeraldelysium]

tagged by @gingerpeachtea

last song: sifting by nirvana

last movie: kingsman (2014). innit bruv

last show: hannibal i think

currently watching: see above

currently reading: dante's inferno (im on canto xx), better angel by richard meeker, frankenstein in baghdad by ahmed saadawi

currently working on: a project for ap lit and my house of leaves thesis

favorite color: red

sweet/savory/spicy: savory

coffee/tea/cocoa: cocoa

craving: my lunch lol

[realtime1960s]

Dec. 5, 1962 - Ralph Meeker (left) has been signed to a leading role with Suzanne Pleshette, Ty Hardin, and Dorothy Provine in “Wall of Noise,” which Warner Brothers is filming in Hollywood. The film, dealing with racetrack gambling, will be shot at Hollywood Park racetrack under the direction of Richard Wilson. In the story, Joel Tarrant (Hardin, center) is an ambitious horse trainer working at the Hollywood Racetrack. He works for the coarse Matt Rubio (Meeker), whose wife Laura (Pleshette, right) expresses a special interest in Joel's social life.

\#hollywood #1960s #OTD #movies

[lamaisongaga]

                FASHION CREDITS: “RAIN ON ME” M/V

Lady Gaga released her highly anticipated single “Rain On Me” featuring Ariana Grande yesterday, shortly followed by its Robert Rodriguez-directed music video!

Styling by Marta Del Rio and Nicola Formichetti. Hair by Frederic Aspiras using Joico. Makeup by Sarah Tanno-Stewart using Haus Laboratories. Nails by Miho Okawara.

The video opens up with a wounded Gaga lying on the ground underneath a dagger-raining sky.

She sports a custom Vex Clothing warrior-inspired latex look comprising the underwire bodysuit in “Pink Smoke” print, an asymmetrical mock neck bolero with matching gauntlet glove and thigh-high buckled stockings.

A true blast from the past are her Savannah vinyl corset boots from Penthouse, reworked by Andre No. 1.

Here’s a closer look at Gaga’s multi-layered studded extra-long nails Miho Okawara created!

Our Kindness Punk pull up in a look made by two emerging designer labels she wears for the very first time!

The first layer is a custom SSIK purple and pink drip high neck bodysuit. SSIK is a NYC-based label by Kristina Kiss that specializes in dripping silicone designs. Make sure to check out her website here if you haven’t yet!

London-based Jivomir Domoustchiev made the bespoke black vinyl harness with silver-tone hardware and draped chains!

She completed the look with a chains and spikes-embellished version of her Stack-301 black vinyl platform boots by Demonia! The embellishments were added by Lacey Dalimonte.

And of course, the pink & purple silicone-splattered super long nails. Oh Miho...

Young designer Conrad Muscarella, who already did some of the dancer’s pieces in the "Stupid Love" video, came back again with a few unique masks for the purple squad!

Next, we got a custom-made bubblegum-pink stretch pleather structured strapless bodysuit with plunging neck and corset back by Garo Sparo!

She also wore a pair of deeeliiicous pink sapphire pavé elongated oval drop earrings by Kyle Chan Design.

Her bespoke hologram Cult platform boots are by, you guessed it, Demonia! She took the embellishments off for this one.

And last but definitely not least, we got Gaga wearing Living Art of Armando’s breathtaking water-shooting sculpted wings. The show-stopping piece was created with the help of young designers Jacob Muehlhausen and Richard Meeker.

Underneath, she wore a custom nude latex underwire bra, Streamline knickers,  opera knuckle gloves and Moderne stockings, all by Vex Clothing.

Sarah created Gaga’s tears using Swarovski crystals!

[mariocki]

Winter Kills (1979)

"They will run you dizzy. They will pile falsehood on top of falsehood until you can't tell a lie from the truth and you won't even want to. That's how the powerful keep their power, don't you read the papers?"

[erstwhile-punk-guerito]

[myfilmsbox]

Paths of Glory (1957) dir. Stanley Kubrick

[sidonius5]

𝒪𝓁𝒹𝒾𝑒 𝒷𝓊𝓉 𝑔𝑜𝑜𝒹𝒾𝑒...