Briar Barn: Inn Credible New England Property Better Than Ever

A recent repeat visit to the Briar Barn Inn in Rowley, Mass. proves not only that you can go home again but that things can be even better the second time around. Much of this is due to the hiring of manager Billie Sue Hutchins, who reflects the "avoiding getting inn trouble" principle of being born into hospitality. The first stay was wonderful, but Billie Sue has greatly enhanced the spirit of the place and it shows. The exuberant welcome from exceptional desk clerk Jordan shows that Billie Sue clearly treating her staff right benefits those folks and the guests. Furhter evidence that the Briar Barn treats staf members well came in the form of two housekeepers hugging Jordan and wishing her a happy birthday on their arrival. The delicious-looking confetti cake, which your not so-humble reviewer was very tempted to poach, at the party for Jordan the next day shows that the on-property Grove restaurant has wonderful food. Covid concerns related to an "underlying condition" have prevented eating at Grove, which offers outdoor dining on its wonderful patio in warmer waether. There is not doubt that the employees of this property meet the challenge of regularly contending with bridezillas and monsters-in-law at this largely wedding venue. On a broad level, the Briar Barn is the right place that fills a long overdue need in this area that is an easily accessible 45-minutes from The Hub of the Universe (a.k.a. Boston). The inn in the center of Rowley, which is a 15-minute drive from the charming seaside community of Newburyport. Attending local prep. school The Governor's Academy (formerly Governor Dummer Academy) and having lived in Newburyport for 15 years shows that your not-so-humble reviewer knows that of which he writes. This area is attractive enough in every sense to warrant a visit at least twice a year. The generally central geographic location of Newburyport and its moderate selection of shops and restaurants make it a logical place to stay in the area. Further, the decades-old long intent to build a hotel on the waterfront are as old as the promises to repair the treacherous sidewalks in the residential neighborhoods. The Briar Barn awesomely boldly went where no Newburyport hotelier has gone before. This begins with the owenrship being local, rather than being an absentee holding company that is a big "avoding getting in trouble" no-no. Further, the Briar Barn is bright and new where the competition is darker and more historic. On a more practical level, the Briar Barn has ample parking in a well-maintained and beautifully landscaped parking lot compared to inadequate parking at the Newburyport hotel lots. The personal experience here is consciously not moving my car after getting a coveted spot in the lot of one such Port City place. The Briar Barn additionally has abundant inviting open space that has rocking and Adirondack chairs galore, a fire pit, and a charming porch. Both visits have include porech picnics. The most recent repast consisted of fare from nearby Pomodori, which has the best sandwiches and pizza in the area. The nostalgia this time is years of getting take-out there at least once a month and watching "Stargate SG-1" and the rest of the Sc-Fi Channel Friday-night line-up at the Rowley hobby farm of friends. This hiden gem also reflects the "inn credible" principle of splurging on relatively local top-of-the line accommodations. This truly makes your time away close to home even more special. The standard room at the Briar Barn offers a well-appointed comfortable oasis for two; the king suites enhance that with a separate seating area that allows relaxing away from the bedroom area. Having the privilge of upgrading from the VERY comfartable and homey king suite my last visit to the "wow factor" worthy grand king suite PROVES that the few extra bucks are an excellent investmenmt. As the below photo of the living room shows, a grand suite offers exceptional country home comfort. Having a full-size couch, gas fireplace, and smart tv loaded with the apps of every "household name" streaming service greatly facilitates forgetting about the cold cruel world outside. A bath-salt enhanced session in the soaking tub greatly enhances healing from the intense stresses of live during an never-ending pandemic.

The bottom line is that your not-so-humble reviewer literally is going to put his money where his mouth is by booking a grand king suite stay for later this year and my numerous future stays at this best-of-both worlds little bit couuntry and little bit rock-and-roll sanctuary.

'Ray Donovan: The Movie' DVD: The Many Saints of Bawstan

The CBS Home Entertainment May 24, 2022 DVD release of "Ray Donovan: The Movie" FULLY embraces the spirit of seven seasons and a movie that reflects the fan desire for closure regard a beloved cult series. This "family" drama exceeds expectations as to finality regarding the literal and figurative trials and tribuilations of the titular connected clan. One spoiler is that the final scene does not involve the titular fixer and his relatives breaking bread in a diner. The following "Donovan" trailer strikes the perfect balance between teasing about film and avoiding spoilers. It also shows that this franchise finale stays very true the series on which it is based.

CBSHE provides lazy reviewers everywhere a gift in the form of the followning synopsis that provides a perfect "25 words or more" recap of the film. "A showdown decades in the making brings the Donovan family legacy full circle. As the events that made Ray who he is today finally come to light, the Donovans find themselves drawn back to Boston to face the past. Each of them struggles to overcome their violent upbringing, but destiny dies hard, and only their fierce love for each other keeps them in the fight. Whether they stand together or they go down swinging, one thing is certain – Ray doesn’t do loose ends." The strongest vibe of "Donovan" is of the 2021 six seasons and a prequel movie "The Many Saints of Newark." This one tells the comning-of-age tale of an teen and post-adolescent Tony Soprano. That guy figuratively is hte Jersey boy cousin of our titualr antagonistic anti-hero. "Donovan opens with the almost ubiquitous present-day scene that leads to recent past series of events leading up that dramatic event. In this case, we get a plethora of flashbacks that show how all this comes to be. The Asian lesson is that Donovan (Liev Schreiber) should double his workload. One spoiler is that the SUBLIME surprise climax shows the only effective means for ending toxic family cycles. Sometimes one literally must take a bullet for to pay for the sins of the father. We also see that daddy's little girl does not like Mondays. The central time period of "Donovan" is in the wake of the dramatic season-seven finale. Ray has left Los Angeles in lukewarm pursuit of his father Mickey (Jon Voight) who has fled the City of Angels for the Donovan home turf of the Hub of the Universe (aka The Athens of America) (aka Beantown) (aka Boston). The motive for that sort of a homecoming is to abscond with goods that were ill-gotten during season seven. Commentary regarding this will have you chanting "hookers and coke." Returning to his roots triggers memories that remind Ray and the audience of how he comes to be the wise guy that he is today. We see the oft-portrayed southie Irish tale of an abusive and thieving father, a pedophile prist who merely is transferred to another parish when an altar boy is caught with his pants down, and a teen who has nothing but negative role models. We also get the defining moment in the development of Ray as a person and of his relationship with Mickey. This meta storyline has a California film crew coming to the neighborhood in a flawed attempt to make a realistic movie about the just-below-the-surface undebelly of that section of Bawstan. One of the best scenes has a 40-ish Mickey providing a hlariously graphic demonstration in his self-declared role of technical advisor. This leads to a beautiful friendship with the young method star of the production. The ensuing shock-and-awe provides the previously mentioned turning point for the Donovans. The bottom line this time is that "Donovan" is must-see for both series fans and virgins of this saga. Fully enjoying this Shalesepearen tale does not require having watched what has led to these dramatic events. Furthr, there is never a dull moment and everyone from the leads down to the background characters play their roles well. The highly relatable (pun intended) theme is that our mother (and or father) are responsible for our lifelong angst; we also see that cutting the apron strings is the only final solution. Audiences everywhere can rejoice as to Ray taking a page from Thomas Wolfe by learning the consequences of coming home again.

