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papermoonloveslucy · 3 years

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THE CUCKOO CLOCK CONSPIRACY

January 13, 1951

“The Cuckoo Clock Conspiracy” (aka ”The Cuckoo Clock”) is episode #114 of the radio series MY FAVORITE HUSBAND broadcast on January 13, 1951.

This was the 16th episode of the third season of MY FAVORITE HUSBAND. There were 31 new episodes, with the season ending on March 31, 1951.

Synopsis ~ Liz bought George's Christmas present, a cuckoo clock, with a rubber check, and now she needs to figure out a way to make good on it so the store owner won't repossess the clock.

Parts of this script concerning the cuckoo clock where later used in “The Kleptomaniac” (ILL S1;E27), filmed on March 7, 1952, and first aired on April 14, 1952.

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

MAIN CAST

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

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

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

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

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

Gale Gordon (Rudolph Atterbury) does not appear in this episode, but his character is mentioned.

GUEST CAST

Hans Conried (Mr. Haskell, the Jeweler) first co-starred with Lucille Ball in The Big Street (1942). He then appeared on “I Love Lucy” as used furniture man Dan Jenkins in “Redecorating” (ILL S2;E8) and later that same season as Percy Livermore in “Lucy Hires an English Tutor” (ILL S2;E13) – both in 1952. The following year he began an association with Disney by voicing Captain Hook in Peter Pan. On “The Lucy Show” he played Professor Gitterman in “Lucy’s Barbershop Quartet” (TLS S1;E19) and in “Lucy Plays Cleopatra” (TLS S2;E1). He was probably best known as Uncle Tonoose on “Make Room for Daddy” starring Danny Thomas, which was filmed on the Desilu lot. He joined Thomas on a season 6 episode of “Here’s Lucy” in 1973.

GeGe Pearson (Mrs. Haskell, the Jeweler’s Wife / Miss Russell, George’s Secretary) did two other episodes of “My Favorite Husband.” She will play a New York City tourist in “Lucy Visits Grauman’s” (ILL S5;E1) in 1955. She did the episode with her husband, Hal Gerard. The two actors were married in real-life. In 1956 the couple returned to CBS to appear in the same episode of “Damon Runyon Theatre.” She is perhaps best remembered as the voice of Crusader Rabbit. The couple died just a year apart in 1975 and 1976.

June Foray (Marie, the Beautician) was born June Lucille Forer in 1917 and was best known as the voice of such animated characters as Rocky the Flying Squirrel, Natasha Fatale, Cindy Lou Who, Witch Hazel in the Bugs Bunny cartoons, Granny in the Tweety Bird cartoons, and many, many others. She provided the bark of Fred the dog on Season 6 of “I Love Lucy.”

Ken Christy (Police Officer) later played the detective investigating the new tenants in “Oil Wells” (S3;E18) and will play the dock agent who directs Lucy to the helicopter that lowers her onto the deck of the S.S. Constitution in “Bon Voyage” (S5;E13). Christy was also featured on the TV series "Meet Corliss Archer” on CBS.

THE EPISODE

ANNOUNCER: “As we look in on the Cooper’s, it’s morning. George is at breakfast. Liz is in the kitchen talking to Katie the Maid.”

Liz compliments Katie with the goal of getting a loan of $14.95. She explains that she bought George a cuckoo clock for Christmas using a check with no money in the account. To prevent George from finding out, Liz wrote the check on an account at another bank - one where she hasn’t got an account - and could face jail.

In the dining room, Liz cuddles up to George with the same compliments she used on Katie! They smooch. George realizes that Liz is buttering him up for money. Liz directly asks George for a loan of $15 but banker George reminds her that borrowing money is a slippery slope into debt.

LIZ: “Look, Dale Carnegie, I need the money.”

Dale Carnegie (1888-1955) was the developer of courses in self-improvement, salesmanship, corporate training, public speaking, and interpersonal skills. He was the author of the best-sellers How to Win Friends and Influence People (1936) and How to Stop Worrying and Start Living (1948), as well as several other books.

George reminds Liz that she made a New Year’s resolution to pay him $25 if she went over budget, so in giving her the loan, she would actually owe him $40! Liz tells him to forget the whole deal - she will find the money elsewhere.

