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spenceluvsurmomsblog · 1 year

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Master list!

Here’s what/who I currently write smut/fluff for!

Huge disclaimer: if you know a character is a minor then you should know I will not write smut for them. Ty loves!

Full / fuller house

Jesse Katsopolis

Joey Gladstone

Danny Tanner

(Older) DJ Tanner

(Older) Stephanie Tanner

(Older) Kimmy Kibbler

Matt Harmon

Heart stopper

Nick Nelson (fluff)

Charlie Spring (fluff)

Tara Jones (fluff)

Darcy (fluff)

Issac (fluff)

Tori Spring (depends on what’s requested)

Aled (fluff)

Tou Xu (fluff)

Elle (fluff)

The summer I turned pretty

Conrad Fisher (smut/fluff)

Jeremiah Fisher (smut/fluff)

Steven Conklin (smut/fluff)

Isabell Conklin (fluff)

Susannah Fisher (fluff)

Laurel Conklin (fluff)

The Black Phone

Finney Blake (fluff)

Robin Arellano (fluff)

Bruce Yamada (fluff)

Vance Hopper (fluff)

Griffin Stagg (fluff any one who requests smut is blocked)

Billy Showalter (fluff)

Metal Lords

Hunter Sylvester (smut/fluff)

Kevin (smut/fluff)

Emily (smut/fluff)

That 70s show

Steven Hyde (smut/fluff)

Eric Forman (smut/fluff)

Jackie Burkheart (smut/fluff)

Michael Kelso (smut/fluff)

Fez (probably just fluff)

Donna Pincioti (smut/fluff)

Divergent

Tris Prior (smut/fluff)

Caleb Prior (smut/fluff)

Tobias Eaton (four) (smut/fluff)

Christina (smut/fluff)

Eric (smut/fluff)

Chucky (the series)

Junior Wheeler (fluff)

Jake Wheeler (fluffy malexmale only)

Lexy Cross (fluff)

Devon Evans (fluff)

Tiffany / Jennifer Tilly (smut/fluff)

The sandlot

Benny Rodriguez (fluff)

Scott Smalls (fluff)

Michael Palledorous (fluff)

Hamilton Porter (fluff)

Alan “yeah-yeah” Mcclean (fluff)

Bertram Grover Weeks (fluff)

Wendy Peffercorn (fluff)

Kenny Denunez (fluff)

Fear Street

Simon Kalivoda (smut/fluff)

Deena (smut/fluff femalexfemale only)

Kate Schmidt (smut/fluff)

Josh (fluff)

Heather (smut/fluff)

Cindy Berman (smut/fluff)

Ziggy Berman (fluff)

Tommy Slater (smut/fluff)

Nick Goode (smut/fluff)

Descendents

Harry Hook (smut/fluff)

Mal (fluff)

Evie (fluff)

Jay (fluff)

Carlos (fluff)

Ben (fluff)

Uma (fluff)

Gil Gaston (fluff)

Jane (fluff)

Audrey (fluff)

The Breakfast Club

John Bender (smut/fluffish)

Andrew Clark (smut/fluff)

Brian Johnson (smut/fluff)

Claire Standish (smut/fluff)

Allison Reynolds (smut/fluff)

Mean Girls

Karen Smith (smut/fluff)

Gretchen Weiners (smut/fluff)

Regina George (smut/fluff)

Janis Ian (smut/fluff)

Kady Heron (smut/fluff)

The Hunger Games

Peeta Mellark (smut/fluff)

Gale Hawthorn (smut/fluff)

Finnick Odair (smut/fluff)

Cinna (smut/fluff)

Katniss Everdeen (smut/fluff)

Glimmer (smut/fluff)

Clove (fluff)

Cato (smut)

Finch (fox face) (smut/fluff)

Any others ask and I’ll tell you what I write

Shameless

Fiona Gallagher (smut/fluff)

Lip Gallagher (smut/fluff)

Ian Gallagher (smut/fluff)

Carl Gallagher (smut/fluff)

Debbie Gallagher (smut/fluff)

Mickey Milkovitch /(smut/fluff)

Mandy Milkovitch (smut /fluff)

Kevin Ball (smut/fluff)

Veronica Fisher (smut/fluff)

Scream

Billy Loomis (smut/fluff)

Stu Macher (smut/fluff)

Sydney Prescott (smut/fluff)

Tatum Riley (smut/fluff)

Randy Meeks (smut/fluff)

Dewy Riley (smut/fluff)

Gale Weathers (smut/fluff)

Charlie Walker (smut/fluff)

Jill Roberts (smut/fluff)

Amber (smut/fluff)

Chad Minks (smut/fluff)

Mindy Minks (smut/fluff)

Sam Loomis ? (smut/fluff)

Outerbanks

JJ Maybank (smut/fluff)

Pope Hayward (smut/fluff)

Sarah Cameron (smut/fluff)

Kiera (smut/fluff)

John B (smut/fluff)

Rafe Camron

Twilight

Edward Cullen (smut/fluff)

Jasper Hale (smut/fluff)

Emmet Cullen (smut/fluff)

Carlisle Cullen (smut/fluff)

Jacob Black (smut/fluff)

Seth Clearwater (fluff)

Charlie Swan (smut/fluff)

Bella Swan (smut/fluff)

Rosalie Hale (smut/fluff)

Alice Cullen (smut/fluff)

Esme Cullen (smut/fluff)

Lea Clearwater (smut/fluff)

Mauraders

Regulus Black (smut/fluff)

Sirius Black (smut/fluff)

James Potter (smut/fluff)

Lily Evans (smut/fluff)

Severus Snape (smut/fluff)

Remus Lupin (smut/fluff)

Peter Petigrew (smut/fluff)

Narcissa Black (smut/fluff)

Bellatrix Black (smut/fluff)

Pandora Lovegood (smut/fluff)

Barty Crouch JR (smut/fluff)

Evan Rosier (smut/fluff)

Marlene Mckenny (smut/fluff)

Riverdale

Cheryl Blossom (smut/fluff) femalexfemale only

Jughead Jones (smut/fluff)

Betty Cooper (smut/fluff)

Veronica Lodge (smut/fluff)

Archie Andrews (smut/fluff)

Tony Topaz (smut/fluff)

Sweet pea (smut/fluff)

Fangs Fogurty (smut/fluff)

I am not ok with this

Sydney (fluff)

Deena (fluff)

Stanley Barber (fluff)

That’s about it.

