It’s hard to believe that it was over six years ago that I and some ex-TV-Squaders started CliqueClack. We had some pretty high hopes at the time, that we could go out on our own and show AOL what it really meant to be writer-fans of television. It was an incredibly ambitious goal that we never came close to, but we quickly learned that that didn’t matter to us. What did matter was that we had an outlet to write what we wanted, when we wanted, for people who continued to engage in discussion with us.

It’s pained me all these years to never have earned enough with ads and Amazon referrals to pay our writers regularly. We’ve certainly lost some great folks because of it, and I don’t blame them at all. Some have gone on to continue writing for paying gigs, full-time, and that’s been awesome. With the declining frequency of posts comes declining traffic, which results in declining ad revenue … you get the picture. Maybe that’s a bit TMI, but I thought being up-front about where we were at was something I owed you.

This will likely be the final post here at CliqueClack, but there is a silver lining.

For quite some time now, Chuck Duncan and Ivey West had been heading up editing duties for the site. Chuck, I know, very much wants to continue writing. I didn’t want to simply hand over CliqueClack to someone else, though, partly because I’m just not ready to give it away and, primarily, I thought it made more sense to let Chuck have something that was truly his own. That’s just what he’s done.

Friday, April 3, Chuck launches his own site, Hotchka.com, to continue where CliqueClack left off. You’ll see some new and familiar faces there, writing about movies, TV, pop culture, and anything else Chuck might want to throw into the mix. He and his partner, Carl, have already done a fantastic job putting the site together, and I think you’re really going to dig it.

• Check out the site at www.hotchka.com.
• Follow them on Twitter @hotchka
• Facebook
• Google+
• Tumblr
• YouTube

As for CliqueClack, my plan is to keep all of our 11,000+ posts around for as long as I’m possibly able, even if they are thrown in straight HTML and image files in a searchable archive somewhere. I think it’s criminal when sites decide to completely wipe away all traces of past content when they shutter, and dammit I’m going to do my best to make sure that never happens here.

Thank you so much to the writers and, of course, to all of you readers who’ve stuck with us all these years.

Not too long ago, Warner Brothers Animation teamed up the classic Scooby-Doo characters with animated versions of WWE stars in Scooby-Doo! WrestleMania Mystery. The pairing must have been successful as the two entertainment giants have joined forces once again, but this time taking a step or two — or 65 million — back in time to meet that modern Stone Age family, The Flintstones.

I grew up watching The Flintstones and I always enjoyed the shows with current stars appearing in Stone Age form like Ann-Margrock and Stoney Curtis. Other celebs, who probably didn’t actually voice their cartoon characters, included Cary Granite, Ed Sulleystone, Rock Hudstone and Perry Masonry. Through many revivals over the years and two live action feature films, the Flintstones and their friends the Rubbles, have encountered many prehistoric versions of modern celebrities. And they’ve done it again with the new home video release The Flintstones & WWE: Stone Age Smackdown.

The new story finds Fred promising to take Wilma and Pebbles on vacation, but as usual, his vacation fund is lacking. Another screw up at his job at the quarry costs him a paycheck, so the only thing he can do is tell Wilma the trip is off. But he knows it’s easier to tame a sabre-tooth tiger than tangle with Wilma. At a Water Buffalo Lodge fair, Barney sells chances for anyone to get into the ring with his pet Hoppy but a belligerent customer berates Hoppy so much that Barney steps in to save the day. He wins the match and Fred hatches an idea: create a sports entertainment event with Barney facing off against a group of people they hire and rake in the clams. Literally, since people pay with clam shells in Bedrock.

The event draws a huge crowd to see Barney face off against John Cenastone, Ray Mysteriopal, and The Undertaker, but Barney’s nemesis CM Punkrock returns for a rematch. When Wilma and Betty discover what’s happening and Barney refuses to get into another match, Fred’s fame and fortune looks like its about to go out the window along with his vacation plans. Will CM Punkrock prevail or get his comeuppance?

The new Flinstones & WWE video has all the trappings of the usual Flintstones TV episode including all of the “modern” Stone Age gadgets, like an automatic garage door opener, and businesses (Stonebucks Coffee and Marshale’s). The video also runs under 60 minutes, playing like a two-part episode of the TV show rather than a feature film. The animation is clean and fluid and pays homage to the original enough to please long-time fans but is still modern enough for a new generation, and the Blu-ray presents it all in sharp 1080p video with some of the brightest, most vivid colors you’ve ever seen. The audio is a DTS-HD Master Audio 5.1 surround track that also delivers as you would expect from a Warner Brothers title.