At the beauty salon, Liz asks beautician Marie (Gege Pearson) where to find Iris Atterbury. Iris is having a mud pack which cracks upon hearing Liz wants a loan. She was just getting ready to ask Liz for a loan, too. It seems that Rudolph and George stated the new year on an economy wave.

LIZ: “I guess it’s in the air. Darn those Russians, anyway.”

In 1950 and well into early 1951, the US Government committed to what was known as an ‘economy wave’ in order to save money that might be used for civil defense and bolstering European strength during the cold war with Russia. This economy wave extended to all facets of American business, including Hollywood, so it would have been a topic familiar to the writers of “My Favorite Husband” in early January 1951.

Liz explains her dilemma to Iris, who suggests she phone the jeweler and ask him to hold the check a few days. Liz thinks it is worth a try and calls Mr. Haskell (Hans Conried), who declines to hold the check a moment longer. Liz turns on the tears. Mrs. Haskell (Gege Pearson) gets on the line - she’s unsympathetic to tears. Liz and Iris rush off to get the clock out of George’s office before it is repossessed!

Wilbur Hatch’s play-off music is “As Time Goes By” written by Herman Hupfeld in 1931. It became famous when it was featured in the 1942 Warner Brothers film Casablanca performed by Dooley Wilson as Sam (”Play it again, Sam.”) The song was likely chosen to tie-in with the episode’s clock theme.

End of Part One

Announcer Bob LeMond does a live commercial, giving a recipe for a quick dessert using Jell-O.

Part Two

ANNOUNCER: “As we look in on the Coopers once again, Liz is speeding to George’s office to make off with the cuckoo clock before Mr. Haskell, the jeweler, arrives to repossess it. Meanwhile, George Cooper in his office is just going out to lunch.”

George asks his secretary, Miss Russell (Gege Pearson), to wind the cuckoo clock while he is out. After George leaves, she tries, but overwinds it. She takes it to Haskell’s to be fixed while George is out to lunch.

Liz and Iris arrive and can’t find George, Miss Russell, or the cuckoo clock. They assume that Mr. Haskell has gotten there first and repossessed the clock! They head towards Mr. Haskell’s Jewelry Shop.

There they see the clock in the window! Mr. Haskell explains that the clock in the window isn’t hers, but one just like it. He is a nervous wreck, thanks to a busy Christmas season. Liz still thinks that the window clock is hers, but Mr. Haskell insists it isn’t and won’t give it to her unless she pays for it. She and Iris leave in a huff.

Outside they scheme to get what they think is their clock back. Liz will divert Mr. Haskell while Iris sneaks the clock out of the store. Iris is scared, but reluctantly agrees. A whistle will be the signal that Mr. Haskell isn’t looking.

Liz tells him she is shopping for Mr. Atterbury, who wants to buy his wife a present. Deciding on a diamond, a clueless Liz guesses that she wants 200 carats! When Mr. Haskell whistles at the high carat-count, Iris mistakes it for the signal and tries to come in! Liz blocks the door! When Haskell goes to the back room for a diamond, Liz suddenly realizes she doesn’t known how to whistle, so calls to the back room asking him to repeat it for her! Iris gets in and out just as...

MR. HASKELL (returning to the shop): “Would you like me to whistle a chorus of “Come to the Stable, Mabel”? LIZ: “No, thanks! Well, I’ll be running along now! Bye!”

Liz dashes out of the shop and hides the cuckoo clock under her coat!

At the bank, Liz is greeted by Miss Russell, who tells her George isn’t back from lunch yet. They are shocked to discover that the cuckoo clock is back on the wall. They realize they have stolen Mr. Haskell’s new clock and must return it before he notices it is gone.

They arrive at the Haskell’s and find a Policeman (Ken Christy) there. Liz quickly hides the clock under her coat, but it continually ‘cuckoos’ loudly in the presence of the officer! Just as she’s about to be arrested for theft, Liz settles the matter by writing Mr. Haskell a post-dated check for January 20th - 1953!

Lucille Ball could not have known it at the time, but one day earlier, on January 19, 1953, she gave birth to her son, Desi Jr. and on the same evening, Lucy Ricardo gave birth to Little Ricky. On January 20, 1953, headlines like the one above dominated the nation’s newspapers.

End of Episode!

