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13 Things You Might Not Know About Diff'rent Strokes

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If you were tuned in to a television anytime between 1978 and 1986, you were likely exposed to the phenomenon that was NBC’s Diff’rent Strokes. A star vehicle for precocious kid actor Gary Coleman, Strokes mined comedy from the odd coupling of millionaire Mr. Drummond (Conrad Bain) and his dead housekeeper’s orphaned children, Arnold (Coleman) and Willis (Todd Bridges).

The show ran for eight seasons and is likely as notable for the melodrama surrounding its young stars as it is for anything they did onscreen. Have a look at 13 facts Willis was, at some point or another, probably discussing.  

1. It Made the Schedule Because The Little Rascals Didn’t.

NBC President Fred Silverman knew he wanted to do something with Gary Coleman, the polished 10-year-old who had gotten attention for his commercial spots. (Coleman was so poised that at one point he was believed to be a little person.) The actor taped a pilot for a Little Rascals update in 1978, but the network declined to move forward. Still anxious to find a project, Silverman slotted him in a script about two brothers from Harlem who move into a posh Manhattan penthouse. While Bain was the ostensible star of the show, it was Coleman’s portrayal of Arnold that entertained audiences: The show never fell outside of the top 30 during its first three seasons.

2. White Supremacists Were Not Fans.

While Strokes was never a highly politicized series, some viewers were uncomfortable with the idea of a rich white millionaire adopting two black children. After the show premiered, Bain received letters from the Ku Klux Klan that were threatening in nature and sealed in wax by a Grand Dragon; Todd Bridges claimed he was also harassed by self-identified Klan members.  

3. The Title May Have Been Inspired by Muhammad Ali.

According to the Yale Book of Quotations, boxing great Ali (who made a cameo in a 1979 episode) was quoted by the Great Bend Daily Tribune in 1966 as saying, “Different strokes for different folks.” Musician Syl Johnson further popularized the phrase in a 1968 song. Prior to the stylized title, producers considered calling it 45 Minutes from Harlem.  

4. Gary Coleman Sat Out Episodes Over Money.

Despite being the main attraction of Strokes, Coleman was paid a fairly paltry $1,800 per episode when the show debuted. His parents—who also happened to be his managers—successfully argued for a raise to $30,000 per episode. By 1981, the promise of lucrative syndication money led to another request; this time the protracted contract negotiations had Coleman sitting on the sidelines for the first episodes of the fourth season. His salary was eventually increased to $70,000 per episode, making him NBC’s highest-paid comedic actor for a period of time.

5. Coleman Tweaked His Catchphrase.

According to series writer Ben Starr, the character of Arnold had a line that was scripted as, “What are you talking about, Willis?” When Coleman read it, he compressed it into what would become one of the most pervasive catchphrases of the 1980s: “Whatchoo talkin’ ‘bout, Willis?” The writers wanted to be careful to partition it out in future seasons so it wouldn’t wear out its welcome, but that wasn’t entirely successful: By the late 1990s, Coleman was so tired of the line he refused to say it.

6. It Cornered the Market on 'Very Special' Episodes.

Sitcoms tackled serious themes at least as far back as the 1970s, when Edith Bunker was assaulted in a particularly jarring episode of All in the Family. But it wasn’t until the 1980s that comedies regularly took movie-of-the-week themes and used them to garner press attention for a substantial bump in ratings. In 1983, Strokes aired a two-part episode about child molestation where Gordon Jump (later known as Maytag’s Lonely Repairman) attempts to seduce Arnold and his friend. The show was so successful that Very Special Episodes devoted to bulimia, epilepsy, alcoholism, and the dangers of hitchhiking followed; fittingly, Strokes' last-ever episode in 1986 was a VPE, featuring Arnold investigating a steroid scandal for the school newspaper.

