Audrey Hepburns Oscar Dress
“…The dress also featured in the last scene of the film when Princess Ann meets the press; but when Audrey wore it to the Oscars she had ‘Givenchy-fied’ it. Although originally designed by Edith Head, who also won the Academy Award for Costume Design for the film, Hepburn completely changed the bodice. Taking inspiration from Hubert de Givenchy, it now cut straight across the front, plunging low at the back with pretty spaghetti straps. That night Audrey Hepburn was the personification of elegance and style.”
—-Christine Babington Smith
Several minutes of a variety performance by The Good Company, from a 1968 CBC “Show of the Week” hosted by Juliette (who also appears in the segment). The man performing “The First Time Ever I Saw Your Face” is Frank Moore, who went on to a busy acting career that included co-starring in the David Cronenberg horror classic “Rabid”.
WIKIPEDIA: Brideshead Revisited is a 1981 British television serial produced by Granada Television for broadcast by the ITV network. The serial is an adaptation of Evelyn Waugh’s novel Brideshead Revisited (1945). Although John Mortimer was given a credit in the titles, Valerie Grove’s A Voyage Round John Mortimer revealed that Mortimer’s script was never used and that the series was actually written by the producer Derek Granger and others. The bulk of the serial was directed by Charles Sturridge, with a few sequences filmed by Michael Lindsay-Hogg.
Broadcast in eleven episodes, the serial premiered on ITV in the UK on 12 October 1981, on CBC Television in Canada on 19 October 1981, and as part of the Great Performances series on PBS in the United States on 18 January 1982.
In 2000, the serial placed tenth on a list of the 100 Greatest British Television Programmes compiled by the British Film Institute, based on a poll of industry professionals. In 2007, the serial was listed as one of Time magazine’s “100 Best TV Shows of All-Time.” In 2010 it was placed second in The Guardian newspaper’s list of the top 50 TV dramas of all time.
Episode 1: “Et in Arcadia Ego” (Original UK airdate 12 October 1981; 100 minutes) In the spring of 1944, disillusioned Army captain Charles Ryder is moving his company to a new Brigade Headquarters at a secret location he discovers is Brideshead, once home to the Marchmain family and the scene of both pleasant and anguished visits for the younger Charles.
Seeing the house for the first time in many years prompts a recollection of Charles’ first meeting with Lord Sebastian Flyte, the Marchmains’ younger son, at Oxford University in 1922, and the rest of the narrative flashes back to that time forward. At Oxford, two young men quickly bond and, although his cousin warns him to avoid Sebastian and his inner circle of friends, Charles is fascinated by them, particularly flamboyantly foppish Anthony Blanche. Short on funds, Charles finds himself fitfully spending the summer holidays in London with his indifferent and rigid father Edward until an urgent message from Sebastian sends him to Brideshead, where Charles is introduced to a world of wealth and privilege dominated by a powerful devotion to Catholicism.
WATCH ALL THE REST OF THE EPISODES AFTER THE JUMP…
I watched the first few episodes and thought it was “cute”. It had a good enough “eighties” vibe for the teens & twenty-something’s that this show is geared for. All neon colors, big hair & paint splats were in place. I immediately liked AnnaSophia Robb’s take on Ms. Bradshaw. I even loved her terrible wigs that seem to have a life of their own.
Carrie’s best friends Mouse (Ellen Wong), Walt (Brendan Dooling) & Maggie (Katie Findlay) were totally perfect replacements for Miranda, Charlotte & Samantha.
God, I love Ellen Wong.
I thought the father/ sister stuff wasn’t really working (Morrissey, the hamster, oh please) and that an hour was a tad long. Make this show a half hour, I thought.
But half way through the season… it found it’s footing and I actually started liking Carrie’s sister & dad. All the characters have gotten way more depth (even Donna La Donna). The visuals are extremely fun. I mean, you know damn well that the Interview Magazine office NEVER looked like a 2009 Anthropologie window display & that Carrie Bradshaw would never have “her look” so nailed down in her teen years.
I kind of wish they’d throw in a few obvious fashion disasters for her… where she gets it all wrong (as teens frequently do). And her friends or awesome Larrisa (played by the zippy Freema Agyeman) would give her some good ol’ side eye. That would be fun!
But TCD harks back to the best seasons of SATC with its Patricia Fields’ rich eye-candy styling & emotional story telling. Sure this show is based on Bushnell’s Carrie Diaries book but its energy is really all about HBO’s SATC. Bushnell may be the creator of these characters but it was the TV show that made them iconic.
Having SATC’s Amy B. Harris executive produce and write for TCD is the strong point here. She wrote some of the best SATC episodes. I hope she doesn’t let the show (if it’s renewed) become all about “things” like the post 9-11 SATC seasons and those two mindless “product endorsement” films.
I’m rambling… anyhow… why do I love The Carrie Diaries so? It harks back to my love of Square Pegs, Thirtysomething, Family and errrr… SATC. With all the visual non-reality/ fantasy going on… the core is emotional… there’s a truth to it even when it gets super corny at times. It has innocence without being twee. It’s a true guilty pleasure for this 48 year old.
Everyone is so cute to look at!
Walt’s a GAY!
Look at that giant cellphone!
Oh, and the characters all happen to be different nationalities… finally Carrie Bradshaw’s world includes people of color… and they’re not having to heat up her cinnamon spiced milk or organize her life for her. In SATC’s run Bradshaw sadly regresses… in The Carrie Diaries she will obviously soar.
August 3rd 1970 Dick Cavett talks to legends Janis Joplin and Gloria Swanson, actress Margot Kidder and football player Dave Meggyesy
BROADWAY WORLD.COM: Theatrical legends Sir Ian McKellen and Sir Derek Jacobi team up for the new ITV UK TV series VICIOUS and the first stills from show have finally leaked, also showcasing featured player Frances De La Tour.