Bob LeMond does another live Jell-O commercial and reminds listeners to look for their ads in leading January magazines.

[Oops! While announcing the episode’s credits, Bob LeMond mistakenly says “Hans Conried played by Mr. Haskell” instead of the other way around. There is background laughter by the other cast members and LeMond starts to laugh a bit while finishing his announcements.]

ANNOUNCER: “Be sure to watch for Lucille Ball as a would-be cosmetics dealer in her latest picture ‘The Fuller Brush Girl’.”

#Lucille Ball #My Favorite Husband #Richard Denning #Bea Benadaret #Ruth Perrott #Gege Pearson #Hans Conried #Ken Christy #June Foray #The Fuller Brush Girl #Dale Carnegie #Cuckoo Clock #I Love Lucy #CBS #Radio #Jello #Casablanca #Economy Wave #As Time Goes By

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greektrgcdy · 5 years

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Under the cut you’ll find 675 FEMININE NAMES all compiled by me !! I will most likely be updating this and my other lists at some point and would be more than willing to post more specific lists if anyone wants them !! Please like or reblog if this was helpful !!

Abilene, Acacia, Ada, Adalia, Adalind, Adelina, Adeline, Adela, Adele, Adriana, Agnes, Aimee, Aislinn, Aja, Alana, Alba, Alessia, Alexa, Alexandra, Alexandria, Alexandrine, Aliyah, Allora, Alma, Almira, Althea, Alva, Amber, Amabel, Amara, Amelie, Amethyst, Amina, Anastasia, Antoinette, Andromeda, Anika, Anissa, Annabel, Annabel-Lee, Anne, Annette, Annie, Anniston, Appoline, Apollinia, Apollonia, Ara, Arabella, Araminta, Ariadne, Ariana, Arianne, Ariella, Asena, Astra, Astrid, Athena, Audrey, Audrina, Autumn, Aurelia, Aurora, Austen, Ava, Avalee, Avalon, Averill, Aviana, Ayla, Aylee, Azalea, Azaria.

Bambi, Bardot, Beatrice, Beatrix, Becky, Bee, Bellatrix, Belle, Benedette, Benilde, Bernadette, Bess, Beth, Betsey, Beverly, Bexley, Bijou, Bindie, Birdie, Blair, Blossom, Bluebell, Blythe, Bonnie, Brenna, Bria, Briar, Bridget, Briella, Brielle, Brinley, Bristol, Brooke, Bronwyn, Buffy.

Cadence, Calla, Callie, Callista, Camila, Camille, Cara, Cariad, Carmen, Carol, Carolina, Caroline, Carolyn, Carrie, Cassandra, Cassiopeia, Cecilia, Cecily, Celeste, Celestia, Celine, Chanel, Charity, Charlotte, Cher, Cherie, Cheryl, Cheyenne, Chloe, Claire, Clara, Clarity, Claudia, Claudine, Clea, Cleo, Clover, Colette, Colleen, Constance, Connie, Copeland, Cora, Coral, Coralia, Coraline, Cordelia, Coretta, Corinna, Corinne, Corisande, Corliss, Cornelia, Corvina, Cosette, Cressida, Cynthia, Cyra.

Dahlia, Dahliana, Daisy, Damara, Dara, Darcy, Darla, Darlene, Daphne, Davina, Dawn, Dee, Delia, Delilah, Delphi, Delphine, Denise, Desiree, Desdemona, Desi, Destiny, Diana, Diane, Dinah, Dixie, Dolly, Dorothea, Dorothy, Dot, Drusilla.

Eadlyn, Eartha, Eden, Edie, Edina, Edith, Effie, Eileen, Elara, Eleanor, Eleanora, Elena, Eliana, Elisabeth, Elise, Elizabeth, Ella, Elle, Elodie, Eloise, Elowen, Elora, Elsie, Emalyn, Embla, Emilia, Emma, Emmeline, Emmy, Enid, Eponine, Erica, Erin, Esme, Estelle, Esther, Ethel, Ettie, Everly, Eva, Evangeline, Evanora, Evelina, Evelyn, Everly, Evita, Eyre.

Fae, Faith, Fallon, Fancy, Fannie, Fantine, Farah, Fawn, Faye, Felicity, Fern, Francine, Fran, Finnea, Fleur, Flora, Florence, Francesca, Franny, Frankie, Frida, Freya, Fyodora.