7. Alan Thicke Co-Wrote the Theme Song.

Best known either for his role as affable dad Jason Seaver on Growing Pains or affable father of singer Robin Thicke, Alan spent time in the ‘80s composing a quantity of memorable television music. In addition to writing the theme song for The Facts of Life, Thicke sang on and co-wrote the music and lyrics to the Diff’rent Strokes theme. In 2012, an interviewer got Thicke's son to sing part of it.

8. Coleman Had A Kidney Transplant During Its Run.

Coleman’s short stature was the result of drugs given to the youngster to address a genetic birth defect: he was born with one atrophied kidney and the other already failing. By age five, he had received his first kidney transplant. After getting a second one in 1984 and facing another operation in 1986, Coleman opted for dialysis four times daily instead. Through it all, the drugs given to manage his condition resulted in a suppressed growth phase. By age 14, Coleman knew he wouldn’t grow beyond four feet eight inches. One episode of the series was even devoted to his character coming to grips with the same affliction.

9. Arnold Appeared on Other Shows.

With NBC executives eager to have Coleman use his magic on the rest of their schedule, Arnold was jettisoned to Silver Spoons, Strokes spinoff The Facts of Life, and even on the wholly-unrelated Steven Spielberg-produced anthology series Amazing Stories. In “Remote Control Man,” a henpecked husband is able to transform his domestic existence into something out of a sitcom, running into Arnold along the way.

10. Coleman Lobbied to Be Less of a Kid.

As he neared adulthood, a teenaged Coleman began to grow very weary of playing an adolescent Arnold. For the last season, he successfully petitioned the writers to place Arnold in high school in order to feed more mature plots like dating and driving, with less jumping into Mr. Drummond’s lap. He also convinced NBC to give him a dramatic role in 1985 as the lead in a TV movie, Playing with Fire, about a child arsonist who wants to set the family dog ablaze. Like his Very Special Episodes, it ends with a strong message for would-be firebugs: “Get therapy.” 

11. Todd Bridges Played a Guy Who Sold Drugs to a Younger Todd Bridges.

Life after Strokes was not kind to its juvenile performers. Dana Plato, who portrayed Kimberly Drummond, struggled with substance abuse and once robbed a convenience store before dying of a drug overdose in 1999. A near-unemployable Coleman died in 2010 of complications owing to a fall, and Bridges was involved in a series of drug-related incidents before settling down. For a 2000 Fox docudrama about the making of the show, Bridges plays a drug dealer who sells drugs to an actor playing his younger self. In a 2006 TV movie, his real-life sister, Verda, portrays his mother.    

12. Willis Won the Publisher’s Clearing House Sweepstakes.

A 2013 ad campaign for wish-fulfillment Publishers Clearing House used archival footage from old sitcoms to portray characters answering the door and seeing the “Prize Patrol.” In a spot fashioned out of Diff’rent Strokes footage, Arnold is chagrined to find out Willis has won the million-dollar prize.  

13. Coleman Said Goodbye to Arnold on The Fresh Prince of Bel-Air.

Despite being vocal about wanting to move on from the show, Coleman agreed to reprise the character of Arnold for the 1996 series finale of The Fresh Prince of Bel-Air. After the Banks clan decides to separate to pursue separate opportunities, Will (Will Smith) shows their home to prospective buyers, including Arnold and Mr. Drummond, who provides some meta commentary after Arnold deploys his catchphrase. “You know, Arnold,” he says, “those things were a lot funnier when you were still a little child.”  

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10 Regional Twists on Trick-or-Treating
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Walk around any given American neighborhood on the night of October 31, and you’ll likely hear choruses of "trick-or-treat" chiming through the area. The sing-songy phrase is synonymous with Halloween in some parts of the world, but it's not the only way kids get sweets from their neighbors this time of year. From the Philippines to the American Midwest, here are some regional door-to-door traditions you may not have heard of.

