#Spencer Pollard

[cxrrodedcoffin]

tiffany pollard you are so real ♡

[ianchisnall]

Last week some MPs focused on Bee-killing Pesticides

Last Wednesday Morning a group of MPs met up together in the Westminster Hall to discuss some petitions and their calls which are focusing on Bee-Killing Pesticides and also the reduction in Bees in our Nation. The MP who organised the debate was Luke Pollard who is the Plymouth Sutton and Devonport��MP who is a member of the Labour Party. The other MPs included my MP Caroline Lucas who is the…

[marvelousmrm]

Amazing Spider-Man #191 (Wolfman/Pollard, Apr 1979). Jonah’s vendetta against Spidey gets them both in trouble with Spencer Smythe.

[lyricallymnded]

filthy rich // can’t swim feat. spencer pollard

[blackrockandrollmusic-blog]

Trash Talk - Live In Brooklyn

[bobbie-robron]

Val Pollard (40th Anniversary)…

21-Oct-2012

[airworthycomics]

Made me kiss ya with a whisper

And violently you swung through unfamiliar tongue

Spider-Man and Black Cat (1979-2019) | Peter Parker and Felicia Hardy

[Wolfman, Marv. (w), Keith Pollard (a), Frank Giacoia (i), and Ben Sean (co).] The Amazing Spider-Man (1963) #194 (July. 1979), [Marvel Comics]: 12.

[Spencer, Nick. (w), Iban Coello Soria (a), and Edgar Delgado (co).] The Amazing Spider-Man (2018) #16.HU (Mar. 2019), [Marvel Comics]: 04.

[robronotics]

Post Ep Ponderings Weekly Round-Up December 17-21

I think Cain might be his own worst enemy right now. I get that he was upset to see Graham im his home, but things were actually settling down. I honestly think that Graham likes and cares about Noah and Sarah and hell, I think he was amused and impressed that Sarah would spray food all over Home Farm. I really believe that things would settle if Cain didn’t do his Cain thing and go threaten him. Now who knows what’ll happen when Kim’s back in town. Graham’s really the only one that I can see even remotely tryin to stop whatever sinister plans she may have and egging him on when things are okay seems ill advised.

I am so done with this Jacob and Maya crap. It’s creepy and weird. First he drags Liv into it, now he’s going to sleep with Gabby because of it. So much for his first time being special. Jacob used to seem like such a good guy, now I just get weirded out whenever he’s on screen. Maya is the real problem, of course. I’m guessing she’ll get more and more jealous, they’ll sleep together, everyone will find out and Maya will be run out of town. Gabby will be angry and heartbroken and David will end up back with Tracy. Can we just get to the end now? Please?

You know, I don’t blame Kerry for moving out. She makes a very good point, though I can’t blame Dan here either because he’s right, Amelia would leave with Daz, and then what? They live on the streets together? Though honestly it looks like they’re all on the street in the new year anyway.

Kudos of the week goes to Faith and Eric. Between Faith’s plot to get rid of Rodney and Eric’s spoken word Little Drummer Boy, I couldn’t stop laughing. Those two are brilliant and who ever had the brilliant idea to put them together is also brilliant. They are right near the top of my best couples list, for sure.

This surprise Christmas wedding is getting better and better. I hope the whole damn village shows up and it all goes well in hilarious Dingle fashion. I even want to see Jessie drink from the welly! And hell, Lydia and Sam should get married too. Why the hell not, am I right?

[rileychester]

So Emmerdale has several real life couples on the show together or who were once on the show.

Mark Jordan (Daz Spencer) and Laura Norton (Kerry Wyatt)

Charley Webb (Debbie Dingle) and Matthew Wolfenden (David Metcalfe)

Jeff Hordley (Cain Dingle) and  Zoe Henry (Rhona Goskirk)

Christopher Chittell (Eric Pollard) and Lesley Dunlop (Brenda Walker)

Dominic Brunt (Paddy Kirk) and Joanne Mitchell (Sandra Flaherty)

And I’m not sure if these two count because I don’t know if they are still together.

But...

Isabel Hodgins (Victoria Barton) and Michael Parr (Ross Barton)

I bring this up because I find it interesting, so many couples working on one show together.

But I also wonder if they think about their partner’s romantic counter part on the show. Not in a jealous kind of way of being upset about them kissing someone else. They’re all professional actors, I doubt that kind of thing fazes them.

Or that they want their characters to get put together, since many of their characters wouldn’t match together like Debbie and David or Cain and Rhona.

