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Look Back at 50 Years of New York Cinema Packed Into 4 Minutes

United Artists
United Artists

Times Square, Central Park, the Statue of Liberty—these New York City landmarks are recognizable to people around the world, thanks in part to cinema.

According to Gothamist, film editor Sergio Rojo compiled clips from 70 films that span 56 years in order to make this epic supercut of New York City’s big screen appearances. Scenes from over 100 movies are filmed in the city in a year alone, so this doesn't come clost to covering New York’s entire filmography. But the films most famously associated with the setting—like Breakfast at Tiffany’s (1961), Manhattan (1979), and Ghostbusters (1984)—are represented.

You can find the full list of featured titles on the video’s Vimeo page.

[h/t Gothamist]

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A Stretchy Past: Remembering Stretch Armstrong
Dan Kitwood, Getty Images
Dan Kitwood, Getty Images

One sure sign of a toy craze is annoyed toy store owners, and in 1976, there were plenty of them. The reason? The Kenner Company had introduced a novel 10-inch latex doll that never remained on shelves for more than a few minutes at a time.

He was Stretch Armstrong, and the $11 toy that made Kenner over $50 million in revenue had a secret: He was basically just a big sack of corn syrup.

Stretch Armstrong toys are put on display
Leon Neal, AFP/Getty Images

Stretch came to a market before Star Wars, He-Man, G.I. Joe, and other brands shrunk characters down to just a few inches to make their vehicles more affordable. Taken to his literal length, he may have been the largest action figure ever produced. By tugging on his arms, legs, and torso, the toy could expand to a Reed Richards-esque 4 feet long. Similar-sized toys may have had cloth outfits and cool accessories, but kids couldn't tie them into literal knots.

The idea for a stretchable toy was hatched at Kenner in 1974 by design director Jesse Horowitz, who shared a satellite office in New York with the company's vice president of research and development, James "Jeep" Kuhn. "My job was to come up with ideas," Horowitz tells Mental Floss. "Every week or two, he'd take a look and say, 'I like that one.'"

One of the sketches that caught Kuhn's eye was what Horowitz called "Stretch Man." It was a figure that kids could treat like taffy, contorting his limbs until they snapped back into place. Initially, the idea use coiled springs for a skeleton, but that was dismissed when concerns grew over the potential for kids to cut themselves on the metal.

"Jeep, being a chemical engineer, said, 'We could put some syrup in it instead," Horowitz says. "So we sent our secretary out to buy a bunch of Karo syrup at the local A&P. We cleaned out the shelves."

In the office, Kuhn, Horowitz, and a model maker named Richie Dubek boiled down the corn syrup until it was devoid of air and filled their sample latex molds. They showed it to Kenner president Bernie Loomis, who quickly signed off on the product.

For mass production, the company eventually settled on using a mold to create a latex “muscleman” without a head: His neck would be the filling station for a gooey infusion of corn syrup, which was cut with micron-sized bits of glass and wood particles to help increase his volume. After some experimentation, Kenner arrived at just the right viscosity of syrup that would let Stretch return to his regular proportions without harming his latex dermis.

The patent speculated that the process could be applied to everything from a sumo wrestler to a giraffe to a “shapely woman.” While Horowitz had considered making a sumo man, his prototype was too heavy and the idea was discarded. As for the woman, he says Kenner considered it, but not as a stretch figure. "They thought they could take the corn syrup and make a more realistic doll, since Bernie wanted to beat Barbie at the time," he says. "But it never went anywhere."

In the end, the company stuck with Stretch for their holiday 1976 debut. Supported by television spots, the toy was quickly cleaned off shelves, joining Pong games and Kenner’s own Bionic Woman figure as one of the biggest retail successes of the season—not to mention one of the largest consumers of corn syrup in the country.

In the event kids nicked Stretch, he came with 10 tiny bandages to re-seal his skin. Still, the force of play sometimes left him oozing his gelatinous red plasm, particularly around his neck, where his head had been affixed with an O-ring to close his syrup orifice.

