#appearance: broadway style guide

[derekklenadaily]

@giftober | Day 24: Summer Time

[lightleckrereins]

Six the musical crowns guide

This is a long overdue post that was requested again recently so here is the crown breakdown. While I tried to include everything there are probably some things I missed and some that appeared only tmporarily so I ended up omiting them. Also whenever I mention spike numbers it is very likely that I am off in some of them as it is hard to get photos of some where the full crown is visible and clear enough to count. And whoever is in the photo is not necessarily the first to wear a style, it is the best picture I have of it at the moment.

Aragon: It would seem that there are only two versions of this crown (original single band and new double one) but it actually has a few very distinct styles.

The very first one was a double tiered halo looking crown that never made it past very earyl first UK tour press.

1: After that and until the redesign Aragon wore a single headband shaped crown that went down to right above the ear with eight long gold spikes evenly distributed. It was commonly styled with hair strands weaved between the lower spikes.

2-3: The first redesign appeared only on 2020 Broadway previews and features two bands connected at the ends that lay on top of the head and goes slightly down (doesnt reach the ears). This crown had ten short gold spikes in the front band with the final one on the union of the bands and six long gold spikes alternated with five short on the back. The shape and number of spikes has changed a lot since but in general the shorter spikes in front and long and short alternated on the back format remains. The current US crowns have the same format as the original Broadway one but with 13 short spikes on the front band and eight long and seven short spikes on the back. Cruises started with a different style but have now switched to this one.

4-5: There are two versions of the crown in use in the UK. The most common one is the same format as the US crowns with short spikes in the front (16) and alternating size in the back but changes the short spikes on the back band to medium sized ones in the center and small on the sides (9 total and 8 long). The second version has the same format but is narrower (12 small in the front, 6 long and 7 medium/short in the back). This version seems to be used by queens with hairstyles that pull the hair back higher so the gap for the crown is narrower.

6-7: The original cruise crowns have the same format as the original Broadway one but change all the small spikes for medium sized ones. This crowns were worn backwards (long spikes in front) for Breakaway 2.0 and this appears sometimes in other productions. I am pretty sure this style was originated for Bliss 2.0 which had an early version of the costume redesign and made in advance for the cancelled original Breakaway 2.0. Crowns were worn for a few cruises since reopening but now seem to be retired in favor of the usual US style.

8-9: Since the Aragon crowns are gold to match the costume, the alternate crowns are silver. There are three alternate crown versions mirroring principal styles. The original headband one worn in the UK until lockdown, in the pre broadway US tour and in Australia for the whole run. This style of crown was sometimes worn by alternates for Cleves or Parr. Currently the UK productions are the only ones to use the alternate costumes and have both wider and narrower Aragon crowns in silver.

Boleyn: This crown has had the least variations across time. It consists of two circular bands worn around the spacebuns with spikes on the sides. Sizing and spike number vary but in general it is 10 spikes for UK crowns and 8 for US; AUS had 10 and cruises follow the style of the costume maker they have at the moment. The only notable difference was Hazel Karooma-Brooker who wore two flat bands on the sides of an updoo in a style that was later made the standard for Cleves.

Seymour: This one is simmilar to Aragon in that there are only a few base styles that have many distinct variations.

There are photos of Natalie May Paris wearing a few different crowns early on but none of those seem to have made it past early first UK tour press

1: the original Seymour crown was a small white band that laid on top of the head with six small spikes.

2-3: the second version was a long band shaped like a headband with 11 short spikes. There were both black and white band versions of this one; in general it was black for dark haired actors and alternates and white for light haired actors. Sometimes it was styled with hair covering the ends so the spikes showed between strands.

4-5: There have been two versions of the Seymour crown. The first is a double white band that lays on top of the head with five short spikes on each band and two more on the edge where the bands meet. When the Boleyn tour opened the crown was updated. It is the same format but now the three middle spikes on the back band are taller than the rest.

6: The UK crown has the same shape as the US crown but in black; and has seven medium sized spikes on each band and none on the union. A white crown was made for the 2023 UKT cast change presumably to match Erin Caldwell's blonde hair but she ended up wearing a black one.

Cleves: Just like there are a million Cleves hairstyles there are a million Cleves crowns.

The very first version of this crown looked like a hat with spikes around the brim but was cut in early tour press.

1: The first crown to appear onstagewas a headband in the same shape and size as Seymour, but with spikes starting slightly higher on the sides. It had three short spikes on each side and in the middle three long with two more short in between. This crown was the main style until shortly before lockdown when the mohawk style started to be introduced.

2: Vicki Manser wore one of her Boleyn cuffs for multiple queens including Cleves. This style was worn by some alternate Cleves early on with ponytails and side braid styles.

3: Brittney Mack wore a few different crowns, the first being a single cuff simmilar to the Howard crowns but with more spikes.

4-5: The first version of the side crowns was two single bands with eight short spikes on each. This was worn in the pre broadway tour, the UKT between 2019 and 2022 and by Jessica Niles in Breakaway 1.0. The later versions of this crown started shifting from straight bands to a slight curve.

6: Kiana Danielle got a slight variation of the previous one with alternating short and medium spikes

7-9: At reopening West End introduced a few different styles. The first was a headband with 15 spikes alternating between short and medium only worn by Lexi McIntosh. Second was the same but alternating between medium and long, this was worn by Zara Macintosh and Cherelle Jay. Third was simmilar to the Aragon crowns with two bands; 12 short spikes on the front and five medium and six shorts alternating on the back. This series feels like an experimental era where the costume team was trying to figure out different crown styles for different hairstyles before settling on everyone having a take of the double crown.

10-11: The US crowns are made by two slightly curved bands connected only on the back, has nine short spikes on the lower band. The top band alternates six medium spikes in two slightly different lenghts and two short spikes on the back. In the Aragon tour the crowns are worn backwards with the union on the front.

12: The UK crowns are two curved bands joined in the back. They have ten long spikes on the top band and eight spikes in the bottom alternating between two medium sizes.

There have also been Seymour crowns (the full headband shaped ones), Howard crowns and Parr crowns worn for Cleves by alternates or in cruises.

Howard: the Howard crowns can be separated into two groups. Open band and closed cuff. But that doesn't mean there are not a million variations on shape and size.

1: The very first version of the crown was a round cuff with three tiers of six spikes. This was narrower than later ones as originally principal Howards wore only half their hair up in the ponytail.

2: the pre broadway tour crown was also round but shorter and wider than the UK one and had only two tiers of spikes.

3: Vicki Manser wore one of her single tier cuffs for multiple queens including Howard. This style was worn by some early alternate howards.

4-6: The crown was standarized in late 2019 to a shorter, wider cuff with the same amount of spikes. Depending on the specific crown the shape shifted between being round, oval and slightly triangular shapes. This version appeared on UK productions until lockdown, AUS for the entire run and early cruises.

7-8: At reopening a new shape was introduced. Consisting of an open band that covers only the front of the ponytail and is left open on the back. This version has become standard for all productions in different shapes and sizes. The current UK crown is a wide band. It has four spikes on the top and bottom tiers and three in the middle. Since the crowns are made to be stiff this change shape between a wide curve and a narrower C shape. Height and width vary I think depending on the size of the ponytail.

9: the US crown is a narrow open band. It has four spikes on the top and bottom rows and three in the middle one. This are the narrowest crowns and the size allows the ponytail to cover the sides instead of staying in the back like with UK crowns.

Parr: this one looks like a million variations but is more of a million different ways to wear a few versions.

1: The original crown was a wide band shaped simmilarly to a fabric headband with three rowns of 10 spikes going around it. This was worn by the original WE cast, Athena Collins in the UKT Hana Stewart inWE, and Nicole Lambert in the pre Broadway tour.

2: For the pre broadway tour a headband simmilar to the Seymour crown with a wider band was introduced. This was worn by Ana Uzele before switching to the side crown, Bliss 1.0, Elizabeth Walker on Breakaway 1.0, the UKT alternates until lockdown, and the AUS alternates for the entire run.

3: For Breakaway 1.0 Amelia Walker wore a double headband.

4-5: For the AUS opening a new crown was introduced made of two bands on each side (simmilar to the Cleves crowns) with six spikes on each band worn on the back of the head and weaved through the hairstyle. This version with longer bands and more spikes was worn by Courtney Mack on Broadway and (I think) Megan Leung and Sophie-Rose Middleton in Bliss 2.0. A variation of this crown with spikes alternating between short and medium on the top bands is still worn in the UK by all Parrs with straight hair and In South Korea.

6: The first version of the side crown was introduced in late 2019. It is a single band with nine long spikes that goes from the side of the ponytail on the right side of the head beside the ponytail and reaching the center in the back. This was worn by Anna Uzele in the final stops of the pre Broadway tour, Danielle Steers until lockdown and Athena Collins for a public performance before the postponed UKT reopening.

7: At reopening WE and UKT introduced a new version of the side crown. Consisting of two bands connected in the backsimmilar to the Cleves crowns. With 11 short spikes on the bottom one and 12 spikes alternating between short and medium on the top one. This was worn by Danielle Steers and Athena Collins.

8: For the Broadway reopening a variation of the previous crown was introduced in the same shape and number of spikes only switching the spikes on the top band to three long alternating with three medium in the front and six slightly smallermedium on the back. This crown has become the standard version and is the only to be pretty much identical in both the US and UK.

9: Keirsten Hodgens wore a variation of the double crown specifically made to be worn on the left side to accomodate her locs naturally falling to the right.

10: In the Aragon tour both Gabriela Carrillo and Erin Palmer Ramirez wear the crown backwards with the bands connecting in the front.

11: Again in the Aragon tour Kelsee Kimmel wears another unique version. The top band has two short spikes in the front and back and then in the middle there are five spikes that go from medium to tall and back again.

12: For her first cruise run (Breakaway 2.0) Ellie Sharpe wore yet another unique crown. This seems to be a take on the double crown. The two bands are connected at the front and have medium spikes on the bottom band and alternating medium and long on the top one. I think this is another case of NCS changing all the short spikes for longer ones like they did with the Aragon crown and might have been intended to wear further back or it is two crowns worn as one. But no way to confirm this as there are only three photos of Ellie wearing it, none show the crown in full and she wore a standard side crown for her second run.

[kwebtv]

TV Guide -  August 3 - 9, 1963

Moritz "Morey" Amsterdam (December 14, 1908 – October 28, 1996) was an American actor, comedian, writer and producer. He played Buddy Sorrell on CBS's The Dick Van Dyke Show from 1961 to 1966.  

The Morey Amsterdam Show aired on CBS radio from July 10, 1948, to February 15, 1949. For three months, it was on both radio and television with different scripts for the same premise and cast.

In 1950, he briefly hosted the comedy-variety show Broadway Open House, TV's first late-night entertainment show, on NBC. One of the pioneering TV creations of NBC president Pat Weaver, it demonstrated the potential for late-night programming and led to the later development of The Tonight Show.

In February 1952, Amsterdam made his dramatic TV debut on an episode of the DuMont Television Network series Not for Publication. Also in 1952, he was host of Breakfast With Music, a 9 a.m. Monday-Friday program on WNBT-TV in New York City.

In 1958, he appeared as saloon manager Lucien Bellingham in an episode of the CBS western series Have Gun, Will Travel entitled "The Moor's Revenge". He later guest-starred on the CBS sitcom Pete and Gladys, with Harry Morgan and Cara Williams.

Other TV series he appeared in were The Gale Storm Show: Oh! Susanna,  December Bride, The O. Henry Playhouse, How to Marry a Millionaire,  Matinee Theatre, The Danny Thomas Show, The Adventures of Jim Bowie,  Gunsmoke, Schlitz Playhouse, Dragnet, The Phil Silvers Show, The Further Adventures of Ellery Queen, Daktari, The Hollywood Squares, That's Life, Love, American Style, The Partridge Family, Alice, Vega$, The Love Boat, Project U.F.O.,  Fantasy Island, Hail to the Chief, Brothers, Crazy Like a Fox, The Young and the Restless, 1st & Ten, Herman's Head, Cybill and Caroline in the City.  (Wikipedia)

Richard Deacon (May 14, 1921 – August 8, 1984) Television and motion picture actor, best known for playing supporting roles in television shows such as The Dick Van Dyke Show, Leave It To Beaver, and The Jack Benny Program

His best-known roles are milksop Mel Cooley (producer of “The Alan Brady Show”) on CBS’s The Dick Van Dyke Show (1961–1966) and Fred Rutherford on Leave It to Beaver (1957–1963).  (Wikipedia)

[film-classics]

Kay Francis - The Queen of Warner Bros.

Kay Francis (born Katharine Edwina Gibbs in Oklahoma City, Oklahoma Territory on January 13, 1903) was an American actress. A tall and sultry beauty, she wore clothes with style and grace and was treated like royalty in Hollywood as "The Queen of Warner Bros."

Following her mother's footsteps onto the stage, Francis made her Broadway debut as the Player Queen in a modern-dress version of Shakespeare's Hamlet. She then landed her first two roles in films, both made in 1929 at Paramount Pictures' Astoria Studios in Astoria, Queens. Realizing they had a possible star on their hands, Paramount transferred Kay to their Hollywood studios, where she flourished.

In 1932, however, Francis' career changed gears when Warner Bros. promised her star status and a better salary. The studio delivered, and she soon became one of the biggest stars in Pre-Code Hollywood. For the better part of the decade, she starred in hit movie after hit movie, such as One Way Passage (1932) and I Found Stella Parish (1935). Female audiences, in particular, often flocked to see Francis pictures simply to appreciate her sumptuous wardrobe, her name synonymous with glamour, fashion, and modern womanhood.