Gabriella, Gaia, Gail, Garbo, Gardenia, Gemma, Geneva, Geneve, Genevieve, Gennifer, Georgeanne, Georgia, Gia, Giana, Gigi, Gillian, Gina, Ginevra, Ginger, Ginny, Giordana, Giovanna, Gisele, Guilieta, Guilia, Guiliana, Gladys, Glenda, Glinda, Gloriana, Glory, Goldie, Goldeheve, Grace, Gracelyn, Gracie, Greer, Greta, Gretchen, Griselda, Guinevere, Gwenora, Gwendolyn, Gwenny.

Hadley, Haddie, Hadiya, Halle, Hallie, Halston, Hanna, Hannah, Harmony, Harper, Harriet, Hattie, Hazel, Helen, Helena, Heloise, Henrietta, Henna, Hera, Hermia, Hermione, Hester, Hettie, Holly, Honey, Honora, Hope.

Ida, Ilana, Ilyana, Imogen, Indie, Inessa, Ingrid, Iphegenia, Iris, Irene, Isabeau, Isabella, Isabelle, Isla, Isobel, Isolde, Ivana, Ivory, Ivy.

Jacinta, Jackie, Jada, Jade, Jane, Janie, Jasey, Jasey-Rae, Jeana, Jeanie, Jedda, Jennifer, Jennie, Jenny, Jessa, Jessamine, Johanna, Jolene, Jolie, Joplin, Josie, Josephine, Journey, Joy, Judith, Judy, Julia, Julie, Juliet, Juniper, Juno.

Kaia, Kalani, Kara, Karen, Karolina, Kate, Kathleen, Katherine, Kayla, Kaylee, Kedzie, Keely, Kelby, Kelsey, Kendra, Kenna, Kennedy, Kiara, Kimberly, Kinsley, Kitty, Kristina, Kyra.

Laela, Lara, Laura, Laurel, Lauren, Lavinia, Leah, Leia, Leila, Lena, Lenora, Leonora, Letitia, Liana, Liberty, Lila, Lilo, Lilia, Lilith, Lily, Lindsey, Livia, Lois, Lola, Loretta, Loral, Lorelei, Lorena, Lorraine, Lottie, Lovisa, Lucia, Lucille, Lucy, Ludovica, Luna, Lulu, Lumi, Lux, Lydia, Lynn, Lyra.

Macy, Madeleine, Maia, Mae, Maeve, Maggie, Magnolia, Malia, Marcella, Maren, Margaret, Margot, Martha, Maria, Marie, Marigold, Marilyn, Marina, Marissa, Marisol, Marlene, Marnie, Mary, Matilda, Maude, Maureen, Maxine, Meadow, Melody, Melinda, Mercy, Merritt, Mia, Michelle, Millicent, Minerva, Minnie, Mira, Miriam, Moira, Molly, Mona, Morrigan.

Nadia, Nadine, Nancy, Naomi, Narcissa, Naressa, Natalia, Natalie, Naya, Nellie, Nettie, Nia, Nicola, Nicole, Nicoletta, Nikita, Nina, Nikki, Noelle, Norah, Nova, Nyla.

Oara, Octavia, Odette, Odessa, Odyssesia, Odilia, Odina, Olita, Olive, Olivia, Olympia, Olwen, Opal, Ophelia, Oona, Orelia, Oriana, Orla, Orlena, Orpha, Ottoline, Ovalia.

Paige, Paisley, Pam, Pamela, Pandora, Patricia, Pearl, Peggy, Penelope, Petra, Persephone, Phoebe, Piper, Pippa, Pixie, Priscilla, Priya, Prudence, Polly, PollyAnna, Poppy, Posey.

Raina, Ravena, Regina, Rey, Rhea, Rhiannon, Romilly, Romy, Rosa, Rosalie, Rosemary, Rowena, Roxanne, Ruby, Ruth, Ruthie.

Sabrina, Sadie, Safiya, Sally, Samantha, Samara, Samira, Sara, Sarah, Savannah, Scarlett, Selene, Serafine, Seraphina, Serena, Sia, Sienna, Sierra, Siobhan, Skye, Sofia, Sophia, Sophie, Soleil, Solstice, Sonya, Sookie, Stella, Sylvia.