But like since they know what’s going on in the show and they know the characters histories. And they must know some spoilers of what is coming for the characters. Who they think has the best onscreen chemistry and who is the best for the character all round as a romantic partner. Do they have any opinions on who they think is the best choice for the others romantic options on the show. Rooting for their partner’s character love life and life in general on the show. 

For example would Zoe be more Team Charity or Team Moira or Team Harriet and is Jeff all for Team Pete or is he still rooting for Team Paddy? Does Chris think that Brenda should give Bob another chance? What does Charley think of David sleeping with Leyla while married to Tracy?

I mean as watchers of the show and knowing somewhat of what’s going on. Do they have opinions or do they root for certain pairings or stories? Or is it just another job and they don’t have feelings one way or another? 

[nofatclips]

Manna by King Woman from the album Created in the Image of Suffering - Director: Vincent Jude Chaney

[vintage1981]

Doctor Who Am I Documentary About BBC Time Lord Snapped Up by Kaleidoscope Film Distribution

Award-winning Doctor Who doc Doctor Who Am I has been snapped up by Kaleidoscope Film Distribution, Variety can exclusively reveal.

Kaleidoscope are set to release Doctor Who Am I theatrically in the U.K. in October and are also repping international sales. Materials will be available to view at TIFF next month.

Marking Vanessa Yuille directorial debut, the documentary feature tells the story of the infamous 1996 Doctor Who TV film, which was produced during a gap in the TV series. It featured Paul McGann as the Time Lord but received disapprobation from fans, who were apparently unhappy at the suggestion the Doctor was half human, especially when he kissed his assistant Grace Holloway.

Matthew Jacobs wrote the standalone Doctor Who film and, in Doctor Who Am I, he reluctantly allows himself to be drawn back into the time period to examine the making of the production as well the reaction it inspired.

Jacobs co-directs the doc with Yuille while McGann also features in the doc alongside other members of the original cast including Eric Roberts and Daphne Ashbrook.

“In exploring this pivotal moment in the franchise’s history, Matthew unexpectedly finds himself a kindred part of this close-knit, yet vast, family of fans,” reads the logline. “This is a funny and emotionally perilous documentary, packed full of Doctor Who whimsy and celebrating a passionate, united fanbase.”

American Anorak produce with Jacobs and Yuille.

“We at Kaleidoscope are delighted to be working with Matthew and Vanessa on this fabulous film,” said Kaleidoscope CEO Spencer Pollard. “It’s a real fan piece. Festivals and distributors around the world hopefully will enjoy it as much as we did.”

Yuille said: “We’re a small movie with a big heart, and Kaleidoscope saw that right away. Teaming up with Kaleidoscope is a perfect match for us because even though we’re an American movie, they understand the Doctor Who franchise and the global reach of the fandom. They can bring our documentary from the ‘Whoniverse’ to the universe.”

Jacobs added: “Now, more than ever, we need a positive movie about Doctor Who fandom as we move towards the show’s 60th anniversary. We’re so excited Kaleidoscope, like audiences have, recognize that our documentary is essential viewing for all lovers of storytelling.”

[byneddiedingo]

