Happy 4th of July 2026

It was 250 years ago on this date that the Declaration of Independence was signed, marking the founding of the United States of America. I know that many people aren't particularly in the mood to celebrate today. Much of the country is suffering from extreme heat. The economy is not particularly good. There is widespread political division. And a certain individual who shall not be named has insisted about making the 250th anniversary of the United States of America all about himself. And I do have to admit that the United States has not always lived up to its ideal that all men are created equal. Native Americans (including my Cherokee ancestors) suffered greatly because of the US. For the first 87 years of the country's existence, slavery existed in the US. Still, it is the idea that all people were created equal, that we all have certain unalienable Rights, including those to  Life, Liberty, and the pursuit of Happiness, is one worth celebrating and one worth working towards, no matter what others might think or try to force upon us. For that reason, I am celebrating the 250th anniversary of the United States of America today.

Of course, here at A Shroud of Thoughts, celebrating means posting vintage pinups. I hope that you appreciate them whether you are celebrating today or not.

First up is Vera-Ellen, who is celebrating the 4th of July with a patriotic version of hopscotch.

And here's another Vera, Vera Miles, getting ready for a loud boom.

The lovely Angela Greene is celebrating the 4th of July on the beach.

Jane Russell is getting ready to light off a rather large firecracker. Or maybe dynamite...

Gloria Grahame not looking too happy after what looks like the aftermath of a fireworks display.

And here's the lovely, leggy Ann Miller with some really big fireworks. 

Happy 4th of July!

David Sheiner Passes On

David Sheiner, who had a recurring role on the short-lived sitcom Diana, guest starred on shows from The Man From U.N.C.L.E. to Murder, She Wrote, and appeared in such movies as The Odd Couple (1968) and Blue Thunder (1983), died on June 5, 2026, at the age of 98.

David Sheiner was born on January 13, 1928, in the Bronx. He graduated from DeWitt High School and then served in U.S. Army Air Forces. After his service, he took acting lessons for eight years on a scholarship from Lee Strasberg.

Early in his career he toured with a production of The Country Girl by Clifford Odets. He made his television debut in an episode of Studio One. During the Fifties, he guest starred on the shows Tom Corbett, Space Cadet; The Big Story; The Best of Broadway; The Phil Silvers Show; and Perry Mason. He made his movie debut in an uncredited role in The Mugger (1958). He appeared on Broadway in Will Success Spoil Rock Hunter?.

In the Sixties, David Sheiner guest-starred on the shows The Defenders; The Detectives; Sam Benedict; The Twilight Zone; The Eleventh Hour; The Rogues; Dr. Kildare; Kraft Suspense Theatre; Mr. Novak; A Man Called Shenandoah; Burke's Law; Voyage to the Bottom of the Sea; Blue Light; The F.B.I.; The Man From U.N.C.L.E.; I Spy; The Fugitive; Combat!; Mission: Impossible; The Invaders; Iron Horse; Ironside; Dundee and the Culhane; The Big Valley; Judd for the Defense; Hawaii Five-O; Then Came Bronson; The Name of the Game; The Virginian; and The Young Lawyers. He appeared in the movies The Greatest Story Ever Told (1965), A Man Called Gannon (1968), The Odd Couple (1968), Winning (1969), Halls of Anger (1970), and They Call Me Mr. Tibbs! (1970).

In the Seventies, David Sheiner had a recurring role as the title character's boss on the short-lived sitcom Diana, starring Diana Rigg. He guest starred on the shows Mission: Impossible; The Bold Ones: Senator; Gunsmoke; Mannix; Sarge; Bonanza; The Delphi Bureau; Cannon; Hawkins; Owen Marshall, Counselor at Law; Columbo; Planet of the Apes; S.W.A.T.; Bronk; Kate McShane; Medical Center; Switch; Lanigan's Rabbi; Baretta; Rich Man, Poor Man Book II; Police Story; Westside Medical; Lucan; The Six Million Dollar Man; The Amazing Spider-Man; How the West Was Won; The Wonderful World of Disney; and Vega$. He appeared in the movies The Stone Killer (1973), The Gong Show Movie (1980), and Battle Creek Brawl (1983).

In the Eighties, David Sheiner appeared in the movie Blue Thunder (1983). He guest starred on the shows Charlie's Angels; Quincy, M.E.; Manimal; Automan; Trapper John, M.D.; Fantasy Island; Matt Houston; The Fall Guy; and Murder, She Wrote. He retired from acting in 1988.

David Sheiner is one of those actors whose name they might not recognize, but whose face they certainly would. He appeared in several hours of television over the years, including several movies. What is more, he could play a wide variety of roles. His versatility can be demonstrated by his two guest appearances on Combat!. In the first episode, "The Steeple," he played a U.S. Army paratrooper captain trapped in a steeple with German soldiers on the ground below him. In "Gadjo," he played a major in the German S.S. He played a prime minister in an episode of The Man From U.N.C.L.E., Oscar's accountant Roy in The Odd Couple, a preacher turned outlaw on Gunsmoke, and a somewhat skeptical police captain in The Stone Killer. David Sheiner was nothing if not versatile, and he always gave good performances.

A Shroud of Thoughts Store on Zazzle

In an effort to increase my income in these difficult times, I have opened a store for A Shroud of Thoughts on Zazzle. Like the blog, it is dedicated to popular culture. Of course, due to copyright restrictions, I really can't have any times based on movies, TV shows, or books that are not in the public domain. Fortunately, there are a lot of popular books that are in the public domain, so I have created a series of products such as T-shirts, key chains, and coffee mugs using quotes from popular books, including The Sign of Four, Wuthering Heights, and The Great Gatsby. I do plan to add more products as I go along, and I might even include products based on silent movies in the public domain (most talkies aren't for now).

Anyway, if you're interested in taking a look, you can click the link here. 

The Late Great James Burrows

James Burrows, who co-created the classic sitcom Cheers and directed shows from The Mary Tyler Moore Show to Fraiser, died on June 19, 2026, at the age of 85.

James Burrows was born on December 30, 1940 in Los Angeles. His father was composer, director, and writer Abe Burrows. He was fairly young when his family moved to the West Side of Manhattan in New York City. Given his father's profession, as a boy, he got to spend time backstage of such Broadway shows as Guys and Dolls and How to Succeed in Business Without Really Trying. In grade school, he was a member of the Metropolitan Boy's Choir. He attended the High School of Music & Art. He attended Oberlin College and then the Yale School of Drama.

After college, James Burrows moved to California where he became a dialogue coach on the short-lived sitcom O.K. Crackerby. He then worked as an assistant manager on Holly Golightly, a musical version of Breakfast at Tiffany's, during its pre-Broadway tryouts. While the musical was scrapped before making it to Broadway, James Burrows did get to meet its star, Mary Tyler Moore.

It was meeting to Mary Tyler Moore that would lead to James Burrows's first work as a television director, directing episodes of The Mary Tyler Moore Show in 1974. In the Seventies, he also directed episodes of Fay; Phyllis; The Bob Newhart Show; The Tony Randall Show; Laverne & Shirley; Busting Loose; Szysznyk; Lou Grant; We've Got Each Other; The Betty White Show; Rhoda, On Our Own; Husbands, Wives & Lovers; Free Country; A New Kind of Family; The Associates; The Stockard Channing Show; and Good Time Harry.

It was in the 1980s that James Burrows co-created Cheers with Glen and Les Charles, and co-created its spinoff The Tortellis with Glen and Les Charles and Ken Estin. He directed the vast majority of the 275 episodes of Cheers, as well as episodes of the shows Best of the West; Taxi; Night Court; Valerie; All is Forgiven; The Tortellis; CBS Summer Playhouse; Dear John; The Marshall Chronicles; Wings; Down Home; and The Fanelli Boys,

He continued working on Cheers into the early Nineties. In 1998, he began work on Will & Grace and directed every episode of the show's original run. He also directed episodes of the shows Roc; Pacific Station; Flesh 'n' Blood; Flying Blind; Cafe Americain; Monty; The Boys Are Back; Madman of the People; The Preston Episodes; Hudson Street; Partners; NewsRadio; 3rd Rock from the Sun; Frasier; Men Behaving Badly; Chicago Sons; Fired Up; Veronica's Closet; George & Leo; Caroline in the City; Union Square; Dharma & Greg; Friends; Jesse; Conrad Bloom; The Secret Lives of Men; In the Loop; Stark Raving Mad; Madigan Men; and Cursed.

