#Doelger City

[6ghassan]

Untitled by Daniel Hoherd

#graffiti #San Francisco #California #United States #Apple #iPhone 5 #f/2.4 #ISO:50 #4.1mm #4.12mm f/2.4 #Doelger City #datetaken:date=20140623 #datetaken:year=2014 #datetaken:month=06 #datetaken:day=23 #datetaken:calendarday=0623

[nathanielhoover]

Also, I take off my shoes as soon as I get in the house.

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[timeless-hollywood-classics]

Mae West (born Mary Jane West; August 17, 1893 – November 22, 1980) was an American actress, singer, playwright, screenwriter, comedian and sex symbol whose entertainment career spanned seven decades. She was known for her lighthearted, bawdy double entendres and breezy sexual independence, and often used a husky contralto voice. She was active in vaudeville and on stage in New York City before moving to Los Angeles to pursue a career in the film industry.

West was one of the most controversial movie stars of her day; she encountered many problems, especially censorship. She once quipped, "I believe in censorship. I made a fortune out of it." She bucked the system by making comedy out of conventional mores, and the Depression-era audience admired her for it. When her film career ended, she wrote books and plays, and continued to perform in Las Vegas and the United Kingdom, on radio and television, and recorded rock 'n roll albums. In 1999, the American Film Institute posthumously voted West the 15th greatest female screen legend of classic American cinema.

Mary Jane West was born on August 17, 1893, in Brooklyn (either Greenpoint or Bushwick, before New York City was consolidated in 1898). She was delivered at home by an aunt who was a midwife. She was the eldest surviving child of John Patrick West and Mathilde "Tillie" (later Matilda) Delker (originally Doelger; later Americanized to "Delker" or "Dilker"). Tillie and her five siblings emigrated with their parents, Jakob (1835–1902) and Christiana (1838–1901; née Brüning) Doelger from Bavaria in 1886. West's parents married on January 18, 1889, in Brooklyn, to the pleasure of the groom's parents and the displeasure of the bride's parents and raised their children as Protestants, although John West was of mixed Catholic–Protestant descent.

West's father was a prizefighter known as "Battlin' Jack West" who later worked as a "special policeman" and later had his own private investigations agency. Her mother was a former corset and fashion model. Her paternal grandmother, Mary Jane (née Copley), for whom she was named, was of Irish Catholic descent and West's paternal grandfather, John Edwin West, was of English–Scots descent and a ship's rigger.

Her eldest sibling, Katie, died in infancy. Her other siblings were Mildred Katherine West, later known as Beverly (December 8, 1898 – March 12, 1982), and John Edwin West II (sometimes inaccurately called "John Edwin West, Jr."; February 11, 1900 – October 12, 1964). During her childhood, West's family moved to various parts of Woodhaven, as well as the Williamsburg and Greenpoint neighborhoods of Brooklyn. In Woodhaven, at Neir's Social Hall (which opened in 1829 and is still extant), West supposedly first performed professionally.

West was five when she first entertained a crowd at a church social, and she started appearing in amateur shows at the age of seven. She often won prizes at local talent contests. She began performing professionally in vaudeville in the Hal Clarendon Stock Company in 1907 at the age of 14. West first performed under the stage name "Baby Mae", and tried various personas, including a male impersonator.

She used the alias "Jane Mast" early in her career. Her trademark walk was said to have been inspired or influenced by female impersonators Bert Savoy and Julian Eltinge, who were famous during the Pansy Craze. Her first appearance in a Broadway show was in a 1911 revue A La Broadway put on by her former dancing teacher, Ned Wayburn. The show folded after eight performances, but at age 18, West was singled out and discovered by The New York Times. The Times reviewer wrote that a "girl named Mae West, hitherto unknown, pleased by her grotesquerie and snappy way of singing and dancing". West next appeared in a show called Vera Violetta, whose cast featured Al Jolson. In 1912, she appeared in the opening performance of A Winsome Widow as a "baby vamp" named La Petite Daffy.

She was encouraged as a performer by her mother, who, according to West, always thought that anything Mae did was fantastic. Other family members were less encouraging, including an aunt and her paternal grandmother. They are all reported as having disapproved of her career and her choices. In 1918, after exiting several high-profile revues, West finally got her break in the Shubert Brothers revue Sometime, opposite Ed Wynn. Her character Mayme danced the shimmy and her photograph appeared on an edition of the sheet music for the popular number "Ev'rybody Shimmies Now".

Eventually, she began writing her own risqué plays using the pen name Jane Mast. Her first starring role on Broadway was in a 1926 play she entitled Sex, which she wrote, produced, and directed. Although conservative critics panned the show, ticket sales were strong. The production did not go over well with city officials, who had received complaints from some religious groups, and the theater was raided, with West arrested along with the cast. She was taken to the Jefferson Market Court House, (now Jefferson Market Library), where she was prosecuted on morals charges, and on April 19, 1927, was sentenced to 10 days for "corrupting the morals of youth". Though West could have paid a fine and been let off, she chose the jail sentence for the publicity it would garner. While incarcerated on Welfare Island (now known as Roosevelt Island), she dined with the warden and his wife; she told reporters that she had worn her silk panties while serving time, in lieu of the "burlap" the other girls had to wear. West got great mileage from this jail stint. She served eight days with two days off for "good behavior". Media attention surrounding the incident enhanced her career, by crowning her the darling "bad girl" who "had climbed the ladder of success wrong by wrong".

Her next play, The Drag, dealt with homosexuality, and was what West called one of her "comedy-dramas of life". After a series of try-outs in Connecticut and New Jersey, West announced she would open the play in New York. However, The Drag never opened on Broadway due to efforts by the New York Society for the Suppression of Vice to ban any attempt by West to stage it. West explained, "The city fathers begged me not to bring the show to New York because they were not equipped to handle the commotion it would cause." West was an early supporter of the women's liberation movement, but said she was not a "burn your bra" type feminist. Since the 1920s, she was also an early supporter of gay rights, and publicly declared against police brutality that gay men experienced. She adopted a then "modern" psychological explanation that gay men were women's souls in men's bodies, and hitting a gay man was akin to hitting a woman. In her 1959 autobiography, Goodness Had Nothing to Do With It, West strongly objected to hypocrisy while, for surprising and unexplained reasons, also disparaging homosexuality: "In many ways homosexuality is a danger to the entire social system of Western civilization. Certainly a nation should be made aware of its presence — without moral mottoes — and its effects on children recruited to it in their innocence. I had no objection to it as a cult of jaded inverts... involved only with themselves. It was its secret, anti-social aspects I wanted to bring into the sun. As a private pressure group it could, and has, infected whole nations." This perspective, never elaborated upon by Mae West in other books or interviews seems inconsistent with the Mae West persona. In her 1975 book Sex, Health, and ESP, Mae West writes on page 43, "I believe that the world owes male and female homosexuals more understanding than we've given them. Live and let live is my philosophy on the subject, and I believe everybody has the right to do his or her own thing or somebody else's -- as long as they do it all in private!"

