#dennis menace clarke

[slidersbabygirl]

Meltdown: *talking about Pheonix and Bob*

Meltdown: "I could take them both at once."

Menace: "In a fight, right?"

Menace: "Babe, in a fight, right?"

[batmanonthecover]

Justice League of America #69 - February 1969 (DC Comics - USA)

Cover Art: Carmine Infantino

A MATTER OF MENACE

Script: Denny O'Neil

Art: Dick Dillin  (Pencils), Sid Greene (Inks)

Characters: Justice League of America [JLA; Atom [Ray Palmer]; Batman [Bruce Wayne]; Flash [Barry Allen]; Green Arrow [Oliver Queen]; Superman [Clark Kent; Kal-El]; Wonder Woman [Diana Prince] (leaves)]; Charlie Sneed; The Headmaster [Cabeza Maestro] (villain); The Tattooed Man [Abel Tarrant] (villain)

Synopsis: The JLA's old enemy, the Headmaster, frames Green Arrow for the murder of the Tattooed Man. Wonder Woman, having renounced her Amazon powers, takes a leave of absence from the League.

Batman story #1,264

[chernobog13]

Neal Adams' cover for Superman (vol. 1) #233 (January, 1971).

This was the beginning of editor Julius Schwartz's 15-year stint as Superman editor, and was to be the beginning of a new era for the Man of Steel.

In this issue an experiment seeking to use kryptonite as an energy source goes awry, resulting in an explosion that renders all kryptonite on Earth inert. Superman's greatest vulnerability is gone, making him seemingly unstoppable!

However, as the story progresses over the next several months, Superman's powers decrease until he's only 2/3 as super as he was before the explosion.

Schwartz, and new Superman writer Denny O'Neil, believed that Superman had become so powerful that he was no longer believable or relatable. Along with jettisoning much of the Silver Age lore (Krypto the Super-Dog and the other Super-Pets; the bottle city of Kandor and the Superman Emergency Squad; the Superman robots; The Phantom Zone; etc) they thought that by reducing Superman's abilities readers would find him more interesting, as he would have to struggle more to defeat villains and solve problems.

(Interestingly, Supergirl's powers were not reduced during this period, so she would have been more powerful than her older cousin. To my knowledge this was never addressed.)

The new concept only lasted nine issues. By Superman #243 (issue #239 was a giant all-reprint issue) O'Neil was gone as writer, and Superman was back to full power with no mention of what had gone before. The only changes that stayed from the previous storyline was Clark Kent being a TV news reporter instead of a newspaper reporter, and kryptonite still being harmless.

Other writers eventually brought kryptonite back as a menace by explaining that new batches from space had fallen to Earth. Clark was promoted to anchorman at WGBS TV, but also allowed to do double duty as a reporter for the Daily Planet (which, conveniently, was housed in the same building as WGBS).

Krypto, Kandor, the Phantom Zone, and other Silver Age elements gradually made their way back as well into Superman's stories.

And that's the way it remained until Superman, and much of the DC Universe, was rebooted post-crisis On Infinite Earths.

[parkerbombshell]

Just Another Menace Sunday w 1019/ Mediocre

New Shows Sundays 4pm EST bombshellradio.com Repeats Wednesdays 1pm EST and Fridays 6pm EST Archival Shows Daily 6pm  EST "Just Another Menace Sunday" radio thing. Hour 1: A Conversation From the Menace Hollywood Knolls Studio with Mediocre and their Musical Sandwich! Hour 2: New Melodic Rock 'n Roll from: Soft Science, Soup Dragons, Girl and Girl, Dope Lemon, Chemical Brothers feat. Beck, Richard Hawley, Mantra Of The Cosmos, Vince Clarke, Blue, Rural Alberta Advantage, Tim Kinsella & Jenny Pulse, The Terrys!   This Week's Interview: Medicore

This Week – Episode #1019 A CONVERSATION WITH MEDIOCRE AND THEIR MUSICAL SANDWICH (09/10/2023) Theme Song Just Another Menace Sunday Theme (Dennis The Menace) - Mighty Six Ninety Hour 1 A CONVERSATION WITH MEDIOCRE AND THEIR MUSICAL SANDWICH OPENING SONG: Pop Song – Mediocre MEDIOCRE MUSICAL SANDWICH: TOP BREAD: Mattress Bitch – Mediocre Goodnight And Go – Imogen Heap Shoelaces – Prince Daddy & The Hyenas Yakitori – Otoboke Beaver You’re No Rock And Roll Fun – Sleater-Kinney Angels – Amyl & The Shiffers Dance – ESG You Can Be Mean – Indigo Desouza Action – Chai Helicopter – Bloc Party Empty – Metric Nineteen – Tegan and Sara Naked Eye – Lucious Jackson BOTTOM BREAD: To Know You’re Screwed Is To Know A Lot – Medicore Hour 2 NEW MELODIC ROCK & ROLL OPENING SONG: True – Soft Science (Shelflife) Love Is Love – Soup Dragons (Raw TV Products) No Music On A Dead Planet – Soup Dragons feat. Fred Schneider (Raw TV Products) Dance Now – Girl and Girl (Sub Pop) Miami Baby – Dope Lemon (BMG) Skipping Like A Stone – Chemical Brothers feat. Beck (Virgin) Not The Only Road – Richard Hawley (BMG) X (Wot You Sayin’) – Mantra of The Cosmos (BMG) The Lamentations Of Jeremiah – Vince Clarke (Mute) Barbaric – Blur (Parlophone) Conductors – Rural Alberta Advantage (Saddle Creek) Over And Over – Tim Kinsella & Jenny Pulse (Kill Rock Stars) CLOSING SONG: Silent Disco – The Terrys (Self Release)   Read the full article

[theultimatefan]

‘Back To The Future’ 40th Anniversary Highlights Fan Expo New Orleans, January 10-12, 2025

The way we see it, if you’re going to build a pop culture convention, why not do it with some style? With apologies to Doc Brown, if our calculations are correct, FAN EXPO New Orleans brings every gigawatt of energy with its first wave of celebrities attending the annual extravaganza, January 10-12, 2025, at the Ernest N. Morial Convention Center. Headlining an already impressive lineup are four beloved stars of the Back to the Future trilogy, including Michael J. Fox, Christopher Lloyd, Lea Thompson and Tom Wilson, celebrating the 40th anniversary of the first installment in the franchise (and 140th anniversary of the 1885 setting of BTTF3!)