In the Naughts, James Burrows continued work on Will & Grace. He also directed episodes of the shows Cursed; Good Morning, Miami; Bram and Alice; The Stones; Four Kings; Teachers; Two and a Half Men; Courting Alex; The Class; The Big Bang Theory; Back to You; Gary Unmarried; Better with You; and S#*! My Dad Says,

In the Teens, James Burrows directed episodes of Up All Night; Partners; Sean Saves the World; Friends with Better Lives; The Millers; 2 Broke Girls; Mike & Molly; Crowded; Man with a Plan; Superior Donuts; Disjointed; The Neighborhood;Our House; B Positive; and Romantically Challenged. In the 2020s, he directed episodes of Mid-Century Modern and the revival of Frasier.

While James Burrows directed hundreds of hours of television, he only directed on feature film, Partners in 1982.

James Burrows also served as a producer on several shows, including All is Forgiven; Cheers; The Tortellis; The Secret Lives of Men; The Class; Back to You; Gary Unmarried; Romantically Challenged; Mike & Molly; Partners; The Millers; Crowded; Superior Donuts; Man with a Plan; Will & Grace; and Mid-Century Modern.

James Burrows occasionally made cameos on shows. He was an agent on Rhoda, a telephone man on Phyllis, a maintenance man on The Bob Newhart Show, a director on Friends, and James Burrows on Will & Grace and The Comeback.

Over the years, James Burrows was nominated for several awards. He won Emmy Awards for episodes of Taxi, Cheers, and Will & Grace.. He also won Directors Guild of America awards for Cheers, Frasier, and Will & Grace.

James Burrows was definitely one of the greatest directors of all time. Even though the majority of his work was in multi-camera sitcoms, he used lighting that was a bit more advanced than that of the average sitcom. He was also a genius when it came to comic timing, able to milk the most out of the humor already in a script and in the performances of his actors. Indeed, more so than other directors, he concentrated on the characters, emphasizing the dialogue and using often complicated blocking. James Burrows could often get the best out of his performers, and it is little wonder that many of the episodes he directed are considered among the greatest television episodes of all time.

The Late Great Ann Blyth

I have no idea who said it first, but there is a saying, "Live your life so that even if you die at 100 years old, people will say you died too soon." For many of us that holds true of legendary actress Ann Blyth, who died on Wednesday, June 24, 2026, at the age of 98. She was best known for playing spoiled daughter Veda in the classic Mildred Pierce, but appeared in movies from Mr. Peabody and the Mermaid (1948) to Kismet (1955) and TV shows from The Twilight Zone to Murder, She Wrote. If ever a film star was adored by classic movie fans, it was Miss Blyth. As for myself, I have had a crush on Miss Blyth since childhood, to the point that she was possibly the only woman Vanessa was even a little bit jealous of. Ann Blyth was beautiful, talented, and, I know from those who met her or knew her personally, sweet, kind, and gracious. The perfect woman may not exist, but Ann Blyth was as close to perfect as any human being could ever come.

Ann Marie Blythe was born on August 16, 1927, in Mount Kisco, New York. She grew up in the Lower East Side of Manhattan. Her father left the family when she was very young, and her mother raised Ann Blyth and her older sister alone. Ann Blyth displayed talent as a singer while she was still very young. She both sang and recited poetry on the radio from when she was only 6 years old. She performed as part of the San Carlos Opera Company. She appeared on Broadway in Watch on the Rhine from 1941 to 1942, turning 13 during the play's run. After it closed on Broadway, she toured around the country with the play.

Ann Blyth was signed by Universal in 1943 to provide Deanna Durbin, who was increasingly unhappy with the studio, with some competition. She made her film debut in 1944 in Chip Off the Old Block. She was loaned to Warner Bros. for Mildred Pierce (1945), in which she was cast against type as spoiled daughter Veda Pierce, for which she was nominated for the Oscar for Best Supporting Actress. She also played the mermaid, Lenore, of the title in Mr. Peabody and the Mermaid (1948), a role which required that she be unable to speak. During the Forties, Miss Blyth also appeared in the movies The Merry Monahans (1944), Babes on Swing Street (1944), Bowery to Broadway (1944), Swell Guy (1946), Brute Force (1947), Killer McCoy (1947), A Woman's Vengeance (1948), Another Part of the Forest (1948), Red Canyon (1949), Top o' the Morning (1949), Once More, My Darling (1949), Free for All (1949), Our Very Own (1950), and Katie Did It (1950).

In the Fifties, Ann Blyth appeared in the movies The Great Caruso (1951), Thunder on the Hill (1951), The House on the Square (1951), The Golden Horde (1951), The World in His Arms (1952), Sally and Saint Anne (1952), One Minute to Zero (1952), All the Brothers Were Valiant (1953), Rose Marie (1954), The Student Prince (1954), The King's Thief (1955), Kismet (1955), Slander (1956), and The Buster Keaton Story (1957). Her final feature film was The Helen Morgan Story (1957), in which she played singer and actress Helen Morgan. Despite the fact that Ann Blyth had a lovely singing voice that was actually close to that of Helen Morgan, her vocals were dubbed by singer Gogi Grant. She made her television debut on an episode of Family Theatre in 1952. During the Fifties, she guest starred on the shows Lux Video Theatre, Wagon Train, and The DuPont Show with June Allyson.

In the Sixties, she guest starred on the shows The Dick Powell Show, Wagon Train, Saints and Sinners, The Christophers, The Twilight Zone, Burke's Law, Kraft Suspense Theatre, Insight, and The Name of the Game. Starting in the late Fifties, throughout the Sixties, and into the Seventies, Ann Blyth played in dinner theatre and summer stock. In the Seventies, Ann Blyth guest starred on Switch and Quincy, M.E. She made her final appearance on a scripted television series in an episode of Murder, She Wrote in 1985.

Ann Blyth was a guest at multiple TCM Classic Film Festivals and also a guest on the TCM cruise. She was a guest host on Turner Classic Movies multiple times over the years.

Words cannot express how beloved Ann Blyth was by many classic movie buffs. It wasn't simply that she was one of the last links to the Golden Age of Hollywood. It wasn't even that she was a beautiful and talented actress. She was a gracious, kind, and intelligent woman who appreciated her fans and was eager to share her stories of movie history. There was no better ambassador for classic movies than Ann Blyth.

Of course, she was enormously talented as an actress and a singer. She gave a tour de force performance as Veda in Mildred Pierce, not only holding her own with the formidable Joan Crawford, but arguably even surpassing her. Using only facial expressions and body language, Ann Blyth was totally convincing as a mermaid in Mr. Peabody and the Mermaid. Even when she appeared only briefly on screen, as in the classic noir Brute Force, she could give an impressive performance. Her role as Ruth Collins, the cancer stricken wife of convict Joe Collins (Burt Lancaster), only gave her minutes in screen time, but she was utterly convincing. She gave great performances in films as diverse as I'll Never Forget You and The Helen Morgan Story (on which she really should have been allowed to sing). She gave great performances on television as well. In the Wagon Train episode "The Jenny Tannen Story," she played a dual role as Jenny, a young woman who was going blind, and her mother, the embittered former singer Phoebe Tannen. Both performances were incredible, and she got to display her mellifluous singing voice as well. In the Twilight Zone episode "Queen of the Nile," she played beautiful, immortal, and utterly evil movie star Pamela Morris, While she was nothing like Pamela Morris in real life, she was utterly convincing in the role.

In the end, Ann Blyth was very special to many of us. She was beautiful. She was talented. She possessed an incredible singing voice. And as I said earlier, I know from those who met her and those who knew her personally, Miss Blyth was one of the sweetest, kindest, most gracious women one could ever meet. It is little wonder that many of us believe that at age 98 she died much too soon.