West continued to write plays, including The Wicked Age, Pleasure Man and The Constant Sinner. Her productions aroused controversy, which ensured that she stayed in the news, which also often resulted in packed houses at her performances. Her 1928 play, Diamond Lil, about a racy, easygoing, and ultimately very smart lady of the 1890s, became a Broadway hit and cemented West's image in the public's eye. This show had an enduring popularity and West successfully revived it many times throughout the course of her career. With Diamond Lil being a hit show, Hollywood naturally came courting.

In 1932, West was offered a contract by Paramount Pictures despite being close to 40. This was an unusually late age to begin a film career, especially for women, but she was not playing an ingénue. She nonetheless managed to keep her age ambiguous for some time. She made her film debut in Night After Night (1932) starring George Raft, who suggested West for the role. At first she did not like her small role in Night After Night, but was appeased when she was allowed to rewrite her scenes.[45] In West's first scene, a hat-check girl exclaims, "Goodness, what beautiful diamonds", and West replies, "Goodness had nothing to do with it, dearie." Reflecting on the overall result of her rewritten scenes, Raft is said to have remarked, "She stole everything but the cameras."

She brought her Diamond Lil character, now renamed "Lady Lou", to the screen in She Done Him Wrong (1933). The film was one of Cary Grant's first major roles, which boosted his career. West claimed she spotted Grant at the studio and insisted that he be cast as the male lead. She claimed to have told a Paramount director, "If he can talk, I'll take him!". The film was a box office hit and earned an Academy Award nomination for Best Picture. The success of the film saved Paramount from bankruptcy, grossing over $2 million, the equivalent of $140 million today. Paramount recognizes that debt of gratitude today, with a building on the lot named after West.

Her next release, I'm No Angel (1933), teamed her with Grant again. I'm No Angel was also a box office hit and was the most successful of her entire film career. In the months that followed the release of this film, reference to West could be found almost anywhere, from the song lyrics of Cole Porter, to a Works Progress Administration (WPA) mural of San Francisco's newly built Coit Tower, to She Done Him Right, a Betty Boop cartoon, to "My Dress Hangs There", a painting by Mexican artist Frida Kahlo. Kahlo's husband, Diego Rivera, paid his own tribute: "West is the most wonderful machine for living I have ever known – unfortunately on the screen only." To F. Scott Fitzgerald, West was especially unique: "The only Hollywood actress with both an ironic edge and a comic spark." As Variety put it, "Mae West's films have made her the biggest conversation-provoker, free-space grabber, and all-around box office bet in the country. She's as hot an issue as Hitler."

By 1933, West was one of the largest box office draws in the United States and, by 1935, West was also the highest paid woman and the second-highest paid person in the United States (after William Randolph Hearst). Hearst invited West to San Simeon, California. "I could'a married him", West explained, "but I got no time for parties. I don't like those big crowds." On July 1, 1934, the censorship of the film Production Code began to be seriously and meticulously enforced, and West's scripts were heavily edited. She would intentionally place extremely risqué lines in her scripts, knowing they would be cut by the censors. She hoped they would then not object as much to her other less suggestive lines. Her next film was Belle of the Nineties (1934). The original title, It Ain't No Sin, was changed due to the censors' objections. Despite Paramount's early objections regarding costs, West insisted the studio to hire Duke Ellington and his orchestra to accompany her in the film's musical numbers. Their collaboration was a success; the classic "My Old Flame" (recorded by Duke Ellington) was introduced in this film. Her next film, Goin' to Town (1935), received mixed reviews, as censorship continued to take its toll in eroding West's best lines.

Her following effort, Klondike Annie (1936) dealt, as best it could given the heavy censorship, with religion and hypocrisy. Some critics called the film her magnum opus, but not everyone felt the same way. Press baron and film mogul William Randolph Hearst, ostensibly offended by an off-handed remark West made about his mistress, Marion Davies, sent a private memo to all his editors stating, "That Mae West picture Klondike Annie is a filthy picture... We should have editorials roasting that picture, Mae West, and Paramount... DO NOT ACCEPT ANY ADVERTISING OF THIS PICTURE." At one point, Hearst asked aloud, "Isn't it time Congress did something about the Mae West menace?" Paramount executives felt they had to tone down the West characterization or face further recrimination. This may be surprising by today's standards, as West's films contained no nudity, no profanity, and very little violence. Though raised in an era when women held second-place roles in society, West portrayed confident women who were not afraid to use their sexual wiles to get what they wanted. "I was the first liberated woman, you know. No guy was going to get the best of me. That's what I wrote all my scripts about."

Around the same time, West played opposite Randolph Scott in Go West, Young Man (1936). In this film, she adapted Lawrence Riley's Broadway hit Personal Appearance into a screenplay. Directed by Henry Hathaway, Go West, Young Man is considered one of West's weaker films of the era, due to the censor's cuts.

West next starred in Every Day's a Holiday (1937) for Paramount before their association came to an end. Again, due to censor cuts, the film performed below its goal. Censorship had made West's sexually suggestive brand of humor impossible for the studios to distribute. West, along with other stellar performers, was put on a list of actors called "Box Office Poison" by Harry Brandt on behalf of the Independent Theatre Owners Association. Others on the list were Greta Garbo, Joan Crawford, Marlene Dietrich, Fred Astaire, Dolores del Río, Katharine Hepburn and Kay Francis. The attack was published as a paid advertisement in The Hollywood Reporter, and was taken seriously by the fearful studio executives. The association argued that these stars' high salaries and extreme public popularity did not affect their ticket sales, thus hurt the exhibitors. This did not stop producer David O. Selznick, who next offered West the role of the sage madam, Belle Watling, the only woman ever to truly understand Rhett Butler, in Gone with the Wind, after Tallulah Bankhead turned him down. West also turned down the part, claiming that as it was, it was too small for an established star, and that she would need to rewrite her lines to suit her own persona. The role eventually went to Ona Munson.