Cobra Kai

Eli Moskiwitz (hawke) (aged up smut/fluff)

Demetri (fluff)

Samatha Larusso (aged up smut/fluff)

Moon (aged up smut/fluff)

Yasmine (aged up smut/fluff)

Anthony Larusso (aged up smut/fluff)

Daniel Larusso (smut/fluff)

Johnny Lawrence (smut/fluff)

Tori (aged up smut/fluff)

Robby Keene (aged up smut/fluff)

The outsiders

Darry Curtis (smut/fluff)

Two-bit Matthews (smut/fluff)

Sodapop Curtis (smut/fluff)

Steve Randle (smut/fluff)

Dallas Winston (smut/fluff)

Johnny Cade (fluff)

Ponyboy Curtis (fluff)

Tim Shepheard (smut/fluff)

Curly Shepheard (smut/fluff)

Angela Shepheard (smut/fluff)

Criminal Minds

Aaron Hotchner (smut/fluff)

Spencer Reid (smut/fluff)

Derek Morgan (smut/fluff)

David Rossi (smut/fluff)

Emily Prentiss (smut/fluff)

Jennifer Jaroue (smut/fluff)

Elle Greenaway (smut/fluff)

Penelope Garcia (smut/fluff)

The Originals

Klaus Mikaelson (smut/fluff)

Elijah Mikaelson (smut/fluff)

Kol Mikaelson (smut/fluff)

Rebekah Mikaelson (smut/fluff)

Freya Mikaelson (smut/fluff)

Hayley Marshall (smut/fluff)

Jackson (smut/fluff)

The Vampire Diaries

Elena Gilbert (smut/fluff)

Damon Salvatore (smut/fluff)

Bonnie Bennett (smut/fluff)

Stefan Salvatore (smut/fluff)

Caroline Forbes (smut/fluff)

Enzo St.John (smut/fluff)

Vicki Donovan (smut/fluff)

Matt Donovan (smut/fluff)

Katherine Pierce (smut/fluff)

Tyler Lockwood (smut/fluff)

Anyone else requested I’ll tell you what I write for! XX

Henry Bowers (smut/fluff)

Belch Huggins (smut/fluff)

Patrick Hockstetter (smut/fluff)

Victor Criss (smut/fluff)

(Older) Richie Tozier (smut/fluff)

(Older) Eddie Kaspbrak (smut/fluff)

(Older) Bill Debrough (smut/fluff)

(Older) Stanley Uris (smut/fluff)

(Older) Beverly Marsh (smut/fluff)

(Older) Ben Hanscome (smut/fluff)

(Older) Mike Hanlon (smut/fluff)

Friends

Chandler Bing (smut/fluff)

Rachel Green (smut/fluff)

Joey Tribiani (smut/fluff)

Monica Geller Bing (smut/fluff)

Ross Geller (smut/fluff)

Phoebe Buffay (smut/fluff)

Stranger Things

Steve Harrington (smut/fluff)

Eddie Munson (smut/fluff)

Jonathan Byers (smut/fluff)

Argyle (smut/fluff)

Billy Hargrove (smut/fluff)

Nancy Wheeler (smut/fluff)

Robin Buckley (smut/fluff)

Chrissy Cunningham (smut/fluff)

Anyone else will be fluff !

Sam and Colby

Sam Golbach (smut/fluff)

Colby Brock (smut/fluff)

Jake Webber (smut/fluff)

Reggie Webber (smut/fluff)

Kevin Langue (smut/fluff)

MIKE (smut/fluff)

Ariya (smut/fluff)

Corey schere (smut/fluff)

Katrina Stuart (smut/fluff)

Tara Yummy (smut/fluff)

Zephyr Wolf (smut/fluff)

Devyn Lundy (smut/fluff)

Cassie (smut/fluff)

The walking dead

Glenn Rhee (smut/fluff)

Rick Grimes (smut/fluff)

Daryl Dixion (smut/fluff)

Negan Smith (smut/fluff)

Maggie Rhee (smut/fluff)

Michonne (smut/fluff)

Carl Grimes (some smut aged up ofc/fluff )

South Park (all aged up ofc)

Kenny McCormick (fluff/smut)

Stan marsh (fluff/smut)

Kyle Broflovski (smut/fluff)

Eric Cartman (ig I’ll do smut or fluff)

Michael (the goth kid) (anything)

Basically anyone as long as it’s not them as children for smut

And I’ll do anything for euphoria (minus Nate) and Harry Potter (mostly fluff) and I will do anything for the walking dead !! :))

(Please no incest, zoophilia stuff)

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d-criss-news · 11 months

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Darren Criss celebra con los mejores fans

El cantante hizo una pausa para presentar a sus tres coristas, quienes colaboraron con él en el EP "Homework" | Foto: Liliana Estrada

*The singer paused to introduce his three backing vocalists, who collaborated with him on the "Homework" EP | Photo: Liliana Estrada

Darren Criss ama al público mexicano, debido a su buena vibra y el amor que le brindan en sus conciertos, y no dudó en demostrar ese cariño durante el concierto que ofreció esta noche en el Frontón México, ante mil 600 personas.

"Saben que México tiene los mejores fans del mundo, ¿verdad? Están locos, es increíble, si este show es increíble esta noche, es por ustedes hijos de perra. Vamos a opacar a los demás países del mundo", expresó el artista, luego de iniciar su repertorio con "I'm so excited" y "Fuckin around".

El cantante hizo una pausa para presentar a sus tres coristas, quienes colaboraron con él en el EP "Homework", y lo acompañaron durante todo el show de esta noche. El público no dejaba de gritar su nombre, aplaudirle cada que se acercaba a la orilla del escenario o les sonreía. Mientras tanto, el concierto continuaba con temas como "Somewhere only we know", "Cough syrup", "Hopelessly devoted to you" y "I can't dance".

Darren también recordó su paso por el teatro musical, al interpretar temas como "Granger danger" (al lado de sus coristas, Lauren y Joey) y "Goin' back to Howarts", los cuales forman parte de la banda sonora de la obra "A very Potter musical". "Hemos tocado un par de canciones que todos conocen, pero todavía tenemos algunas más. Quiero que sigan cantando conmigo", dijo en la recta final de la presentación.

El originario de San Francisco, California, incluyó "Torture me", un cover de los Red Hot Chilli Peppers, el cual aseguró es uno de sus temas favoritos. "Me hubiera gustado escribirla yo. No es un hit en la radio, pero chequenla, es maravillosa", comentó. Recordando su paso por la televisión, interpretó "Teenage dream" de Katy Perry, canción que formó parte del soundtrack de la serie "Glee", donde dio vida al personaje de "Blaine Anderson". "¿La están pasando bien? ¿Están aprendiendo algo? Espero que regresen a casa diciendo estuvo genial, quiero regresar a verlo pronto", expresó con alegría, y prometió visitar el interior de la República en su próxima gira.

