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upperco last won the day on October 30 2020

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About upperco

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  1. Thumbs down from me too! I'll follow suit and confine my criticism here to one thing: Sorkin's general disregard for I LOVE LUCY, exhibited in his script's failure to understand why the series worked then, and by proxy, why this film even has an audience now. His perspective is dramatically counterintuitive too, for if Lucille cares significantly about her work, but Sorkin says her work isn't worth caring about, then he's asking the audience not to care about a significant part of her, right? So, why bother?
  2. The DVDs are in airing order. 12/04/67 - "Lucy And Carol Burnett (I)" 12/11/67 - "Lucy And Carol Burnett (II)" (12/18/67 - rerun of "Lucy And The French Movie Star") (12/25/67 - rerun of "Lucy Gets Trapped") 01/01/68 - "Lucy And Viv Reminisce" 01/08/68 - "Lucy And The Pool Hustler" Any episode guide that states otherwise is incorrect.
  3. I was involved in an earlier iteration of this project. The dream Maude the producers went into pitch this idea with was Julia Louis-Dreyfus. (Incidentally, Louis C.K. was the dream Archie Bunker -- pre-2017 -- with Molly Shannon as the ideal Edith.) As for Good Times, all the producers wanted to do Sanford And Son as the last of the big four, but because that was a Yorkin series with which Lear had limited involvement, the latter insisted upon Good Times instead.
  4. Apparently, CBS went back to its original negatives and found they were cut. The company cleaned those up and this is what was shown on Me-TV. The edits are unideal. And the split volumes and high cost are modus operandi for CBS' MOD program now. But if you like the show, this is the best you're going to get. And I, personally, hope these sell okay so that we get the rest of the series. There are two episodes that haven't been seen since syndication in the early '60s, and they come from Seasons Two and Three, respectively. The fact that the first season's un-syndicated episode was released means it's a possibility that those other two could finally see the light of day, too.
  5. Got my sets today. The good news: All 38 Season One episodes are included in this two-volume release... for the first time EVER. And they've all been cleaned up and look pretty good. The bad news: All the episodes are edited. Most run between 22:10 and 22:40. The first eight and "Aunt Mattie Boynton" are about a minute longer though, and one episode in Volume II -- "Public Property On Parade," which hasn't been included in the series' syndication package in decades -- runs in the 24-minute range. I'm generally pleased. Splitting the season into two separate sets makes it pricey (especially given the edited content), but if we want to see more of this series, and more releases of similar series, this is an effort we have to support.
  6. Daily Variety suggests production of "Lucy Meets The Mustache" occurred in mid-January 1960, with listings during the weeks of Jan. 8th and Jan 15th. A Hedda Hopper column run on the 11th confirms this timeline.
  7. According to Daily Variety production listings, it was shot around early December '59 -- not long before it was broadcast, and as it turns out, only about six weeks before "Lucy Meets the Mustache" was filmed.
  8. Daily Variety production listings from early 1960 confirm that "Lucy Meets the Mustache" was shot in mid-January, which is incidentally right around the time that the WGA called a strike.
  9. Found a discrepancy in commonly accepted I LOVE LUCY airdate information and wanted to see if anyone here could shed some light on the matter. Older episode guides -- like Bart Andrews' and Geoffrey Mark Fidelman's -- list the second season episodes "Redecorating" and "Ricky Loses His Voice" as having been originally broadcast on November 17th and November 24th, 1952, respectively. Presumably the rebroadcast of "The Fur Coat" then aired on December 1st. According to the DVDs, the Blu-rays, and now, most internet sources, "The Fur Coat" was rebroadcast on November 17th and the new episodes then followed on November 24th and December 1st. Newspaper listings favor the older guides' information. As we know, those publications aren't always accurate, but three weeks in a row of incorrect printed episode loglines seems hard to buy. What's the real story here -- why did our understanding of when these episodes were first broadcast change? (Does this having something to do with discrepancies in local markets?) And, ultimately, which airdate information is most correct?
  10. The New Dick Van Dyke Show was at #36 (17.8) for the period counting September 10, 1973 through January 13, 1974. It was at #31 (19.4) for the period counting January 14 through March 24, 1974. And in Variety's final season average, counting premiere to April 21, the show was at #40 (18.2). Also, for reference, Lucy's previous lead-out, The Doris Day Show, was axed at #37, with an 18.6. I say that to note that Van Dyke's numbers behind Lucy weren't the improvement CBS wanted and it would have been on the bubble regardless of whether Lucy was renewed. The show-curdling departures of Hope Lange and Carl Reiner, Van Dyke's announced alcoholism, and Lucy's decision to leave (thus giving Van Dyke's show no companion) likely just made the choice easy for Silverman and Wood. Incidentally, I've seen the entire run of The New Dick Van Dyke Show. I personally don't think the final year's premise shift was rejuvenating, yet the quality basically stayed the same. I think The Lucy Show is an apt comparison, for while the scripting was never on par with the star's earlier series, it did give him some memorable chances to clown, which were worth the figurative price of admission and deserve to be seen more often today.
