That was the opening subject line for an email message received not so long ago from somebody who wanted to know where our presence is for submitting new content on the get-go place in the “Meta Universe” a.k.a. “Cyberspace” to view, post, and share moving imagery.

That place is of course known as YouTube that’s been part of the media landscape since 2005, now in its eighteenth year of existence.

To give you a brief rundown of what we are speaking about. This person only identified as “Dave” wanted to know if we place original content  on YouTube in order to express an idea on what’s going on in the world we exist in.

The email was quick and to the point as stated: “When are you guys going to post new videos on YouTube? -Dave” sent from an email as a Gmail account?

We will get down to the point of Dave’s question in the same fashion that Dave asked us. And out answer is “When we have something new to post”. That’s our answer!

As some of your readers are aware, we have a vast collection of video imagery within our archives. Most of this imagery exists on videotape. Some are on film stock, and even a selection exists as video files of various formats. (The video file collection was obtained as video files, even though some of the material came from other stock.) And from that collection, only five percent of the material was created by me. Another 10% came from amateur sources in the form of home movies and home videos. This means that the remaining 85% was created by somebody else. That bulk of material we don’t have the rights for, meaning that it belongs to somebody else.

As a preservationist, I sit on the very narrow fence with it comes to make my collection available to those that desire to view it and appreciate its value. At the same time, I have to respect the outside courses that might have the rights to the imagery. This is now only because I pay respect to those creators that made the imagery possible, or I don’t want to go through the hassle of that source (or its executors) to have be a “ceased and desist” notice.

First and foremost, I am not an attorney that deals with the issues of copyrights and the connections that go along with it. And I do take note of the difference between what’s known as “fair use” and outright plagiarism. However, those issues are not the only reason why I don’t place anything in my collection that I didn’t have anything to do with its creation. Maybe the reason why I don’t place anything down to including new materials is this–enough to answer as its own paragraph.

I don’t have the time and effort to post older content, as well as to create anything new.

In this day and age, anyone can (and has) posted moving imagery up for anyone to see. Kids as young as seven years old (so they claim they are that age), have used their phone device to place something on TickTok and its many other applications. Those that work with the kid(s) assist in the uploading of the content, and depending on what the content is, they can receive as many as a million views. (Don’t laugh folks! It has happened!) Some even become “influences” which in turn make them celebrities in their own right.

As one suspects, this kind of fame (real or otherwise) belongs to those of youth, generally of the “Gen Z” demographic. (“Gen Z” refers to those born from 1996 to the present.) Some of the Millenniums, born between 1980-1996, also rule, but are aware that there is a new breed attempting to take over. Those that are middle aged, the “Gen X” crowd (born between 1965-1979) who were the demographic that was introduced to the internet as we know it, were accustomed to home video, and many of these folks actually created short video content that exist on VHS, S-VHS, 8mm/Hi8mm, and even on DV. This material didn’t have a creative circulation, only limited to those of the creator’s personal circle, but were the forerunners to original YouTube content.

As for the generation that came before the Gen Xers, the ever lovin’ Baby Boomers? They were the first to become aware of creating moving imagery, either on videotape -assuming that they had access to a camera and a portable tape deck recorder to capture it all), or on Super 8mm film.

The latter format (Super 8mm) was a bit tricky to capture. Usually, one had only three minutes tops to film something. And one always was in a guessing game to discover if whatever was shot on film actually came out OK as there was no way to view the content after it was shot! And if one used 8mm, one can only shoot about ninety seconds of uninterrupted material before the roll as used up, had to be removed from the camera (and to be careful not to expose the roll in direct light), reload the camera, and to continue for another ninety second before the roll was completed. If one was shooting various shots without any real continuity, that roll flip was just an issue to deal with. But if one was shooting a “feature” then one had to be careful not to shoot a scene that should not be broken up!

But videotape did away with such an issue, and many kids (or at least those that were “kids” from 1978 onward) were able to create this form of content. But unless one came from a household that was willing to shell out over $1000 and up for such equipment, then the young folks were real video pioneers to create video.

Of course, editing the video was rather tough. There were ways to do this from editing “in the camera” (shooting a scene, pausing the tape, and releasing the pause button for the next scene shot in real time), something that was mostly done for fun and personal amusement. In short, before there was any method of posting their content to a mass audience outside of their family and friends, these young folks were not looking for fame, although if they did receive it, they would accept what fame came across their way.

Bet getting back to the entire issue on why we don’t place anything on social media. We will consider such when the need calls for it. As if this moment, or the moment as this article is written, there is no cause. But keep in mind folks then that time arrives, you’ll be the first (or second) to know all about it. Just stay tuned to this news service for the updated information and details!

-See you then!


Theater 40 of Beverly Hills closes their 2021-22 season with THE PLAY’S THE THING, a comedy written by Ferenc Molnar and adapted by P.G. Woodhouse is about a playwright who comes up with an idea to save the engagement between his nephew and an actress after the nephew overhears a flirty conversation between his fiancé and an unsavory actor.

The setting is a majestic castle set upon the Italian Riviera in the roaring 1920’s. Sandor Turai (Daniel Leslie), an author of a number of theater plays, undergoes a scheme to rescue an engagement between his nephew Albert Adam (Eric Keitel) and an actress named Idona Szabo (Kristin Towers Rowles) where the young Albert overhears a conversation that’s rather flirty in nature between Idona and her one time lover Almady (Todd Andrew Ball), whose character is on the annoying side. From there, Sandor uses his notable insights to save his nephew and future niece-in-law from a romantic disaster. From there, one element leads toward another with applying sophisticated charisma and wit within its process.

This play was first created by Hungarian playwright Ferenc Molnar in 1924. British playwright Pelham Grenville (“P.G.”) Woodhouse adapted it, writing it in english two year later. This makes this play as a piece of the classic mode set during the era of the early 20th Century known as the time “between the wars” (“The Great War” and “World War II”) where British charm and grace was at its peak. And the way that this play was created, it shows that same charm and grace with a good dose of wit added as its spice. In the Theater 40 production, the lead characters express those notions as well. The elder men are donned in tuxes and smart suits, while the women are dressed in their finest, coming close to being the grand dames that they are as part of the theater scene. (Albert, the youthful one, is just as snappily dressed as all of the rest!) The play itself is very talky where its humor has to be heard with careful ears to really be appreciated. There’s nothing that is “laugh out loud” present, since Woodhouse’s writing shows all of the impressions of smart set canniness.  After all, he was the playwright that created the butler Jeeves who is more of a leading man rather than a part of the domestic help.

These aspects from this between-the-wars phase is what makes this play amusing and as its saving grace. The entire cast in this Theater 40 production performs their roles within those methods where being avant-garde would become the choice way for presentation. Melanie MacQueen directs this program using those same principles adding to its jollification. Along with the visuals to go along with everything else, most notably Michele Young’s costume design, and Jeff G. Rack’s set of furnishings and backdrops that could be found in European based castles, it all adds up to the section that caters toward the smart set of yore.

Also appearing is Michael Robb as Mansky, and Jeffrey Winner as Johann Dwornitschek, the butler.

If one is seeking a British comedy where everyone is running in and out of doors being scantily clad mistaking somebody as someone else, this isn’t the play to find those options. This is a stage performance that is good for the character with subtle humor as its zest. That is why this production is called its title. It’s indeed “the thing” this play is meant to stand by!

THE PLAY’S THE THING, presented by Theatre 40 and performs at the Reuben Cordova Theatre, located within the campus of Beverly Hills High School, 241 South Moreno Drive (off little Santa Monica Blvd.) Beverly Hills, until June 12th. Showtimes are Thursday, Friday, and Saturday nights @ 8:00 PM, and Sunday afternoons at 2:00 PM.    

Theater 40 has announced its schedule of plays for the 2022-23 season. Opening on July 21st is David Ives’ The Metromaniacs, followed by Norm Foster’s A Clean Brush opening on September 22nd. On November 17th, Guess Who’s Coming To Dinner? is presented written by Todd Keiedler adapted from William Rose’s screenplay. On January 19th, ’23 , Katie Forgette’s Incident at Our Lady of Perpetual Help opens, followed by Terrance McNally’s It’s Only A Play on March 23rd. And ending for that season will be Lauren Gunderson’s The Revolution’s Reign of Terror on May 18th, ’23.

For ticket reservations for The Play’s The Thing, as well as details for Theater 40’s 22-23 season, call (310) 364-0535, or via online at      


Tanya Thomas stars in NATURALLY TAN, a solo performance currently performing at the ARTSpace Black Box Theatre in Simi Valley, is about her personal journey in becoming accepted for her ethnic background from her own resident land as well as the land that she adapted as her own.

In this performance, Tanya tells her tale of becoming an actress and performer starting out in her native land of Singapore, located on the southern tip of Malaysia. In this nation, there is an “invisible” ruling where if one holds a lighter complexion within their skin tone, that person will experience more opportunities within their domain, from career choice to overall acceptance. This is also a rule existing in many other countries within Asia. Tanya expresses her journey as told through various characters ranging from a drag queen to an eight year old that note these viewpoints. Of course, since her goal does deal in performing, she relocated to southern California where this rule also tends to apply. She is fortunate that she is in an area of America where the Asian population is rather large, even in recent times where the Asian acceptance has hit a virtual road block. But with any form of being a “person of color” , there are some levels to climb. And she succeeds within this right of passage as told by Tanya and her many alter egos.

This is a program, written and performed by the artist that is based upon her actual experiences, although there is a bit of creative license added to her true appeal story. Tanya reaches out in her honesty on how one must confine to a source that feels that being “whiter” is not only the accepted choice, but in some methods, the only choice. But she accepts this reasoning as she is not alone in these standings. But in the aftermath, Tanya is the sole person on stage! With the assistance of a visual projected background as created by the team of Kenny Johnston as video designer and Serina Morris as graphic designer. Tanya proves to her audience that she holds the complexion of being the tan she has and holds.

Jessica Lynn Johnson, a person well known for developing solo performances from other talented presenters that have a personal epic to share on a stage set, directed this presentation that follows the “sell line” for this show to its “T”; It’s a one woman’s cross cultural path to self-worth.

And that self worth is witnessed within Tanya’s performance. Although the show itself clocks in at about ninety minutes or so, it’s in reality, a saga that was thirty some years in the making! Tanya wraps things up quite nicely. And for the record, Tanya’s skin tone is tan by nature and thus, Naturally Tan!

NATURALLY TAN, presented by and performs at the ARTSpace Black Box Theatre, 2856 School Street, Simi Valley, until May 28th. Showtimes are Saturday evenings at 8:00 PM.

Tickets may be obtained at the door, or through VENMO @Jan-Glasband. More details can also be found through the website


is a presentation of Linear Cycle Productions
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ACCESSIBLY LIVE OFF-LINE (C) 2022 Linear Cycle Productions. All rights reserved. The views and opinions are those of the writers, and not necessarily of the staff and management. ‘Nuff said!


