A Halloween-themed television special starring Paul Lynde which aired only once on October 29, 1976 on ABC. It features guest stars including Margaret Hamilton (who reprises her role as the Wicked Witch of the West), Billie Hayes (as Witchiepoo from H.R. Pufnstuf), Tim Conway, Roz Kelly, Florence Henderson, rock band KISS, Billy Barty, Betty White and, in an unbilled surprise appearance, Donny and Marie Osmond.
Mitzi Gaynor opens her second special with a dazzling performance of "Let Go." Additional songs include "Poor Papa," and "What'll I Do." She welcomes guest star Ross Martin (The Wild, Wild, West) for a musical-comedy spoof of Gone with the Wind. Other comedy skits include Mitzi as "The Kid" describing a school recital, and as a Hungarian Gypsy performing "Those Were the Days."
A small-town girl wins a date with a Hollywood star through a contest. When the date goes better than expected, a love triangle forms between the girl, the celebrity, and the girl's best friend.
The Christmas tree isn't the only thing green in this new holiday classic. Shrek is back and trying to get into the spirit of the season. After promising Fiona and the kids a Christmas they'll remember, he is forced to take a crash course in the holiday. But just when he thinks he has everything for their quiet family Christmas just right, there is a knock at the door.
The most glittering, expensive, and exhausting videotaping session in television history took place Friday February 19, 1982 at New York's Radio City Music Hall. The event, for which ticket-buyers paid up to $1,000 a seat (tax-deductible as a contribution to the Actors' Fund) was billed as "The Night of 100 Stars" but, actually, around 230 stars took part. And most of the audience of 5,800 had no idea in advance that they were paying to see a TV taping, complete with long waits for set and costume changes, tape rewinding, and the like. Executive producer Alexander Cohen estimated that the 5,800 Radio City Music Hall seats sold out at prices ranging from $25 to $1,000. The show itself cost about $4 million to produce and was expected to yield around $2 million for the new addition to the Actors Fund retirement home in Englewood, N. J. ABC is reputed to have paid more than $5 million for the television rights.
A Wild West cow town is starving for entertainment and it falls upon Calamity Jane, a rowdy, gun-toting tomboy, to go to Chicago to bring back a famed stage actress. She brings instead the star's maid, who settles in the town, but Jane's "Secret Love" falls for her. This television special was based on a stage adaptation of the film that was playing regional circuits at the time it aired.
The program was the first so-called "Television Spectacular". Ford presented the show without commercial interruption. It is believed to be the first time that Edward R. Murrow appeared on NBC in a professional capacity. Also, in 1953, it was necessary for Ford to buy time on two networks to ensure maximum coverage of US TV households - at the time, neither CBS nor NBC reached 100% of them. The famed 1953 television special celebrating the Ford Motor Company's 50th anniversary brought together two of the greatest leading ladies Broadway has ever known. The highlight of the program is Merman and Martin’s 13-minute duet medley, where they sing the songs that made them famous, plus much more. On their own, Merman sings “Alexander’s Ragtime Band” and “Mademoiselle from Armetières” and Martin performs a brilliantly comic routine about changes in fashion over the first half of the 20th century.
When the seventh shogun, Ietsugu died, shogunate officials chose Yoshimune, Lord of Kishu, to succeed him. Since then Yoshimune has led a double life.In court he remains a dedicated leader, but outside he travels incognito as a wandering swordsman, seeking out crime and corruption. With his trusted friends and his ninja, he’ll expose anyone who perverts the shogun’s justice and oppresses his people and he’ll ruthlessly put them down with his lightning-fast sword. But since he became shogun, many high-placed officials look on with jealousy, and long to destroy him. One such man, Lord Owari, tries to unseat Yoshimune by exposing his mother as a practitioner of an outlaw religion, Christianity, an offense punishable by crucifixion!
In prohibition-era Chicago, the corrupt sheriff and Guy Gisborne, a south-side racketeer, knock off the boss Big Jim. Everyone falls in line behind Guy except Robbo, who controls the north side. Although he's out-gunned, Robbo wants to keep his own territory. A pool-playing dude from Indiana and the director of a boys' orphanage join forces with Robbo; and, when he gives some money to the orphanage, he becomes the toast of the town as a hood like Robin Hood. Meanwhile, Guy schemes to get rid of Robbo, and Big Jim's heretofore unknown daughter Marian appears and goes from man to man trying to find an ally in her quest to run the whole show. Can Robbo hold things together?
Comic Relief and Children in Need join forces to deliver a very special night of television, hosted by Lenny Henry and Matt Baker.
Raising money and awareness for Color of Change and José Andrés' World Central Kitchen supporting Black Lives Matter and COVID-19 relief efforts.
The Grand Knockout Tournament (colloquially also known as It's a Royal Knockout) was a one-off charity event which was shown on British television on 19 June 1987. It followed the format of It's a Knockout, a slapstick TV gameshow which was broadcast in the UK until 1982. The event was staged on the lakeside lawn of the Alton Towers stately home-cum-theme park.
Garry Trudeau's classic characters (Mike Doonesbury, Zonker, etc.) examine how their lifestyles, priorities, and concerns have changed since the end of their idealistic college days in the 1960s. Preserved by the Academy Film Archive in 2012.
A talented photographer stuck in a dead-end job inherits an antique Advent calendar that may be predicting the future -- and pointing her toward love.
Austin Powers presents his own kind of shagadellic swinging shindig courtesy of MTV to promote his movie, Austin Powers International Man of Mystery. Edited in the style of 'Rowan & Martin's Laugh-In', Austin shows clips from his film, including a spotlight on Elizabeth Hurley and explains how he is adjusting to the nineties after being frozen for thirty years.
33 1⁄3 Revolutions per Monkee is a television special starring the Monkees that aired on NBC on April 14, 1969. Produced by Jack Good, guests on the show included Jerry Lee Lewis, Fats Domino, Little Richard, the Clara Ward Singers, the Buddy Miles Express, Paul Arnold and the Moon Express, and We Three. Although they were billed as musical guests, Julie Driscoll and Brian Auger (alongside their then-backing band The Trinity) found themselves playing a prominent role; in fact, it can be argued that the special focused more on the guest stars (specifically, Auger and Driscoll) than the Monkees themselves. This special is notable as the Monkees' final performance as a quartet until 1986, as Peter Tork left the group at the end of the special's production. The title is a play on "33 1⁄3 revolutions per minute."
"Stewie Kills Lois" and "Lois Kills Stewie" is a two-part episode of the sixth season of the animated comedy series Family Guy, which was originally produced for the end of Season 5.
Montreux Comedy Festival 2012 - Bref on Fait Un Gala
Micha Wertheim asks himself and his audience how to live and survive in a gloomy future perspective. Populism seems to have been taken for granted by both right-wing and left-wing parties. Racism, sexism, anti-Semitism seem to be increasing. The planet is dying. The factory farming industry is still booming. We have reached a dead end and we are standing with our noses against a blank wall. All we can do now is turn around to see how we got here, with our backs against the wall.
This comedy/theatre show is the sequel to 'Micha Wertheim: Somewhere Else'. This second show starts exactly where the first show ended: in the same theatrical scenery, with the same robot. But this time Wertheim surprises his audience by showing up. He tells about how the first experimental comedy show was received and contemplates about the magic of theatre and art in a society about the right to exist of art in a society that allows less and less doubt and confusion. When Robot falls into a depression, the boundaries between theater and reality begin to blur.