At the height of her fame, a falling out with studio executives resulted in fewer prestige assignments. No longer able to land good roles, she retired from film in 1946 and returning to the stage until 1954, appearing with some success on Broadway.

With the start of World War II, Francis joined the war effort, doing volunteer work with the Naval Aid Auxiliary and also performed extensive war-zone touring in Europe and North Africa.

She retreated from the limelight in the 1950s due to her failing health. In 1966, she was diagnosed with breast cancer and succumbed to the disease two years later, aged 63, in Manhattan.

Legacy:

Was the highest-paid actress at Warner Bros between 1930 and 1936

Appeared on the covers of 38 film magazines, second only to child sensation Shirley Temple, from 1930 to 1937

Awarded a gold medal by the Fashion Academy in New York as the Best Dressed Onscreen in 1936

Appointed head of the Naval Aid Auxiliary's Hospital Unit.

Bequeathed her diaries, press notice books, film stills, and other memorabilia to the Museum of the City of New York in 1968, but is now housed as the "Kay Francis Papers" in the Wesleyan Cinema Archives at Wesleyan University

Donated more than $1 million to The Seeing Eye, an organization in New Jersey which trains guide dogs for the blind, after her passing in 1968

Honored as Turner Classic Movies Star of the Month on September 2008 and January 2022

Has a star on the Hollywood Walk of Fame at 6766 Hollywood Boulevard for motion picture

[thefoxvampire]

Name: Madeleine (maddie for short)

Species : a witch

Age: 19

Height : 4’9

weight: 127 ibs

Personality : Sweet, friendly, brave

Job : Student

Likes : Goth stuff, horror story, scary movies

Dislike : Fail, disturbing, ugly

Voice : lea michele: One Day - YouTube

Bio: Maddie is a teen vampire from the dark woods of hollow academy. Although she was clever and loves to learn about scary monsters and ghouls plus ghost too.

Ending/ Backstory: Maddie read a book and discover what monsters comes from the night.

Name: Tucker

Species : a witch

Age: 23

Height : 5’4

weight: 168 ibs

Personality : Spunky, fun, tricky

Job : Punk rockstar

Likes : rock,music,party

Dislike : Demons, zombies, trolls

Voice : ashley spencer: Ashley Spencer - "My Strongest Suit" (The Broadway Princess Party) (youtube.com)

Bio: Tucker is a gothic girl who loves punk rock. Although she tends to be spunky and loves the dark side of midnight.

Ending/ Backstory: Tucker is bored so then she listen to rock music. And that's how she change her clothes into her punk rock for her new style.

Name: Gwendolyn (Gwen for short)

Species : a witch

Age: 22

Height : 5’8

weight: 147ibs

Personality : Wise, Weird, normal

Job : Collector

Likes : Goth stuff, Halloween, candies

Dislike : Dislike: spicy, poison, werewolf

Voice : jennifer paz (a voice of lapis lazuli from steven universe): Jennifer Paz (visual voices guide) - Behind The Voice Actors

Bio: Gwendolyn is a gothic vampire who loves goth and spooky thing. She appeared in the dakr or hides on the dark spot. Although she may love horror movies but had the scare in her.

Ending/ Backstory: gwendolyn was bored an then saw the goth store and that's how she gets into goth.

Name: Samantha (Sam for short)

Species : a witch

Age: 24

Height: 7'9

Weight : 184 ibs

Personality : meh,strange, normal and gloomy

Job : Cashier

likes: random, rock, friends, internet

Dislike: roaches, bullies, frogs

Voice : carey mulligan: Carey Mulligan sings "New York, New York" in Shame | Film4 Clip (youtube.com)

Bio: Samantha look at the book and the image of goth as she has interested and became one.

Ending/ Backstory: Sam find something spooky until she gets a curse book. As then Sam always wanted to scare anyone.

the witch Quartet from the toony show: a spooky Quest (c) by me

[crackednailsandsplitends]

Tips for First-Time Cruisers

Embarking on a cruise for the first time can be both exciting and overwhelming. With so many options and details to consider, it's easy to feel a bit lost. Whether you’re drawn to the idea of exploring tropical islands or enjoying luxurious onboard amenities, planning your first cruise doesn’t have to be daunting. Here are some essential tips to help you make the most of your inaugural voyage, including how to find great last-minute cruise deals to make your adventure even more affordable.

Book Early

Booking your cruise well in advance can help secure the best rates and cabin choices. However, if you’re flexible with your travel dates and destination, last-minute cruise deals can offer substantial savings. Many cruise lines offer discounted rates on unsold cabins as the departure date approaches. By keeping an eye on deals and being ready to book when a great offer appears, you can enjoy a fantastic cruise experience at a fraction of the cost.

Understand What’s Included

Cruise packages often include a range of amenities and services, but it’s important to understand what’s covered and what’s not. Typically, your cruise fare will include accommodations, meals in the main dining areas, and most onboard entertainment. However, speciality dining, excursions, and certain activities may come with additional costs. Review the cruise line’s inclusions and exclusions carefully to avoid unexpected expenses and plan accordingly.

Pack Smart and Prepare for Various Activities

Packing for a cruise requires a bit of foresight, as you'll need to prepare for a variety of activities and settings. Bring both casual and formal attire, as many cruises feature formal nights where dress codes are enforced. Don’t forget essentials such as sunscreen, swimwear, comfortable shoes, and a light jacket for cooler evenings. Additionally, consider packing a small bag with essentials for your first day onboard, as your larger luggage may not arrive in your cabin immediately.

Familiarise Yourself with the Ship’s Layout

Once onboard, take some time to familiarise yourself with the ship’s layout. Most ships are large and can be a bit confusing at first, so obtaining a deck plan from the cruise line or a map at the guest services desk can be helpful. Exploring the ship early will help you find key areas like dining rooms, pools, and entertainment venues, making it easier to navigate and enjoy your cruise to the fullest.

Make Use of Onboard Resources and Activities

Cruise ships offer a plethora of activities and entertainment options, from Broadway-style shows and live music to cooking classes and fitness programs. Review the daily schedule of events and plan your activities to make the most of your time onboard. Also, take advantage of the ship’s resources, such as the concierge and guest services, to get recommendations and answers to any questions you may have.

Plan Shore Excursions in Advance

While spontaneous exploration can be fun, booking shore excursions in advance ensures you get to experience the highlights of each port. Cruise lines offer a range of excursions, from guided city tours to adventurous activities like snorkelling and hiking. Research the available options for each port of call and book those that interest you early to secure your spot, often at a better rate than booking at the last minute.

Stay Connected

Many cruise ships offer Wi-Fi, but it’s often not included in the cruise fare and can be expensive. If staying connected is important to you, consider purchasing a Wi-Fi package or checking with your cruise line for the best options. Alternatively, plan to disconnect and fully immerse yourself in the cruise experience.

Budget for Extras

While many aspects of a cruise are covered in the fare, it’s wise to budget for additional expenses. These can include speciality dining, shore excursions, spa treatments, and gratuities. Setting aside a budget for these extras ensures you can enjoy all the experiences you want without financial stress.

A cruise can be a fantastic way to explore new destinations, enjoy luxurious amenities, and create lasting memories. By choosing the right cruise line, booking early or seeking out last-minute cruise deals, and preparing effectively, you can set yourself up for a successful first cruise experience. Make the most of the onboard resources, plan your shore excursions, and budget for extras to ensure a smooth and enjoyable journey. With these tips, you’re ready to embark on your adventure and discover the world from the comfort of a cruise ship.

[hunterofdeer]

The Contessa of Camp

(To view in its full greatness, read my blog here!)

Recently, I’ve been surrounding myself with videos and pictures and discussions of fashion, drag queens, and the like. I got my hair chopped and styled into a soft mullet on Tuesday, so the idea of appearances has been the dominant thought. Additionally, this year’s Met Gala occurred a little over week ago, inviting much criticism toward the elite (as it does every year). I’m sure I’ve explained my gripes with out-of-touch celebrities ad nauseam—with this year being no exception—but I couldn’t help but think about a previous Met Gala tragedy: the camp theme.

I don’t want to meander too far off the path of today’s topic, so I’ll be brief. The utter failure for the majority of attendees to execute camp became, in a laughable way, camp. They had no fucking clue what they were doing, and I doubt they even read the Sontag essay. However, camp always makes its way back to queerness, and many a homosexual found oodles of humor in outfits than ranged from try-hard to straight up pedestrian. This frivolity usually ends up with gay people idolizing plain and unassuming individuals, but I believe there is an underlying method to this limp-wristed madness.

There is nothing gay people love more than a sensible white woman. I won't delve into the sociology (because that’s going to get messy), but I will continue with the assumption that the fair majority of flamers find a sweet, capri-wearing, middle-aged suburbanite to be just oh-so appealing. 

Weeks ago, my friend Sadie and I were in my apartment, sipping away the evening with glasses of gas station moscato. I’m not sure what prompted me, but I put on an episode of Barefoot Contessa for the sake of ambiance. We spent the next twenty minutes ogling at the screen as Ina Garten, bob and all, coyly cooked up various dishes. A large part of my fascination with her likely ties back to nostalgia, my younger self desperately wishing I could dine on roast chicken in the Hamptons; but I knew there was some extra oomph that made her stand out from the other ladies in my life.

For starters, Garten had been previously employed to budget nuclear energy at the White House. I feel like this is common knowledge, but I had to mention it because of the absurdity of going from politics to the kitchen. People in the political sphere famously can’t do anything, so I pat her on the back for getting the hell out of there. Furthermore, the title of her cooking career is reminiscent of a drag queen name: Barefoot Contessa. Referencing a 1950s romance film (and gay people are all about references), the name evokes images of exotic sexiness, sand, and suntanned skin. It’s regal, and we consider Garten to be royalty.

The episode we watched was “Cooking for a Crowd.” Unfortunately, I don’t recall her potentially gay husband, Jeffrey, being in this one, which is a bit of a shame. But in his absence is Susan Stroman and the cast of Broadway’s Young Frankenstein, which is like slapping the audience with a rainbow flag. 

Garten cracks open lobster like an easygoing child deconstructing a LEGO set. She’s making lobster corn chowder, along with marmalade-glazed baked ham and fruitcake cookies. The other fruitcakes will be arriving later, and she’s enlisted Stroman to help with the setting. Her dialogue is interspersed with the usual “Fabulous!” or “How great is that?” or “If not homemade, store-bought is just fine.” 

For the setting, Garten prepared a guide for Stroman. She says to buy Prosecco because it looks fancy and is cheaper than Champagne. (Gays love the illusion of luxury.) She further encourages drama in the flowers, candles, or anything else that could set the stage. Stroman smartly recognizes the similarities between this party and a production of hers. 

Garten’s zigzagging commentary never lets up, and I love it. She pops something into her mouth but says she’ll save that ingredient for later. She remarks that people “go crazy” for her cookies, and when slicing the roll of batter, she observes that they look like little stained-glass windows. Poetry.

The soundtrack is a blend of Moroccan, French, and American sounds, and the cinematography is intimate yet fun. This type of delightful, relaxed style feels like a long sip of white wine. Garten organizes her buffet, including bunches strawberries just for color, noting that the best decorations are the ones you can eat. She tries to explain the math behind her setup, pairing different dishes together because of the visual impact. Everything is how it is because she likes it that way.

Finally, the concluding montage of people clinking glasses, chatting, and enjoying all Garten has to offer. The episode ends on the most campy note. The cast swarms the Barefoot Contessa, and, with a bouncy piano melody, they sing about how “Nothing could be finer than to eat a meal with Ina, in the Hamptons!” The charming Ina Garten cackles over the music because, at least I think, it is all so entertaining and stupid.