In 1939, Universal Studios approached West to star in a film opposite W. C. Fields. The studio was eager to duplicate the success of Destry Rides Again starring Marlene Dietrich and James Stewart, with a comic vehicle starring West and Fields. Having left Paramount 18 months earlier and looking for a new film, West accepted the role of Flower Belle Lee in the film My Little Chickadee (1940). Despite the stars' intense mutual dislike, Fields's very real drinking problems and fights over the screenplay, My Little Chickadee was a box office hit, outgrossing Fields's previous film, You Can't Cheat an Honest Man (1939) and the later The Bank Dick (1940). Despite this, religious leaders condemned West as a negative role model, taking offense at lines such as "Between two evils, I like to pick the one I haven't tried before" and "Is that a gun in your pocket, or are you just glad to see me?"

West's next film was Columbia's The Heat's On (1943). She initially did not want to do the film, but after actor, director and friend Gregory Ratoff (producer Max Fabian in All About Eve) pleaded with her and claimed he would go bankrupt if she could not help, West relented as a personal favor. Censors by now, though, had curtailed the sexual burlesque of the West characterization. The studio had orders to raise the neck lines and clean up the double entendres. This was the only film for which West was virtually not allowed to write her own dialogue and, as a result, the film suffered.

Perhaps the most critical challenge facing West in her career was censorship of her dialogue. As on Broadway a decade before, by the mid-1930s, her risqué and ribald dialogue could no longer be allowed to pass. The Heat's On opened to poor reviews and weak performance at the box office. West was so distraught after the experience and by her years of struggling with the strict Hays censorship office, that she would not attempt another film role for the next quarter-century. Instead, West pursued a successful and record-breaking career in top nightclubs, Las Vegas, nationally in theater and on Broadway, where she was allowed, even welcomed, to be herself.

After appearing in The Heat's On in 1943, West returned to a very active career on stage and in swank clubs. Among her popular new stage performances was the title role in Catherine Was Great (1944) on Broadway, in which she penned a spoof on the story of Catherine the Great of Russia, surrounding herself with an "imperial guard" of tall, muscular young actors. The play was produced by theater and film impresario Mike Todd (Around The World in 80 Days) and ran for 191 performances and then went on tour.

When Mae West revived her 1928 play Diamond Lil, bringing it back to Broadway in 1949, The New York Times labeled her an "American Institution – as beloved and indestructible as Donald Duck. Like Chinatown, and Grant's Tomb, Mae West should be seen at least once." In the 1950s, West starred in her own Las Vegas stage show at the newly opened Sahara Hotel, singing while surrounded by bodybuilders. The show stood Las Vegas on its head. "Men come to see me, but I also give the women something to see: wall to wall men!" West explained. Jayne Mansfield met and later married one of West's muscle men, a former Mr. Universe, Mickey Hargitay.

When casting about for the role of Norma Desmond for the 1950 film Sunset Boulevard, Billy Wilder offered West the role. Still smarting from the censorship debacle of The Heat's On, and the constraints placed on her characterization, she declined. The theme of the Wilder film, she noted, was pure pathos, while her brand of comedy was always "about uplifting the audience". Mae West had a unique comic character that was timeless, in the same way Charlie Chaplin did. After Mary Pickford also declined the role, Gloria Swanson was cast.

In subsequent years, West was offered the role of Vera Simpson, opposite Marlon Brando, in the 1957 film adaptation of Pal Joey, which she turned down, with the role going to Rita Hayworth. In 1964, West was offered a leading role in Roustabout, starring Elvis Presley. She turned the role down, and Barbara Stanwyck was cast in her place. West was also approached for roles in Frederico Fellini's Juliet of the Spirits and Satyricon, but rejected both offers.

In 1958, West appeared at the live televised Academy Awards and performed the song "Baby, It's Cold Outside" with Rock Hudson, which brought a standing ovation. In 1959, she released an autobiography, Goodness Had Nothing to Do With It, which became a best seller and was reprinted with a new chapter in 1970. West guest-starred on television, including The Dean Martin Show in 1959 and The Red Skelton Show in 1960, to promote her autobiography, and a lengthy interview on Person to Person with Charles Collingwood, which was censored by CBS in 1959, and never aired. CBS executives felt members of the television audience were not ready to see a nude marble statue of West, which rested on her piano. In 1964, she made a guest appearance on the sitcom Mister Ed. Much later, in 1976, she was interviewed by Dick Cavett and sang two songs on his "Back Lot U.S.A." special on CBS.

West's recording career started in the early 1930s with releases of her film songs on shellac 78 rpm records. Most of her film songs were released as 78s, as well as sheet music. In 1955, she recorded her first album, The Fabulous Mae West. In 1965, she recorded two songs, "Am I Too Young" and "He's Good For Me", for a 45 rpm record released by Plaza Records. She recorded several tongue-in-cheek songs, including "Santa, Come Up to See Me", on the album Wild Christmas, which was released in 1966 and reissued as Mae in December in 1980. Demonstrating her willingness to keep in touch with the contemporary scene, in 1966 she recorded Way Out West, the first of her two rock-and-roll albums. The second, released in 1972 on MGM Records and titled Great Balls of Fire, covered songs by The Doors, among others, and had songs written for West by English songwriter-producer Ian Whitcomb.

After a 27-year absence from motion pictures, West appeared as Leticia Van Allen in Gore Vidal's Myra Breckinridge (1970) with Raquel Welch, Rex Reed, Farrah Fawcett, and Tom Selleck in a small part. The movie was intended to be deliberately campy sex change comedy, but had serious production problems, resulting in a botched film that was both a box-office and critical failure. Author Vidal, at great odds with inexperienced and self-styled "art film" director Michael Sarne, later called the film "an awful joke". Though Mae West was given star billing to attract ticket buyers, her scenes were truncated by the inexperienced film editor, and her songs were filmed as though they were merely side acts. Mae West's counterculture appeal (she was dubbed "the queen of camp"), included the young and hip, and by 1971, the student body of University of California, Los Angeles (UCLA) voted Mae West "Woman of the Century" in honor of her relevance as a pioneering advocate of sexual frankness and courageous crusader against censorship.