El concierto finalizó con los temas "For a night like this" y "Day that the dance is over". Antes de despedirse, Darren reiteró su cariño hacia México, y externó su deseo de que todos los presentes hayan pasado una noche inolvidable. "Gracias por estar aquí está noche, los amamos. Gracias por su energía, vamos a terminar el show con alegría para que vayan a casa a decirles a sus amigos lo bien que la pasaron".

*Google Translate

*Darren Criss loves the Mexican public, due to his good vibes and the love they give him at his concerts, and he did not hesitate to show that affection during the concert he offered tonight at the Frontón México, in front of 1,600 people.

"You know that Mexico has the best fans in the world, right? They're crazy, it's incredible, if this show is incredible tonight, it's because of you sons of bitches. We're going to outshine other countries in the world," said the artist, after starting his repertoire with "I'm so excited" and "Fuckin around".

The singer paused to introduce his three backing vocalists, who collaborated with him on the "Homework" EP, and accompanied him throughout tonight's show. The public did not stop shouting his name, applauding him every time he approached the edge of the stage or smiled at them. Meanwhile, the concert continued with songs like "Somewhere only we know", "Cough syrup", "Hopelessly devoted to you" and "I can't dance".

Darren also recalled his time in musical theater, interpreting songs like "Granger danger" (alongside his backup singers, Lauren and Joey) and "Goin' back to Howarts", which are part of the soundtrack of the play " A very Potter musical". "We have played a couple of songs that everyone knows, but we still have some more. I want you to continue singing with me," he said in the final stretch of the presentation.

The San Francisco, California native included "Torture me," a Red Hot Chilli Peppers cover, which he said is one of his favorite songs. "I would have liked to write it myself. It's not a hit on the radio, but check it out, it's wonderful," he commented. Remembering his time on television, he performed Katy Perry's "Teenage dream", a song that was part of the soundtrack of the series "Glee", where he gave life to the character of "Blaine Anderson". "

Are you having a good time? Are you learning something? I hope you return home saying it was great, I want to return to see you soon," he said happily, and promised to visit the interior of the Republic on his next tour.

The concert ended with the songs "For a night like this" and "Day that the dance is over". Before saying goodbye to him, Darren reiterated his love for Mexico, and expressed his wish that everyone present had an unforgettable night. "Thank you for being here tonight, we love you. Thank you for your energy, we're going to end the show with joy so you can go home and tell your friends what a great time you had."

#darren criss #el sol de méxico #darren criss @ frontón méxico #chris lorenz #press #july 2023

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ghostrobot · 1 year

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here's my case for instead of pretending hyde never existed in that 90's show they should have just recast joey zimmerman of halloweentown fame in the part

not even the first time they've recast a prominent character (laurie forman in season 7)

has already played hyde

yes he's like 10 years younger than most of the original kid actors but listen to me this could work

has been in halloweentown

yeah

#that 70s show #that 90s show #steven hyde #I HIT POST BY ACCIDENT

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lokisknife · 2 years

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《Characters I write for》

Ps.: I'm taking requests!

☆MCU:

Steve Rogers;

Tony Stark;

Bruce Banner;

Thor Odinson;

Loki Odinson;

Bucky Barnes;

Peter Parker (Tom Holland!);

Wanda Maximoff.

☆DC:

Bruce Wayne.

Barry Allen.

☆Call of Duty:

Simon "Ghost" Riley;

König;

Captain John Price;

Alejandro Vargas.

☆Harry Potter:

Sirius Black (Marauders era);

James Potter (Marauders era);

Remus Lupin (Marauders era);

Lily Evans (Marauders era);

Severus Snape (Maraudera era).

Cedric Diggory.

☆That 70's show:

Eric Forman;

Jackie Burkhart.

☆Friends:

Chandler Bing;

Joey Tribbiani;

Rachel Green.

☆Gilmore Girls

• Rory Gilmore.

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abriefingwithmichael · 1 year

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"Get Smart" 025 (1966)

Unfunny guest character.

The pre-credits sequences is fantastic. No dialogue, but plenty of story and great gags.

Too much screentime is devoted to Joey Forman as a character spoofing Charlie Chan. But he’s not funny. Just stupid. The genius of Don Adams is that he makes Smart funny while being stupid. This guy is just annoying. He was given so much to do that I began to wonder if this was a backdoor pilot.

The rest of the episode is good. Smart at the airport, picking flights based on the movie being shown, is one of the highlights.

Robert Ito (Quincy, M.E.) guests as a KAOS agent.

My 540th TV episode of 2023. Averaging 2h10m of TV every day.

5/10

#Get Smart

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miguelmarias · 1 year

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RIO LOBO de Howard Hawks

Los tres últimos "westerns" de Howard Hawks, con John Wayne, forman algo más que una "trilogía": Rio Bravo (1958), El Dorado (1966) y Rio Lobo (1970) son, si se observan los elementos que los constituyen, el mismo film, revisado una y otra vez mediante un juego de variaciones que alteran la disposición de los factores comunes, dando lugar a tres versiones cuyas diferencias no sólo revelan la identidad individual de cada film, sino que, además, contribuyen a precisar –enriqueciéndolo y delimitándolo– el sentido de cada uno de los otros dos. Una operación semejante fue efectuada, entre 1956 y 1959, por Budd Boetticher, en los siete "westerns" que rodó con Randolph Scott, y revela la concepción del género que tienen ambos directores por el uso que hacen –como parámetros– de los arquetipos y convenciones más tradicionales del mismo. Para Hawks, como para Boetticher, el "western" es un marco, lo bastante amplio y sencillo como para poder actuar con libertad en su interior. Los elementos que constituyen cada film de la serie Hawks-Wayne-"western" son, en rigor, los mismos: la acción de Rio Lobo sigue un curso paralelo al trazado por El Dorado, que a su vea se basaba en la trama de Rio Bravo, convirtiendo cada film a la vez en una prolongación del precedente y en una réplica crítica a éste; los personajes –con Wayne como eje– son equivalentes; los escenarios y las situaciones se repiten una y otra vez, poro en combinaciones diferentes. Por ello es necesario conocer las demás si se quiere comprender y valorar debidamente cada una de estas tres etapas del paso de Hawks por el "western" intimista, por contraposición a Red River (Río Rojo, 1948) o a The Big Sky (Río de sangre, 1952), "westerns" históricos y de más amplia perspectiva espacio-temporal. Sería, pues, muy interesante llevar a cabo un minucioso análisis comparativo entre este tríptico, pero este trabajo queda frustrado por la imposibilidad material de volver a ver seguidas, en este momento, las tres películas. Sin embargo, en Rio Lobo hay una serie de innovaciones capitales, de alcance muy general, y que pueden apreciarse, en consecuencia, a partir incluso, del recuerdo de Rio Bravo y El Dorado.

