One of those folks who wants to remain nameless — because, I always assume, they'd be ashamed to have the world know they read this blog — wrote right after I posted that episode of I've Got a Secret with Kirk Alyn, the man who played Superman in the movie serials. Here's what Jerry Walker wanted to know…

Looking at Kirk Alyn's IMDB page, I see that he worked a lot in Hollywood for a while and then he had long periods when he couldn't possibly have been supporting himself as an actor. Why do you think that was? How do you think he felt about it?

I don't think very many people who decide to become actors — and really it applies to any profession you choose to pursue — are happy not to be working in their chosen profession. How they cope with this is complex and can vary a lot from person to person. There are those who are proud they had what they had. There are those who are angry or sad that they didn't have more of it. There are those who can be both in a single sentence.

But before I get into that, I should say that an actor's IMDB page might not tell you everything about how often they worked or their financial health. First, IMDB has listings that are wrong or incomplete. Secondly, there are actors have lucrative and satisfying careers acting for the stage or in commercials or who make the slight adjustment into teaching and other acting-adjacent professions not charted by IMDB. I can't find my copy of Kirk Alyn's autobiography but I seem to recall him talking about some stage work he'd done. It may not have been as bleak as you presume.

Also, a person is allowed to have more than one chosen profession. I know people who act but also paint or write or dance or perform music or find satisfaction and grocery money doing other things. Every time I see a big musical dance number on a sixties variety show done in Los Angeles, I'm reminded of a gent I met shortly after I bought my house. He was an expert finish carpenter and he did magnificent work. It was his other profession along with dancing and he ticked off a long list of shows he'd been on, including every episode of The Red Skelton Show for two seasons.

He did not think of himself as a dancer who, at the moment he was here seamlessly patching a big crack in my front door, was outta work. As far as he was concerned, he was a dancer/finish carpenter who was happy doing either and was doing one way more often than the other just then.

It's all kinda how you look at it. I believe that one of the secrets to sanity in show business — or any field where there are short term jobs and you can go months without one — is to accept the capriciousness of the profession you've chosen. And it helps if you can learn to be amused by it…or fascinated by how on Monday, you have absolutely no prospects of work and then on Tuesday, someone calls and you're on a series. It can work that way even when that Monday and that Tuesday are years apart. I've probably said this before — and come to think of it, I have a graphic I made that I can re-use here. It's the catch phrase from the old Super Chicken cartoons…

But getting back to Jerry Walker's question: It's hard to say why Kirk Alyn didn't star in more movies after a certain time period. It may be as simple as a certain casting director or producer really liking him and casting him a number of times…and then that casting director or producer has suddenly discovered a different leading man type.

Or maybe that casting director or producer just wasn't casting anything anymore. A lot of hiring is done on whims or hunches. It's about as inexact a science as you can find. I suspect that at the time Mr. Alyn was in the most demand, there were a thousand guys in this town who could have played the same roles. And some of them were wondering why that Kirk Alyn guy got jobs that they could have done.

It's just the way the business works and always will. Maybe ten dozen times in my life — and probably more — someone who had the power to hire me for a real good job told me they were going to and it looked pretty definite. And then it went to someone else…or it went to no one else because the project was canceled. I've learned to shrug and say "That's show biz." A prominent voice actor friend once told me that every time he gets a job, he reminds himself, "It didn't have to be you!"

So I don't know why Kirk Alyn didn't act more but it's quite possible (even probable) that there was no reason just as there's no fixable reason why I didn't win the Powerball Lottery two nights ago. True, I didn't buy a ticket but I don't believe that would have made much of a difference.

By the way: The above quoted question did not come from someone named Jerry Walker. I made that name up. It was actually from someone named Enrique Gardenhose.

Trump has been talking a lot about job numbers lately…which means he's been lying and cherry-picking and distorting reality. The folks at FactCheck.org set things straight.

This is a half-hour episode of the 1972 version of I've Got a Secret. I've embedded it but configured things so if you click to watch it, it starts late in the program just as they're bringing out the last contestant. That contestant is Kirk Alyn, who played Superman in movie serials beginning in 1948. Mr. Alyn, as I think I've mentioned on this site, was a frequent guest at comic book conventions in Southern California, way back when very few celebrities by any definition did that. Always dressed immaculately in suit and tie, he'd gladly talk with anyone, especially if they bought an autographed photo or a copy of his self-published autobiography. He was also Blackhawk in a 1952 serial.

