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Edna Ferber and George S. Kaufman inebriated America during the Prohibition Twenties, then made everyone forget the Depression in the Thiries via gales of sophisticated laughter. The dynamic playwriting duo created three smash hits together: The Royal Family (1927) · Dinner at Eight (1932) · and Stage Door (1936. All three plays were promptly made by Hollywood into equally famous films – Dinner at Eight with Jean Harlow; Stage Door with a young Katharine Hepburn and Lucille Ball; and the Royal Family of Broadway with Frederic March.

Since ABC’s George Lopez Show left the airwaves in 2007 as the only network television show to feature a Latino lead, the representational landscape of Latina and Latino actors has shifted from media invisibility toward an era of increasing inclusion.   Sofia Vergara became the highest paid woman and Latina on TV for her starring role on Modern Family. In the first successful dramedy starring a Latina since ABC’s Ugly Betty, Gina Rodriguez gained critical acclaim for her role on the CW’s Jane the Virgin. And the first Latina leading lady of TV, America Ferrera (Ugly Betty), returned to TV stardom in NBC’s Superstore.   This period of diversity brought U.S. Latina and Latino lives to the screen, yet a careful look at TV comedic content and production reveals a more troubling terrain for Latinas/os producers, writers, actors, and audiences.   Interweaving discussions about the ethnic, racial, and linguistic representations of Latinas/os within network television comedies, Isabel Molina-Guzmán probes published interviews with producers and textual examples from hit programs like Modern Family, The Office, and Scrubs to understand how these primetime sitcoms communicate difference in the United States.   Understanding the complex ways that audiences interpret these programs, Molina-Guzmán situates her analysis within the Obama era, a period when ethnicity and race became increasingly grounded in “hipster racism,” and argues that despite increased inclusion, the feel-good imperative of TV comedies still inevitably leaves racism, sexism, and homophobia uncontested.

This well-edited collection of short mystery stories serves as a useful introduction to the work of John George Ritchie, who died in 1983. Taken from various sources, the stories in this first hardcover collection include some of Ritchie's best, exhibiting the minimalist style, "tough guy" point of view, black humor, and ironic surprise endings that characterize his work. As Nevins notes in his introduction, the stories are finally "little boxes of bewilderment." The writing style, characters, and endings may become formulaic and predictable, but the collection as a whole will be popular with mystery readers and those looking for good vacation reading. Fans will find the detailed bibliography helpful.- Elizabeth Guiney Sandvick, North Hennepin Community Coll., MinneapolisCopyright 1989 Reed Business Information, Inc.

Born in the drive-in theater backseats of the 1970s, the demonic visions of Teen Movie Hell fueled the VCR, cable TV, and shopping mall multiplex booms of the 1980s before collapsing in the 1990s in a pixelated pile of cable dissipation and Internet indulgences. Between George Lucas's American Graffiti in 1973 and Richard Linklater's Dazed and Confused twenty years later, lust-driven laugh riots on the order of Animal House, Porky's, Fast Times at Ridgemont High, and Revenge of the Nerds boomed at the box office and conquered pop culture by celebrating adolescent misbehavior run amok. Puberty-powered comedy classics including Meatballs, Caddyshack, Valley Girl, and The Last American Virgin fused hormonal overloads with anti-authority abandon and below-the-belt slapstick to create a genre that also unleashed the anarchic, sex-mad likes of The Swinging Cheerleaders, H.O.T.S., Hardbodies, Private School, Joysticks, Spring Break, and Zapped!--as well as the mainstream variations Sixteen Candles, The Breakfast Club, Ferris Bueller's Day Off, and Pretty in Pink. All-seeing author Mike "McBeardo" McPadden (Heavy Metal Movies) passes righteous judgment over the entire genre, one boobs-and-boner opus at a time. In more than 350 reviews and dozens of bonus features, Teen Movie Hell lays the crucible of coming-of-age comedies bare, from party-hearty farces such as The Pom-Pom Girls, Up the Creek, and Fraternity Vacation to the extreme insanity exploding all over King Frat, Screwballs, The Party Animal, and Surf II: The End of the Trilogy. Tap the keg, tailor your toga, and belly flop hard into the exploitation inferno of bikinis beaches, locker rooms, summer camps, study halls, wayward teachers, cool camp counselors, wet-T-shirts, custom vans, sexy ESP, shower peepholes, and other overlooked penal code violations!