Stretch sold steadily from 1976 to 1979, at which point the novelty seemed to wear off. Market saturation could have been one reason: In addition to Kenner’s Stretch Octopus, Stretch Monster, and Stretch X-Ray, the Mego Corporation allegedly took some manufacturing secrets from a disgruntled ex-Kenner employee and started issuing a line of Elastic superheroes like Batman, Spider-Man, and Superman. Kenner sued for unfair competition, and a judge barred Mego from exporting factory technology to make the dolls. But it was a largely moot point as the toys' popularity was already well in decline.

Today, Stretch’s relatively fragile nature has made him a valuable aftermarket item. Armstrong dolls in a box that aren’t bleeding profusely from '70s wounds can fetch over $1000 on auction sites, with especially rare versions or prototypes worth more. Mego’s Batman knockoff, considered by some to be a holy grail of stretchable collecting, once sold for $15,000.

Horowitz keeps in touch with collectors, who are typically interested in his original sketches and molds. One of the earliest Stretch samples, however, didn't survive long enough to become a vintage collectible. "I remember taking one of the first samples home and putting it on our bookshelf," Horowitz says. "Because it was facing the window, the UV light just ate right through the latex and the red syrup came dripping down all over my wife's books. I was in the doghouse for a while after that."

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16 Fun Facts About The Carol Burnett Show
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CBS

After a short stint in the New York theater world, comedienne Carol Burnett landed a job as a regular on The Garry Moore Show in 1959. She caught the attention of CBS executives, who offered her her own series in 1967. With her husband Joe Hamilton at the helm, Burnett broke new ground as the first female host of a TV variety show. The Carol Burnett Show ran for 11 seasons and earned a handful of Emmy Awards in the process. To celebrate the legendary comedienne's 85th birthday, here are some fun facts about the show and the folks who made it so side-splittingly hilarious.

1. CAROL BURNETT’S MOTHER WANTED HER TO BE A WRITER.

As Carol Burnett painfully recalled later in life, whenever she’d expressed an interest in a career in the theater as a teen, her mother would always dissuade her and recommend that she would have better luck studying to become a writer. “You can always write, no matter what you look like,” she would add.

2. A TOTAL STRANGER HELPED TO LAUNCH BURNETT’S CAREER.

As she was nearing graduation from UCLA, Burnett and several fellow drama students were invited to a departing professor’s house to perform at his bon voyage party. She performed a scene from the musical Annie Get Your Gun and later that evening, while she was standing in the buffet line, a man she’d never seen before approached her and complimented her performance. He then inquired what she planned to do with her life. She confessed that she dreamed of going to New York one day for a career on the stage, but seeing that she barely had enough gas money to drive back to Los Angeles that evening, it would be a very long time before she’d make it to Broadway. The man told her he’d be happy to lend her $1000 to get her started, with three conditions: that she repay him without interest in five years, that she was never to reveal his identity, and that once she was successful she must pass a similar kindness along to another person in need. (After pondering the offer over the weekend and consulting her mother and grandmother—who advised her to steer clear of the strange man who was probably involved in human trafficking or something worse—she took a chance and accepted his check.)

3. VICKI LAWRENCE CAUGHT BURNETT’S ATTENTION BY WRITING HER A FAN LETTER.


CBS Television - eBay, Public Domain, Wikimedia Commons

When Vicki Lawrence cut her hair in a short “pixie” cut as a high school senior, many of her classmates commented on her resemblance to Carol Burnett. Lawrence’s somewhat overbearing stage mother encouraged her to write Burnett a letter, which she did, enclosing a photo and a newspaper article that mentioned her upcoming appearance in the Inglewood, California Miss Fireball Contest. To her surprise, a seven-months-pregnant Burnett showed up at the pageant to cheer her on. When Burnett had her baby, Lawrence took some flowers to the hospital, thinking she’d just drop them off. But when the nurse on duty saw her, she immediately mistook her for Burnett’s real-life half-sister Chrissie and exclaimed, “Wait until you see the baby!” and ushered her into Carol’s room.