Al ser Wayne (aquí llamado Cord McNally, pero en sustancia no otro que el John T. Chance de Rio Bravo o el Cole Thornton de El Dorado), más viejo y menos autosuficiente, precisa de más ayuda, y el número de personajes con cierto relieve se ve incrementado de seis (Rio Bravo, El Dorado) a ocho. En Rio Bravo bastaba con una mujer, destinada a Chance; en El Dorado, Thornton había de competir con J. P. Herrah (Robert Mitchum) por Maudie (Charlene Holt), y Mississippi (James Caan) exigía un segundo personaje femenino, Joey (Michele Carey); en Rio Lobo, McNally ya no es más que confortable para las mujeres, por lo que el personaje algo maduro y con pasado de Feathers (Angie Dickinson), desdramatizado en Maudie, desaparece, quedando tan sólo algunos vestigios en Shasta Delaney (Jennifer O'Neill), mucho más joven y que sólo alude, y brevemente, a su condición de viuda de tahur, sin que ello provoque en su pareja, que no es Wayne ni la conoce hace tiempo (como en El Dorado), la menor susceptibilidad. A esta mujer se suman otras dos, Mari Carmen (Susana Dosamantes) y Amelita (Sherry Lansing), que corresponden al número creciente de jóvenes que luchan junto a Wayne. Hay que hacer constar que las relaciones hombre-mujer, en esta película, carecen por completo de elementos conflictivos: no hay rivalidades, ni desconfianzas mi complejos; la agresividad de las mujeres hawksianas es aquí muy relativa, y nunca se prolonga demasiado (reticencia de Shasta, insinuaciones de Amelita). Además, al ser la intervención de las tres casi simultanea a la constitución del grupo masculino, no hay ninguna acusación de intrusismo –véase Hatari! (1961), con Wayne– hacia las mujeres, ni actúan de forma marginal o perturbadora (Red River, The Big Sky, Rio Bravo, Hatari!, El Dorado), mientras que en ocasiones anteriores las relaciones estaban dadas al iniciarse el relato, o poco después eran completadas (Wayne-Martin-Brennan más Nelson, Wayne-Mitchum-Hunnicutt más Caan), y siempre antes de que las mujeres tuviesen influencia en ellas, en Rio Lobo asistimos, en cambio –como en Red River o The Big Sky–, a la formación del grupo. Como siempre, estas agrupaciones amplias se producen por fusión de otras menores, que se fusionan en un momento crítico: en Red River, Clift se suma a Wayne-Brennan y, tras una prueba, se admite a Ireland; en The Big Sky, Douglas encuentra a Dewey Martin y luego se les agrega el tío de éste, Hunnicutt; en Rio Bravo, y tras la consabida prueba, Nelson se une a Wayne-Dean Martin-Brennan; en Hatari, Blain (y Elsa Martinelli) tienen que demostrar su valía para unirse al grupo preexistente que formaban Wayne-Cabot-Kruger-Vargas-Buttons (y Michèle Girardon); en El Dorado, la célula básica Wayne-Mitchum se ve incrementada por Caan, que se adhiere con Wayne a Mitchum-Hunnicutt. Al inicio de Rio Lobo, Pierre Cordona (Jorge Rivero) y Tuscarora Phillips (Christopher Mitchum) forman parte de un destacamento confederado que causa la muerte del amigo filial –el teniente Forsythe– del unionista McNally, que les persigue, es capturado por ellos y, finalmente, les hace detener hasta el fin de la Guerra de Secesión, tras la cual todos se dispersan. De esta forma, al perder Wayne a su amigo (más joven o protegido) en una escena que repite con mas sequedad (y sin mostrar dicha amistad) una famosa de Only Angels Have Wings (1939), y separarse Pierre y Tuscarora en el primer tercio del film (como Wayne y Mitchum en El Dorado), sin que aparezca ninguna mujer, los tres se ven reducidos a su originaria condición de solitarios, que comparten –aunque no siempre explícitamente– con los demás personajes de Hawks (Wayne tras perder a Coleen Gray en Red River, Kirk Douglas en The Big Sky, Bogart en To Have and Have Not y The Big Sleep, todos los de Red Line 7000 y los de las comedias serían los ejemplos más evidentes), que con frecuencia se agrupan, son solidarios, pero sin perder su independencia ni dejar de ser solitarios (especialmente cuando son lacónicos y pudorosos, o se creen autosuficientes, y no confiesan a nadie sus problemas).

Al morir Forsythe, desaparece el personaje representado por Dude (Dean Martin) en Rio Bravo, y por Herrah (R. Mitchum) en El Dorado, intermedio entro los interpretados por Walter Brennan en To Have and Have Not, Red River y Rio Bravo, y los encarnados por Montgomery Clift y Dewey Martin en, respectivamente, Red River y The Big Sky (pues los Arthur Hunnicutt de ésta y El Dorado, Ricky Nelson en Rio Bravo y James Caan en El Dorado representan otro nivel afectivo, mucho menos conflictivo). En Rio Lobo ninguno de los amigos de Wayne es alcohólico, ni está inutilizado, sino que tanto Pierre como Tuscarora (y luego otros habitantes de Rio Lobo, cuya ayuda es aceptada por Wayne, no rechazada como la de los pobladores de Rio Bravo) han probado en la guerra su eficacia (lo que les dispensa de los “exámenes” a que otros jovencitos se veían sometidos en anteriores films de Hawks), y además la conservan. Por si fuera poco, todas las mujeres son hábiles, resueltas y eficientes (montan o disparan tan bien como los hombres, y saben más que ellos sobre la situación de Rio Lobo), y el viejo pintoresco –aquí padre de Tuscarora, o interpretado por Jack Elam– está algo chiflado pero no es más viejo que Wayne y no tiene nada de inútil.