Talia, Tamara, Tana, Tamsin, Tatiana, Tessa, Thea, Theresa, Theodosia, Tiara, Tiffany, Tilda, Tina, Tinsley, Toria, Topanga, Trinity, Truly, Twyla.

Uma, Una, Ursula, Uta.

Vada, Vaia, Vara, Valentina, Valerie, Venus, Vera, Verity, Veronica, Victoria, Viola, Violet, Virginia, Vivette, Vivian.

Waverly, Weslyn, Wendy, Whitney, Winona, Winnie, Winnifred, Willa, Willow, Winter.

Xahlian, Xana, Xandra, Xelis, Xena, Ximena.

Yara, Yasmine, Yvette, Yvonne.

Zada, Zahara, Zara, Zariah, Zena, Zelda, Zelena, Zoe, Zola, Zophia, Zuri.

#rph #rpc #rpt #name help #character name masterlist #*name help #*masterlist #*mine

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nightingaletrash · 2 years

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I don’t know what’s sadder, Kara and Sullivan having no clue they have a sister or, when they find her in the process of fucking up Eden, she’d have no reason to regard them as anything more than these two random strangers who just barged in one day and seem to think they have some sort of connection to her just because they share blood. FUCK YOU IM AT WORK BUT IM HAVING VAMPIRE SADS

Sullivan dusts Corliss and Amicia just snarls 'I wanted to do that!'

And oops he's inadvertently made an enemy for life because Amicia did very much want to kill Corliss herself and she doesn't really care about these supposed 'siblings' of her's because why would she? Oh sure she had a 'sister' in Luca, but turns out that Luca was Corliss' and Amicia wasn't so what does it even matter. Luca chose Corliss in the end, so it just shows that 'siblings' are just competition and enemies in waiting.

...here's a thought, does Sullivan go over to the Camarilla once Millicent is gone, or does he stay with the Sabbat? Because Amicia will either be a pest or set on being his worst enemy depending on which way he goes.

And you just know that if Amicia tries to destroy him, Kara will destroy her first. Because Amicia is a stranger and a hostile entity, no matter how much blood they share. She will kill her to protect Sullivan if he won't protect himself.

#robotslenderman #vtm #shadow fam #they're so fucked up and I love them

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this-is-an-open-letter · 6 years

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Do you feel like what the Canadian skaters are doing goes beyond using the music as soundtrack to actually inhabiting the roles of Christian and Satine from the movie? I think so. With Scott Moir and Tessa Virtue, the Canadian skaters, it feels like he is singing Ewan McGregor’s lines to his partner. It feels like they’re having a relationship. And it’s kind of gone into another place by [the Olympics allowing songs with] lyrics. Because whether you consciously receive it or not, it’s a narration inside your head. And like a ballet of “Romeo and Juliet”; you understand the story. I look at the routine that the two Canadian skaters did, and it’s ballet on ice. … It’s an extraordinary thing to watch. It uplifts the soul. It exalts the spirit. You’re sort of aware of how brilliantly clever the choreography is, but all of that just melds into one gesture, until you’re just completely inside the emotion between those two characters. It’s kind of another level.

Like you said, “Lady Marmalade” was the hit, but it’s other songs that the athletes have gravitated toward — the deep tracks. Are you surprised by which songs the athletes use? The Canadian routine is just exquisite. What they do is compress the whole relationship of the movie into one three-minute bite, and it’s very well cut, and each movement moves from one thing to another. You have an opening statement of “The Show Must Go On,” and then I think it goes into “El Tango de Roxanne,” which is kind of how volatile the relationship is. And then it ends with “Come what may, we will be together forever.” So that sums up the somewhat tragic, operatic structure of the movie.

more below the cut

Baz Luhrmann is nowhere near South Korea at the moment, but you could be forgiven for thinking that he had a hand in the winter Olympics. A good part of it is playing out as a tribute to his 2001 movie, “Moulin Rouge.” Skaters from four different countries have revived at least a half-dozen songs from the film’s soundtrack for their routines — most notably, the Canadians who have now become the most rewarded ice dance team in history, with an assist from soundtrack cuts like the Ewan McGregor-sung “Come What May.” This is the first year that the Olympics have allowed songs with lyrics to be part of the skating competition, and it’s as if 17 years’ worth of bottled-up “Moulin Rouge” mania is being unleashed all at once.

