#classic flynn performance
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Errol Flynn in "The Sea Hawk" (1940)
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I am adoring all of these polls and gif sets and just being fed so many hot vintage people. As someone who really hasn’t watched very many classics, are there any movies you’d recommend for someone just starting to dip their toes in older media but unsure where to start?
Sure! I don't want to sway any voting, but I'll put an incomplete list of favorites that involve hot men not still in the bracket below the cut.
Something to note that applies to most of these old movies—older movies have different pacing than modern movies, so some of these might seem really slow or weird to start. There are also different ways of framing gender and agency, for better and for worse. I've italicized the ones that I think are the best for starting with, but go with whatever genre/aesthetic sounds best.
The Court Jester (Danny Kaye, Basil Rathbone)—a circus performer working for a quasi-Robin Hood infiltrates the royal court. Fun comedy that's incredibly accessible and still so light on its feet. Swordfighting, glamorous medieval costumes, court intrigues, and silly accents.
Singin' in the Rain (Gene Kelly)—fun polyamorous musical comedy. The dancing is incredible, but so is the sense of joy and camaraderie between Gene Kelly, Donald O'Connor, and Debbie Reynolds. Genuinely captures the feeling of hanging out with your best friends. 1920s Hollywood, big movie studios, backstage drama, goofy hijinks.
The Adventures of Robin Hood (Errol Flynn, Basil Rathbone)—classic swashbuckler/romance. It could read a little slow to modern tastes but the action scenes are absolutely killer, as is the sentiment of seeing little guys pull down big capitalists evil monarchs. Swashbuckling, labor activists merry men hanging out in the woods, hot men in tights, social commentary swords, a Maid Marian who really holds her own and falls in love with the socialist
Charade (Cary Grant)—thriller/romantic comedy. Audrey Hepburn's husband dies and leaves her a hidden inheritance, and she's racing some skeevy characters to find it. A little bit scary but mostly charming and gorgeous, and you can find it high quality virtually anywhere because they fucked up the copyright trademark in the opening credits. Romance, murders, Paris, 1960s fashion, chases in the night.
Chitty Chitty Bang Bang (Dick Van Dyke)—this movie is divisive for some reason—I personally like peace, love, and joy, so it makes the list. This is a James Bond movie if James Bond had two kids, lived in a windmill in the south of England, and was into cottagecore inventions more than martinis and racism. This is very much a kids' movie so go in with that expectation, but enjoy the gorgeous production design, the wonderfully silly performances, and Lionel Jeffries pulling out every stop as an insane old man. Dick Van Dyke has excellent DILF energy. Magical cars, big musical vibes, fun inventions, and romantic fantasy.
To Be Or Not To Be (Jack Benny)—comedy/drama. A ragtag Warsaw theatre troupe stands off against the Gestapo after the invasion of Poland. TW for Nazis, obviously, but overall this is a comedy with some heft, and kind of shocking to be this ballsy about fucking hating Hitler's guts in the 1940s. Hambone actors, Shakespeare, spies, 1930s gowns. It's been a minute since I watched it so I don't think there are any TWs here, but go forth with caution.
Witness for the Prosecution (Tyrone Power)—mystery/legal drama based off an Agatha Christie story. The performances are campy fun and the twist would be at home in something like Knives Out. Big dramatics, hambones, lots of talking, a bit of a mindbender.
The Lady Vanishes (Michael Redgrave)—mystery/suspense/romantic comedy. It's a little slow to start but roll with it—once the action moves to the train the pacing really picks up. This gets slotted as a thriller sometimes but it's much funnier and gentler than that. There's some period-typical snarkiness directed at anyone Foreign™ by some of the British characters; the British characters are also made fun of. Trains, British people, international shenanigans, mystery, and humor.
All About Eve (absolutely none of these hot men, lots of hot women though)—a legendary actress fights for her life against the rising star who supplants her. Big drama, big performances, lots of gasp! and dahling! and vicious little quips. New York, theatre pronounced theahhtah, drama queens and plotting.
The Philadelphia Story (James Stewart, Cary Grant)—talk-heavy comedy, lots of quick banter and period transatlantic accent fun. It's a bit shouty and conflict-heavy at times, but I don't think James or Cary have ever been hotter, and Katherine Hepburn is just wow. Very funny dialogue, relatable characters, incredibly hot across the board. There is one instance of a racial slur (not directed at anyone but still there) and one shove. Some people won't like the discussion of Hepburn's character's choices as a daughter and a wife. With all of these movies you'll see a a range of how female characters are presented and treated, and while some period movies fall hard for sexist tropes, I personally think the performances, direction, and subtext of many of these films actually prioritizes the experiences of the female characters and shows them as living, breathing people, even if they're not framed the way they would be today.
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An Ice Skating Outing (Sammy Lawrence x Reader)
A little holiday oneshot for Christmas :)
It was the holiday season again in New York. And within one little animation studio, you and your best friends were planning your Friday night out.
You were a long-time employee of Joey Drew Studios who worked as a janitor. A simple job, but a nice one because you were able to interact with all different folks within the studio. Your best friends were none other than Wally Franks and Shawn Flynn. Wally Franks was the other janitor of the studio, unfortunately tasked with cleaning up everyone’s messes (sometimes even your own, though you loathe to admit it). Shawn Flynn was a young Irish immigrant trying to make his mark in the studio. How he was going to do that with all those crooked-smiling Bendy dolls he made, you had no idea.
The three of you gathered in Heavenly Toys, discussing your plans for the holiday season. Wally brought up walking down to Rockefeller Center to ice skate and look at the classic Christmas tree after work. It was a tradition of yours, even though none of you could ice skate to save your lives. Despite this, you and Shawn excitedly agreed to this idea. Tomorrow, the three of you would have a rockin’ time around the giant Christmas tree.
------------------------------------------------
It was Friday morning, and you were helping Wally clean around the studio. It was your turn to clean the Storyboard and Music Departments. You had just finished up in Story, and as you waved goodbye to a fellow coworker, Dot, you made your way down the hall towards the music studio.
First, you made your way upstairs to Norman Polk in the projection booth. Truth be told, he never made much of a mess, but he did made good conversation. It was also just fun to watch the band perform. You and he had spent many days up in the projection booth discussing Sammy Lawrence. While Norman found Sammy strange, you found the composer fascinating. He was far from the usual cheery or simply tired employees often found in the studio. Sammy Lawrence was cranky and often pessimistic, but it was almost refreshing in a sense. Wally and Shawn, of course, weren’t glass-half-empty folks.
Today, they were recording a special holiday edition of Bendy the Dancing Demon. The music sounded beautiful, as always. It certainly helped that the music director was the one and only Sammy Lawrence. Pessimistic he may be, but Sammy knew music.
You still remember the first time you’d met. You’d been chatting with Jack Fain, the lyricist of the Music Department, during his break. (You refused to visit him otherwise- he worked down in the sewers, and it was far too stinky there.) Most of the time you tried to avoid the Music Department, thanks to Wally’s horror stories of the director. Wally forgot to mention he often got himself into trouble when he misplaced his keys, which usually led to him getting scolded by Sammy. Of course, on that particular day, yet another pipe burst while you finally had a chance to catch up with Jack. The recording room had begun to flood as a result. You and Jack had rescued as much sheet music as you could, and even a few instruments before the ink ruined the studio. You had saved as much as you could, though. Thankfully, it was more than enough to make a positive impression on the music director when he returned. Sammy Lawrence had a look of utter horror on his face as he made he way back from his break (back when breaks actually happened at the studio). You watched as Jack explained what had happened to the composer. When he told Sammy how you and him had rescued the sheet music, Sammy sighed with relief. You gently handed him the pile of music, and he simply said “At least one of these janitors is competent.”
Since then, you’d been less afraid of the Music Department. In fact, Sammy Lawrence tolerated you, which is more than most can say. Thanks to Jack and to your rescue mission, Sammy had allowed you to hang around. He’d been borderline friendly, which is about as good as you can get when it comes to Sammy Lawrence. The more you spent time with him, though, the more you developed feelings for the director. He was, after all, a handsome man. He had longer blond hair that often fell into cold blue eyes, and despite an icy exterior, something about him attracted you. Especially since he wasn’t so frosty around you anymore. While he didn’t exactly appreciate your outgoing friends, he all but admitted to enjoying your company.
Unfortunately, the composer looked especially stressed today. Probably another deadline due. You frowned. Maybe he needed a pick-me-up. That’s when a lightbulb appeared over your head. Maybe you could be the pick-me-up.