De esta forma, desaparecen en Rio Lobo todos los elementos conflictivos de las relaciones que unen a los personajes protagonistas, que existían tanto en Rio Bravo como, con mas humor, en El Dorado: por un lado, se nos muestra el nacimiento de estas relaciones (tanto amistosas como amorosas), al ser todavía muy recientes cuando acaba la película, no existe posibilidad de deterioro ni decepción, y los lazos entre los personajes no son aún permanentes ni demasiado profundos, sino espontáneos e inmediatos, sin excesiva implicación (por esto puede parecer que las relaciones son más superficiales en esta película que en las otras dos, cuando en realidad es un intento de profundizar en ellas mostrando su origen: seguramente acabarán siendo como las de Rio Bravo y El Dorado, pero se nos muestran en su periodo de formación y solidificación), dado que aún son provisionales y circunstanciales; por otro lado, los personajes son más numerosos, más equivalentes –especialmente Pierre, que, al no necesitar la ayuda de Wayne y ser el protagonista de la historia amorosa, tiene aún más relieve frente a Wayne que Herrah en El Dorado–, y aun más sanos y efectivos que de costumbre en Hawks: no hay novatos torpes, ni borrachos, ni viejos renqueantes, ni neuróticos, ni obsesos vengativos (pues para McNally la venganza no es, como para Mississippi, en El Dorado o para Boone en The Big Sky, la única motivación de su existencia, sino una de las tres que le llevan a luchar en Rio Lobo: vengar a Forsythe, descubrir a un oficial traidor y ayudar a Tuscarora); sí hay, en cambio –como siempre– humor, pero menos estrepitoso que en El Dorado, y menos heroico que (dada la situación) en Rio Bravo: más libre, más directo, más constante.

Esta salud moral y física –pese a la edad de Wayne y a la poca madurez de los demás– es el único rasgo que hace ejemplares a los personajes de Hawks, que nunca han tenido nada de héroes mitológicos ni de figuras bigger than life; no son héroes por grandeza personal, sino por su forma de actuar; lo único que tienen de extraordinario estos hombres y mujeres es ser tan normales; su proeza consiste en hacer bien lo que tienen que llevar a cabo. Por eso Hawks se ocupa de que elijan las mejores armas y las más adecuadas (véase cómo Wayne cambia su rifle por otro, que puede empuñarse y cargarse mejor, y más deprisa, con una sola mano), de que acudan a la astucia y no duden en hacer trampa cuando no hay otra salida, de que sean lo bastante hábiles y numerosos como para vencer verosímilmente a su enemigos (más corrompidos y poderosos que nunca, pues incluyen al sheriff y sus agentes, que dominan el pueblo y poseen todos los ranchos de la zona). Es más, cuando Hawks iba a empezar El Dorado, se dio cuenta de que los protagonistas de Rio Bravo salían victoriosos y además ilesos, y convirtió a Wayne en un lisiado, a Mitchum en un borracho tembloroso, e hizo que hiriesen a los dos, en Rio Lobo. Hawks conserva a sus héroes en bastante buena forma física hasta el final, pero entonces no sólo ellos, sino hasta Amelita, resultan lesionados.

Gracias a esta naturalidad de los personajes y de las relaciones que les unen, los films épicos de Hawks se convierten en comedias, lo que impide ya definitivamente cualquier mitificación heroica y permite enriquecer las situaciones y acelerar el ritmo de la película, que hace surgir lo cómico no sólo de las situaciones dramáticas, sino incluso de lo dramático de las situaciones. La aceptación con humor de los reveses de la acción evoca el paso continuo de ganador a perdedor (y viceversa) de Randolph Scott en Buchanan Rides Alone (1958) de Boetticher, y permite suprimir cualquier queja o lamento, cualquier ruptura de continuidad en la acción y cualquier pausa injustificada. Esto, que es lo acostumbrado en el cine de Hawks, alcanza su punto culminante en Rio Lobo, que es, por tanto, la más hawksiana de sus películas.

Hawks ignora la crisis, la decadencia y los complejos, la nostalgia y la amargura. Es significativo que en toda la carrera no haya utilizado el flashback: es decir, que lo pasado, pasado está, y aunque pueda servir como explicación del presente, jamás puede pesar tanto como para interrumpir su transcurso. La estructura lineal y despojada de digresiones de sus films ilustra la recta trayectoria vital de sus personajes En este sentido, el que haya rodado a los 74 años Rio Lobo, probablemente al más animoso de sus films, evidencia en Hawks una juventud y una salud moral a toda prueba, pues en esta película no sólo conserva el empuje que siempre ha caracterizado su cine, sino que lo redobla y lo renueva. De todos sus “westerns”, Rio Lobo es el más dinámico y activo, el más seco y expeditivo, el más sencillo y claro, el más desnudo y preciso; el más tradicional también –ya que en él se dan cita casi todos los temas clásicos del género, incluso algunos, como el de la Guerra Civil, que Hawks había eludido–, aunque siempre teniendo en cuenta la modernidad de sus personajes, que son actuales (de 1970) pese a desenvolverse en una época y un contexto social del pasado (hacia 1870), circunstancia ésta que favorece la aparición de la comedia en el interior del “western”. A diferencia de lo que ocurre con Ford y otros, el Viejo Oeste no es para Hawks sino un decorado, un escenario; no una forma de vida (véase la ausencia de vida cotidiana de las ciudades fronterizas de Hawks, y compárese con, por ejemplo, el Tombstone amorosamente recreado por Ford en My Darling Clementine). Por eso Hawks no siente la nostalgia que late en los últimos “westerns” de Ford; ni siquiera por el género (que ocupa tan solo una pequeña parte de su obra) siente añoranza (¿es que había que sentirla cuando este género se mantenía tan vivo que podía seguir dándonos obras tan ricas y variadas como los últimos “westerns” de Hawks, Ford, Peckinpah, Boetticher, Walsh, Mankiewicz, e incluso John Sturges, Richard Thorpe y G. R. Hill le habían hecho un buen servicio en los anteriores seis años?). Por tanto, Rio Lobo no es un film de ocaso; y sólo la mala conciencia o la ignorancia pueden intentar justificar el agrado con que se ve Rio Lobo diciendo que es un Canto del Cisne (sin duda, creen así trascendentalizar un film que carece por completo de pretensiones). No hay nada más falso, como nada hay menos hawksiano que la actitud testamentaria, por lo que implica de inmodestia, de egocentrismo y de autocompasión (a menos que se esté ya a las puertas de la muerte). Al no ser nostálgico ni ser su visión agónica, Hawks no podía entonar cantos de cisne; es más, no era probable que jamás lo hiciera: Hawks murió intestado. Por el contrario, Rio Lobo tiene la concisión directa, lacónica y expeditiva de una “fe de vida”, y la contundencia irreversible de lo que se prueba con hechos: el movimiento se demuestra andando. Pretender que Rio Lobo tiene algo de acta de defunción cegarse a la evidencia y negar la realidad, pues Rio Lobo demuestra con su existencia que en 1970 era posible volver a hacer Rio Bravo, y por tanto que ni Hawks ni el “western” habían muerto; es decir –si tenemos en cuenta que Hawks fue su director por excelencia y el “western” su género más representativo–, que el cine americano sobrevivía todavía.