'Girl On a Chain Gang' BD and DVD: Hazzard County Burning

The Film Detective separate Blu-ray and DVD releases of the pristinely restored black-and-white 1966 "hickplotation" film "Girl On a Chain Gang" (1966) provides a good chance to see a "Night of the Living Dead" style take on the murder case on which the 1988 film "Mississippi Burning" is based. TCM host and co-host (with her charming young son) of the Detective series of classic films for kids Jen Churchill coins the descriptive phrase and offers great pairings for "Girl" in her insightful audio commentary. The Ballhoo Motion Pictures documentary "It's All in the Title: Exploiting Jerry Gross" provides additional entertaining and educational tidbits about the film and the titular softcore producer. Learning about the casting call (and probable casting couch) descriptions alone is worth watching this short. The campy fun of this one includes shooting it on Long Island, all of the hicks playing their roles as if they are in an Edward Albee film adaptation of "The Andy Griffith Show," and the local good-time girl being a perfect morality tale. Modern macro and micro events make the release of this film sadly timely. It seems that claims of police brutality agaainst black people and efforts to suppress voting by that demographic make headlines at least once a month. A personal experience supports the theme of "Girl" that police misconduct is not limited to black people; the larger problem is resentment against those whom the arrested development boys-in-blue consider the enemy. The sad mesasage, which "Girl" conveys, is that it CAN happen here. Your not-so-humble, white, middle-aged 5'8, 150 pound reviewer who always dresses nicely was subject to the almost full force of a small-town law enforcement group in June 2020; continued fear of being dragged out of my home on completely false charges is behind not revealing more details. I had made a rare Covid-era venture to a grouping of outlet malls two hours from my home. My first stop was at a store that plays a large role in these events. I had filed a corporate complaint as to the horrific service, which included the clerks literally pushing me out of the way and refusing to help me get items from a top shelf, several months before. On arriving in June, I merely looked in the store window and saw that it was closed. I had a nice conversation with a mall maintenance worker, who saw me from the mooment that I approached the store until I walked away. On walking back 15 minutes later, I saw a police car in front of the store and figured that there had been evidence of a break in; I also thought the store would open 15 minutes later. I sat on a bench near the store, and a second police car soon raced around a corner and parked near me. The cop who got out REFUSED to accept my story that I had not pounded on the store door or yelled at the employees. He also REFUSED to try to find the maintenance guy to whom I had spoken. Two more police cars soon arrived to surround me. This resulted in four police cars in this community of 10,700 residents responding to an offense that was no worse than essentially being a "college boy." I never acted assertively or got off the bench. A friend with whom I discussed this commented that this alone made a good case for defunding the police. Doubling down involved the cops lying about the presence of video cameras that would have shown that I only looked in the window. The bigger picture (pun intended) is that I supposedly was so stupid that I created mayhem, left my car parked near the store, saw a police car when I returned 15 minutes later, and then sat on a bench by the store to make a telephone call. The police chief merely stated that his officers "misinterpreted the information" and stated that my being a "frustrated customer" months earlier justifed the abuse and the related no-trespss order. I knew that the cops would avoid any liablity for the incident and that filing a complaint would only brighten the target on my back. Our fictional story begins with titular future damsel-in-distress Jean and fellow freedom riders Ted, who is white, and Audie, who is black, driving through (presumably) deep south Carson's Landing while on a voter registration campaign. This predictably leads to red-neck deputy, whom the casting call refers to as a Barney Fife type, pulling the group over on a trumped up speeding charges. This just as expectedly leads to an arrest and a visit with textbook red-neck Sheriff Sonny Lew, who is more Buford T. Justice than Andy Taylor. Sonny Lew ratchets up the terror by relentlessly trying to find offenses that will justify locking up his latest prey. Right-minded viewers will delight as each failed effort further frustrates this psychopath with a badge. The mnost memorable line in this scene is Ted telling his friends that these corrupt cops staying within the law provides some protection. Our gang is set free only to make the rookie mistake of not getting out of Dodge. Ala your not-so-humble reviewer returning to the scene of the "crime," Jean and the boys stop at the local dive only to have a local succumb to the pressure of Sonny Lew to make a completely false claim. This empowers Sonny Lew to lock up the intellectuals before his blatantly kangaroo court convenes in the morning. This unfortunate incarceration leads to a night of terror for our literal innocents. The psychological warfare and physical attacks will make all Yankees want to avoid driving through small southern towns. A real-life perspective this time is that many residents of Savannah remain angry about Sherman burning that city. All of this leads to the climax to which the title of "Girl" refers. This is reminiscent of the classic "Charlie's Angels" episode "Girls in Chains" that finds that trio purposefully becoming the guests of a Bible Belt state. This portion of "Girl" also has a line that not only is the best on of that film but earns a place on the list of best film lines ever. Ala Scarlett O'Hara declaring that she never will go hungry again, Jean assertts that she will continue her hard labor before she will give into the lust of her jailor. Although "Girl" provides a typical quasi-Hollywood ending for this type of film, personal experience shows that the survivors of the events of "Girl" and their real-life counter-parts will never fully heal from their experiences. All of this warrants following the advice of Churchill to make yourself a 60s-era cocktail and watch this micro-budget grindhouse cult classic at the witching hour.

'Mary Tyler Moore' From an Adult Perspective

 

A medical condition that requires an abundance of Covid-era precaution is behind a deep dive into a collection of DVD sets of at least 500 sitcoms. This recently led to revisiting "Mary Tyler Moore" after several decades. The first bit of realization as to the TV Land classic is that the brightly lettered title in the opening credits reveal that the title is not "The Mary Tyler Moore Show." 

Introduction to the series came via UHF station evening reruns that coincided with a CBS broadcast run that was past the bedtime of your then quite youthful not-so-humble reviewer. It remained a cherished memory but was never so personally deeply loved that subsequent indie station and basic-cable runs made the cut as to the plethora of similar fare. 

Literally watching the show through the eyes of a child supports the image that the program chronicles the personal and professional lives of a thoroughly modern '70s-era career woman with the morals of a girl scout. Seeing MTM through significantly older eyes shows that America's sweetheart was not so pure and that her show was not always suitable for young children. Finding humor as to "Aunt Flo" not visiting Mary until the sixth season and not stopping by monthly is a subtle example of this.

It should be undisputed that the MTM cast and the behind-the-scenes talent were exceptional. The real issue is that the show did not live up to the hype even back in the day. The primary nature of this is that any show that touts itself as ground-breaking really is not ala personal experience that EVERY CEO or public figure who promotes that she is a mother does not demonstrate any caring or compassion in her professional life. 

As an initial matter, Our Miss Brooks and Ann Marie are single career gals long before Mary Richards came along. This is not to mention Sally Rogers of Tyler Moore's first series "The Dick Van Dyke Show" being one of the boys in a show that divided its focus between the highly combined professional and personal lives of the star ala MTM. A related observation is the absurdity as to the frequency of the unannounced evening and late-night visits by WJM colleagues to the home of local news producer Mary Richards.

Much of the humor of MTM relates to Richards being a virtuous in every sense woman in a world of people whose values are more typical of a '70s everyman or woman. The ugly truth is that "Virgin Mary" (and the series) is less pure than largely considered. 

Our story begins Richards being a 30 year-old woman fresh off a break-up with her fiance. Chances are quite good that a late-20s woman in a committed relationship in the late '60s has carnal knowledge. That episode also involves Richards moving into her apartment despite fully knowing that neighbor/soon-to-be-best friend Rhoda was promised those lodgings.

Even the early MTM seasons included numerous indications that Richards was not saving herself for marriage. The arguably most blatant example of this is our "innocent" is unapologetic on her father learning that his little girl stayed out all night. A more amusing moment involves the priceless expression on the face of Richards on learning that boss/friend Lou Grant (Ed Asner) considers the mid-single digits as the threshold as to a woman being a slut.

A very creepy early-season episode apparently did not raise any eyebrows even in an era in which a blind eye was turned as to most workplace sexual harassment. Richards had invited then quasi-swinging single/anchorman Ted Baxter (Ted Knight) for a friendly dinner that he turned into an opportunity to try to fish off the company pier. This culminated in Baxter forcing his way into the apartment of Richards and refusing to leave.