Godspeed Ronnie Schell

Ronnie Schell, best known for playing Duke Slater on Gomer Pyle, U.S.M.C., died on June 12, 2026, at the age of 94. He was also a voice actor on several cartons.

Ronnie Schell was born on December 23, 1931, in Richmond, California. He attended Richmond Union High School. As a baseball player, he played first base for both American Legion and semipro teams in th San Francisco Bay Area. He served in the United States Air Force for four years, at which point he began doing comedy. He graduated with a degree in Liberal Studies from San Francisco State in 1958.

It was while he was a senior in college that he began performing standup comedy at The Purple Onion in the North Beach area of San Francisco. Also on the bill were Phyllis Diller and the Kingston Trio. George Fenneman, the announcer on You Bet Your Life, was scouting Phyllis Diller when he saw Ronnie Schell perform. He asked both of them to appear on You Bet Your Life. Ronnie Schell won $600 and also mentioned the secret word (a randomly chosen word on the show each day, the mention of which would win the contestant a prize).

Ronnie Schell made his television debut in a guest appearance on the show Harbor Command in 1958. It was in 1964 that he began playing Duke Slater on Gomer Pyle, U.S.M.C. He left the show for the 1967-1968 season to star on his own show Good Morning, World. When that show was cancelled, he returned to Gomer Pyle, U.S.M.C., at which point he was promoted from private to corporal. He had a recurring role on That Girl as the agent, Harvey Peck, of Ann Maire (Marlo Thomas). After Jim Nabors ended Gomer Pyle, U.S.M.C., Ronnie Schell was a regular on The Jim Nabors Hour. During the Sixties ; he also guest-starred on the shows Valentine's Day; The Patty Duke Show; The Andy Griffith Show; and Love, American Style.

In the Seventies, Ronnie Schell began his long career as a voice actor proving additional voice on the Saturday morning cartoon Butch Cassidy as well as voices on the cartoons Goober and the Ghost Chasers, Wait Till Your Father Gets Home, Yogi's Space Race, Captain Caveman and the Teen Angels, and Battle of the Planets (the American adaptation of the anime series Science Ninja Team Gatchaman). He was also the voice of Peter Puck, the animated, anthropomorphic puck who explained the rules of the National Hockey League on both NBC's Hockey Game of the Week and CBC's Hockey Night in Canada. He guest starred on the shows Arnie; Love, American Style; The New Dick Van Dyke Show; The Little People; Here We Go Again; Temperatures Rising; The Girl with Something Extra; Diana; Lotsa Luck!; Adam-12; Happy Days; Karen; Big Eddie; Emergency!; Sanford and Son; Forever Fernwood; The Wonderful World of Disney;The Practice; The Dukes of Hazzard; Charlie's Angels; Turnabout; One Day at a Time; Mork & Mindy; California Fever; and Alice. He appeared in the movies The Strongest Man in the World (1975), Gus (1976), The Shaggy D.A. (1976), The Cat from Outer Space (1978), Love at First Bite (1979), and How to Beat the High Cost of Living (1980).

In the Eighties, Ronnie Schell was a regular on the sitcom Down to Earth and had a recurring role on the soap opera Santa Barbara. He guest starred on the shows The Love Boat; Too Close for Comfort; Strike Force; Madame's Place; Trapper John, M.D.; ABC Weekend Specials; New Love, American Style; Shadow Chasers; Sledge Hammer!; 1st and Ten; She's the Sheriff; Mathnet; Square One TV; Mr. Belvedere; The New Gidget; Hard Time on Planet Earth, Saved by the Bell; Empty Nest; 227; The Golden Girls; and Shades of LA. He was a voice on the animated shows Shirt Tales, Smurfs, Potsworth & Co., and the others. He appeared on the movies He appeared in the movies The Devil and Max Devlin (1981), The Check is in the Mail... (1987), and Dutch Treat (1987). He was a voice in the animated movie The Jetsons: The Movie (1990).

In the Nineties, Ronnie Schell appeared in the movies Fatal Instinct (1993), Revenge of the Red Baron (1994), Killer per caso (1997), Venus Enby (1997), Family Jewels (2000), and The View from the Swing (200). He was voice in the animated movie Rover Dangerfield (1991). He guest starred on the shows Good & Evil; Family Album; Coach; Step by Step; and The Wayan Bros. He was a voice on the television cartoons Yo Yogi!, The Legend of Prince Valiant, The Elvis and Jack Nichlaus Mysteries, and Recess.

In the Naughts, he appeared in the movies The Biggest Fan (2005) and Soupernatural (2010). He guest starred on the shows Yes, Dear; Phil of the Future; and Easy to Assemble. He was a voice on the animated shows Lloyd in Space, Megas XLR, and The Grim Adventures of Billy & Mandy. In the Teens, he guest starred on the shows Jessie, Retired at 35, You'll Be Fine, Heaven's Waiting Room, See Ya, Kaplan's Korner, and Beyond Hope 2020.

Chances are good that Ronnie Schell will always be remembered as Duke Slater, the streetwise, fast-talking, clever Marine who was a sharp contrast to the naive and innocent Gomer Pyle (Jim Nabors). Of course, he played a wide variety of roles, On That Girl, he played Ann Marie's fast talking, cynical, and pragmatic agent Harvey Peck. He starred as disc jockey Larry Clarke on Good Morning, World. He played a variety of roles in guest appearances on other shows and appearances in movies, from a furrier on The Andy Griffith Show to sports scout Joe Barnsdale in the movie Gus to the angel Lester Luster on the sitcom Down to Earth. Ronnie Schell had perfect comic timing and could create memorable characters with only very little screen time. He also had a versatile voice. He may always be best remembered as Duke Slater, but he did much more.

Godspeed Gene Shalit

Gene Shalit, best known as the resident movie and book critic on Today on NBC, died on June 12 at the age of 100. 

Gene Shalit was born in New York City on on March 25, 1926. He grew up in Morristown, New Jersey. In grammar school he ws responsible for the school's first newspaper, The Spotlight. He attended Morristown High School, where he wrote the humour column for the school newspaper. He attended the University of Illinois, where he was the sports editor of The Daily Illini and also wrote the columns "What Shalit Be?" and "Campus Scout" for the newspaper. He also wrote for The Champaign-Urbana Courier and was a stringer for the Associated Press, writing about the Big Ten conference. 

He began his career as a PR agent and was a partner in the firm Barkas, Shalit and Schiller. Among his clients was Dick Clark. It was in the early Sixties that he became an entertainment columnist for McCall's, and wrote primarily book reviews. In 1968, he became the senior movie critic at Look. He also wrote the “What’s Happening” column for Ladies’ Home Journal and the "Sports Talk" column for Sport. He did movie reviews for KNBC in Los Angeles and WNBC in New York City. It was NBC News president Reuven Frank who brought Gene Shalit to Today. He joined the show in 1969, occasionally doing book reviews. It was in 1973 that he became the full-time movie critic on Today. His segment, called Critic's Corner, would remain a part of Today until he retired from the show in November 2010.

While on Today, he continued to write a column for Ladies Home Journal and also wrote for Cosmopolitan, TV Guide, Seventeen, and The New York Times. His "Man About Anything" segment was broadcast each day on the NBC radio network. Over the years, he appeared on several TV shows, including Jeopardy, What's My Line? (on which he was a panellist), The Mike Douglas Show, To Tell the Truth, Mystery! (on which he was briefly the host), and The New Hollywood Squares, among others. He hosted the TV special Sesame Street at Night?. He had a cameo in Tootsie (1982) and provided his voice for episodes of the animated series The Critic and SpongeBob Squarepants. He also hosted a video cassette and laserdisc series on MCA Home Video called Gene Shalit's Critic's Choice Video.

Gene Shalit also authored books, including Somehow It Works; A Candid Portrait of the 1964 Presidential Election (1965), Laughing Matters: A Celebration of American Humor (1987), Great Hollywood Wit (2002), and, with artist Jack Davis,  Khrushchev's Top Secret Coloring Book (2016).