Over the past few weeks, (or maybe past few months, or possibly past few years), there has been a buzz over cryptocurrency. This is the kind of monetary form of money that isn’t anything like traditional paper money, or type of coinage. It’s what Wikipedia describes as …a digital currency designed to work as a medium of exchange through a computer network that is not reliant on any central authority, such as a government or bank, to uphold or maintain it.

Bitcoin was the first, if not one of the first, forms of crypto currently that was made available to the public at large. Since that time, there have been other forms that were brought to the attention of those that are either embraced over this new(er) form of exchangeable money, or something that folks are still attempting to find out about.

Since this year, attention to this method of money came to its center and front. During CBS’s airing of the Super Bowl, a number of cryptocurrency groups bought ad space to make their presence known. (We assume that those ad purchases were bought with good ol’ American-type dollars!!) Another company bought the naming rights to the stadium located in downtown Los Angeles that was formerly known as the Staples Center. (Staples, an office supply retail outlet competes with Office Depot where office supplies and related goods has changed its focus since the turn of the 21st Century!) And even some businesses are starting to accept this form of monetary exchange. But for the most part, there is a load of speculation on how solid crypto really is!

Yours truly may give away his age here, but I was brought up to appreciate, if not outright worship, the almighty American dollar and to a lesser extent, the coinage that goes along with those green wrinkly pieces of paper that have likenesses of presidents long dead and semi forgotten. I knew that having and holding those for said pieces of paper really made a difference. Having a dollar bill in your pocket was the standard. A five dollar bill was ideal. A ten spot was even better. A twenty dollar bill was the highest I ever got! A fifty dollar bill was nearly unmanageable. And a C-note? That kind of paper was something I only would see depicted on a TV show or feature film that was connected to some kind of heist, but never something that would be in my wallet!

When it comes to cyber currency, that to me is a big head scratcher. The younger set (those aged forty and less) might find it as so-called ‘real” money, a form of currency that can be used as part of an investment or a form of “credits” that goods and services could be bought and earned. But for a person like myself that was raised on another method of financial standards? It’s going to become a wait-and-see attitude.

This writer is expressing these facts because I have been offered to get into a few investment groups. I have been receiving solicitations through email as well as good old fashioned postal letters where if I attended a seminar, usually meeting in a local hotel’s meeting space, I can find the real low down to what cyber currency is all about. And if I made an RSVP through the company’s secured website, I can get a 100 credit bonus as a “free” gift.

That’s right folks! If I just showed up to hear about a spiel on their latest and greatest crypto offer, I could get a 100 of these crypto pieces of data! So what am I really waiting for?

Well, I do want to thank you for this offer. However, I feel that cryptocurrency is a bit new to me. And take it from those that might get into this deal. They may become rich by investing in such a coinage, even if there isn’t any “coin” per se. It may be the next big thing, or it may become the next big “thing”. But as of right now, I’m going to take this as an offer that I’m going to refuse!

However, don’t let me stop you in any way! If you want to get into the cryptocurrency market, then have at it! I sincerely hope that you do make a lot of money through these opportunities. However, on the same side of the coin (no puns intended), you may wind up with a lot of space in your cyberspace. Your digital wallets may be just that–digital wallets and nothing more!

I am not anything close to being an expert in finances. I am not even an amateur in this market! So whatever I write about in these columns is just my opinion, and take that opinion for what it’s worth. Then again, I could invest in getting selected Pokemon trading cards. After all, if that person that received a large sum of money (traditional American money that is) from the Small Business Administration’s Paycheck Protection Program loan program to purchase a rare (or rare in theory) Pokemon card, then so be it. And for the record, when the SBA found out that this person didn’t use the money into a business but instead got a Pokemon card with their given amount, the government ceased it! But what if that same person invested in something like Bitcoin? Then the feds would wind up with something invisible. But that debate is for another article, and don’t expect me to write about it!!


Movie stunts are something that’s been depicted on screen ever since movie creation began. Long before those movies had soundtracks, action was the big thing depicted on those square screens. And responsible for that on camera action were a team of stuntmen as well as stunt women, although men tend to receive the credit for what they did, were the ones that drove those wild horses in westerns, jumped on and off fast moving trains, and drove the cars through narrow passageways for both comic and action reliefs. They also fell down high spaces, got involved in fights, set themselves on fire, and nearly risked their lives performing just for the sake of showing off how this movie would be exciting, nerve racking, and even comical, all to get up from their they landed to brush themselves off, only to do it all again in another take or another scene.

Scott McGee writes about those that were the real stars of these action/adventure and even comic films that graced the big and bigger screens in the book DANGER ON THE SILVER SCREEN, 50 Films Celebrating Cinema’s Greatest Stunts. (Running Press). Here, the author examines fifty of these titles, from the 1920 United Artists release of Way Down East (Directed by D.W. Griffith) to Edgar Wright’s Baby Driver, released by Sony Studios in 2017. There are the stories and anecdotes told behind in what made these movies just what they were with all of its action taking place. It was this team of stunt people that were in charge of depicting the falls, fights, and to control and drive the fast moving objects that were depicted while the real stars got all the credit, glory, and even awards for something their character did, but not necessarily for what the stars did themselves. Of course a few of these people, such as Buster Keaton in Steamboat Bill, Jr., Harold Lloyd in Safety Last, Douglas Fairbanks in The Black Pirate, and Steve McQueen behind the wheel of his ’68 Ford Mustang Mach I in Bullitt actually did what they did. And there were movies that made these films what they were when it came to dramatic action with Ben Hur (both the silent and sound versions,), the Indiana Jones series, The James Bond collection, and even movies that were comic in nature with car chases! (From It’s A Mad, Mad, Mad, Mad World, The Blues Brothers, and plenty more!

Loaded with behind the camera stories and photos to go along with them, this book gives credit to those that did all of the action. In the early days, not one stunt person received screen credit for what they did, and this book presents that homage to those that did what they did “going big”. And even though special effects can take up much of the slack in what is depicted on screen, a movie director will insist that there are real people to take their falls. And when watching these movies, it’s never a good idea to attempt to recreate these stunts on your own. That is why stunt folks are professionals. Leave it up to them to become the “fall guys” (and “fall gals”) in moviedom. Just sit back and enjoy.

Of course, Scott McGee was only able to cram in fifty titles that show off the best in stunts. Some titles are well known while a few have been passed over through the years. But one thing for sure. If one admires the work of these stunt folks, then this book is a great companion to have when watching (or rewatching) these films. And the folks at TCM, the cable/screaming channel that shows off these movies from not so long ago, is behind this book title. After all, drama is one thing. Action, thrills, and the stunts behind it all are another!

DANGER ON THE SILVER SCREEN is available where books are sold and exchanged both in person and online.


is a presentation of Linear Cycle Productions
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ACCESSIBLY LIVE OFF-LINE (C) 2022 Linear Cycle Productions. All rights reserved. The views and opinions are those of the writers, and not necessarily of the staff and management. ‘Nuff said!


This is already early May. And when it comes to the movie industry, the business where traditional and perhaps non-traditional outlets involved in the creation and distribution of movies tend to release their line of what’s called “Summer Blockbusters”. These are the kind of titles that are out to make money and those that people want to see for entertainment’s sake. Those factors are behind the real reason why movies are made (to make a profit), and why people will go out to a theater that isn’t located in one’s home or dwelling space and pay for the privilege. These folks want to be entertained. They actually hold the desire to watch something on a big screen, far bigger than one would have within their home and for a time frame from 90 minutes and beyond, and escape to view a storyline featuring characters and settings that is far removed from something out of “real life”.

Just recently, the big movie theater’s convention called Cinecon (formally ShoWest) that is organized by the National Association of Theater Owners (NATO), a trade group of companies that operate traditional movie theaters, had their settee in Las Vegas. The big movie studios as well as a few smaller ones, showed off their new releases to those movie theater programmers with all of the guts and glory one can expect from the company that hails from Hollywood, USA. Actually, out of the six movie studios that were around when “old Hollywood” was alive and living, only Paramount Pictures are based in Hollywood proper. The rest of them are located somewhere else in Los Angeles County. Disney and Warner Bros. are in Burbank. Universal is based in Universal City and in turn is next door to Burbank. Fox Studios, now part of Disney, is based in the Los Angeles city limits near the community of Century City, and Sony Studios (Columbia Pictures), is located in Culver City where Metro-Goldwyn-Meyer was once set.

If one is rather confused over these names and places, don’t worry! There are new kids in town so to speak. Both Apple and Amazon Studios are also based in Culver City, and Netflix is in L.A, with a studio in the community of Venice. Those latter companies are not out to create a multimillion dollar blockbuster feature title. They are players who create smaller titles that are far different than their counterparts. Their “summer movie season” runs from October to the end of the year that release dramas that cater toward an older crowd, especially of that said older crowd belongs to a club or guild that hold award ceremonies giving off awards for the best in their category. And unlike the summertime movies, most of their content tends to be original. They are not connected to anything that pre-existed somewhere else, such as a remake/reboot/reimagining of an existing feature created years, perhaps decades before. They also don’t hold any connection to a comic book character, a TV series, a plaything, or anything else that could be described as intellectual property, or “IP” for short.

Anyway, before yours truly writes upon the events going on at Cinecon, this convention again, was once called Showest. The reason for this name was at one time, there was another convention that took place in Atlantic City, New Jersey around the fall season calling itself Shoeast. Well, Shoeast faded off, and Showest, a title that didn’t make any sense anymore was changed to Cinecon. (“Cine”, a name that means “films” or “movies”, and “con” meaning “convention”.) And to make things a bit more confusing, Cinecon is not to be confused with another convention called Cinemacon, that is a film festival featuring old and rather obscure movies released from the early days of movies to the 1960’s. That festival took place around the Labor Day weekend. This writer has attended both Cinemacon and Showest in the past, even still holding on to the swag that was given away to all attendees way back when. But I digress!!

One good bit of news to report from what was reported from Cinecon regarding to the future fate of movies. The studios release a laundry list of some nineteen titles that will be out in real theaters for those to see in the same way that movies were exhibited. That is, in a movie house with an auditorium-type setting where total strangers watch a movie at the same time where everyone can laugh, cry, yell, scream, and overall react to what’s going on within the big screen. These same folks can also get traditional snacks at the concession stand. And depending on where they are, they can also dine on gourmet foods and even drink alcohol! This form of watching a movie is far different to watching in one’s homestead. Granted, at home one can snack on anything one pleases! And they can even talk during the movie, use their phones to text a message to somebody, and even hit the pause button if they need to take a break from the action to get more snacks, feed the dog, use the bathroom, etc. You really can’t do that in a traditional movie house as some movie attendees, especially if they are from a specific age demographic (we are speaking to you Millennials and Gen-Zers!!) find out rather fast!