The Blu-ray also contains a collection of special features including:

• The Superstars of Fred Flintstone Entertainment (9:46) — Director and WWE stars talk about the story and how their real life characters were incorporated into a Flintstones story.
• How To Be a Stone Age Superstar (4:45) — Director Tony Cervone and the WWE stars explain how to create a character’s personality.
• “The Engagement Ring” (26:22) — Original sports themed The Flintstones episode.
• “Take Me Out To the Ball Game” (26:05) — Original sports themed The Flintstones episode.
• Trailers for Scooby-Doo: Wrestlemania Mystery, LEGO Ninjago: Masters of Spinjitzu, Scooby-Doo: Moon Monster Madness

The one glaring omission on the bonus material featuring the WWE stars is CM Punk, who quit (or was fired from) the WWE last year. It’s a shame he wasn’t able to participate since he is such an integral character to the plot. That aside, longtime fans of The Flintstones should enjoy this new production chiefly because the actor doing Fred’s voice, Jeff Bergman, is one of the most accurate to the original that I’ve ever heard. The others are close enough, but Bergman really nails it. Other WWE stars lending their voices to the video include Mark Henry (Marble Henry), Daniel Bryan (Daniel Bry-rock), Brie and Nikki Bella (The Boulder Twins) and Mr. McMahon (Mr. McMagma). If you want to relive your childhood, or introduce your own children to The Flintstones, pick up The Flintstones & WWE: Stone Age Smackdown, sit back and, as the theme song says, “you’ll have a gay old time.”

The Blu-ray/DVD/Digital HD Combo package was provided to CliqueClack by Warner Brothers Home Entertainment for the purpose of review.

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THIS OFFER IS CLOSED. WINNER WILL BE NOTIFIED BY EMAIL.

CliqueClack has partnered with Warner Bros. Home Entertainment to offer one lucky reader a chance to win a DVD of the new animated movie Scooby-Doo! Moon Monster Madness. To enter, just leave a comment on this post. To be eligible, provide your full name and email address in the spaces provided (NOT in the comment box). Winner will be notified by email. Some restrictions apply: DVD will only be shipped to US residents. No PO Boxes. One entry per person. Contest entry period ends Friday, February 27. Good luck!

Being a child of the late 60s/early 70s, I am an old school Scooby-Doo fan. You couldn’t get me up early during the week to go to school, but you can bet I was up at the crack of dawn on Saturday morning to watch my cartoons. Scooby was always a favorite because it combined the wacky antics of Scooby, Shaggy and the gang with my other favorite things — ghosts and monsters, except not as scary as those old movies that I loved but scared me to death! Of course, the supernatural characters on Scooby-Doo, Where Are You? were always some no-goodnik trying to get way with some crime that was always foiled by “those meddling kids.”

Scooby and the gang became entrenched in pop culture, spawning a variety of different series, a run of Scooby-Doo movies featuring animated guest stars like The Addams Family, Sonny & Cher, Phyllis Diller, The Three Stooges, The Harlem Globetrotters and many more. The idea of the “Scooby Gang” even carried over to Buffy the Vampire Slayer. The character has been kept alive on Cartoon Network/Boomerang and through a series of direct-to-video movies. Our own Kim Tibbs reviewed last year’s Scooby-Doo! WrestleMania Mystery, which was released on DVD and Blu-ray. And now Scooby and the gang are back in Moon Monster Madness.

It’s usually never a good sign when a familiar character ends up going into space, an environment totally alien, literally, to the original concept (look at the alternately reviled/adored Jason X as an example). Take a character who spends most of the time solving earthbound mysteries and putting them on the moon to solve another mystery really stretches the concept, especially when the new city on the moon is basically just a stand-in for an earthly haunted house. But that’s what we have with Scooby-Doo! Moon Monster Madness.

The basic plot has the Scooby gang winning a lottery to be the first civilians to fly with an egotistical Richard Branson type, Sly Baron, and a crew of professionals on a new spacecraft meant to usher in commercial space travel for the masses. Unfortunately, an alien starts to destroy the ship and they are forced to land on Baron’s moon base on the dark side of the moon (ZOINKS!), but the alien is not finished with them. Is the alien an advance scout for a possible invasion of earth … or is there something, or someone, else behind the attack?

Ridley Scott said that Alien was basically a haunted house movie in space, and Scooby-Doo! Moon Monster Madness is just that. The moon base is simply a stand-in for the house and the alien is the typical ghost or monster that is trying to run the owners out. And if you know your Scooby-Doo lore, you will have to question whether the alien is even real especially with the red herrings of key characters always off screen during an alien attack. Could it be Sly Baron himself, or one of the other astronauts? You know those meddling kids will find out the truth.