Miguel MARÍAS

Artículo no publicado. Escrito en 1971 para “Film Ideal”.

#miguel marías #rio lobo #howard hawks #film ideal #1970 #western #artículo inédito

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tantrumofdarkness · 3 years

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#that guy saw the opportunity and took it #and honestly? same 😏🍑#The Monkees #monkees 1x23 #Captain Crocodile #1967 #Davy Jones #Peter Tork #Micky Dolenz #Joey Forman #1960s #60s TV #60s #pair of twinks

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gatutor · 7 months

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Hugh O´Brian-Coleen Gray-Joey Forman "The twinkle in god´s eye" 1955, de George Blair.

#Coleen Gray #Hugh O´Brian #Joey Forman #George Blair

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oldshowbiz · 1 year

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Joey Forman’s Uneven Routine

#Joey Forman

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einsteinsugly · 1 year

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That 70s Show Characters, as Friends Characters. 1984-1994.

Steven Hyde as himself: After Donna scores those two apartments from her late grandmother, he packs his bags and moves to NYC. He opens up a record shop, and finds success across the street from Central Perk. And Jackie Burkhart, although his new punk chick girlfriend Chrissy doesn't like her. At all.

Jackie Burkhart as Rachel Green: A waitress at Central Perk, after falling out with her family and running from her wedding to Barry. She goes into fashion consulting, but not before meeting the owner, Steven Hyde, of a record store called Grooves across the street. Who is also her newfound friend. Their on and off relationship leads to an annulled Vegas wedding and a daughter, Emma (born 1992), before they end up together for good.

Eric Forman as Ross Geller/Chandler Bing: A dorky, snarky astronomy professor with a love of Star Wars. With his wife, Donna, he has one son, Ben (born 1985). When they were dating, back in Wisconsin, people mistook Eric as Donna's little brother.

Donna Pinciotti-Forman as Monica Geller (with a bit of Phoebe): A strong-willed journalist at the New York Times, where most of her co-workers think she's a bitch. She and her friends all moved to NYC from Wisconsin after she inherited two apartments from her grandmother. Loves cats, even smelly ones. Is married to Eric, and has a son named Ben with him.

Michael Kelso as Joey Tribbiani: One big goof. A cop, and an aspiring actor and model. Loves pizza, his wife Brooke, and his daughter Betsy (born 1979). His catchphrases are "burn" and "how you doin'?"

Fez as Phoebe Buffay: The quirky friend, who is trying his hand at a music career, often ending up empty handed.

#that 70s show #that 90s show #eric and donna #jackie and hyde #kelso and brooke #fez #my essays #friends #hyde fits no one tbh

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shockyhorror · 6 years

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#the monkees #michael nesmith #captain crocodile #monkees 1x23 #mike nesmith #joey forman #oliver mcgowan #mine #1967 #1960s #60s #60s tv #60s television

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raynbowclown · 2 years

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The Atomic Kid

The Atomic Kid (1954) starring Mickey Rooney, Robert Strauss, Elaine Devry The Atomic Kid is a comedy about … surviving an atomic bomb blast? Yes! Surprisingly, it’s very funny! (more…)

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#1954 #Bill Goodwin #Elaine Devry #Fay Roope #Joey Forman #Mickey Rooney #Robert Emmett Keane #Robert Strauss #Stanley Adams #Whit Bissel

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papermoonloveslucy · 6 years

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LUCY GETS LUCKY

March 1, 1975

Directed by Jack Donohue ~ Written by Robert O'Brien

Synopsis

Lucy Collins comes to Las Vegas to see Dean Martin perform at the newly-opened MGM Grand Hotel. When Lucy's reservation falls through, she hears that Martin is doing a special show for employees and promptly gets herself hired. Naturally, Lucy causes chaos in each department she is transferred to: valet parking, cocktail waitress, Keno girl. But Lucy gets lucky when Dean Martin takes a liking to her and arranges a front row seat at his show.

Cast

Lucille Ball (Lucy Collins) 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.

Lucy Collins lives in Los Angeles and took the bus to Las Vegas.

Dean Martin (Himself) also played himself (and his stunt man doppelganger Eddie Feldman) in “Lucy Dates Dean Martin” (TLS S4;E21) in 1966. He was born Dino Paul Crocetti in Steubenville, Ohio, in 1917. He made his screen debut in a short playing a singer in Art Mooney’s band, but his first big screen role was 1949’s My Friend Irma with Jerry Lewis. This began a partnership that would be one of the most successful screen pairings in cinema history. Later, he also worked frequently members of “the Rat Pack”: Frank Sinatra, Joey Bishop, Peter Lawford, and Sammy Davis Jr. His persona was that of a playboy, usually seen with a glass of booze and a cigarette. Martin and Lucille Ball appeared on many TV variety and award shows together. He died on Christmas Day in 1995 at age 78.

Jackie Coogan (Gus L. Mitchell, below center) was a child actor. In “Ricky’s Screen Test” (ILL S4;E6) Lucy Ricardo hopes Little Ricky will be “the next Jackie Coogan.” Coogan was once married to Flower Parry, who was a frequent extra on “I Love Lucy.” He is, of course, best remembered as Uncle Fester on TV’s “The Addams Family” (1964-66). He made two appearances on “The Lucy Show” and on one episode of “Here's Lucy.” He died in 1984 at age 69.

Gus Mitchell is head of personnel at the MGM Grand.

Bruce Gordon (Max Siegel / Vogel, above right) is best known for playing Frank Nitti on the Desilu series “The Untouchables” (1959-63). He played a version of the character when “The Lucy Show” parodied “The Untouchables” in 1966. He was also seen in “Lucy and the Ex-Con” (HL S1;E15) in 1969.

Although the final credits list him as Max Vogel, in the special Gordon clearly says his name is Max Siegel. He is a toy company executive with a business that has been suffering due to shipping problems with their baby dolls.

Paul Picerni (Packy West) was a also cast member of Desilu’s “The Untouchables” from 1959 to 1963. He was seen in four episodes of “Here’s Lucy.”