The MTM writing staff may actually have been groundbreaking by having the story evolve into Baxter lying about having hit a home run with Richards at what is recalled to be a time before such a plot became a sitcom trope that typically involved a bragging high-school or college boy lying about a classmate. 

Related observations are that MTM matured as a show in every sense in the post Rhoda and building manager/real housewife of Minneapolis Phyllis era. It is highly likely that, ala a 14 year-old who is sick of carrying around a doll and talking with a lisp on a sitcom, Tyler Moore demanded that Richards grows up. A symbolic aspect of this is having Richards move from essentially a glorified bedroom in what can be considered the house of her parents into a one-bedroom apartment in a high-rise.

An amusing aspect of this era is that Ted Bessell of Ann Marie series "That Girl" has a recurring role as a highly amorous boyfriend of Richards. It is strongly implied that the Bessell character regularly gives Richards reasons to figuratively call out "Oh, Donald."

These also are the seasons in which Happy Homemaker (and borderline hooker) Sue Ann Nivens (Betty White) is promoted from recurring character to series regular. This arguably is a jump-the-shark moment in that it leads to MTM transitioning from a modern version of  "Van Dyke" to an early version of network-friendly raunchy sitcom "Three's Company." 

The racier Sue-Ann era extends beyond an amusing episode in which her long-term efforts to get Grant in bed succeeds to the same lazy writing behind the equally predictable (but still entertaining) innuendo humor of "Company." The first few times that Nivens provides wisecracking news writer Murray Slaughter (Gavin MacLeod) a set up are amusing. This getting to the point that virtually every episode essentially includes a moment in which Nivens asks to borrow a quarter (i.e., two bits) for a parking meter and Slaughter suggests that she just make a date. 

The later-season writers also regularly resort to the old make a comment right before someone walks in joke. A hypothetical example is a hungry Lou telling Murray that he is in the mood for a tart just before an oblivious Nivens enters the newsroom. It is equally predictable that someone will comment on a missing houseplant only to have the dim-witted Baxter arrive seconds later.

The bigger picture regarding all this is that the best of MTM reflects the wisdom of fellow '70s CBS comedy goddess Carol Burnett. Burnett has commented within the past few years that funny always will be funny and that one need not turn to blue humor to get laughs.

Most MTM fans believe that "Chuckles Bites the Dust," which includes numerous hilarious one-liners about the death of the titular kiddie-show host, is the best episode of the series. Perhaps because that episode was strongly remembered,  watching it earlier this week indicates that that outing does not fully pass the test of time. 

Coincidentally, Nivens has a prominent role in every personal favorite episode. "The Dinner Party" earns the top spot on this list. Richards hosts the titular event at which the guest list gets comically out of hand. An episode a few years later has Nivens hire Slaughter as her producer only to demand that he perform increasingly humiliating tasks. The climax of this episode deserves a high-rank in sitcom history because it is unexpected and involves a timelessly hilarious element. This moment additionally reflects the fondest wish of anyone with a horrible boss. 

Another favorite puts an interesting twist on the Christmas episode. The newsroom staff is experiencing very rare animosity towards each other when a November snowstorm strands them on the same night that Sue Ann has an abundance of extra food from the episode on international Christmas traditions. The gang opts for eating together despite their anger and agrees to wear silly hats over going hungry. Hilarity truly ensues until they predictably hug it out in the end. 

The best news regarding all this is that the writers and the cast fully step up to combine the best elements of the show for the season finale that deserves a place on the list of the top 10 episodes of the series. The "sit" that drives the "com" is realistic in the world of independent television stations, and the best moment comes before the perfect final scene that is indelibly etched in the minds of fans. This lead up provides Richards an epic comeuppance as to her considering herself the untouchable darling of the newsroom. 

'Monster From Green Hell' BD and DVD: Safari Not So Good

 

Film Detective separately releasing the awesomely campy subterranean budget creature feature "Monster From Green Hell" (1957) on Blu-ray and DVD today once more proves that they don't make 'em like they used to. The bonus fun this time extends beyond the criminally blatant use of stock footage to having Jim "Jock" Davis of "Dallas" fame star as stalwart scientist Dr. Quent Brady. Further, Detective includes both the widescreen and full-screen versions of the film. 

On a technical note, "Monster" greatly benefits from the usual but far from typical restoration by Detective. The contrast in the black-and-white images on the Blu-ray version is phenomenal. Being almost literally blown away when inadvertently having the sound bar turned marginally too high was reminiscent of the opening scene of "Back to the Future" when Marty McFly cranks up his amp.

The following CLUES-LADEN promo. from Detective provides a goods sense of the cheesy goodness of the film and of the Silver Age leading-man cred. of Davis. 

Our story begins with Brady sending a literal guinea pig and other critters up in a rocket that can be considered an outer-space version of Noah's Ark. This launch is part of an ongoing research project to discover the impact of groovin' way above the atmosphere before trying to get back to here.

Although it is known that the ship has not landed on Mars or another kooky planet, Brady is uncertain (and initially not unduly concerned) that the craft seems to have landed off the coast of Africa. The concurrent rumors of a horrific monster in the titular region of the Dark Continent allows even the dullest mind to put two-and-two together. 

A combination of a strong sense of integrity and a desire to fight them over there so that we do not need to fight them here prompts Brady to travel to Africa to battle the giant wasps that his research created. This leads to typical filler as our hero and his assembled bunch makes the 450-mile trek from a developed area of Africa to the arena where the action is occurring. 

This leads to the usual love interest, who of course become a damsel-in-distress, and the equally predictable confrontations with the big bad. The related exceptional elements that make "Monster" Detective worthy are that the plan of Brady fails and the ending scenes add something truly special and unexpected ala the final scene of the first season of the original "Lost in Space."

Detective further steps up by including a usual insightful and entertaining Ballyhoo Motion Pictures featurette. This time, film historian/Ballyhoo regular C. Courtney Joyner tells the tale of the career of Davis. This clearly shows the logic behind Davis going from being a B-movie character actor and occasional leading man to becoming the Ewing patriarch. 

The bottom line this time is that "Monster" is a perfect choice for a weekend kiddie matinee, and the Detective restoration does this shouldabeen a cult classic proud. 

'Sordid Lives Saga: Before the Trip': Del Shores Novel Approach to the Winters of Discontent

 

Son of a southern Baptist preacher man Del Shores fulfills the fondest wishes of his biggest fans by releasing the short-story collection The Sordid Lives Saga: Before the Trip. This collection of character studies of the fictional discontented residents of real-life small-town Winters, Texas is available for pre-order on delshores.com.

Folks unable to wait for that April 15, 2022 release can order it on Kindle beginning on March 31, 2022. The benefits of getting a physical copy include a personalized message from the author. Such a tome will get a place of honor in the library of your not-so-humble reviewer. 

The fun begins with a foreword by Leslie "Brother Boy" Jordan that explains how his beautiful friendship with Shores and the related spark of inspiration that led to oodles of sordid delight began. The 25-words-or-less version is that Jordan gave Shores a book by a southern writer that inspired the latter to share his stories of his eccentric friends and relatives. Those white papers on white trash led to the (reviewed) film "Sordid Lives." The rest is history. 

The introduction by Shores largely repeats the insight of his pint-sized brother from another mama. Shores adds that the origin of all this is a short-story titled Nicotine Fit, which is a bonus chapter in Saga. That tale centers on his real-life Aunt Sissy (nee Marie) using a popular negative reinforcement method to try to stop smoking. That true Winters story is included either in the "Lives" sequel "A Very Sordid Wedding" or the Logo prequel series "Sordid Lives the Series," which stars a perfectly cast Rue McCalanahan as Peggy Ingram. 