In 1975, West released her book Sex, Health, and ESP (William Allen & Sons, publisher), and Pleasure Man (Dell publishers) based on her 1928 play of the same name. Her autobiography, Goodness Had Nothing to Do with It, was also updated and republished in the 1970s.

Mae West was a shrewd investor, produced her own stage acts, and invested her money in large tracts of land in Van Nuys, a thriving suburb of Los Angeles. With her considerable fortune, she could afford to do as she liked. In 1976, she appeared on Back Lot U.S.A. on CBS, where she was interviewed by Dick Cavett and sang "Frankie and Johnny" along with "After You've Gone." That same year, she began work on her final film, Sextette (1978). Adapted from a 1959 script written by West, the film's daily revisions and production disagreements hampered production from the beginning. Due to the near-endless last-minute script changes and tiring production schedule, West agreed to have her lines signaled to her through a speaker concealed in her hair piece. Despite the daily problems, West was, according to Sextette director Ken Hughes, determined to see the film through. At 84, her now-failing eyesight made navigating around the set difficult, but she made it through the filming, a tribute to her self-confidence, remarkable endurance, and stature as a self-created star 67 years after her Broadway debut in 1911 at the age of 18. Time magazine wrote an article on the indomitable star entitled "At 84, Mae West Is Still Mae West".

Upon its release, Sextette was not a critical or commercial success, but has a diverse cast. The cast included some of West's first co-stars such as George Raft (Night After Night, 1932), silver screen stars such as Walter Pidgeon and Tony Curtis, and more contemporary pop stars such as The Beatles' Ringo Starr and Alice Cooper, and television favorites such as Dom DeLuise and gossip queen Rona Barrett. It also included cameos of some of her musclemen from her 1950s Las Vegas show, such as the still remarkably fit Reg Lewis. Sextette also reunited Mae West with Edith Head, her costume designer from 1933 in She Done Him Wrong.

West was married on April 11, 1911 in Milwaukee, Wisconsin to Frank Szatkus (1892–1966), whose stage name was Frank Wallace, a fellow vaudevillian whom she met in 1909. She was 17. She kept the marriage a secret, but a filing clerk discovered the marriage certificate in 1935 and alerted the press. The clerk also uncovered an affidavit in which she had declared herself married, made during the Sex trial in 1927.

In August 1913, she met Guido Deiro (1886–1950), an Italian-born vaudeville headliner and star of the piano-accordion. Her affair, and possible 1914 marriage to him, as alleged by Diero's son Guido Roberto Deiro in his 2019 book Mae West and The Count, went "very deep, hittin' on all the emotions". West later said, "Marriage is a great institution. I'm not ready for an institution yet."

In 1916, when she was a vaudeville actress, West had a relationship with James Timony (1884–1954), an attorney nine years her senior. Timony was also her manager. By the time that she was an established movie actress in the mid-1930s, they were no longer a couple. West and Timony remained extremely close, living in the same building, working together, and providing support for each other until Timony's death in 1954.

West remained close to her family throughout her life and was devastated by her mother's death in 1930. In 1930, she moved to Hollywood and into the penthouse at The Ravenswood apartment building where she lived until her death in 1980. Her sister, brother, and father followed her to Hollywood where she provided them with nearby homes, jobs, and sometimes financial support. Among her boyfriends was boxing champion William Jones, nicknamed Gorilla Jones (1906–1982). The management at her Ravenswood apartment building barred the African American boxer from entering the premises; West solved the problem by buying the building and lifting the ban.

She became romantically involved at age 61 with Chester Rybinski (1923–1999), one of the muscle men in her Las Vegas stage show – a wrestler, former Mr. California, and former merchant sailor. He was 30 years younger than she, and later changed his name to Paul Novak. He moved in with her, and their romance continued until her death in 1980 at age 87. Novak once commented, "I believe I was put on this Earth to take care of Mae West." West was a Presbyterian.

In August 1980, West tripped while getting out of bed. After the fall she was unable to speak and was taken to Good Samaritan Hospital in Los Angeles, where tests revealed that she had suffered a stroke. She died on November 22, 1980, at the age of 87.

A private service was held at the church in Forest Lawn, Hollywood Hills, on November 25, 1980; (the church is a replica of Boston's Old North Church.) Bishop Andre Penachio, a friend, officiated at the entombment in the family mausoleum at Cypress Hills Abbey, Brooklyn, purchased in 1930 when her mother died. Her father and brother were also entombed there before her, and her younger sister, Beverly, was laid to rest in the last of the five crypts less than 18 months after West's death.

For her contribution to the film industry, Mae West has a star on the Hollywood Walk of Fame at 1560 Vine Street in Hollywood. For her contributions as a stage actor in the theater world, she has been inducted into the American Theater Hall of Fame. On June 25, 2019, The New York Times Magazine listed Mae West among hundreds of artists whose material was destroyed in the 2008 Universal fire.

#mae west #golden age of hollywood #classic hollywood #classic cinema

[nightqueendany]

The Original Final Season 7 - Preface

Okay guys. I’m still polishing up some of the later episodes, but this whole thing is almost done. And as motivation to make me finish the later episodes and publish them, I’m going to give you Episode 1 today, in a post directly following this one. If you do not see the link just yet, simply refresh this post and I should have put it in place, pending no issues with my Internet connection.

I’ve talked about this A LOT. What follows below and in subsequent weeks (I’m going to make you guys suffer, I’m going to put each episode out weekly) is 1) my explanation for WHY specifically I believe there was an “Original Final Season 7” and also, 2) WHAT I believe that Final Season contained.

NOTE: I will refer to the actual show events of Seasons 7 and 8 as “show canon” and will refer to my speculation as “Original Final Season 7.”

*Disclaimer because I have this weird feeling I’m going to get bombarded with anons asking me for links to “the original scripts” or interviews where this is all mentioned or something:

THIS IS ALL MY OWN SPECULATION. NONE OF THIS HAS BEEN PROVEN TRUE. THERE ARE NO “ORIGINAL SCRIPTS” FOR A FINAL SEASON 7...THAT I KNOW OF.