1. PANGANGALULUWA // THE PHILIPPINES

Rice cakes wrapped in leaves.
Suman

The earliest form of trick-or-treating on Halloween can be traced back to Europe in the Middle Ages. Kids would don costumes and go door-to-door offering prayers for dead relatives in exchange for snacks called "soul cakes." When the cake was eaten, tradition held that a soul was ferried from purgatory into heaven. Souling has disappeared from Ireland and the UK, but a version of it lives on halfway across the world in the Philippines. During All Saints Day on November 1, Filipino children taking part in Pangangaluluwa will visit local houses and sing hymns for alms. The songs often relate to souls in purgatory, and carolers will play the part of the souls by asking for prayers. Kids are sometimes given rice cakes called suman, a callback to the soul cakes from centuries past.

2. PÃO-POR-DEUS // PORTUGAL

Raw dough.
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Instead of trick-or-treating, kids in Portugal go door-to-door saying pão-por-deus ("bread for god") in exchange for goodies on All Saints Day. Some homeowners give out money or candy, while others offer actual baked goods.

3. HALLOWEEN APPLES // WESTERN CANADA

Kids trick-or-treating.
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If they're not calling out "trick-or-treat" on their neighbors’ doorsteps on Halloween night, you may hear children in western Canada saying "Halloween apples!" The phrase is left over from a time when apples were a common Halloween treat and giving out loose items on the holiday wasn't considered taboo.

4. ST. MARTIN'S DAY // THE NETHERLANDS

The Dutch wait several days after Halloween to do their own take on trick-or-treating. On the night of November 11, St. Martin's Day, children in the Netherlands take to the streets with their homemade lanterns in hand. These lanterns were traditionally carved from beets or turnips, but today they’re most commonly made from paper. And the kids who partake don’t get away with shouting a few words at each home they visit—they’re expected to sing songs to receive their sugary rewards.

5. A PENNY FOR THE GUY // THE UK

Guy Fawkes Night celebration.

Peter Trimming, Wikimedia Commons // CC BY-SA 2.0

Guy Fawkes Night is seen by some as the English Protestants’ answer to the Catholic holidays associated with Halloween, so it makes sense that it has its own spin on trick-or-treating. November 5 marks the day of Guy Fawkes’s failed assassination attempt on King James as part of the Gunpowder Plot. To celebrate the occasion, children will tour the neighborhood asking for "a penny for the guy." Sometimes they’ll carry pictures of the would-be-assassin which are burned in the bonfires lit later at night.

6. TRICKS FOR TREATS // ST. LOUIS, MISSOURI

Kids knocking on a door in costume.
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If kids in the St. Louis area hope to go home with a full bag of candy on Halloween, they must be willing to tickle some funny bones. Saying "tricks-for-treats" followed by a joke replaces the classic trick-or-treat mantra in this Midwestern city. There’s no criteria for the quality or the subject of the joke, but spooky material (What’s a skeleton’s favorite instrument? The trombone!) earns brownie points.

7. ME DA PARA MI CALAVERITA // MEXICO

Sugar skulls with decoration.
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While Dia de los Muertos, or Day of the Dead, is completely separate from Halloween, the two holidays share a few things in common. Mexicans celebrate the day by dressing up, eating sweet treats, and in some parts of the country, going house-to-house. Children knocking on doors will say "me da para mi calaverita" or "give me money for my little skull," a reference to the decorated sugar skulls sold in markets at this time of year.

8. HALLOWEEN! // QUEBEC, CANADA

Kids dressed up for Halloween.
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Trick-or-treaters like to keep things simple in the Canadian province of Quebec. In place of the alliterative exclamation, they shout “Halloween!” at each home they visit. Adults local to the area might remember saying "la charité s’il-vous-plaît "(French for “charity, please”) when going door-to-door on Halloween, but this saying has largely fallen out of fashion.

9. SWEET OR SOUR // GERMANY

Little girl trick-or-treating.
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Halloween is only just beginning to gain popularity in Germany. Where it is celebrated, the holiday looks a lot like it does in America, but Germans have managed to inject some local character into their version of trick-or-treat. In exchange for candy, kids sometimes sing out "süß oder saures"—or "sweet and sour" in English.