The movie may not appeal to original Scooby fans, but a new generation not familiar with the old haunted house stories will most likely be dazzled by the sci-fi elements and animation. It should be noted, however, that very young children may be disturbed by some of the imagery, especially as the alien stalks Scooby and Shaggy, and during a sequence when each member of the group tells how they would avert an alien invasion. The animation goes very stylized at that point, with some videogame-style destruction and violence. The story also introduces a very intense rivalry between Daphne and Velma, and really paints Fred as a total doofus who never takes off his spacesuit or helmet, even inside the moon base!

What the movie does have going for it is the smooth, colorful animation (and it’s a shame Warner Bros. didn’t feel the need to release this one on Blu-ray) and the familiarity of the voice cast. Frank Welker returns as the voices of Fred (he originated the role back in 1969!) and Scooby, with Mindy Cohn doing a great approximation of the original Velma voice and Matthew Lillard reprising the role of Shaggy, which he did so well in the live-action movies. Guest voice talent includes Malcolm McDowell, Diedrich Bader and Mark Hamill.

The DVD also includes the short Space Travel Is Groovy hosted by Mindy Cohn. Cohn takes us behind the scenes at Space Camp to see how rockets are launched and space shuttles fly and land (although this is a bit dated now since the space shuttle program is no more). Everything is very simplified for the younger viewer, so adults may find the whole thing a bit tedious. But still, who doesn’t want to go to Space Camp?!

Scooby-Doo! Moon Monster Madness may be a good way to introduce a new generation to the simple joys of Scooby-Doo.

Warner Bros. Home Entertainment provided a DVD to CliqueClack for review. The film is available on DVD and as a Digital HD download.

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The original 1966 Batman TV series took decades to see a release on DVD and Blu-ray, but the wait was definitely worth it! The first 30 episodes from the series’ second season are now available on DVD and Warner Bros. Home Entertainment graciously provided a copy for my review for this Throwback Thursday installment.

I grew up watching the original Batman series in reruns on cable television. It was always one of my favorites because it was so wondrously colorful and wacky. Everywhere you look in any given screenshot, your senses are bombarded by psychedelic, eye-popping costumes that only a 1960s series could pull off so well. It’s like a live-action cartoon with campy music, zany guest stars and playful puns and punches flying left and right. Don’t get me started on the delightful variety of villains the series also offered! From familiar comic book favorites like The Joker, Penguin, Catwoman and Mr. Freeze to crazy, new villainous concoctions such as Egghead, King Tut, The Clock King, The Archer and The Minstrel, the second season is full of fiendish foes and perilous plots. I’m having trouble deciding which villain is my all-time favorite because they’re all so interesting and diabolical in their own unique way!

The Second Season, Part One has many big-name guest stars, including Cesar Romero, Julie Newmar, Burgess Meredith, Vincent Price, Van Johnson, Art Carney, Shelley Winters, Liberace, Walter Slezak, Carolyn Jones, Victor Buono and Cliff Robertson. One interesting thing about the series was that they used various actors to play the same villain from season to season. Season two features Julie Newmar as a purrrrfect Catwoman and Otto Preminger as a space cadet-looking Mr. Freeze with a ray gun. In addition to the main guest stars, there are also numerous cameos from other notable stars, including Dick Clark, Sammy Davis, Jr., Werner Klemperer (Colonel Klink from Hogan’s Heroes), Ted Cassidy (Lurch from The Addams Family) and musical group Paul Revere and the Raiders among these episodes. Just don’t blink, or you’ll miss ‘em!

Egghead (Vincent Price) is the only villain I remember being smart enough on the series to almost figure out that Bruce Wayne was Batman, so that makes him credible in my book (despite all of his “eggs-cruciating” puns every five seconds). The Archer (Art Carney) is awesome because he steals from the rich and gives to the poor a la Robin Hood and his Merry Men, while The Minstrel (Van Johnson) oozes charm and romantic lyrics that make you fall in love with Van Johnson and his velvety voice all over again. Not only is The Minstrel a musical genius, but he’s also equally versed in electronics and probably the only villain worthy of facing Batman in a technological showdown of wits.

I was delighted to discover that one of the most memorable episodes from my childhood was included in this set — “The Spell of Tut” — the one in which King Tut (Victor Buono) tries to resurrect ancient Egyptian scarabs to wreak havoc upon Gotham City’s water supply. Also look for horror icon Sid Haig as the Royal Apothecary in the King Tut episodes. Another old favorite of mine, “The Greatest Mother of Them All,” featuring Shelley Winters as criminal matriarch Ma Parker and her gang, is also included. The Parker clan has always reminded me of the Beagle Boys on Duck Tales, another beloved show from my childhood and perhaps the subject of a future Throwback.