And if that weren’t enough, fans of “Smallville” can meet a trio of standouts from that landmark series, including Tom Welling, Michael Rosenbaum and Kristin Kreuk. And "Firefly” standout Alan Tudyk is also part of the initial lineup announcement, a superhero’s start to what will surely be another huge celebration in the Big Easy.

FAN EXPO New Orleans features the biggest and best in pop culture: movies, TV, music, artists, writers, exhibitors, cosplay, with three full days of themed programming to satisfy every fandom.

Michael J. Fox debuted as a professional actor at 15, co-starring in the sitcom “Leo and Me” on CBC. When he was 18, Fox moved to Los Angeles. He had a series of bit parts, including one in “Palmerstown USA” before winning the role of lovable conservative Alex P. Keaton on NBC’s enormously popular “Family Ties” (1982-89). During Fox’s seven years on “Ties,” he earned three Emmy Awards and a Golden Globe, making him one of the country’s most prominent young actors. The five-time Emmy winner (in addition to the three for “Family Ties,” he also won one for “Spin City” and one for a guest role on “Rescue Me”) received an honorary Oscar for his commitment to the campaign for increased Parkinson’s research in 2022.

He may be best known to FAN EXPO fans for his iconic portrayal of “Doc Brown,” but Christopher Lloyd's career includes blockbuster films including The Addams Family and Who Framed Roger Rabbit and classic series like "Taxi" and the animated “Cyberchase.” Some of Lloyd's other top credits include Dennis the Menace, Angels in the Outfield, To Be or Not to Be, Clue and Star Trek III: The Search for Spock.

In addition to playing "Lorraine Baines McFly" alongside Fox, Lea Thompson starred in SpaceCamp, Howard the Duck, Dennis the Menace, Some Kind of Wonderful, All the Right Moves and numerous other hit films. She has guest starred in many TV series and had success with the NBC situation comedy "Caroline in the City" in the late 1990s before starring in several Broadway plays.

Tom Wilson is a character actor, writer and comedian with more than 100 film and TV credits. Wilson burst into the BTTF movies as the now iconic bully “Biff,” his grandson “Griff,” and even his own great grandfather, gunslinger Buford “Mad Dog” Tannen, for which he won the Saturn Award for best supporting actor. He’s also known for roles in “Freaks and Geeks,” "Wing Commander,” April Fool’s Day, “Zach Stone is Gonna Be Famous” and “SpongeBob SquarePants.”

Tom Welling is probably best known for his role as “Clark Kent” in "Smallville.” He has also played “Lt. Marcus Pierce / Cain” in “Lucifer” and “’Karate Rob’ Meltzer” in “Judging Amy” and has had roles in the films Cheaper by the Dozen, The Fog, Draft Day and The Choice.

Kristin Kreuk appeared on "Smallville" as Clark's original love interest, “Lana Lang” and was also featured as “Catherine Chandler” in The CW sci-fi series "Beauty & the Beast" and as “Joanna Hanley” in the CBC legal drama series "Burden of Truth."

Michael Rosenbaum starred in the role of “Lex Luthor” on "Smallville" and most recently as the character “Buddy Dobbs” on the TV Land series "Impastor." He is also known for voicing “Wally West / The Flash” on the popular animated series "Justice League" and "Justice League Unlimited."

Alan Tudyk gained fans’ attention when he starred as wise-cracking "Hoban 'Wash' Washburne" in "Firefly" and Serenity, and later grabbed the “Star Wars” fandom with his portrayal of “K-2SO” in Rogue One. He currently stars as “Harry Vanderspeigle” in “Resident Alien” and also appeared in Wreck it Ralph and 42 and has lent his voice to characters in hits like “American Dad,” “Harley Quinn,” “Transformers: Earthspeak” and “Star vs. the Forces of Evil.”

New Orleans is the first event on the 2025 FAN EXPO HQ calendar; the full schedule is available at fanexpohq.com/home/events/.

[micoc84]

Comics America

Superman (1938) - J.Siegel, DC - Clark, Lois, Lex Luthor Archie Andrews (1941) - Goldwater, Pep - Betty, Veronica, Jughead Mickey Mouse (1928) - Disney, Min, Donald, Goof Charlie Brown (1948) - Schulz, Snoop, Linus, Lucy, Peppermint The Jetsons (1962) - Hanna, Barbera - George, Jane, Elroy, Judy X-Men (1963) - J.Kirby, Marvel - Xavier, Jean, Cyclops Wolverine Scooby- Doo (1969) - J.Ruby -Warner - Shaggy, Fred, Daphne Futurama (1999) - Groening - Fox, Phil Fry, Leela, Bender, Zoidberg Dick Tracy (1931) - C.Gould - Tribune, Tess Truheart, Junior GI Joe (1983) - D.Levine, Hasbro, Sg. Duke, Lt Falcon, Jinx Wizard Oz (1900), Buck Rogers (29), Looney Tunes (1930), Popeye Sailor (33), Casper Friendly (36), Batman (39), Tom & Jerry (40), Captain America (41), Wonder Woman (41), Muppets (55), Heckle Jeckle (55), Woody Woodpecker (57), Huckleberry Hound (58), Rocky Bullwinkle (1959), Flintstones (60), Yogi Bear (61), Spiderman (62), Jonny Quest (64), Space Ghost (66), Star Trek (66), Zap Comics (68), Pink Panther (69), Sesame Street (69)