10. TRIQUI, TRIQUI HALLOWEEN // COLOMBIA

Kids dressed up for Halloween.
Rubí Flórez, Flickr // CC BY-NC-ND 2.0

Kids in Colombia anticipate dressing up and prowling the streets on Halloween just as much as kids do in the States. There are a few significant variations on the annual tradition: Instead of visiting private residencies, they're more likely to ask for candy from store owners and the security guards of apartment buildings. And instead of saying trick-or-treat, they recite this Spanish rhyme:

Triqui triqui Halloween
Quiero dulces para mí
Si no hay dulces para mí
Se le crece la naríz

In short, it means that if the grownups don't give the kids the candy they're asking for, their noses will grow. Tricky, tricky indeed

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11 Thrilling Facts About Dial M for Murder
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In 1953 Alfred Hitchcock was looking for a new project after a film he’d been developing fell through. Sensing a need to go back to his safe space of murderous thrillers, he opted to adapt a stage play that had already proved to be a hit on British television. Though he had no particular attachment to the project, Dial M for Murder would ultimately become one of Hitchcock’s best-known—and best-loved—classics.

From the film’s use of 3D to the debut of Grace Kelly in Hitchcock’s filmography to a pivotal murder sequence that made the director lose weight from stress, here are 11 facts about Dial M for Murder.

1. IT’S BASED ON A STAGE PLAY.

Dial M for Murder is, in terms of locations and number of characters, a relatively sparse film that barely leaves its primary set. This is because it was based on a stage play by Frederick Knott, which premiered as a BBC TV special in 1952 and later opened at London’s Westminster Theater and, eventually, Broadway. After seeing the BBC production, producer Sir Alexander Korda purchased the rights to make the film version, and later sold them to Warner Bros. for $75,000.

2. ALFRED HITCHCOCK THOUGHT HE WAS “COASTING” WHEN HE MADE THE FILM.

By 1953, when Dial M for Murder arrived at Warner Bros., Hitchcock was developing a project called The Bramble Bush, the story of a man who steals another man’s passport, only to find out that the original owner is wanted for murder. Hitchcock wrestled with the story for a while, but was never satisfied with it. When Dial M for Murder landed at the studio, Hitchcock knew the play had been a hit, and opted to direct it. As he later told fellow director François Truffaut, he found the film to be “coasting, playing it safe,” as he was already known as a thriller filmmaker.

3. IT’S HITCHCOCK’S ONLY 3D FILM.

In the early 1950s, the 3D movie craze was raging, and Warner Bros. was eager to pair it with the fame of Hitchcock. So, the director was ordered to use the process on Dial M for Murder. This meant Hitchcock had to work with the giant cameras necessary for the process, but there was also a trade-off that makes the film fascinating—even in 2D. In order to make the film look appropriately interesting in 3D, Hitchcock added a pit into the floor of the set, so the camera could move at lower angles and captures objects like lamps in the foreground. As a result, the film looks like no other Hitchcock ever shot, particularly for the infamous scissors murder that’s the film's thrilling centerpiece. Unfortunately, by the time Dial M for Murder was released in 1954, the 3D fad was dying out, so the film was shown in 2D at most screenings.

4. IT WAS HITCHCOCK’S FIRST FILM WITH GRACE KELLY.

Of all of the iconic blonde stars Hitchcock cast in his films, the most famous is almost undoubtedly Grace Kelly, the actress-turned-princess who first joined him for this film. Hitchcock once described Kelly as a "rare thing in movies ... fit for any leading-lady part,” and it was said he had the easiest working relationship with her of any star. They worked so well together that they went on to make two more films, Rear Window in 1954 and To Catch a Thief in 1955.