Finding Your Funny is the new book by award-winning comedian, comedy coach and filmmaker Don Barnhart that explores the Art, Science and Business of Stand Up Comedy. With a humorous and heartfelt forward by Comedy Legend George Wallace, Finding Your Funny goes beyond Barnhart’s own journey and shares the brutal, often overlooked experience and advice of other comedians, entertainers, managers, agents and bookers. The book includes a no holds barred assessment about what clubs, venues and agents are really looking for as well as many of the things you need to do and avoid if you’re looking into making comedy a career. With over 25 yeas of road experience as a comedian, comedy coach and booker, Don Barnhart’s book offers great for the open mic comic, professional comedian and comedy fan. It includes personal tragedies, anecdotes and stories one can only get from living a life on the road. Barnhart, who founded The Las Vegas Comedy Institute where he teaches stand up, improv and comedy writing was inspired to write the book after the success of the documentary on his stand up comedy class, Finding The Funny directed by John Bizarre. “The book, Finding Your Funny began as an outline for my comedy class”, said Barnhart in a recent phone interview where was performing overseas for the troops with his Battle Comics World Tour. Some of the topics covered in Finding Your Funny are: Can You Teach Funny?, The 'High' Cost of Fame, Getting Booked, Hurdles and Pitfalls, The Truth About Managers, Agents and Other Oddities, The Joke Police and When To Throw In The Towel. Barnhart added, “I tried to answer all the questions I wish I had when I was first starting out. I wanted to give a variety of opinions as there is no one, hard set rule but there are some guidelines to success.”

This well-edited collection of short mystery stories serves as a useful introduction to the work of John George Ritchie, who died in 1983. Taken from various sources, the stories in this first hardcover collection include some of Ritchie's best, exhibiting the minimalist style, "tough guy" point of view, black humor, and ironic surprise endings that characterize his work. As Nevins notes in his introduction, the stories are finally "little boxes of bewilderment." The writing style, characters, and endings may become formulaic and predictable, but the collection as a whole will be popular with mystery readers and those looking for good vacation reading. Fans will find the detailed bibliography helpful.- Elizabeth Guiney Sandvick, North Hennepin Community Coll., MinneapolisCopyright 1989 Reed Business Information, Inc.

A Lacanian look at how comedy might come to philosophy's rescue, with examples ranging from Hegel and Molière to George W. Bush and Borat.Why philosophize about comedy? What is the use of investigating the comical from philosophical and psychoanalytic perspectives? In The Odd One In, Alenka Zupancic considers how philosophy and psychoanalysis can help us understand the movement and the logic involved in the practice of comedy, and how comedy can help philosophy and psychoanalysis recognize some of the crucial mechanisms and vicissitudes of what is called humanity. Comedy by its nature is difficult to pin down with concepts and definitions, but as artistic form and social practice comedy is a mode of tarrying with a foreign object―of including the exception. Philosophy's relationship to comedy, Zupancic writes, is not exactly a simple story (and indeed includes some elements of comedy). It could begin with the lost book of Aristotle's Poetics, which discussed comedy and laughter (and was made famous by Umberto Eco's The Name of the Rose). But Zupancic draws on a whole range of philosophers and exemplars of comedy, from Aristophanes, Molière, Hegel, Freud, and Lacan to George W. Bush and Borat. She distinguishes incisively between comedy and ideologically imposed, “naturalized” cheerfulness. Real, subversive comedy thrives on the short circuits that establish an immediate connection between heterogeneous orders. Zupancic examines the mechanisms and processes by which comedy lets the odd one in.

A Lacanian look at how comedy might come to philosophy's rescue, with examples ranging from Hegel and Molière to George W. Bush and Borat.Why philosophize about comedy? What is the use of investigating the comical from philosophical and psychoanalytic perspectives? In The Odd One In, Alenka Zupancic considers how philosophy and psychoanalysis can help us understand the movement and the logic involved in the practice of comedy, and how comedy can help philosophy and psychoanalysis recognize some of the crucial mechanisms and vicissitudes of what is called humanity. Comedy by its nature is difficult to pin down with concepts and definitions, but as artistic form and social practice comedy is a mode of tarrying with a foreign object―of including the exception. Philosophy's relationship to comedy, Zupancic writes, is not exactly a simple story (and indeed includes some elements of comedy). It could begin with the lost book of Aristotle's Poetics, which discussed comedy and laughter (and was made famous by Umberto Eco's The Name of the Rose). But Zupancic draws on a whole range of philosophers and exemplars of comedy, from Aristophanes, Molière, Hegel, Freud, and Lacan to George W. Bush and Borat. She distinguishes incisively between comedy and ideologically imposed, “naturalized” cheerfulness. Real, subversive comedy thrives on the short circuits that establish an immediate connection between heterogeneous orders. Zupancic examines the mechanisms and processes by which comedy lets the odd one in.