Conan Barbarian (70), Heathcliff (73), Dungeons Dragons (74), Garfield (76), Star Wars (77), Picture Bible (78), Smurfs (81), Alvin Chipmunks (83), Inspector Gadget (83), He-Man Masters (83), Dungeons Dragons (83), Fraggle Rock (83), Transformers (84), Muppet Babies (84), Thundercats (85), Calvin and Hobbes (85), Jem (85), Dennis Menace (86), Care Bears (86), TMN Turtles (87), Duck Tales (87), Chip Dale Rangers (89), Simpsons (89) Talespin (90), Ren and Stimpy (91), Rugrats (91), Doug (91), Hellboy (93), Animaniacs (93), Rocko's Modern (93), Beavis Bhead (93), Toy Story (95), Arthur (96), Game of Thrones (96), South Park (97), Daria (97), Johnny Bravo (97), Powerpuff Girls (98), Family Guy (99), Spongebob Square (99), Kim Possible (02), Venture Bros (04), Avatar Airbend (05) -Nickel, Phineas Ferb (07), Adventure Time (10), Despicable Me (10), Gravity Falls (12), Rick & Morty (13), Stranger Things (2016)

[papermoonloveslucy]

MY THREE SONS at 60!

September 29, 1960

“My Three Sons” was a situation comedy produced at Desilu Studios. It premiered on ABC TV on September 29, 1960 and finished its first run on April 13, 1972, with 380 episodes making it the second-longest running live-action sitcom in TV history after “The Adventures of Ozzie and Harriett” (1952-66). 

Seasons 1 through 5 were aired in black and white on CBS.  In 1965 it moved to CBS when ABC declined to underwrite the costs of airing in color.  The series was initially filmed at Desilu Studios in Hollywood, but at the start of the 1967–68 season, the cast and crew began filming the series at the CBS Studio Center in Studio City, California due to Lucille Ball’s sale of Desilu to Gulf + Western, which owned Paramount Pictures. The sale also affected the filming location of another family sitcom, “Family Affair.”

Incredibly, “My Three Sons” ran concurrently through both “The Lucy Show” and “Here’s Lucy.” Both Steve Douglas and Lucy Carmichael (and later Carter), where single parents raising children. 

September 16, 1965 was a big night for CBS airing the very first episode of “My Three Sons” after moving from ABC titled “The First Marriage”. It was also the first episode of the series broadcast in color, something “The Lucy Show” did three days earlier with “Lucy at Marineland” (TLS S4;E1). The premise of the series is a widowed father (Steven Douglas) raising his three boys with help of his extended family.  Initially, the three sons were Chip, Robbie, and Mike, but in 1967 Mike was written out and replaced by Ernie, whom Steve adopted.  The extended family at first consisted of Bub, Steve’s father-in-law and the boys’ maternal grandfather, but in 1964, that character was replaced by Uncle Charley, Steve’s uncle and Bub’s brother. 

The leading role was played by film star Fred MacMurray, who the series was built around - including his hectic schedule. To suit MacMurray, scenes would be shot out of sequence and even alone on a soundstage and later edited to create a complete episode.  This was not MacMurray’s first time at Desilu. In 1958 he played himself on the “Lucy-Desi Comedy Hour” in “Lucy Hunts Uranium” set in the Nevada desert outside Las Vegas. He was joined by his second wife, actress June Haver. MacMurray (1908-91) appeared in over 100 films in his career but is perhaps best remembered for the film Double Indemnity (1944), which Lucy references in this episode. 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.”

Although Lucille Ball was their landlord (and ultimate boss) she never acted on the show, but many of the actors who appeared on Lucille Ball’s sitcoms did appear on “My Three Sons”.

From 1960 to 1965, MacMurray was joined by William Frawley as Bub O’Casey, the family’s live-in maternal grandfather. Of course, Frawley came to fame on “I Love Lucy” as the crusty landlord Fred Mertz. Frawley had worked with MacMurray in the 1935 film, Car 99. When Frawley had to leave  the show due to ill-health (and it was too costly to insure him) he was replaced by another Desilu alumni, William Demarest, as Uncle Charley. Like his previous co-star, Vivian Vance, Frawley was not especially fond of Demarest personally or as an actor. Demarest had, however, done three films with Lucille Ball. Frawley kept watching “My Three Sons” on his TV set bitterly. He never really got over being replaced by Demarest. On March 3, 1966, Frawley died of a heart attack.

For Christmas 1959, Frawley and Demarest both appeared with Lucy and Desi in “The Desilu Revue” (above with “December Bride’s” Spring Byington). 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’ boys 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. 

The children of “The Lucy Show,” Ralph Hart (who played Viv Bagley’s son Sherman), Jimmy Garrett (Jerry Carmichael), and Candy Moore (Lucy Carmichael’s daughter Chris) were also on episodes of "My Three Sons.”