4. LAWRENCE ENDED UP PLAYING BURNETT’S SISTER ON THE SHOW.

When they were casting The Carol Burnett Show, the star remembered the teen and hired her despite her lack of experience. At first her only role was in the recurring “Carol and Sis” sketch, in which Lawrence played “Chrissie,” Burnett’s younger sister. Lawrence recalled in her 1995 autobiography that Burnett was very nurturing to all her co-stars, making sure everyone got their share of the best jokes, but it was Harvey Korman who took her under his wing in the beginning and taught her about timing, dialects, and working with props.

5. THE Q&A AT THE BEGINNING WAS BURNETT’S HUSBAND’S IDEA.


By CBS Television - eBay, Public Domain, Wikimedia Commons

Joe Hamilton was not only Carol Burnett’s husband, he was also the show’s executive producer. It was traditional at the time (and still is, in some cases) to have a stand-up comic step onstage before a show to tell some jokes and “warm up” the audience. Hamilton was wary of going that route, however; as Burnett later recalled, “He worried, ‘What if the guy is funnier than the rest of you?’” He thought it would be a good ice-breaker if Burnett herself went out front before the proceedings to welcome the audience and answer a couple of questions. Over the next 11 seasons, the question that she was asked the most was “Can you do your Tarzan yell?”

6. BURNETT ONCE USED HER TARZAN YELL AS A FORM OF IDENTIFICATION.

While shopping for nylon stockings at New York City’s Bergdorf Goodman one day, the saleswoman recognized Burnett and asked for her autograph for her grandchildren. When it came time to check out, Burnett realized that she didn’t have her credit card or driver’s license in her wallet. She inquired if she could write a check. “I’ll have to see some ID,” replied the woman who’d requested an autograph just moments before. The floor manager intervened and told Burnett that she’d accept her check if Burnett would do her Tarzan yell. Burnett complied, prompting a security guard to kick open a nearby door, burst in and point his gun at her.

7. LYLE WAGONNER WAS THE FIRST CENTERFOLD IN PLAYGIRL MAGAZINE.

Joe Hamilton was looking for a handsome, “Rock Hudson-type” when casting the announcer for his wife’s show. Former encyclopedia salesman Lyle Waggoner landed the job not only due to his devastating good looks, but also because he had a good sense of humor about how pretty he was. He was even good-natured about the teasing he got from his castmates after posing for the centerfold of Playgirl magazine’s premiere issue in 1973.

8. HARVEY KORMAN WAS THE FIRST CAST MEMBER HIRED.

The producers wanted a “Harvey Korman-type” for Burnett’s second banana, but didn’t bother to actually ask Korman if he was interested in the job because he was already a regular on The Danny Kaye Show, and most likely he wouldn’t leave a steady job for an unproven new show. Burnett herself spotted Korman in the CBS parking lot one day and “practically threw him over the hood of a car” begging him to join her show. Unbeknownst to her, Kaye’s show was about to get the axe after a four-year run, so Korman cheerfully accepted her offer shortly after that first meeting.

9. TIM CONWAY RARELY FOLLOWED HIS SCRIPT.

Conway had been a frequent guest star on the show, and when Lyle Waggoner decided to leave the show in 1974 (he felt that he was being “underused”), Conway was hired to replace him the following year. Conway was legendary for veering off-script and ad-libbing for lengthy stretches, to the amusement of some of his co-stars (Korman) and annoyance of others (Lawrence, who sometimes resented Conway’s disruptions and spotlight-hogging). Lawrence finally slipped her own ad-lib in on one memorable occasion, as Conway rambled on and on about an elephant during a “Family” sketch. Her NSFW remark brought the rest of the cast to their knees and was said to be Dick Clark’s favorite all-time outtake on his Bloopers and Practical Jokes TV show.

10. MRS. WIGGINS WAS ORIGINALLY WRITTEN AS AN ELDERLY WOMAN.

Conway created the Mr. Tudball/Mrs. Wiggins characters and wrote (or ad-libbed) many of their sketches. His original concept had Mrs. Wiggins being ancient, slow, and forgetful. But costume designer Bob Mackie decided that Burnett had played too many “old lady” characters on the show and designed a very voluptuous look for her instead. He explained at the time that he had certain “ditzy” CBS secretaries in mind when he stitched the curvy costume together.