It's the complete fourth season of critically acclaimed family comedy George Lopez. George, a family man and plant manager at a Los Angeles airplane parts factory, has made lemons at every turn - but how will he react when his company merges with another and he must now co-manage his territory? His wife, Angie, provides support (except when he forgets their wedding anniversary!), and the two deal as their 12-year-old son struggles with dyslexia but maintains his sarcasm and Carmen, their teenage

After a decade and a half producing the Just For Laughs comedy festival-which ranks as the world's biggest comedy event with an annual attendance of 1.5 million and worldwide television presence-Andy Nulman has seen, heard, and lived through it all. Now he tells all in I Almost Killed George Burns!. Nulman names the names, dishes the dirt, and spews outrageously hilarious behind-the-scenes anecdotes including the time he came within two inches of killing George Burns; John Candy almost killed him-twice; he was strangled by Jerry Lewis and publicly humiliated by Roseanne; a nude man with fireworks in his butt shot Tim Allen to fame; he was reprimanded by Bea Arthur for booking an offensive act; and a demonic disc jockey cost him a multi-million dollar TV contract. Featured are some of today's most recognized showbiz stars, including: Jerry Seinfeld, Jim Carrey, Drew Carey, Kelsey Grammer, Ray Romano, Kevin James, Mary Tyler Moore, Lily Tomlin, Jerry Springer, Howie Mandel, Chris Rock, Chuck Jones, Bob Newhart, Jay Leno, and David Hyde Pierce.

George Farquhar was the most popular, and perhaps the best playwright of his time. The Irish-born actor and military officer arrived in London before he was twenty, captivated audiences with his lively, good-natured comedy, philandered with the leading actresses and female playwrights, married a widow with children, and wrote, besides the eight plays, many poems, letters, prologues and epilogues, an epic, and a miscellany, before his untimely death in 1707, not yet thirty. Shirley Strum Kenny has provided the first scholarly edition of the works since Stonehill's in 1730, in a reliable old-spelling text. She has added to the canon materials not printed since the beginning of the eighteenth century, some of which have never before been identified as Farquhar's. Each play has an introduction describing its sources and composition, theatrical and publication history, influence, and textual problems. The introductions to the non-dramatic works contain similar information, and relate the wo

Truly the voice of a generation, George Carlin gave the world some of the most hysterical and iconic comedy routines of the last fifty years. From the "Seven Dirty Words" to "A Place for My Stuff," to "Religion is Bullshit," he perfected the art of making audiences double over with laughter while simultaneously making people wake up to the realities (and insanities) of life in the twentieth century. Few people glimpsed the inner life of this beloved comedian, but his only child, Kelly, was there to see it all. Born at the very beginning of his decades-long career in comedy, she slid around the "old Dodge Dart," as he and wife Brenda drove around the country to "hell gigs." She witnessed his transformation in the '70s, as he fought back against---and talked back to---the establishment; she even talked him down from a really bad acid trip a time or two ("Kelly, the sun has exploded and we have eight, no-seven and a half minutes to live!"). Kelly not only watched her father constantly reinvent himself and his comedy, but also had a front row seat to the roller coaster turmoil of her family's inner life---alcoholism, cocaine addiction, life-threatening health scares, and a crushing debt to the IRS. But having been the only "adult" in her family prepared her little for the task of her own adulthood. All the while, Kelly sought to define her own voice as she separated from the shadow of her father's genius. With rich humor and deep insight, Kelly Carlin pulls back the curtain on what it was like to grow up as the daughter of one of the most recognizable comedians of our time, and become a woman in her own right. This vivid, hilarious, heartbreaking story is at once singular and universal-it is a contemplation of what it takes to move beyond the legacy of childhood, and forge a life of your own.

An elementary school dropout, George Burns went on to become one of America's most beloved entertainers. This book covers a neglected part of his career--his work as a television producer. Burns was not only a behind-the-scenes producer, but also filled the role of producer in various comedies in which he starred. Though his forte was situation comedies, Burns' company, McCadden Productions, also produced dramatic anthology series and pilots, including a pilot considered to be a precursor to the popular TV series Mission: Impossible. This book focuses on Burns' wide variety of production efforts, and follows his involvement in television productions from his 1950 comedy series with his wife, Gracie Allen, through his participation in the fantasy sitcom Mister Ed, and finally to his last producer credit in 1981, I Love Her Anyway, a remake of The Burns and Allen Show.