During the last two years, the movie industry was sitting in a stage of funk. During the pandemic driven lockdowns, movie theaters were not able to function. Folks were forced to stay home. But a lucky break came along. This was the time where TV streaming started to take hold. Before long, the movie studios that got into the streaming game started to arrange their movie releases as streaming titles and charge for the difference. Disney offered a few titles as a pay-per-view option via Disney+ Warner Bros. that operates HBO and the streaming service HBO+, had all of their 2021 releases available through their channels for the same cost as a monthly subscription. Paramount released a load of their theatrical releases through Paramount+. The only studio that has yet to place their streaming footholds is Sony Studios. However, they did rather well in doing their best to get their new stuff to their audiences. Even if that same audience wasn’t cooped up inside of a multiplex.

But now things are back to a new(er) normal meaning that the movie theaters are back to doing what they have been doing since movies had soundtracks. And since most folks are brave enough to venture out of their homes, they do want to see yet another action-adventure title that features a comic book superhero. Families and their settings want to see an animated feature that would be pleasing to both the younger and older groups. Teens and “young adults” desire to see a horror, sci-fi, or fantasy title as well. As for drawn out dramas? Not so much! Why? Because there are so many (some comment there are too many) streaming TV programs that are really great dramas that take more than a 100 or so minutes of time to unfold its story and the characters that go along with it. And all of this is being offered for the price of a movie ticket. Unlike a ticket where one can only see one movie for only the movie’s running time, a streaming service offers access for a whole calendar month 24/7!!

Yours truly has recently taken a back seat when it comes to watching a movie in the traditional sense. The only time where I have gone out of my way to watch movies in a theater with fellow strangers seated within a darkened auditorium is only for special occasions.

Recently, I attended the Turner Classic Film Festival that took place in Hollywood at the Chinese Theater as well as the Hollywood Legion Theater, located at the American Legion Post 43 “clubhouse”. The movies they ran were older titles ranging from E.T. The Extra Terrestrial (with cast and crew speaking before the film), to the premier of a 4K restored version of Giant starring Rock Hudson, Liz Taylor, and James Dean at their finest. There were other titles screened as well. (40th anniversary screenings of Annie, Diner, and even Fast Times at Ridgemount High, among other titles.) All of these movies were indeed crowd pleasers, proving that old movies do not die! They only get better with age!

So between now and the Labor Day weekend, we’re all going to the movies to see these releases the way they were meant to be seen. OK! You may not have a lot of original stuff to take a gander at. But if people want to see another super hero action pick, or a sequel to an existing movie, or even a remake of something that was already done with some change added, then so be it! And remember, these folks are paying for the privilege! They will get a tub of popcorn loaded with butter flavored goo along with all of the sugary sodas they could guzzle. If they are in the right theater, there’s even beer and wine to down for their thirsty throats! And yes, there may be a few folks that insist they talk during the movie or to play with their phone while the film is in progress. After all, they can do that while at home. So why not in a theater?

Call off this as just another Saturday night at the movies! Or Sunday, Monday, Tuesday, Wednesdays, or Thursday! And Fridays are when the new(er) stuff comes to a movie theater near you! (And hold the Jujubes please!!)

The Gloria Gifford Conservatory of Hollywood presents WILLIAMS, WILLIAMS, & MILLER: AN EVENING OF ONE ACT PLAYS, a trio of short single act play written by Thomas “Tennessee” Williams and Jason Miller.

The first set consists of two plays by Williams: Twenty-Seven Wagons Full of Cotton finds Jake, a owner of a cotton gin, burning down the cotton mill owned by his rival Silva Vicarro. Silva attempts to enact his revenge by seducing Jake’s giddy wife Flora, who finds him rather appealing. The second play Moony’s Kid Don’t Cry, features Moony and Jane. Moony once worked as a lumberjack in Canada. Now he lives with his wife Jane and their babe in arms. Moony desires for something more than the life he leads living with Jane and child in a small shopworn apartment nearly down and out. The third and final entry is Jason Miller’s Lou Gehrig Did Not Die of Cancer, which is about Victor, a semi-pro baseball player who coaches for a local little league team on the side. His relationship with his wife Barbara is cooling off as she is more occupied with becoming an amateur actress. Victor receives contact with Helen, the mother of one of his little leaguers where he find her as more of a kindred spirit.

These single act plays written by Williams and Miller hold a range of a harmonious blend of a quest toward a better goal of one’s being, adding some humor and tragedy to its themes. The plays themselves may be simple in plot, but hold more content with its characters and dialogue. The first entry is loaded with the southern charm that Williams is known for. The second program shows its setting as one that desires a self improvement, and the final piece is more contemporary in nature, yet fits with its theme.

Gloria Gifford directs these three shorter plays that all ring true to its ideals and premises, using a rotating cast for each performance. In Twenty Seven Wagons.. Halle D’Allen appears as Jake, Dannielle Abraham Sanchez and Amber Dancy perform as Floria, with Chad Doreck and Kieth Walker as Silva. Moony’s Kid… stars Jade Ramirez, Joey Marie Urbina, and Dazelle Yvette as Jane, and Moony is played by Billy Budinich, Chris Jones, and Halle D’Alan. And in Lou Gehrig Did Not Die…. Danny Siegel and Billy Budinich appear as Victor, Keturah Hamilton and Evelyn Gonzalez are featured as Barbara, and Denisha Kain, Justine Estrada, and Teagan Wilson appear as Helen.

It’s been stated once before by a theater critic whose name is now long forgotten that short plays are the best route to go for experiencing live theater because they get to their point at a rapid pace. This quote does apply to these plays as such short pieces reach their climaxes in a shorter time frame, yet are rather hard to come by as a whole. And when one has an opportunity to see such theater pieces on the quick, it’s a real treat. And only Gloria Gifford can present these theater plays with a talented ensemble of performances that grace her stage.

WILLIAMS, WILLIAMS, & MILLER: AN EVENING OF ONE ACT PLAYS, presented by Jamaica Moon Productions and performs at the Gloria Gifford Conservatory, 6502 Santa Monica Blvd. (at Wilcox), Hollywood, until June 12th. Showtimes are Saturday nights at 8:00 PM, and Sunday evenings at 7:30 PM.

For ticket reservations and for more information, call (310) 366-5055, or online at


is a presentation of Linear Cycle Productions
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ACCESSIBLY LIVE OFF-LINE (C) 2022 Linear Cycle Productions. All rights reserved. The views and opinions are those of the writers, and not necessarily of the staff and management. ‘Nuff said!


Recently released data from Hub Entertainment Research, a media based marketing and data research firm based in Boston, stated that some three quarters (76%) of homes have a Smart TV, up from 70% a year ago and the majority (57%) of all TV sets are now smart sets, a proportion a quarter higher than in 2020 (45%) as reported through Hub Entertainment’s fourth annual study, “Connected Home”.

That is adding towards sizable changes in the way viewers access video content. In the not too distant past, many of these smart TVs were operated as “dumb(er)” sets, where users plugged them into cable tuner devices or external streaming devices, overlooking their built-in smart capabilities. 

Now, more than four in five (86%) of smart TV homes regularly streamed shows through a smart TV’s built-in capability, a significant increase over two years before (75%), although a significant segment of smart TV homes aren’t yet using those sets to stream wide content.

It’s no real surprise that over the last few years, the face of how folks receive their video based media has shirted. Thanks to the pandemic where folks were forced to stay put within their dwelling spaces, the rise of streaming as well as video content delivered through an internet connection has skyrocketed. Meaning that one can now view video content, be it a feature, a traditional television program, or any source of elements that consists of moving imagery and the soundtrack that syncs with the pictures where ever they go, just as long as their device can accept such video/audio and can sync up to an internet connection.

Over the past fifty or so years, television in North America, and perhaps a good part of the world, has seen many “second comings” of television. Perhaps the most significant change since the start of TV programming and ownership in the USA since 1948, the year when television reception was first made available within the major cities and communities, was the transmission of TV signals in color. Even though there were color signals first transmitted as early as 1950, it wasn’t until the 1960’s when color TV became more and more frequent as much as it was emphasized.

It wasn’t until 1972 (fifty years ago) when the ownership of color TVs reached its majority, around 50% depending on what stats on ownership can be researched. And by 1980, some 83% of those homes with a TV set were of a color capacity.

That period also entered yet another “second coming” of TV. The rise of cable television and home video. In the latter part of the 1970’s, the interest of getting signals through a coax cable was first presented to major cities around the nation. And when these notes refer to “cable TV”, this is a service where unique channels of programming were made available rather than the service of receiving regional or longer distant over the air broadcasts. That type of service was only made in rural and semi rural communities that were not able to receive standard over the air signals due to distance and terrain.

Cable TV didn’t catch on right away due to the limited amount of unique channels made available only through cable at the time, as well as many communities didn’t have access to such TV services. Ted Turner’s WTBS, an independent over the air channel (channel 17) based in Atlanta, Georgia started to transmit their signal to CATV systems as early as 1976, although its programming consisted of old movies, reruns of older TV shows, with occasional sports programming, mostly Atlanta Braves baseball games.

By the end of the decade, other channels were created that offered an alternative to the traditional over the air content, such as independent stations as WOR based in Secaucus, New Jersey (New York City area), WGN in Chicago, as well as Pat Robertson’s Christian Broadcasting Network (CBN) that offered religious and spiritual programming, Nickelodeon that offers kid’s shows for twelve hours per day, CSPAN that telecast House of Representative sessions and related government-type programming without narration or commentary, the Entertainment and Sports Programming Network (ESPN) that offered sporting events that were mostly akin to what ABC’s Wide World of Sports, The CBS Sports Spectacular, and NBC’s Sportworld would usually carry, as well as a few other channels that were either morphed into other channels or were just dropped off the wayside.  And this doesn’t count two other channels, Home Box Office (HBO), and Showtime, that offered movies and other programs that were uncut, uncensored, and commercial free. Those one had to pay for. And there was the Z Channel that also offered the same thing, but that service was only limited to Los Angeles and parts of southern California.

Then there was home video. Sony Electronics first offered their Betamax video cassette recorders (VCRs) in 1975, first as a device with a built-in Trinitron TV set, later offering a model that was a stand alone unit. Within a year or so, JVC offered their Video Home System (VHS) devices that used a tape that was different in size and was not compatible with Sony’s beta. With these units, one can videotape programming off the air to watch at a later time that was more convenient towards the user. Those didn’t catch on at first since a VCR was far from being inexpensive. (RCA’s first VTR, model VDT 600, retailed for about $1200.00 in 1977, around $5600.00 in today’s dollars!) It wasn’t until 1982 when the price of VCRs began to drop, meaning that more folks got one of these devices to either record shows off the air, or to rent pre-recorded video tapes from a video rental place found in many neighborhoods. Those tapes usually consisted of feature films, although there were a few specialty titles that were made available for rental or purchase.