Other “Lucy” performers who were on “My Three Sons” include: 

Mary Wickes ~ Jeri Schronk (1964)

Doris Singleton ~ Helen & Margaret, 8 episodes (1964-70)

Shirley Mitchell ~ Sally, 2 episodes (1968) 

Barbara Pepper ~ Mrs. Brand (1966)

Verna Felton ~ Mub (1962)

Kathleen Freeman ~ Lady Checker (1967)

Jerry Hausner ~ Various Characters, 2 episodes (1964 & 1966) 

Reta Shaw ~ Various Characters, 2 episodes (1962 & 1965) 

Elvia Allman ~ Maude Prosser (1967) 

Eleanor Audley ~ Mrs. Vincent, 9 episodes (1969-70)

Burt Mustin ~ Various Characters, 5 episodes (1962-70)

Olan Soule ~ Various Characters, 5 episodes (1963-70)

Alberto Morin ~ Professor Madoro (1967)

Herb Vigran ~ Caretaker (1967)

Maurice Marsac ~ Various Characters, 3 episodes (1964-72)

Tim Mathewson ~ Various Characters, 3 episodes (1962-63)

Bill Quinn ~ Doctors, 4 episodes (1964-66)

Barbara Perry ~ Mrs. Thompson & Mrs. Hoover, 3 episodes (1964-72)

Nancy Kulp ~ Various Characters, 2 episodes (1962)

George N. Neise ~ Various Characters, 2 episodes (1960 & 1967)

Maxine Semon ~ Various Characters, 2 episodes (1964 & 1967) 

Roy Roberts ~Various Characters, 2 episodes (1965 & 1967) 

Lou Krugman ~ Various Characters, 2 episodes (1966 & 1967)

Richard Reeves ~ Various Characters, 2 episodes (1962 & 1965)

Dorothy Konrad ~ Various Characters, 2 episodes (1961 & 1962)

Ed Begley ~ Various Characters, 2 episodes (1962 & 1968)

Gail Bonney ~ Various Characters, 2 episodes (1965 & 1970)

Rolfe Sedan ~ Various Characters, 2 episodes (1968 & 1971) 

Tyler McVey ~ Various Characters, 2 episodes (1962 & 1967)

J. Pat O’Malley ~ Various Characters, 2 episodes (1963 & 1964)

Paul Picerni ~ Various Characters, 2 episodes (1965 & 1967)

Sandra Gould ~ Various Characters, 2 episodes (1963 & 1964)

Richard Deacon ~ Elderly Man (1960) 

Mabel Albertson ~ Mrs. Proctor (1964) 

Joan Blondell ~ Harriet Blanchard (1965) 

Leon Belasco ~ Professor Lombardi (1966) 

Dayton Lummis ~ Dr. Blackwood (1963) 

Lurene Tuttle ~ Natalie Corcoran (1968)

Robert Foulk ~ Pop Action (1962) 

Dick Patterson ~ Bunny Baxter (1963)

Jamie Farr ~ Itchy (1964)

Larry J. Blake ~ Policeman (1968) 

Amzie Strickland ~ Cora Dennis (1968) 

Barbara Morrison ~ Mrs. Murdock (1969) 

Louis Nicoletti ~ Caddy Master (1962)

Frank Gerstle ~ Policeman (1964)

Gil Perkins ~ Painter (1963) 

Tommy Ferrell ~ Mr. Griffith (1964) 

Eve McVeagh ~ Clara (1966)

Remo Pisani ~ Pepe (1970) 

Dub Taylor ~ Judge (1963)

Frank J. Scannell ~ Emcee (1968) 

Ray Kellogg ~ Henshaw (1965) 

Romo Vincent ~ Charley (1964) 

Stafford Repp ~ Sergeant Perkins (1969)

Jay Novello ~ Vincenzo (1966) 

Leoda Richards ~ Restaurant Patron (1966)

CHILD STARS!

Other child stars who appeared on “My Three Sons” included Butch Patrick (“The Munsters”), Jay North (“Dennis the Menace”), Oscar-winner Jodie Foster, Angela Cartwright (“Make Room for Daddy”), Flip Mark (”Lassie”), John Walmsley (”The Waltons”), Tony Dow (“Leave It To Beaver”), Erin Moran (“Happy Days”), Maureen McCormick (”The Brady Bunch”), Ann Jillian (Gypsy), and Heather Menzies (The Sound of Music). 

On November 22, 1977, ABC TV (and Dick Clark Productions) brought together a reunion of two of television's favorite sitcoms "The Partridge Family" and "My Three Sons." Hosted by Shirley Jones and Fred MacMurray this would be the only time that the surviving cast members would get together to celebrate the series which included clips, a song from David Cassidy, and an update of what each cast member was doing in 1977.

Also in 1977, some of the stars of the series reunited on a morning program titled "The Early Show", including Stanley Livingston (Chip Douglas), Barry Livingston (Ernie Douglas), Tina Cole (Katie Miller Douglas), and Don Grady (Robbie Douglas).  

TRIVIA

In “Lucy Helps Danny Thomas” (TLS S4;E7) in 1965, there is a large framed photo of Fred MacMurray in the studio hallway.  He is joined by other Desilu stars like Jim Nabors (of “Gomer Pyle USMC”), Andy Griffith (of “The Andy Griffith Show”) and Danny Thomas (of “The Danny Thomas Show”). 

[someone-always-cares]

chapter 4, page 27

first - previous - next

[image description: an sac webcomic page. the page opens on a chat log, later than day, the top message sent at 1:15pm the chat is the same that lewis and jade use. lewis: anyway then the principal put me in detention for parkour crimes. jade: gasp... a criminal... the horror.... lewis: i am a menace to society. jade: i’ll visit you in prison lewis: please dont “hey.” lewis is interrupted from smiling at his phone by his classmate. “so. why the fuck did you climb the school?” asks russel clark, the boy who was part of lewis and rami’s group project. they’re sitting at a lunch table. lewis has already finished his lunch, leaving an empty box, and russel either already ate or doesnt have anything. “if you could climb a building would you not also do that at any oppurtunity?” asks lewis, seemingly annoyed. next to him a tall boy with glasses sits beside his half eaten sandwich. “you’d climb a building but go all deer in the headlights at mr wood yelling?” he asks, raising an eyebrow. the boy, dennis, has messy straight blonde hair, blue eyes, and wearing a red shirt and black sleeveless hoodie, and was seen earlier in the classroom lewis climbed into. end id]