By '72, his acting career was pretty much over, though he did get a brief cameo in the 1978 Superman movie with Christopher Reeve. He was a pleasant gentleman, very gracious and very appreciative of your attention. I thought some of you might enjoy seeing him on this show. If you want to watch the whole episode, move the slider all the way to the left and it will start from the beginning. The celebrity guest was Buddy Hackett…

For some 83 years, the Voice of America radio broadcasts have spread the message of democracy to some 360 million people around the world. The White House is now accusing them of spreading "radical propaganda" — and their definition seems to be anything that isn't wildly pro-Trump. Glenn Kessler, the ace fact-finder of The Washington Post, explains how ridiculous the allegation is.

I accidentally posted the wrong draft of the preceding post. I have corrected it and now the right draft of it is there.

The TV career of the great Sid Caesar confuses some people so let's run through it. These are the American TV series which starred Mr. Caesar…

• Admiral Broadway Revue (1949) – Imogene Coca and Sid – Writers were Mel Tolkin, Mel Brooks and Lucille Kallen.
• Your Show of Shows (1950-1954) – Imogene and Sid joined by Carl Reiner and Howard Morris – Writers included Tolkin, Brooks, and Kallen, plus Tony Webster, Joe Stein, Selma Diamond, Neil Simon and Danny Simon.
• Caesar's Hour (1954-1957) – Nanette Fabray replaces Imogene while Carl and Howie remain – Writers included Tolkin, Brooks, Diamond, Stein, Webster, Stewart and the Simon brothers plus Larry Gelbart, Aaron Ruben, Sheldon Keller, Gary Belkin, Phil Sharp and others.
• Sid Caesar Invites You (1958) – Imogene Coca returns, Carl Reiner remains, Howie Morris does not – Writers included Tolkin, Brooks, Gelbart, Stewart and the Simon Brothers.
• The Sid Caesar Show (1963-1964) – No Coca, Reiner or Morris. In support were Gisele MacKenzie, Joey Forman and Bea Arthur – Writers included Diamond and Webster along with Mickey Rose, Goodman Ace, Jay Burton and Terry Ryan.

And there were a number of specials before and after that last series.  People keep listing Larry Gelbart and Woody Allen as writers on Your Show of Shows but neither were there. Gelbart's career with Sid started at Caesar's Hour.  Allen's work with him was on specials and there is some disagreement out there as to which ones and when, and some claim he worked on that last series.

But there's another Sid Caesar series that isn't on the above list and the reason it isn't there is that that's a list of shows done in America.  Sid Caesar Invites You was not run in England but after it finished in the U.S., Caesar and Coca went over there and did thirteen half-hours of Sid Caesar Invites You for the B.B.C., recycling scripts done for the American version. American comic actor Cliff Norton joined them over there and reportedly, Carl Reiner turned up in a couple of episodes but he's nowhere to be seen in this one…

The current occupant of the White House is claiming that pardons issued by his predecessor are invalid. Politifact explains how ridiculous that is. The current guy will say just about anything that he thinks will thrill his base.

The unconventional comedian Lenny Schultz has left us at the age of 91. He was one of those guys who would do just about anything for a laugh and you can read all about him in this Hollywood Reporter obituary or this piece that I wrote about him some years ago on this blog. Neither will give you the full sense of how strange and fascinating he was on stage. You really had to be there.

As you may have heard, some ugly things appear to have happened to Stan Lee in the last few years of his life. Any article about those years is likely to include terms like "elder abuse" and "swindled out of millions." There's currently a crowd-funding drive to raise the funds to complete a documentary about that part of Stan's amazing time on this planet and if you want to contribute, you shouldn't have much trouble finding more info and a place to donate.

I'm not linking to it because I honestly have no idea how accurate it is (or maybe I should say "will be") and also because, having been stiffed now by a number of crowdfunded projects, I'm not linking to any of them unless I really, really know the folks involved. In this case, I don't. And also, there's a great deal of online outrage calling the project "exploitative" and I don't know enough to have an opinion on that.