———————————————————————
“I’m going to invite Sammy Lawrence to join us tonight.” You announced over lunch.
“Are you kidding? You wanna invite mister grouch? The ultimate Scrooge?” Wally asked, flabbergasted at your suggestion.
“Consider the consequences! Ol’ Sammy is too much of a party pooper.” Shawn chimes in. Always has to get his two cents in.
“Oh c’mon, guys. Sammy can’t be that bad. Besides, I bet he’s lonely. It wouldn’t hurt to ask him to join us!” You defended, taking a bite of your sandwich.
Shawn waggled his eyebrows playfully. “(Y/N) just wants to go sweet on him, Wally.”
And that’s what you get for mentioning that the composer was cute to your friends one time.
Your face heated up. “Shawn, shut it. That’s not what this is about, I just think it’d be fun-“
“You can invite him, (Y/N), we’re just horsin’ around. But I’m bringin’ mistletoe!” Wally teased.
You stuck your tongue out at Shawn and Wally and made your way to the Music Department once more. It was lunch break for most, but if you knew anything about Sammy Lawrence, it was that he didn’t really take breaks. Not anymore, anyway. He was always somewhere in the Music Department, writing the next piece of music or meeting some deadline or another. Not to mention there was always the threat of a pipe bursting nowadays. Sure enough, Sammy was sitting on a stool by his music stand, scribbling into a black notebook.
You hesitated. “Um, hi, Sammy.”
The composer glanced in your direction, then went back to writing. “Hello. Do you need something?”
“Well, I was wondering if you wanted to come with Shawn, Wally and me to Rockefeller Center tonight? We were gonna go see the tree and ice skate.”
“No thanks. Deadline to meet.”
You frowned. “Oh, okay. Are you sure? Maybe you could use a break.”
“Deadline to meet.” Sammy repeated.
“Okay. I’ll let you get back to song writing then. Sorry to bother you.” With that, you turned away to rejoin your friends, thoroughly disappointed.
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Sammy Lawrence felt guilty. He wasn’t used to that feeling, save for the guiltiness of disappointing Joey Drew. Honestly, a nice stroll in the cold sounded pleasant. But Shawn and Wally weren’t exactly his crowd, and he did have a deadline to meet, even if he enjoyed (Y/N)’s company. Sammy pulled out a cigarette and lit it. He took a long drag, and slowly blew out the smoke.
“If I can finish this song…” he told himself.
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At the end of the day, you met once more with Shawn and Wally. The three of you clocked out (Wally praying for no more messes) and were grabbing your coats. As you wrapped your scarf around your neck, you heard a smooth voice come from behind you.
“Is that offer still open?” Sammy Lawrence asked quietly.
You whipped around to face him, ignoring an open-mouthed Shawn and a smirking Wally.
“Yeah, of course. Didn’t you have a deadline to meet, though?”
Sammy slipped on his coat. “Finished. And it’s goddamn Christmas. Might as well enjoy the season,” he pulled out a cigarette to light.
Wally clapped Sammy on the back, earning a scowl in return as he nearly dropped his lighter. “That’s what I’m sayin’! Now let’s get outta here!”
Together, the four of you left the studio. You noticed that Sammy Lawrence kept rather quiet during the walk. He seemed to be breathing in the cold. If he wasn’t taking a drag, that is.
“So, Sammy, you ever been ice skating before?” Shawn asked, pulling his hat lower over his ears.
“Used to on nights after Jack and I got out from the theatre. He’d drag me along before I had to drift for the night.”
“Are you any good then? The three of us are god-awful on the ice.” You chimed in, earning a “Hey!” from Wally and Shawn.
Sammy simply shrugged. “Not sure. Don’t do it anymore.”
“Well, we’re about to find out, music man.” Wally announced as your group arrived at Rockefeller. It was quite crowded out, but New York was always lively.
The tree was jaw-dropping. It didn’t matter how many times you had seen it over the years; every time was like the first time. The tree was lit up gorgeously this year, ornaments climbing its massive branches. Even Sammy paused to take in its magnificence.
“Wow,” breathed out Shawn. “Never gets old, does it?”
“Nope. Gotta be the best part of the season,” Wally replied.
Slowly, the four of you broke your gaze from the tree and made your way to the entrance of the ice rink, where tickets were being sold to skate. The four of your purchased your tickets and went to change into the skates. Wally and Shawn passed you a pair of skates, then winked at you. The pair disappeared into the crowd. That left you and Sammy alone on a bench as you laced up your ice skates. Of course. You should’ve known they would pull a stunt like that.
“Where’d they go?” Sammy asked as he laced his own pair of skates.
“Don’t mind them, they’re just being a couple of twits.”
Sammy chuckled. “Don’t have to tell me twice. Shall we?” He asked, standing wobbly and offering you his hand. You took it, and together you somehow made it onto the ice. Not without you practically tripping over the ledge to the rink, though. Sammy caught you.
“Thanks. Usually that’s the part where I’d fall on my behind and Wally and Shawn laugh,” you admittedly sheepishly as you tried to regain your balance.
“It’s fine. Don’t know why you insist on skating then, though.”
“Because it’s fun! It doesn’t matter how many times you fall, because we always laugh and help each other back up… eventually.” You smile at him and start to let go of his hand in favor of gripping the rail. Instead, Sammy held your hand a little tighter. You looked up at him, confused, but he refused to meet your eye. Blushing faintly, you started to skate with him.
The weather was absolutely perfect tonight. The lights on the tree at Rockefeller Center shone brilliantly in the New York night. There was a light breeze that ruffled your hair, and Jack Frost nipped at your nose. Despite the cold weather, though, you felt warm next to Sammy. You looked up at him, only to realize that it had begun to snow. Tiny snowflakes sprinkled down and landed in Sammy’s dirty blond hair. You also couldn’t help but notice how surprisingly graceful the music director was on the ice. Maybe it was his tall and lanky stature, but he seemed to have no problem gliding along the rink.
“Is there something on my face?”
Sammy’s question startled you into reality. A heat spread over your cheeks as you looked away. “Er, no, I just… got distracted.”
The composer gave a rare smile in response. “Mhm. I’m sure.” He still hadn’t let go of your hand.
“Y’know, I’m really happy you were able to make it tonight.”
“Yeah well, just don’t tell Joey.”
“Mr. Drew won’t hear a word from me,” you assured him.
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You were just starting to get a handle on the rhythm of skating when Wally and Shawn skated around.
“Hey lovebirds!” Shawn chided.
“How’s skatin’?” Wally asked.
You gave a death glare to Shawn before quickly letting go of Sammy’s hand. “It’s going good. How’re you two holdin’ up? Bet you fell on your asses already.”
“We did!” Wally laughed. “All in good fun, I think.”
You nodded and smiled before Wally and Shawn took off again. “Gettin’ off the ice in fifteen!” Shawn hollered.
“Okay!” You shouted back. As soon as your friends were out of sight, you reached for Sammy’s hand again. He looked at you quizzically.
“So I don’t fall like a complete fool,” you explained. Definitely not because your hand was left cold without his. Definitely not because you simply wanted to hold his hand and ice skate and pretend that you were getting your happily ever after. Sammy Lawrence looked down at your hand in his, then back up at you. His lips upturned just slightly. You continued to ice skate.
“So… Why don’t you like Christmas?” You asked suddenly, breaking the silence.
“It’s just… It gets busy. At the studio. And everyone is so annoyingly cheery. I’m not really happy, so why should everyone else be?” He sighed, before adding “I don’t really have any family to go to anyway. Jack always invites me over, but I don’t wanna be a burden.”
This was the most honest you'd ever heard him be with you. It was refreshing. You squeezed his hand reassuringly. “I’d bet Jack would love to have you. Anyone would. You don’t have to be such a Scrooge. Perhaps a little Christmas cheer is just what you need.”
Sammy chuckled in response. “Perhaps.” The two of you slipped back into the comfortable silence. Before you knew it, fifteen minutes had passed and it was time to find Shawn and Wally. That wasn’t exactly hard to do. The two of them were currently trying to make their way to the rink’s exit, and failing at it. You and Sammy made it to the bench long before they did. Finally, Shawn sat down next to you, and Wally nearly tripped onto the pavement.
“Why do we do that every year again?” Asked Wally, tugging off his skates.
“You tell me,” you replied, grinning.
“Touche,” Wally shrugged.
Once the four of you had changed out of your ice skates, you split the scene. This was usually the part where you and your friends would head home. You all exchanged glances.
“Well, I had a lotta fun, even if I landed on my rump more times than I can count. But it’s time to head home. I’m outta here!” Wally waved to you all and started his journey home.