Lee Delano (Chuck Murdock) previously appeared on the Desilu shows “Star Trek” and “Mission: Impossible.”

Packy and Chuck are Max's gambling buddies.

Ken Lane (Himself) was Dean Martin's musical arranger, pianist, and, alongside Nelson Riddle, also served as composer for this special, although he was uncredited for that work.

Hal England (Dean Martin's Arranger) was an experienced Broadway actor who began screen acting in 1960. He previously appeared in “Lucy and the Astronauts” (HL S4;E5) and “My Fair Buzzi” (HL S5;E13). England died in 2003.

Joey Forman (Eddie) had a nightclub act with Mickey Rooney during the 1950s that led to his appearance on many TV variety shows. He will also appear in “Lucy Calls the President” in 1979.

Eddie is the head of valet parking at the MGM Grand.

Gino Conforti (Antonio) began his TV acting career in 1968 and has been continually working since, although mostly as one-off characters. He had a recurring role as Felipe on “Three’s Company” from 1980 to 1982, a series Lucille Ball admired. He played the burglar in “Lucy Plays Cops and Robbers” (HL S6;E14) in 1974. He will also be seen in and “Three for Two” later in 1975.

Antonio is the Maitre D' at the Celebrity Room. His name is never mentioned in the dialogue.

Vanda Barra (Gladys) made over two dozen appearances on “Here’s Lucy” as well as appearing in Ball’s “Three for Two” (with Jackie Gleason). She was seen in half a dozen episodes of “The Lucy Show.” Barra was Lucille Ball’s cousin-in-law by marriage to Sid Gould.

Gladys is the desk clerk (possibly owner) of the Cactus Flower Motel.

Sid Gould (Taxi Driver) made more than 45 appearances on “The Lucy Show” and nearly as many on “Here’s Lucy.” Gould (born Sydney Greenfader) was Lucille Ball’s cousin by marriage to Gary Morton. He was previously in the Lucille Ball Special “Happy Anniversary and Goodbye.”

Gary Morton (Al) was a comedian who worked the famed ‘Borscht Belt’ in the Catskills Mountains. He met Lucille Ball shortly after her divorce from Desi Arnaz and they married in November 1961. At her request, Morton gave up his nightclub career and became a producer of “The Lucy Show.” Morton also served as a warm-up comic for the show’s studio audience. He is also Producer of this special. Morton passed away in 1999.

Al is a pit boss at the MGM Grand. His name is not spoken in the dialogue.

Bonnie Boland (Sally) played Mabel on “Chico and the Man.” The last of her six episodes aired two weeks after this special was first broadcast.

Sally is a waitress at the MGM Grand Coffee Shop.

Jack Donohue (Ralph) was the director of this special, as well as many episodes of “The Lucy Show” and “Here's Lucy.” He would sometimes make cameo appearances in the episodes he directed.

Joan Swift (Dawn) made six appearances on the “The Lucy Show” as well as two episodes of “Here’s Lucy.” This special is her final screen credit.

Dawn is Ralph's wife. Lucy parks their car when they arrive at the MGM Grand.

Judith Wright (Peggy, Keno Girl)

Jane Aull (Keno Girl) was a background performer making her fifth and final screen appearance.

While making a telephone call, the character is mistaken from the back for Lucy.

Jay Jones (Maintenance Man) makes his screen debut with this special.

Roy Rowan (Voice Over Announcer, uncredited) was Lucille Ball’s announcer for all of her sitcoms. He also made occasional on-camera appearances.

During his introductions, Rowan doesn’t use the show's title, but calls it “The Lucille Ball Special.” This was also the case with “Happy Anniversary and Goodbye,” which had nearly identical voice-over announcements introducing the show.

This was Lucille Ball's second primetime special after the end of “Here's Lucy” in 1974. The first was “Happy Anniversary and Goodbye” four months earlier. After playing a character named Norma in that special, Ball is back to playing a character named Lucy. This time her last name is Collins.

In 1953's “Lucy is Matchmaker” (ILL S3;E27), Lucy tried to fix up Eddie Grant with a girl named Sylvia Collins, although the character remained off-screen.

On “The Lucy Show” Viv’s on-again-off-again boyfriend was named Eddie Collins.

Collins is the surname assigned to Robert Cummings on a 1972 episode of “Here’s Lucy”.

In the film Follow The Fleet (1936), Lucille Ball’s character is named Kitty Collins.

On a 1966 “The Lucy Show” Mr. Mooney and Lucy Carmichael meet the hip hypnotist Pat Collins (her real name)!

This special is available on DVD from MPI video or can be streamed online. It was originally aired on CBS in the USA and ITV in the UK. Like “Happy Anniversary and Goodbye”, this show is sponsored by Timex, which gets opening title credit.

Writer Robert O'Brien had written 54 episodes of “The Lucy Show” and 24 of “Here's Lucy,” many of which were directed by Jack Donohue.

The biggest departure for this special is there is no studio audience or laugh track.

Lucille Ball reunites with many of her “Here's Lucy” production staff, including hairstylist Irma Kusely, prop master Kenneth Westcott, costumer Renita Reachi, production manager William Maginetti, and script supervisor Dorothy Aldworth.

Location shooting was done at the (then) newly opened MGM Grand Hotel in Las Vegas. Scenes set inside the Cactus Flower Motel were shot at Paramount Studios in Hollywood. This is the second time Lucille Ball has shot on location in Las Vegas, the first being at Caesars for “Happy Anniversary and Goodbye.” Although episodes of her television shows were set in the city, actor doubles and second unit footage were used while Ball remained in Hollywood.

Dean Martin's name was seen on the marquee of the Riviera Hotel when Lucy Carter went to Las Vegas in 1970's “Lucy and Wayne Newton” (HL S2;E22, above), three years before the MGM Grand was built. Lucille Ball first used location footage of Las Vegas in “Lucy Hunts Uranium” (LDCH 1958). Lucy Carmichael also visited the town in 1965's “Lucy Goes to Vegas” (TLS S3;E17), however no establishing or location footage was shot, and the episode was filmed entirely on the Desilu soundstage in Hollywood.

The show opens with a montage of the the Las Vegas strip that includes the marquees of the Caesars Palace, the Flamingo, the Frontier, the Stardust, the Sands, and the Dunes, before ending on the exterior of the MGM Grand. This montage is an aerial view at night, instead of the daytime street view in “Lucy and Wayne Newton” (HL S2;E22).