Alright, now that that’s taken care of, I’m gonna lay this out here for you guys. (Parts of this may get fanficky but whatever, this is what makes the most sense in my mind based on what we’ve got on the table).

(Also note, this series will be really really fucking long because it includes what I *think* the original Season was, and evidence from aired episodes as to why I think that, along with long-winded, detailed descriptions of scenes, etc. Sorry not sorry)

Here is how I went about this speculation to determine what I believe was likely the “Original Final Season 7”:

1) I looked for instances in the series as a whole where plots were never finished OR scenes/lines were either retconned or never paid off  - i.e. Dany’s S2 throne room scene script clearly saying “snow” and in 8x06 it’s now ash - post Emmy script release note: the script may say “snow” but remember, it’s the same day as the attack on the city from 8x05 when it was sunny and super hot outside. Either the script was changed just to make it say “snow” OR it was snow in the 8x06 episode, but D&D literally changed the fucking weather just to make it snowing in Dany’s throne room scene when King’s Landing hasn’t had snow since 7x07. Either way, something was retconned and it’s fucking idiotic and hella obvious.

2) I examined Seasons 7&8 specifically for the same things - scenes/lines never paid off or left unfinished/unexplained, i.e. Yara’s line “somewhere the dead can’t go” when this was never needed because the Night King was defeated in one episode; also all the baby talk between Jon and Dany and Dany never being pregnant in show canon.

3) I looked for instances in the series where a plot was “undone” in a very short span of time. Meaning, something that could have taken seasons upon seasons for buildup but was scrapped or easily deconstructed an episode later or same episode - i.e. Jaime/Brienne finally getting together in 8x04 and Jaime leaving Brienne that same episode; also Theon rescuing Yara from Euron’s ship very easily in 8x01 when she was a captive for most of Season 7.

4) And lastly, I looked for things that have been said/mentioned either in show canon or by cast/staff that ignores something previous that is a contradiction of their words - i.e. Jon pledging to Dany in 7x06 after she already said she would help him and Jon in 8x01 saying he gave up his crown so Dany would come help OR Dan Weiss saying in 7x05 that Dany isn’t mad and isn’t her father and then in S8 naming Dany the “Mad Queen”.

There are many of these instances in the series so it wasn’t hard to map out a rough outline of what I believe the “Original Final Season 7” was.

So, why do I even think there even was an original, final Season 7 outline/possibly even an entire Season of script? Why do I think this a likely possibility rather than me just being a delusional Dany Stan who wanted a different ending for my fave?

Back as early as 2013, after season 3 ended, the number 7 was being thrown around. Seven seasons to finish the series.

[Producer Frank] Doelger said: “[The number of series (seasons)] is being discussed as we speak. The third season was the first half of book three, season four will be the second part of book three. George RR Martin has written books four and five; six and seven are pending....I would hope that, if we all survive, and if the audience stays with us we’ll probably get through to seven seasons.”

Keep in mind, at this same time, D&D had also JUST had their meeting with George about the series endpoints.

“Last year we went out to Santa Fe for a week to sit down with him [Martin] and just talk through where things are going, because we don’t know if we are going to catch up and where exactly that would be. If you know the ending, then you can lay the groundwork for it. And so we want to know how everything ends. We want to be able to set things up. So we just sat down with him and literally went through every character.”

Vanity Fair, March 24th, 2014 (LAST year being spring 2013)

So this meeting on the series conclusion took place right when D&D were just polishing up the scripts for Season 4, before filming began that summer). A year after their meeting with George, (the same 2014 Vanity Fair article), D&D apparently played with the idea of an eighth season, but that could have just been the reporter’s speculation.

In other interviews, they were fairly adamant about 7 being the “magic number.” And back in the very beginning when Dave and Dan first started Thrones, they always said they imagined the series taking 70-75 hours to tell the story - so again, the equivalent of 70 episodes or a normal full 7 Seasons of 10 episodes each).

With the major complaint from both last season and season 8 being that it felt “rushed” however, people may wonder how the hell the series was supposed to conclude after Season 6. However, when you think about it, Season 7 being the final season doesn’t seem that odd if it were originally going to be a regular 10 episode arc. The final two seasons only totaled 13 episodes anyway, so really, it’s just three fewer episodes than in the version that we got. And if some episodes in the final Season 7 were over an hour long, the series as a whole would easily reach that 70-75 hours D&D always talked about.

So, what was the original 10 episode final Season 7 supposed to look like?

Season 7 Episode 1: ?

Season 7 Episode 2: ?

Season 7 Episode 3: ?

Season 7 Episode 4: ?

Season 7 Episode 5: ?

Season 7 Episode 6: ?

Season 7 Episode 7: ?

Season 7 Episode 8: ?

Season 7 Episode 9: ?

Season 7 Episode 10: ?

To figure out the outline of the 10 Episode Final Season, let’s start near the end.

ONE FINAL BATTLE

Author George R.R. Martin, whose series of novels forms the basis for Thrones, had revealed to the duo the broad strokes of how his Song of Ice and Fire saga secretly ends, including a description of an epic FINAL BATTLE that’s been teased from the show’s VERY FIRST SCENE. But this climactic confrontation was miles out of reach for a series that cost about $5 million per episode. “We have a very generous budget from HBO, but we know what’s coming down the line and, ultimately, it’s not generous enough,” Benioff said.

EW

When Entertainment Weekly interviewed D&D back during the filming of Season 3, D&D made it sound like George had planned only ONE final battle - the battle between the living and the dead. Not two battles, one with the living against the dead and another later battle with the living against the living. Just ONE.

(Also should note, this says the FINAL BATTLE was teased from the show’s FIRST scene, which contained the White Walkers but not Daenerys. Daenerys didn’t even appear in the episode until sometime much later meaning the “epic final battle” was about the White Walkers, not Dany burning down King’s Landing as we got in show canon).

Both the books and the show begin by showing the audience the threat beyond the Wall. This is the main threat. This is the main event. The Game of Thrones doesn’t matter and is a distraction for both the audience and the characters. In GRRM’s original outline, he explicitly says that the greatest threat to the realm of Westeros is the Others and that there will be one final battle.

So this was our original “Episode 9”. Literally and figuratively. Episode 9 is always supposed to be the episode where the craziest thing happens in the entire season - Ned’s death, Battle of Blackwater, Red Wedding, Battle at Castle Black, Dany flying away on Drogon from the fighting pits of Meereen, Battle of the Bastards.