[jaydeemedia]

[ad_1] The Cotswold villages are an embodiment of the picture-perfect English countryside. But there’s hidden variety in these rural charmers. Here’s our guide to the most beautiful places to visit in the Cotswolds. LAST UPDATE: 6 Nov 2023 Anywhere We Roam is reader-supported. When you buy through links on our site, we may earn a small affiliate commission at no extra cost to you. Thanks for your support – Paul & Mark. The beautiful Cotswolds villages fulfill an England that exists in the dreams of many. Honey-coloured stone cottages with steeply pitched roofs. Rolling green hills dotted with sheep. Boutique gift shops with cool country aesthetics and lavender in abundance. Foodies and artists flock to the Cotswolds, filling cobbled roads with top restaurants and art cool galleries. While it’s a popular destination, many of the best places to visit in the Cotswolds see few visitors. Real working towns with cramped old pubs and a great Cotswolds walk. For more ideas on what to do, read our guide to the best things to do in the Cotswolds. IN THIS GUIDE BEST PLACES TO VISIT IN THE COTSWOLDS 1 – CASTLE COMBE With a lack of tourist shops and a real lived-in feel, Castle Combe is one of the most beautiful places to visit in the Cotswolds. Rows of honey-coloured cottages extend from a 14th-century market square up a gentle slope, framed by a green backdrop. An otherworldly vibe has earned Castle Combe a regular appearance in the film industry and it’s easy to see why. With no cars allowed in the village, you are easily transported to another time. With green forested hills, quaint cottages, a babbling river, and a romantic bridge, Castle Combe is a beautiful place to visit in the UK. WHAT TO DO Take a picnic lunch and sit on the bench by the river opposite the old weaver’s cottages. Framed by the surrounding valley walls, it’s the classic view of Castle Combe. WHERE TO STAY? Book the Manor House for a luxurious break with a Michelin-star restaurant. The King’s Arms in Didmarton is a smart country pub. HIKING TRAILS NEAR CASTLE COMBE CASTLE COMBE CASTLE COMBE BRIDGE 2 – BIBURY Bibury is often described as the most beautiful village in the Cotswolds. It’s centred around a picturesque church and a charming village green. The most famous feature of Bibury is Arlington Row, where 17th-century weaver cottages ascend the gradual rise in the hill. It’s the most iconic photo spot in the Cotswolds. Bibury, and Arlington Row, in particular, is a popular spot for bus trips and it can be teeming with visitors throughout the day. But, if you make it to Bibury for sunrise, you’ll have one of the best Cotswolds villages all to yourself. SWAN HOTEL ARLINGTON ROW WHAT TO DO? Stroll along Arlington Row. See the countryside with our Castle Combe walk. Explore the Rack Isle Nature Reserve. WHERE TO STAY ARLINGTON ROW, BIBURY RACK ISLE NATURE RESERVE ARLINGTON ROW 3 – BROADWAY Broadway is at the foot of the western end of the Cotswolds escarpment. It’s one of the best destinations in the Cotswolds for shopping and modern country style. Old-style tea rooms lure visitors with high tea and fresh scones. Antique shops styled in subtle Cotswolds grey, are crammed with unique quirky pieces. The picturesque high street has drawn famous artists including Claude Monet. He found inspiration in what is now the Abbots Grange Manor House. On top of the nearby Fish Hill is Broadway Tower. This folly is a great place to watch the sunset over the town. BROADWAY TOWER WHAT TO DO? WHERE TO STAY? ST EADBURGHA’S CHURCH BROADWAY TOWER 4 – STANTON The only sign of commercialisation in Stanton is The Mount Inn. Set at the foot of Shenbarrow Hill, the pub is perfectly positioned above the town with sweeping views. On a clear day, see all the way to the Welsh mountains. From the deck of the pub, the consistent architecture of Stanton is displayed in typical Cotswolds style. Stanton manages to create a cosy feel on its own merits, without appearing specifically contrived for tourists.

It is one of our favourite villages in the Cotswolds for a quiet, relaxing break. WHAT TO DO? Stanton is a great base for some excellent country walks. The deck on the Mount Inn overlooking the town is an excellent place to end a classic Cotswolds hike. WHERE TO STAY? To visit Stanton we’d recommend staying around Broadway. We have more suggestions here: where to stay in the Cotswolds. STANTON 5 – MINSTER LOVELL Minster Lovell assumes a veiled location by the banks of the Windrush River. It’s a beautiful tiny village where you can enjoy afternoon tea while watching a game of cricket on the green. But the main reason for visiting Minster Lovell is the picturesque ruins of a 15th-century manor house. Resting on the banks of the river, it’s an idyllic location in the English countryside. There are plenty of picnic spots on the grassy fields on either side of the river, and a weir provides the perfect spot for a swim. Minster Lovell is an untouched Cotswolds village in an idyllic rural setting. WHAT TO DO? Go wild swimming around the crumbling ruins. Take the circular Minster Lovell walk to see the best of the area. WHERE TO STAY? 6 – PAINSWICK The prosperity Painswick enjoyed from the 17th century is evident. The elegant grey limestone buildings makes this one of the more regal Cotswold villages. A maze of cobbled laneways provides plenty of spaces to explore with the village cascading down the side of a hill. The main attraction in Painswick is St Mary’s Church and its immaculate grounds. Decorated with rows of yew trees and surrounded by tombs and monuments, it’s a popular filming location in the Cotswolds. WHAT TO DO? Take a stroll through the fanciful Rococo Gardens on the outskirts of Painswick. Photograph the church grounds. Have a pint in the Royal Oak. WHERE TO STAY? 7 – BOURTON-ON-THE-WATER Bourton-on-the-Water is one of the best villages in the Cotswolds with a range of activities to keep the whole family entertained. A picturesque canal runs down the high street with handsome stone bridges connecting either side of the road. Trendy cafes mix with quaint tea rooms and ice cream stands. Like any small village worth its salt, there are plenty of bakeries It’s a cute and photogenic place to stroll around and jump from cafe to cafe. WHAT TO DO? WHERE TO STAY? BOURTON ON THE WATER 8 – UPPER SLAUGHTER & LOWER SLAUGHTER Upper Slaughter and Lower Slaughter are two tiny but beautiful Cotswolds villages. Building has not taken place in the Slaughters since 1906, so they remain quintessential English rural villages. River Eye – a tributary of the River Windrush – winds its way through the village. Honey-coloured cottages and cute churches dot the banks. There are no shops in either village, just several places along the river to soak up the scenery. WHAT TO DO? Walk the 20-minute trail between the two villages. Alternatively, try our 17-kilometre walk between the Slaughters, Bourton, and Naunton. WHERE TO STAY? LOWER SLAUGHTER 9 – KINGHAM Kingham is a small working community and the best villages in the Cotswolds for foodies. The local pub – The Kingham Plough – is operated under a Heston Blumenthal prodigy. It’s the perfect cosy pub to enjoy a pint and some top-quality cooking after a long day of hiking in the area. The Wild Rabbit crafts culinary masterpieces in an impressive but relaxed setting. It’s not cheap, but it’s great for a special occasion. WHAT TO DO? The nearby Daylesford Organic has a farm shop with an excellent selection of local produce. Grab a few bites to take on a picnic, or have lunch in their modern cafe. WHERE TO STAY? Book a weekend at either the Plough or the Wild Rabbit – two of the best places to stay in the Cotswolds. KINGHAM 10 – LACOCK Lacock is owned and managed by the National Trust so it lacks the lived-in feel of other Cotswold villages. However, the protection of the trust has ensured that Lacock has been well preserved.

It’s largely unchanged since it was established in the 13th century as a wool trading centre.  Half-timber, half-stone cottages line wonky laneways that fill the village with charm and character. Shops have maintained their original simple branding. Films such as Pride and Prejudice and Emma have filmed in this charming Cotswolds village. WHAT TO DO? Visit Lacock Abbey, founded in 1229 by Ela, the Countess of Salisbury. It’s a quirky country house with varying architectural styles inherited over the centuries. WHERE TO STAY? LACOCK LACOCK ABBEY 11 – STOW-ON-THE-WOLD Stow-on-the-Wold is a charming market village in the Cotswolds with a reputation for a vibrant antiques scene. Situated at the top of a hill, the town centres around a large market square which is surrounded by elegant Cotswolds townhouses.   Like many of the best villages, Stow has a wealth of tea rooms and artisanal coffee shop. Stow Town Coffee which roasts its own beans and The Hive does an excellent café lunch. The highlight of a visit to Stow-on-the-Wold is St Edward’s Church. The old door under a tree is one of the most Instagram-able spots in the Cotswolds. WHAT TO DO? Grab a bargain in a vintage shop on the high street. Have lunch at the Porch House, the Oldest Inn in England. Peruse the contemporary British artwork at the Fosse Gallery. WHERE TO STAY? ST EDWARDS CHURCH STOW ON THE WOLD 12 – CHIPPING CAMPDEN Chipping Campden is one of the best Cotswolds villages with a grand high street, lined with handsome, golden houses. They were built by wealthy merchants between the 14th and 17th centuries. The highlights are St James Church, a towering landmark that can be seen from miles away, and the 17th-century Campden House Gateway. Don’t miss the Market Hall which still stands from Chipping Campden’s wool trading glory days. The Woolstaplers Hall was an important wool-buying hall. One of the most popular attractions in Chipping Campden is the thatched-roof houses. On the side streets of the high street, you’ll find examples of grand Cotswold residential architecture WHAT TO DO? Court Barn Museum is a small museum celebrating the creative heritage of Chipping Camden. Hidcote Manor is a 10-minute drive away. Read all the details here: guide to visiting the Cotswolds. Stroll around looking for thatched roofs. WHERE TO STAY? 13 – BURFORD Burford is often considered the gateway to the Cotswolds. It’s located on the River Windrush, and it’s a great place to visit on a day trip to Oxford. The high street which follows a hill down towards the river is one of the most beautiful places in the Cotswolds. Lined with a rambling collection of medieval houses and shops, you’ll find local antiques and delis. There’s a great selection of galleries, bookshops, and of course, classic Cotswolds pubs. St John’s Church is a display of Burford’s prior wealth with memorials to great families who were connected to Henry VIII. WHAT TO DO? Pick up supplies, then head to the nearby Minster Lovell for a picnic. One of our favourite day trips in the Cotswolds. Admire the historic stone cottages on Burford Hill. Pop into the Tolsey Museum, a small free exhibition on local history. WHERE TO STAY? ST JOHN’S CHURCH BURFORD HIGH STREET 14 – CIRENCESTER Cirencester was the second-largest Roman centre in Britain. A significant road structure helped it develop a thriving wool trade. Continuing from this prosperous base, Cirencester is today the largest town in the Cotswolds. The colourful main square, Market Place, mixes Cotswolds stone with pastel-coloured facades and timber-framed architecture. Leading off the square, the huge English Gothic Church of St John the Baptist has a stunning fan-vaulted ceiling. Cirencester Park, just outside the town, is one of the finest landscaped gardens in England. It’s free to enter from 8 am to 5 pm each day. WHAT TO DO? WHERE TO STAY? 15 – SNOWSHILL Snowshill is a small village in the Cotswolds that is often overlooked, but there are a few great reasons to visit.

Firstly, it’s set around a small church green lined with cottages overlooking the countryside. The setting is lovely. Secondly, it’s part of one of the best walks in the Cotswolds. which stops at the Snowshill Arms. The main attraction in the village, however, is the Snowhill Manor. This 16th-century country house is one of the most interesting places to visit in the Cotswolds. It has an enormous collection of objects acquired by its eccentric owner, Charles Paget Wade. There are several listed buildings on the property including the brewhouse and the dovecote. WHAT TO DO? Stroll the gardens at Snowshill Manor, laid out in a series of outdoor rooms with terraces, ponds, and formal beds. Walk the Stanton to Snowshill hike on the Cotswolds Way. WHERE TO STAY? Buckland Manor is a regal stay in a traditional manor house. The Fish is a very cool property with cabins, tree houses, and luxury suites. COTSWOLD MAP The Cotswolds cover an area of 787 square miles across the centre of England. It’s located within easy access of London, Bristol, and Birmingham. Our map contains all the places listed in this guide. >> How to use this map / Click on the top left of the map to display the list of locations, then click on the locations to display further information. Click on the top right corner of the map to open a larger version in a new tab or the star to save to your Google Maps.   ITINERARIES FOR VISITING THE COTSWOLDS Many of the best destinations in the Cotswolds are close to each other making them easy to visit in one day if you have your own car. Here are some more guides to help you plan your Cotswolds itinerary. Best Cotswold Weekends – 5 itineraries to see several of the best places in the Cotswolds over a weekend with pub and restaurant recommendations and things to do. Cotswolds Walks – Our favourite, very achievable, walks in the area with detailed instructions and maps. All our walks are circular and most finish at a great pub. Cotswolds Day Trips – 10 ideas for great day trips to the Cotswolds with all the information you need for a great day out. COTSWOLDS TOURS The other way to see the prettiest places in the Cotswolds is via an organised tour. This is a great way to see some of the area if you’re pressed for time or just want to meet some other people who are up for a day out in the Cotswolds as well. MORE UK GUIDES ANYWHERE WE ROAM IS READER-SUPPORTED If you found this guide useful, booking your trip via the links on this page earns us a small commission at no extra cost to you. You can also buy us a coffee. Big thanks – Paul & Mark. FOLLOW US ON INSTAGRAM // FACEBOOK [ad_2] Source link

[severepeanutperfection]

Tracing the Trim: An In-Depth Guide to the Automotive Trim Parts Market and Its Evolving Trends and Opportunities

The automotive trim parts market refers to the manufacturing and sale of various parts used to enhance the appearance and functionality of automobiles. These parts are used to improve the aesthetics, comfort, and safety of vehicles. The market is driven by increasing demand for customized and personalized vehicles, as well as the need to replace worn-out or damaged trim parts. The market is segmented based on the type of trim part, material, and geography.

One of the primary drivers of the automotive trim parts market is the increasing demand for customized and personalized vehicles. Consumers are increasingly looking for vehicles that reflect their individual style and preferences, leading to increased demand for customized trim parts. Manufacturers are responding to this trend by offering a wide range of customizable trim parts, such as dashboards, door panels, and seat covers. Additionally, manufacturers are incorporating advanced technologies such as 3D printing to provide even more customization options to consumers.

The automotive trim parts market has also witnessed an increase in innovation and technological advancements. Manufacturers are continuously developing new trim part technologies to improve the aesthetics and functionality of trim parts. For instance, some manufacturers are incorporating advanced materials such as carbon fiber and aluminum into the trim part design, leading to reduced weight and improved performance. Additionally, some manufacturers are developing trim parts with advanced safety features such as airbags and sensors, leading to increased safety for passengers. These advancements are expected to further drive the growth of the automotive trim parts market in the coming years.

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Moreover, the automotive trim parts market is also witnessing an increase in demand for eco-friendly and sustainable trim parts. Consumers are becoming more environmentally conscious and are looking for trim parts that are made from sustainable materials and processes. Manufacturers are responding to this trend by offering a wide range of eco-friendly and sustainable trim parts, such as recycled leather seat covers and plant-based dashboard materials. With the increasing demand for eco-friendly vehicles, the demand for sustainable automotive trim parts is expected to rise in the coming years.