So take this all as a big "No Comment" on most of the whole situation. The last two times I saw Stan were very different from each other and I have no idea which, if either, was typical of his final years. Probably both were indicative of different times. Neither time did he seem unhappy or indentured but these were brief and in very public settings. I would draw no firm conclusions from them.

Was there sadness in his last years? Of course. Stan was very devoted to — and madly in love with — his wife of almost seventy years, Joan. She took great care of him when she could but her health was failing and she died on July 6, 2017 at the age of either 93 or 95, depending on which source you believe. Stan died sixteen months later at the age of, inarguably, 95. How could that not have been sadness there?

And then there was this: In his last decade (or so) of life, he made vast sums of cash signing his autograph and lending his name to dozens and dozens of business ventures and projects…and he reportedly wound up with very little of that money. How could that not have been sad…to say nothing of criminal? But I don't know precisely who dunnit or exactly what they dun and I'm not sure I need or even want to know. I think Stan did some very good things in his lifetime and some very not-very-good things…but — and maybe this is just me — I can't feel anything but bad about how that lifetime ended.

So this post is in response to the many who have written me to ask what really went on there. I'm sorry I can't give you a firm answer. All I know is that whatever it was, it shouldn't happen to anyone.

…is why almost all the packaged salmon sold in this country as "boneless" has a warning on it in teensy type that says "May contain bones."  Yes, I know they put that there to (perhaps) protect themselves from legal action if/when a bone slips by but shouldn't this be advertised as "Mostly boneless?"

Hey, lemme tell you about an upcoming event at the Skirball Cultural Center here in Los Angeles. But first, I'll let this paragraph I cribbed off Wikipedia tell you about the Skirball Cultural Center…

The Skirball Cultural Center, founded in 1996, is a Jewish educational institution in Los Angeles, California. The center, named after philanthropist couple Jack H. Skirball and Audrey Skirball-Kenis, has a museum with regularly changing exhibitions, film events, music and theater performances, comedy, family, literary, and cultural programs.

I've been there a number of times including once to see George Carlin be interviewed, once to see Frank Ferrante play Groucho, once for an exhibit about the roles of Jewish comic book creators in that industry. For the one about Jewish comic book creators, they had me interview the wonderful Jerry Robinson in their theater. The people there really respect comic books and they'll prove it again — and I'll be there again — on May 1 when they open…

Jack Kirby: Heroes and Humanity — Delve into the six-decade career of legendary comic book artist Jack Kirby (1917–1994). This exhibition goes beyond the page, featuring original comic illustrations, fine art, and commercial art — many on view for the first time — and his experiences as a first-generation Jewish American whose faith remained important throughout his life.

You can learn more about it on this page…and I'm not sure how long it's going to be there but it'll be there for a while. You don't have to rush.

Last Friday, our 45th, 47th and perhaps last president gave a speech at the Justice Department that cried out for major league fact-checking.  A team at The New York Times did the honors and there was a lot there to correct or clarify.

BOOP! The Betty Boop Musical is now in previews at the Broadhurst Theater in New York with an opening date of April 5. I admit to a certain curiosity about it, especially about the meeting in which someone said something like, "You know what Broadway is dying to see? A musical about Betty Boop!" I love the old Max Fleischer Betty Boop cartoons, especially when administered in small doses but I'm just wondering why they thought there was a lot of name recognition there.

Or maybe they didn't. Maybe the whole point of it is just to do a jazzy, colorful musical and Betty could anchor it and represent a carefree era where the world had the energy of one of her cartoons. Advance word would suggest the show is at the very least jazzy and colorful and those aren't bad things for a musical to be. So we shall see what we shall see. Here's a link to a page that tracks reviews, which are so far of the outta-town tryouts. And here's a 48-second sampler of the show which is, as you'll see, jazzy and colorful…

Clydene Nee, who passed away last November, was an important contributor to Comic-Con International and a very sweet, wonderful lady who loved comics and the folks who create them. I wrote about her passing at the time.

This year at WonderCon, those who knew her will gather for a memorial on Friday evening — that's March 28th — at 9 PM at the Hilton in Ballroom B. I'm sure going to try to be there.

I haven't linked to any videos from Devin "Legal Eagle" Stone in quite a while but this one seems too important to overlook…