An unexpected surprise was seeing footage from the Indianapolis 500 used as a racing event held in Gotham City in “Come Back, Shame,” an episode with Cliff Robertson as Shame, “The Conniving Cowboy of Crime,” a cowpoke/car thief who looks like he was lifted out of a spaghetti western complete with his sidekick Okie Annie (Joan Staley from The Ghost & Mr. Chicken fame). Of course, Shame and crew don’t look quite as tough as your traditional cowboys with their polka dot handkerchiefs and etc., but that’s beside the point when you can “get angrier than a hyena with laryngitis.” Another hidden gem was “Hizzonner The Penguin,” an episode in which Penguin runs for Mayor of Gotham City against Batman. It was the weirdest political debates I’ve ever seen, but I’ll be damned if I didn’t want all of Penguin’s cute, clever campaign paraphernalia. He had lovable, furry penguins all over his campaign buttons, posters, stickers, etc. I wonder if anyone ever made any of that stuff collectible because I would buy a lot of it for my personal collection of pop cultural oddities!

All of Batman’s gadgets in the Bat Cave, Batmobile and utility belts have never looked better — every detail has been completely remastered in this DVD box set. While reviewing the set, I realized that there are two types of people in this world — those who can appreciate the campiness of this series and those who simply cannot. Neither my mother or boyfriend could make it past more than a handful of episodes before they were begging me to turn it off, but I could have gone on for hours (the set has a total running time of 755 minutes), and my 21-year-old brother and his friends seemed amicably interested as well.

Every “Splatt!,” “Pow!,” “Biff!” and “Zok!” (yes, you read that right: Zok!) practically pops out of the screen at you in amazing comic book color as do the fabulous glittering outfits worn by Chandell (Liberace), and I had a lot of fun reviewing this set. The Season Two, Part One DVD box set features beautiful artwork from the eye-catching covers to the four discs depicting the iconic ’66 Batman logo on each. The only disappointment I had with the set was its lack of bonus features, but that’s what the expensive, all-inclusive Blu-ray collector set is for I suppose. I’ve read the Blu-rays come with an episode guide, Adam West scrapbook, vintage trading cards, digital copies of the episodes and an exclusive Hot Wheels replica of the Batmobile. The discerning collector would be better off saving their pennies for the Blu-ray set, but if you’re yearning to get your hands on some of the episodes in the meantime or if you’re introducing the series to a new generation of fans, this box set is a good starting point. If I’m ever lucky enough to review another Batman set, I’ll catch you at the same Bat time, same Bat channel.

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The 100 was probably my favorite new show when I reviewed the 2013 pilots last summer. Nothing could have prepared me, however, for what was to come when the series got to Episode 3 (Or Episode 4 … or Episode 5; at some point I had to stop counting). Jason Rothenberg and his team are right up there with Shonda Rhimes’ Scandal in terms of telling a fast-paced, dark story that is less like a television show and more like — if you’ll forgive the cliche — a roller coaster ride (and a damn fine coaster, too. Not one of those kiddy-coasters, but one you lose your lunch just looking at from the bottom).

We sat down with the cast and crew at San Diego Comic-Con earlier this summer. They told us what they could about the upcoming season, which was unsurprisingly very little. Isaiah Washington was particularly obtuse (tongue-in-cheek … to an extent). If you had asked me this summer, I would have said that just by his appearance at the Con one could figure out his fate … but then I’m reminded of our conversation with Mark Guggenheim about how many episodes Caity Loitz was going to be in, and I start to hedge those bets.

Here is what we learned from our conversations:

Jason Rothenberg

• Rothenberg isn’t sure the show really earned the “Is Anyone Safe” reputation it received in the first season. “We didn’t really kill that many important characters … we killed Wells.” But the writers try to treat violence in a real way. Wounds are impactful, and characters don’t heal by the time the next episode comes around. “That said, this year? No one is safe. We got too much credit last year, so this year I need to earn it.”
• Managing what the writers and actors can say before an episode airs is tough. There’s a balance between needing to answer questions to media to help build hype and revealing too much. Rothenberg, “I know if I was a fan of the show and I read online, ‘Oh this guy’s going to live’ … I’d be like ‘eh, OK.’ I want to be surprised when I watch it.
• Murphy is a character whose backstory is going to be revealed a little this season. “We’re going to start to peel back the layers.” Rothenberg compares episode six that explained where Bellamy was coming from as something they are going to try to do with the most hated of The 100. “I feel like [Murphy] on some level was underserved as a character last year … There’s a reason why he is the way he is.”
• Rothenberg loves all of the characters, but particularly likes writing for Clarke, “Eliza is just so good, anything I write she shows me what it really means.”
• All of the characters are scattered. The survivors from the Ark have landed in different places; the original 100 – or what’s left of them – are separated. “One of the things that this season is about is figuring out ways to get the people back together. Reunions are a key storyline.” The adults from the Ark finding their children – and finding them changed – will be an important arc. Rothenberg stopped short of saying whether or not Clarke and Abbey will be reunited, but at least they’re on the same planet now.
• Rothenberg doesn’t think that they will ever show the story of the apocalypse on the planet, but is interested in showing how the people of the Ark came together. “It’s a big episode, where big = expensive, so I’m not really sure when it’s going to happen, but it’s something I’d like to do.”