As the 20th century gave way to the 21st, TV’s changed again and again. Now devices that were of a flat screen nature started to make its way to consumers that were to replace the big and rather bulky cathode-ray tube sets (CRTs) that had been around since its beginnings. In the 2000s and early 2010s, many folks junked their CRT sets to replace them with a flat screen unit that was bigger, wider, and much lighter in weight as well as offered a much sharper picture at 750p (pixes) resolution. Many of the CRT sets that folks once owned were abandoned. They were offered on the open market, being donated through Goodwill, The Salvation Army or to whoever would accept these devices, and even left on curb sides just for the taking! (Many of these sets were still in operational condition at their time of abandonment, meaning that these sets went through premature deaths!)

Soon, these flat screen sets lead to flat(er) screen devices that were at 1080p, then 4K, 8K, and even higher definition in picture quality, As to programming content, that lead to more channels (200 unique channels and up) made available through the local cable provider or made available through satellite transmission. And hove video gave way from lower resolution videotapes to digital video disks (DVDs) that offered more content with a better picture quality housed in a vinyl disk only 5” in diameter. These DVDs eventually replaced the 12” laserdiscs that Pioneer and Phillips electronics introduced in 1979 that offered a much better picture than what videotapes could provide, but faded away by the turn of the 21st century!

Then there was streaming, first introduced by Netflix in 2007 where one can receive content via a high speed internet connection. When high speed internet connects were made available, folks jumped on the subscription bandwagon to Netflix that can receive content must sooner that its traditional DVD rental service that sent DVDs through the mail where folks can watch their content, send them back through the pre-addressed envelope or receive another DVD for viewing, as the cycle would continue.

Then Netflix received competition from other sources, from online retailer Amazon, Apple with their Apple TV, as well as the movie studios (Warner, Paramount, Disney, etc.) and the traditional broadcast networks–ABC, CBS, and NBC. The choices were far more than once could consume!

So with all of this being stated, how many “second comings” of television made its mark? We lost track! And the notion is, there are others coming down the pike from Web 3.0 and the metaverse where one can only watch the internet, but live in it! Those will be the many second coming that will be presented sooner than one can imagine.

As TV becomes bigger, flatter, and of course smarter, what does all of this compare to the consumer. Are they getting bigger, flatter or even smarter? That is depending on who one asks, and the method of asking, if not expressing. Modern society as we know it came a long way from the time where receiving audio and/or video signals from the netherland was the be-all-to-end-all. Then again, even receiving messages via smoke signals, tom-tom drums, and carrier pigeon was the best way for communication. That was it because there wasn’t anything decent to catch on TV–if TV would have only existed back in that day!


is a presentation of Linear Cycle Productions
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ACCESSIBLY LIVE OFF-LINE (C) 2022 Linear Cycle Productions. All rights reserved. The views and opinions are those of the writers, and not necessarily of the staff and management. ‘Nuff said!


It ain’t no surprise that the cost of anything and everything is more expensive that it was a year ago. According to government statistics, the cost of goods and services rose around 7.9% and it’s been the biggest increase in domestic prices in some forty years.

I lot of reasons were given on why everything is more than it was once. The reasons state range from shortages for goods and services were backlogged due to pandemic related restrictions from the overboard of demand of said goods and services thanks to folks attempting to spend more just to get back toward a sense of “normalcy” to the war going on in the Ukraine, and because big companies can raise prices just because they could get away with it. It all depends on what you hear, what you read, and what you pass on through social media, as well as other reasons both real or otherwise and lingering around in the meta universe.

Of course, we here at don’t write much about the economy or anything connected to finance. (It’s not our speciality!) But it’s one of those things that you can’t turn from. Call this the hippo in the room that you can ignore. (Yeah, the previous line reads as something one would see as a panel cartoon found in The New Yorker. But we digress!)

If anyone is old enough to recall life in these United States (akin to a regular article from the pages of Reader’s Digest) in the 1970’s, inflation was indeed the hot topic of its day. Yours truly was living as a kid (or “tweener” in today’s demographic market speak) when I had my taste of inflation. I first heard about Richard Nixon’s price freeze proposal that had something to do with holding off the cost of goods sold and exchanged, but didn’t understand much of it. (It was later explained to me through a segment of In The News, a three minute feature of news and topics of the day that CBS aired between programs aired on its Saturday morning TV schedule as narrated by Christopher Glenn.) I did recall when I went to get my weekly stock of candy from the neighborhood Rexall drug store, it would cost me an extra nickel or dime to get a Butterfinger candy bar or a slab of Turkish Taffy.

When I renewed my subscription to TV Guide magazine (Yep! As I kid, I was a paying subscriber to the pocket size magazine where I would be able to read all the latest news about what was on TV), I had to pay more since stand alone issues were going for twenty cents rather than fifteen, and the increased cost was passed to its subscribers! And although I was not driving, the cost of fuel was rising! Yeah, there were lines at the gas stations for a while, as well as the price of regular leaded gas was creeping to as much as forty cents and 9/10th a gallon! And when President Jerry Ford did his “Whip Inflation Now” campaign, there were those red colored pin back buttons with WIN written in write lettering, folks were either wearing those with WIN, or as protest, donning those buttons upside down where it would read NIM that stood for “No Immediate Miracles”. And as part of a typical and topical opening monologue by Bob Hope, his comment (as written by one of his many writers) about whip inflation now was “Do you know that the price of whips went up forty present?” It was kinda funny when I first heard it anyway!!

The inflation rate reached its peak at the end of 1981, when a recession was plaguing the nation. At the time, I was enrolled in college, so I really didn’t notice how prices were higher than they once were. Maybe I didn’t notice because I was away from home for the first time. Besides, I was taking my effort on something else while I was in school. What that “something” was is for another article as that stands.

But over time and tide, the cost of living was leveling itself off. Before long, those old glory days of price freezes kind of melted away (pun intended!), and my WIN button from not too long ago wound up being stashed away inside of a long forgotten junk drawer where the old forgotten junk made its home, perhaps never to see the light of day again.

So that brings us to the day of now. Although the pandemic as it was once known has leveled itself but didn’t officially finish, the cost of everything that’s going up, up, and (guess where?) has yet to cool down. Again, I am no economic expert (and I won’t play one), so I can’t say when this skyrocketing cost of doing business is going to settle down. I can state that it will, but how is anyone’s guess—including mine.

But social media the way social media behaves won’t let this notion down. With other factors to deal with, it’s just another cog in the wheel that will be here for the moment until the next big thing draws attention to itself.

PS…When the price of candy started to rise, I got into a heavy bubble gum habit since bubble gum kept its price level. I don’t know why this was the case, but at least I was able to save enough paper wrappers of Bazooka gum featuring Bazooka Joe And His Gang that consisted of tiny comic strips with BJ and company telling jokes that were so old, the joke book they came from was written with primitive pictures! (Insert rim shot sound effect here!) I did save enough of these wrappers to get a cheap plastic telescope by mailing 500 of these wrappers to a PO box located in Reading, PA. I did get the telescope about a month later, only to break the thing within the week! Better luck next year I suppose….


DEAR MR. BRODY is a documentary written and directed by Keith Maitland that takes a look on how a 21 year old heir to a 25 million dollar fortune made a declaration and promise that his fortune would be made available to anyone just for the asking.

The backstory. In early 1970, Michael Brody Jr., the 21 year old grandson of a multi million fortune of an oleo margarine business, made a public declaration that he would give away his fortune to anyone by sending him a letter to his home in Scarsdale, New York, or to his business address in New York City to make a request–no questions asked!

Before long, the media was on the story with newspaper articles and radio/TV news coverage. He was young, good looking, and played the guitar. His popularity even got him a spot on The Ed Sullivan Show playing his music and making his pitch with his 21 year old wife Renee in tow. He would be the hippy that promised to make good for the cause of the wealth of society, even down to offering his money in aid to President Nixon to end the war in Vietnam.

The letters arrived to his home and office by the thousands. Many of these letters were typed. Others were written by hand in ink, pencil, crayon, or however a person could compose a letter asking for the money. The requests even became creative with photos and drawings enclosed, and even a few that enclosed audio tapes of songs, poetry, spoken messages, and whatever could be recorded with a tape recorder. The letters asked for the money for themselves, a charity that can offer the additional goods, and for starting up a possible business. Whatever reasons people could think of, they did it all. When the letters eventually came to Mr. Brody’s addresses, they were all stored away, never to be opened or read.

This documentary takes a rather forgotten chapter on domestic society from fifty plus years ago and shows just how many people were financially challenged back then, long before the term “financially challenged” would fall into the American English lexicon. Being the fact that folks were stressed out when it came to having the money to live on, or to be just downright poor. The war on poverty that Lyndon Johnson declared just a few years before was far off from being won over.

Through newsreel footage to interviews with those involved with Michael Brody’s offer for peace through money as well as a few of those that actually wrote their request letters some fifty years before, this documentary examines how money could not and did not buy any happiness to those that wanted it. It also shows that even though the domestic economy was in high gear at the time, it wasn’t made available to everyone because there was no way to have those that were middle class or less to create a public voice expressing their concern. And that isolation wasn’t necessarily for the better!

And what became of Michael Brody’s promise of giving away his fortune? Very little of it was even given away. And whatever was given, the financial institutions that handled his estate didn’t back up his checks. Many of them bounced! Michael himself was also into the drug culture of the time with the use of marajunia, LSD, and other hallucinogens that affected his way of thinking. Before long, he suffered various stages of mental illness. In early 1973, just three years after he made his offer of his fortune to the public, he killed himself through a self-inflicted gunshot. He left his wife and a son at age 24. The letters of requests that were eventually collected were filed away in boxes and containers to be never opened, read, or fulfilled.

Of course, the sense or trust of such a declaration had more impact back then. Anyone who would be considered as a fraud had to really go out of their way to target its victims, and those potential marks were more likely to accept such an offer. In today’s social media landscape, such an offer would be deemed as just another scam of the day, one of the millions (billions?) that live out in the metauniverse.

So if you or your heirs did indeed write a letter to Michael Brody Jr. to take part in his offer for money, this documentary will give you the answers you were looking for. Call this documentary a “better late than never” reply. But then again, all you did was the time to compose your letter of request and the six cents postage to mail off the thing! Better luck next time…!

DEAR MR. BRODY will be available for streaming through Discover + beginning on April 28th.


is a presentation of Linear Cycle Productions
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ACCESSIBLY LIVE OFF-LINE (C) 2022 Linear Cycle Productions. All rights reserved. The views and opinions are those of the writers, and not necessarily of the staff and management. ‘Nuff said!


There was an article recently posted through Bloomberg Business on people coming back to the office as part of their job so they can participate in meetings with other colleges via online portals i.e. Zoom and all of its clones (Microsoft Teams, Skype, FaceTime, etc.)

It stated that now that COVID cases are rather low (at the time when the article was composed anyway) employers are requesting that their employees show up to the physical office either full or part time. However, meetings still take place with others that are not necessarily there at the office. So how do these meetings take place? Via Zoom, etc.!