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[seanfalco]

New York State of Mind: Part IV | Misfits Timeline Anomaly’verse

an oc x oc collaboration between @seanfalco & @super-unpredictable98

Word Count: 5k Warnings: Language, Smut (rough sex, public sex), Recreational Drug Use Summary: Win’s Nathan has finally figured out Lydia’s hidden kink and gets to reap the benefits while Win and Lyddie’s Nathan have some fun of their own and decide to help Lydia audition for a Broadway musical. a/n: The fourth and final installment of the New York City arc, but don’t worry, there’s so much more yet to come.

[ masterlist ] [ New York State of Mind: Part III ]

"I want you!"  

Lydia pressed Win's Nathan against the wall as soon as they walked into the room, kissing his neck and tugging at his shirt aggressively.  "Do you guys want us to move somewhere else so you get the room?" she asked, glancing over at Win and her own Nathan. 

"Nope," he chuckled, knowing better than to try to contain Lydia's hunger when she got a taste of blood.  "I wanna have a smoke anyway..." he glanced down at Win, a joint magically appearing between his fingers.  "Wanna join me, Winnie?"

“You read my mind,” Win mused, glancing down at the blunt in his hand before back up at him, wetting her lips. 

“Oh, good,” Win’s Nathan groaned, sliding his hands down Lyddie’s backside to squeeze her ass possessively.  “Oh, I want you too Lollipop,” he exclaimed, directing the smuggest grin at the others.

Lyddie's Nathan shot his fiancé a wink before closing the door.  He thought about going to the pool again, but Win seemed like a girl who liked surprises.  "Let's go, baby," he exclaimed, wrapping his arm around her waist on the way to the elevator.

"God, you're so sexy!" Lydia crawled to the bed, ripping off her shirt and skirt as fast as she possibly could. "Come here, bet you won't feel lonely anymore..."

“You’re th’sexy one, babe,” Win’s Nathan exclaimed, ripping his shirt over his head as he hurried toward the bed. “God, I want yeh so bad.  Been thinkin’ bout last night all day.”

“Me too, Natty, it's been torture waiting to get my hands on you!"  Lydia pulled him closer, their lips crashing together as she unzipped his jeans, humming with satisfaction.  "You don't even know what you do to me..."

“Oh, but I do,” he groaned, between heated kisses, his jeans dropping to the floor and his hands roaming Lydia’s body, groping and pinching, pulling her closer.

"You do...?" she froze for a second, glancing over at the ginger ale on the nightstand before shaking her head slightly, pushing the idea away from her mind and going back to snogging.

“O-oh, yeah,” Win’s Nathan exclaimed, dragging his lips down her neck, biting at her as his fingers teased her folds, feeling how wet she was.  “You drive me just as crazy baby,” he murmured, guiding her hand to his erection.  “See how rock hard I am?  You did that.”

Lydia gasped as her hand found his cock.  His words, his touch, his breathing, his smell... everything was driving her mad that night.  "Oh, please use me, use me the way you want, make me yours," she whined, feeling her arousal coating the inside of her thighs.

Nathan's brows rose at her words and his mouth suddenly went dry.  "Holy shit," he breathed.  The lust drenched look on her face was the sexiest thing he'd ever seen and his cock gave a twitch in her hand.  "Wanna do it doggy style?" he asked, pinching her nipple, rolling it between his fingers.

"Oh, it's been so long... Yes, please, Natty!"  Lydia's chest heaved in anticipation as she jumped to her knees and turned around slowly, pressing her back to Win's Nathan's chest, taking her hair out of the way to give him access to her neck.  "Make me," she purred.

"Oh Lyddie, fuck you're hot," he groaned, pressing his face against her shoulder.

Lydia moaned as she felt Win's Nathan's hand on her throat, melting in his arms when his other hand found her sex.  "Go ahead, Nats, squeeze," she begged, grinding against his election. It's not like choking her would make a huge difference with her power, but she wanted it anyway. "Show me what a filthy girl I am, give me the punishment I deserve..."

"Oh, you're such a bad little girl, Lyddie," Win's Nathan growled in her ear, squeezing her throat til he felt her arch in his embrace, his fingers between her legs moving in a circular motion, gliding over her easily with how wet she was.  "Oh fuck, I'm gunna love punishin' you.  With my cock.  I'm gunna fuck yeh til y’can't walk right tomorrow, love."

Lydia shivered from Nathan's voice next to her ear.  "Give me a lesson, Natty, teach me to be a good girl for you," she managed to say, her voice strained as she fought not to come from the stimulation of his fingers.  "I need you inside of me, please..." she stopped herself before saying 'sir', scared to freak him out.

"Oh, I'll teach yeh a thing or two, y'little minx," Nathan exclaimed, slipping his hand from her neck to her shoulder, forcing her down on all fours before him.  "Oh, you're so fuckin' wet, so needy baby.  I wonder why..." he mused with a smirk as he gripped his cock, teasing her folds as his hand on her shoulder slid down her back to her ass, spreading his palm over the curve of it before pulling back to leave a sharp slap.

With a yelp, Lydia fell on her hands, the knowledge that Win's Nathan could do anything he wanted to her was exciting.  She moaned helplessly as the pain from the slap turned into pleasure.  "You did this to me, you left me dripping..." she whimpered, still holding back her orgasm as he teased her with his cock.  "More," she begged.

“More, huh?" Nathan mused, spanking her again, leaving a red welt across her ass as he pressed into her, gripping her hip with his other hand to stabilize himself as he thrust completely into her.  "Like that?"

"Yes!" Lydia shuddered, crying with pleasure.  "Oh fuck, Natty, you're so good to me, you make me feel so good... I wanna come for you," she turned her neck to look at him, the moments from earlier at the pub playing on repeat in her head.

Nathan grinned at the desperate look on Lydia's face.  "Oh, you'll come alright, several times, if I have my way," he exclaimed, hoping he'd be able to hold out that long.  Tangling his hand in her colourful hair, he yanked back, forcing her head up as he began to thrust into her, slamming into her with abandon.

No one had ever pulled Lyddie's hair like that, it just never came up, but it felt so good... One more thing to add to her list.  With Win's Nathan's permission, Lydia came, biting her lip to avoid screaming.  "Play with my piercings, pinch me, Natty," she asked, sweat dripping down her neck, but she didn't feel tired.

 "Such a kinky thing," Win's Nathan groaned, biting his lip as he had to slow, needing to cool it or he was gunna come as well.  Leaning over Lydia, he braced himself with one hand while pinching her nipple with the other, twisting at her piercing roughly as he continued to pound into her.  "Ohhh, you feel so good.  So good for me."

"All for you, just for you," Lydia murmured, feeling the tingling excitement starting to build in her lower stomach once again.  "I love you," she blurted out, feeling confused, her mind in a haze with feelings and sensations.

Nathan nearly stopped in surprise at her exclamation, managing to only slow for a moment before bucking into her again.  "I love yeh too, Lollipop," he grunted.  "Fuck.  So much," he murmured, kissing her back.

“I'm getting close again, baby," Lydia looked back at him with a pleased smile.  "I might love you, but I still want you to ruin me," she moaned, moving back into his thrusts to get him to go deeper.

"Can do sweetheart," Nathan exclaimed, picking up the pace again, feeling his climax hovering, not sure how far he could last like this.

Lydia knew Nathan was probably struggling to keep going and she wanted him to feel good, especially after being so good to her... "I want you to come too, Natty, fill me up, baby."

“Oh yeah, I’ll fill yeh up sweetheart!”  As soon as the words were out of his mouth he couldn’t hold back any longer, coming inside her with a broken cry, thrusting roughly several more times as he emptied himself deep inside her, hearing her moans as well.

Lydia fell on her back, still shaking from how intense that last orgasm was.  She was spent, but never felt so great in her life.  "Oh my God, Natty, you've outdone yourself... can you give me that?" she pointed at the bottle on the nightstand.  "I'm so thristy, Jesus..."

Though his own muscles felt like water, Win’s Nathan crawled over to the table to grab the drink for Lydia.  “You were wonderful, you were so fucking amazing Lyddie.  I love you so much,” he murmured as he collapsed next to her.

"Thank you," Lydia sipped from the bottle slowly as her heart calmed down in her chest.  "I love you too, Nats, you were perfect, I love it when you're rough to me..." she handed him the bottle back, laying on his chest.

Win’s Nathan pulled Lydia closer, wrapping his arms around her gently, soothingly running his hands up and down her back.  “I like that y’like it rough.  Win doesn’t like it that rough... it’s nice t’be able to share that with you,” he admitted.

"Yeah, it's our little secret," Lydia narrowed her eyes playfully before lifting her head to kiss him.  "Hey, speaking of secrets, do you think you can keep a... " her voice disappeared as she realized what she was about to do.  "I'm so tired, will you hold me as I fall asleep?"

“Secret?  I can keep a secret...” Win’s Nathan murmured, but he was having trouble keeping his eyes open, so when she changed her mind, draping herself over him he didn’t mind, simply holding her close as she fell asleep.  “I think I might already know your secret, darlin,” he murmured when he was sure she was out.  “And I think it’s adorable.”

Lydia heard Nathan saying something as she fell asleep, but she wasn't sure what, too exhausted to even open her eyes.  The last thing that crossed her mind was how much she loved him, how much she loved her own Nathan, and Win, she doesn't even know how she used to breathe without them.

——

“Where are you taking me tonight, Nathan?” Win asked, wrapping her arm around Nathan’s back, excitement coursing through her.

"We're goin' to the sauna, baby."  He smiled mischievously.  "I could use some time t'relax... since it's closed there won't be anyone t'bother us."

“Ooo, sauna,” Win mused, “I’ve never been in one, actually,” she said, thinking about it for a moment.  “Looks like another first I get to spend with you.” 

"Me neither, I s'pose we'll figure it out together, love," Lyddie's Nathan mused, kissing the top of her head just as the elevator stopped and they stepped outside.  "I love t'shag high, you've done that, right?"

“Oh, yeah,” Win exclaimed, leaning into Lyddie’s Nathan’s side, tilting her chin up to look at him.  “It’s been a while, though.  Have you really been thinkin’ bout this all day?” she asked with a laugh, feeling heat pool between her legs at the thought. 

"Of course, it's kinda hard not to after what we've done, it was a real struggle not t'shag you earlier.  I was hopin' t'get you for myself tonight..." Nathan led the way, unlocking the door to the sauna with a snap of his fingers. 

Win's lips twisted in amusement as she thought about them shagging in that little car, trying not to be caught.  That, plus the fact he'd been thinking about her all day only served to turn her on more. 

"Really?" she asked, biting her lip.  "Mmm, me too, actually," she admitted, following him into the dark room.  

"Y'have?" Lyddie's Nathan shed his shirt and fumbled with the buttons on the wall for a bit. "Then you must be in desperate need for some attention, sweetie..." he pulled a lighter from his pocket to light up the joint between his lips.

Win watched as he inhaled, holding the smoke in his lungs for a long moment before exhaling slowly, the smoke rolling over her and she grinned, taking the blunt from him to bring to her own lips, inhaling deeply, letting the calming effect of the marijuana spread through her before blowing the smoke away, coughing slightly.

"Oh that's nice," she murmured, offering the blunt back to Lyddie's Nathan.  As soon as she turned around Nathan let his hands slip around her, seeking her breasts to fondle roughly as he kissed down her exposed neck, sucking and biting, leaving little love marks as he went before moving his hands, one going up to gently circle her throat while the other buried between her legs.

"Y'know, I've read somewhere that y'get high faster when your tits are out, we should try it..." Lyddie's Nathan snaked his hand under Win's shirt while taking another drag.  "I'm so worked up, Winnie, I need it!  And I know ya need it too," he passed the joint to her once again, idly rolling her nipples between his fingers while kissing the marks he left on her neck. 

"Oh y'heard that, did ya?" Win asked with a smirk, her breath catching as he played with her tits, and she melted against him as he kissed her.  "D'you like knowing that you made those?" she breathed as she pulled back to quickly shed her shirt, letting it fall to the ground at their feet. 

"Yeah, I love knowin' that it was me... And you're mine," Nathan sighed, watching hypnotized as Win undressed under the light fog of the sauna.  He wet his lips before leaning in to kiss her, his head completely empty except for the feeling of her lips on his.  "Please, baby" he whispered, giving her what she wanted.

"God, I like hearing you beg like that Natty," she groaned, unbuttoning his jeans.  "I need you too,” she murmured, kissing him back, her hands running down his bare chest.  "Please what?" she purred, her hands pausing near his navel, before her fingers teasingly danced over his hip bones, tracing the little line of stars there.

"Please... ma'am?  Please.... mistress?  Please... let me shag your brains out?" Nathan mumbled, not used to being the one begging, his eyes glued to Win's hand on his hip.  "I want you, really bad." 

Win laughed, plucking the blunt from Lyddie's Nathan's fingers to take one more draw.  "Mistress, huh, never been called that before," she mused, leaning in to press a kiss to his chest before moving lower, til she was on her knees before him. Looking up she wet her lips.  "Y'know I've been thinking about this for a while now," she said, grasping his cock with one hand while the other lingered at his hip.  "I've never got to suck you off yet," she murmured, laving her tongue along his length before circling his head and taking him into her mouth. "

"Jesus," Lyddie's Nathan clenched his eyes shut as Win took him in her mouth.  "Yeah, I've been thinkin' about it too, but I didn't know if you'd be into it... God I'm glad y'are, this feels so good," his hand traveled to the back of her head, but without pushing, Lyddie liked when he pushed, but he wasn't sure Win would appreciate it.  "Fuck, Winnie baby, I'll call ya anythin' if you keep doin' that..."