At first glance, George Stevens (1904Ð1975) appears to be the quintessential Hollywood director. A closer look at his achievements shows him to be more than just the creator of some of the smartest melodramas and comedies of the 1930s and 1940s, including Annie Oakley, Swing Time, and Gunga Din. Several of his films--Giant, The Diary of Anne Frank, Shane, The Greatest Story Ever Told, and A Place in the Sun--are regarded as some of the most important and enduring dramas of postwar American cinema. As a leading producer and director of his era, Stevens repeatedly pushed against the Hollywood grain and clashed with censors. George Stevens: Interviews showcases the deep moral vision of a director who is as meticulous, discerning, and contemplative in his conversations as he is as a filmmaker. Although not regarded as an auteur during his career, Stevens can now be understood as one of America's most personal and distinguished directors. Throughout this collection, his increasing concern over the control of his films is evident, and, like Alfred Hitchcock and Howard Hawks, he became a producer/director who claimed absolute control over his work. His interviews show a man committed to his chosen art and fully aware of the responsibilities that come with that choice. Paul Cronin is a writer and filmmaker.

George Farquhar was the most popular, and perhaps the best playwright of his time. The Irish-born actor and military officer arrived in London before he was twenty, captivated audiences with his lively, good-natured comedy, philandered with the leading actresses and female playwrights, married a widow with children, and wrote, besides the eight plays, many poems, letters, prologues and epilogues, an epic, and a miscellany, before his untimely death in 1707, not yet thirty. Shirley Strum Kenny has provided the first scholarly edition of the works since Stonehill's in 1730, in a reliable old-spelling text. She has added to the canon materials not printed since the beginning of the eighteenth century, some of which have never before been identified as Farquhar's. Each play has an introduction describing its sources and composition, theatrical and publication history, influence, and textual problems. The introductions to the non-dramatic works contain similar information, and relate the wo

An elementary school dropout, George Burns went on to become one of America's most beloved entertainers. This book covers a neglected part of his career--his work as a television producer. Burns was not only a behind-the-scenes producer, but also filled the role of producer in various comedies in which he starred. Though his forte was situation comedies, Burns' company, McCadden Productions, also produced dramatic anthology series and pilots, including a pilot considered to be a precursor to the popular TV series Mission: Impossible. This book focuses on Burns' wide variety of production efforts, and follows his involvement in television productions from his 1950 comedy series with his wife, Gracie Allen, through his participation in the fantasy sitcom Mister Ed, and finally to his last producer credit in 1981, I Love Her Anyway, a remake of The Burns and Allen Show.

At first glance, George Stevens (1904Ð1975) appears to be the quintessential Hollywood director. A closer look at his achievements shows him to be more than just the creator of some of the smartest melodramas and comedies of the 1930s and 1940s, including Annie Oakley, Swing Time, and Gunga Din. Several of his films--Giant, The Diary of Anne Frank, Shane, The Greatest Story Ever Told, and A Place in the Sun--are regarded as some of the most important and enduring dramas of postwar American cinema. As a leading producer and director of his era, Stevens repeatedly pushed against the Hollywood grain and clashed with censors. George Stevens: Interviews showcases the deep moral vision of a director who is as meticulous, discerning, and contemplative in his conversations as he is as a filmmaker. Although not regarded as an auteur during his career, Stevens can now be understood as one of America's most personal and distinguished directors. Throughout this collection, his increasing concern over the control of his films is evident, and, like Alfred Hitchcock and Howard Hawks, he became a producer/director who claimed absolute control over his work. His interviews show a man committed to his chosen art and fully aware of the responsibilities that come with that choice. Paul Cronin is a writer and filmmaker.

For the last 45 years, the acid-tongued George Carlin has been unleashing his sociopolitical brand of humor on the world, through countless standup gigs, 12 HBO specials and several movie roles. The collection includes the comedy specials Playing with Your Head, What Am I Doing in Jersey?, Back in Town, You Are All Diseased and George's Best Stuff. 1986-98/color/6 hrs., 30 min/NR/fullscreen.

Academy Award- winner George Arliss' career is marked by his powerful portrayals of historical figures. Fans who don't know Arliss also excelled at comedy are in for a treat with Old English a Successful Calamity and the King's Vacation.

This songbook features 14 George Michael and Wham! tracks that made up the soundtrack to the 2019 hit romantic comedy movie. Each song is arranged ...