I was very young when Gene Shalit began regularly appearing on the Today Show, and he have little doubt that he was the first movie critic to whom I was exposed. With his bushy hair, handlebar moustache, glasses, and bow ties, he looked less like a film critic than he did an absent-minded professor or an old-time comic just fresh from touring the Catskills. Indeed, his reviews were always filled with one-liners and often outrageous puns. Not only was he clearly having fun in his reviews in the Critic's Corner, but it was clear he loved movies. What is more, even when he might dislike a movie that you liked (1980's Flash Gordon stand out for me),  you understood where he was coming from. He was approachable as a critic, and never arbitrary.

Of course, Gene Shalit not only did book and movie reviews on Today, but he also interviewed many celebrities, including Richard Burton, Mel Brooks, Sophia Loren, Paul Newman, Burt Reynolds, and Steven Spielberg. Gene Shalit was an excellent interviewer, not only obtaining some deep insights into his subjects, but often bringing out the best of them. Among his most famous interview is one he had with Carol Channing, in which she told a hilarious  story about Sir Benjamin and Lady Astor that left Gene Shalit unable to stop laughing.

Gene Shalit remains a fond memory for me from my early childhood into my adulthood. I have to admit that Gene Shalit may have been responsible for my love of movies, and I think he may have been for others as well. He certainly had an enthusiasm for movies and books that was absolutely contagious. 

Announcing the 13th Annual Rule, Britannia Blogathon

A lot of people think of the number 13 as bad luck, but in this case it is good luck. Namely, I am announcing the 13th Annual Rule, Britannia Blogathon. I am setting it for September 18 to September 20, 2026. 

While many people think of Hollywood when it comes to movies, the fact is that the United Kingdom made many significant contributions to film over the years. From the Gainsborough melodramas to Hammer Films to the British New Wave, cinema would be much poorer without the British.

Here are the ground rules for this year's blogathon:

1. Posts can be about any British film or any topic related to British films. For the sake of simplicity, I am using "British" here to refer to any film made by a company based in the United Kingdom or British Crown dependencies. If you want to write about a film made in Northern Ireland or the Isle of Man, then, you can do so. Also for the sake of simplicity, people can write about co-productions made with companies from outside the United Kingdom. For example, since 2001: A Space Odyssey (1968) is a British-American co-production, someone could write about it if they chose.

2. There is no limit on subject matter. You can write about any film in any genre you want. Posts can be on everything from the British New Wave to the Gainsborough bodice rippers to the Hammer Horrors. I am also making no limit on the format posts can take. You could review a classic British film, make an in-depth analysis of a series of British films, or even simply do a pictorial tribute to a film. That having been said, since this is a classic film blogathon,  I only ask that you write about films made before 2016. I generally don't think of a film as a classic until it has been around for thirty years, but to give bloggers more options I am setting the cut-off point at ten years ago.

3. I am asking that there please be no duplicates. That having been said, if someone has already chosen to cover From Russia with Love (1963), someone else could write about the James Bond series as a whole.

4. I am not going to schedule days for individual posts. All I ask is that the posts be made on or between September 18, 19, and 20, 2026.

If you want to participate in the Rule, Britannia Blogathon, you can simply comment below or get hold of me on Bleusky at mercurie80 or my email:  mercurie80 at gmail.com

Below is a roster of the participants:

Liberal England:  Sammy Going South (1963--retitled A Boy Ten Foot Tall in the US). 

A Shroud of Thoughts: A Matter of Life and Death (1946)

Films From Beyond the Time Barrier:  Four Sided Triangle (1953)

Below are graphics you can use for the blogathon or you can always make your own!

Liberace's Open Secret

For a good part of the 20th Century, homosexual performers and actors in the United States went to great pains to hide their true sexuality. Homosexuality was frowned upon in American society, to the point that it was included in the first edition of the Diagnostic and Statistical Manual of Mental Disorders as a sociopathic personality disturbance, and sex between two people of the same sex was banned under the sodomy laws of the time. It should then come as no surprise that famed pianist, singer, and actor Liberace spent his entire life denying that he was gay. What makes Liberace's case unusual is that his costumes, style, and manner were so flamboyant that many at the time probably at least thought he was gay. Indeed, throughout his life scandal sheets and gossip magazines, both in the United States and United Kingdom, often implied he was gay.

Władziu Valentino Liberace was born on May 16, 1919, in West Allis, Wisconsin. He came from a musical family. His father played French horn, while his mother had been a concert pianist. Liberace was only four years old when he began playing piano. In high school, he played jazz piano with a group called The Mixers. He played at cabarets and even burlesque palaces, even though his father disapproved. It was from about 1942 to 1944 that he moved from performing straight classical pieces to what he called "pop with a bit of classics." Billed as "Walter Liberace," he appeared in two Soundies, "Tiger Rag" and "Twelfth Street Rag." Throughout the Forties, his act became more flamboyant, including the addition of a candelabra and performing in white tie and tails. 

It would be television that would really place Liberace on the map. After having made appearances on such shows as The Arthur Murray Party, Cavalcade of Stars, and Four Star Revue, he received his own show. The Liberace Show debuted in 1953  in syndication and proved to be very popular. Following The Liberace Show, Liberace continued to appear on television, on everything from The Perry Como Show to I've Got a Secret to Batman to The Monkees. He had his own show again in 1969, a summer replacement show that ran on CBS in the time-slot usually occupied by The Red Skelton Show. He didn't slow down in the Seventies, appearing in everything from The Glen Campbell Goodtime Hour to The Muppet Show. Liberace appeared in movies as well, including Sincerely Yours (1955), When the Boys Meet the Girls (1965), and The Loved One (1965). 

At the height of his career in the Fifties, it was not unusual for the aforementioned scandal sheets and gossip magazines to intimate that Liberace was gay, something that he always denied. It was in 1956 that Daily Mirror columnist Cassandra (in reality William Connor) strong suggested that Liberace was a homosexual, writing that Liberace was "...the summit of sex - the pinnacle of masculine, feminine and neuter. Everything that he, she and it can ever want... a deadly, winking, sniggering, snuggling, chromium-plated, scent-impregnated, luminous, quivering, giggling, fruit-flavoured, mincing, ice-covered heap of mother love." Liberace sued the Daily Mirror for libel. The trial lasted for three weeks, during which Liberace testified that he was not gay and had never taken part in homosexual acts. In the end, Liberace won the case and was awarded £8,000 in damages. It was because of this case that Liberace coined his catchphrase, "I cried all the way to the bank!"

If the Daily Mirror had intimated that Liberace was gay, the notorious gossip magazine Confidential very nearly came out and said it. The July 2, 1957 issue of the magazine featured a story titled "Why Liberace's Theme Song Should Be 'Mad About the Boy." The story dealt with an anonymous press agent who claimed that Liberace had made a play for him while the two were alone in a hotel room. Liberace  filed a $20-million libel suit against Confidential. Ultimately, the case was settled out of court.

Liberace would continue to deny that he was gay even after homosexuality had become more acceptable in American society and even after it became fairly obvious that he was, in fact, gay. In 1982 Liberace's 22-year old former chauffeur Scott Thorson,who claimed to be the pianist's lover for five years, filed a $113 million palimony suit against him after Mr. Thorson had been fired.  The case was eventually settled out of court and Liberace continued to deny that he was gay. 

Liberace died on February 4, 1987 at the age of 67. It was on February 10, 1987, that the Riverside County coroner revealed the cause of his death to be cytomegalovirus pneumonia caused by AIDS. Although it had not been made public at the time, he had been diagnosed as HIV-positive in August 1985. In an interview on The Joy Behar Show, actress Betty White, who had been friends with Liberace, revealed that he was gay and his managers often used her as a beard to rejoin the rumours that he was a homosexual. 

Today it might seem odd that Liberace denied he was gay his entire life, even after the 1982 palimony suit by Scott Thorson. It might seem even more odd given Liberace was so flamboyant that his act is a prime example of high camp. While it might seem odd now, it must be taken into account that the height of Liberace's career took place during the Lavender Scare, a moral panic over homosexuality that even resulted in people working for the government losing their jobs. It was fully possible that if irrefutable evidence got out that Liberace was gay, it could have meant the end of his career. As to why he continued to deny he was gay, one has to suspect that this was due to habit. Even after homosexuality was no longer the bugbear it had been, Liberace may have feared that if the public knew of his sexuality, he might no longer be able to work. What makes this sad is that much of Liberace's appeal is that he was so flamboyant, so campy. While being gay may have proven to be a detriment to his career during the Lavender Scare, it may actually have proven to be a blessing later on. As it is, despite his denials during his lifetime, Liberace remains an icon in the LGBTQ+ community. 