The director spoke with Variety about his fandom for the Olympians’ “Moulin” fixation, along with his appreciation for what’s being done with the upcoming Broadway adaptation of the film, which he’s observing from only slightly less of a distance.

Variety: With a Broadway stage musical version of “Moulin Rouge” opening this year, some might think the production had an endorsement or sponsorship deal with the Olympics. Was an arrangement made on the sly? Baz Luhrmann: I can tell you that when I woke up and the “Moulin Rouge” album was No. 13 on the iTunes chart — and I don’t know if it had even been on the charts in 10 years — I was as surprised as everybody else. But hey, I’m happy to consider “Moulin Rouge on Ice: The Skating Spectacular!” I know how I’d cast it.

The soundtrack album was a strong seller at the time, but it wasn’t “Thriller” big. Hearing it used in the Olympics might lead you to believe that it was more ubiquitous than it was. I’ve got quite a few “Moulin Rouge” platinum records — I mean, CDs — on my wall. But I certainly don’t have anything near what I’m sure Quincy [Jones] and Michael had on their walls. “Moulin” was very much driven in the early parts by the single that we did with Christina [Aguilera] and Pink (“Lady Marmalade”), when they were new on the scene. And the soundtrack has had a life.

But the film itself… There’s a greater love, appreciation and openness now to the musical form—thank God. I went through such a war to convince people that maybe there was a way of mashing the musical door open again back then… As with all the work I did, there was a hugely divided critical response. The two critics for Time [Magazine], I think one called it the second best film of the year, and one called it the worst. (Indeed, Richard Corliss did have it as his second-best for 2001, while his comrade Richard Schickel had it as the year’s 11th worst film.) But the audiences find it, and they’re very passionate and connected to it.

You’re surprised by the level to which this is happening, but have you been getting a feeling over the years that the music is getting this kind of use, outside of the Olympics? Now we’ve moved into an era where there are many successful [film] musicals. And even currently, with “”Greatest Showman,” it’s just grown and grown. The thing about musicals is that once they start to work, they never go away. I mean, “Sound of Music” is being performed somewhere in the world every day. “Moulin Rouge” has had a different kind of life. Remember when Obama was running? He used “Yes We Can Can Can” (“Because We Can,” by Fatboy Slim) in his original campaign [in 2008]. So the music has been used and been ongoing. And, musicals, operas, by their very nature, they’re heightened emotion. They’re not meant to be realist. That’s why you have very simple plots, but you can have extremely exalted emotions. And that really suits the narrative you need to play out on ice.

Skating has a history of using opera or ballet scores, like “Swan Lake” and “Carmen.” It has to be as emotional as possible in three minutes. There’s not a lot of time to waste in getting to that heightened state you are talking about. Exactly. I remember when I was a kid — Nadia Comaneci, do you remember her, the Romanian gymnast? She was doing her gymnastics to the theme [from “The Young and the Restless”], and it became such a huge radio hit that they renamed it “Nadia’s Theme.” And that was the first time I can remember when sport popularized a piece of music that was relatively dormant.

And when [American bronze medalist] Vincent Zhou uses “Nature Boy”… I worked with David Bowie on doing that vocal, and even though his interpretation isn’t that present in the movie, it’s one of the more extraordinary vocal performances that I’ve ever been involved in — or seen, really. I always thought it was a really remarkable recording, and was a bit sad that it didn’t get as much exposure. Eden Ahbez wrote that [in the 1940s, originally recorded by Nat King Cole] about a kind of singular and almost messianic boy, and I think [Zhou] sort of embodies that. So I was surprised and really liked how he used the music in that.

If “Nature Boy” can become one of the hits of 2018, then life can surprise all of us in pleasant ways. You know what, man, I love your outlook, because I believe that, too. That’s where the human condition can atone for the stupidity of our situation, when we can bring out a little bit of beauty. And “Nature Boy” is just such a remarkable piece, and thank God the music and the art and the sport and those things cut through a lot of the ugly noise, which ultimately will pass.