That’s right folks! Because people now find Zoom from emerging from being a novelty to becoming a way of life, people are used to using that online portal to meet anyone for various purposes raging from seeing family members and friends when they are afar, viewing and meeting possible clients, or where there is an opportunity where you need to see somebody’s face while you speak to them. And many folks can do this where they may be. In their car, in a bar, at home, or wherever one can get an internet connection.

So if one person was working from home as part of their job, they were able to take meetings at home, just as long as they are appearing in a decent manner, such as being dressed from the waistline and up. (There have been stories where folks attended ZOOM meetings while dressed up, but were totally bottomless! If you search hard enough, you can see examples of such semi-nudity through those video portals located in cyberspace!!)

If one desires to find out more about this work from home at the office scenario, get access to the article at

The reality of working in the office is slowly coming back. Granted, it just may look a bit different than before.

Thanks to technology, getting things done remotely has been more possible than ever before. Just as the above scenario dictates, one does not have to be in a physical pace as it was once required. Actually, this technology was around for a while, perhaps longer than was suspected. Office managers, whose job was to manage the office (duh!!), had a notion to keep their employees under their watch. Many of these managers would be pleased to see their staff work and toil behind their desk among the many cubicles that might exist in a standard office-type setting. As long as their humble staff was working as busy bees at their desks typing endless words and figures with their office supplied computer systems staring at their monitors for their eight hours (or longer) work days. Managers even went ahead with micro-managing their staff’s work output. And by stating “micro manage”, it doesn’t refer to managing small work orders, or even managing short and petite crew members. It refers to keeping sys on anything and everyone one does while on the company clock. That even includes how long one is away behind their desks, or how long one can hang around the water cooler or coffee pot to catch up on what fellow employees did while NOT on duty as the company clock dictates. Time is money as the old line goes, and these office managers made damn well sure that anyone that was on the company payroll would know these rules–or else!

That was then. Today, it would be very difficult in having such a manager get away with that type of stuff. Because of the so-called “Great Resination”, people know they can take action on how they are treated around the work space. These employees want respect in what they do, as well as having a fair and realistic opportunity to “move up the latter” in becoming promoted to some position that they had been stuck in for months, perhaps even years. And they can tell management off that they are not there so the managers can kick them around like a tin can in an alleyway. So remote work means that they can work when they can and how they can without being in a set place at a given hour just so management can see them work. Just as long as the work gets done on time and the way it should be done, then what difference does it make on how the tasks are slapped together the way they should?

Of course, not all jobs can be done at home. There are positions where one has to be present at a certain place at a given time frame in order to provide service. And the term “service” in that line of productivity. Many of your front line workers in the leisure and hospitality industry must be present, such as those in a restaurant, tavern, or hotel. Those that are first responders: law enforcement, public service such as firefighters, or those in the medical field have to be present and ready. And retail, one of the fastest types of jobs that have bounced back from the pandemic, needs to be present at their retail outlet. Yes, folks have been accustomed to shop online due to its ease and convenient methods to get anything and everything including the kitchen sink. But shoppers actually prefer going to a physical retail store to see the goods, feel the goods, and to get the goods right then and there. No waiting around for the delivery person (another job that has to be done live and in person), to come around to deliver the goods, even if that wait is a single day! At a retail outlet, you get it when you get it, and you can see what you get. And somebody has to be at that location to ring up the sale! Get the picture?

But for those that can work from home, we salute you! If you work from nine to five, five to nine, or nine to nine seven days a week, you are in that catbird seat. There are no commutes to fight with. Unless you count one’s commute from where you start (bedroom, kitchen, bathroom, backyard, etc.) to where you have your electronic device connected to the net, then that’s your commute. And if you have a staff meeting via ZOOM, etc., wherever your place is, that’s the office! And if you don’t link what’s going on at the meeting, you can always log off stating that your internet service has been scrapped!

Another day at the office….!


is a presentation of Linear Cycle Productions
@AccessiblyLive (Twitter)
(Accessibly Live’s channel on YouTube)

(Look for us on Facebook, follow us on Twitter, and see us on YouTube!)

ACCESSIBLY LIVE OFF-LINE (C) 2022 Linear Cycle Productions. All rights reserved. The views and opinions are those of the writers, and not necessarily of the staff and management. ‘Nuff said!


Here’s a tale that was “ripped out from the headlines” from yours truly. No, nothing earth shattering or anything like that. It’s a story taken from the personal life and times of this writer a.k.a. “me”.

A friend of mine who suggested that we do not review its name or its gender as this person will be referred to as an “it”, informed me recently that “they” (also as part of the pronoun “it”) will be finally getting rid of the TV device that they have had for the past few seasons..

The reason? “There are too many TV shows to watch. It’s taking up too much of my time. So the best way to get my time back is to get rid of my TV set” so says our genderless person who desire to break way from its TV habit.

“So what are you going to do once you get rid of your set” I asked our dissatisfied person.

“I’m going to get out more and live my life spending more time outdoors!” says our person soon without the TV set.

“That’s nice!” I replied. “Enjoy your day in the great outdoors!”

This little episode, extracted from the life and times of yours truly, is part of many other tales and fables that people are taking part of to get back with their own lives.

It’s been some two years since the thing called The Pandemic started to take its toll. And many of those that have gone from hunkering down, getting a vaccine made by one of these companies, quitting their low paying job with bosses that are either bitches or the sons of them for greener pastures, and overall seeing that they too can live a life for the better, it’s no surprise that this so-called “new beginning” is taking its mark.

And one of the things that people are doing is to live by their own rules. These living through different strokes are not to be confused with becoming a rebel. It’s just a phase where folks are grating themselves permission to do what’s best for them. They realized that after all of this time they felt they had to bow before some type of higher power, not necessarily a higher power in the form of a person, but a higher power based upon an idea. a protocol or method, or just because they did it so long its reason(s) had been long forgotten. They can just do what they wish because they can!

There are a lot of reasons for this big shift. Perhaps one reason toward this short was based upon how one feels mentally. Folks have been experiencing what’s called “burnout” from what they were going to get a salary. Workers had been working longer hours for their superior with the notion of being respected from their work. Perhaps they can move up the ladder from rising from being a lowly peon to becoming a higher level team member. And going through this, their salary wasn’t meeting their expectations.

These notions were causing havoc in their well being. They were becoming stressed out. This stress was affecting their own personal lives. People became frustrated, angry, or in some cases, having a form of a nervous breakdown where they went through crying jags.

The latter case are at times expressed as a subplot in a sitcom, especial a sitcom that revolved around a place of employment where its characters become so racked up in what they are doing, they go around crying just become their bosses said and/or did something, or another character did something to that effect. (Most sitcoms that are work related consist of an ensemble of players, rather than a lead star whose attention is focused upon.)

This form of episode actually happens to yours truly. I was once working in an office-type setting where my boss at the time named Sarah was going through a meeting in her office. Although the office door was closed, one can hear what was going on outside of the door. From what was heard, there was a lot of shouting between Sarah and another woman whose name is not long forgotten.

To make a long story short, the unnamed woman stormed out of the office in some kind of huff, making a very quick and hasty exit. Sarah then broke down and started to say something to the effect of “Nobody tells me what to do!”

When I experienced, I felt a mix of feeling sorry for Sarah while at the same time, almost holding back a laugh. Although the situation wasn’t funny per se, just the way Sarah reacted to what went on brought some macabre humor to it all!

And for the record, this episode occurred a little over thirty five year ago, so I feel that the statute of limitations to report this episode to the public at large has long passed!

So perhaps out genderless friend who desires to quit TV to live in the great means can be set as a modifier in what one can do for their 2.0 version of their style of life to get rid of what’s passive, fake (for the most part) and perhaps part of the old, and to see to it that the reality of things in general work out then. Moderating mental health is just as important as staying free from and virus that may be coming around or not. It’s not acceptable in this domestic society to bring this out in the open in the same sense where people with alternative lifestyles are doing at the moment that isn’t as “queer” as it was once perceived.

And what because of that TV set that they didn’t want? They gave it to me! So now I have yet another TV set that’s cluttering up my living place. (For the record, its a 60” Samsung “smart TV”). One of these days, I just might use the thing. Then again, with zillions of TV shows to view, not one appeals to me. Call this another version of 57 channels and nothing’s on…


Theatre West presents Lloyd J. Schwartz’s CLASSIC COUPLE COUNSELING, a comic play about a psychotherapist whose clients are characters extracted from one of the world’s greatest playwrights, and how these said characters had issues of their own.

Constance Melloers is Dr. Patricia Cataldo, a couples counselor who settles the details on how male and female couples, married to one another or otherwise, are facing each other with their emotional differences or lack thereof. However, her clients are not the run of the mill couples that only bicker and fight, but are characters found in William Shakespeare tragedies. Some of the couples Dr. Patrica takes to analyze is Katharine “Kate” and Petruchio (Anne Leyden and Bill Sehres), Macbeth and Lady Macbeth (Joe Nassi and Barbara Mallory), Romeo and Juliet (Cicil Jennings and Amelia Vargas), Othello and Desdemona (Brandon Foxworth and Mary Elisabeth Somers) and Hamlet and Ophelia. (Rick Simone-Friedland and Deanna Gandy). During their sessions, both as a one-on-two as well as group therapy, Dr. Patrica hears about how these couples have their trials and tribulations. Some are in love, some are out of love, and the rest desire to take upon a death to the other or to themselves. Even Dr. Patricia has issues of her own. Not in the same scope as The Bard’s members of the rogues gallery, but they do come close. It’s more than just a hour’s worth of therapy sessions consisting of a set of soliloquies that’s much ado about nothing!

This comedy of errors written by Lloyd J. Schwartz takes upon how tragic these coupled characters as drawn from the pen of Willie Shakespeare, and sets them all with a therapist to discover if these folks can be “cured” from what ills them, even though they are all established within their ways. Much of the humor extracted is not as a series of jokes and one-liners, but how they all go through their motions that are just as dysfunctional as any other couple would be as they are facing with ghosts, floating daggers, or excessive hand washing of damned spots! Each cast member is in their period costumes, while Dr. Patrica is set in contemporary gear, meaning that no one is out of their place physically as it’s all in their minds and all of their world’s a stage!  Mylette Nora designs the costumes that are just as Shakespearian as one can get!

Nick McDow Musleh directs this show that for its ninety minute running time, it proves that one can be just as screwed up as depicted in the early 17th century as it fits for the early 21st! And if one does brush up their Shakespeare, one can also discover how these characters of the stage can relate to one another where their lives deal with love, hate, betrayal, and of course, death! All of these traits are fair game as Willy would place them. This time around, there’s laughs to be held! That is the to be or not to be. (And that’s a question!)

CLASSIC COUPLES COUNSELING, presented by and performs at Theater West, 3333 Caguenga Blvd., West Los Angeles (Universal City adjacent), until May 8th. Showtimes are Friday and Saturday nights at 8:00 PM, and Sunday afternoons at 2:00 PM.