Happy Juneteenth 2026

On June 19, 1865 that Major General Gordon Granger  of the United States Army arrived in Galveston, Texas where he was to take command of the Union troops there to enforce the emancipation of the slaves there. Juneteenth is then also known as Emancipation Day or Freedom Day for that reason. It has been celebrated in Texas since 1866 and in 2021 it was made a Federal holiday. I want to wish everyone a happy Juneteenth!

Happy Juneteenth!

A Valentine for Karen Valentine

(This post is part of the 2026 Luso World Blogathon hosted by Crítica Retrô and Spellbound with Beth Ann)

The title "America's Sweetheart" has been applied to a number of actresses over the years. For a brief time in the late Sixties and early Seventies, it could have easily been applied to actress Karen Valentine, who played student teacher Alice Johnson on the comedy-drama TV series Room 222. If you ask many younger male Baby Boomers (who may have seen Room 222 in its first run) or older Gen Xers (who may have seen it in reruns) about their boyhood crushes, chances are good Karen Valentine numbers among them. What separates Miss Valentine from many actresses who have borne the title "America's Sweetheart" is that she was not of Northern European descent.

Karen Valentine was born on May 25, 1947, in  Sebastopol, California. Her father was Portuguese in descent. It was her paternal grandfather who Anglicised the Portuguese surname "Valentin" to the English surname "Valentine." Her paternal grandmother's name was "Avellar." Her mother was of Italian descent, her maiden name being "Casassa." Miss Valentine grew up on a chicken farm in Sonoma County, California.

At age 16, Karen Valentine competed in the Miss Teenage America pageant. While she did not win the pageant, she did win the talent portion of the pageant for her comedic lip-sync routine to "Blame it on the Bossa Nova" by  Eydie Gormé. A talent scout was backstage and told her that she was going to get a very big surprise. It was then as the ceremony was taking place that host Bud Collyer (best known as the voice of Superman on radio and the original host of Beat the Clock and To Tell the Truth) announced that Ed Sullivan had been watching the show and wanted it announced that Karen Valentine would be on his show in two weeks." Karen Valentine then made her television debut on The Ed Sullivan Show on November 10, 1963, performing her "Blame It On the Bossa Nova" routine. She would appear on The Ed Sullivan Show one more time, this time performing "You Can't Get a Man with a Gun" from Annie Get Your Gun. Her second appearance on The Ed Sullivan Show was a bigger production than her first, complete with dancers and a full orchestra.

Following her appearance on The Ed Sullivan Show, Karen Valentine was the resident Dream Girl on the short-lived daytime beauty pageant television series Dream Girl of '67. She also appeared on The Dating Game, which didn't prove to be a particularly good experience. She later referred to the whole ordeal as "sleazy." 

She would have a much better experience on the television movie Gidget Grows Up in 1969, on which she became the fifth actress to play Frances Elizabeth "Gidget" Lawrence. Her father was played by Bob Cummings and the rest of the cast was filled by such big names as Edward Mulhare, Nina Foch, and Paul Lynde. The movie was loosely based on the novel Gidget Goes to New York by Frederick Kohner. In Gidget Grows Up, Gidget leaves college after two years and becomes a guide at the United Nations in New York City. The show was meant to be a pilot for a new Gidget series. Given it was produced by Harry Ackerman, it may have also been meant as a sequel to the 1965 sitcom, Gidget, although in my humble opinion Karen Valentine looks nothing like Sally Field beyond both being petite and brunette.

While Gidget Grows Up did not result in a new series, Karen Valentine would find herself cast as a regular on a TV series in 1969, Room 222. Initially it must have seemed unlikely to Miss Valentine that she would get a part on the show. She met with a casting director who simply noted her height, the colour of her hair and the colour of her eyes, and nothing more. She did not hear anything for several months when she was called back to audition with producer Gene Reynolds for the role of student teacher Alice Johnson. Miss Valentine thought the audition went wrong from the beginning. She had her sunglasses on top of her head, so that when she went to set her purse down, her sunglasses fell on the floor. When she went to pick her sunglasses up, the pages of her script went flying everywhere. The entire situation actually impressed Gene Reynolds, who saw in her attempt to handle it a good deal of comedic timing, as well as the fact that Karen Valentine's bumbling matched that of Alice Johnson.

Room 222 debuted on September 17, 1969 on ABC. While its ratings were middling at best, the show received critical acclaim and developed a loyal following. As to Karen Valentine, she won an Emmy Award for her role as Alice Johnson on Room 222 for Outstanding Performance by an Actress in a Supporting Role in Comedy in 1970 and was nominated again for an Emmy in 1971. 

It was while Karen Valentine was on Room 222 that she made guest appearances on The Bold One: The New Doctors; Laugh In; Love, American Style; and Owen Marshall, Counsellor at Law. ABC was eager to capitalize on Karen Valentine's popularity, and as a result a pilot for the prospective series The Karen Valentine Show was shot. The pilot featured Miss Valentine as the assistant to Buddy Loudon (Charles Nelson Reilly) of the Buddy Loudon Public Relations Firm. While ABC did not pick up the pilot, Karen Valentine did receive her own show in the form of the short-lived sitcom Karen. On Karen, she played Karen Angelo, an employee of the liberal citizen's lobby Open America in Washington, DC. The show debuted on January 30, 1975 and lasted only 13 episodes. 

Karen Valentine would never again be a regular on a TV show, but she was hardly absent from the small screen. Through the years she did several TV movies, some of which are remembered to this day. She starred in the comedy Western The Daughters of Joshua Cable, playing the pickpocket Charity, who along with a prostitute and a thief are hired by a fur trapper (the Joshua Cable of the title, played by Buddy Ebsen) to pose as his daughters in order to keep his land. She played a stewardess in the TV movie Coffee, Tea, or Me?, based on the book of the same name. Among her best known TV movies is The Girl Who Came Gif-Wrapped. Karen Valentine played the girl of the title, a small-town beauty queen who is sent to the publisher of a men's magazine as a gift as a joke. Despite the title, it was a rather sweet-natured romantic comedy rather than anything salacious. In Muggable Mary, Street Cop, she played the police officer of the title. Notably, she appeared in the original movie pilot for The Love Boat.

Of course, Karen Valentine would also continue to make several guest appearances over the years. On the Starsky & Hutch episode "Fatal Charm," she played an obsessive stalker. After having appeared in the pilot, she later guest-starred on two episodes of The Love Boat. She played a nun on an episode of Mike Hammer. In the Murder, She Wrote episode "Murder Through the Looking Glass," she played a Department of Special Security (a fictional spy agency) operative. She also guest starred on such shows as The Twilight Zone (1985), Monsters, The Untouchables (1993), Cybill, and Family Law.

Amazingly enough given her popularity on the small screen, Karen Valentine only appeared in three feature films. She was the female lead in the 1975 film Forever Young, Forever Free, She may be better remembered for two Walt Disney comedies in which she appeared. She played the female lead, school marm Jenny, in the Western comedy Hot Lead and Cold Feet. She also appeared in The North Avenue Irregulars, playing one of the ladies of a church who decide to combat the mob. 

While Karen Valentine was Portuguese in descent, for most of her career she played characters who were Northern European in descent (Gidget and Alice Johnson on Room 222 being prime examples) or Italian in descent (Karen Angelo on Karen and several guest appearances). Sadly, this is not unusual, as it is rare to see characters of Lusitanic descent on television shows or movies unless they are from Portugal or Brazil. Character actor Nestor Pavia, whose parents were from Portugal, spent his career mostly playing Hispanic characters, with only a few roles in which he played characters of Portuguese descent.