Speaking of Peggy, Saga introduces us to her before her fatal attraction that leaves a philandering husband without a leg on which to stand. We met her in the wake (no pun intended) of the death of her not-so-dearly departed husband. Ala fellow Tennessee Williams style southern widow Blanche Deveraux, Peggy has long unrequited lust in her heart for much younger man Wardell Owens. A related reveal is the real heat that Wardell is packing. This likely further endears Shores to former brother-in-law Newell Alexander, who portrays Wardell. 

This ties into the saga of the "night of" that changes everything. Good southern Baptist Peggy allowing freshly released guest-of-the-state/bar singer Bitsy Mae Harling to coerce her into going to Wardell's dive bar sets off a chain reaction that allows genuine hilarity to ensure throughout the entire "Sordid" franchise. 

We also get further insight into L.A.-based actor Ty Williamson, who is a small-town boy who gets out in more ways than one. The introduction by Shores verifies the theory of many fans that Williamson is a semi-autobiographical character. This reveal (pun intended) enhances speculation that Shores once appeared in a play that required going the Full Monty. 

A highlight of this portrait illustrates (pun once more intended) the talent of Shores for expertly taking things one step further. The book includes the "Lives" tale of Ty's mother Latrelle remedying the distress of her young son as to having to wear husky pants that are designed for chubby boys. Saga adds the element of getting stuck in an elevator immediately after that traumatic event terrorizing Ty.

Hairdresser Roger of the Beehive beauty shop is another secondary character whom Saga fleshes out. We learn more about the woes of being the only openly gay man in a small Bible Belt town. 

The bottom line is that no one who revels in the exceptional wit and wisdom of Shores can ever learn everything that he or she wants to learn about the lives and loves of the fictional folks of Winters, Texas. However, Saga  comes close. 

'Six Characters in Search of a Play' DVD: Shores' Sordid Sources

The Breaking Glass Pictures DVD of the one-awesome-man stage show "Six Characters in Search of a Play" provides a nice segue to the soon-to-be-released Del Shores short-story collection titled The Sordid Lives Saga: Before the Trip. The DVD is available from online retailers; fans of the written word can pre-order a personalized copy of the book from delshores.com for the apt price of $32.09, rather than the inflation -adjusted cost of $34.09.

The performance focuses on the titular sextet that plays a role in the hilarious white-trash fare of southern Baptist sissy Shores. The MUST-READ book consists of the intertangled character studies of the fictionalized trailer and tract-home dwelling residents of Shores' hometown of Winters, Texas. These works add to the mountain of proof that nobody does Dallas better than Del. 

The final digression before discussing "Characters" is a PSA for a cause that is near-and-dear to the heart of everyone's favorite son of a preacher man. The Del Shores Foundation financially supports screenplays and scripts by LGBTQ authors. The general idea is to allow these voices from The Bible Belt to be heard.

"Characters" is filmed live before a studio-theater audience. It opens with righteous dude Del gleefully making the sordid confession that he is a thief. The basis of this admission of grand-theft guffaws is that Shores bases the 'verses of "Sordid Lives" and of other work that includes the aggravatingly difficult-to-find "Daddy's Dyin', Who's Got the Will?" on friends, family, and people whom he encounters in his travels. 

The rest of the origin story relates to the title of the work. Shores shares that the inspiration this time is a play titled "Six Characters in Search of an Author." That one has a group of fictional characters unexpectedly pop up in the real world. 

The most prominent character in this bunch is the real-life Aunt Sissy of Shores. His telling of her final days reinforces the sense that Beth Grant nails that role in the "Sordid" series. 

This story begins with Sissy being on her deathbed not preventing her from expressing disappointment that Shores, who has gone out of his way to visit her, has not brought one of his beloved chihuahuas. We also hear how this real-life Thelma "Mama" Harper does not care that her desire as to her final resting place is illegal. One can easily picture  Vicki Lawrence saying "Good Lord, Eunice. I don't give a damn if it is illegal. I'm an old woman, and I can have my ashes spread wherever I damn well please. Now hand me the pork rinds and get the Hell out of here." 

In true Shores style of taking a joke one step further, our host shares that the potential for publicity is behind his willingness to risk an unfortunate incarceration to spread the ashes of Sissy as requested. Readers of Saga will know that Shores does not consider losing a gym membership an acceptable penalty for breaking the law.

The next best-well known character is real-life actress Sarah Hunley, who portrays barfly Juanita Bartlett in the "Sordid" franchise. The Saga insights include the childhood experiences behind Juanita becoming the Norm Peterson of the Winters dive around which much of the "Sordid" activity is centered.

The vivid storytelling of Shores evokes strong images of real-life Golden Age star turned tragic alcoholic Marie Prevost. Unlike Prevost, Bartlett never became a household name but was beloved among the version of The Mercury Players in the plays and films of Shores. 

This portion of the film arguably has the best line in "Characters." Shores shares that "Characters" producer Emerson Collins, who is the Joseph Cotton in this tight-knit group, states that he does not need Bartlett to be completely sober for the filming of the "A Very Sordid Wedding" sequel but does need her to be able to stand.

We also hear how Shores (presumably with a box of Whitman chocolates) goes to visit Bartlett in her (presumably shabby) WeHo apartment to find her engaged in her daily routine of drinking alcohol, chain smoking, and watching The Game Show Network. The response of Bartlett to Shores expressing concern that she is drunk every time that he telephones her truly is laugh-out-loud funny.

The "unsung heroes" of characters include an encounter with a fan who becomes a monkey on the back of Shores, and an ultra right-wing Republican relative with good intentions who essentially crashes the funeral of Sissy to which the aforementioned pet is invited. 

A chance encounter with a good-ole boy at the hilariously named real-life Kum & Go gas stations is the segment that proves that Shores is more than a pretty face. This story has Del make an amazing transformation with a minor costume change and incredible alteration of his facial expression and mannerisms. 

BGP does its usual excellent job with special features. An introduction by Shores tells the tale of the inspiration for this depiction of the source material for the work that has made him a minor gay celebrity. The extras also include an interview with Collins and promos for the "Characters" tour. 

Langenstein's Markets of New Orleans Do Not Let the Good Times Roll

 

As the old joke goes, I would like to say that I received a little Mardi Gras joy during a challenging winter of comfortable isolation. 

The fact that Langenstein's markets of New Orleans reneged on a year-long promise to mail me a treat COMPLETELY at my expense was stressful; the manner in which they REFUSED to do ANYTHING to make it better aggravated me to the extent that it exacerbated a serious medical condition and caused emotional distress. The textbook business management aspects of all this warrant this detour into Blogland.

The broad background of this tale of woe is that your New England-based not-so-humble reviewer has visited New Orleans four times and had thoughts of returning post-Covid and of making it a winter home. The appeal lies not in the drinking and debauchery for which The Big Easy is known, but the unique style, culture, and food of the city. Readers of the Inn Credible New England posts on this site know of my disdain for cookie-cutter hotels and communities. 

The delicacies of The Crescent City include king cakes, which are glorified sugar-coated coffee cakes that offer a variety of fillings. The lore of this Mardi Gras treat is that a plastic baby Jesus is baked into it, and that the person who finds that newborn must host the party the following year. Sadly, these cakes and most other New Orleans sweets are almost impossible to find in any New England store.

The rest of this story is that getting a king cake, which arguably has a $15 retail value, shipped typically costs $50 and often more. An aspect of this is that the big boys, who are far from po', that include Haydels and Randazzos ship these semi-perishable baked goods via expedited FedEx or UPS. As a guy who has found sugar-laden week-old king cakes adequately fresh, sending them via the U.S. mail is a reasonable alternative so long as the filling is not cream-based.