Shawn nodded. “Same here. Got to get some rest. Night!”
And then there were two. You looked up at Sammy. “Well… I suppose I should be getting home, too.”
“Do you want me to walk you home?” Sammy asked suddenly.
You were taken aback by his question. “I- That would be lovely, actually. Thank you.”
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The walk wasn’t too long, but it was certainly cold. You knew you should’ve brought a heavier jacket. One particular gust of wind sent a shiver down your spine. Without a word, Sammy shrugged off his coat and draped it around your shoulders. He seemed completely unfazed by the weather.
“Thanks.” You smiled gratefully at him, tugging the coat tighter around your shoulders. It smelled like cologne, ink, and cigarette smoke. Somehow, the combination was pleasant. Or maybe it was just what those smells represented. You walked closer to the composer, feeling warmth radiate from him. Soon, you made it to your door.
“Thank you again for walking me home. And for your coat,” you said, handing it back to him.
“Thanks for good company,” he replied as he slipped his coat back on. He said it genuinely and sincerely.
“I’ll see you tomorrow?” You asked.
“You know where to find me.” Sammy turned to leave, and you faced your door. But…
“Sammy, look at this!” You pointed upward at the overhang above your door. The composer faced you, and tilted his head as he glanced upwards.
“Mistletoe,” you both said. You laughed lightly. Wally and Shawn strike again. You didn’t know how, but you knew it was them.
“You know the rules, Sammy,” you continued, taking a step towards him. The music director looked at you, a deep blush spreading across his features. He looked positively flustered. Standing on your tip toes, you planted a kiss on Sammy Lawrence’s cheek. His eyes widened and he lifted his hand to gingerly touch the spot where you’d kissed him. Gosh, you wish you could take a picture of that moment.
“Merry Christmas, Sammy.” And with that, you left the flustered composer on your doorstep.
You couldn’t wait to tell Wally and Shawn.
#i just had to write something christmas-y#working on another holiday oneshot too actually#sammy lawrence x reader#sammy lawrence#batim#bendy and the ink machine#bendy and the dark revival#batdr
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Hey i was wondering about maybe getting sonic forces but ive had a rough relationship with boost formula sonic games in the franchise. Do you think frontiers is worth getting if i bounced off of something like sonic forces because of the modern sonic and gadget levels? Dose frontiers do enough in other areas to seem worth it even if i dont enjoy modern sonics current standard of gameplay? Is there something there to satiate the lore and story fan in me as someone who got attached to the world through the characters and world after playing classic sonic games and moving onto the comics even though sonic games are usually pretty simple in that compartment? Sorry for the barrage of questions, hope you have a nice day and good luck with SLARPG!
frontiers still very much has the core boost formula gameplay, it just also has huge open world levels and fun, flashy melee combat on top of that. there are some changes - homing attack is mapped to a separate button from jump again, the boost has been nerfed a bit and can't be used to just ram through enemies, there are a shitload of sliders to tweak sonic's movement to your liking - but the way sonic plays is still familiar territory. as someone who likes the core boost gameplay and mostly just thought the level designs were the problem in forces, i'm having a blast with frontiers and its giant playgrounds of platforming challenges, but i can't really speak for you
story and lore-wise, though? oh, i can recommend this 1,000,000% if you're here for that. i won't spoil anything, and i've still got a good way to go with the game, but BOY this game is doing shit with the characters and world and lore that they haven't done in years. there have already been a couple reveals that made my eyes bulge out of my skull in terms of the plot, but also tons of nice character moments that feel like a breath of fresh air after years of mediocre writing in the mainline games. this is the most fun and interesting story a sonic game has had since arguably the adventure games - except this time you don't have to squint through an awkward english localization to see those good qualities, because it has a rock solid script from ian flynn that's totally in line with his comic work and extremely natural performances from the current voice cast. it rules
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“Why, you speak treason!”
“Fluently.”
When it comes to Robin Hood, it doesn’t get any Robin Hood-ier than this. Swashbuckling legend Errol Flynn is Robin Hood as much as Olivia de Havilland is Maid Marian in what might just be the most entertaining film of the 1930s in Michael Curtiz’s The Adventures of Robin Hood (1938). Every single Robin Hood film release since stands in this version’s shadow.
Action-packed without being overly silly or too violent, witty as any of the screwball comedies released in the ‘30s and ‘40s, costumed and designed with an eye-popping color palette, and enjoyable enough for anyone who has never seen a film this old, Michael Curtiz’s and William Keighley's The Adventures of Robin Hood continues to delight as it approaches its eighty-fifth anniversary of its release. Flamboyant performances from Claude Rains and Basil Rathbone add to the fun! Perhaps its most innovative aspect is the rollicking score by Erich Wolfgang Korngold - Korngold (as much a composer for film as he was for contemporary classical music) was one of the first to use Wagnerian leitmotifs in association with characters and ideas in his scores, which would go on to influence almost every film composer working since.
At that year’s Oscars, The Adventures of Robin Hood - the most expensive movie yet produced by Warner Bros. at that time - was nominated for four Academy Awards, winning three: Best Art Direction (Carl Jules Weyl), Film Editing (Ralph Dawson), and Original Score for Korngold. Its only loss was for Best Picture (You Can’t Take it with You).
#The Adventures of Robin Hood#Robin Hood#Michael Curtiz#Errol Flynn#Olivia de Havilland#Claude Rains#Basil Rathbone#Una O'Connor#Erich Wolfgang Korngold#Carl Jules Weyl#Ralph Dawson#Oscars#31 Days of Oscar
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18 Modern Words That Had Very Different And Curious Meanings In Old Cincinnati
Some words we use daily today meant something totally different more than a century past. Here are a few normal, everyday terms that once had surprisingly altered definitions long ago in Cincinnati.
Affinity
In the early 1900s, “affinity” meant something very much like “soulmate” does today. In Cincinnati newspapers, “affinity” usually shows up in articles about divorce. Many a husband sought a divorce because he had found his “affinity”, and it wasn’t the woman he was married to. Jacob Pels told the Cincinnati Post [31 October 1907] on the occasion of his second divorce: “Twice I thought I found my affinity, and twice I made a bad mistake.”
Blue
Today, if you’re blue, you are mildly depressed. Back in Old Cincinnati, “blue” meant risqué, or even obscene. Cincinnati ministers erupted in indignation when Millie DeLeon, the “Girl In Blue” (wink, wink!) performed at Heuk’s People’s Theater on Vine Street in 1901. And, when Cincinnati Redlegs Manager Clark Griffith excoriated the team after a dismal spring training game in Georgia, the telegraph company refused to carry the Enquirer’s dispatch [14 March 1909]: “Wishing to be perfectly accurate, we wrote out the rest that Griff said, but the telegraph man would not send it. He said his wire was a family wire of good and regular habits, and he would not insult it by asking it to carry a lot of blue language.”
Boom
This old term had nothing to do with firecrackers or other explosions. It meant to promote, or to hype, or to publicize. When Judge Andrew J. Pruden wrote to the editor praising a Cincinnati Post editorial, the Post headlined his letter [6 January 1893]: “Judge Pruden Indorses The Post In Its Efforts to Boom The City.” An editorial an 1888 edition the old McMicken Review at the University of Cincinnati encouraged students to “Boom the ‘Varsity!” Cynical Thomas Emery, a pioneer real estate developer, told the Post [1 July 1886] he was concerned about future investments: “Boom Cincinnati? Can you boom a dead dog? I don’t mean that Cincinnati is dead exactly, but she’s overbuilt.”
Brace
To brace somebody meant to cheat them, and Cincinnati was swarming with galoots just salivating at the opportunity to brace someone. The bracers needed to watch out who they braced, though. Frank Y. Grayson in his classic “Pioneers of Night Life” tells the tale of Frank James, Jesse’s brother, getting fleeced at a Cincinnati card game: “James dropped $800 on the night. He knew that he had been braced. Before he left he said genially, ‘Well, boys, I’ll say one thing for you, you get it easier than I do.’”
Cake
We’re not talking pastry here. This word figures into one of the most obscure lines in Ernest Lawrence Thayer’s classic “Casey at the Bat” from 1888:
But Flynn preceded Casey, as did also Jimmy Blake,
And the former was a hoodoo, while the latter was a cake;
A “hoodoo” we still recognize as a jinx, but a “cake”? In 1888, everyone knew that a cake was a fool. Within the context of baseball, a cake was a loser.