The only exception to this could be argued to be Season 5 as Jon Snow is killed in Episode 10, not episode 9. However, the change in structure of the season was probably the biggest clue to the audience that Jon wasn’t going to stay dead, as they had never ended a season on a cliffhanger of the death of a major character. We’ve always been given one more episode afterward to process said character’s death.

If Jon were going to die and stay dead, he would have died in Season 5 Episode 9, because of this pattern: Season 1 Episode 9 - Stark death (Ned). Season 2 Episode 9 - Battle (Blackwater). Season 3 Episode 9 - Stark death (Robb). Season 4 Episode 9 - Battle (Castle Black). Season 5 Episode 9 - no Stark death (where there should have been - and a Battle was in Episode 8 - Hardhome). Season 6 Episode 9 makes up for the flaw in the pattern where we get a Battle and a Stark death (Rickon).

Ergo, based on George’s original outline, D&D’s previous statements about George’s plan, and the pattern, 7x09 was the original Battle for the Dawn. So that’s what I’ll call this episode.

Season 7 Episode 1: ?

Season 7 Episode 2: ?

Season 7 Episode 3: ?

Season 7 Episode 4: ?

Season 7 Episode 5: ?

Season 7 Episode 6: ?

Season 7 Episode 7: ?

Season 7 Episode 8: ?

Season 7 Episode 9: The Battle For The Dawn

Season 7 Episode 10: ?

I don’t want to give the entire season away just yet, as I’ll be posting each episode in full detail, but I will fill in one more “event” from the outline above.

In the 7x06 Inside the Episode, David Benioff said something that I’ve always found very interesting.

“The whole path of the show, in some way, had been trying to map out all the episode endpoints and with this one, it was the dragon opening its blue eye. And realizing that the Night King has finally gotten his own weapon of mass destruction.”

This statement really made me think because a) it tells us how D&D planned the series - mapping everything out by episode endpoints. And b) Benioff doesn’t say “the ending of the penultimate episode of Season 7.” He just says, “this one.” So this tells me, if anything, D&D had always planned to kill Viserion and have the Night King raise him as his mount. BUT it also tells me this was always meant to happen in 7x06, regardless of when Season 7 ended….either at an Episode 7 or an Episode 10.

Season 7 Episode 1: ?

Season 7 Episode 2: ?

Season 7 Episode 3: ?

Season 7 Episode 4: ?

Season 7 Episode 5: ?

Season 7 Episode 6: ends with Wight!Viserion opening his blue eye

Season 7 Episode 7: ?

Season 7 Episode 8: ?

Season 7 Episode 9: The Battle For The Dawn

Season 7 Episode 10: ?

So what does each episode of the “Original Final Season 7″ look like? The following posts will be my rendering of a final, ten-episode Season 7 with explanations as to why certain events happen and why they’re likely based on the show canon, Seasons 7 and 8.

Without further adieu, here is what I believe to be the Original Final Season 7:

(Links to come weekly as I post each Episode, if link does not work immediately, just refresh a few times until it does. Two episodes today as Episode 1 is very short and familiar, Episode 3 next Tuesday!)

Original Final Season 7: Preface Post (Current Episode)

Season 7 Episode 1: Family, Duty, Honor

Season 7 Episode 2: Greywater Watch

Season 7 Episode 3: The Last of the Dragons

Season 7 Episode 4: Dragonglass

Season 7 Episode 5: The Storm

Season 7 Episode 6: Summerhall 

Season 7 Episode 7: A City Fit For A King

Season 7 Episode 8: Protectors of the Realm

Season 7 Episode 9: The Battle For The Dawn

Season 7 Episode 10: ?

#game of thrones #daenerys targaryen #daenerys defense squad #jon snow #jon snow defense squad #anti got #anti D&D

[jetherng]

Blog #6: The International Hotel

As a Filipino, and especially as someone who grew up in and around San Francisco, the story of the International Hotel hits home. This is not simply because there is an immediate connection, distanced only by a time span of 50 years, but rather, it is a terrible reminder that the progressive Bay Area region hasn’t always been the inclusive place it is today. The development of Daly City, adjacently bordering San Francisco, hasn’t always had its concentrated Asian-American demographics; More specifically, it hadn’t always had a high population of Filipinos in North Daly City. This video calls to memory the background, to my knowledge, of the development of Daly City following the Second World War. After the infamous earthquake and fire of SF in 1906, people left San Francisco and populated Daly City, but only after World War II did the architect, Henry Doelger, develop the suburbs that compose the Westlake area of Daly City. This accommodated the tastes of the nuclear family- the exceedingly white nuclear family. By the standards of the time, the 1950s and 60s, the architecture was affordable, stylish, and modern. Up until the mid to late 90s, the demographics were majorly white, before a notable influx of Asian Americans, Filipinos especially.

The documentary highlights Manila Town, the 11-block stretch that preceded 21st century Daly City, now sometimes referred to as Little Manila for its demographics. The economics that cast out the inhabitants of Manila Town, and therefore the International Hotel, was an unfortunate inevitability that was poorly handled by the management of San Francisco. Naturally, the inference can be made that such poor handling may be attributed to racist sentiments, which is undeniably a legitimate possibility. This inevitability, of course, is the rapid development of an increasingly high-value city, with the cost of living and property invariably rising with it. Today, we see this juggernaut of an issue reemerging, more and more prominently with each voting season. Housing costs are rising too quickly, rent control is deteriorating the quality of housing, and gentrification sweeps much of the rest. Many people of lower-income have left, are struggling to stay, or are planning to leave in the future. This is already vividly evident in the population of Oakland, and the increasing homeless population in both SF and Oakland. 

Effective solutions are in the works by the Bay Areas leaders, but I expect the high costs to keep on rising. In time, I foresee the demographics of SF to be overwhelmingly affluent by modern standards, and for the surrounding San Francisco Bay Area to expand further inland, beyond the bay. History tends to repeat itself and the patterns that resulted in the development of modern Daly City may occur once again, with another city just beyond its borders.