Frances Farmer and Walter Brennan in Come and Get It (Howard Hawks, William Wyler, 1936) Cast: Edward Arnold, Frances Farmer, Walter Brennan, Joel McCrea, Mady Christians, Mary Nash, Andrea Leeds, Frank Shields, Cecil Cunningham. Screenplay: Jane Murfin, Jules Furthman, based on a novel by Edna Ferber. Cinematography: Rudolph Maté, Gregg Toland. Art direction: Richard Day. Film editing: Edward Curtiss. Music: Alfred Newman. William Wyler had just finished Dodsworth (1936) when the producer to whom he was under contract, Samuel Goldwyn, called on him to finish Come and Get It, which had been started under the direction of Howard Hawks. Goldwyn was unhappy with the way Hawks had treated Edna Ferber's novel Come and Get It, so he fired him. Goldwyn, a man of little education, was impressed with writers of big reputations, and liked to think of his movies as prestige items. Ferber was a big bestselling author of the day, best-known for multigenerational historical novels with colorful settings like the Mississippi riverboats of Show Boat and the Oklahoma land rush of Cimarron. The former had become a celebrated musical that had been filmed twice, first as a part-talkie by Harry A. Pollard in 1929 and then by James Whale in 1935, though it was not released until 1936. Cimarron had been made into a best-picture Oscar winner by Wesley Ruggles in 1931, so Goldwyn had been eager to cash in on the novelist's celebrity. He hired Hawks as director because the raucous frontier section of Ferber's novel reminded him of the director's Barbary Coast (1935), but when Goldwyn was sidelined by illness, Hawks jettisoned much of Jane Murfin's Ferber-approved screenplay and brought in one of his frequent collaborators, Jules Furthman, to rewrite and to build up the part of Walter Brennan's Swan Bostrom. Hawks shifted the focus away from Ferber's novel, much of which was about the exploitation of the land by timber interests, and built up the relationship between Bostrom and the protagonist, the ambitious lumberman Barney Glasgow (Edward Arnold). He also replaced Goldwyn's original choice for Lotta, Miriam Hopkins, with an actress he had discovered, Frances Farmer. Wyler was reluctant to take over from Hawks, and not only resisted Goldwyn's plan to give him sole billing as director but also insisted that Hawks receive top billing as co-director. In any case, Come and Get It turned into a rather curious mess, not least because Hawks was a notoriously freewheeling director with an intensely personal style whereas Wyler was a consummate perfectionist who seldom let his personality show through his work. Although there's some Hawksian energy to the film, it feels like it has been held in check. Moreover, the central character, Barney Glasgow, has been miscast. Goldwyn wanted Spencer Tracy for the part, knowing that Tracy could play both the romantic lead and the driven businessman that the part called for. But when Tracy couldn't get out of his contract with MGM, Goldwyn settled for one of his own contract players, Arnold, a rather squat, rotund character actor with none of Tracy's sex appeal. The best thing about the film is that it gives us a chance to see Farmer before her career was derailed by mental illness. She sharply delineates the two Lottas, mother and daughter, playing the former with a kind of masculine toughness and the latter with a defensive sweetness. As the mother, she growls out the song "Aura Lee" in a Marlene Dietrich baritone, but later as the daughter she sings it in a light soprano. She also sometimes looks strikingly like the actress who played her in the biopic Frances (Graeme Clifford, 1982), Jessica Lange. The other impressive moments in the film are provided by the logging sequences directed by Richard Rosson and filmed by Rudolph Maté. Brennan won the first of his three Oscars for his "yumpin' Yiminy" Swedish-accented character.

[lyricallymnded]

filthy rich // can’t swim feat. spencer pollard

[papermoonloveslucy]

EASY TO WED

July 11, 1946

Directed by Edward N. Buzzell 

Produced by Jack Cummings for Metro-Goldwyn Mayer

Written by Dorothy Kingsley, based on the screenplay Libeled Lady by George Oppenheimer, Maurine Dallas Watkins (as Maurice Watkins), and Howard Emmett Rogers.  Uncredited contributions by Buster Keaton. 

Synopsis ~ When a newspaper runs a scandalous story about debutante Connie Allenbury, her powerful broker father threatens the newspaper's editor, Warren Haggerty, with a massive lawsuit. Faced with a libel suit from the socialite Allenbury, Haggerty cooks up a plan to beat her at her own game. To do this, he must rely upon the romantic chicanery of ex-employee Bill Stevens Chandler, with Haggerty's fiancée Gladys Benton (Lucille Ball) caught in the middle. Warren believes that, if he can prove Connie truly is a home-wrecker, as the article claims, he can file a countersuit against her. Warren then enlists his own fiancée, Gladys and reporter Bill Chandler to take part in a complex plan to turn the tables on the Allenburys.

PRINCIPAL CAST

Lucille Ball (Gladys Benton) is appearing in her 63rd film since coming to Hollywood in 1933.  Lucy plays the role originated by her friend Jean Harlowe in the 1936 version Libeled Lady. 

Van Johnson (Bill Stevens Chandler) co-starred in Too Many Girls (1940), the film that introduced Lucille Ball to Desi Arnaz. He was also seen with Lucy in the film Yours, Mine and Ours (1968).  He played himself on one of the most popular episodes of “I Love Lucy,” “The Dancing Star” (ILL S4;E27) and 1968′s “Guess Who Owes Lucy $23.50?” (HL S1;E11). He died in 2008 at age 92. 

Esther Williams (Connie Allenbury) also appeared with Lucille Ball in Ziegfeld Follies (1945).  

Keenan Wynn (Warren Haggerty) also appeared with Lucy and Williams in Ziegfeld Follies (1945) and with Ball in Without Love (1945) and The Long, Long Trailer (1953). 

Ben Blue (Spike Dolan) previously appeared with Lucille Ball in Thousands Cheer (1943). Like Lucy, he had a cameo role in the 1967 film A Guide for the Married Man.  They also acted together in “Jack Benny’s Carnival Nights” on March 20, 1968.

Cecil Kellaway (J.B. Allenbury) had previously appeared with Ball in Annabel Takes A Tour (1938). 