Candlelight
Many a romantic evening has been conducted by candlelight. In the days before electricity, “candlelight” was a time of day, specifically that time of evening when you lit your candles. The Cincinnati Gazette [11 June 1857] presented this line: “The preacher gave notice that, if the weather was fair, he would preach at candlelight, but, as it sprinkled a little, there was no congregation.”
Card
There is not much call for classified advertisements these days, when everything is advertised online. Ads used to be the main source of income for newspapers, who called small advertisements “cards,” as in this example from the Enquirer [22 November 1890]: “Mrs. Pollock did not stop at advertising her business in circulars. She inserted a card in the Sunday Newsdealer.”
Cockpit
Did you ever wonder why the place an airplane pilot sits is called a cockpit? It’s named for an actual pit in which roosters (or cocks) fought to the death. Cock-fighting was popular in Cincinnati, though intermittently illegal. The Cincinnati Commercial [11 January 1847] advertised a new venue: “A regular Cock Pit having been established in the rear of the “Lunch House,” fights will take place three times a week.” If cock-fighting was too high-class, Cincinnati also hosted rat-pits from time to time in which small dogs battled rodents.
Combination
Strictly speaking, in the 1800s, a “circus” was that entertainment taking place withing a sawdust “ring” which in Latin was “circus.” The other aspects of the modern circus – the traveling zoo known as the “menagerie” and the “side-show” or “exposition” – were considered separate enterprises. The first impresarios to “combine” all of these shows called them “combinations.” So, we have the Cincinnati Gazette [8 June 1872] reporting: “Warner’s big combination show attracted an immense crowd of spectators yesterday afternoon and evening.” And old John Robinson advertised his traveling spectacular as “Robinson’s Great Combination.”
Dashboard
We use “dashboard” today to talk about status displays on our computer screens, which derived from the instrument panel in our automobiles, which referred to the array of gauges and dials in an aeroplane. But there was a much earlier and practical use of this word as the actual wooden board at the front of a carriage that kept stones and mud from being kicked into the driver’s face. From the Cincinnati Dollar Weekly Times [1 November 1855]: “The mare was put between the thills of a nice light buggy, her harness thoroughly adjusted by the owner, the reins carefully laid over the dashboard, and the usual chapter of advice opened concerning her management.”
Drummer
An old definition of this word, metaphoric in origin, has nothing to do with music. A drummer was a salesperson, usually a traveling salesman, and usually a man on commission. The Enquirer [22 December 1871] reported: “The State of Maryland has in force a statute similar to that of Tennessee and several other States, which classes ‘drummers’ selling goods by sample for houses out of the State with peddlers, and exacts a license from them so heavy as to prohibit effectually sales in those States.”
Embarrassed
If you realize, after ordering at an expensive restaurant, that you left your wallet at home, you might be embarrassed. That is close to the old-time definition of this word. It meant bankrupt. The Cincinnati Gazette [27 April 1837] related the story of a scoundrel named John Law: “With him perished all Law’s hopes for regaining his personal fortune. He became embarrassed; suits were commenced against him.”
Grocery
So many old-time groceries offered liquor by the glass that “grocery” came to mean almost any saloon that emphasized the hard stuff over beer. Here’s the Western Christian Advocate [20 May 1836]: “When I hear a man say ‘my cigars cost me two dollars a week’ – I should not be surprised if I see him drinking in a grocery or tavern.”
Hilarious
The history of comedy reminds us that we find drunks to be humorous. Back in the day, “hilarious” did not mean funny; it meant extremely inebriated. The Enquirer [14 January 1870] recounted one such case: “Night before last, this identical phonographer, who now calls himself Henry Henderson, was found in a highly hilarious condition, enjoying the society of ugly females in a bad house on Eighth street.”
Map
There are abundant synonyms for physiognomy, but Cincinnati in the 1890s had a good one – “map.” In regaling his readers with memories of post-midnight culinary delights, Frank Grayson recalled Simon the Hot-Corn Man, who slathered his steaming ears of corn with “a substance that passed as butter.” Grayson recollected how “There were a lot of greasy maps decorating Vine Street in the wake of Simon.”
Queer
In recent times, “queer” has settled into a linguistic niche as a sobriquet for what used to be called “alternative lifestyles.” Around 1880, however, the primary connotation of “queer” was financial. It referred to counterfeit money. The Cincinnati Gazette [28 October 1873] reported on the trial of M.Y. Morton: “He is an old gray haired man, and told the detective that he had been ‘pushing the queer’ for thirty-five years, making a good business in buying and selling counterfeit.”
Slut
Ever since it became a term of sexist opprobrium, “bitch” has been ruined as the technical name for a female canine. Few today remember that “slut” was synonymous with “bitch” and also referred to distaff dogs. An advertisement in the Cincinnati Commercial Tribune [21 June 1870] sought: “Dogs – Two full blood Scotch rat terriers dog and slut. Must be a year old or older.”
Snide
You rarely hear this word today outside the phrase “snide remark.” When you do, it often has the tint of sarcasm. In old Cincinnati, however, “snide” meant fake, cheap or counterfeit. The Cincinnati Daily Star [23 January 1880] recorded that “Ed. Kline was pulled in yesterday for selling ‘snide’ jewelry.” The term applied to people, too. The Enquirer [5 April 1880] noted: “A snide party styling themselves Tennessee Minstrels were rotten-egged and mobbed in Easton, Maryland, on Friday night.”
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Merrily We Roll Along is a Hit!
featuring career best performances from Jonathan Groff, Lindsay Mendez, and Daniel Radcliffe!
Merrily We Roll Along has always been called one of Sondheim’s problem musicals and yet it remains a beloved classic. Whenever a new production is announced, there’s always talk of if this will be the production to “fix it,” or the one to solve the problems of the musical and make it a bonafide hit.
Personally, I’ve never really seen it as a true “problem musical.” I understand each and every complaint about the show’s book, but for the most part, George Furth’s book really works for me. I still have my complaints about it, mainly the way Beth and Gussie are a bit too one dimensional, but overall I’ve never thought the show needed “fixing” per say.
I suppose that’s because I’ve always really connected with it? Three young artists wanting to make it in their respective fields and struggling with what to do with fame and change and growing up always seems to hit me very hard.
And of course the score is absolutely gorgeous.
With all that being said, I absolutely loved the new production of Merrily We Roll Along currently playing at New York Theatre Workshop, directed by Maria Friedman and starring Jonathan Groff as Franklin Sheppard, Daniel Radcliffe as Charley Kringas, and Lindsay Mendez as Mary Flynn.
Let’s get right to it - the performances are phenomenal.
Jonathan Groff is truly giving a career best performance in this show. He was absolutely fantastic and the perfect Franklin Shepard. He hit every emotional beat perfectly and sang the hell out of all his songs. It is hard to sell Franklin as a character to root for since he’s fallen and tumbled into the Hollywood abyss at the top of act one and is a complete asshole, but Groff really sells that underlying desperation to be loved that still makes you feel for him. He’s also Jonathan Groff, who literally everyone loves, which honestly really helps.
There is also a moment where he’s lying face down on the stage absolutely sobbing, which was really wonderful and moving.
Lindsay Mendez was absolutely wonderful and played Mary Flynn with an ambitious bite. She also has this deadpan delivery of a lot of her jokes that was really fantastic. Her performance in this felt really mature and really grounded, and completely different than her Carrie in Carousel.
Then we have Daniel Radcliffe, who was a surprisingly amazing Charley Kringas. He got the “anxious and eccentric playwright on the verge of a breakdown” down perfectly. He isn’t the best singer, but makes up for it in acting and honestly I think it works for Charley. Charley isn’t the music guy, he’s the story guy. But Radcliffe did have two of the highlights of the show, both “Franklin Shepard, Inc” and “Good Thing Going.” I’ll talk about the latter later, but “Franklin Shepard, Inc” brought the house down. Radcliffe hit every emotional beat and every joke in that song absolutely perfectly and really showed that he is absolutely perfect for this part.
Shoutout to Katie Rose Clarke as Beth and Krystal Joy Brown as Gussie - both were lovely. Clarke delivered a lovely “Not a Day Goes By” and Brown had a really nice take on “Growing Up.”
I know director Maria Friedman has done this production of Merrily before, but I wanted to go in blind to her take on the show. Overall, I really loved it and might have interpreted something deeper than she intended, but I’ll get into that as we go along.
For starters, the whole show was staged really beautifully, particularly “Opening Doors” and “Good Thing Going.”