Here is the link to the documentary:

https://www.youtube.com/watch?v=tcsdglJFT0M

#AAS218JetherG

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Henry Doelger's living room - 112 northgate Ave, Daly City, CA

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Latest story from https://movietvtechgeeks.com/la-la-land-stranger-things-atlanta-sweep-2017-pga-awards/

'La La Land,' 'Stranger Things' and 'Atlanta' sweep 2017 PGA Awards

“La La Land” is easily sweeping up all the awards this year, but Netflix’s “Stranger Things” jumped in on the action along with “Atlanta” for the 28th annual Producers Guild Awards (PGA).

The musical comedy-drama went up against “Arrival,” “Deadpool,” “Fences,” “Hacksaw Ridge,” “Hell or High Water,” “Hidden Figures,”  “Lion,” “Manchester by the Sea,” and “Moonlight,” but was able to come out the winner which was presented by Dustin Hoffman.

The guild recognized the candy-colored musical with its Darryl F. Zanuck Award for theatrical motion picture production Saturday, a prize that often precedes the best picture Academy Award. (Last year was an exception, when “The Big Short” won the guild award, while “Spotlight” got the Oscar.) The nominees for the guild’s top film prize echo Oscars’ best picture nominees this year, with the exception of “Deadpool,” which made the cut with producers but not the film academy.

But the guild’s celebration at the Beverly Hilton Hotel of the year’s outstanding film and television productions had a decidedly political tone, as President Donald Trump’s ban on refugees and visitors from several Muslim countries triggered protests in New York, Los Angeles, Chicago, Dallas, Seattle and other cities.

“Our America is big, it is free, and it is open to dreamers of all races, all countries, all religions,” singer John Legend said as he introduced “La La Land” at Saturday’s untelevised ceremony. “Our vision of America is directly antithetical to that of President Trump. I want to specifically, tonight, reject his vision and affirm America has to be better than that.”

Ezra Edelman, producer and director of “O.J.: Made in America,” which claimed the guild’s documentary prize, echoed Legend’s sentiments.

“Please keep telling stories that are about our humanity,” he said.

Other winners Saturday included “Zootopia” for animated feature, “Atlanta” for episodic television comedy and “Stranger Things” for episodic TV drama.

Presenters included Justin Timberlake, Octavia Spencer, Taraji P. Henson, Nicole Kidman, Jeff Bridges, Kerry Washington, Robert De Niro and Martin Scorsese. Veteran producers James L. Brooks, Tom Rothman and Irwin Winkler received special awards.

Dustin Hoffman presented the night’s top prize. As producer Marc Platt accepted for “La La Land,” he said, “The power of cinema cannot be denied and has no borders … We must believe love can change our lives, much as it can change the world.”

Full List of 2017 Producers Guild Awards Winners:

The Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures: • La La Land (WINNER) Producers: Fred Berger, Jordan Horowitz, Marc Platt • Arrival Producers: Dan Levine, Shawn Levy, Aaron Ryder, David Linde • Deadpool Producers: Simon Kinberg, Ryan Reynolds, Lauren Shuler Donner • Fences Producers: Scott Rudin, Denzel Washington, Todd Black • Hacksaw Ridge Producers: Bill Mechanic, David Permut • Hell or High Water Producers: Carla Hacken, Julie Yorn • Hidden Figures Producers: Donna Gigliotti, Peter Chernin & Jenno Topping, Pharrell Williams, Theodore Melfi • Lion Producers: Emile Sherman & Iain Canning, Angie Fielder • Manchester By the Sea Producers: Matt Damon, Kimberly Steward, Chris Moore, Lauren Beck, Kevin Walsh • Moonlight Producers: Adele Romanski, Dede Gardner & Jeremy Kleiner

The Award for Outstanding Producer of Animated Theatrical Motion Pictures: • Zootopia (WINNER) Producer: Clark Spencer • Finding Dory Producer: Lindsey Collins • Kubo and the Two Strings Producers: Arianne Sutner, Travis Knight • Moana Producer: Osnat Shurer • The Secret Life of Pets Producers: Chris Meledandri, Janet Healy

The Award for Outstanding Producer of Documentary Theatrical Motion Pictures: • O.J.: Made in America (WINNER) Producers: Ezra Edelman, Caroline Waterlow • Dancer Producer: Gabrielle Tana • The Eagle Huntress Producers: Stacey Reiss, Otto Bell • Life, Animated Producers: Julie Goldman, Roger Ross Williams • Tower Producers: Keith Maitland, Susan Thomson, Megan Gilbride

The David L. Wolper Award for Outstanding Producer of Long-Form Television: • The People v. O.J. Simpson: American Crime Story (Season 1) (WINNER) Producers: Scott Alexander, Larry Karaszewski, Ryan Murphy, Brad Falchuk, Nina Jacobson, Brad Simpson, D.V. DeVincentis, Anthony Hemingway, Alexis Martin Woodall, John Travolta, Chip Vucelich • Black Mirror (Season 3) Producers: Annabel Jones, Charlie Brooker • The Night Manager (Season 1) Producers: Simon Cornwell, Stephen Garrett, Stephen Cornwell, Hugh Laurie, Tom Hiddleston, Susanne Bier, David Farr, John le Carré, William D. Johnson, Alexei Boltho, Rob Bullock • The Night Of Producers: Steven Zaillian, Richard Price, Jane Tranter, Garrett Basch, Scott Ferguson • Sherlock: The Abominable Bride Producers: Mark Gatiss, Steven Moffat, Sue Vertue, Beryl Vertue

The Award for Outstanding Sports Program: • VICE World of Sports (Season 1) (WINNER — TIE)  • Real Sports with Bryant Gumbel (Season 22) (WINNER — TIE) • E:60 (2016) • The Fight Game with Jim Lampley: A Tribute to Muhammad Ali • Hard Knocks: Training Camp with the Los Angeles Rams (Season 11)

The Award for Outstanding Digital Series: • Comedians in Cars Getting Coffee (Season 7, Season 8) (WINNER) • 30 for 30 Shorts (Season 5) • Epic Rap Battles of History (Season 5) • Marvel’s Agents of S.H.I.E.L.D.: ACADEMY (Season 1) • National Endowment for the Arts: United States of Arts