 Eliza Taylor / Clarke Griffin

• Taylor “kinda knows where Clarke’s going,” but they’re only given scripts a couple of days in advance of shooting. Plus? The story is always changing.
• “Being able to play someone who is smart and strong and soulful is just fantastic.”
• Taylor has been focusing on her physicality this season, especially after watching last. “I’m a girly-girl really,” and that’s something that Clarke isn’t. There were scenes last year where she felt she put a little too much of that into play, and she doesn’t want to repeat it.
• She’s looking forward to the hypothetical reunion with her mother (she thinks it will happen, but again, she hasn’t read ahead). “There’s a lot of tension there, but also they’ve both changed so much individually, it will be interesting to see if they recognize one another.”
• When asked about whether Clarke will continue to evolve in the same direction we saw in Season One, Taylor was confident she would. “She’s on that path, there’s no turning back. She’s definitely blurring the lines,” doing those morally questionable things that being a leader forces her to take on.

 Devon Bostick / Jasper Jordon

• Bostick is really excited to explore “the new world that is Mount Weather.” It sounds like the mystery that is this new locale – which Rothenberg assures us we will understand in the first moments of the season – will change the fabric of the world these characters live in.
• Bostick loves playing Jasper. He took to the character immediately when he read the pilot script, though he was shocked to see him die in the end. “He was the only guy having fun, just enjoying Earth for the first time … he’s goofy, but there’s a lot of heart to him.” But playing the transition is interesting. Jasper has PTSD from being speared, and has become a very different person. He’s running into battle, when he should probably just stay in camp.
• Jacktavia: Octavia slipped out of Jasper’s hands, which did challenge how Bostick approached the character. “She was a motivation to be doing the crazy things, because ‘she’s gonna dig it.’” It was a good beat to play, that despite Jasper’s affection, she was taking advantage of him. But now, “She’s a Grounder-pounder as they say around camp.” You can tell that Jasper’s sense of humor is very much born in Bostick’s.
• No one will say if Bellamy is alive or if Jaha is dead. Usually, you get a pretty good indication of such things by the show’s marketing in advance of the season; for example Isaiah Washington attended the Convention where Bob Morley did not. In this case, I’m not sure that’s a definitive clue.
• The interactions of the various factions on the ground will be a big part of the season. “The politics of the different societies; we’re going to explore how they all relate and who stands where,” teases Bostick, who was walking a tight line on what he could say and what he should not.
• That Mount Weather was a big part of the premiere and the finale was done intentionally. It was their goal originally, as the adults on the Ark told them that is where they could find safety. In the season finale, they learned just how wrong they really were. Bostick tells us, “We were wrong about the Grounders; now we’re wrong about the Mountain Men.”

 Lindsey Morgan / Raven Reyes

• “If you think Season One was nuts, Season Two is definitely … ‘Get Ready.’” The intensity jumps off from the first minute back.
• Morgan appreciates how well the writers are in tune with what the actors are doing and what they bring to their characters: “They can see what we shine in, and what’s our strengths as actors. They’re also very curious … they always try to stretch us and surprise us.” They pushed Raven a great deal last year, exploring her character beyond just a normal guest star (the character and Reyes’ work was rewarded with a promotion to the regular cast this season).
• While talking about the writing surprising her, someone asked if there was a moment in a first season script that surprised her. “Bellamy … I mean, where did that come from?!?” Where the producers will give warnings about major plot points – most specifically to an actor if their character is going to die in a script, they let her find out this particular character beat on her own. “I was just reading the script going, ‘Oh, this is good! This is … WHAT?’” Raven was always intended to die, but the writers kept pushing that death back. When Morgan read scene where Raven and Bellamy hook up, she figured that such a shocking, raw moment would be an interesting final beat before the character was supposed to die in the next episode.

 Marie Avgeropoulos / Octavia Blake

• Avgeropoulos was able to enjoy Comic-Con this year much more than last year for several reasons. She explained that it is easier to talk about a show people have seen – and become a fan of – than last year, where she felt like they were promising that the show was amazing. Plus, managing the Convention while on crutches, as she was forced to do last year, is much harder than you’d think.
• While social media has been a part of the show’s early success, she hadn’t really participated much before. “It’s the only place you can get a marriage proposal and a death threat in the same day.”
• “Season Two? It’s much darker and will push the envelope and show viewers even more than Season One.” She tells us that what we think is happening is the exact opposite from what is actually going on. We will obviously be meeting new characters, who “survived – or not – the effects of the radiation.”
• Avgeropoulos is comfortable with the character at this point, “It’s like when you turn the key in a car and put it into drive and it’ll just do its thing.”
• “I think Jasper is desperately trying to get out of the friend-zone.” But the Lincoln/Octavia story is more dynamic. She identifies with Lincoln for several reasons, and that the 100 had wrongly accused him was one of them, as she has familiarity with that. “Her only crime was that she was born.”
• Octavia is separated from the 100, both physically and emotionally. Her time with Lincoln will be difficult once they encounter other Grounders who won’t welcome her with open arms, and how the 100 react if and when they reunite will surprise her as well.