“Opening Doors” is definitely a song any young artist relates to and I thought it was staged perfectly in this production. It was totally simple, with Frank at his piano and Mary and Charley at typewriters. The focus was on the three friends, which is representative of the entire show. Everything revolved around Frank/Charley/Mary, and a lot of the rest was pushed to the side, quite literally actually. The three main friends are the core of the story, and the most developed characters, so it makes sense to squarely focus on them. Even their costumes reflected this, but we’ll get into that in a second.
“Good Thing Going” is one of my favorite songs in the show, particularly because it’s essentially the thesis statement of the show. Again, Friedman went for simple here. There was a simple spotlight on Daniel Radcliffe with a soft glow on Jonathan Groff at the piano. It was stunningly beautiful and you could almost see Charley picturing his entire future in front of him.
I thought the costumes were really cool! This is a show that reflects a lot of time period changes, especially a lot of drastic changes in fashion. The ensemble kept a basic color palette but continuously changed styles to reflect the time, which I really liked. Gussie and Beth had a similarly muted color palette.
What was interesting to me is that throughout the entire show, Frank wore the exact same outfit. Occasionally he would have a jacket on, but he always had the same base outfit on. Likewise, while Mary and Charley had different costumes (and a distinctly different color palette than the rest of the ensemble), they wore the exact same shoes for the entire show, except for the very very last scene. I thought this was a really nice choice and feeds into what I interpreted Friedman’s concept as.
Now the set is going to be the thing most people will have differing opinions on. No one can deny how spectacular Groff, Mendez, and Radcliffe are, but they sure can have wildly different opinions on the set. Many will think it is ugly. Many will think it looks unfinished. I liked it, and the only way I can really describe it is, “Malibu Barbie Dream House”
All this to say, I interpreted Friedman’s direction as Frank kind of replaying his life in almost a dollhouse kind of setting trying to retrace his steps as to where he went wrong. The Malibu Barbie Dream House (though I don’t think Friedman would quite appreciate me referring to it as such) is the backbone for every single scene, with slight changes to denote different times and locations. But it’s always Frank’s house, it’s always his world.
Even the costumes - while the ensemble and small characters change into flashy new outfits, he always stays the same and Mary and Charley never change shoes. They are the core Frank is trying to work with and trying to see through.
I like this concept for the show, and it even “fixes” parts of the book - at least I think so. In this way, you could almost say Beth and Gussie are only one dimensional/almost comicly foils of each other because that’s how Frank has posed them in his attempt to understand why his life is in shambles. And maybe people constantly telling Mary how visible it is that she’s in love with Frank is a projection on his own feelings instead. Frank is smart, surely he isn’t dense enough to not have known she was in love with him/would have said something by now.
Which I guess makes my one complaint of this production that Friedman could’ve pushed this concept a bit more. The show ends with the final “Merrily We Roll Along” as the ensemble brings us back to the present with Frank in the center of it all. Frank who has not changed costumes once. So I guess my one wish would’ve been to have him more involved in these multiple transitions throughout the show.
I suppose my ideal production of Merrily has Frank never leaving the stage at all, but that’s for another time.
Before I wrap it up, a quick lightning round of comments:
This production uses “That Frank” as the second song instead of “Rich and Happy” -- the Roundabout/Fiasco Theatre Company production a couple years back used “Rich and Happy”
There is truly not a bad seat in the house
I won lotto tickets for this show, and they were front row four seats in from the left. From what I gather, those four seats are the only lotto seats TodayTix is giving out, but I could be wrong there.
it is always glorious to hear this score live
I understand this production is sold out for the entirety of its run - NYTW only has like 200 seats in that space so it was always going to be a hard ticket to get - but I did notice Sonia Friedman’s name attached as a producer and she’s smart enough to know not to have a one month only production of a show starring Harry Potter himself. So it’s definitely not if this production is transferring to Broadway but when.
Anyways, this production is an absolute delight and reminded me how much I love this show and how hard it continues to hit no matter how many times I see it. It reminded me that Jonathan Groff is a true leading man, Lindsay Mendez is an absolute powerhouse of a performer, and that Daniel Radcliffe truly belongs on stage above all else. It reminded me that this isn’t a “problem musical” at all and has remained a classic for a reason.
Right?
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The press release about the Merrily We Roll Along extension, which also includes casting information for the two new swings and the two actors playing Frank Jr.
"MERRILY WE ROLL ALONG"
IS EXTENDED BY POPULAR DEMAND
NOW THROUGH MARCH 24, 2024
STARRING
DANIEL RADCLIFFE
JONATHAN GROFF
AND LINDSAY MENDEZ
DIRECTED BY OLIVIER AWARD® WINNER
MARIA FRIEDMAN
THE WILDLY ANTICIPATED BROADWAY TRANSFER
OF MS. FRIEDMAN'S HUGELY ACCLAIMED
MENIER CHOCOLATE FACTORY & NEW YORK THEATRE WORKSHOP
PRODUCTION OF
STEPHEN SONDHEIM AND GEORGE FURTH'S
BELOVED AND ETERNALLY CELEBRATED MUSICAL
BEGINS PERFORMANCES ON TUESDAY, SEPTEMBER 19, 2023
AT THE HUDSON THEATRE
TICKETS FOR THE EXTENSION
ON SALE BEGINNING TODAY AT 10:00AM ET
FROM $69
New York, NY (July 10, 2023) – Producers Sonia Friedman Productions, David Babani, Patrick Catullo, and Jeff Romley announced today that the first ever Broadway revival of Stephen Sondheim and George Furth's Merrily We Roll Along has extended its engagement by popular demand. Originally announced to run through January 21, 2024, Merrily We Roll Along will now run through March 24, 2024, with performances beginning on Tuesday, September 19, 2023 at the Hudson Theatre (141 W 44th Street). Directed by multi-Olivier Award® winner Maria Friedman, Merrily We Roll Along features music & lyrics by Stephen Sondheim, a book by George Furth, and is based on the original play by George S. Kaufman & Moss Hart.
As previously announced, Merrily We Roll Along will star Daniel Radcliffe as Charley Kringas, Jonathan Groff as Franklin Shepard, and Lindsay Mendez as Mary Flynn.
Tickets for the new dates will be available at 10:00am ET today, Monday, July 10 at MerrilyOnBroadway.com.
Tickets will be available from $69. A TodayTix Lottery will be available for all performances, with details to be announced at a later date.
Additionally, the production will feature Krystal Joy Brown as Gussie Carnegie, Katie Rose Clarke as Beth Shepard, and Reg Rogers as Joe Josephson. The cast will also include Max Rackenberg, Brady Wagner, Sherz Aletaha, Maya Boyd, Leana Rae Concepcion, Morgan Kirner, Ken Krugman, Corey Mach, Talia Robinson, Amanda Rose, Jamila Sabares-Klemm, Brian Sears, Evan Alexander Smith, Christian Strange, Koray Tarhan, Vishal Vaidya, Natalie Wachen, and Jacob Keith Watson.
The production recently enjoyed a critically acclaimed and completely sold-out run at New York Theatre Workshop, after its sold-out runs at London's Menier Chocolate Factory and the Olivier Award-winning West End transfer produced by Sonia Friedman Productions.
Spanning three decades in the entertainment business, Merrily We Roll Along charts the turbulent relationship between composer Franklin Shepard and his two lifelong friends — writer Mary and lyricist & playwright Charley. An inventive cult-classic ahead of its time, Merrily We Roll Along features some of Stephen Sondheim's most celebrated and personal songs. Maria Friedman first directed the musical at London's Menier Chocolate Factory – a production that subsequently transferred to the Harold Pinter Theatre, where it garnered the most five-star reviews in West End history before going on to win the Olivier Award for Best Musical Revival.
Merrily We Roll Along will be produced on Broadway by Sonia Friedman Productions, David Babani, Patrick Catullo, Jeff Romley, and New York Theatre Workshop. This production was originally produced at the Menier Chocolate Factory (Artistic Director David Babani) and subsequently produced in London's West End by Sonia Friedman Productions, Menier Chocolate Factory, and Neal Street Productions.
Merrily We Roll Along also features choreography by Tim Jackson, orchestrations by Tony Award winner Jonathan Tunick, scenery and costume design by Soutra Gilmour, lighting design by Amith Chandrashaker, sound design by Kai Harada, hair and wig design by Cookie Jordan, casting by Jim Carnahan, CSA and Jason Thinger, CSA, music supervision by Catherine Jayes, music direction by Joel Fram, associate music supervision by Alvin Hough, Jr., and music coordination by Kristy Norter. Merrily We Roll Along was originally directed on Broadway by Harold Prince and originally produced on Broadway by Lord Grade, Martin Starger, Robert Fryer, and Harold Prince in association with Ruth Mitchell and Howard Haines.