Ethel Smith (Herself) was an organist playing herself.

Carlos Ramirez (Himself) was a Columbian-born singer appearing as himself. 

June Lockhart (Babs Norvell) became one of TV’s most famous moms on “Lassie” and “Lost in Space”.  

Paul Harvey (Farwood) did six other films with Lucille Ball: The Affairs of Cellini (1934), Kid Millions (1934), Broadway Bill (1934), The Whole Town’s Talking (1935), I’ll Love You Always (1935), and The Marines Fly High (1940).  Fans probably remember him best as the art critic who visits the Ricardo apartment to assess Lucy’s talent in “Lucy the Sculptress” (ILL S2;E15).

James Flavin (Joe) previously appeared with Lucille in The Affairs of Cellini (1934), Without Love (1945), as the Pizzeria Owner in “The Visitor from Italy” (ILL S6;E5), and in 1963 Critic’s Choice and two episodes of “The Lucy Show.”

Celia Travers (Farwood's Secretary) had also appeared with Lucille Ball in Meet the People (1944). 

Grant Mitchell (Homer Henshaw) makes his only screen appearance with Lucille Ball.

Sybil Merritt (Receptionist) makes her only appearance with Lucille Ball. 

Sondra Rodgers (Attendant) makes her only appearance with Lucille Ball. 

UNCREDITED CAST

Guy Bates Post (Allenbury’s Butler)

John Valentine, Charles Knight (Butlers)

Jean Porter (Frances)

Nina Bara (Rumba Dancer)

Josephine Whittell (Mrs. Burns Norvell)

Dick Winslow (Orchestra Leader)

Walter Soderling (Mr. H.O. Dibson, Justice of the Peace)

Joel Friedkin (Second Justice of the Peace)

Sarah Edwards (Mrs. Dibson)

Charles Sullivan (Bouncer in Newspaper Office)

Mitzie Uehlein, Patricia Denise, Kanza Omar, Phyllis Graffeo (Girls at Pool)

Fidel Castro (Boy at Pool) 

Jack Shea (Lifeguard)

Tom Dugan, Alex Pollard, Fred Fisher (Waiters)

George Calliga (Headwaiter)

Karin Booth (Clerk)

Milt Kibbee (Private Detective)

Robert E. O'Connor (Taxi Driver)

Frank S. Hagney (Truck Driver)

Jonathan Hale (Hector Boswell)

Virginia Rees (Lucille Ball’s Singing Voice)

‘EASY’ TRIVIA

A remake of one of the great comedies of the 1930s, Libeled Lady,  with Jean Harlow, William Powell, Myrna Loy, and Spencer Tracy.

Van Johnson worked with Lucille Ball again several more times. He guest-starred as himself on "I Love Lucy" and he co-starred with her in the 1968 film Yours, Mine and Ours.

Van Johnson's biography, MGM's Golden Boy, states that Lucille Ball's performance as Gladys "reveals the embryo of her Lucy Ricardo role in the later ‘I Love Lucy’ television series."

Chandler's overdue hotel bill of $763.40 would equate to nearly $10,380 in 2021. The film was a big hit at the box office, earning MGM a profit of $1,779,000 according to studio records.

The duck hunting sequence with Johnson was written and directed by Buster Keaton and Edward Sedgwick, both of who proved close personal friends with Lucille Ball. 

Radio’s “Screen Guild Theater” broadcast a 30-minute adaptation of the movie in February 1948 with Van Johnson and Esther Williams reprising their film roles. Two years later, "Lux Radio Theater" broadcast a 60-minute radio adaptation of the movie with Van Johnson reprising his film role.

Lucille Ball borrows one of Samuel Goldwyn's malapropisms when she says, "Include me out!" Keenan Wynn tries to convince her of having a sham wedding with Van Johnson.

This film was first telecast in Los Angeles on September 26, 1957; in Philadelphia on October 25, 1957' in New York City January 23, 1958; and in San Francisco on Saturday January 25, 1958. At this time, color broadcasting was in its infancy, limited to only a small number of high rated programs, primarily on NBC and NBC affiliated stations, so these film showings were all still in B&W. Viewers were not offered the opportunity to see these films in their original Technicolor until several years later.

Early in this film, on the lower left of the screen, Fidel Castro (without the beard) is seen as a poolside spectator with a drink in front of him. Young Fidel did extra work for MGM, while a student at UCLA, before becoming fully active in politics. It’s interesting that Castro and Lucille should be in the same film, seeing that her husband was born in Cuba and driven out by revolutionaries. 

[blackrockandrollmusic-blog]

Trash Talk - Live In Oakland (2016)