i forgot to draw russel any fucking food until now but lets say he already ate and then just sat down there to gossip about parkour crimes

added dennis there to the classmate character list and also added the angry teacher there too because fuck it i named him now

also i updated the banner image, better version can be seen here. and i guess the icon changed but that may or may not be a placeholder

lastly if anyone missed last week’s memo, temporarily making the updates once per week on tuesdays! long story short, lifes being a bitch

anyway: these organizations and charities could still really use your money right now

cash bail funds (us and toronto) | MN organizations  | a masterpost of BLM links  | various black lgbt+ funds | BLM UK | runnymede  |  stop hate uk      |   racial justice network     |  BLM carrd      | black lives matter doc      |    long list of black trans groups

several  of these also include useful resources eg petitions, information about  protests, educating yourself and others, ect, so worth a look even if  you cant donate

or if you cant spare money:

passively donate money via youtube ad revanue | tab for a cause  | cartoonists database

[kwebtv]

TV Guide  -  September 19 - 25, 1959

Fall Preview Issue  1959-1960 shows

#

21 Beacon Street -  December 27, 1959, to March 20, 1960

A

Adventures in Paradise - October 5, 1959 – April 1, 1962

The Alaskans - October 4, 1959 – June 19, 1960

Alcoa Presents: One Step Beyond  - January 20, 1959 – July 4, 1961

The Art Carney Special - October 2, 1959 - January 17, 1961

B

The Bell Telephone Hour - January 12, 1959 - January 19, 1968

The Betty Hutton Show - October 1, 1959 – June 30, 1960

Black Saddle - January 10, 1959 – May 6, 1960

Bold Venture - 1959 - 1960 syndicated

Bonanza - September 12, 1959 – January 16, 1973

Border Patrol - March 10 – November 17, 1959

Bourbon Street Beat - October 5, 1959 – July 4, 1960

Brenner - June 6, 1959 – July 19, 1964

Buick-Electra Playhouse - November 19, 1959 - May 19, 1960

C

Charley Weaver's Hobby Lobby - September 30, 1959 – March 23, 1960

Clutch Cargo - March 9, 1959 – 1960

The Court of Human Relations - June 22, 1959 -  August 21, 1959

D

The D.A.'s Man - January 3, 1959 – August 29, 1959

The David Niven Show - April 7 – July 7, 1959

Deadline - September 17, 1959 - February 4, 1961

The Dennis O'Keefe Show - September 22, 1959 – June 14, 1960

Dennis the Menace - October 4, 1959 – July 7, 1963

The Deputy - September 12, 1959 – July 1, 1961

The Detectives - October 16, 1959 – May 18, 1962

Dick Clark's World of Talent - September 27 – December 20, 1959

The DuPont Show with June Allyson September 21, 1959 – June 12, 1961

F

Five Fingers - October 3, 1959 – January 8, 1960

G

GE College Bowl - January 4, 1959 – June 14, 1970

H

Hawaiian Eye - October 7, 1959 – April 2, 1963

Hennesey - September 28, 1959 – September 17, 1962

Hotel de Paree - October 2, 1959 – June 3, 1960

House of Shock (Morgus the Magnificent)  - 1959 - 1962

J

Jackpot Bowling - January 9, 1959 – March 13, 1961

Johnny Ringo - October 1, 1959 – June 30, 1960

Johnny Staccato - September 10, 1959 – March 24, 1960

L

Laramie - September 15, 1959 – May 21, 1963

Law of the Plainsman - October 1, 1959 – May 5, 1960

The Lawless Years - April 16, 1959 – September 22, 1961

Lock-Up - September 26, 1959 – June 17, 1961

Love and Marriage - September 21, 1959 – January 25, 1960

M

The Man and the Challenge - September 12, 1959 – June 11, 1960

The Man from Blackhawk - October 9, 1959 – September 9, 1960

Manhunt - April 15, 1959 - 1961

The Many Loves of Dobie Gillis - September 29, 1959 – June 5, 1963

Markham - May 2, 1959 – September 15, 1960

Men into Space - September 30, 1959 – September 7, 1960

Mr. Lucky - October 24, 1959 – June 18, 1960

The Music Shop - January 11 – March 8, 1959

N

NBC Sunday Showcase - September 20, 1959 - August 9, 1961

O

Our American Heritage - October 8, 1959 - May 13, 1961

P

Pete Kelly's Blues - April 5 – July 5, 1959

Philip Marlowe - October 6, 1959 – March 26, 1960

The Play of the Week - October 12, 1959 – May 1, 1961

Police Station - 1959 syndicated

Q

The Quick Draw McGraw Show - September 28, 1959 - October 20, 1961

R

Rawhide - January 9, 1959 – December 7, 1965

The Rebel - October 4, 1959 – June 18, 1961

Riverboat - September 13, 1959 – January 2, 1961

The Adventures of Rocky and Bullwinkle and Friends - November 19, 1959 – June 27, 1964

S

Schilling Playhouse - September 21, 1959 - March 14, 1960

Shotgun Slade - October 24, 1959 – June 16, 1961

Startime - October 6, 1959 – May 31, 1960

The Swamp Fox (Disney) - October 23, 1959 - January 15, 1961

T

Take a Good Look - October 22, 1959 – February 9, 1961

Tales of the Vikings - September 8, 1959 - June 2, 1960

This Man Dawson - October 15, 1959 - July 29, 1960

Tightrope! - September 8, 1959 – September 13, 1960

The Troubleshooters  - September 11, 1959 – April 10, 1960

The Twilight Zone - October 2, 1959 – June 19, 1964

U

The Untouchables - October 15, 1959 – May 21, 1963

W

Wichita Town - September 30, 1959 – April 6, 1960

World of Giants - September 5 – November 28, 1959

[byneddiedingo]