Regardless, Karen Valentine still maintains a legion of fans who never quite got over their boyhood crushes on her. For many she will always be remembered as Alice Johnson on Room 222, the perky, clumsy, and absolutely adorable student teacher. Throughout her career, she also played many other roles, from a deranged stalker on Starsky & Hutch to a street cop in the TV movie Muggalbe Mary, Street Cop to a government agent on Murder, She Wrote. While she will always be remembered as Alice, she played a wide array of other roles as well. 

The Ann Miller Collection at Julien's Auctions

Long time readers know that I am a huge fan of dancer, actress, and pinup girl Ann Miller. With that in mind, I have good news for my fellow Ann Miller fans. More than 200 items from the personal estate of Ann Miller are going up for auction on Friday, June 26, 2026. The auction is being conducted by Julien's Auctions in conjunction with Turner Classic Movies. 

The Ann Miller Collection includes a wide array og items from her career in movies, on television, and on Broadway. There are several photographs, some of which were signed by Miss Miller herself. There are scripts, including a script for Mulholland Drive (2001) signed by director David Lynch, scripts from Miss Miller's appearances on The Dinah Shore Chevy Hour and The Jonathan Winters Hour, and a 1969 annotated script from the Broadway musical Mame. As might be expected, there are items related to Ann Miller's work as a dancer, including the red tap shoes she used in the famous 1970 Great American Soup commercial (directed by Stan Freberg) and taps from the tap shoes she used in the 1940s. There are also several handbags, gowns, documents, and even personal correspondence.

If you're an Ann Miller fan interested in buying one of the many priceless items from the Ann Miller Collection or if you just want to browse, just click on the following link: "The Ann Miller Collection."

William Williams in Repeat Performance (1947)

Joan Leslie and Richard Basehart

Repeat Performance (1947) is unusual among film noirs. First, it blends elements of fantasy (namely time travel) with film noir. Second, among its characters is William Williams (played by Richard Basehart in his movie debut), a coded homosexual who is distinct in that he is portrayed somewhat sympathetically at a time when many coded homosexuals were portrayed as villains. 

Repeat Performance (1947) opens with actress Sheila Page (Joan Leslie), standing over the body of her dead husband, Barney (Louis Hayward). She flees to a party where she asks her friend William Williams for help. William suggests that they visit theatrical producer John Friday (Tom Conway) to seek his advice. As Sheila and William are going up to John's apartment, she suddenly finds herself thrown back in time to exactly a year ago, from New Year's Eve 1946 to New Year's Eve 1945. She then finds herself living 1946 again and seeking to change things for the better.

Repeat Performance (1947) was based on the 1942 novel of the same name by William O'Farrell. The novel differs a great deal from the book. In the book it is actor Barney Page who strangles to death his costar Fern Costello and is then forced to live the past year over. In the movie, Barney is a playwright and  he is killed by his wife Sheila Page. As to Sheila, in the book she is an alcoholic who committed suicide. William Williams is also dramatically different in the book. He is a mildly insane cross-dressing poet who goes by the name "William and Mary." For the movie, he remains a poet who apparently has some mental disorder, but he was changed from a crossdresser to a coded homosexual. For those unfamiliar, with queer coding, it is assigning traits stereotypically assumed to be queer to a character without coming out and saying that they character was queer. 

In Repeat Performance (1947), Williams Williams is Sheila's friend and close confidant. When she realizes she has killed Barney, it is to William she goes for help. Along with theatrical producer and friend John Friday, he is one of two people to whom Sheila confides that she believes she has jumped backwards in time. Overall, William is portrayed very sympathetically. He has a good deal of with and seems bemused by most situations. William is sensitive to the needs of others, so it is little wonder that Sheila confides in him. He is fiercely loyal to his friends, and stands by Shelia throughout the movie.  William is also a bit eccentric, and even claims to be "quite mad." In truth, as a poet who lives for his art, it might be more accurate to say that the is just little out of touch with the harsh realities of life. To wit, William has no difficulty accepting that Sheila travelled back in time or that Destiny may just guide people's lives. Despite his empathy for others, William may also be a bad judge of character in some cases.  He makes the mistake of accepting the patronage of Mrs. Eloise Shaw (Natalie Schafer), a rich woman who supports young male artists, presumably in expectation that she will get something in return. 

While William is largely portrayed sympathetically, to some degree William Williams conforms to a trope quite common from the Thirties well into the Seventies, where by homosexuality was related to mental illness. He tells Sheila very early in the film that he is "quite mad." Of course, here it must be kept in mind that homosexuality itself was considered a mental disorder in 1940s. It would even be included in the Diagnostic and Statistical Manual of Mental Disorders as a sociopathic personality disturbance when it was first published in 1952.  By the standards of the 1940s, William would have been considered mad simply because he was gay.

As it is, despite Willliam's claim to be "quite mad," he often seems to be the most reasonable person in Repeat Performance. While he is eventually committed to an insane asylum in the film, the circumstances under which this is done seem suspect to me. First, we are told that "it was Mrs. Shaw's fault" that William was committed. Earlier in the film, when Mrs. Shaw offers a concert tour to a pianist, she comments how some young talents she had "inspired" have been "ungrateful" while looking directly at William. It seems possible that Mrs. Shaw got William committed merely out of spite and that, despite William's claims, he really isn't crazy at all. Quite simply, as a homosexual (and possibly a poet as well), he was a victim of the times. 

While William may or may not be mad, in the end he is portrayed much more sympathetically than other coded homosexuals in movies from the Golden Age of Hollywood, to the point that it can be argued that he was one of the heroes of Repeat Performance (1947). His portrayal is certainly much more positive than that of other coded homosexuals in films from the era, from Joel Cairo in The Maltese Falcon (1941) to Waldo Lydecker in Laura (1944) to Brandon Shaw and Philip Morgan in Rope (1948). Even given the movies plays with the trope of homosexuals and mental illness, the portrayal of William Williams in the film was a small step forward for the portrayal of gay men in American films.

Sixty Years Ago Today "Paint It, Black" by The Rolling Stones Hit No. 1 in the US

It was sixty years ago on this date that "Paint It, Black" by The Rolling Stones hit no. 1 on the BillboardHot 100. It is certainly one of the all-time most popular Rolling Stones songs and it has been my favourite Rolling Stones song since childhood. I already did a somewhat in-depth post on the song years ago, so I won't repeat myself, but I would like to discuss something that wasn't really relevant at the time I made the original post.

Ever since I was a kid, I knew that "Paint It, Black" was about death. To be more precise, it is about someone whose love has died. While I loved the song, for most of my life I really couldn't identify with it. All of that changed on August 30, 2018. Immediately following Vanessa's death, I listened to "Paint It, Black" by The Rolling Stones, as well as "I Don't Believe in Love" by Queensrÿche, "Gone Away" by The Offspring, and "Don't Go" by Matthew Sweet, on repeat. Quite simply, given the song is about loss and grief, I could identify with it in a way I had never been able to before in my life. Beyond the fact that it is an immensely listenable song, I have to think the fact that it is about loss and grief is the reason it has remained so popular. Quite simply, anyone who has gone through extreme grief can identify with the song.

Here's the official lyric video for "Paint It, Black" by The Rolling Stones. I have to point out that they have one error with regards to the lyrics. The line is not "Don't wanna see the sun/Flyin' high in the sky," but rather "I wanna see the sun/Blotted out from the sky," which IMHO has a much darker connotation.

Godspeed James Handy

James Handy, who appeared in such films as Arachnophobia (1990) and The Rocketeer (1991), was murdered by the son of his girlfriend on June 3 at the age of 81.

James Handy was born in New York City on March 19, 1945. He began his acting career in the late 1970s. He made his television debut in two guest appearances on the soap opera Ryan's Hope. He made his movie debut in Taps in 1981. In the Eighties, he guest starred on such shows as Search for Tomorrow; CBS Schoolbreak Special; ABC Afternoon Specials; Spenser: For Hire; Our Family Honor; Cagney & Lacey; Popeye Doyle; Matlock; Stingray; Wiseguy; Hard Time on Planet Earth; Mancuso, FBI; Midnight Caller; and Equal Justice. He appeared in the mini-series Doubletake and A Dangerous Life.He appeared in the movies The Verdict (1982), Brighton Beach Murders (1986), Burglar (1987), Jake's M.O. (1987), Bird (1988), K-9 (1989), and Arachnophobia (1990).