On the comedy series, McKellen and Jacobi portray longtime lovers arriving upon their silver anniversary and largely concerns their day-to-day existences living in Covent Garden, with their best friend, portrayed by De La Tour, figuring into the drama and comedy of the series, as does their comely upstairs neighbor (played by Iwan Rheon) and various other characters.
VICIOUS was co-created by Gary Janetti, of Family Guy and WILL & GRACE fame, and Olivier Award-winning playwright Mark Ravenhill. Keeping with the inherently and outwardly theatrical nature of the cast and creative team, the show is filmed before a live studio audience. VICIOUS premieres on ITV later this year. No date has yet been officially set.
Here Comes Peter Cottontail is a 1971 Easter television special made by Rankin-Bass, based on a 1957 novel by Priscilla and Otto Friedrich entitled The Easter Bunny That Overslept. The title of the special is from the Easter song “Here Comes Peter Cottontail”, which is also heard in the special. The name “Peter Cottontail” comes from a series of books by Thornton W. Burgess (1874–1965), although the special is not based directly on his books. It was originally broadcast on ABC-TV, and in later years, appeared on CBS.
Donna (Ally Sheedy), with the help of her friend Jackie (Kristen Johnston), comes to terms with the fact that she has been looking for love in all the wrong places. Written & directed by Amy Harris, a producer of ‘Sex & the City’& ‘The Carrie Diaries”.
As a child, I was BLESSED to have another father figure in my life. He did not replace my own beloved, Norwegian version of Jed Clampett, nor would he have wanted to. He simply harmonized with all of my family values and brought his own heart to our table. This wonderful man was a giant in my world, a true king among men. His name was, and is, Robert Reed (OK that’s his stage name). This tempestuous actor who bottle fed puppies when he wasn’t quarreling with the heads of networks, shaped my heart as much as my biological parents did.
So I really can honestly say, “My Dad was Gay”
I can also say that being gay killed him.
Because it was so taboo, he could never make peace with himself. He never allowed himself to have a genuine love. He was forever taunted by his own disdain for the natural inclinations that he was BORN WITH. Bob was a family man. Had he been allowed to form a relationship with another man, he would have been the best husband ever and might still be alive. But Bob could not be at peace with this because the people surrounding him shoved their own judgement down his throat and, sadly, he bought into it. He thought he was wrong. He felt the shame that every hypocritical “God is love” fundamentalist wanted him to feel.
To me, the vilification of homosexuality is exactly like the primitive practice of people who killed babies who were born with cleff palates or birth marks. It is a worship not of God but of fear itself in the form of a God who hates.
I am eternally grateful for having a golden rule placed before me as a child. I had a gay father! I knew he was gay when I was nine years old and had the wisdom of a child. I knew it was OK and none of my business.. I knew with all certainty that this was a very good man. And so, any ideology that demonized such a good man would have to be evil itself.
Robert Reed, unwittingly, showed me the true nature of religion. And this is why I steer clear of it to this day.
God and I are good pals. We have a clear line of communication and I don’t need religion’s telephone service.
It’s full of static.
I could never worship, let alone LOVE, a God who would put my beloved father into the fires of Hell because he loved men. THAT is a God who deserves disdain. THAT is a God who must be ignored. THAT is a concept of God that must go away just as surely s humans have shed their prehensile tails.
You might call it evolution.
IF you believe in evolving.
I do not necessarily believe in evolution, religion, politics or even gravity. I think the flying spaghetti monster might be the real deal! All I truly know is what works right here, right now.
What works is love.
What doesn’t work is judgement.
If two people love each other enough to want their union consecrated by a mythological being – they are undoubtedly insane, but LET THEM HAVE AT IT!!!!
All is Forgiven is an American sitcom from the creators of Cheers that aired from March 20 until June 12, 1986 with the premire episode being repeated as a “special presentation” on August 23, 1986. Bess Armstrong starred in the series as Paula Russell.
Created by James Burrows, Glen Charles, Les Charles
Starring Bess Armstrong, Carol Kane, Terence Knox, Shawnee Smith, Valerie Landsburg, David Alan Grier
THE NYTimes: But as the show prepared for its new season, which begins April 7, its creator, Matthew Weiner, inspired by a childhood memory of lush, painterly illustrations on T.W.A. flight menus, decided to turn back the promotional clock. He pored over commercial illustration books from the 1960s and ’70s and sent images to the show’s marketing team, which couldn’t quite recreate the look he was after.
“Finally,” he said, “they just looked up the person who had done all these drawings that I really loved, and they said: ‘Hey, we’ve got the guy who did them. And he’s still working. His name is Brian Sanders.’ ”
Which explains how a 75-year-old illustrator living outside of Cambridge, England — highly regarded in his own country but little known in the United States — came to create the image that beginning this week will be emblazoned on buses, billboards, magazine pages, Web sites and TV. The ad, depicting Don Draper, the show’s lead character, in a vertiginous pose on a New York City street corner that seems to be collapsing on him like the decade he is living in, looks as if it has time-traveled from the pages of an old copy of Reader’s Digest.
“What it did was take me right back, about 50 years,” said Mr. Sanders, who added that he was familiar enough with “Mad Men” to be in a bit of disbelief when the show came calling for his drawing board and brushes. The impressionistic image he created uses a scumbled acrylic technique that in its jazzy, textured effects instantly conjures 1960s illustration.
“It’s a style we refer to over here in England as bubble and streak,” he said in a telephone interview from his home in Essex. “I don’t work in that manner now, and I was surprised how quickly it came back, the ability to use it in that particular way.”
READ THE FULL STORY HERE!