Return to Oz (Walter Murch, 1985)

Cast: Fairuza Balk, Nicol Williamson, Jean Marsh, Piper Laurie, Matt Clark, Emma Ridley, Sophie Ward, Fiona Victory, Pons Maar, voices of Sean Barrett, Denise Bryer, Brian Henson, and Lyle Conway. Screenplay: Walter Murch, Gill Dennis, based on books by L. Frank Baum. Cinematography: David Watkin. Production design: Norman Reynolds. Film editing: Leslie Hodgson. Music: David Shire. As a kid I was completely enthralled by the Oz books, a passion made more difficult by the odd fact that school libraries of the day refused to stock them, so I had to order my copies from the small printing and stationery shop in my town that also stocked a few books. Which is why I have always loved Walter Murch's Return to Oz, even though it was a commercial and mostly critical flop. I suspect that the 1939 Judy Garland movie had so cast its own particular spell that people who didn't know the subsequent books by L. Frank Baum (which were continued not so well by Ruth Plumly Thompson but excellently by Baum's illustrator John R. Neill) were expecting Murch's film to be as brightly colored and as tuneful as the Garland movie. But the Oz books were a much darker business entirely, and Murch's film reflects not only that but also Baum's ambivalence toward technology. In Return to Oz, there's a late 19th and early 20th century mistrust of electricity but a fondness for mechanism, hence the rotund wind-up Tik-Tok, an engaging steampunk character before anyone knew to call it steampunk. Murch and production designer Norman Reynolds have gone back to the source in visualizing Baum's characters, so that the Scarecrow, Tin Man, and Cowardly lion look more like illustrator Neill's visions of them than like Ray Bolger, Jack Haley, and Bert Lahr in costumes and makeup. The filmmakers rely on puppetry and the stop-motion artistry of clay animation as developed by Will Vinton. The effect is sometimes creepy, and much of the movie is probably too dark for very young viewers, which explains some of the difficulty the movie had finding an audience. There are scenes that evoke horror movies in their dark menace, which is all to the point: The era in which Baum lived was more inured to threats to children than our nervously overprotective one. Unfortunately, the box office failure discouraged Murch, the winner of three Oscars for sound design and film editing, and one of the best-known collaborators with directors like George Lucas and Francis Ford Coppola, from directing more movies, and stymied those who would try to make equally imaginative explorations of the Oz books.

[glofigs]

As You Like It

If Shakespeare hadn’t written the character of Orlando, British playwright John Osborne might have invented the version of him now onstage at the Ahmanson. As played by Dan Stevens, a riveting new actor, Orlando becomes a combination of Elizabethan hero and Osborne’s angry young man of the 1950s, and the roaring aggression he projects in the opening scene gives “As You Like It” a searingly intense edge. Much praise has been heaped on the interpretation of Rosalind supplied by Rebecca Hall (director Peter Hall’s daughter), which implies that Stevens’ Orlando is a subsidiary character caught in her floodlights. Stevens, in fact, more than holds his own, giving the production a welcome balance.

What makes Stevens’ portrayal so affecting, beyond his ability to run the gamut from rage to misty-eyed romanticism, is his knack for transforming familiar speeches so they sound fresh and new. He takes risks with every line and gesture, never becomes actorish and appears to be discovering material rather than simply reciting it.

The show begins with a jolt when Orlando nearly strangles his self-centered brother, Oliver (Freddie Stevenson), for the latter’s neglect and refusal to hand over an inheritance. This leads to a grippingly staged wrestling match engineered by Oliver, pitting Orlando against menacing muscle man Charles (James Crossley, ruggedly powerful) and one who looks forward happily to breaking bones. When Orlando unexpectedly wins the match, he connects with Hall’s smitten Rosalind. Much of this is established without words, and the actors create immediate chemistry.

Hall’s formidable height lifts her out of the ingenue category, and a bright red dress she wears adds to her statuesque glamour. She has the force to confront evil Duke Frederick (James Laurenson) when he orders her to “go or die,” and she’s adept at conveying affection for her best friend and cousin, Celia (Rebecca Callard, diminutive in size but a large presence).

Hall’s speech has a stylized lilt and rhythm suited to Shakespeare, but her register can rise and remain uneasily high. Her nervous line readings often have a hesitant, affected awkwardness; she deliberately plays against the traditionally confident attitude usually taken with her part, but it doesn’t quite work, because Hall’s stature and persona have an inherently dominant quality.

This problem becomes increasingly acute when her Rosalind pretends to be a boy who must sustain a relationship with Orlando, all the while concealing her true feminine identity. She remains so imposingly herself that it’s difficult to believe Orlando wouldn’t see beyond her disguise. We have to remind ourselves that the story isn’t grounded in reality, in order to accept and string along with the deception.

John Gunter’s costumes are a striking blend of period and contemporary, and his atmospheric forest set, with its enormous, looming trees, furnishes a perfect background for the performers to attack their roles.

Director Hall (who created the Royal Shakespeare Company in 1960 and became director of the Royal National Theater in 1973) sees to it that the part of Oliver is nuanced and detailed, ensuring that Oliver’s highly improbable transition from malevolent manipulator to Orlando’s loyal, devoted friend is believable.

Stevenson does wonders with a playful moment, in which his arms inadvertently land on Rosalind’s breasts and he realizes her actual gender.

The director is equally successful bringing out James Laurenson’s versatility in two parts — as callous Duke Frederick and as the banished duke who fled to the Forest of Arden after Frederick usurped his kingdom.

Robin Hood-style sequences in the forest with the exiled Duke and his band of jovial followers are entertaining, if lengthy. Composer Mick Sands’ delightful music enlivens these sections and wards off any threat of tedium.