 Ricky Whittle / Lincoln

• “Season One was really like Disneyland [compared to this season.]” His hashtag for the season is apparently, #justgotdarker.
• In preparing for this season, Rothenberg and Whittle’s discussions have lead him to doing a great deal of reading and research on “something,” which he obviously couldn’t share. “The material I’ve been given, I feel very honored to be trusted with … I’m going to have to go there, I’m going to have to ‘go there.’”
• Whittle has put a great deal of time and energy into crafting his performance. You can tell he has embraced not just the assignments the producers gave him, but everything that role entails. He obviously (yeah, ladies … it’s obvious) spent time in the gym, but it goes beyond that. He works with a vocal coach to get his accent right. His work with an acting coach lead him to lobby the writers to give him less dialogue, as he thinks that’s how Lincoln would be. “I don’t want dialogue. Keep that mystique, keep him silent. He doesn’t need to answer you.”
• The one assignment he would share with us? Horse training. He’d ridden before, but wants to take it to a new level. The stunt coordinator owns his own ranch where he worked with Joseph Gatt and Dichen Lachman last season.

Isaiah Washington / Counselor Jaha

• Talking with Washington was an interesting experience, much different from how he was last year. The whole conversation was, I hope, just tongue-in-cheek … cheekiness. Just a couple of quotes (which were repeated often) will sum up the experience (and I’ve left most of the beginning of the conversation in the highlight clip above):
• “I’m a walking cliffhanger, and I can’t tell you a thing.”
• “No, I can’t talk about it.”
• “Can’t talk about that.”
• “It’s so disappointing, I feel like I’m letting everyone down. I ran my mouth non-stop last [year].”
• “Yeah … it’s gonna be intense.”
• “You will be in alignment with Jason Rothenberg’s decisions on Counselor Jaha’s fate.”

Step back in time to 1950-something, to the beginning of the Golden Age of Television, step into the theater which is now a TV studio, specifically Desilu Studios and enjoy the “filming” of two episodes of the classic TV comedy I Love Lucy.

If you’re a fan of Lucy, Ricky, Fred and Ethel, then you’ll want to make sure to snap up some tickets to the hit touring production I Love Lucy Live On Stage, now in its “second season.” This production is currently at Baltimore’s Hippodrome Theatre through October 26. What can audiences expect from something that’s probably so familiar to so many? A really fun evening!

The show transports the audience back in time to Desilu Studios where two episode of I Love Lucy will be filmed back-to-back. While we’re watching the show, we’re actually participants as well, clapping when the Applause sign lights up, enjoying commercial breaks and all the busy-ness that goes on between set-ups, and even a “flubbed” line which has to be “re-shot.” It’s not as technical as a real TV shoot, but it is entertaining enough to make you feel like you’re really there with the cast and crew.

In addition to being a part of the “live studio audience,” a cast member or two may wander through the audience chatting up other real audience members before the show starts (Birdie Mae Figg from Oklahoma introduced herself to me as she was looking for her seat), and between episodes there is a trivia game with one audience member and Birdie Mae which adds to the fun.

While the commercials and behind-the-scenes moments are entertaining, the reason for the show is the re-enactment of the two episodes, “The Benefit” and “Lucy Has Her Eyes Examined.” In the first, Ethel wants Ricky to perform at her ladies’ club show but Lucy wants to be in the act as well. In the second, Ricky brings a Broadway producer home for dinner and Lucy and the Mertzes want to audition for him. He agrees, but the next day Lucy has an eye exam which renders her nearly blind, and hilarity ensues as she can barely see her jitterbug partner.

These episodes probably aren’t the most well-known in the I Love Lucy canon, but they are certainly the easiest to reproduce on a stage with only the Ricardos’ living room and Ricky’s nightclub needed as sets, and a healthy dose of music and dancing. As a die-hard fan, I can’t say that the Tropicana is accurate to the show, but it does the job. The apartment living room is very well reproduced from the show, right down to the figurines on the mantle but there is one glaring error – “The Benefit” is from season one when the apartment did not have a window while “Lucy Has Her Eyes Examined” is from season three when there was a window. This set has the window, but curiously enough, the first touring production used the first season apartment. It doesn’t detract from the show in any way, but for hardcore fans it does nag at you a bit.