For more information and for ticket reservations, call (323) 851-7977, or via online at


The TCM Film Festival is back! After a two year leave of absences, the event will return to Hollywood live and in person in good ol’ Hollywood. (Where else?)

The event, with its subtitle All Together Now: Back to the Big Screen will take place from April 21st through the 24th, at the Chinese Theater complex, the Hollywood Roosevelt Hotel, The El Capitan Theater (all on Hollywood Blvd.) and the The Hollywood Legion Theater at Post 43 on Highland Avenue up the street.

A collection of movies will be screened. Kicking off the ceremony will be the 40th anniversary of the release of E.T. The Extra-Terrestrial (Universal-1982) featuring a discussion with stars Drew Barrymore, Henry Thomas, Kathleen Turner, and Director Steven Spielberg, The Sting (Universal-1973) with Tony Bill, Michael Phillips, and screenwriter David S. Ward in attendance, Annie (Columbia-1982) with star Aileen Quinn in attendance, Diner (MGM/UA-1982) with a discussion by Kevin Bacon, Tim Daly, Steven Gutenberg, and Paul Reiser, well as special events such as a screening of the 1927 silent feature Seventh Heaven from William Fox Films with a live music score by the The Mont Alto Motion Picture Orchestra, as well as appearances by Bruce Dern (along with a screening of his 2013 “comeback” film from Paramount, Nebraska), Piper Laurie with a screening of the 1961 release from 20th Century Fox, The Hustler , Warren Betty with a screening of the 1978 Paramount release Heaven Can Wait, a ceremony handprint on the Chinese Theater’s cement foyer celebrating Lily Tomlin, and lots, lots more!!

For more details on the TCM Film Festival and how to obtain festival passes, visit their website at


is a presentation of Linear Cycle Productions
@AccessiblyLive (Twitter)
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ACCESSIBLY LIVE OFF-LINE (C) 2022 Linear Cycle Productions. All rights reserved. The views and opinions are those of the writers, and not necessarily of the staff and management. ‘Nuff said!


The streaming place to end all steaming place found in TV Land (wherever this “TV Land” is) Netflix, realizes that their ever loving subscriber that gives out their e-mail address and passwords to all other to use (or “borrow”) their access to all of the content found in Netflix Land, which is located within TV Land–or as the map says so.

Anyway, the gang at the streaming site says they will test out a new fee allowing current subscribers to share their email address and passwords for a few extra dollars a month.

From what this writer knows about this new system works this way. Say subscriber Jane Q Public holds a subscription to Netflix. Jane’s friend, John Doe, wants to see a few programs but doesn’t want to take a subscription on his own. So John asks Jane if he could borrow her account so he can view a few episodes of a hot new series. If John likes this series, as well as the rest of the offerings found on their portals, that John will pony up for a subscription on his own. Since John and Jane are good friends, Jane obliges to give John entry to the portal.

Netflix themselves isn’t necessarily aware that Jane is sharing her credentials. But once they find out, and with their power and fame they eventually will, will charge Jane let’s say an additional two dollars a month because John is an add-on to Jane’s account. If Jane doesn’t want to pay the extra two bucks per month, then Jane would have to change her account so John will no longer have access to Jane’s account. That is, unless Jane gives John her new password for access, then  John will sponge in on Jane’s account. That can last until Netflix finds out and bills Jane that two buck fee. And the cycle continues! (Something like “wash, rinse, repeat”!)

It was no real surprise that the folks at Netflix finally realized that their subscribers were doing this sharing thing for years. And unlike cable piracy of old, this sharing was more of a legit thing versus stealing TV service. After all, it involves a paying subscriber doing the sharing, fully aware that the passwords were given out willing and freely.

When it came to cable piracy, that was done under uncouth methods. And it took more skill to do this. When cable television was king (1970’s through the 2010’s), some folks would go out of their way to tap into a coax cable line hooking up the line to their dwelling space to get cable TV for free. Many did this ploy and got away with it since the cable cable company would not know of these illegal hookups until they would do an audits on their line, or if somebody played stool pidgin and finked to the cable company that their friend (or perhaps ex-friend) was stealing their service.

When it came to not only getting cable, there were the pay channels that were part of the connection, but not with their regular subscription. Most cable companies offered such pay services as HBO, Showtime, perhaps channels as The Movie Channel, Cinemax, and a host of others ranging from Bravo to The Playboy Channel. But for the most part, it was always HBO and Showtime.

When somebody has a regular cable service and attempted to tune in to the channel that HBO or Showtimes was found, they would see a scrambled picture. Many times, they could hear the audio portion of what was going on, and sometimes it was silent, or there was a recording of somebody saying that if the viewer wanted to see what was going on, then they would have to call the local cable company and other services. This recording was called in the CATV business the “barker audio”, since that voice was playing like a carnival barker telling the audience what they would get to see for their admission price, which was around $15.00 to $25.00 a month additional to their regular service.

When yours truly was working for the (late) Group W Cable system, that company used cable boxes made by Scientific Atlanta. These boxes, which were square in shape around 10” x 8”, consisted of a red LED two digit channel number gauge in its front. They hooked up to a standard TV using coax cable that was attached to the back of the set using an RF input. The boxes themselves were “addressable”, meaning that at the cable company “head end”, they could be turned on or off through a series of switches. So if one was a legit subscriber of let’s say HBO, then that person’s box can be turned on to get HBO through the channel number that HBO was found on their system. Keeping control of everyone’s box through the company headquarters meant that the cable company could remain in charge of who gets what, right?

Not really! There were a number of electronic companies that sold these devices that can unscramble any channel coming in without the cable company knowing that somebody is using one of these boxes. So many of these electronic companies (and there were a few) would place small ads in such magazines as Popular Mechanics, Popular Science, and other related titles, stating that they offer these boxes. All one had to do was write for a free catalog to get the list of what devices were available and for what price.

Yours truly wrote to one of these companies, a company calling itself “E&J Electronics” based in Van Nuys, California. They sent me a five page catalog of what boxes were available, based on what type of cable box one used from companies such as Jerrerd, Zenith, Blonder-Tounge, Scientific Atlanta, and so on. One can get a “E&J” box that attaches to the cable TV box that attaches to a TV set. Once that E&J box was attached, then one can get all of the pay channels free and clear as long as the box functioned.

The boxes themselves sold for $100.00 each. But if one can get five pay TV channels through their cable company, and each pay service costs $15.00 a month, then the E&J box would pay itself off after two months, taking into consideration that one is getting $65.00 worth of pay TV for “free”.

So I ordered a box that was compatible with my Scientific Atlanta converter box. After writing a check for $100 payable to E&J Electronics, and mailed it to a street address on Van Nuys Blvd. (The address itself was in reality, a postal mail drop off center.)

About a month later, I received the box, consisting of a black metal plate with two RF connectors on its rear, a power supply plug for the plate, along with a single page instruction sheet. All I had to do was to connect a coax cable connected for the output of my cable box into the input of the E&J box. Then I would take a second coax cable connected from the output of the E&J box into the input on the TV set. Then I would plug in the power supply to an outlet to turn on (so to speak) the E&J box.

After doing that and hoping for the best, I checked the HBO channel to see what it looked like. Sure enough, I saw a clear picture. Then I turned on Showtime. It was just as clear as HBO’s signal. Ditto for The Movie Channel, Cinemax, as well as Bravo who at the time, was a pay service that offered foreign films and related “art house” programming. And the best part of this all, the cable company never found out that it was getting their service without them knowing it!

Of course, this is what was called “stealing” their services. However, these boxes being sold was legal to buy and own. The loophole was something to the effect that these boxes were being sold as test electronic equipment. They never said in any of their ads or catalogs that they count be used for getting pay TV without paying. All it said that these boxes could unscramble a video signal for the purpose of testing the transmission of the scrambled signal and nothing more. And sadly, the cable companies could not stop these companies selling these boxes. It was what it was.

Of course, the whole landscape of premium television has changed. Streaming TV is not the hot button, and the cable companies know that they can’t compete anymore. The one’s that are still around are now toting their offerings with a combo of both traditional cable with 200+ channels, along with a screaming service or two (or three, or even more). And these cable companies no longer offer their signals as analog. Now they are digital, making what’s left of those cable boxes of yore no longer functional.

And many of the flat screen sets no longer have an RF connection to then. Meaning that one can’t even connect them to a flat screen set. And even if one can, those boxes no longer work. Now they just serve as an electronic knickknack, very much as a set of set-up “rabbit ears” antennas would.

WHEW! That little episode of how to get pay TV without paying for it might have been a bit overwhelming, but that is how it was back when cable TV was the be-all-to-end-all to get their television signals. But in the school of if there’s a will there’s a way of getting what one wants, we are such that people are getting these streaming services for naught. We can’t state how that is possible, but it is. Let’s just place a wait and see how Netflix is going to handle this. Until that occurs, we’ll bide our time with Netflix and Chill!


The Odyssey Theater presents the west coast premier of Lucas Hnath’s A PUBLIC READING OF AN UNPRODUCED SCREENPLAY ABOUT THE DEATH OF WALT DISNEY, a play that is nearly self explained to what the concept is (almost) all about!

The setting is a room that consists of a rectangular table or to be precise, two rectangular tables edged along each other with four chairs around the two tables. In this room, a “table read” will take place where Walt Disney (Kevin Ashworth) along with his brother Roy (Thomas Piper) will be reading off a screenplay penned by Walt himself that self centers itself to Walt and is about Walt along with some of the legacy notions that make Walt the legion and the story. The scenes as read speaking about various elements from building a self supported city inside a “bubble” where people live, work, and play, keeping the Liberty Tree at liberty forever, controlling the results of a wildcat strike orchestrated by his staff of animators, creating a short subject that can be considered as a “snuff” film, and kicking around an idea of having Walt under deep freeze. Then there are some personal items to deal with between his daughter Diane (Brittney Bertier) and his son-in-law Ron Miller (Cory Washington). As the screenplay rolls on, it pinpoints that Walt is the center of it all, in spite of what is real or is just another fable.

This single act play written by Lucas Hnath is not a bio of the man from Missouri whose success started with a mouse. It’s really a production where a fictional Walt created a screenplay that focuses upon the slices that may have been true or may have been fabricated as Walt was known to have a public life and a private one. The stage production itself is dolled out as a staged radio drama where the cast members recite most of their lines from a printed script placed in front of them, although it’s assumed that all lines and the actions that go along the spoken lines are memorized by the players.

Kevin Ashworth as Walt shows off his character as a secret Walt that consumed his pilled medication to relieve his aches and pains by downing it with vodka, and smoked so heavily, he coughed up blood due to the cancer forming in his lungs. Thomas Piper as his sibling Roy plays his role as a “second banana”, always as the underscore to his brother, even sporting a cartoon-type bandage on his forehead. (That had to do something with Walt throwing one of his many Oscar statuettes at his brother’s head!) Brittney Bertier as daughter Diane pays some respect toward her father, but wasn’t too keen in naming their future son after dear ol’ dad (Walt junior?) under distress. And Cory Washington as Ron Miller is one of the more obscure people around the universe of Walt as only die hard fans of Disney would really know how he fits into the domain of this Mickey Mouse organization!