Production’s most farcical figures — lovesick shepherd Silvius (David Birkin), who lusts after Phoebe (Charlotte Parry), and Touchstone (Michael Siberry), a jester involved with goat herder Audrey (Janet Greaves) — have an idiosyncratic, human appeal. Touchstone, the wittiest character in the piece, makes unforgettable noises of disgust when Orlando writes insipid rhymes about Rosalind and plasters them on every tree in sight.

As You Like It

Ahmanson Theater; 1,600 seats; $75 top

PRODUCTION: A Center Theater Group/Ahmanson Theater and Theatre Royal Bath/Peter Hall Company presentation of the Shakespeare play in two acts. Directed by Peter Hall.

CREW: Designer, John Gunter; lighting and projection designer, Peter Mumford; sound, Gregory Clarke; composer, Mick Sands; production stage manager, John McNamara. Opened, reviewed Feb. 7, 2005; runs through March 27. Running time: 3 HOURS, 5 MIN.

CAST: Orlando - Dan Stevens Adam, Corin - David Barnaby Oliver, Amiens - Freddie Stevenson Dennis - Ronald Fernee Charles/William - James Crossley Celia - Rebecca Callard Rosalind - Rebecca Hall Touchstone - Michael Siberry Le Beau, Sir Oliver Mar-Text - Robin Browne Frederick, The Banished Duke - James Laurenson Jaques, attending Banished Duke - Philip Voss Jaques, second son of Sir Rowland - Kevin Collins Silvius - David Birkin Audrey - Janet Greaves Phoebe - Charlotte Parry Second Gentlemen - Grainne GillisWith: Nyasha Fredrick Hatendi, Madeleine Hutchins, Mitchell Mullen

[slidersbabygirl]

Meltdown rarely talks to Slider anymore. She's of the belief he's ashamed after she and Menace crashed trying to avoid Phoenix and Bob's jetwash. In reality, Slider was amongst the chain of command for the mission and specifically made the fallback call in a selfish attempt to protect his daughter and son-in-law. The disfiguring scars across her and her WSO's faces and bodies make it impossible for him to look at either of them for very long.

Menace doesn't blame his wife for the accident and often finds himself cooling her signature meltdowns before they begin. Though his face was mostly spared, various deep scars mar his arms and torso. Though their relationship is already a secret to all but three of the Daggers, Meltdown's late night flashbacks are only known to him.

(BONUS: Menace face reveal! Also a little picrew showing the WSO working his siganture soothing skills)

[mandelfather]

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[parkerbombshell]

Just Another Menace Sunday #525 w/ London Grammar

Today The Menace's Attic/Just Another Menace Sunday #interview w/ London Grammar 6pm-8pm EST 3pm-5pm PDT 11pm -1am BST Bombshell Radio bombshellradio.com Bombshell Radio  #melodicrock #radioshow #rock #alternative #TuneInRadio #justanothermenacesunday #dj #DennistheMenace #radioreplay #today #LondonGrammar  #RockNRoll #Alternative #BombshellRadio This Week – Episode #525 A CONVERSATION WITH LONDON GRAMMAR (01/12/2014)   Theme Song Just Another Menace Sunday Theme (Dennis The Menace) - Mighty Six Ninety Hour 1 A CONVERSATION WITH LONDON GRAMMAR OPENING SONG: Strong - London Grammar LONDON GRAMMAR MUSICAL SANDWICH: OPENING BREAD: If You Wait - London Grammar Love Me Sinister - Tripwires Dirty Diana - Michael Jackson Twice - Little Dragon Full Circle - Half Moon Run England - The National Father Father - Laura Mvula Weird Fishes/Arpeggi - Radiohead Simply The Best - Tina Turner CLOSING BREAD: Flickers - London Grammar Hour 2 NEW MELODIC ROCK AND ROLL OPENING SONG: Cut Copy Me - Petula Clark (The End) Wild Love - Feathers (Self Release) Young Heart - Blondfire (InGrooves) Nothing But History - Gemini Club (Self Release) Frankie Fell In Love - Bruce Springsteen (Columbia) I Bet On You - Lissie (Fat Possum) Southern Sun - Boy & Bear (Nettwerk) Sleepwalking - Chain Gang of 1974 (Warner Bros) My Dying Days - Bad Cop (Jeffrey Drag) Reality Dream - Morning Parade (So Recordings) Long Black Road - ELO (Legacy) Towers Of London - Susanna Hoffs & Matthew Sweet (Shout Factory) CLOSING SONG: Don't Give Up - Washed Out (Sub Pop) Read the full article

[buzzdixonwriter]

The Long, Long Shadow Of Harrison Ford

I tried watching Blade Runner 2049, but I fell asleep twice during it.  

I know a lot of people like it, and it certainly is a technically proficient and well acted film, and it most certainly isn’t a dumb film but carefully and thoughtfully laid out…

…but I just couldn’t connect.

It’s really superior fan fic*, nothing to be ashamed of, but it’s still fan fic.

The relationship between Blade Runner 2049 and the original Blade Runner is like the relationship between 2001:  A Space Odyssey and 2010:  The Year We Make Contact:  In and of itself each of the latter films is a decent standalone movie.

As a sequel, however…

Here’s the thing about the original Blade Runner (and 2001, for that matter):   It’s a much better movie than it is a story.

Or, to swipe a line from Jim Steinman’s soundtrack for Streets Of Fire, “You’ll never know what it means but you’ll know how it feels.”

The original Blade Runner really doesn’t hold together logically as a story (2001 doesn’t, either; the whole “HAL goes nuts” sub-plot is ridiculous) but it works beautifully as a vision.

And Ridley Scott is certainly a visionary (as was Stanley Kubrick).

The problem I had connecting with Blade Runner 2049 is that it lacked the dream-like quality that made the original film work.