In the Nineties, he appeared on the TV shows Equal Justice; Reasonable Doubts; The Young Riders; Quantum Leap; The Commish; The Fifth Corner; Angel Street; Wings; Civil Wars; Murder, She Wrote; The Young Indiana Jones Chronicles; Silk Stalkings; L.A. Law; Picket Fences; NYPD Blue; Under One Roof; Beverly Hills, 90120; Melrose Place; The X-Files; Walker, Texas Ranger; The Pretender; Promised Land; EZ Street; Law & Order; Early Edition; Dellaventura; Prey; Profiler; To Have and To Hold; ER; L.A. Doctors; Third Watch; and Gideon's Crossing. He appeared in the movies The Rocketeer (1991), Point of No Return (1993), Guarding Tess (1994), Rave Review (1994), Jumanji (1995), Murder in Mind (1997), Gang Related (1997), Every Dog Has His Day (1998), Deterrence (1999), and Unbreakable (2000).

In the Naughts, James Handy guest starred on the shows U.C.: Undercover; The West Wing; Becker; The Practice; Breaking News; Without a Trace; MDs; The Dead Zone; Crossing Jordan; E-Ring; Cold Case; Commander-in-Chief; Alias; The Closer; Smith; Raising the Bar; The Lynch Pin; Criminal Minds; Castle; and The Young and the Restless. He appeared in the movies 15 Minutes (2001), The Donor (2001), The Trip (2002), Ash Wednesday (2002), Rounds (2008), The Waiter (2010), and Lifted (2010).

In the Teens, James Handy appeared on the shows Touch; Vegas; CSI: NY; Rizzoli & Isles; Mulaney; Documentary Now!; and NCIS: Los Angeles. He appeared in the movies Logan (2017), Thru: The Hereafter Remains Unknown (2017), and Suburbicon (2017). In the 2020s, he appeared in the movies Senior Entourage (2021), Street to Table (2022), and Top Gun: Maverick (2022). 

James Handy played a wide variety of roles, some of which were only on screen for mere moments. He played everything from priests to law enforcement officers to politicians. He was an FBI agent in The Rocketeer, the sarcastic county coroner Milt Briggs in Arachnophobia, and CIA director Arthur Devlin on the TV show Alias. Even when he was on screen briefly, James Handy made an impression. He was a fine actor who leaves behind a career filled with solid performances. 

Scroll Break: Instagram's Annoying New Feature

The past few years I have found myself complaining more and more about Instagram. Last night I observed something that gives me even more to complain about the platform. After only scrolling through four to five posts last night, the feed paused and there was this message reading, "Time for a break?  Pause for a moment and considering taking a break. Load more posts." If you click on "load more posts," it does exactly that.

Now I have to say if this message appeared after one had spent a straight half hour on the app, I wouldn't have too much of a problem with it. There are probably people who spend a half hour or more straight on the app and may well feel fatigued after doing so. The problem is that the message is appearing after only scrolling through a few posts and less than five minutes. For people like me who don't spend a whole lot of time scrolling through their feed, it can be annoying. 

To make matters worse, at the same time that I noticed the "Scroll break" message, I also noticed that my feed was slowing down after scrolling for a while and once or twice even froze. I have to think this is related to the "Scroll break" message, which makes things even more frustrating. Indeed, it can test my patience when dealing with Instagram.

I honestly hope this is only a test being rolled out to a few users and not a feature that Instagram has decided to make permanent. If it is test, I hope Instagram realizes it is a bad idea and does away with it. If it is a permanent feature, I hope they give users a way to turn it off. I also hope they fix the feed so it isn't lagging and even freezing up. 

As it is, this is just one more thing that makes me want to spend much less time on Instagram. The only reason I am still there is that I do manage accounts not my own and I have a lot of friends there. As it is, it seems to me that Meta almost has a death wish when it comes to Instagram, given the various things they have done to ruin the experience for many of us: an overemphasis on Reels; no longer saving posts to one's phone's gallery; removing the option to filter searches by "most recent;" altering the algorithm so that one's posts get far, far fewer views than in the past; changing the grid profile previews from squares to oblong rectangles that aggressively crop one's photos; and limiting hashtags on posts to a mere five. Honestly, if I didn't have friends on Instagram and didn't manage other accounts, I would just give up on it entirely.

Instagram used to be one of my favourite social media services. I posted up to two or three photos to it a day and posted to it every day. Now a whole week can go without me making one post. And far too often these days I have to scroll and scroll and scroll just to see posts from my friends, which makes the "Scroll Break" feature even more frustrating. Honestly, Instagram should just ditch every single change they have made to the app since around 2017 and just revert the app back to the way it used to be. Honestly, I would probably start using it more often.

The Late Great Anthony Head

Anthony Head, best known for playing Rupert "Ripper" Giles on the classic TV series Buffy the Vampire Slayer, died on June 1, 2026 at the age of 72. The cause was complications from pneumonia. He also starred in the shows Little Britain, Merlin, and Ted Lasso. With Sharon Maugham, he appeared in a series of commercials for Nescafé Gold Blend coffee from 1987 to 1993.

Anthony Head was born on February 20, 1954, in London. His father was documentary filmmaker Stewart Head and his mother was actress Helen Shingler. His older brother is actor and singer Murray Head. Antony Head attended the London Academy of Dramatic Art and Music. Among his earliest roles was in a production of Godspell. He made his television debut in a guest appearance on the TV series Enemy at the Door. He made his movie debut in Lady Chatterley's Lover in 1981. In the late Seventies, he guest starred on the shows Lillie, Accident, Jackanory Playhouse, The Mallens, Secret Army, and Love in a Cold Climate.

In the Eighties, he gained a good deal of visibility in a series of commercials for Nescafé Gold Blend coffee in the UK and Taster's Choice coffee in the United States. He and Sarah Maugham played a man and a woman who developed a romance over coffee. He guest stared on the shows Crown Court, Bergerac, BBC2 Playhouse, Celebrity Playhouse, C.A.T.S. Eye, Howard's Way, Boon, Pulaski, Rockliffe's Babies, The Comic Strip Presents, Les Girls, and Hard Cases. He appeared in the movies Lady Chatterley's Love (1981), A Prayer for the Dying (1987), and The Zero Option (1988).

In the Nineties, Anthony Head had a recurring role on the short-lived American series VR.5. It was in 1997, that he began his run as Rupert Giles on Buffy the Vampire Slayer. The character proved popular with fans and following the end of Buffy the Vampire Slayer, creator Joss Whedon wanted to do a spinoff series, Ripper, with the BBC, although rights issues prevented him from doing so. During the decade; Anthony Head also guest starred on the shows Woof!; The Detectives; Highlander; NYPD Blue; Ghostbusters of East Finchley; Jonathan Creek; and Two Guys, a Girl, and a Pizza Place.

In the Naughts, Anthony Head continued to appear as Giles on Buffy the Vampire Slayer. He provided a voice for the animated mini-series Doctor Who: Death Comes to Time, Doctor Who: Excelis Decays, Doctor Who; The Infinite Quest,.. He played the Prime Minster on the show Little Britain and Uther Pendragon on Merlin. He was a regular on the shows Manchild and Free Agents and appeared in the mini-series The Invisibles. He guest starred on the shows Spooks, Filmore!, New Tricks, The Story of Tracy Beaker, Monarch of the Glen (on which he appeared in four episodes for himself), M.I.T.: Murder Investigation Team, My Family, Rose and Maloney, Hotel Babylon, Doctor Who, Sensitive Skin, Sold, and Freezing, He appeared in the movies I'll Be There (2003), Fat Slags (2004), Framing Frankie (2004), Imagine Me & You (2005), Scoop (2006), Sparkle (2007), Sweeny Todd: The Demon Barber of Fleet Street (2007), and Repo!: The Genetic Opera (2008).