Peter Richards directs this program with a fictional Walt writing and reading a story about the idea of Walt, rather than his actual death that would come much later. Walt was aware that his vices would get the better of him while Roy would take over the reins of the studio for the next few years after the noted death of his bro until Roy himself would eventually pass on.

David Offner designs the stage set that does consist of the pair of tables set parallel to one another, along with various objects placed on the tables that consist of among other items, two flip-type cell phones c. 2004, a jar of “pills”, and a bottle of vodka complete with “xxx” written on its label. Kiff Scholl creates the graphic design that is projected on a small “home movie” screen to the stage left of the action that represents imagery from a slide projector that shows with crude illustrations the plot points from Walt’s unproduced screenplay.

For those expecting a story that is about the man and his mouse, one won’t find one here. However, it’s amusing to witness a stage production that brings some of these stories and myths about “Unca Walt” to a new(er) life. And was Walt really frozen as he wanted to be? Just wish upon a star and just let it go! (Puns intended!!)

PS..This production’s running time is about seventy minutes. That is only six minutes longer than Disney’s shortest full-length animated feature that isn’t considered as a “short subject”. (That feature is available for viewing on Disney + with a disclaimer attached!!)

PSS..This production was originally scheduled to open in April of 2020. However, a pesky pandemic got in its way. So after nearly two years, it’s finally arrived at the Odyssey Theater for those to experience this production the method it’s meant to be viewed–on stage and in person!

A PUBLIC READING OF AN UNPRODUCED SCREENPLAY ABOUT THE DEATH OF WALT DISNEY, presented by Working Barn Productions and performs as a visiting production of The Odyssey Theater, 2055 South Sepulveda Blvd., West Los Angeles, until May 1st. Showtimes are Friday and Saturday evenings at 8:00 PM, and Sunday matinees at 2:00 PM.

For ticket reservations and for more information, call (310) 477-2055 ext. 2, or visit online at


On Sunday, March 27th, the Academy of Motion Picture Arts & Sciences presented the 94th Academy Awards presenting the Oscar for the best films of the 2021 calendar year, held at the Dolby Theater within the Hollywood & Highland complex in Hollywood hosted by Amy Schumer, Wanda Sykes and Regina Hall.

Will Smith won Best Actor for the feature release King Richard Jessica Chastain won Best Actress for The Eyes of Tammy Faye. Jane Campion won Best Director for Power of the Dog, and CODA won as Best Picture.

For a list of all nominees and winners, visit the official web site at

The day before, March 26th, the Golden Raspberry Foundation presented the 43rd Razzie Awards awarding the Razzies for the worst films released in the 2021 calendar year.

LeBron James won Worst Actor for the feature Space Jam: A New Legacy. Jeanna de Waal won Worst Actress for Diana the Musical. Christopher Ashley won Worst Director for Diana The Musical, and Diana The Musical won as Worst Picture.

Special awards went to Bruce Willis for Worst Performance by Bruce Willis in a 2021 feature release (That “losing” feature was Cosmic Sin) and Will Smith was awarded the Redeeemer Award, an award given to a performer that used to appear in “bad” movies to later appear in a “good” film, was for his role in King Richard.

For a listing of all nominated films and people as well as its “winners’, visit the official Razzes web site at


is a presentation of Linear Cycle Productions
@AccessiblyLive (Twitter)
(Accessibly Live’s channel on YouTube)

(Look for us on Facebook, follow us on Twitter, and see us on YouTube!)

ACCESSIBLY LIVE OFF-LINE (C) 2022 Linear Cycle Productions. All rights reserved. The views and opinions are those of the writers, and not necessarily of the staff and management. ‘Nuff said!


Back in the day not too long ago, there were so many new television programs that were on the air. Starting in the late summer, the three TV networks (ABC, CBS, and NBC respectively) would create a schedule where the “new” shows would make their debut starting in the month of September, usually after the Labor Day weekend. Then, throughout that month and sometimes bleeding into early October, a belly of new shows would be ready to view on the small screen. It was usually the same staple of programs and genres. (Comedy, Drama, Variety, News/Documentary, etc.) that would run through the end of December.

In January, the “big three” would get rid of programs that “nobody” was turning in to. And that “nobody” consisted of a few millions of viewers that were not right about those tuning in, or at least having their sets turned on to the proper TV channels for the program directors to be pleased about!

So the shows that were seen by “nobody” were dumped only to be replaced by mid-season shows. These programs were set aside from the big Fall rush to make its debut in the second phase of the traditional TV season that ran from September of one year to about April or May of the next year. Although some of these programs may have been depicted as “second runs”, many became big hits. Sitcoms such as All In The Family and Happy Days premiered in their mid seasons, and the syndicated run of Mary Hartman, Mary Hartman, began in early January. There were other programs that got a late start only to bloom later or, but this gives one an idea on how the domestic run of television programming was all about.

Cable TV started to change that pattern in the 1980’s when the big three started to get competition from other sources of viewing and the eyeballs that went along with it. Many of these programs were well done, but didn’t have the same impact as what the big three would offer. Since those channels were not necessarily competing with those three networks, they began their programs and ended them off during the entire season no matter what month it was. They did this just because they could!

Before long, the three networks introduced shows outside of the September/January window. This was due to the notion that they followed the “if you can’t beat ‘em, join ‘em” method of doing business, as well as pleasing the advertisers that paid for it all!

Cable TV soon received its competition that made its program available to its viewers. It was through the ‘net, and those channels (or in this case, content providers) were streaming their programming. The streamers didn’t follow a season per se, or at least not of one that looked like a traditional TV season. Their content came and went whenever the cause called for. And since there was no racing against a clock, they can have their programs or episodes run far from the tradition 24 minutes for a “half hour” program, or 52 minutes for an “hour” long program. Each installment can run as little as 18 minutes or as long as 75 minutes. And since many of these type of shows had no commercial breaks within their middles, the flow became more fluid.

One streaming service (a channel that didn’t add a “plus” to its name) offered ten different shows all within the same week! Another one, this time using a “plus” to its name, offered more programming in a calendar month than what ABC, CBS, and NBC would once offer in a September!

And this tally is for a series of programs, rather than a single installment of a tile. Those installments usually consist of a “TV movie”, or some other element where its first episode would be its last, or at least last for the moment. Theatrical movies are not counted as part of this mix.

So as of this writing (March of ’22), there are so many programs to take advantage of, there may be too many programs to watch! This writer has an opportunity to take a peek at many of these titles. Sadly, one has so many hours in the day just to watch television. In spite of what one may imagine what a journalist writing for some medium spends their day, these same writers and reporters (yours truly included) have a life to live, as well as taking care of other responsibilities that may be boring to comment about, but are important in their own right!

And what are those dull-yet-crucial tasks? Such things as walking the dog, paying the electric bill, taking out the garbage, cooking dinner to the hungry crew dwelling inside of the home space, and other assignments that wouldn’t make fodder to carry a TV series to its audience. Then again, with so many ideas that are thrown out in the media landscape, perhaps a series (Comedy? Drama? Fantasy?) consisting of bland domestic life may be made available. And if that does occur, this writer demands to be placed as an “Executive Producer” for that series. This way, if the program is nominated for some kind of award, yours truly wants to attend the awards show (available for streaming perhaps), and when it gets its win, I want to climb up on the stage along with the others that are part of the “executive producer” army, thanking those that made it all possible. I’ll scratch a laundry list of names to read aloud that consist of my agent, my management company, the head of programming at the streaming service, my dog walker, the head of collectors for the electric company, the person in charge with the local department of streets and sanitation, and the folks living at my dwelling space that were forced to order take out because I wasn’t cooking dinner at home. I would thank ‘em all for whatever is there to be thankful for.

Hey! That last paragraph sounds like a great pitch for yet another TV series to clog up the video landscape! So I better get busy with my executive producer duties and start slapping something together. Expect to see it soon on “….+” available for streaming on your electronic device that’s connected to the ‘net!


Theater 40 of Beverly Hills presents Lauren Gunderson’s SILENT SKY, the inspired true story of Henrietta Leavett, a woman whose interest in astrology was able to create a discovering in the pattern of charting stars, in spite of the challenges she had to face in order to become renowned within her feats.

Abigale Steward portrays Henrietta Levitt. At around the turn of the 20th century, she begin to become involved at the observatory at Harvard University as what was called a “computer”, a person that charts the movement of stars through etched graphs photographed upon glass plates. These chartings were part of the research projects as orchestrated by the research scientists lead by Dr. Charles Pickering that would receive the credit for their work but not for the “harem” that underscores this research, including Henrietta and the rest of the female computing staff. But Henrietta becomes profound in her measurable calculations. This was enough to her desire to utilizes the telescope known as the Great Refractor, but she isn’t allowed to operate let alone even look into the Refractor because of her gender. Besides, it’s really part of the work of the important men that make up the body of the science departments based at the university. In spite of what the department restricts her in these studies, Henrietta proceed within the process of transcribing the changes in Cepheid stars. This charting becomes an important process into charting the entire body of stars as seen within the scope of earth’s boundaries within the known universe. Her work ethic is noted by Dr. Pickering’s head apprentice, Peter Shaw. (Dalern Carlson), who later becomes somewhat of a romantic interest with Henrietta. But this doesn’t stop into the progress that Henrietta is finding within what lies far into the skies. Her skills and abilities later become a first in what the other male scientists has yet to discover at Harvard, and through the other astronomical portals outside of the campus halls of ivy.

This play by Lauren Gunderson is an inspiring drama that speaks for a lesser known person that made new and useful discoveries within the story of the stars when it was all drawn up through human nad based “computers” rather than the electronic type that would not be used for a number of years far into the future. Abigale Steward as Henrietta play her role as a strong lead that knows as much as the male staff she works for. Within her character, she is firm in what she can prove, but is not bossy. The other female characters that are part of her story, colleagues Annie Cannon as played by Marie Broderrick and Willamina Fleming (Amy Tolsky) are within that same level, although Willamina is more “fun” and shows that her Scottish roots brings out her engineering abilities that the Scotts are most famous for. And Henrietta’s sister Margaret (Tammy Mora) is more of the traditional type that such females were categorized during the early 20th century.

The stage setting by Theater 40’s residential set decorator Jeff Rack is at its minimum. The sets consists of a few pieces of basic period furnishings are laid out on the stage depicting many of the aspects that Henrietta finds herself in, from the Harvard Observatory spaces to the universe starred skies itself. The latter is projected upon its back stage wall through moving and still imagery as designed by Fritz Davis and imagery directed by Jean Franzblau. Ann Hearn Tobolowsky is the stage director of the characters showing of the feats as lead by the play’s protagonist.