5. IT TAKES PLACE ALMOST ENTIRELY INDOORS.

Because Dial M for Murder is based on a stage play, the original script had very little in the way of outdoor set pieces. Hitchcock wanted to keep it that way, as he later explained to Truffaut:

“I’ve got a theory on the way they make pictures based on stage plays; they did it with silent pictures, too. Many filmmakers would take a stage play and say, ‘I’m going to make this into a film.’ Then they would begin to ‘open it up.’ In other words, on the stage it was all confined to one set, and the idea was to do something that would take it away from the confined stage setting.”

Hitchcock wanted to keep the confinement intact, so almost all of the action in the film takes place indoors, largely in the Wendices' apartment. This adds to the intimacy and tension.

6. HITCHCOCK PERSONALLY CHOSE EVERY PROP.

Hitchcock was always known as a meticulous director obsessed with detail, but on Dial M for Murder he was particularly detail-oriented, in part because the 3D cameras were going to capture objects in a way his other films hadn’t. As a result, he selected all of the objects in the Wendice apartment himself, and even had a giant false telephone dial made for the famous “M” close-up in the title sequence.

7. KELLY’S WARDROBE GROWS DARKER ON PURPOSE.

Grace Kelly in 'Dial M for Murder' (1954)
Warner Home Video

Hitchcock’s exacting eye also led to an elaborate “color experiment” to portray the psychological condition of Kelly’s character. As the film begins, the colors she wears are all very bright, suggesting a happy life in which she doesn’t suspect anything is wrong. As the film grows darker for her, to the point that she’s framed for murder, the wardrobe grows darker and “more somber,” as Hitchcock put it.

8. KELLY WON A PARTICULAR WARDROBE ARGUMENT.

For the scene in which Swann (Anthony Dawson) attempts to murder Margot (Kelly) by strangling her (until she manages to stab him with a pair of scissors), Hitchcock had another exacting wardrobe request. He had an elegant velvet robe made for Kelly, hoping to create interesting textural effects as the lights and shadows played off the fabric while she fought for her life. Kelly reasoned that, since Margot was alone in the apartment (as far as she knew) and was only getting out of bed to answer the phone, she wouldn’t bother to put on a robe.

“I said I wouldn't put on anything at all, that I'd just get up and go to the phone in my nightgown. And [Hitchcock] admitted that was better, and that's the way it was done,” Kelly later recalled.

9. HITCHCOCK WAS SO NERVOUS ABOUT THE PIVOTAL SCENE THAT HE LOST WEIGHT.

Dial M for Murder was shot in just 36 days, but the director took special care with one scene in particular: the murder sequence in which Margot stabs Swann with the scissors. Not only was it a key scene in the film, but it was also a moment that required particular care to make the 3D effects work. Hitchcock agonized over the scene to such a degree that he apparently lost 20 pounds during filming.

"This is nicely done but there wasn't enough gleam to the scissors, and a murder without gleaming scissors is like asparagus without the hollandaise sauce—tasteless,” he reportedly said after one take.

10. HITCHCOCK MAKES HIS CAMEO IN A PHOTOGRAPH.

Hitchcock became known throughout his career for making cameos in his films, ranging from the very subtle (you can see his silhouette in neon outside the window in Rope) to the more elaborate (missing the bus in the opening sequence of North by Northwest). In Dial M for Murder, his cameo falls somewhere in between. He appears in a class reunion photo in the Wendice apartment, seated at a banquet table among other men.

11. IT’S BEEN REMADE FOUR TIMES.

Michael Douglas and Gwyneth Paltrow in 'A Perfect Murder' (1998)
Warner Bros.

Dial M for Murder was a film adaptation of a stage play that had also already been adapted for television in Britain, and it proved popular enough that four more adaptations followed. In 1958, NBC broadcast a Hallmark Hall of Fame production, in which both Anthony Dawson and John Williams returned to play Swann and Chief Inspector Hubbard, respectively. A 1967 ABC television production of the play co-starred Laurence Harvey and Diane Cilento. A television movie starring Angie Dickinson and Christopher Plummer was produced in 1981, and in 1998 the play served as the inspiration for the film A Perfect Murder, starring Michael Douglas and Gwyneth Paltrow.

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