The MGM Grand opened as one of Las Vegas's first mega resorts on December 5, 1973. Dean Martin was the entertainer on opening night. It was the largest hotel in the world at its opening and would remain so for several years. “The Dean Martin Celebrity Roasts” were filmed at the hotel. The property was sold in 1986 and the name was changed to Bally's. The MGM Grand name was transferred to the former Marina Hotel, now known as MGM Grand Las Vegas.

When Lucy Collins arrives at the MGM Grand with suitcases in hand, she walks through the casino and down their 'Hall of Fame' lined with illuminated posters of movie stars. The soundtrack plays a wistful version of “Hooray for Hollywood.”

Lucy pauses at posters of Spencer Tracy and Katherine Hepburn;

She blows kisses to Cary Grant, whose poster is alongside Grace Kelly.

She gazes lovingly at photos of Frank Sinatra, Fred Astaire and Ginger Rogers. Rogers played herself on a 1971 episode of “Here's Lucy.”

Lucy does a 'ha-cha-cha-cha' in front of a poster of Jimmy Durante, who Lucy Ricardo disguised herself as in “Lucy Meets Harpo Marx” (ILL S4;E28). Durante later did a brief cameo on a 1966 “Lucy Show.”

In a meta moment, Lucy Collins then stops and primps her hair in front of a poster of Lucille Ball! Lucy Carter also stood before a poster of Lucille Ball in “Lucy and the Andrews Sisters” (HL S2;E6) and later shared scenes with movie star Ball in “Lucy Carter Meets Lucille Ball” (HL S6;E22). Although her recent film Mame had been released by Warner Brothers, Lucille Ball had done several films with MGM, like The Long, Long Trailer (1954) and Forever Darling (1956).

Walking out the employees back entrance and trekking through the desert, it becomes clear that Lucy was only using the MGM Grand lobby as a shortcut to get to her actual lodgings, the Cactus Flower Motel, managed by her friend Gladys (Vanda Barra).

Lucy: (about her dress choices for Dean Martin's opening night) “The other one is older, but its got a Gucci label.” Gladys: “You have an outfit from Gucci?” Lucy: “No. Just the label.”

In the MGM Grand coffee shop having a cup of tea in a back booth, Dean Martin sings a few bars of “Volare,” a song written by Franco Migliacci and Domenico Modugno. Martin was one of the first to cover the song in 1958. His orchestra will reprise the song at the end of the special while Lucy and Martin dance.

When Lucy phoned for a reservation for Dean Martin's opening night, she lied and said there'd be eight guests. Talking to Antonio the maître d' she must now make excuses for the absence of the seven others.

Mr. and Mrs. Winters are expecting a baby;

Mr. and Mrs. Nichols, Mrs. Winters mother and father, naturally won't be coming either;

Mabel and Henry, Mr. Winters mother and father also aren't coming because of the baby;

Gregory is Mrs. Winters doctor, so he also won't be there;

So it is just Lucy.

Unfortunately, Antonio won't give Lucy a table for one!

Lucy: “I have been a fan of yours from bobby socks to suphose.” Dean Martin: “Do you think those suphose would help my problem?” Lucy: “What's your problem?” Dean Martin: “I fall down a lot.”

Lucy Collins gets a job as a cocktail waitress and causes chaos at the roulette tables. Lucy Ricardo had some luck (then lost it all) playing roulette in “Lucy Goes to Monte Carlo” (ILL S5;E25). In 1965, Lucy Carmichael had some luck (then lost it all) playing roulette in “Lucy Goes to Vegas” (TLS S3;E17).

The character of Max Siegel (credited as Vogel) is likely named for gangster Bugsy Siegel, who was primarily responsible for the development of the Vegas strip in the 1950s. The fact that Max is being played by Bruce Gordon, famous for playing real-life gangster Frank Nitti on Desilu's “Untouchables,” pretty much assures the comparison. Naturally, Lucy overhears Siegel and his friends talking about “busted up dolls” and thinks they are talking about women, as the term was often used for females in the Damon Runyon musical Guys and Dolls.

Max Siegel's gambling buddy is played by Paul Picerni, another “Untouchables” alumni. His character name is Packy West, which is an obscure reference to Lucy's pal Bob Hope. In July 1919, a 16-year-old Hope entered the Ohio State Boxing Amateurs tournament under the name “Packy East,” a nod to light and welterweight boxer Patrick “Packy” McFarland and Hope's own school, “East” High.

A chase sequence involving Lucy and Max Siegel's gambling buddies ends up backstage at “Hallelujah Hollywood,” a lavish stage show conceived, produced, and directed by Don Arden, It was a 3 million dollar tribute to classic MGM Hollywood musicals which played The Ziegfeld Room (which at the time was the largest stage in the world, with the largest backstage area in the world), at the MGM Grand Hotel in Las Vegas. The show opened in 1974, and ran until 1980. Its flamboyant finale was a tribute to the Ziegfeld Follies, featuring The Grand Stairway and The Great Ziegfeld Walk. The show featured over a 700 costumes (designed by Ray Aghayan and Bob Mackie). Lucille Ball played a lavishly attired Ziegfeld showgirl in the 1946 MGM film Ziegfeld Follies.

On stage with Lucy in the front row, Dean sings “Everybody Loves Somebody,” a song written in 1947 by Sam Coslow, Irving Taylor. Although it had been recorded by others, it was Dean Martin’s 1964 recording that hit #1 on the Billboard Pop Charts. He also sang it in “Lucy Dates Dean Martin” (TLS S4;E21, above). He then launches into “Tie a Yellow Ribbon 'Round the Old Oak Tree” written by Irwin Levine and L. Russell Brown in early 1973. It was a #1 hit for Tony Orlando and Dawn. The song was referred to by Steve Lawrence (but not sung) in “Lucy, the Peacemaker” (HL S6;E3).

This Date in Lucy History - March 1

“Home Movies” (ILL S3;E20) – March 1, 1954

“Lucy and the Old Mansion” (TLS S3;E22) – March 1, 1965

This is one of the best post-”Lucy” outings of Lucille Ball's career. The reason is simple: She sticks close to what she does best – and she does it without the cloying addition of a laugh track. Had she decided to call the character Lucy Carter instead of Lucy Collins, it might well have been billed as a “Here's Lucy” special. As Lucy Carmichael, she did a similar filmed special titled “Lucy in London” during “The Lucy Show.” Lucy Carmichael dated Dean Martin for one episode, so it would only have worked with Lucy Carter. Perhaps Ball thought people wouldn't remember “Here's Lucy” a year later. But whatever she's named, this special gives us old school, celebrity-hunting, anything-goes, Lucy and it is terrific!

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