The original was illogical, contradictory, and messy but, hey, guess what:  Reality is like that.

The sequel does a really good job of nailing down all the loose corners, but in doing so they kill the original vision.

They were hamstrung by their intent to make sense of somebody else’s dream rather than explore their own.  To me it felt more like a collection of shout outs than a standalone story.

(I said something similar re 2001 and 2010, that the original was a butterfly and the sequel was a perfect replica of a butterfly in cast iron.)

It’s interesting to compare Blade Runner 2049 with Star Wars:  Episode VII – The Force Awakens.  Both films are extended builds to a key character’s appearance, in Blade Runner 2049 it’s Harrison Ford returning as Rick Deckard, while in The Force Awakens it’s Mark Hamill as Luke Skywalker.

(Sidebar:  Hamill may be the single most hated actor in all of Hollywood.  Who else ever got a two hour and fifteen minute big budget build to his #%@&ing close-up?)

Ford as Deckard has aged well for the part.  One of Blade Runner 2049’s better choices is to show him as the beaten and tired survivor he would be, not the still lively indestructible semi-superman of Indiana Jones and the Kingdom of the Crystal Skull or the still lively romantic young scoundrel with only a few token gray hairs in his last Star Wars appearance.

Another crucial difference in my eyes was the lack of consistency in what Blade Runner 2049 showed on the screen.

The original all felt part and parcel of the same world, even towards the end where one notices the budget literally shrinking before one’s eyes.

But the different scenes and locales of Blade Runner 2049 never seemed part of the same reality.

The non-SPFX / CGI live action sequences seemed…well…not cheap but certainly economic.

And there’s nothing wrong with that…

…but by comparison the effects sequences looked too rich, too opulent.

Something a little less grandiose, a little less visionary would have served the film better.

Something a little more consistent in look and texture, too.

By contrast, Solo:  A Star Wars Story (or as I prefer to call it, Star Wars: Episode 0 --  Solo) gets it right.  

Solo is the best Star Wars since the original. 

It’s also the most political of the series (and the series is very political): Families torn apart, ID's constantly being checked, "we're the hostiles", the marauders being the proto-rebellion, gangsters corrupting imperial governors, Landro's female robot L3-37 fighting for droid rights and spawning a cybernetic rebellion, etc., etc., and of course, etc.

Despite behind the scenes controversy over the directing and the reshoots and the loss of a character due to an actor’s unavailability, Solo hangs together both as its own story and as a subset of the Star Wars universe:  Good story, good writing, good pacing, good cast (Woody Harrelson channeling Dennis Hopper is pretty awesome).

Unlike Blade Runner 2049, its live action and its special effects sequences all seem to belong to the same story.

Granted, except for the opening all the scenes took place out among the frontier of the empire, with sparsely populated grand vistas.

The call back to classic Westerns is quite deliberate and conscious, making Solo the most horse opera space opera of the series.

A knowledgeable viewer will recognize certain economic shortcuts taken in several key scenes, particularly in the beginning with its vast intergalactic shipyards and crowds of passengers, but they aren’t as jarring as the economies of Blade Runner 2049. 

After all the tiresome talk about trade alliances in other films, Solo gave me for the first time a sense of what the galactic economy was like and how it worked.

Solo also shows Han is a more heroic and almost as tragic a figure as Luke.  Episodes II thru VIII show that basically this whole mess is just one huge prolonged hissy fit by members of the Skywalker family.  For all their lecturing about balance and light and dark, the Jedi / Sith in general and the Skywalkers in particular are just a bunch of childish demigod Star Trek villains who treat the rest of the universe as expendable pawns in their multi-generational family feud.

Han, on the other hand, knows right from wrong.  He is brutally pragmatic, he will shoot first, and he will walk / run / hyper-jump away from trouble in order to save his own neck, but he also knows the strong are not justified in exploiting the weak.

An outlaw and a scoundrel, to be sure, but not a villain, never a villain.  He is the true moral core of the Star Wars universe.

So what caused all the negative reactions to Solo?

Bad trailers and ad campaign.   Audiences never got an adequate feel of what the movie would be like.

Bad advance word of mouth based on the behind the scenes controversy.

Audience burn out. Star Wars as a franchise has been around for 40 years now, entering its third generation of fans.  It’s not new and fresh and releasing too much material in too short a span makes the movies seem less special.

Not just political, but specifically draws parallels to US today -- and not positive ones.   The incel alt-right fan boys are all a’twitter over this.

Many of the visuals and set pieces were derivative of other movies.  This is not an uncommon or unfair criticism of any Star Wars movie, but this time the…uh…homages seemed a little more obvious.

However, I think the number one problem facing Solo (and this problem even haunts Blade Runner 2049, though not as badly) is Harrison Ford casts a long, long shadow and many people were unwilling to give Alden Ehrenreich a chance. 

Which is a pity, because it only took a few minutes for me to totally accept him as Young Han Solo and become thoroughly engrossed in his earliest adventures.

As stated above, Solo occurs before the events of The Phantom Menace because [REDACTED] gets killed in that film but is seen alive and well and fully functioning in this one. The film has an open ending in which [REDACTED] and Qi’ra (Emilia Clarke) loom large as potential problems for Solo but ya know what?  There’s no point in doing a direct sequel, at least not a theatrical one (live action or animated TV series, or novels or comics or video games, maybe).  We know [REDACTED] is going to be dead long before Han meets Luke, and there’s been no hint of Qi’ra anywhere else in the films, and each member of the audience can probably imagine a resolution to that sub-plot that would be more satisfying to them than anything Lucasfilm could come up with so why bother?

 *  And who am I to criticize fan fic?  Go buy The Most Dangerous Man In The World while you’ve still got the chance!

 © Buzz Dixon