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'Premiered on 4 April 2024, this period thriller drama will take viewers back to 1960s Italy with Andrew Scott stepping into the shoes of notorious grifter Tom Ripley in the new Netflix series.
While Patricia Highsmith’s bestselling Tom Ripley novels have been morphed for page-to-screen adaptation several times, it is the 1999 film The Talented Mr Ripley, starring Matt Damon, Gwyneth Paltrow and Jude Law, that has become a classic favourite among cinephiles. If you have seen it, you might have a fair idea of what you’re getting into.
The TV series, helmed by Academy Award winner Steven Zaillian, depicts a compelling journey back in time via black-and-white frames. Coupled with gripping performances by the entire cast, the new take on The Talented Mr Ripley renders a rather ominous vibe to the plot.
With so much being talked about and mystery swelling around the complex life of Tom Ripley, the natural question is are any more seasons scheduled for release?
Will there be a season 2 of Ripley on Netflix? Here’s what we know
What is Ripley about?
Though viewers are no strangers to the dark world of Highsmith’s morally dubious character Tom Ripley, the story gets an episodic makeover as a 2024 Netflix show.
The eight-part story revolves around the protagonist Tom Ripley (Scott), a small-time swindler in 1960s New York. His life turns around when a wealthy man hires him to travel to Italy and convince his trifler son, Dickie Greenleaf (Johnny Flynn), to return home. Accepting this offer was just the first step towards a descent into a world of deception, fraud and murder. When he reaches the serene town of Atrani where Dickie is perfectly settled with his writer girlfriend Marge Sherwood (Dakota Fanning), Tom is awe-struck by his lavish lifestyle. A clever presentation of truth with an unmissable charm is enough to get the master con artist into Dickie’s good books. From here, Tom climbs his way up into Dickie’s close quarters and ends up going to extreme lengths to make that life his own.
Each episode has a runtime of about 50 minutes, while the finale is 74 minutes long.
Ripley is based on which book?
Highsmith’s Ripley books make up a series of five novels, dubbed ‘Ripliad’, which debuted in 1955 with The Talented Mr Ripley.
Netflix’s Ripley is based on this first book. It is followed by other titles — Ripley Under Ground (1970), Ripley’s Game (1974), The Boy Who Followed Ripley (1980) and Ripley Under Water (1981).
Speaking to Vanity Fair in December 2023, Zaillian said, “Almost 70 years after Highsmith created him, contemporary figures are still being compared to him. He won’t go away.”
Interestingly enough, the book also led to the evocative monochrome filming style. “The edition of the Ripley book I had on my desk had an evocative black-and-white photograph on the cover,” Zaillian said.
“As I was writing, I held that image in my mind. Black and white fits this story — and it’s gorgeous,” he added.
The Ripley cast and crew
Besides Andrew Scott, Johnny Flynn and Dakota Fanning the cast also includes Eliot Sumner as Freddie Miles, who suspected the diabolical nature of Tom’s congeniality, Maurizio Lombardi as Inspector Ravini and John Malkovich as Reeves Minot.
In March 2024, Town & Country quoted Scott commenting about portraying the titular character. He said, “I feel like you’re required to love and advocate for your characters, and your job is to go, Why? What’s that? You don’t play the opinions, the previous attitudes that people might have about Tom Ripley. You have to throw all those out, try not to listen to them, and go, Okay, well, I have to have the courage to create our own version and my own understanding of the character.”
The project is written, directed and executive produced by Zaillian. Besides him, other executive producers include Garrett Basch, Clayton Townsend, Guymon Casady, Benjamin Forkner, Sharon Levy and Philipp Keel.
How does Ripley end?
The brilliant chiaroscuro acts as an omnipresent cast member throughout the series, accentuating the sombre tone, which almost reaches a crescendo in the eighth episode. By the end of the final episode, titled Narcissus, Tom Ripley has a body count of two — Freddie Miles and Dickie Greenleaf — and has successfully ripped off Dickie’s life by using his name and money. However, the Italian police are after him for one crime he didn’t commit, the murder of Tom Ripley.
Seizing the perfect opportunity, Tom plays another card by conveniently walking into the police resuming his own identity. He manages to convince Inspector Ravini, Marge and Mr Greenleaf that Dickie died, albeit with strong undercurrents of suspense and tension that could make viewers sit up anxiously, as there are pressing moments when his deceit is on the verge of spilling out.
Once the dust is settled and mystery is buried like Dickie’s corpse at sea, Tom Ripley plays another con trick to begin his new life as Timothy Fanshaw, but that is another story to tell.
Production and filming of Ripley
The Ripley series was originally being developed by Showtime, but Netflix picked it up in 2023 while it was in post-production. The principal shooting took place in Italy — Rome and Venice — in accordance with the book’s setting. Certain portions were also filmed in New York to capture the 1960s vibe of the city.
Economic Times states that although production was slated to begin in 2020, it got delayed until 2021 for certain reasons.
Will there be a Ripley season 2?
Netflix has billed it as a limited series. The episodes have rounded up both the plot quite well, though certain creative liberties from the book make it somewhat ambiguous.
Although there is no official nod from Netflix about a second season, the OTT platform states, “But given the opportunity, Zaillian would love to continue to adapt the affectionately nicknamed ‘Ripliad’.”
Speaking to Tudum in April 2024, Zaillian said, “I think that the other books are good, and we see Tom in a lot of different ways as he grows up.” Who knows, this can be a step towards creating a ‘Ripliad’ franchise by expanding Tom Ripley’s world.
Frequently Asked Questions (FAQs)
-Is there a second Mr Ripley?
Released in 1955, The Talented Mr Ripley did not have a sequel. The 2024 Netflix series, too, is a limited series. However, there is a wide scope to explore other Tom Ripley stories and make them into new seasons.
-How many Ripley episodes are there?
Netflix’s Ripley has eight episodes.
-What is the 2024 Ripley series about?
Netflix’s Ripley is the latest screen adaptation of The Talented Mr Ripley. It follows grifter Tom Ripley who is hired by a wealthy man to go to Italy and convince his dilettante son to return home. However, when he sees Dickie’s lavish life, Tom decides to make it his own.
-What is the ending of Ripley?
Ripley is based on Patricia Highsmith’s novel The Talented Mr Ripley. It follows Tom Ripley (played by Andrew Scott) arriving in Italy to convince Dickie Greenleaf (Johnny Flynn) to return to the US. However, his life and opulence captivate Tom. He hatches a plan to overthrow Dickie and live his life. The series revolves around the heinous crimes committed by Tom and the ensuing investigation.'
#Ripley#Netflix#Patricia Highsmith#Ripliad#The Talented Mr Ripley#Andrew Scott#Dakota Fanning#Johnny Flynn#Maurizio Lombardi#Eliot Sumner#Steven Zaillian#Matt Damon#Gwyneth Paltrow#Jude Law#Inspector Ravini#John Malkovich#Reeves Minot#Dickie Greenleaf#Freddie Miles#Marge Sherwood
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REVIEW: Insanity Doesn't Just Run in DLT'S "Arsenic and Old Lace," It Practically Gallops
Dundas Little Theatre (DLT) opens its 2023-24 season with the darkly comedic classic Arsenic and Old Lace. It's a great thematic choice for October: full of mystery, murder and of course, a little mayhem for good measure. Skillfully directed by Peter Lloyd, Arsenic and Old Lace is full of madcap characters, jabs at the theatre industry and its critics (of which there were several in the opening night audience) and despite its long run time of nearly 3 hours (3 Acts, 2 Intermissions), it captivates its audience with its hilarious mishaps and madness.
The story is a classic of old Hollywood black and white cinema with Cary Grant taking on the lead role of Mortimer Brewster, a man who has to navigate between his aunts’ penchant for poisoning wine, a brother who thinks he’s Teddy Roosevelt, and another brother using plastic surgery to hide from the police—not to mention Mortimer’s own hesitancy about marriage to his partner Elaine. If that sounds like a whirlwind of a production by synopsis alone, you'd be correct in saying so. Thankfully, we have an incredibly strong cast and after the opening night nerves subside, they excel at bringing delightfully comedic moments (especially physical), great banter back and forth, pointed commentary regarding the theatre world and its critics and an almost Benny Hill type use of the stage (there's even a few unexpected jump scares).