On the plus side, the ensemble cast is amazing, taking on various parts from crooners to commercial jingle singers and actors, right down to Speedy Alka Seltzer, and “Dinah Beach” singing the Chevrolet song. Kevin Remington and Lori Hammel play Fred and Ethel, and while they get to sing and dance a bit, I really would have liked to have seen more of that interaction they had on TV with Lucy and Ricky. Euriamis Losada is excellent as Ricky. He’s got the voice, the accent, and all the mannerisms down pat. He may not look exactly like Desi Arnaz, but if you squint a little and just listen to him speak or sing, you’d swear Desi was on stage (and the audience loved when he finally told Lucy she had some ‘splainin’ to do).

Of course, besides Ricky the toughest act to pull off is Lucy. With her distinctive voice and showgirl beauty (Lucy came to Hollywood as a Goldwyn Girl), it’s almost impossible for anyone to do a good Lucy Ricardo without becoming a caricature (Lucy impersonator Diane Vincent is one of the best). So you have to give it to Thea Brooks for even attempting to take on such an iconic role. She doesn’t sound like Lucy, but she does the character very well indeed, right down to the over-the-top crying, off-key singing, and her signature “spider voice” that she used when one of her hair-brained plans went off the rails. Brooks is pretty terrific in a daunting role, even more impressive as this is her first lead role in her second touring production.

Overall, the sets, costumes and lighting design are marvelous, the interaction with the audience makes this more than just a night out at the theatre, and the cast work their magic as they transport you back in time to see a classic TV show brought back to life before your very eyes. I Love Lucy Live On Stage should be a must-see for any Lucy fan, or for anyone who just wants to escape today’s worries and woes for a couple of hours.

I Love Lucy Live On Stage heads to San Francisco from Baltimore, and will visit many cities across the country including Colorado Springs, Chicago, Madison, Minneapolis, Grand Rapids, Hershey, Providence, Worcester, Macon, Jacksonville, Clearwater, St. Louis, Cleveland, Cincinnati, Orlando and many more. Click on the banner for tickets and more information.

Product tie-ins for television shows and movies are nothing new. From action figures to video games, apparel to novels, audiences are accustomed to searching Amazon – or your favorite brick and mortar stores if that’s what you are into – for items related to your favorite show. There has not been, however, a massive influx of branded adult beverages, even though there is a lot of opportunity for natural connections. One of the best examples of that – other than the inevitable Scandal-branded wine – is Game of Thrones and beer.

Valar Morghulis represents the fourth collaboration between HBO and Ommegang Brewery. Their previous brews have included a blonde ale (Iron Throne), a stout (Take the Black Stout) and a red ale (Fire and Blood, natch). The latest is an Abbey Dubbel, which Ommegang describes as:

Valar Morghulis possesses a deep chestnut brown color with a persistent and creamy tan head. Rich aromas of caramel, toffee, ripe fruits and burnt sugar, with a hint of cloves. The taste is delicately balanced with rich malty sweetness, caramel and just enough bitterness to balance out its malty backbone. A surprisingly dry finish is light on the tongue, which belies the initial aroma.

While I missed out on the opportunity to try the previous products, HBO was kind enough to send us a couple of bottles – and some cool beer goblets – to try. I’m not nearly the craft beer aficionado as a lot of people out there – those that know me make fun of my appreciation for a good organic cider – I did enjoy Valar Morghulis. The maltiness was a little complex for my tastes, but the sweetness, in the form of the fruits and particularly the caramel and toffee tones really completed the flavor.

Maybe Ommegang and HBO are going to revolutionize the television-tie-in industry. Maybe that Scandal wine is right around the corner, followed by a Mad Men gin, Outlander whiskey and Simpson’s Duff (Oh, wait …). In the meantime, go find this beer (using Ommegang’s cool Beer Finder) – do it soon; it’s only a limited run. I promise, your tastebuds will thank you.

For more information, check out Ommegang’s blog post.

As a kid growing up in Southern California, Godzilla, King Of The Monsters wasn’t about the deeper meaning and not-so-subtle references to World War II’s turning point or the horrors of war.

I didn’t care anything about that. (More accurately, I didn’t know any better.) None of my friends did.

We were just thrilled with the giant monster aspect. And Godzilla was the pinnacle of those thrills, the epitome of giant monster flicks.

So imagine my further thrill years later when I discovered there was so much more to Godzilla than simply fond childhood memories of the rampant destruction of Tokyo by sheer kaiju brute force and devastating atomic breath; Godzilla, King Of The Monsters wasn’t the original film at all but a hastily put together, Americanized version utilizing just over an hour’s worth of the Japanese Gojira, the superior, deeper and thought-provoking forerunner to the classic Godzilla more commonly known to the masses.