The Norman Felton Award for Outstanding Producer of Episodic Television, Drama: • Stranger Things (Season 1) (WINNER) Producers: Matt Duffer, Ross Duffer, Shawn Levy, Dan Cohen, Iain Paterson • Better Call Saul (Season 2) Producers: Vince Gilligan, Peter Gould, Melissa Bernstein, Mark Johnson, Thomas Schnauz, Gennifer Hutchison, Nina Jack, Robin Sweet, Diane Mercer, Bob Odenkirk • Game of Thrones (Season 6) Producers: David Benioff, D.B. Weiss, Bernadette Caulfield, Frank Doelger, Carolyn Strauss, Bryan Cogman, Lisa McAtackney, Chris Newman, Greg Spence • House of Cards (Season 4) Producers: Beau Willimon, Dana Brunetti, Michael Dobbs, Josh Donen, David Fincher, Eric Roth, Kevin Spacey, Robin Wright, John Mankiewicz, Robert Zotnowski, Jay Carson, Frank Pugliese, Boris Malden, Hameed Shaukat • Westworld (Season 1) Producers: J.J. Abrams, Jonathan Nolan, Lisa Joy, Bryan Burk, Athena Wickham, Kathy Lingg, Richard J. Lewis, Roberto Patino, Katherine Lingenfelter, Cherylanne Martin

The Danny Thomas Award for Outstanding Producer of Episodic Television, Comedy: • Atlanta (Season 1) (WINNER) Producers: Donald Glover, Dianne McGunigle, Paul Simms, Hiro Murai, Alex Orr • black-ish (Season 2) Producers: Kenya Barris, Jonathan Groff, Anthony Anderson, Laurence Fishburne, Helen Sugland, E. Brian Dobbins, Vijal Patel, Gail Lerner, Corey Nickerson, Courtney Lilly, Lindsey Shockley, Peter Saji, Jenifer Rice-Genzuk Henry, Hale Rothstein, Michael Petok, Yvette Lee Bowser • Modern Family (Season 7) Producers: Steven Levitan, Christopher Lloyd, Paul Corrigan, Abraham Higginbotham, Elaine Ko, Jeff Morton, Jeffrey Richman, Brad Walsh, Danny Zuker, Vali Chandrasekaran, Andy Gordon, Vanessa McCarthy, Jon Pollack, Chuck Tatham, Chris Smirnoff, Sally Young • Silicon Valley (Season 3) Producers: Mike Judge, Alec Berg, Jim Kleverweis, Clay Tarver, Dan O’Keefe, Michael Rotenberg, Tom Lassally, John Levenstein, Ron Weiner, Carrie Kemper, Adam Countee • Veep (Season 5) Producers: David Mandel, Frank Rich, Julia Louis-Dreyfus, Lew Morton, Morgan Sackett, Sean Gray, Peter Huyck, Alex Gregory, Jim Margolis, Georgia Pritchett, Will Smith, Chris Addison, Rachel Axler, David Hyman, Erik Kenward, Billy Kimball, Steve Koren

The Award for Outstanding Producer of Non-Fiction Television: • Making a Murderer (Season 1) (WINNER) Producers: Laura Ricciardi, Moira Demos • 30 for 30 (Season 7) Producers: Connor Schell, John Dahl, Libby Geist, Bill Simmons, Erin Leyden, Gentry Kirby, Andrew Billman, Marquis Daisy, Deirdre Fenton • 60 Minutes (Season 48, Season 49) Producers: Jeff Fager • Anthony Bourdain Parts Unknown (Season 5-8) Producers: Anthony Bourdain, Christopher Collins, Lydia Tenaglia, Sandra Zweig • Hamilton’s America Producers: Alex Horwitz, Nicole Pusateri, Lin-Manuel Miranda, Jeffrey Seller, Dave Sirulnick, Jon Kamen, Justin Wilkes

The Award for Outstanding Producer of Competition Television: • The Voice (Season 9-11) (WINNER) Producers: Audrey Morrissey, Jay Bienstock, Mark Burnett, John de Mol, Chad Hines, Lee Metzger, Kyra Thompson, Mike Yurchuk, Amanda Zucker, Carson Daly • The Amazing Race (Season 27, Season 28) Producers: Jerry Bruckheimer, Bertram van Munster, Jonathan Littman, Elise Doganieri, Mark Vertullo • American Ninja Warrior (Season 7, Season 8) Producers: Arthur Smith, Kent Weed, Anthony Storm, Brian Richardson, Kristen Stabile, David Markus, J.D. Pruess, D. Max Poris, Zayna Abi-Hashim, Royce Toni, John, Gunn, Matt Silverberg, Briana Vowels, Mason Funk, Jonathan Provost • Lip Sync Battle (Season 1, Season 2) Producers: Casey Patterson, Jay Peterson, John Krasinski, Stephen Merchant, Leah Gonzalez, Genna Gintzig, LL Cool J • Top Chef (Season 13) Producers: Daniel Cutforth, Jane Lipsitz, Doneen Arquines, Tom Colicchio, Casey Kriley, Padma Lakshmi, Tara Siener, Erica Ross, Patrick Schmedeman, Wade Sheeler, Ellie Carbajal

The Award for Outstanding Producer of Live Entertainment & Talk Television: • Last Week Tonight with John Oliver (Season 3) (WINNER) Producers: Tim Carvell, John Oliver, Liz Stanton • Full Frontal with Samantha Bee (Season 1) Producers: Samantha Bee, Jo Miller, Jason Jones, Tony Hernandez, Miles Kahn, Pat King, Alison Camillo, Kristen Everman • The Late Late Show with James Corden (Season 2) Producers: Ben Winston, Rob Crabbe, Mike Gibbons, Amy Ozols, Sheila Rogers, Michael Kaplan, Jeff Kopp, James Longman, Josie Cliff, James Corden • Real Time with Bill Maher (Season 14) Producers: Bill Maher, Scott Carter, Sheila Griffiths, Marc Gurvitz, Billy Martin, Dean E. Johnsen, Chris Kelly, Matt Wood • Saturday Night Live (Season 42) Producers: Lorne Michaels, Steve Higgins, Erik Kenward, Lindsay Shookus, Erin Doyle, Ken Aymong

The Award for Outstanding Children’s Program: • Sesame Street (Season 46) (WINNER) • Girl Meets World (Season 2, Season 3) • Octonauts (Season 4) • School of Rock (Season 1) • SpongeBob SquarePants (Season 9)

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Fun times at Daly City Black History Celebration!#blackhistorymonth #dalycity (at Cafe Doelger)

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