Win chuckled as she bobbed her head, pulling back to speak. "I don't know if you've noticed babe, but oral is kinda my thing," she murmured with a smirk, teasingly licking at him as she held his gaze before wrapping her lips around him once more, letting his tip hit the back of her throat as her other hand traveled down his hip to his balls, caressing them gently. 

"Yeah, you're quite good at it..." Lyddie's Nathan murmured, enjoying every last second of that, but not wanting to finish and leave Win hanging.  He still wanted to quench the thirst left by those kisses in the back of the car.  "Your mouth is just... Oh, I should beg more often if that's what I get after."

Win pulled Lyddie's Nathan's cock from her mouth with a soft pop as she stood, raising up on her toes to press a kiss to his lips.  "As much as I'd like to finish you with my mouth, where would that leave me?" she purred, wrapping her arms around his neck.  "I want you inside me, Natty.  Make me yours," she whispered, feeling sweat begin to coat her as the room filled with steam.

"Gladly..." Lyddie's Nathan pulled Win closer, kissing her urgently, greedily.  "I guess now it's my turn," he grinned as he quickly switched positions, staying on top of her.  He lowered his head to take her nipple between his lips, while teasing her entrance with the tip of his cock.  "And your turn to beg." 

"Ohh, aren't you smooth," Win gasped, "you'll have to do better than that to make me beg," she teased, trying to keep the whine from her voice. 

"Really?  Okay, I s'pose I could finish myself off," Lyddie's Nathan teased further.  "That's too bad though, I was really lookin' forward to fuckin' you so good you'd wake the entire hotel up, but if you don't wanna be a good girl..."

"Wait!" Win exclaimed suddenly, grasping at him, "I'll be good, please Nathan," she whined, wrapping her legs around him.

"That's better..." Lyddie's Nathan nodded, capturing her lips once again as he thrusted into her.  "See?  That's what y'get for bein' good, you like that, Winnie?" he groaned in between kisses. 

“Oh, yes,” Win exclaimed with a sigh, “I love you, Natty,” she whimpered, burying her face in his chest as he moved in her.

"I love you too, baby" Lyddie's Nathan moaned, kneading her breasts somewhat gently, wanting to savour the touch of her soft skin.  "I love you so much, my Winnie."

Win gasped as she came, pulling Lyddie’s Nathan closer, wrapping her arms around him tightly as he continued to thrust into her, riding her through her high and she cried out, their sweat slicked skin sliding and sticking together.

“Oh, Nathan— I’m yours!” she panted as he came as well, filling her. 

Lyddie's Nathan came as soon as he felt Win clenching around him, her moans only driving him crazier. " And I'm yours..." he panted, placing a loving kiss to her lips.  "How'd I do today?  Did I follow all your instructions?" 

Win grinned incredulously.  “You followed it to the letter didn’t you?  Oh my God, Nathan, I... I don’t know what to say.  That’s so sweet,” she murmured. “How are you so perfect?” 

"I wanted t'make a good impression, you're my girlfriend too..." he shrugged, holding Win tighter.  "You deserve it, baby, y'make me happy, y'make Lyddie happy... I love you." 

“I love you too,” Win repeated, feeling tears prick her eyes.  “It’s not often you get to fall in love with the same guy twice,” she murmured, stroking his face.  “You have his face, and his name, and his life, but... you’re not him.  You’re you and... you’re different and I don’t know where I’m going with this, but I love you just as much.  I wanna be with you and him and Lyddie forever,” she murmured.

If she hadn’t been high, she didn’t know if she would have admitted so much, but it felt right to say and she waited for Lyddie’s Nathan’s response. 

"Y'know, a while ago I told Lyds I couldn't imagine a future without her, and I still can't, I love that freaky little thing... But now I can't imagine a future without you, and I don't think she can either," Nathan didn't exactly know what he wanted to say with that, just that he wanted to be with them, this way, for the rest of his life…

Win hugged Lyddie’s Nathan fiercely, overcome with emotion for a moment.  “It’s getting really hot in here,” she murmured, not exactly wanting to move, but also starting to feel a little lightheaded.

"Yeah, sorry, but y'know, maybe it's just me, I do that..." he waved his hand and the sauna stopped.  "D'you wanna get back, baby?" he stroked her hair, still thinking about what she confessed.

Win giggled.  "You are pretty hot," she murmured, snuggling closer.  "I don't really wanna move, but..." she whined softly, pressing her face into the crook of his neck.

"Me neither, I just wanna stay like this... But how about Lyddie and your Nathan?  They're probably gonna get lonely in a bed with only two people," he laughed.

"You're right," Win agreed, smiling softly.  "I don't know if I could fall asleep with only one person in bed anymore," she admitted, sitting up.  "Ugh, I wish we didn't have to walk and you could just magic us back to the room," she joked, “though I know it doesn't work like that."

"I'm not that powerful, but I can do this..." Nathan magically dressed and dried them with a silly flourish of his hands. "Come on, baby, we have a lot t'do tomorrow, and I'll need your help if this plan's gonna work."

"What did you have in mind?" Win asked, perking up despite how exhausted she felt, slipping her arm around his waist as they headed back to the room, wanting to be as close to him as she could.

"I'm gonna get Lyds into Rock of Ages, she'd be perfect for it.  It does involve some strippin' on stage," Lyddie's Nathan rolled his eyes.  "But I s'pose we can live with that," he stumbled out of the elevator, taking Win with him.

"You s'pose, huh?" Win teased.  "I'm in.  I remember the look on her face when we brought it up.  I don't think she'd try for it otherwise, even though it's obvious she wants it."  Win stopped as they got to their door, turning to take Lyddie's Nathan's face between her hands.  "You're sweet," she said, rising up on her toes to press a peck to his lips.  "And I love you," she continued following that with another kiss.  "That's all, we can go in now," she laughed.

"And I love you, baby," he opened the door, still a little high with both the weed and the sex.  He found he likes to be called 'sweet', it didn't happen often, but I felt good.  "Look at these two," Nathan chuckled while undressing, Lyddie and his clone were completely out, holding each other.

“Like a couple of rabbits,” Win laughed, “though I suppose we aren’t any better,” she mumbled as she crawled under the sheets, pulling Lyddie’s Nathan’s arm around her.

"Yeah, we don't have much room t'talk," he wrapped his arms around Win, kissing her neck softly while one of his hands reached for Lyddie's.  "Good night, baby."

——

The next morning Win’s Nathan stirred as he felt a pair of lips brush against his forehead.  “Nathan, babe, wake up sweetheart,” Win’s soft voice in his ear said and he groaned, rolling toward her. 

“Winnie?  I missed you,” he whined and she laughed softly.

“I missed you too, but I need you to wake up.  There’s something we need to do.”

Lydia sighed, mumbling incoherently, before shifting in her sleep, not waking up. 

"I think bein' in a Broadway show will be great for her career," Lyddie's Nathan was on the phone with her manager.  "It doesn't have t'be an open run, just a few months, and rehearsals don't start until October anyway.  She can start on the new album as soon as we're back home as leave everythin' ready."

“What’s goin’ on?” Win’s Nathan asked as he sat up, looking around.

“Shhh, don’t wake Lyddie,” Win whispered, pulling him to his feet.

Lyddie's Nathan waved, signalling them to come closer and immediately putting one finger in front of his lips.  "Then it's a deal, I'll sign her up right now, fingers crossed, ey?  See ya, man." he hung up with a triumphant look on his face.  "Now we just need a good video of her with the right song."

“Perfect!” Win exclaimed as her Nathan quickly dressed.  “So how do we get that?” he asked.  “Are y’plannin’ on tellin’ her about it?”

"If she gets the gig we'll tell her, if she doesn't, she won't get hurt..." Lyddie's Nathan nodded as if he was the most brilliant human being on the planet.  "I've never picked an audition song before, but from what Lyds told me, it has to match the show, so '80s rock."

“Good idea, babe,” Win agreed.  “Eighties rock huh...” she mused.  

“How about Don’t Stop Believin’?” The other Nathan suggested.  “Is that from the 80s?”

"I think so, yeah. That song’s in the show, it could work... all we gotta do is film her, and e-mail the video, but how do we get her t'sing that...?" 

"Hmmm," Lydia slowly sat up, stretching with a groan.  "Good morning, loves."

“Mornin’!” Win’s Nathan yelped, moving in to distract her with a kiss. 

“I think I have an idea,” Win whispered in Lyddie’s Nathan’s ear.  “But I think it might work best if we’re out and about.”

"Then let's eat at the Hard Rock, take a walk around the theatre district, she loves it," Lyddie's Nathan whispered.

"Hey," Lydia immediately turned red remembering the night before.  "Did you sleep well?" 

“Like a log,” Win’s Nathan answered, running his fingers through her hair.  “You? Feelin’ okay?” he teased.  “Hope I wasn’t too rough.” 

"I'm great," she hid her face in his chest, not wanting to stare him in the eye.  "You can never be too rough with me, you were amazing."

“That’s good t’know, y’kinky little thing.  Gives me some ideas,” he mused with a smirk.

“Perfect,” Win mused, watching Lydia, already with an idea in mind.  “How are you feeling today?” she asked, turning back to the Nathan next to her.

"Never better, especially after our little talk yesterday," Lyddie's Nathan pulled Win into his arms. "How are you, baby?"

“Mmm, can’t complain,” Win exclaimed lightly before grinning and jumping up to give him a kiss.  “I’m really good.  Now let’s go get Lyddie this role.”

Lydia giggled quietly, running her hand through Win's Nathan's hair.  "And you say that as we're about to leave?  When I'll have to imagine it all day?" she looked around, everyone was already dressed.  "I'll be ready in a second, guys, I swear," she jumped from the bed and disappeared into the bathroom.

——

“Hey, Lyddie, do you know of any good music stores around?” Win asked as they walked, looping her arm in Lydia’s.  “I was thinking ‘bout looking for a new guitar... as a little celebration for becoming your guitarist.”

"Aww sweetheart, you're so cute!" she sighed, pulling Win closer.  "Yeah, Guitar Center is five minutes from here at the 44th, I got my acoustic there last time, it's a paradise for musicians."

“Perfect!” Win exclaimed, shooting the Nathans a pointed look.  Once they stepped inside the store, Win pulled Lydia toward the wall of electric guitars.  “What do you think, should I replace my yellow one?” she asked.

"I don't think you should replace it, but in my experience it's better to have a spare if you're working with music," Lydia mused, looking around.  "Look, this Mitchell MD200, it's not too expensive... and it's pretty good, this one even matches your hair."

Win looked at the lime green one Lyddie’d pointed to and she took it down.  “I like it,” she mused, running her fingers over the strings.  What d’you think, should I test it out?”

"Sure, give it a try, see how it feels," Lydia smiled.  Meanwhile, her Nathan already had his phone prepared to start filming, sitting with his clone on a bench where he could get a good angle.

“Only if you’ll sing with me,” Win exclaimed with a grin.  “Please, Lyds?”

"Fine, anything you want," she was so happy that Win had actually accepted her offer, she didn't even question it.

“Perfect!” Win exclaimed, pretending to think of a song.  “How about this one, I’m sure you know it, everyone does.  Don’t Stop Believing’?” she asked, holding her breath.

"Of course!  I grew up with Glee, it's one of my favorites," Lyddie sat by Win to watch as she played.

Win plugged the guitar into one of the nearby amps and began to play, glancing up at the boys as Lydia joined in singing.  She couldn’t believe their plan was actually working.

Lyddie was having so much fun, she really missed making music with Win, and it was music that brought them together in the first place, so it was really special for her.  A few people gathered to watch and her Nathan quietly documented the entire thing.

By the time Win finished playing there was quite the crowd gathered and she turned to Lydia.  “Thank you for singing with me, babe, I’m so excited to be making music with you again,” she murmured, leaning in closer.

"Me too, Winnie, I still can't believe we're really doing this," Lyds gently pressed her lips to Win's.  "Actually, pass me the guitar, I'll get it for you, it's my 'welcome to the band' gift."

“Oh Lyds, you don’t have t’do that,” Win exclaimed, but the determined look in her girlfriend’s eyes stopped her from protesting further.

"I know I don't, but I want to," Lydia quickly took the guitar to pay for it.  "It's perfect for you, and it matches my blue one perfectly." 

"Brilliant!" her Nathan celebrated when she was gone.  "It really worked, I'll send it right away!"

“I can’t believe that worked,” Win’s Nathan exclaimed, pulling her into his arms.  “You’re brilliant, babe.” 

“Nahh, I just knew Lyddie wouldn’t be able to resist singing with me.”

"And who is able to resist your charms?" Lyddie's Nathan purred, playing with Win's hair.  "Poor impressionable Lyds didn't stand a chance." 

"We should probably drop this off at the hotel," Lydia came back with the guitar in a leather case and gave it to her girlfriend.  "Welcome to the band!"

“Thank you, Lollipop, really, I don’t deserve you,” Win murmured, pulling Lydia into the midst of their group hug as well.