As indicated above, an employee who ships products for Langenstein's told me last year when I tried to order a king cake that they were out but that she would mail a cake this year. She remembered speaking to me when I called this past Friday, and she repeated the promise to mail the cake as well as other Mardi Gras sweets that I wanted to order. She also told me that she was wrapping up her day and asked that I call back this past Tuesday. 

On my calling, the same employee acknowledged the repeated pledges to use the postal service to send the king cake. The only extra effort  that this would have required compared to FedExing a package would have been to have a free box sent from the post office and going online to calculate the cost. She knew that I gladly would have paid the postage. 

Also as indicated above, the article-worthy aspects of this series of unfortunate incidents relates to the case-study elements of what I consider a deplorable manner in which Langenstein's operates. 

The broadest aspect of this is the complete failure of Langenstein's to show awareness of the basic principle that the customer is not always right but always is the customer. 

If CEO Ellis Lanaux or COO Trey Lanaux had responded in any manner, tears and recriminations would have been avoided and I likely would have had my desired treats without the company losing a penny. I also would have continued my practice of shopping in their Uptown store when in New Orleans. 

Neither executive acknowledged any of the telephone message that a REFUSAL to provide a more direct number required leaving with a store manager. Nor did these "suits" respond at all to outreach via LinkedIn and direct e-mails.

A related (pun intended) factor is the practice of disingenuously identifying businesses that the same clan has operated for years as "family-owned" to create a pretense that their operating model reflects "peace, love, and understanding." This is akin to my consistent experience that every politician or CEO who identifies herself as a mother lacks any iota of caring as to how she conducts business. 

Another example of this principle is that I am an animal lover to the extent that I say "doggie" just about any time that I see a canine, stop to pet just about every furry creature that I encounter when walking, and quickly bond with all creatures great and small. However, I do not publicly identify that element of my personality because doing so would falsely assert that these warm-and-fuzzy feelings extend to the general population of homo sapiens. 

A more narrow aspect of this is the decades-old management theory that the quality of the leadership of a family business deteriorates with each generation. My experience with fifth-generation grocer Ellis supports that. This also seems to be a theme of the HBO sitcom "Succession."

Reading about that theory while studying for my management degree at a top-ranked school years ago precludes providing definitive details as the reason for this phenomenon. PURE speculation is that these "kids" resent having to spend most of their lives from tweenage to adulthood "helping out" and/or have a sense of entitlement as to occupying the corner office of the increasingly large family empire and not even having to worry about keeping any outside directors happy. There also be some cases of the offspring being "pulled back in" out of a sense of duty. Some of this might be akin to senior tenured professors at institutions of higher-learning who know that their employment is secure regardless of the quality of their work.

A more period-specific theory is that many companies unduly exaggerate the acknowledged tough challenges of keeping the doors open during a pandemic. This animal lover is sympathetic to the folks who must face an unhappy public these days, but this does not excuse a lack of a reasonable effort to conduct business. I suspect that I am far from alone as to walking away from many businesses the past two years and pledging to stay away after it is safe to go back in the water. 

The bottom line this time is that a year of looking forward to a little joy during a Covid period in which chemotherapy is a recent memory unnecessarily ended up being another in an endless string of days of suck the past two years. 

'Dancing Pirate' BD and DVD: Broadway Star Shakes Technicolor Booty

 

The Film Detective cracks an especially important case by tracking down the only existing nitrate print of "Dancing Pirate" (1936). 

The claim to fame of this Oscar-nominated romcom swashbuckler musical is that it is the first full-length technicolor song-and-dance flick. The must-see Ballyhoo Motion Pictures documentary "Glorious Pioneers: The Birth of Technicolor" tells the intertwined origin stories of that technology and that movie in a manner that will make you give a damn my dear.

The wizardry of this production makes it apt that the perfectly cast wonderful leader of the merry old land of Oz himself Frank Morgan portrays the mayor of the California community where our current absurd comedy at its best occurs.

The following aptly bright-and-bold Detective promo for "Pirate" shows that adding the Blu-ray version of this buried treasure to your home-video library is a no-brainer. The showcased charm and humor make this gem the perfect grog to ease the pain of our highly troubled times. 

This 19th-centrury portrait of the titular pirate commences with a clever opening shot that excellently utilizes the technology of the day. Jonathan Pride (Broadway star Charles Collins) is teaching the Beacon Hill crowd the scandalous new dance the waltz in his Boston studio just ahead of travelling to his aunt. 

The first in a series of unfortunate circumstances that fully set our story in motion is that Jonathan gets a Shanghai style surprise on his way to the station. He later awakens to find that he is not in Massachusetts anymore. 

The new literal galley slave manages to jump ship in California only to find that he has gone from the frying pan into the fire. The locals who capture him do not believe that his assertions of innocence. This leads to terrific actual gallows humor. The ensuing laugh-out-loud hilarity is a "Pirate" highlight. 

The "rom" in this "com" centers around the relationship of "beast" Jonathan and local belle Serafina (Steffi Duna), who is the daughter of the mayor. She is the disregarded voice of reason in this community with heavy shades of the dim-witted residents of Hooterville in the "Green Acres" and "Petticoat Junction" sitcom 'verse.

Serafina uses her charming wit and wisdom to delay the unfortunate incarceration of whom she knows to be an innocent man. The arrival of the Gaston of our tale as old as time further complicates things. Seemingly dashing and virtuous Don Balthazar comes riding in from Monterey Jack and soon seeks to bring Jonathan when he goes back. This requires Serafina, who enjoys dancing in the dark, to use her feminine powers of persuasion to save her man.

A subsequent scene in which Balthazar and the mayor negotiate a dowry that literally involves buying the cow and not giving away the milk for free is another "Pirate" highlight. It, like every other scene in which Morgan appears, proves the perfect casting of the wizard in "Oz." 

The climatic wedding scene with vague shades of "The Graduate" provides a perfect end to this fable. Another laugh-out-loud moment comes when Balthazar realizes that his groomsmen do not have his back. 

The epilogue is equally good in that it involves a fitting variation of the trope of riding off into the sunset. This is all part of the mandatory Hollywood ending.

The Ballyhoo twofer that Detective offers pairs "Pioneers" with a featurette on "Pirate." This "True Hollywood Story" discusses the place of the film in motion-picture history.

Detective additionally includes an essay on "Pirate" that is one of the best of the best written of the excellent short histories that supplement these releases. 

'The Capture' BD & DVD: Sturges Does Ford

The Film Detective recent Blu-ray and DVD releases of the John Sturges ("The Great Escape") action/romance/western film "The Capture" (1950) adds to the mountain of proof that the style and substance of tales of the not-so-final frontier greatly extends beyond cattle stampedes and showdowns. This film also is further evidence of the skill of Detective as to finding the best films that you never watched.

Despite this typically masterfully restored film meeting the high Detective standards in most regards, the absence of an insightful and entertaining Ballyoo Motion Pictures documentary is disappointing. The truly good gumshoes at Detective compensate by having Boston broadcasting legend and righteous dude Dana Hersey narrate insightful and entertaining featurettes on Sturges and leading lady Teresa Wright. 

The well-earned fame of Hersey stems from hosting the must-see "Movie Loft" series on WSBK Channel 38 in The Athens of America long before TCM existed and Robert Osborne earned well-deserved fame for sharing insights about a wide variety of films. Hersey also co-hosted the HILARIOUS Channel 38 series "Ask The Manager" that involved answering the letter from viewers about fare such as "The Three Stooges," "Hogan's Heroes," and "Rocky and Bullwinkle." 

These features make one hope that Hersey screened "Capture" on "Loft" back in the day. 