This should lead to greater interest in the film on Netflix, as well as re-popularizing the soundtrack. Do you foresee a leap in revival screenings? “Moulin Rouge” and “Romeo + Juliet,” and “Gatsby” even, there are screenings all the time, (especially) in Los Angeles. Because the films are made to be seen more than once. And in fact in London, there was a thing called Secret Cinema, where you had to come dressed as characters, and it was a thousand people a night. Can you imagine? It ran for several months. They built all the sets to “Moulin Rouge,” and they performed in front of the movie, a bit like “Rocky Horror Picture Show,” where it was meant to be participatory. It just keeps having its own interpretations. That’s what it’s there to do.

And the latest interpretation is the upcoming stage version of “Moulin.” You’re not involved with it? I’m not doing the live stage musical, which is opening in Boston and then coming to Broadway. Because I’m kind of at the center of it, but I’ve moved on myself, it’s a bit like a child who’s gone off to college. You know, I hear from it occasionally.

It’s being directed by Alex Timbers, who did “Bloody, Bloody Andrew Jackson” and David Byrne’s “Here Lies Love,” which was lesser-seen but just great. [That was] fantastic. Loved it. I can tell you, I’m like a distant uncle. I drop in occasionally and give them great encouragement. My whole thing about it is that when you make these works — when I made “La Boheme” the opera on Broadway, and when I did “Strictly Ballroom,” which is ultimately about rebelling against artistic oppression — I was a bit of a young rebel. I’m not that person anymore. So I feel much better about saying, “Alex, you take it and interpret it as you see it.” Alex is kind of a fan, and his team are fans, and they’re young. It’s so much better if they do that, and it’s such a joy to see them go off with it. The original parent getting in the way of the process is probably not that helpful.

Can you say what you’re working on now, or is it a secret? Uh, it is a secret. It’s a big music piece. There are two of them, actually, two really large movies I’ve been working on for years. I’m deciding which one is the most relevant in this oh-so-messy, ugly world. … There is so much just dissension and division and anger and grubbiness that to see two athletes actually create not only an extraordinary physical achievement but something that is poetic – and above all, something that is human – that’s really touching to me to have contributed to that in any way whatsoever.

It must be gratifying to have something like “Moulin,” which was, as you say, “dormant,” come back to life… There is music and culture, stories and art that move through time and geography. And to me that’s what defines classicism: It’s actually got relevance in a different place and a different time, way after the fact… You can’t turn to any corner of existence, no matter who you do, who you are, where you are, without seeing that the old tectonic plates of history are smashing together, and it’s bigger than all of us.

#tessa and scott #he loves it so much i am so happy for VM for nailing it so hard #the fact that VM and their team were able to nail it so much that Baz was like yup thats exactly the story in 4 minutes - is amazing

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lots-of-little-pink-clouds · 3 years

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Parliament of Knives First Impressions

So I finished VTM Parliament of Knives for the first time. My last post was just pictures of my final stats, but I wanted to go a bit more in-depth about the whole thing cause I really enjoyed this and wanted to talk about it lol

TL;DR If you like political maneuvering, investigation, and Vampire: The Masquerade, then you’ll probably like this game.

So first, I just want to say that I adore the game’s premise (love me some court politics). I knew immediately that I wanted to do the stereotypical thing of knocking Eden Corliss, your sire and the Seneschal of Ottawa, from her high horse and taking her place using a good old fashioned charismatic character. And by god, I was able to do it and that makes me feel great.

Another thing I really liked was the atmosphere. You really feel like you can’t trust anybody. I was reading very carefully and trying to pin down what everyone’s motivations were. Some were easier to do than others. There were only two people that I absolutely trusted throughout the whole thing, and that was Jordan (who I ended up romancing) and Gerard, your blood bound ghoul (although it’s a bit weird since I have a different VTM OC named Gerard who isn’t as nice). Everyone else I was watching w/ a mean side eye lol.

Then there was all the stuff happening in the background. The mystery of Prince Arundel’s disappearance and who is responsible is sprinkled everywhere. And if you pay really close attention (and eavesdrop on certain people), you can figure out a lot before the game’s conclusion. Also, it helps to have certain friends (like Jordan. Jordan is a very good friend to have. She was especially helpful to me since I played a Ventrue who not only didn’t have Obfuscate, but also didn’t invest much into Dexterity for stealth).

Everything else under the read more below is spoiler heavy, so if you aren’t interested in that, you can stop here.