----------------

Tag list: @magic-multicolored-miracle @midnightseance @messengeronthemoon @the-freckled-luba @firstpersonnarrator  @spanishmossmagnolia @salvador-daley @forenschik @a-ghoulish-tale @love-is-dirty-baby @captainsheeballs

[alcalavicci]

So there’s a really interesting interview with Deborah Pratt here. If you don’t want to pay for it, I’ll paste what I can below, but a few points first. 

Deborah says she doesn’t know where Dean is, and says she misses him. I guess she hasn’t had contact with him since he left for NZ? And with Russ Tamblyn saying Dean’s hanging in there in answer to a recent Twitter question, that brings up more questions about his condition.

Deborah claims she came up with the idea of Quantum Leap, which I’ve never seen come up before. Also Don wanted to send Sam home?? I feel like she’s misremembering a lot of details/making herself seem better than she is.

“Theorizing that one could time travel within his own lifetime, Dr. Sam Beckett stepped into the Quantum Leap accelerator and vanished… He woke to find himself trapped in the past, facing mirror images that were not his own, and driven by an unknown force to change history for the better. His only guide on this journey is Al, an observer from his own time, who appears in the form of a hologram that only Sam can see and hear. And so Dr. Beckett finds himself leaping from life to life, striving to put right what once went wrong, and hoping each time tht his next leap will be the leap home…”

The premise of Quantum Leap succinctly and empathetically explained by a voice that spoke to viewers week to week, setting the scene at the opening of the episode. It is a voice that left an indelible print on the show, from its inception to its finale. This is the voice of its Head Writer. No, not Donald P. Bellisario, but a woman of color who was leaps ahead of her time – co-executive producer and uncredited co-creator, Deborah M. Pratt.

Deborah wrote or co-wrote 40 episodes of this sci-fi gem and her authorship of the show runs deep through its five seasons. Aside from the opening narration, Deborah is audible as the voice of Admiral Al Calavicci’s pocket computer, Ziggy. She also guest stars in the episode ‘A Portrait for Troian’ (S2, Ep11) as a grieving widow who hears the voice of her husband calling her.

Deeper still, Quantum Leap was a family affair. It was co-created with her husband at the time, Bellisario, and their daughter, also named Troian, appears as a little girl in ‘Another Mother’ (S2, Ep13, who can not only see Al, but also sees Sam as he really is, rather than as her recently divorced mom.

Prior to helming Quantum Leap, Deborah rose through the ranks as an actress, racing the screen in Happy Days, CHiPS, The Dean Martin Show and many more, and was also a writer on shows such as Airwolf and Magnum P.I. She is a five-time Emmy nominee, Golden Globe nominee and winner of countless other awards. She went on to produce CBS comedy cop show, Tequila and Bonetti, and then to co-create and produce the TV series adaptation of Sandra Bullock tech thriller, The Net. But Quantum Leap was Deborah’s brainchild – one which is emblazoned on the hearts of its faithful fans.

Deborah has since moved into directing, including on hit show Grey’s Anatomy (2020), but was generous with her time when spoke in late 2020 to leap back into the past.

It does seem that you were really ahead of your time as a female head writer and a showrunner in the ’90s, especially in science fiction TV. Was it hard for you to progress and to get Quantum Leap made?

“Usually women were relegated to comedy, very rarely was it drama or heavy drama. It’s changed, finally, with people like Shonda Rhimes (Grey’s Anatomy, Bridgerton, Scandal). But yes, I was a true pioneer, even though I don’t have a ‘created by’ credit, it was a ‘co-created by’ show – with Don. I brought him the original concept, and we were married, and he said ‘Let me just run with this. I can get it made.’ And to his credit, he understands how to tell a story to the audience. He simplified it in a way that you could welcome Quantum Leap into the world. But it was still a tough show to sell.

“I think we went back three times to pitch it to the network. It was complicated to explain. Brandon Tartikoff [the executive] said ‘It’s a great idea – It’s like nothing I’ve ever seen on TV. Let me think about it.’ Then he asked us to come back, ‘I want you to pitch it to me like I’m six years old, then pitch it to me like I’m 80 years old’ and finally he took it. Then even after the show first aired, they decided to introduce that opening where I tell the story. That was created to explain every week to a new viewer what was going on and it worked really well.”

On rewatch now, the best part of three decades later, the show feels groundbreaking in terms of the subjects you cover. Did you feel like you were pushing the envelope?

“I feel we got to do so much on that show. I remember when I did ‘Black on White on Fire’ [S3, Ep7], the networks in the South in the United States wouldn’t air it because it was a black/white relationship. Even though there is no scene where you see a black person and a white person being intimate.

You saw Sam, who was white, and the girl who was white, but because he was playing someone who was black, it was an issue. They wouldn’t air the show in the South. This was around 1992.

“It was challenging for sure. I think we pushed the limits.

“The beauty of the show too, was that it was about hope, which I see so little of on television today. Everything’s so dark, so mean, so vicious, bloody – how many people can you kill? How mean can you make your lead characters and antiheroes. I think it’s why I didn’t work as much afterwards. A) I was a woman, and B) a black woman. There weren’t any black female executive producers that I knew of in drama. I got to do <em>The Net</em> because it had a female lead, but that was almost ten years after <em>Quantum Leap</em> was created. Any show I brought in that had a black lead was never bought, or a female lead, was never bought. 

“I remember I wrote a big action piece – like an Indiana Jones, but female-driven, feature film – and pitched it and the studio executive said, ‘Yeah, yeah, but when did the guy come and rescue her?’ And I said, ‘She doesn’t – she rescues him.’ The look on his face. I’ll never forget it as long as I live.”

The show darted around TV schedules, but the fans remained with it, and still to this day hold it dear to their hearts. Was that palpable at the time, or has that grown since?

“I think near the end of the first season, Harriet Margulies [Production Assistant on the show] found a chat room after an episode where people from across the country talked about it and it became the ‘watercooler.’ We were the first television show that had a chat room as a watercooler. Before that, it was literally you going into your office and standing around the watercooler and talking about movies or TV shows you were watching. Suddenly, it was online. So we started to go into the chat room and talk to people about what they liked and what they didn’t. Not necessarily telling them who we were, but that fan base is what kept us on the air because the network didn’t know what to do with us. There was no show like it, so they couldn’t like pair us with anybody.

“In the five years we were on, I think they moved the show six times and the fans still found it, they followed it, they watched it. That’s how we knew we had something unique and special. To this day, I’ll go into a meeting with a young executive who’ll go, ‘I have to tell you, I loved Quantum Leap. I used to watch it with my mom and dad’.”

Scott Bakula was such a great hero and heartthrob as Dr. Sam. What was he like to work with?

“He was so approachable, you know, in the sense that he had this great, easy acting style. He took chances and he was likeable – in a way that he could be a man’s man and a woman’s man at the same time. He’s really a brilliant actor. I am saddened by the fact that he has not had the opportunity to do movies in the way that could really have lifted his career. He’s had an incredibly successful television career. He’s a good actor. He’s a kind man. I’ve always admired him and felt like when we were working together, I had a friend that I loved to write for because he was always so giving and willing and wanting to take chances as an actor. So it was fun to go down to the trailer and say, ‘Guess what? You’re going to be pregnant this week’.

He does everything in the show from sing and dance to baseball, football, hopping over car bonnets to fights and martial arts. Did you know he had such a wide skill set from the outset, or did you write the challenges for him to rise to?

“I think we had conversations with him about that. I also knew that he had been on Broadway doing musicals. I knew he could sing and dance. When I wrote ‘Sea Bride’ [S2, Ep20], I wrote a tango number – that was unique for him. When Don knew that he could play the guitar… We asked Scott, ‘What do you want to do?’ And he said he wanted to do a musical and I think that’s how the ‘Catch a Falling Star’ episode [S2, Ep10] came about, which involves a performance of ‘Man of LaMancha’.”

Admiral Al Calavicci – he’s so much more than wisecracking and surface jokes or flirtation. There’s so much depth to his character. Was that fleshed out early on with an end to end journey for him in mind, or did his character evolve through the seasons?

“It was a little bit of both. Dean Stockwell had been on Broadway at five-years-old and had been a major child movie star. I remember when we wrote the show where Sam had the chance to save Al – ‘The Leap B4, Ep1] – he was so good in that. I’ll never forget how beautiful that was. And then in the very, very end, I love the fact that Sam did change history and Al ended up wih his beautiful wife with five kids.

“I remember once asking Dean, ‘Do you want us to write more drama for you? Big dramatic moments?’ And he said, ‘I want you to look at me right now. I want you to tell me what you see.’ And I said, ‘Well, your performance, the pain, fear and loss and all that, because you’re such an incredible actor.’ And he said ‘For me to perform that, I have to be it and live it. So don’t do too many.’ 

“He had that depth of acting talent. He is so good – Dean,  wherever you are, I love you. I miss you.”

The episodes that follow later in the seasons involving celebrities – Sam as Elvis, Dr. Ruth, or Lee Harvey Oswald, was that kind of a direction that you always foresaw? It feels like a sea change as the show progressed.

“The stories were designed, for the most part, to be so, so simple in that they were everyday stories. They weren’t change-the-world stories. I think the biggest one was Lee Harvey Oswald, and maybe the one involving Marilyn Monroe – those were with people that could have had a ripple effect.

“But there were other little kisses with history in the show, but they were very hard to do. They ran into a child version of Donald Trump in a taxi cab, [‘It’s A Wonderful Leap’ – S4, Ep18], then they ran into a little boy who is supposed to be Michael Jackson – Sam teaches him to moonwalk [‘Camikazi Kid’ – S1, Ep8]. The first time I did a kiss with history was ‘Star-Crossed’ [S1, Ep3] – Sam meets up with the woman that left him at the altar and they’re at the Watergate Hotel. That was fun stuff.”

Sam managed to awkwardly kiss lots of ladies in that sense of ‘Oh God, they’re going to kiss me and I’ve got to be this person, what am I supposed to do.’

“We never, ever really discussed what happened to Sam. We didn’t want him to be encumbered by a relationship. But I didn’t get to kiss him. My husband wouldn’t leave the set on the episode I was in!”

Your move into directing – from your TV drama Cora Unashamed back in 2000, to Grey’s Anatomy just last year. Is that something you wanted to do sooner? Were there barriers prohibiting you?

“I was supposed to direct on Quantum Leap four times. Every time it was coming up, something would happen. The only women who directed on the show were two black women – Debi Allen [Fame, Everybody Hate Chris, Jane the Virgin] and the other was a woman named Anita Addison. They each did two shows.

I said, ‘If I’m not doing this, I want black women.’ There were no other black women. And it was a fight. I tried to get black women directors on the show, but I could never get them past.

Then when I went to do The Net, the studio blocked it. I give huge amounts of credit for executive producing to Shonda Rhimes and what she has been able to do. She did what I thought I was going to be able to do. She’s so talented and I’m such a fan of her and her shows. I’m looking forward to what she’s going to do on Netflix. And it was an honour to do Grey’s Anatomy because I’m a fan of the show and I’m really grateful to have that opportunity.”

Has there been progress in terms of female directors and filmmakers being given opportunities?

“It’s very hard for women because there aren’t a lot of women executives at the studios. There are more now. And so there is an evolution that’s happening, but it still feels slow. There were shows run by people I gave opportunities to back in the day, but when I said, “hey, I want to direct on your show,” the response was, “oh, there’s too much machismo. There’s too many male hormones around here. They’ll eat you alive.” And I went, “no, they won’t, you’ll protect me. How about if I do my job?” And that was only last year. But there are more opportunities. There are more women making decisions, but we have to do more because women’s stories and women’s voices are more than half the population – we need to hear those stories. The historic ones as well as the contemporary ones.”

Is there a leap that was your favourite overall? That you feel made you made your mark with?

“’The Color of Truth’ [S1, Ep7] touched so many people and it opened a dialogue. I remember we got a letter from a teacher who said she brought the VHS in and she played it to her class, up until Jesse [Sam as an ageing black chauffeur in ’50s Deep South] goes and sits down at the counter in the restaurant. Then she stopped it and asked the students what they thought happened next. They thought that he just ordered lunch. And then she played the rest and that hostility and the animosity he endures and the fact that he had to get up and leave really incensed these children. They had never heard of or experienced racism. They didn’t want to believe that it really happened. This is how history gets buried and why television is so powerful and important. It opened a conversation that she could not have necessarily had in her classroom, according to her, had she not brought that show in to share with her students.

“We had another letter that was very moving, and I want to say it might’ve been ‘The Leap Home’ [S2, Ep1-2]. There was a couple who wrote and said they had a child that was on a cancer ward and every Thursday the whole ward would watch Quantum Leap. Their child was dying and they had kind of given up and it was just time to help that child transition out of this world. They watched the show and she said, ‘We realized we gave up hope. When we watched the show, we realized we didn’t have to give up hope and we wanted to write to you. It’s now six months later and the crisis has passed. The cancer is in remission. Our child is up and going back to school. And we just want to thank you for reminding us that hope has its own power’.”

Its power and poignancy has never diminished. Though the final episode, ‘Mirror Image’ (S5, Ep22), with the caption saying Sam doesn’t get to go home, does leave a sucker punch.

“That was our last fight. Don was going to send him home. And I said, ‘You can’t, you can’t send him home. If you ever, ever, which we’ve not ever been able to get Universal to let us do it, want to do a movie… If you want to keep the story going, you have to leave Sam out there in the hearts of people, leaving people thinking he could leap into their lives’. And at first Don said, ‘No, no, we need to bring him home’. And I said, ‘Do not bring him home. Or you will end the show. If you leave the hope out there, that Sam is out there and he could leap into your life and make a difference’. You keep the show alive in the hearts and the minds of the fans. And I think I was right.”