The following Detective SPOILER-LADEN promo. for "Capture" highlights the awesome Silver Age noir vibe of the film and the playful chemistry between Wright and leading man Ayres. This not-necessarily fatal attraction fully comes through in a scene in which Lin Vanner (Ayres) entertains Ellen (Wright) with a bath that is much more vaudeville than burlesque.

Our story begins with a noir staple cum modern film trope. We meet Lin riding through desolate country on the run from the law. This leads to taking refuge at the rustic home of a priest and the subsequent figurative "24 hours ago" time shift to the commencement of the events that brought us to the present conflict.

Lin begins his tale of woe by stating that he is the well-liked and respected boss at an oil-field when the latest in a series of essentially stage-coach ambushes of the company payroll triggers the series of unfortunate incidents that bring us to the present. This commences with the "bros before hos" 'tude of Lin ending his office romance. 

The hunt of Lin for the prime suspect ends with finding that man on the trail. An ultimately fatal misunderstanding leads to our upstanding citizen essentially shooting the "outlaw" in the back. Guilt and other negative emotions result in Lin deciding to get out of Dodge.

An epitome of a Hollywood coincidence results in Lin ending up on the home turf of the suspected robber. This pattern continues with Lin becoming the sole hired hand of unsuspecting young widow/mother Ellen. The obvious underlying theme is that Lin feels that he is doing penance for his "sin."

Of course, the awful truth comes out. This fully turns our story into a combination of "The Goodbye Girl" and "The Taming of The Shrew" as Lin tries to endure the gleeful torment of Ellen while also scheming to have true love prevail. This culminates in one of the best scenes of "Capture" in which all the dirty laundry gets a thorough cleaning.

This confrontation leads to Lin once again hitting the trail in search of truth, justice, and the American way. Thus leading to the subsequent manhunt supports the theory that no good deed goes unpunished. 

Our return to the present leads to the Hays Code Hollywood ending in which justice prevails and those who deserve to live happily ever after achieve that ideal. 

The timeless appeal of this fable about love and honor is that it reminds us of the not-so-distant past in which movies did not rely on "shock-and-awe," the performances of stars rather than actors, or franchises that should have ridden off into the sunset decades ago. 

'Blues for Willadean' DVD: Del Shores Does Tennessee Williams Proud

The Del Shores Oscar-worthy film "Blues for Willadean" (2012), which is available on DelShores.com. awesomely channels "Goldilocks and the Three Bears." This shouldbeena classic strikes a "just-right" balance between the pathos of "Southern Baptist Sissies" with the more "Mama's Family" sensibility of Shores' better-known "Sordid Lives" franchise. 

A warning as to "Sissies" is that it WILL make your eyes leak through at least five viewings; they will get misty even thinking about that film. 

A note as to "Sordid" is that the trailer where most of the "Willadean" action occurs and the dive where most of the swilling of Pabst Blue Ribbon in that universe takes place will look very familiar to "Sordid" fans. Shores proves that you can go home again.

We also get the same attention to detail that Shores brings to all of his work. The "Willadean" sets are perfect; the kicking of the feet after the falling off the stool near the end of the famous "$32.09" scene in "Sordid Lives" is sublime. 

The big picture this time is that "Willadean" is the epitome of the work of a Southern gay playwright that son of a preacher man Shores supports through The Del Shores Foundation. That non-profit issues grants to produce works by good ole boys who like the all-American boy next door. 

The dirt-street cred of "Willadean" stems from the strong neo-modern Tennessee Williams vibe of this tale of this real battered housewife of a trailer park in the white-trash community of Mesquite, Texas. 

The associated exceptional live-stage feel of the production is attributable to Shores basing the production on his deservedly awards-laden play "The Trials and Tribulations of a Trailer Trash Housewife." Those accolades contribute to the WTF response to the lack of any Oscar love for the film and even more glaring as to Beth "Sissy" Grant, who reprises her role as the titular not-so-happy homemaker. Shores and Grant truly waz robbed. 

Our story begins with scenes of a honky tonk performance of the titular tune interspersed with Willadean scurrying like a petrified bunny to have things in order before her Ralph Kramden from Hell husband JD gets home. All this gets put on hold to call over neighbor Lasagna (nee LaSonia) (Oscar winner and "Trials" cast member Octavia Spencer) to watch one of their favorite low-brow talk shows that make Willadean and Lassgna look like members of the Algonquin Round Table. 

Shores uses this scene to convey three primary themes of "Willadean." Our Alice and Trixie delight in trash-talking about new trailer-park neighbor/bar waitress Rayleen Hobbs (Dale "Glyndora" Dickey) and being cruel without any kindness as the mother-daughter strippers/evangelists on the TV show. This demonstrates the delight that most of us enjoy as to feeling superior to those whom we consider to be beneath us.

Willadean becoming frantic on the television dying illustrates two other central concepts. The first is terror as to the anticipated beating by JD on his coming home to learn that he cannot watch his game. The broader message is the example of blue-collar life. Speaking as one who did not give much thought to going to spending a few hundred dollars at Best Buy twice on two televisions breaking within nine months of each other, many of us do not think about the working stiffs who cannot make such a purchase every few years.

Shores, Grant and JD portrayer David Steen truly bring on the Williams in the first simmering scene between our spouses. Willadean and the audience equally anticipate a smackdown any second. Shores and Steen particularly shine as to a monologue in which we learn the trials and tribulations of a trailer trash husband. These include kicking his still-estranged gay 16 year-old son out of the double-wide years ago. Another touch of "Who's Afraid of Virginia Woolf" comes later when we learn the fate of the namesake of our villain. 

Shores especially shines as to a monologue in which Rayleen provides graphic details about her first lesbian encounter. This reminiscence shows that John Bon Jovi knows about what he speaks. 

Our tale of woe progresses to the expected blackening of the eye and then apologizing and related rationalization regarding that brutal abusing that Willadean has down pat. The better news this time is that Willadean acts on an exit strategy with a real chance of success after hearing the gospel truth. The audience will think that Willadean now is a thoroughly modern Millie who will make it after all.

The range and related brilliance of Shores comes through in a climax that is a much darker version of a pivotal scene in "Sordid." The awful truth here is that JD has fully hulked out and is no taking any prisoners. The one sure thing is that at least one character either is going to end up in the free clinic on the wrong side of the tracks or in a cardboard coffin. It is equally guaranteed that the audience will feel the same shock and awe as the survivors. 

'Billions' S5 DVD: Shades of Sorkin

The recent CBS Home Entertainment DVD release of Season 5 of the Showtime "greed is good" series "Billions" provides a good chance to catch-up on this boiler-room drama before savoring the sixth season that started January 23, 2022. 

This simple-but-brilliant concept of "Billions" pits master-of-the-universe/wolf of Wall Street Bobby "Axe" Axelrod (Damian Lewis) against now- New York attorney general Chuck Rhoades (Paul Giamatti). The numerous reasons for Chuck having an axe to grind include estranged wife Wendy Rhoades being the high-level performance coach at Axelrod firm Axe Capital and having a close personal relationship with the boss. 

Some of the best moments belong to Axe lieutenant Mike "Wags" Wagner, who particularly shines when verbally abusing Axe Capital employees. He is the boss from Hell who proves that comedy is trauma that is inflicted on someone else. 

Both the fast-paced plots and the enhanced quality of the already very-good writing distinguish S5 from earlier seasons. The most notable aspect of this is the obvious homage to classic Aaron Sorkin projects absent the extended speeches and the copious long walks. We additionally get numerous pop culture references that include inside jokes about Alan Alda and fellow Showtime series "Dexter" within minutes of each other in the "Billions" season premiere.

The no-reason-to-feel-guilty pleasure of the series include the vicarious joy of the win-at-all-costs 'tude of our major players. This extends beyond Axe separately blatantly exploiting an inner-city teen boy and (at least temporarily) ruining a competitor to achieve his own selfish desires to every main character proving that you cannot trust anyone. 