11. THE SHOW THAT BECAME MAMA’S FAMILY STARTED OUT AS A MUCH DARKER ONE-OFF SKETCH.

A sketch called “The Reunion,” which originally aired in March of 1974, featured the characters that eventually became known as “The Family.” In this initial installment, Roddy McDowall played Phillip Harper, the successful younger brother of Eunice, returning home for a visit after winning a Pulitzer Prize. The family members were far crankier and more argumentative (and perhaps more representative of actual family life as they talked over one another and changed topics as soon as a thought occurred to them) than the cartoonish characters they eventually came to be on the syndicated series Mama’s Family. The piece proved to be so popular that 30 more “Family” sketches appeared over the next four seasons, with such guest stars as Alan Alda and Betty White turning up as members of the extended Harper family.

12. IT WAS BURNETT’S IDEA TO MAKE EUNICE AND HER FAMILY SOUTHERN.

The creators of "The Family" sketch were The Carol Burnett Show staff writers Jenna McMahon and Dick Clair. McMahon hailed from Kansas City, Missouri, and envisioned the Harpers to be of typical Midwestern stock, but as Burnett read the initial script she heard her own Texan and Arkansan family members speaking. She started speaking the lines with a pronounced Southern drawl, and Vicki Lawrence soon followed suit.

13. DICK VAN DYKE WAS A REGULAR FOR A SHORT TIME.

Harvey Korman left The Carol Burnett Show at the end of season 10 to star in his own sitcom on ABC.  (The Harvey Korman Show was cancelled after five episodes.) Dick Van Dyke was brought in as a replacement, but he was never a very good fit. As Burnett commented after the fact, “When Harvey put on a wig and a dress, he became a woman; when Dick Van Dyke did it, he was Dick Van Dyke in a wig and a dress.” Van Dyke wasn’t overjoyed with the job, either; he lived in Arizona at the time and the monthly 4000-mile commute was exhausting. He was released from his contract in November 1977.

14. BURNETT’S “WENT WITH THE WIND” CURTAIN ROD DRESS WAS BOB MACKIE’S BRAINSTORM.

Burnett’s Gone with the Wind parody has made many “funniest shows of all time” lists over the years, and one of the defining moments of the sketch was when Carol (as "Starlett O’Hara”) descends the stairs at Tara wearing the green velvet drapes with the curtain rod still in them and admits, “I saw it in a window and I couldn’t resist.” The original script called for Burnett to have the curtains tossed haphazardly over her shoulders, but Mackie decided that it would be funnier to create an actual dress and leave the hanger intact across her shoulders. He is slightly bitter all these years later that of all his magnificent creations, that “joke” dress has become his signature piece; of all the memorable glamorous gowns he’s created for celebrities over the decades, that curtain rod dress is the one that hangs in the Smithsonian.

15. CONWAY’S FAMOUS “DENTIST” SKIT WAS BASED ON AN ACTUAL INCIDENT.

When Conway was in the Army having some work done on his teeth, the dentist accidentally injected his own thumb with Novocain. Conway exaggerated the experience to hilarious effect in a classic skit that left Harvey Korman struggling to contain his laughter. During a 2013 interview, Conway told Conan O’Brien that Korman actually wet himself from laughing so hard.

16. THERE WAS ONLY ONE CELEBRITY GUEST THAT BURNETT WAS NEVER ABLE TO BOOK.

Over the 11 seasons the show ran, a veritable “Who’s Who” of the entertainment industry did a guest turn, from Steve Martin to Julie Andrews to then-governor Ronald Reagan to Robin Williams to Ethel Merman. The only guest who Burnett dearly wanted to have but never did get was Bette Davis. Davis was willing to appear but demanded more money that the show had budgeted. Joe Hamilton advised his wife that if they gave in to Davis’s demand, it would set an unpleasant precedent.

Additional Sources:
Vicki!: The True-Life Adventures of Miss Fireball, by Vicki Lawrence
This Time Together, by Carol Burnett
Let’s Bump Up the Lights (The Carol Burnett Show DVD extra)

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