The ending was poetic for me as a viewer, but your point about Sam still being out there – Is there a leap back to the future for Quantum Leap?

“I started writing a project called <em>Time Child</em> about Sammy Jo Fuller. I actually wrote a trilogy in Season 5 where Sam leapt back three times into the same family and the second time he leapt he ended up in bed with this character and conceived a child. Then the third time he leapt in, he met her at 10 years old – a girl named Sammy Jo Fuller. So in my vision, Sammy Jo Fuller grows up. I actually have Al say, ‘Sammy is in the future with me. We’re trying to bring you home.’ That was my set-up way back in 1993, in Season 5, to say someday, Sammy Jo being his daughter might take over…. 

“This was the ’90s. Women heroes didn’t exist really – other than comic books – Wonder Woman was there, Super Girl was there. But I set it up in the show that Sammy Jo was going to bring him home. Sadly, I have not been able to get Don and the studio to give me the green light for Time Child. It might happen someday.”

Right now, it feels like we need more shows that offer hope. Is there a place for a reboot on streaming platforms?

“Universal keep saying they want to bring it back. They’re not going to give it up to Netflix because they have [US streaming service] Peacock now and still have NBC. I personally think it should be on a full blown network. The hard part would be that it would have to be recast if there was a female version using my character Sammy Jo Fuller. Or if they just redid the show, it would be interesting in the sense that there was such an innocence about the show. I still believe that there is an audience out there that wants it, that longs for looking at the past through the eyes of somebody in the present. But who would that person be if you did the show now, what are those eyes like? 

“We’re living in the time of COVID and suddenly you go back in time. How do you warn people that this is going to happen? How do you warn people about 9/11? How do you warn people about things in the future?

“I mean, one of the beauties of that innocence too, and I thought that was a great gift from Don to the concept, was that Sam’s memory as Swiss cheese – he didn’t remember things and that made it a lot easier, and Al was not allowed to tell him what was happening in the present. There’s a lot of detail woven into the mythology that allowed it to be innocent and in the moment of time travel. You didn’t have to drag the future back with you.”

Do you have an actress in mind to play Sammy Jo in a reboot?

“Oh my gosh, Jennifer Garner. I always felt she would be a great female Sam. She’s an ‘every woman.’ She’s funny. She does great drama. When I think of a female Sam or even Sammy Jo, I think Jennifer – in a heartbeat. She’s so great in Alias. That show just never stopped. You couldn’t take a breath. If I had to go younger, somebody that would have that kind of believable humour that you think could actually rescue you – maybe Jennifer Lawrence. She’s pretty formidable in that sense.”

“To bring Quantum Leap back. If they’re thinking about it, now’s the time to happen. Tell people to write to Universal! Write for the attention of Pearlena Igbokwe – if anyone can bring it back, she can do it. Write! Write to Pearlena – she’s the one that’ll make it happen. That’s how we stayed on the air for five and a half years. Fans unite and write!”

[redshirtgal]

This article is going to stray off the usual Redshirt/ TOS extras topic a bit. I ran across the basic info while researching someone else and realized this was just too good not to share.

Take a good look at this October 1967 TV Guide article. Most Trek fans know there were at least five female android series in "I, Mudd" and that three sets of identical twins were used to represent certain series. But most people either don't realize or don't pay attention to the fact there was a male set of twins used to represent the Herman series in the episode. They were usually seen in the background, guarding doorways or seen behind the shoulders of the main characters.

Their names were Tom and Ted Le Garde and chances are, you have never heard of them before. But it turns out they were quite well known in some areas of the world by the time they appeared on Star Trek.

(Billy Blackburn was also a member of the Herman series of androids but notice he was placed in the forefront and the twins were placed farther back so you would not notice they really do not look all that similar) Even though Tom and Ted were primarily known as country western singers from Australia, they had been encouraged by their manager to take acting lessons. During the 60s, the twins came to the U.S. to seek their fame and fortune. By chance, the Le Gardes were appearing in Los Angeles in an off-Broadway production of THE WORLD OF CARL SANDBURG. William Shatner was a friend of the director and producer, Ed Ludlum, and he was there in attendance on opening night. After the show was over, Shatner came backstage and chatted a bit with them. Eventually, he told them about an opportunity on an upcoming Star Trek episode called "I, Mudd" to play twin androids and asked if they were interested. And of course they were!

They believed their connection with Shatner and Ludlum proved useful when they landed their next role as a pair of river bandits in an episode of Daniel Boone titled "Sidewinder and Cherokee." The twins enjoyed keeping both Fess Parker and the guest star Forrest Tucker confused about which brother they were speaking with.

But let's back up a little bit and take a look at how the twins got their start. When they were children, they fell in love with both country western music and cowboy movies. The first western movie they saw was one with Hopalong Cassidy, whom they would meet many years later. 

Tom and Ted Le Garde eventually left the home at the age of 15 to work at one of the largest cattle ranches in Australia. Quick to learn, soon they became adept at riding horses, herding cattle, whip-cracking, and marksmanship with a rifle. But their love of music also led them into entering many singing contests while they were also participating in rodeos. In 1947, Tom and Ted received an offer to join Buddy Williams Wild West Show. At that time, they were the youngest professional rodeo riders at the age of 17. But they were also allowed to continue singing and became popular with the audiences as Australia’s Yodeling Stockmen.

And all that hard work paid off. In 1950, Tom and Time Le Garde  released their first recordings for Rodeo. And in 1952, their fortunes took off when they signed on with their first manager, Edward Samuels. He helped them refine their act, steered them toward motivational books, and had them take acting lessons. Between 1952 and 1957, they released a number of singles under the Regal Zonophone label. 

In 1954, Tom and Ted Le Garde met their idol William Boyd aka "Hopalong Cassidy" while he was on tour in Australia. That was likely the most important moment in their lives. For the rest of that tour, they were his support act. By the time they decided to try their luck in the U.S. and Canada, he had introduced them to others well known country western singers such as Roy Rodgers and Gene Autry.

The Le Gardes were already popular recording stars in Australia before they left for the United States. They had hit singles on both the Rodeo and Regal Zonophone Records, including "Before the Dawn," There's a Bridle Hanging on the Wall," and "Nobody's Darling But Mine." After they had finished their first American tour, they set up their own version of The Grand Ole Opry in Sydney and began recording for Columbia Records, sometimes with Lorne Green and Marty Robbins. The Le Gardes put out three albums and a string of singles. With Gary Paxton as producer, they recorded the single "True Love" which broke into the Top 90 Country Hits. The Le Gardes had another Top 90 single with "I Can Almost Touch The Feelin'." Gary Paxton had again served as their producer. The following year, they barely made the charts with "Daddy's Makin' Records in Nashville."

With all these recordings, naturally they began showing up on variety and talk shows in Australia, Canada, Los Angeles, Nashville, and Las Vegas as well as producing several of their own. After appearing in several shows in Canada, it was rumored they were going to have their own talk show there but it never seemed to pan out. However, back in Hollywood, the Le Gardes were seen on Doye O’Dell’s Western Varieties TV shows and hosted their own TV series on KTLA-TV Los Angeles. They made several appearances on the Grand Ole Opry in Nashville as well. Back in Australia, they began working on their own show called "Country Style" in 1967, even filming at least one episode. However the TV studio rejected it and the episode was not aired until 2010. But the following year, they did agree to host a variety show called Studio A. On one of their returns to the United States, Elvis Presley's manager Colonel Tom Parker helped them get a three year contract in Las Vegas which provided some stability while they continued to record.

How many times have we seen a Star Trek connection to Elvis Presley? This one, however, is unique. Not only were the Le Garde twins taken under the wing of Presley's manager, Colonel Tom Parker, but they also wore variations of a very famous Elvis costume on stage. Elvis' jumpsuit was known as the "Light Blue Target Suit" and was made by Bill Belew's IC Costume Company. The white and the black versions of the Le Garde's outfits were made by the same company. No one knows if Colonel Tom Parker took them to Bill Belew's company and asked to have these jumpsuits created off the pattern for Elvis Presley's or if the Le Gardes themselves ask Parke for help in ordering the two sets. Bill Belew rarely did individual orders by the 70s so Parker had to have been involved somehow. In the photo above, the suit in the center is a copy of the Elvis suit - the stones are a lighter blue. But you can see there are slight differences between the ones worn by the Le Gardes and this copy - the stones in the Le Gardes’ jumpsuit were spaced farther apart. If you want to see the actual Elvis outfit, you can click on this link.  https://www.tapatalk.com/groups/elvismomentsintime/13-blue-starburst-jumpsuit-t6529.html

In 1987, they were awarded Hall Of Fame status at Australia’s prestigious Tamworth Country Festival and during the 80s, they launched their own Boomerang label and made several appearances in the UK, including at the Wembley Festival. Their last US country chart entry in 1988, "Crocodile Man From Walk," reached number 92.

Maybe the Le Gardes never quite made it to the top level of stardom in the U.S., they still managed to enjoy quite a bit of success both there and in their home country. In 2015, they released a book about their rise to fame as Australia's first country western music export. Even though Ted Le Garde died in 2018, they are still fondly remembered by many of their countrymen. Quite an accomplishment for twin brothers we only knew as male androids in "I, Mudd."

[papermoonloveslucy]

FRED MACMURRAY

August 30, 1908

Frederick Martin MacMurray was born in Kankakee, Illinois. His aunt was a vaudeville performer and actress. Before MacMurray was two years old, his family moved to Madison, Wisconsin, where his father was a music teacher. He later attended school in Quincy, Illinois before earning a full scholarship to Carroll College in Waukesha, Wisconsin. At Carroll, MacMurray played the saxophone in numerous local bands. He did not graduate from the college. Before signing with Paramount Pictures in 1934, he appeared on Broadway in Three's a Crowd (1930) and alongside Bob Hope in Roberta (1933).

Fred MacMurray (1908-91) appeared in over 100 films in his career. He is perhaps best remembered for the film Double Indemnity (1944). 

MacMurray’s name was first mentioned by Ethel in 1953 in “The Black Eye” (ILL S2;E20) when flowers arrive for Lucy mistakenly signed “Eternally yours, Fred.” 

LUCY: “Oh, now, Ethel, you certainly don’t think that these are from Fred Mertz, do you?” ETHEL: “Well, this card certainly wasn’t written by Fred MacMurray.”

MacMurray’s 1954 film The Caine Mutiny was often mentioned on “Lucy” sitcoms, often in the context of the film’s source material, a book and a play. In “Lucy Writes A Novel” (ILL S3;E24), Lucy plans to name the sequel to her novel “Sugar Cane Mutiny,” a pun on Cuba’s main export and the title of the (then) recently released film. In “Guess Who Owes Lucy $23.50?” (HL S1;E11) Van Johnson orders security guards to escort Lucy Carter out of the studio. A bitter Lucy says that now she’s glad he got court martialed The Caine Mutiny.

The first time that MacMurray appeared on screen with Lucille Ball was in “Lucy Hunts Uranium” a 1958 episode of “The Lucy-Desi Comedy Hour” set in the Nevada desert and Las Vegas. MacMurray played himself, and was briefly joined by his real-life second wife, June Haver. The storyline has MacMurray competing with Lucy for a claim on Uranium discovered in the desert. 

Lucille Ball later said that MacMurray was “fine enough” in this episode, but she really had to work with him on his comic timing, especially in the telephone booth scene. Ball and MacMurray clearly had different styles.

MY THREE SONS 

MacMurray is perhaps best remembered for playing Steve Douglas on “My Three Sons” (1960-72).

MacMurray and the long-running show was on the cover of TV Guide nine times! 

From 1960 to 1965, MacMurray was joined by William Frawley as Bub O’Casey, the family’s live-in maternal grandfather. 

When Frawley left the show due to ill-health he was replaced by another Desilu alumni, William Demarest, as Uncle Charley. Demarest did three films with Lucille Ball. For Christmas 1959, Frawley and Demarest both appeared with Lucy and Desi in “The Desilu Revue”. At the time, Demarest was working on the Desilu lot appearing in NBC’s “Love and Marriage.” 

On “My Three Sons” two of  Steve Douglas’ “sons” had been seen on “The Lucy Show”: Don Grady (Robbie Douglas) had played Chris Carmichael’s friend Bill and Barry Livingston (Ernie Douglas) had played Mr. Mooney’s son Arnold. Ted Eccles, who assumed the role of Arnold Mooney when Barry Livingston was busy on “My Three Sons,” also did an episode. Ralph Hart (who played Viv Bagley’s son Sherman), Jimmy Garrett (Jerry Carmichael) and Candy Moore (Lucy Carmichael’s daughter Chris) were also on the show.

Other “Lucy” performers on “My Three Sons” include: Mary Wickes, Doris Singleton, Shirley Mitchell, Barbara Pepper, Verna Felton, Kathleen Freeman, Jerry Hausner, Reta Shaw, Elvia Allman, Eleanor Audley, Burt Mustin, Olan Soule, Alberto Morin, Herb Vigran, Bill Quinn, Barbara Perry, Nancy Kulp, George Neise, Maxine Semon, Flip Mark, Roy Roberts, Lou Krugman, Ted Eccles, Richard Reeves, Dorothy Konrad, Ed Begley, Gail Bonney, Jay North, Rolfe Sedan, Tyler McVey, J. Pat O’Malley, Paul Picerni, Sandra Gould, Richard Deacon, Mabel Albertson, Joan Blondell, Leon Belasco, Dayton Lummis, Lurene Tuttle, Robert Foulk, Dick Patterson, Jamie Farr, Larry J. Blake, Amzie Strickland, Barbara Morrison, Louis Nicoletti, Frank Gerstle, Willy Lally, Gil Perkins, Tommy Ferrell, Eve McVeagh, Remo Pisani, Dub Taylor, Frank J. Scannell, Ray Kellogg, Romo Vincent, Stafford Repp, Jay Novello, and Leoda Richards.