I’m now going to list a bunch of things in no particular order that I just wanted to gush about.

Your ghoul’s name is Gerard. Which, as I mention above, is weird to me. I have a fanfic series going right now and the sire of the main characters is named Gerard Pelletier. But this wouldn’t’ve been as weird for me if it hadn’t already happened before.

The other time was Lacey Pendleton from Out for Blood. In that same fanfic series, there’s a background character named Lacey. I never read any of the demos for Out for Blood, so I had no clue that this was a thing.

What a weird coincidence.

Really early on, I chose to visit Vivian Maier instead of speaking with Michel Bouchard. But b/c I went unannounced, I was able to listen in on her and her Toreador associates plotting to take pictures of Corliss’ paperwork when she was away from her office. Then later, when I went to report to Corliss about something and she wasn’t there, I heard whispers through the door. I didn’t listen in - something I’m regretting now, but my stealth was shit this playthrough - but my brain automatically assumed it might be those Toreador. If it was, I will feel very vindicated.

I love Kashif Salik. He’s the Banu Haqim vizier that Lettow wanted instead of Julian and it’s great. Also, it took forever for me to realize that his anger against the Tremere was very on-brand for his clan. Very justice/vengeance driven.

Following the above line of thought, I got the achievement True Justice, which is for agreeing to help Kashif assassinate Corliss. I don’t know if this is actually possible. If it is, I really want to try it.

Sheriff Qui is a beautiful man. That’s basically it. Like, I was a bit disappointed that Choice of Games Twitter didn’t post his picture when they started promoting the game last week, but it was totally worth seeing his face in-game for the first time. He’s gorgeous.

I fucking loved Jordan’s romance. Usually, I have some trouble w/ Choice of Games romances as the games are so short that it makes it hard to get invested. And TBH I was a bit iffy about the ROs in this game too. But Jordan’s w/ you the entire time and IMO it just made sense for my Ventrue, Silas, and her to get together.

Also, you can talk about going on dates and stuff. And like. That doesn’t happen a lot in these types of games? Those little mundane conversations. If Qui’s romance is like Jordan’s than I’ll be super happy. But as much as I love Qui idk if I’ll be able to stop romancing Jordan lol.

So. The revelation that Corliss isn’t actually your sire. That she diablerized your sire and Prince Arundel messed w/ your memories and told Corliss to say you’re her childe to cover the whole thing up. That blew my fucking mind.

And Prince Arundel knew that Corliss would eventually betray him. So he used you, her ward masquerading as her childe, as a failsafe. Fucking big-brain.

Also, I was shipping Prince Arundel and Robert Ward so hard the entire game. But then. One of my decisions came back to bite me in the ass.

When I was speaking w/ Archon Adeline Durand, I basically confirmed to her that Arundel and Ward were close. Then after the fight w/ Corliss, the Archon comes in and brings Ward in chains and drugged up to the gills. And b/c I impressed her during her interrogation of me, she wanted me to be the one to execute him.

And I knew that I fucked up. But I also knew that if I didn’t do it, she’d probably dust me on the spot. So I just looked at Prince Arundel, who didn’t say a fucking word, and then I cut off Ward’s head.

But it was so fucking worth it for everything that came afterwards.

Prince Arundel couldn’t do anything during Ward’s execution. But afterwards. Oh boy. He was so pissed he literally waged war against her. He killed all of her allies in the city, then staked her so he could extract all sorts of secrets from her ancient Archon mind.

This man. Holy shit. Like. Not only did he make Corliss shoot herself, which is one of the highest Dominate abilities you can get in V5. But then he took on an Archon. And won.

What I don’t get though is why the Tremere didn’t dust him when they had the chance. If they wanted to ensure Corliss’ rise to power, they should’ve killed Arundel. It’s not like anyone would’ve known.

Unless it was a powerplay by Prince Annabelle from Montreal. You know, work w/ an ally to capture and stake a rival Prince, move in under the guise of friendship then turn on your ally and take the city, then publicly execute the rival Prince to force compliance from everyone else. But I’m probably reading too much into that.

#vampire the masquerade #vtm #vtm parliament of knives #vtmpok #parliament of knives #vtm parliament of knives spoilers #vtmpok spoilers #parliament of knives spoilers

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