I was riveted to the screen when reporter Steve Martin (Raymond Burr) detailed Tokyo’s ruination from the rampaging Godzilla each time it graced the family television set, times that were too few and frustratingly far between as a kid. I was equally riveted at finally getting a copy of Gojira to see what was cut out of and changed in the film, how it differed from what I affectionately recalled from those youthful years. Was it a completely different film as I’d heard?

Knowing Gojira — which preceded Godzilla, King Of The Monsters by a couple years — was filmed in its original Japanese wasn’t daunting in the least to me. (I know a lot of people have problems with viewing a foreign film. Many folks are thrown by the incomprehensibility of a different tongue just as much as they are by subtitles flashing at the bottom of their screens, things that can and do contribute to the lack of enjoyment of non-English speaking films.) But I’m not one of them. And in fact Gojira, in its nascent form, is truly different than its bastard son … and not just in its language. It’s a more jarring and empathetic film, it’s a longer running film (clocking in at almost 100 minutes versus the 80 or so minutes of the Americanized version) not to mention it’s a captivating and intriguing piece of film making.

The idea Gojira was (and still is) firmly enmeshed with glaring comparisons and references to the World War II bombings of Japan less than a decade prior to its original 1954 release. A majority of those haunting images and scenarios were effectively slashed from the English version with only bare bones snippets left intact. This is one of the most obvious differences found when you compare the films side by side. They aren’t the most telling, however. There are a few scenes that had to have chilled the blood of some movie-goers of the time Gojira was released with the war still fresh in memory:

In one scene a physician runs a Geiger counter over a child in the aftermath of one of Godzilla’s rampages; the counter ticks wildly indicating horrifically the child’s exposure to radiation. In another, a mother comforts her daughter as the sound of Godzilla’s wrath plays out all around her. (“We’ll see daddy in heaven” the mother says in an effort to placate the girl.) There’s also a scene with a commuter train filled with Japanese verbalizing their fears about the creature. (“I hope I didn’t survive Nagasaki for nothing” one woman hrmphs.) Not so blood chilling — but equally as poignant — is a council meeting debating whether the monster’s affiliation with H-bomb testing should be revealed, sparking possible public hysteria. There are plenty more examples such as these removed from the Raymond Burr interpretation. Observers of the original realize each instance of excisement hugely alters one Godzilla rendition from the other.

One really interesting notice in Gojira was the presence of gratuitous (for the time) nudity. There are scenes of topless women when a fishing boat survivor washes ashore early on in the film which really surprised me. This is something that couldn’t possibly be present in Godzilla, King Of The Monsters … could it? But, on review, there it was. The exact same scenes, never cut from the original. I reasoned my fascination with the film was the monster aspect and had nothing to do with underlying morals or otherwise. Of course, this was all part of the intrigue of getting my first glimpse of Gojira and the fun of comparing one film to the other.

The flush of excitement of the version I saw as a kid will forever remain. Come on! Giant, destructive monsters! The stuff of popcorn Saturday afternoons and thrills and chills! And that’s why the recent reboot held (and, for me, delivered) such promise. Just as arousing though is Gojira and all its ominous undertones.

This Halloween? I suggest you go “old school” and kindle a different sort of scare instead of the glut of current slasher flicks or shallow horror schlock. Expand your mind. Get retro, go kaiju … and go Gojira instead.

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CliqueClack has partnered with Fathom Events to offer readers in the MD/DC/VA area a chance to win a pair of free tickets to see One Direction, Where We Are: The Concert Film at the AMC Hoffman, 206 Swamp Fox Rd, Alexandria, VA.

The biggest band in the world and global pop superstars, One Direction, bring their epic ‘Where We Are’ world tour to cinemas all around the world. Across one un-missable weekend this October, join Niall, Zayn, Liam, Harry and Louis for their first-ever full One Direction concert experience on the big screen. Recorded at Milan’s iconic San Siro stadium, experience the concert, featuring all of One Direction’s biggest hits, plus a 15-minute never before seen interview with the band cut with exclusive backstage tour footage, all in true high definition and 5:1 surround sound.

Tickets are good for screenings at 12:55 PM on October 11 and 12. There are three pairs of tickets available for each day. To be eligible to win one pair, you must do the following:

• Comment with the date you would prefer to attend: OCTOBER 11 or OCTOBER 12
• Enter your FULL NAME and correct Email Address into the proper spaces  in the comment form (not in the comment box itself)

Winners will be contacted by email, and tickets will be FedEx’d overnight directly from the studio representative. Winners must respond to our email with the information requested in order to receive your tickets. Seats are guaranteed for this event. Note: if you win and need more tickets, this is a public event and tickets are available from Fathom Events.

Have a look at the trailer and then let us know when you want to see the movie!

//www.youtube.com/watch?v=ByoX92KMlQM