Our season begins with the zeal with which Chuck prosecutes a bitcoin mining operation fluctuating in response to the degree to which he and Axe are battling. The professional fallout from that abuse of discretion drives much of the action. This get-rich-quick-scheme also is a factor in a notable episode in which Axe and his prep-school son get schooled. 

S5 also finds Axe showing no mercy in his effort to obtain a bank charter. The price that he pays for that ambition reflects the morality of the Hays Code of the Golden Age of Hollywood. 

Secondary plots that tie into the main story arcs include the ripped-from-the-headlines issue of providing the marijuana industry banking services, the exploitation of opportunity zones that are intended to aid lower-income communities, and the conflict between art and commerce. A personal perspective as to the latter is once joking with a young artist about spending a small premium for a very limited edition print because its value would increase on his death. Moderate guilt arose on his passing away a few years later and the print substantially rising in value.

All of the "Billions drama aptly ends with a not-entirely-unexpected twist in the road runner/coyote relationship between Chuck and Axe. The conclusion follows the good model of a season finale also serving as a satisfying series finale in the event that are leads do not live to fight another day.

The apt bottom line this time is that "Billions" S5 easily provides investment-grade entertainment that is worth roughly $20 and approximately 12 hours of your valuable time. 

'The Fabulous Dorseys' 4K; Fighting Irish Big Band Theory

 

The two December 2021 releases from The Film Detective provide good reason to rejoice in this less-than-merry holiday season. Our topic du jour is the December 14 4K (also out on DVD) release of  "The Fabulous Dorseys" (1947).  A cool aspect of this example of the big band films of the '40s is that Tommy and Jimmy Dorsey portray themselves in this true Hollywood story.

The Holmes for the Holidays BD gift set of four rare Sherlock Holmes films (complete with rare shorts and other spectacular extras is a subject for a post within in the next few weeks. Having watched three of the films and several of the copious even more rare shorts allows the preview that Detective surpassed its usual excellence. 

The following Detective trailer for the "Dorseys" release awesome highlights both the docu and the drama aspects of this equally educational and entertaining look at the "fathers" of '60s squabbling siblings The Smothers Brothers. We also get a sense of how it all came together when Dad sang along not to mention seeing how something always happens whenever the boys are together. 

Our story begins with the early 20th century childhood of Jimmy and Tommy Dorsey. Wholesome hilarity ensues as failed musician/part-time music teacher Mr. Dorsey suffers through a lesson with a comically inept student when the titular excitable boys come rushing in. This leads to aptly showing that the sons of a cobbler do not always go shoeless.

All of us who despise our siblings can relate to the following scene in which forced labor in the form of practicing music leads to the brothers arguing in a manner that continues well into their childhood. Essentially, Jimmy insists on being the leader of the band despite Tommy wanting to figuratively dance to his own tune. In this regard, one can consider the Dorseys as the fathers of Ray and Dave Davies of The Kinks and the grandfathers of Dan and Warren Zanes of The Del Fuegoes. 

We also meet singer/girl-next-door Jane Howard, who is skilled at getting Les Freres Dorsey to settle down. Her main motivation is to ease the angst of Mrs. Dorsey.

An underlying theme of these opening segments is that laborer Mr. Dorsey does not want his coalminer's sons to have to follow in his sooty footsteps. Anyone who has seen either "Billy Elliot" or the criminally little-known Keanu Reeves film "The Prince of Pennsylvania" can relate to this. 

The game fully is afoot when the action shifts ahead 15 years to the Dorseys having some success with their dreams of travelling together, spreading a little music, and keep moving on. Sadly, they do not always feel happy when they are singing their song, This time, it is Jane who is singing along and keeping harmony within the family. 

These early days are fraught with figurative roadblocks that make even having enough money to eat a dive and stay at a flophouse a challenge. Their piano player bailing at a low point for the group leads to the fateful hiring of movie-palace entertainer Bob Burton. One spoiler is that Bob essentially becomes the cousin, rather than the uncle, of our leads. 

A subsequent highlight of "Dorseys" is a live-radio gig gone amusingly horribly awry. This incident is instrumental (of course, pun intended) to the subsequent break-up of the band. Rather than being a Yoko, Jane risks personal happiness by relentlessly trying to get the bros to hug it out.

Meanwhile back at the ranch, Ma and Pa Dorsey are fretting about their battling offspring. Seeing the impact of the kids not being alright on the 'rents is especially well portrayed. 

All of this leads to the expected Hollywood ending.

The Ballyhoo Films documentary on the aforementioned movies that center around the rock gods, including Frank Sinatra in his younger days, that greatly enhance life in a northern town PERFECTLY demonstrates the blessing and the curse of these always awesome productions. Although watching these shorts after the main feature avoids major spoilers, saving that equally and educational work for a tasty dessert distracts from savoring the miraculously expertly restored main course from Detective.

Ballyhoo does its usual comprehensive job in explaining the societal context of this genre and by informing the viewer of the Kinsey scale from sublime to ridiculous as to what Hollywood releases in this period. Ala the debate as to whether "Die Hard" is a Christmas film, Ballyhoo sparks controversy by labelling the Abbott and Costello movie "Buck Privates," which does feature performances by The Andrews Sisters, as a big band movie. Purists would argue that it is a comedy.

Following the tradition of the cool kids not reading over the Christmas break is behind only being able to mention that this release includes a Cliff Notes essay on the Dorseys. The perfect track record of Detective prompts strong confidence that this one is as well-written as its counter-parts in the Detective library. 

'Hanna-Barbera: The Architects of Saturday Morning' Exhibit at Rockwell Museum is Yabba Dabba Doo Worthy

[EDITOR'S NOTE: An article on an interview with world-class animator/Hanna-Barbera toy collector David Nimitz, who provided the museum every toy for the exhibit, also is on Unreal TV.]

Children of the '60s and the '70s (and other lovers of Saturday morning cartoons) must raise a bowl of tasty sugar-laden cereal that comprises the delicious part of a delicious nutritious breakfast in tribute to Norman Rockwell Museum curator Jesse Kowalski.

This former exhibitionist at the Andy Warhol Museum bringing both his curatorial talent and his love for the Scooby gang and the 1,000s of other Hanna-Barbera creations to Stockbridge, Mass. is why your not-so-humble reviewer and 1,000s of others who have uttered "yabba dabba doo" at least once in their lives have had the privilege of seeing "Hanna-Barbera: The Architects of Saturday Morning" at the Rockwell Museum. Having Kowalski guide me through the exhibit was like personally seeing Willy Wonka show off his chocolate factory.

The copious information that Kowalski shared included that the exhibit has been incredibly popular. He noted that it set a record for Fall shows and blew an exhibit of the work of comic book artist Alex Ross "out of the water."

One Scooby-worthy mystery that Kowalski cannot solve is why the late-'50s H-B cat-and dog series "Ruff and Ready" is a "lost" treasure. The historic significance of this first television effort by "Tom and Jerry" creators Hanna and Barbera includes it being the first Saturday morning show that is all cartoons, rather than a primarily live-action series in which a flesh-and-blood host incorporates cartoons that begin life as theatrical shorts in the program. Speculation regarding "Ruff" not achieving the same status as later H-B offerings is that our animation gods use this show to work out the kinks that their classics lack.

The images below from the exhibit provide a glimpse of what we are missing.

Alas, the exhibit tour did not end with owning the 100s of drawings, animation cels, video clips, and case-smashing worthy vintage merch. that comprises the exhibit. The exhibit catalog, which has reprints of much of the aforementioned art and photos of the aforementioned collectibles, is a nice consolation prize. Buying Funko-style toys of Daphne and Velma of "Scooby" fame when exiting through the gift shop is another highlight.