SILENT SKY takes its title to the audio quality of the stars as seen within the heavens itself (physical silence), and the work that the women did that were a challenge into its own right. (Woman’s rights that had to be fought for.) The play hold both drama and inspiring heart into the work that Henrietta mastered in an honest method that still is acknowledged. As to women taking the lead in such fields of astrological studies? It continues today, but with similar consequences that Henrietta faced thought over one hundred years before. It’s rendered as one step forward, and one (or more) steps in the other direction.

SILENT SKY, presented by Theatre 40 and performs at the Reuben Cordova Theatre, located within the campus of Beverly Hills High School, 241 South Moreno Drive (off little Santa Monica Blvd.) Beverly Hills, until April 17th. Showtimes are Thursday, Friday, and Saturday nights @ 8:00 PM, and Sunday afternoons at 2:00 PM.

For ticket reservations, call (310) 364-0535, or via online at


Continuing its run at The Two Roads Theater in Studio City is Sarah Hunter’s ESCAPE FROM THE GARDEN a.k.a TRACY IN THE KITCHEN, a comedy about a fading actress that attempts to find her comeback by writing and starring in a production about the life and times of Marie Antionette.  

Sandra Cruze stars as actress Tracy Greene. When she was at her prime, Tracy held a starring role in a soap opera airing on daytime TV, and became rather successful at that. But that was a few daytimes ago. Now that she’s aged, the roles were too far in between. After her agent screwed her over a few times, she’s been reduced to living within a small flat found in a dingbat apartment complex in Van Nuys. She shares her living space with her daughter Diane (Juls Hoover), who is following her mom’s footsteps as being an actress herself, yet holds a day job. Her husband Karl (Michael Green) is a school teacher living on a school teacher’s wages. Tracy and Karl do live in their own separate states of being. Tracy feels that in order to receive a comeback she’s seeking, she decided to write her own play about the 18th century-era queen of France. Her writing of this play eventually turns into desperation. She calls on anyone that comes to her place to feed lines to her so she can get the feel of her character, such as Ned (Aurelio Miguel Bocanegra), the apartment’s maintenance man, as well as the various delivery men/boys (Victor Bill) that come around. As time progresses, her household begins to fall apart. But before long, the play is completed. When it’s time to become a star once again, Tracy learns the real truth in being the one time queen famous for her powdered wigs and the dimple on her cheek.

This play, making its world premier at The Two Roads Theater shows how hard it is to not only be an actress in an industry town, but to be an aging actress in an industry town along with a family that could support her but only to a point. The comedy that is depicted is a bit subtle. The laughs are there, but it’s nothing that’s labeled as wacky or goofy. It’s far from becoming a farce where people are running in and out of doors. Then again, it’s a comedy with hints of dramatic moodiness. This is depicted in its second act where Tracy is finally allowed to “eat her cake”-so to speak!

Sandra Cruze as Tracy is very appealing. She’s an actress that would do almost anything to perform once again and be respected in the process. Juls Hoover as Diana is more of an “real” actress that still has a day job that does pay the rent. Michael Green as Karl is a man busting his rear as a teacher yet has plans on his own holding on to an idea to live in Washington State to get away from it all. Aurelio Miguel Bocanegra as Ned is the guy that comes around to Tracy’s joint but is not there to unclog the drains. (Are they having an affair?) And Victor Bill plays a variety of characters that all give their amount of spark to Tracy’s life.

Marianne Davis directs this production that could be just a tad tighter. But with a historical caricature as Marie Antionette as its center of attention, then this method of comic pacing can be looked the other way. But we’ll raise a glass of champagne and say “Viva la France” to this show.

ESCAPE FROM THE GARDEN a.k.a TRACY IN THE KITCHEN is presented by Two Heads are Better Productions and performs at The Two Roads Theater, 4348 Tujunga Avenue, Studio City, until March 27th. Showtimes are Friday and Saturday nights at 7:30 PM, with Sunday matinees at 3:00 PM.

Tickets can be ordered online via

Visit the Two Heads are Better Productions website at


is a presentation of Linear Cycle Productions
@AccessiblyLive (Twitter)
(Accessibly Live’s channel on YouTube)

(Look for us on Facebook, follow us on Twitter, and see us on YouTube!)

ACCESSIBLY LIVE OFF-LINE (C) 2022 Linear Cycle Productions. All rights reserved. The views and opinions are those of the writers, and not necessarily of the staff and management. ‘Nuff said!


This coming week will mark the second anniversary when the pandemic started to take effect. It was the time when when looking back in this present time, that all hell broke loose! (Our italics). Then was the moment that things started to shut down. There was a load of emotions going around, from panic, uncertainty, fear, confusion, and even a sense of a time of thought. It was indeed the best of times as well as the worst of time.
Of course, a lot of things did change. Some for the better, as well as some of the worst. When it comes to the good times/bad time scenario, it seems that the bigger concentration falls on the latter when things are so bad, they ain’t good. And the things that are good don’t seem to be as good as first received.

Well, there is a load of bad stuff, from rising inflation to the war in the Ukraine. Granted, there are a lot of other things that could be better but are not. Many of these tales or woe can’t be controlled by many of the public at large as there isn’t any source that can control these things. One just has to cope with what’s going on. But then again, there are a lot of “not-so-good” things that occur to folks all of the time. About 99% are not reported. The reason? They have no concern of interest to anyone outside of the realm of the person(s) that are experiencing such bad times. Social media plays a role in reporting said strife, such as random Facebook posts still received by our remaining Facebook friend “Tiffi Purewhite”. But for the most part, these little episodes in life are just part of the domestic landscape that’s been going round for generations.

Then again, there is the good side of life. We won’t get into too many details on what can be considered as good versus bad. A few are rather obvious. But for now, we can only concentrate on what this news service can reach out to.

Even though we call ourselves a new service, we are not in the line as such outlets as The Associated Press, The New York Times, or even the electronic media outlets from CNN to Fox News. We are just a speck in the reporting field that’s been around for over a quarter of a century!

But getting back to this “beginning of the end” or “end of the beginning”, depending on how one desires to view it. We have been honored to take a look at what’s been going on to find out what changes can be modified to make it better. Some changes are in a physical stance, such as how we cleared up the physical office space at ALO-L central, Others are modifications in managing details on how one can control a situation or two. Yes, that phase sounds a bit vague, but we are sure that you may get an ideal of what is being expressed within this article. Then again, maybe not!

But this time of year marks the end of the winter season. It also marks the (almost) start of Baseball season. It also marks the birthdays to a few of our close associates here within the ALOL circles. Granted, these events may mean little to nothing to you readers out there, but that isn’t the real point.

What we are stating is the fact that after the two year mark, it’s time that we face what’s going on and adapt it to the best as humanly possible. It may not be appreciated in this adaptation stage at first, but one can and will rise to the occasion, and that rise will take its time. Some faster than expected while others are received, but not in the way as first anticipated.

Nevertheless, things will go on as they go on. We are not necessarily stating that one should ignore what appears to be a state of crisis. One should just face things as a matter of concern but not to panic for the sake of panicking.

To end this opinion article, and’s just an opinion that may be different than those that read and understand this piece (that’s our disclaimer, folks), we will conclude with a quote attributed to musician Tom Petty who once stated (or sung) ..Most things I worry about never happen anyway…


The Santa Monica Playhouse in Santa Monica presents YOU HAVEN’T CHANGED A BIT AND OTHER LIES, a new musical comedy by Jerry & Steven Meyer about being a “grown-up” living in that golden age of your 60’s, and the complications that go along with it all!

The basic story is about three couples, (played by Chris DeCarlo, Rachel Galper, Kyle T. Heffner, Barbara Keegan, Evelyn Rudie, and Tom Van Dyke) who have known one another for years, decides to reinstate their wedding vows in a ceremony set at a meeting hall at a local Ramada Inn. While they getting ready for this event, they all go through a number of trivial yet important moments that are part of the state of being they exist in, from forgetting things more-or-less often, switching gender-based roles more-or-less often (again), redefining retirement and getting what’s called “F-You” money from their employer, taking a little blue pill to “get it up”, and other episodes that are part of the good nature of climbing up through the cycle of life. Although it may be a bit of a challenge, they all know that they have one another as they are living within the best years of their lives.

This singe act production, created by Jerry Meyer, a comedy writer that has over fifty years worth of jokes, gags, and situations behind his belt, and his son Steven Meyer that composed the musical score and lyrics with dad Jerry, is charming and witty with light (very light) touches of despair added. (After all, getting old sucks big-time!!) However, it’s a musical comedy play that proves to anyone no matter what demographic one falls in, that growing up just gets better the second time around. (Or third, forth, or even fifth time around the block!)

Chris DeCarlo, one of the artistic directors at the Santa Monica Playhouse (along with fellow performer and real-time spouse Evelyn Rudie, who also co-stars), directs this program as a tight ninety minute showcase. As the cast dole out their roles on a stage dressed up in a minimum stance, Steven Meyer is on the keyboards off stage left performing the musical numbers that are just as funny as the dialogue itself.

YOU HAVEN’T CHANGED A BIT AND OTHER LIES is the first full length production produced by and at the Santa Monica Playhouse in some two years. Within that time span, many playhouses within the Los Angeles region had their shows come to a standstill. Some of those theaters have returned, while others took their final curtain. In spite of this mishap, the folks at this playhouse have reappeared to their time tested glory. And this show proves this fact indeed!

YOU HAVEN’T CHANGED A BIT AND OTHER LIES, presented by and performs at The Santa Monica Playhouse, 1211 4th Street (off Wilshire Blvd.) Santa Monica, until April 10th. Showtimes are Saturdays at 7:00 PM, and Sunday afternoons at 2:30 PM.

For ticket reservations and for further information, call (310) 394-9779 x 1, or via online at


The 27th annual Critics Choice Awards ceremony was held on Sunday, March 13th from the The Century Plaza Hotel in Century City, California, and through a remote from the Savoy Hotel in London. The CW Network and TBS aired the program live.

Taye Diggs & Nicole Byer served as the masters of ceremonies where awards were presented by the choosing of Critics Choice Association, presenting the best in television programming and feature films.

Among the many awards that were presented, ranging from Best Ensemble Cast (feature films), Best Actor/Actress in a Comedy/Drama (film/television), Best Supporting Actor/Actress in Feature/TV, etc., two special awards were presented.

Halle Berry was awarded as part of the #SeeHer movement where females are presented in movies and TV shows in a positive and progressive light. Billy Crystal received a Lifetime Achievement Award for his fifty plus years from his start of being a stand-up comic, to the many features and television program he has been involved in, including his next venture, a musical stage production of Mr. Saturday Night, based upon a character he created during his run on Saturday Night Live in the 1980’s

Ted Lasso won Best Television Program while The Power of the Dog won for Best Picture. Both titles won four awards each in their respected categories

The Critics Choice Association consists of members who work as professional journalists that write and review films and TV shows in publications that exist through multimedia outlets. (Disclaimer: This writer is a member of the CCA.)

For a complete listing of all titles nominated and its associated winning categories, visit


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