The leads in the production shine throughout with a few excellent scene stealers. Brian Melanson as Mortimer has brilliant facial reactions and a real knack for portraying believable manic energy. Both Ruth Flynn and Jessica Thomas-Troian as Aunt Abby and Martha respectively play out their darker deeds with such infectious sweetness, I'd eagerly take a glass of elderberry wine just because I'd feel rude not to. Tim Hevesi is a foreboding presence who immediately unnerves you as the criminally insane and family outcast Jonathan Brewster but also has a fantastic ability to use his menace for comedic purposes. Christine Marchetti is a sassy and grounded Elaine Harper, Mortimer's fiancée who finds herself the only sane character in the household. All these actors are no strangers to the stage and understand the nuances of dark comedy well.
Our scene stealers come from Jared Lenover as Teddy Brewster and Bruce Edwards as Dr. Einstein (no, not that one). Both of these actors are an absolute joy to watch from the moment they are introduced. There is an innocent enthusiasm from Lenover's Teddy who believes he is President Theodore Roosevelt and his mental health is utilized by his beloved aunties to hide any evidence of their "charitable intentions." The ongoing gag of his character would come off as tedious if it wasn't played with such endearing sincerity. Edwards plays the bumbling, drunken cowardice of Dr. Einstein with such dedication that it is easy to see why he steals every scene he is in. The line delivery and almost Muppet-like German accent are met with continuous laughter and his physical comedy skills are top notch.
The ensemble cast also delivers fine performances and overall, match the energy of the leads as they enter the Brewster madhouse. Truly, there are no small parts here as every cast member provides laughter and delight.
Arsenic and Old Lace has a well-established, classic sense of dark comedy, slapstick and charm. The script itself allows for so much physicality and ability for the cast to develop the characters into believable people rather than caricatures. It is a long show (bring cushions!) but it is well worth the time spent in the theatre and will provide audiences with plenty of laughs, intrigue and insanity. Don't miss it!
For tickets and more information, please visit: https://dundaslittletheatre.com/tickets/
Pre-show set from DLT's Arsenic and Old Lace - Photo by: Steel City Girl Reviews
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Genuinely it is very impressive that in 1938, Michael Curtiz and Erich Korngold and Errol Flynn and Olivia de Havilland and so many other people utilized the studio system to create an enduring classic (more so in its impact on action movies and character archetypes than anything else although that isn't its only legacy) and so Michael Curtiz was hired for Flynn's next movie which turned out to be SO serendipitous simply because Flynn did not bother to show up to set and the movie became less of a star vehicle and more of an ensemble piece, allowing unknown actors to shine and create lasting performances that launched several careers. What movie is this you ask?? None other than Four Daughters.
#there's a few stories about why flynn kind of just didnt do four daughters#but any way you slice it he did not show up to set and honestly?? thank god#felix dietz was not his role#does this post make sense? i don't know
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Errol Flynn in "The Private Lives of Elizabeth and Essex" (1939)
#errol flynn#warner bros#vintage hollywood#excellent film#fabulous side-profile#errol glorious in costume#the best actor ever#another classic flynn performance#the most beautiful man ever#lives on eternally forever
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Biographical Information
Name: Charisse Locks
Japanese: チャリスロック (Charisurokku)
Quote: "There are so many mysterious around the world. Wonder if there's anything I didn't know"
Gender: Female
Age: 16 y.o
Birthday: August 19th
Star Sign: Leo
Height: 175 cm
Race: Half demon, half angel
Species: Nephalem
Eyes color: Apple Red
Hair color: Dark Brown
Homeland: Renaissance City (the first country in Melodie Kingdom)
Family:
Lucifer (Father / Creator)
Simeon (Second Father / Creator)
Lumiere Locks (Younger brother)
Mammon, Leviathan, Satan Asmodeus, Beelzebub, Belphgor, Luke, Solomon, Diavolo and Barbatos (uncles)
Renee Sofia Petunia Rosa, Flora Astrid Marigold Kitty, Stefano Flynn Flameo Beau, Callum & Meribella Jewel (Related cousins)
Millicent Paradis & Luna Angelique (Ex-cousins)
Augustine Liddell Scott, Cosmina Featherbed, Coralia Marina & Harry (Adoptive cousins)
Barbara, Teresa and Theodore Jade (Adoptive sworn cousins)
Nicknames / Aliases:
Cherry (by her family and friends)
Cousin Cherry (by her cousins)
Fair lady (by some men who fell in love of her)
Dame de Ruby (by Rook; means "Lady of Ruby" due to her red eyes likes ruby)
Angelfish (by Floyd; because of her red eyes)
Others:
Sadism lady (by the rumors; due to her scary punishments to them if being annoyed)
School Facts and Fun Facts
Dorm: Nymfevilla
School Year: 1st
Class: 1-C | Student no.9
Occupation: Student
School Prefect
Café maid (part-time)
Novelist
Pianist
Guitarist
Best Subject: History Magic | Magiphilosophy | Fencing
Worst Subject: Machinery | Marathon run
Club: Music Club
Dominant Hand: Both (sometimes left-handed)
Favourite Colours: Ruby Red, Sapphire Blue and Cyan
Favourite food: Apple dishes (caramel poisoned apples) | Tea (lemon tea, herbal tea & milk tea)
Least favorite: Spicy foods and Chili
Likes: Her family, music, classical, pop rock, fairytales, gothic, musical theatre, living in commoner's life, novels, reality shows, fun games, warmth of her loved ones, books with strong characters and happy endings, peace, simple things
Dislikes: Metal music, family issues, being annoyed, thieves, pickpockets, tough trainings, living in luxurious life, considered as princess, being disrespected, her friends mistreated, smelly things, being alone, losing her loved ones, boredoms, lonely, her watches stopped, being pranked, her fathers' broke up, stepfamily, lies, cheaters, considered as an outcast, ruining hers and family's image
Hobbies: Listening her favourite music, singing, dancing, baking, chatting with her relatives and friends, doing house chores, feeding animals, visiting music theatre, drawing
Talents: Unlocking and locking the object, animal linguistics, dancing, vocalizing skills, leadership, cooking, drawing, modeling, spell summoning, break the curse herself for second, flight
Idol Stat
Performance: Her voice is considered divine due to her soft and deep voice. She always sings with all her touching yet sympathetic emotions.
Choreography: In addition to her vocal talents, Charisse is a skilled dancer and quick learner who can only do well in ballroom dance and freestyle.
Shimmering Wings: Gothic • Cool • Classical
Idol Brand
Demonic Star
This idol brand is the reminiscent of the most beautiful angel who once fallen from grace and became a prideful demon. Its outfits and accessories has apple and peacock feather motifs with a pair of dark angel's wings and devil's horn. Some outfits also have their own unique black and red masks.
Shimmery Wings: Gothic • Cool
Heavenly Emerald
This idol brand represents the archangel's hope of reuniting with the demon who was once an angel. Some aesthetics in clothing and accessories are dark and gothic, while others are bright and regal. This brand has a pair of angel wings in different sizes and shapes. The clothing has emeralds and sapphires on for the decorations.
Shimmery Wings: Gothic • Classical
Etymology
Charisse is primarily a female name of French origin that means "Grace, Beauty, Kindness."
Her surname, "Locks" is referred to her character inspired, Lockette, but also named after to her two creators' fake name, "Carlos & Christopher Locks" as well as reflected on their past.
Characters Inspired
Charisse was inspired by
Lockette (Winx Club / Pop Pixies)
Charlie Morningstar (Hazbin Hotel)
Mirabel Madrigal (Disney's Encanto)
#twst#twisted wonderland#regal fairytale academy#rfa#twst mc#charisse locks#nymfevilla#twisted wonderland x obey me#twst x obey me#obey me
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Every Known Instance of A Remake Being Better Than The Original
1. The Adventures of Robin Hood (1938) ★★★★★★★★★☆
The 1922 silent with Douglas Fairbanks was a great success but it is the effervescent Errol Flynn remake which became the blueprint for all future depictions of the myth, and essentially what everyone thinks about when you mention the name.
2. The Hound of the Baskervilles (1939) ★★★★★★★★☆☆
The 12th attempt was the charm, and Basil Rathbone, in the role he was born to play, slips on the deerstalker and strides effortlessly into cinematic history as the perfect Holmes and the blueprint for every attempt that followed.
3. The Fly (1986) ★★★★★★★★★★
Cronenberg replaced the cheap special effects and wooden acting of the original with a serious treatment of the premise, unforgettable shocks and genuine emotional depth, in what seemed in the 1980s to be a devastating AIDS allegory hidden in a monster movie. It's a perfect film, in that I can think of no possible way it could be improved, and it (barely) contains Jeff Goldblum's single finest performance ever.
4. The Thing (1982) ★★★★★★★★★★
As with The Fly, John Carpenter immeasurably improved on the original B-movie by adding fantastic effects, flawless performances and chilling believability.