Folks who have not visited the exhibit have until May 29, 2017 to do so. Parents of K-12 kids particularly have the option of making this an April vacation week activity that the whole family truly can enjoy,

The exhibit fulfills the same ideal as a documentary film in that it equally entertains and informs. The scope extends from the early days of this 60-year partnership/friendship to the near present. Highlights are early rejected sketches of the Flintstones and other classic characters and concepts, such as "Josie and the Pussycats 1,000,000 BC," that never see the light of day.

Awesome verification that your not-so-humble reviewer is in sync with the exhibit is writing the caption for the below image of "The Flintstones" preceding Kowalski telling the tale of a female reporter who responds on seeing it in a pre-exhibit promotional campaign that it deplorably depicts whom your not-so-humble reviewer calls "sexy Wilma." Kowalski states that his respectful response to the real-life Lois Lane includes asking her to consider that this image is from the relative caveman period of the early '60s compared to the more enlightened "Jetsons" era in which we live.

The following samples of this artwork barely scratches the surface of the rare treasures that will delight visitors of the proverbial all ages.



A "Flintstones" toy telephone is one of 300 treasures on loan from the 4,000 items collectibles collection of "Iron Giant" animator David Nimitz.



Version of "The Flintstones" that likely would have increased adult male viewership of the first prime-time animated series.

Another highlight of the show (and a Herculean labor of love by Kowalski) is an interactive touch-screen exhibit with a homepage display of thumbnails of 96 HB characters. Touching a small image opens a page that allows you to read about that character, see video clips with him or her, and listen to related sound effects.

Light-hearted personal disappointment regarding not seeing Goober the disappearing dog of the Scooby clone "Goober and the Ghostchasers" prompted Kowalski to good-naturedly share that he was told to pick 96 characters. He and I both understood that that limitation precluded including the favorite HB creation of every visitor.

An underlying theme of the exhibit that is awesome for folks who suffer from the current big studio practice of producing films that blatantly sacrifice art for commerce is that Hanna and Barbera maintain both quality and the bottom line. The primary technique is the cost-saving practice of limited animation that the exhibit describes. An obvious element of this is the oft-repeating backgrounds on "Flintstones" and other Hanna-Barbera productions.

The audience additionally sees how Hanna-Barbera are true pioneers of television and how they successfully adapt to changing regulatory and cultural environments. This explains how "talking animal" Hanna-Barbera offerings lead to superhero and other action-adventure shows, which leads to animated versions of prime-time hits, which evolve into series such as "The Flintstones Kids" and "A Pup Named Scooby-Doo." (Nimitz began his animation career as a 17 year-old intern on "Pup.") You also will learn how the combination of governmental and consumer influence ultimately kill off Saturday morning cartoons.

Kowalski further proves his entitlement to induction in the Fanboy Hall of Fame in sharing at the end of our sadly less than three-hour tour that he will continue curating animation exhibits for the Rockwell museum. His reasoning that these shows further the objective of the institution to educate the general public about the legendary The Saturday Evening Post illustrator for whom the museum exists makes sense.

The statements of Kowalski that he wants to keep classic cartoons and other animation in pop culture (and that many young visitors do not know about Scooby-Doo) endears him to the heart of your not-so-humble reviewer. Readers of early manifestos know that Unreal TV owes its existence to larger sites rejecting coverage of "TV Land shows" that does not generate enough income to satisfy the suits. The specific founding principles of this boutique site include keeping Lucy Ricardo and Ralph Kramden in the public consciousness.

On a larger level, it is nice to learn that Hanna and Barbera are guys with whom you would want to share a mug of cocoa while watching their creations do the things that endear these men to all of us.

Anyone with questions or comments regarding the exhibit is strongly encouraged to email me. You also can connect on Twitter via @tvdvdguy.

2021 Gift Guide: CBS Home Entertainment and Film Detective Rule

 

The Christmas newsletter portion of this holiday gift guide is that 2021 was a back to the future year for these posts that primarily focus on DVD and Blu-ray releases. 

Technical and proverbial personal problems (as well as a Covid-accelerated shift in the marketing of physical media) prompted discontinuing the enhanced Matt Nelson Reviews site that stemmed from Unreal TV. Those 1,000s of posts getting irrevocably lost was an unfortunate consequence.

Needing to cut way back on these posts was the main reason for resurrecting Unreal TV.

A guiding philosophy for the below choices comes from the early 2000s teen scifi cult classic series "Roswell." The gift-giving guidelines from that series are that a present should be something that the other person wants but would not buy for himself or herself.

Further guidance comes from the companion series "Buffy the Vampire Slayer." The wisdom from those mid-20s actors playing teens is that gift certificates are just like money except for being less useful. 

A personal pet peeve is when a donation is made in my name to a charity. 

Fully separating the wheat from the chaf has been a lagniappe. CBS Home Entertainment and Film Detective have both released some awesome titles and are very supportive of the incredible shrinking reviewer who is trying to share the news about cult titles. These elements support putting CBSHE and Detective titles under the tree. 

The CBSHE recent "Star Trek" OS CS BD set deserves strong praise. This stunning (pun intended) collection of the one that showed that cerebral sells and that almost literally launched 1,000 ships is at the top of the make-a-wish list of your not-so-humble reviewer. 

"Trek" OS is representative of the "TV Land" section of the extensive CBSHE library, which literally runs the gamut from the '50s to the present. An all-time fave is the (reviewed) EPIC 65th anniversary CS DVD set. The value of this desert-island worthy set is that it proves that westerns have much more substance than saloon fights and cattle stampedes.

A ripped-from-today's-headline story as to "Gunsmoke" is as fresh as this morning. A visiting friend remarking that her husband still watches the series prompted showing her my CS set. Her eyes lit up, and convincing her to buy her husband a set was far from futile. 

The aforementioned carnage as to the demise of Matt Nelson Reviews includes the loss of the post on the CS DVD set, which is the personal fave of the CBSHE 2021 releases, of "Beverly Hills 90210." This literal trend setter is the one that has launched 1,000 imitators and parodies. The epicness this time includes S1 of the hilarious 2019 series "BH90210."

Detective fully embracing the sublime, the ridiculous, and the sublimely ridiculous make it a best friend of your not-so-humble reviewer. These (often 4K) releases featuring equally entertaining and educational Ballyho Films documentaries is the icing on the cake.

The (reviewed) "Eegah" release, which includes the riff-heavy "Mystery Science Theater 3000" version of this cult classic, is an all-time fave. The wonderful performance by B-caliber character actor Arch Hall, Jr. and the hilariously cheap production make this one must see. 

Recent comparable Detective releases, which have typically top-notch Ballyho documentaries, include the (reviewed) "Amazing Mr. X" about a conman who will psych you out in the end and the (reviewed) "Frankenstein's Daughter" that notches up the Freud to a level that will make you feel Jung again. 

Saving one of the bests for last, the unparalleled Detective gift set of four Sherlock Holmes films plus a plethora of collectibles is a must-have and give. This perfect gift for anyone who loves classic films and accompanying SWAG, including a 13-month Sherlockian calendar and a notebook for fans who are not clueless, is the epitome of the "Roswell" theory. 

The deadline for ordering the "Holmes" set is November 26, 2021. The blessing-in-disguise as to the December 21, 2021 release date is that it allows giving the lucky recipient a placeholder gift such as a stuffed dog that represents "The Hound of the Baskersville" or a similar Holmes-themed gift and having that loved one deduce the real gift that should arrive in time for an awesome New Year's Eve movie marathon. A post on this set is scheduled for early January 2022. 

The bottom line this time is that awesome loot under the tree delights kids of all ages. These gifts being equally delightful and surprising is the icing on the gingerbread person. CBSHE and Detective releases check all these boxes.