In the Teens, Anthony Head continued to appear on Merlin. He reprised his role from the original British series on the short-lived American remake of Free Agents. He starred on the show You, Me & Them. He had a recurring role on the shows Dominion, Still Star-Crossed and Girlfriends. He appeared on the mini-series Dancing on the Edge, Vanity Fair, and The Stranger. He guest starred on the shows NTSF:SD:SUV::; Warehouse 13; Galavant; Guilt; Yonderland; Shadowhunters: The Mortal Instruments; The Split; Jack Ryan; and Robot Chicken. He began appearing on Ted Lasso in 2020. He appeared in the movies The Inbetweeners Movie (2011); The Great Ghost Rescue (2011); Ghost Rider:Spirit of Vengeance (2011); The Iron Lady (2011); Metegol (2013), Percy Jackson, Sea of Monsters (2013), Convenience (2013), The Unbeatables (2013), Death of a Farmer (2014), Flying Home (2014), Despite the Falling Show (2016), The Brother (2016), A Street Cat Named Bob (2016), Feedback (2019), Pinky (2020), and Sideshow (2020).

In the 2020s, Anthony Head continued to play Rupert Mannion on the show Ted Lasso. He starred in the mini-series The Canterville Ghost and a voice on the animated mini-series Adventure Time: Distant Lands. He guest starred on the shows Back, Feel Good, Bridgerton. and Motherland. He appeared in the movies Schools Out Forever (2021), Let the Wrong One In (2021), and Upgraded (2024).

Chances are good that Anthony Head will always be remembered as the prim, proper, serious, but very protective Rupert Giles on Buffy the Vampire Slayer. James Marsters (who played Spike on the show) referred to Anthony Head as the best actor on the show in his tribute to Anthony Head. Of course, Anthony Head played other roles beyond Giles. On Merlin, Anthony Head played a character as far from Giles as one can get, the tyrannical and autocratic Uther Pendragon.  On Free Agents, he played the puckish and sex obsessed Stephen, In the movie The Iron Lady, he played Deputy Prime Minister Geoffrey Howe. He received critical acclaim for his role on Ted Lasso. Anthony Head was an excellent actor capable of playing a wide variety of roles. 

Call Her Savage (1932)

Call Her Savage (1932) is not particularly well-known among the general public today, but the film is notable for several reasons. It was the first movie Clara Bow made following her nervous breakdown in May 1931, which resulted her in taking a break from making movies. It was also the penultimate film she ever made, the last being Hoop-La (1933). Many have credited it with what may be the first portrayal of a gay bar on film.

Call Her Savage (1932) centres on Nasa "Dynamite" Springer, a young heiress from Texas who defies her father. She starts living a life of brawling and partying that sees her go from Chicago to New Orleans to New York City. As might be expected, her life of pleasure and sin eventually takes a toll upon her. 

Call Her Savage (1932) was based on the 1931 novel Call Her Savage by Tiffany Thayer, who was known for his tawdry romance novels. The novel Call Her Savage was apparently quite tawdry, and was summed up by Colonel Jason S. Joy, then head of the Hays Committee as being "...as far wrong as possible" Among other things, the book contained themes of incest, lesbianism, promiscuity, attempted rape, sadism, and syphilis among other things. Even by the standards of the day, the book could be considered racist. 

Clara Bow's contract with producer Sam E. Rork gave her story approval on Call Me Savage, something she had never enjoyed on a film before. She also received a salary of $75,000 and an additional $25,000 if the film's rentals exceeded $800,000. Clara Bow also had to agree to loose weight until she was 118 pounds and then to stay at that weight. She was provided with a masseuse to help with her weight loss. For the role of Nasa Springer, the studio also hired a "voice culture specialist." 

Clara Bow also requested that Fox's Western Avenue studio, which had sat unused for some time, be used for shooting the interior scenes. Clara Bow approved of the hiring of director John Francis Dillon, who had earlier directed the 1930 film adaptation of the play Kismet. Joel McCrea tested as Clara Bow's leading man in the film, but the role ultimately went to Gilbert Roland. 

As to the script, The Hays Committee wanted Fox Film Corporation to remove as much objectionable material as possible,  Despite this, when Jason S. Joy read the first draft, he thought "most of the real flavour of the story" had been taken out of the script. Jason S. Joy and his assistant Lamar Totti then held meetings with producer Sam E. Rork and the Fox studio to find a happy medium between the racy novel and the somewhat bland first draft of the movie's script. Jason S. Joy's successor at the Hays Office, James Wingate, ordered more cuts, in particular to a scene in which Nasa's estranged husband tries to rape her and a sequence involving streetwalking. 

Jason S. Joy had written a letter to censorship boards in New York, Pennsylvania, Virginia, Ohio, Maryland, Kansas, Manitoba, Halifax, New Brunswick, Edmonton, Vancouver, Montreal, and Saskatchewan in which he emphasised the importance of the film as Clara Bow's comeback. The letter more or less fell on deaf ears, as most of the censorship boards demanded cuts anyway. Indeed, the New York Censorship Board outright rejected the film unless specific buts were made. As for the United Kingdom, the British Board of Film Censors out right rejected the movie without giving any specific reason.

Call Her Savage (1932) premiered at the Roxy Theatre in New York City on November 24. 1932. The Los Angeles Times approved of Clara Bow's return to the screen, stating, "It is generally conceded that her acting has improved, having become more restrained, but she is still sufficiently exuberant in her technique to qualify as a natural actress rather than a cultivated one. Her vitality and sincerity unite [in a] likable personality that disarms criticism and wins for her the whole-hearted approval of the masses." The New York Times questioned the film's plausibility, writing, "It is scarcely an offering that can be recommended for its plausibility, but who knows but that there may be a girl somewhere like Nasa Springer. Miss Bow does quite well by the role of this fiery-tempered impulsive Nasa, but whether the flow of incidents makes for satisfactory entertainment is a matter of opinion." Other publications, from Variety to The Film Daily, generally praised Clara Bow.

While critics may have appreciated Clara Bow's return, audiences were not quite as enthusiastic. While Call Her Savage (19320, would make $34,000 in its first week at the Roxy Theatre in New York alone, the film ultimately made only $17,407. 

Even for a Pre-Code film, Call Her Savage (1932) can be somewhat shocking. In addition to the scene in which Nasa Springer's estranged husband, obviously suffering from nurosyphilis, tries to rape her, there is also a cat fight between Nasa Spring and Sunny De Lane (Thelma Todd), a drunk and obvious paedophile who goes after a little girl, the death of an infant due to smoke inhalation, and a scene in which Nasa Springer is obviously streetwalking.

Of course, while it is no longer shocking today, the scene that attracts the most attention today is one that is set in what many believe to be the first gay bar in American film. While in New York City, Jay Randall (Anthony Jowitt) takes Nasa to what he says is one of the seedier places in Greenwich Village. There they see two campy performers dressed in filly maid aprons and wielding feather dusters singing a bawdy song about sailors. There can be no doubt that the two men are gay. Call Her Savage (1932) was released at the tail end of what historian George Chauncey in his 1994 book Gay New York would call "the pansy craze," a period from the late 1920s to the mid-1930s when the LGBTQ+ community was more visible in American society, especially in such large cities as New York, Chicago, and Los Angeles. The Pansy Craze would pretty much end around the same time as the Pre-Code Era, as Roman Catholics in the United States became concerned about perceived immorality in American cinema.

Sadly, Call Her Savage (1931) relies upon tropes regarding Native Americans that would be considered racist by today's standards and were regarded as racist by some even in 1932. Quite simply, much of the blame for Nasa's rebellious nature is placed on the fact that she is half-Native American (and, yes, I realize is a stretch to believe, fair-skilled, red-haired Clara Bow could b part Native...). The film seems to equate untamed emotion and scandalous behaviour with being Native American. Unfortunately, "the savage Indian" trope was common at the time of the release of Call Her Savage (1931) and would persist in films and later TV shows well into the Sixties.

Seen today, Call Her Savage (1931) is an uneven film. It is remarkable for Clara Bow's performance and the very tawdriness of much of its plot certainly makes it entertaining at times. At the same time, the film is certainly episodic and often has dramatic shifts in its tone. The film's attitudes towards Native Americans might make it uncomfortable viewing for some people (as someone is part Native,  that was certainly the case for me). Regardless, it has a place in history as possibly the first film to feature a gay bard and Clara Bow's next to last film.