5. The Maltese Falcon (1941) ★★★★★★★★★★
There was nothing particularly *wrong* with the original from 1931, except that it suffered the misfortune of being so completely overshadowed by the absolute perfection of John Huston's remake that no-one even remembers it exists.
6. Red Dragon (2002) ★★★★★★★★☆☆
So nice to see the story without the shoulder pads and designer stubble and other Miami Vice-like nonsense of 1986's "Manhunter". Red Dragon is better acted, better told, and a better movie experience all round. Also, and let's be clear about this, anyone but Anthony Hopkins as Hannibal Lecter is not Hannibal Lecter.
7. Twelve Monkeys (1995) ★★★★★★★★★☆
Much more fleshed-out, emotionally powerful and better made in every way than the short film which inspired it, 1962's La Jetée.
8. The Sound of Music (1965) ★★★★★★★★★☆
Musical version of the obscure 1956 German movie 'Die Trapp-Familie' resulted in immortal songs and a perennial classic.
9. Dirty Rotten Scoundrels (1988) ★★★★★★★★☆☆
The original 'Bedtime Story', starring David Niven and Marlon Brando(!), is worth checking out the once for the novelty but the remake 20 years later is far, far, funnier and one of Steve Martin's very best.
10. A Fistful of Dollars (1964) ★★★★★★★★★☆
Where you stand on this is a matter of taste, but no-one would dispute this remake of the Japanese samurai movie 'Yojimbo' resulted in one of the greatest westerns ever made.
11. Heat (1995) ★★★★★★★★★☆
Michael Mann's own remake of an earlier made-for-TV film called 'L.A Takedown' which everyone agrees eclipses the first attempt.
12. The Three Musketeers (1948) ★★★★★★★★★☆
The 14th film version of the classic tale ended up in Gene Kelly's hands the most fun, although the Richard Lester version from 1973 is probably close to its equal.
13. The Hunchback of Notre Dame (1939) ★★★★★★★★★★
The silent version with Lon Chaney is rightly considered a groundbreaking work, but is in every way an inferior cinematic experience to this sublime piece of poetry, and Charles Laughton's Quasimodo blows Chaney out of the water, too, along with pretty much every other actor that has ever lived.
14. The Cat and the Canary (1939) ★★★★★★★★★★
The original "reading of the will in a spooky mansion" story was made twice before in 1927 and 1930, but the third time they hit the jackpot, creating perhaps the best ever horror comedy and up there with the cream of the 'Road' movies as Bob Hope's funniest film. Great eerie atmosphere, non-stop one liners and at least one genuine scare to make you jump. Somehow it all just works.
15. His Girl Friday (1940) ★★★★★★★★★★
Ben Hecht's newspaper reporter comedy 'The Front Page' has been remade a bunch of times from 1931 onwards, but Howard Hawk's idea to change the sex of one of the leads and add a romantic angle resulted in easily the best version. The fastest, funniest dialogue of all time and Cary Grant at his zenith. A perfect film in every way, which age repeatedly fails to wither.
16. El Dorado (1967) ★★★★★★★★★☆
John Wayne and Howard Hawks enjoyed making 1959's "Rio Bravo" so much they got back together eight years later and unofficially made it all over again. The later film greatly benefits from actors Robert Mitchum and James Caan replacing crooner Dean Martin and teenybopper idol Ricky Nelson in the original, streamlining and buffing up everything that was good about the first to create maybe the most enjoyable western of all time.
17. The Picture of Dorian Gray (1945) ★★★★★★★★★☆
The seventh cinematic version of Oscar Wilde's haunting novel, but by far the best. There's something deeply poetic and indefinably otherworldly about it that has seldom, if ever, been matched.
18. The Departed (2006) ★★★★★★★★★☆
Martin Scorcese's take on the 2002 Hong Kong crime thriller 'Infernal Affairs' ended up as his best movie in 10 years and - not that I place inordinate stock in such things - a 'Best Picture' oscar.
19. Some Like It Hot (1959) ★★★★★★★★★☆
Most surprisingly this most perfect of comedies was a remake of the obscure French film 'Fanfare Of Love', which has a grand total of 1 reviews on IMDB.
20. Farewell, My Lovely (1975) ★★★★★★★☆☆☆
Robert Mitchum was admittedly a little long in the tooth to play Marlowe in 1975 but nails it all the same. Previously filmed as 'Murder My Sweet' in 1944.
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Motive, the popular crime-drama series, is set to release a musical episode in their upcoming season. The musical episode will feature several original songs, as well as popular tunes from musicals like Hamilton, Wicked and Dear Evan Hansen.
The musical episode will feature a murder investigation, as usual, but with a creative twist. The show's lead detective, Angie Flynn (Kristin Lehman), will be dealing with a case that is tied to her own past and the events that have shaped her.
The episode will feature a variety of musical numbers and performances from guest stars, including Broadway star, Jordan Fisher. Fisher will be playing Angie's long-lost brother, and the episode will explore their reunion and the events that unfolded in Angie's past.
The episode will also feature a few classic Motive songs, such as "Life Goes On" and "Letting Go".
The musical episode of Motive is set to air on March 30th, 2020. Fans of the show are already eagerly awaiting the episode, and are excited to see the creative way that the show's writers will use music to tell the story of Angie's past.
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Revisiting an old and familiar favorite for this week’s Monday Philm — Happiness (1998), dir. Todd Solondz.
I’ve been meaning to watch more Solondz movies and get familiar with his style so today I made myself a little sick on him tbh — three of his feature films (Welcome to the Dollhouse, Palindromes, Wiener-Dog) and all of his NYU short films, then tonight’s screening of Happiness (my first time watching it on DVD instead of a low quality torrent!). While that crash course was... a lot, it also very clearly defined his work. He has such an easily identifiable style, you may not like it, but no doubt you can recognize it within 30 seconds.
I honestly don’t like Solondz’s films very much, the humor isn’t my style and the fucked up stuff seems more cynical and outlandish for outlandishness’ sake than witty or valuable social commentary. But I’m glad I watched them to get a better sense of how Happiness fits in. It’s definitely my favorite of his films (heavily biased by PSH as Allen Mellencamp, obviously). But it’s also... bolder? than many of his other movies. If it’s going to go there, it goes there fully, recklessly, which I respect — it’s much more biting than Palindromes a few years later, for example. Which makes it funnier, too.
Happiness is also Solondz’s longest film, which is a benefit. Aside from maybe Dawn in Dollhouse, these are his strongest characters because you get a chance to really know them. Many of them are disgusting, despicable people, or sad and lonely, but we see them for what they are. And the cast is especially wonderful anyway, I really loved Camryn Manheim as Kristina (so sensitive) and Lara Flynn Boyle as Helen (so vain) this time around.
It’s impossible for me to be normal about Allen so I won’t even try. It feels way too reductive to call him “the incel blueprint,” a description I’ve heard before — he’s like every stereotype of the horny, nerdy, socially awkward computer guy yet he bodies it in a totally original, fleshed-out way. In one of his interviews with NPR, Phil talked about developing Allen’s voice and his physicality, picturing him as a guy just collapsing in on himself. His voice, his hunched-over posture, his gaze down, just totally withdrawn and therefore only reaching out in obscene ways. Allen can’t even keep up the charade over the phone after he’s called out. He’s gross and oblivious, he’s kind of a loser, and he’s also sort of sweet...? Maybe I’m projecting bc I know I could fix him 😌 but his weird little... partnership with Kristina is touching, and one of the “happiest” endings a Solondz character gets (Life During Wartime doesn’t exist to me.), no matter how brief.
At any rate, some of PSH’s best work — there’s an early moment in the therapist’s office where he does such a classic Phil gesture but otherwise he’s totally Allen (he looks like he constantly has a headache, brow furrowed and eyes screwed up with concern), one of his most iconic, well-remembered performances and rightfully so.
Trying to articulate how much I love Mr. Allen Mellencamp who works in data resources always comes out messy but he is just a weird guy who rocks <3 He seems like one of the strangest PSH characters to get mushy about but after a rough week it was just good to see him again. “I was pretty heavy, and I was afraid that people would laugh at me... Sometimes, acting is a really private thing that you do for the world.”
#missed u guys hope u had a good weekend <3#the diner scene is so funny. kristina in the middle of her confession and the waitress is like 'here's your ice cream :)'#and al is visibly experiencing turmoil the entire time#monday philm#happiness#philip seymour hoffman#psh#*#also. allen. goes without saying but. wanna suck him like a capri sun
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