The show’s Dialogue Coach / Director was Adele Sliff, whose name was used in the dialogue of “In Palm Springs” when Rock Hudson tells Lucy and Ethel a sad story.  Adele was also the “I Love Lucy” script clerk.

In 1961, MacMurray took part in “This is Your Life: William Frawley” in tribute to his co-star. Naturally, Lucille Ball also took part in the show. 

MacMurray was cast as Frank Beardsley in Yours, Mine and Ours (1968) opposite Lucille Ball, but withdrew and the role went to Henry Fonda.

In 1978, Lucy and MacMurray took to the dais to tribute Henry Fonda in “AFI Salutes Henry Fonda”. 

Two months later, Lucy and Fred were both seen in “Happy Birthday, Bob: A Salute to Bob Hope’s 75th Birthday” taped at the John F. Kennedy Center.

In 1986, they were both back for “AFI Achievement Award: A Tribute to Billy Wilder”. Curiously, neither MacMurray nor Ball had ever worked with Wilder. 

The last time Lucy and MacMurray shared the small screen (with June Haver) was at the “All-Star Party for Clint Eastwood” in 1986.

He married Lillian Lamont on June 20, 1936, and the couple adopted two children. 

After Lamont died of cancer on June 22, 1953, he married actress June Haver the following year. The couple adopted two more children in 1956. MacMurray and Haver's marriage lasted 37 years, until Fred's death at age 83 in 1991. 

[gibelwho]

Top 5: Nostalgia Movies

This Top 5 is taking a trip down childhood memory lane to choose the best Nostalgia Movies - films that I loved as a kid and continue to love to this day. The film must have been watched multiple times during my youth and continue to be associated with a memory or tradition that was an important marker of growing up. Therefore, any film produced past 2004, when I graduated high school, has not been considered - and, to even make the cut, the film must be associated with more than just constant re-watches in our downstairs rec room (arranged with a HUGE - well, big for the ‘90s - screen with actual surround sound that my dad installed); rather, these films must be an essential part of my childhood progression into adult-hood and laid the groundwork for a future of loving cinema.

Gibelwho Productions Presents Nostalgia Movies:

5. Ferris Bueller’s Day Off

4. X-Men

3. The Little Mermaid

2. Indiana Jones and the Last Crusade

1. Newsies

Ferris Bueller’s Day Off (1986): As my high school career began to wrap up and I was looking ahead to college (where I had already committed to attending film school), my mother informed me of a proclamation - I was not allowed to leave her household without watching Ferris Bueller. Perhaps she knew that she needed to instill a little bit of rule-breaking encouragement into her straight A / type A child before I was to head out into the unruly world of college, but nonetheless, this film left a mark with it’s delightful adventures of Ferris, Cameron, and Sloane. Years later, I attended an LA rooftop screening where the audience all danced during the Twist and Shout parade, bringing me straight back to the joy of discovering this film with my mom. In the same tradition, I will be sure to make my kids watch this film before they leave our household for the wide world so they can learn to cause a little innocent rule-breaking. Save Ferris!

X-Men (2000): I had a secret obsession when I was a kid - I LOVED Marvel Comics. I had read all of my dad’s comic book collection from when he was a kid, I started my own collection, and had even started tracking the value of each issue. But I was a girl, and did not share this particular passion with my fellow elementary school friends (ahhh, the fear of being judged by your peers). So when I entered a movie theater as a freshman in high school (with my secret still intact) to see an X-Men film and the place was PACKED, I couldn’t contain my excitement that maybe, just maybe, more people would be into these characters and storylines. Then, when I went into my summer theatre program and my friends used X-Men characters as improv inspiration, I thought...this is going mainstream! I still didn’t confide my true colors until the MCU began and my college friends discovered that I knew a...lot more about Iron Man’s backstory than should be possible and I was officially outed. So, fully embracing my nerdom, I traveled to San Diego to the sacred ground that was Comic Con, truly cementing my love of Marvel. And now the rest of the world has caught up to why these characters are so special. That first inkling of a wider world loving what I loved started when I watched X-Men in theaters - seeing my heroes on the big screen, fighting their super villains, and the packed crowd around me was digging it!

The Little Mermaid (1989): One of my earliest memories of opening presents was from my 6th birthday, sitting in the living room and ripping open the wrapping paper to discover the VHS for The Little Mermaid - a film I had seen at school and LOVED - and now it was mine to watch at any time! Truly a special Disney moment, which is also matched with many other memories of Disney animated films (the momentous opening to Lion King and the cut to black that took my breath away in the theater, playing the Mulan soundtrack on cassette over and over singing Reflection, and identifying with Belle’s obsession with reading). I was very much the target audience for the Disney Renaissance, and I ate up all the music, the (slightly) stronger portrayal of women, and our VHS collection only grew to include all of these modern classics. The Little Mermaid kicked off a golden age for Disney Animation and little Katie grew up on the Alan Menken soundtrack.

Indiana Jones and the Last Crusade (1989): Our family had three fancy VHS boxed sets for three different franchises and we watched these flicks on repeat - Star Trek movies (TOS with Kirk and Spock), the Star Wars trilogy, and the Indiana Jones films. Literally any one of the movies from these collections could make this slot, but since both of the Star franchises have already gotten love in these Top 5 lists, I’m going to pick representation from our resident archaeological professor / international adventurer. My favorite of the bunch is the third - from the thrilling opening of young Indy, to the dynamic between father and son, and the epic ending of selecting the correct Grail (“you have chosen...wisely”). Watching any one of these films is just comfort food for my soul, taking me back to the family settling in to watch in our downstairs rec room, setting the foundation for the nerdom that my parents instilled into me at a young age and that has continued to guide my interests and movie-watching to this day.

Newsies (1992): Growing up, my family had Friday movie nights, where we ordered from the Pizza Hut that was right next to a Blockbuster; my brother and I were allowed to each choose a movie to rent for the weekend. I went through a phase where I just rented Newsies on repeat. It was as though this film was made just for me - a musical, set in a historical time period, with cute boys singing and dancing, music by the magical Alan Menken - what is not to love?!? I was so obsessed with this movie that in the pre-Internet age, I wrote down the lyrics by meticulously listening, pausing, writing down, rewinding, and repeating - which was an onerous process when one was working with manual VHS tapes. I eventually got a copy of my own, the DVD when it came out, the CD of the soundtrack, and also the piano sheet music. I knew all the lines to the songs, and could probably to this day quote the majority of the movie. Years later, imagine my delight when Disney produced a Broadway musical of the movie - we took a special trip to New York on my birthday to see the show (which of course, doesn’t match up to my love for the film, the true effect of a nostalgic love for a piece of your childhood). Living in LA affords us the opportunity for magical movie-going experiences, and my husband and I scored tickets to a special showing of Newsies at the Disney El Capitan theater - and then the traveling Broadway company of Newsies the musical that was in town and performing just up the street at the Pantages theater made an appearance and performed for the audience after the movie wrapped. This film has held a special place in my heart and is the epitome of nostalgia love for a movie from childhood.

Honorable Mentions:

The Music Man (1962): The two music genres we listened to growing up were 90s country (Garth, Reba, Trisha, Wynonna!) and also musicals. Our family was very much into theater and starting at the age of twelve, I started acting in musicals at our local performing arts program for youths. Our family also watched many of the classic musicals that were filmed in the 1950s and 60s, such as Hello, Dolly, Oklahoma, and Music Man. This last film stands in as a proxy for all those classics, but was also selected in particular because I performed in a production during a summer in junior high, where I was in the background chorus (and featured in the Wells Fargo song!). The music and lyrics of this story, written by Meredith Wilson, are of such cleverness and variety - from the 4-part harmony barbershop quartet to the love song ballads, the pre-hip hop rhythmic talking song to the genius opening number of the salesmen on the train. The translation to film is serviceable and very much in the style of the musicals brought from stage to screen in the 1960s - nothing too clever and some blocking that sought to recreate a theater stage on the film set, but these series of musical films cemented my love for the genre in an accessible way just as I was starting myself to perform on stage.

Jurassic Park (1993): Oh, the raptor in the kitchen stalking the two kids stills brings me chills thinking about it. Watching that scene as a kid, I (more than once) fled the room because it was so scary! This film had it all - creepy dinosaurs, a smart teenage girl and an even smarter heroine that was a scientist, great music (whose theme I diligently learned how to play on the piano), and plenty of action! My family definitely had this on repeat in the VHS player, but I loved the movie so much that I ended up reading Michael Crichton’s novel to experience the source material - and became more aware of how a film is an adaption of a novel’s storytelling, translating from the page to the screen. I do fall in favor of reading the novel before seeing the movie, but if a film helps you discover an incredible book, it can be like diving into an extension of the world beyond what the screen can fit.

[fmdnina]

HEAD / CANON. hot topic ( k ) eps 6 & 7. nina’s lesson plan, draft 02. word count, 979 words.

when she was first told of the opportunity to mentor trainees as they compete for a chance to début in—what’s likely to be—south korea’s next successful boy group, nina didn’t have to think twice before interviewing to be one of the many entertainers that’ll guide them into being their best selves. sure, to many of her comrades, this may have been looked at as a “boring” way to boost public image and get paid, but her opinion differed greatly. honestly, it appeared like a fantastic medium to test all the skills she’s accumulated over her last decade in the industry. that, and well, to be perfectly frank, it’s been a long-term dream of her’s to return to new york after her work in korea is done, and while there, she plans to be a vocal coach, and a potential actress on the broadway stage. she thinks that nothing would satisfy her more than almost “gifting” people with the magic world of music—in any form, really. 

whether that be by playing the piano or the guitar, or any other instrument; or even if it means just simply being a vocalist, she hopes to invoke passion in them. in her point of view, that’s the most important part of honing a craft and truly making it your own. that’s how she’s lead her career thus far, and while she hasn’t necessarily put herself out there as a solo artist yet, she finds that a direct love for being a musician is key in her continued success. hopefully, by being selected as one of two mentors, she’ll be able to pass along some sage advice to the young hopefuls.

if anything, nina wants to support them on their journey to make their dreams come true.

having requested prior access to the sheet music and chords to the songs being performed, nina would have studied both of them for as long as she could before filming commenced.

multiple days. many, many hours. however long she had.

she’d play “downpour” on the piano; singing along all the while, and repeating it multiple times, in order to truly have it memorized. that piece alone she considers slightly more complex, but only because it’s arrangement is mellower, and far more stripped down. it’ll heavily rely on the vocalists and their performances in order to be strong. admittedly, it’s her preferred pick of the two, but she tries not to place a heavy bias on that. one thing about it is for sure, though: it’s a hard song to sing. it’s flashy, it’s belt-y, it’s incredibly vulnerable. the artists responsible need to have complete understanding and control over their vocals for the dynamics to work properly.

she’s sure that all of the trainees who are claiming to be singers are talented in their own right, and nina’s also aware that she doesn’t have nearly as much time as she’d like with them, so in all reality, she would want to focus on the overall emotion of the lyrics in comparison to the natural ebbs and flows of the song’s composition itself. it would be important for her to let them know that some parts need to be toned down and restrained; soft, gentle, almost like singing a lullaby. meanwhile, other areas rely on healthy sustained high notes to add impact, but those need to be carefully done to ensure that over-singing isn’t committed because, well, that would ruin the song’s core. any technical issues that may arise she’d address, but she doesn’t really anticipate for there to be any issues with intonation or placement.

as far as “playing with fire” is concerned, she’d switch to playing that on the guitar. like with the first piece, it has its moments where the main vocalists are allowed to really show off their ranges, but what’s worrying about this one is that the arrangement is much more layered; much more in-your-face than “downpour.” it could easily overwhelm a singer that isn’t equipped to the style that they’re going for. if any of them have a “softer” timbre, they’ll easily get lost behind the roar of the band. she wished so badly that she was able to hear them sing a little more going in, so she could address more specific issues if there were any, but she’d continue working on it until she could put-together how exactly to avoid getting vocally lost in the track.

it’s something that a lot of idols struggle with, unfortunately, so she’d likely address that subject first-and-foremost.

she would also want to touch on ensuring that they’re still singing in a manner that isn’t harmful to their voices. because the song is punchier, some of them may feel the need to add an “edge” to their singing in order to suit the concept. as far as she’s aware of, some rock performers have signature sounds they’re known for, but in reality, they’re technical flaws that later ruin their pipes. altogether, she’d just want them to keep their vocal health in mind with “playing with fire.” that, and well, she would hope that her good friend and co-mentor, park duri, had more guidance for them as far as this one’s concerned as knight’s had pretty loud releases. aria’s tend to be on the softer side, so nina’s at a slight disadvantage there; especially because her individual style as a singer tends to be more laid back, as well.

as a whole, though, she just hopes to instill a love for what they do in them. that alone will greatly enhance their performances. she’s sure of that. however, she still worries that the small allotment of time they’re allowed to sit in is far too little for her to genuinely teach them much, but she hopes she’s still able to leave some sort of an impression.

the débuting few may end up being her label-mates, after all.