  11. Here's Lucy was not in the Top 20 in the spring (it was #21), but yes, it had beaten both ABC's and NBC's movies (by 1.2 and 3.2 points, respectively). Incidentally, it had lost to both ABC's football and NBC's movies in the fall (by 2.1 and 0.9 points, respectively). The New Dick Van Dyke Show also improved in the spring -- 19.4 vs. 17.8 -- but it was still lower rated than ABC's movie. By that time, both Reiner and Lange refused to return, and with Van Dyke announcing that he was an alcoholic, CBS was ready to wash its hands of a show whose average barely made the Top 40 at season's end, and (likely) only did so because it was next to Lucy. And to answer your other question, there were 72 shows listed for the fall's list, 63 for the winter/spring's, and 81 in the final annual average. Also, Variety's conclusive "Season Average" from May 1974 differs slightly from the common Top 30 that's been published and posted ad infinitum. Variety's list specifically includes premiere weeks and goes until April 21st. Marsh and Brooks' tome only vaguely cites September to April. According to Variety, NFL Football came in at #18 with a rating of 21.3. Here's Lucy and ABC's spring movie tied at #26 with a 19.8. And NBC's movie was at #31 with a 19.0. According to Marsh and Brooks (what you're citing), NFL was at #19 with a 21.2, ABC's movie was at #26 with a 20.2, and Lucy was at #29 with a 20.0.
  12. Variety. Ratings for Here's Lucy for the "1st half season" (Sept. 10 - Jan. 13) averaged 19.2. Ratings for the "second season" (Jan. 14 - Mar. 24) averaged 21.3. (Remember, of course, that Lucy was up against Monday Night Football in the fall, and only movies in the winter/spring.)
  13. Ball proved every season that she was open to negotiation, and while it's been reported that she almost bowed out in October '72, she seemed willing to stick around again when interviewed by the LA Times in November '73 ("if people still want me -- if CBS still wants me"). I won't speculate on what happened between then and February '74*, but I will say that the trades never contradicted the two commonly accepted facts: that she wanted to leave and that CBS executives would miss having her on a weekly series. However, the extent to which both parties exhibited those claims privately during negotiations -- and I believe there were negotiations, for the announcement didn't come until the end of February (not since the mid-era Lucy Show days had Ball's fate remained uncertain that late in the season), a month after production wrapped -- is unknown and may indeed have been contradictory. As is always the case, I think there were a number of factors that probably influenced what happened -- the ratings being just one. (Incidentally, the numbers had fallen, but the network never expressed any public concern -- which means the show was likely still profitable -- and the press considered it, while still in the Top 30, in good shape.) The upcoming release of Mame (which looked to be a success and could have opened the door to different projects for Ball) Lucie Arnaz's desire to move on (she booked Seesaw in December '73, two months before the official announcement of the series' end) CBS' success in the fall of '73 -- there were only three midseason replacements (and no room to move good shows that deserved a second chance) The problems with the likely-to-be-axed The New Dick Van Dyke Show (cancelling it would mean that Lucy didn't have a great companion on Mondays; Wood/Silverman would NOT have put Maude or Rhoda next to Lucy -- those were different types of shows and were held to different standards; that's part of the problem Van Dyke faced) Conversely, some external things that could have indeed prolonged negotiations in February... The relaxation of the Prime Time Access Rule, as the networks suddenly got an extra hour on Sundays, even if they didn't have the pilots for it (this was later postponed) The fact that the show's numbers were improving by nearly two ratings points in the period between January and March (so, February) The problems with the divorcing Sonny & Cher, who were likely to not return (meaning that CBS would be losing another hit show) And, as with the above, the problems with The New Dick Van Dyke Show, which instead of reducing the need to keep Lucy, may have done the opposite: increased CBS' desire to hold onto her *Okay, I will... Ball probably did her annual hemming and hawing -- this time more tired and ready to go than ever, but still hoping the network would negotiate like usual. Unfortunately, the brass didn't appear to fight as hard to keep her as they had before (like in October '72) and recognizing that maybe she wasn't as valuable to them as she once was, Ball decided to walk away from the weekly series and just commit to specials (which, in November '73, she said wasn't of interest to her, but I digress....) The_Los_Angeles_Times_Mon__Nov_5__1973_.jp2
  14. I saw the film's first screening back in August. You'll want to see it for the home movie footage alone. And, yes, TOP BANANA is highlighted!
  15. Yes, she appears in more extant radio episodes than those produced for television, but remember that the radio show ran for eight years, while the TV show ran -- under the Madison format -- for three. Regarding whether or not the character was more prominently featured on the radio series, the absence of several whole years (save an episode or two) makes comparing her seasonal appearance rates difficult. But if the trend from the early (almost intact) seasons was maintained, we'd conclude that Ms. Enright appeared a few more times per radio year than she did in the TV iteration (i.e. four episodes as opposed to two). So I'd estimate that the character was a slightly larger presence on radio than she was on television.
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