My longtime pal Jim Brochu was friends with Zero Mostel and starred in and wrote Zero Hour, a one-man show in which he played the great Mostel. I wrote about it here many times and even provided this link where you can still view this fine production in full.

But first, here's Jim biddi-biddi-bumming for us, re-creating one of Zero's most famous numbers…

I'm no less busy than I was yesterday but I wanted to share my delight that Jon Stewart is returning to The Daily Show even if it's just for one day per week. I suspect it's because he likes the challenge of broadcasting Fake News that's more outrageous than the real stuff these days.

Donald What'shisname used to brag that he hired "All The Best People." That has become demonstrably false. All the good people he hired now either are working against him winning another term or they're under indictment…or both. All the bad ones are on his legal team and you can see how well that's turning out for him. Wow.

One of these days, I may or may not tell you what I'm doing today but trust me: You'd forgive me for neglecting you, Dear Blog Readers. There will be little or no posting, which is what that silly soup can indicates. Thank you for understanding that which at the moment, you do not understand.

As I've said many times in many places, Soupy Sales was a boyhood hero of mine. From 1960 (when I was eight) until early '62, he hosted a usually-live, very funny TV show on KABC, Channel 7 here

in Los Angeles. It was one of those shows like Time for Beany or the various Rocky & Bullwinkle programs that were intended for kids but irresistible to a surprising number of adults. I almost never missed it and was real unhappy on the rare occasions when I did.

Soupy experimented briefly with having a live studio audience but he usually just had the stage crew as his audience. You could often hear them laughing and years later, Clyde Adler — who played White Fang, Black Tooth, Pookie, Hippie and just about everyone who came to Soupy's door — told me that they usually had a microphone open in the studio just to catch the crew laughing. I wished I could have been there with them and in the late seventies, I was.

It happened when Soupy did a new and syndicated version of his old show and it was taped on the KTLA lot in Hollywood.  I was fortunately working on variety shows there for Sid and Marty Krofft's company and I often played hooky from my job to hang out on Soupy's set.  I got to talk with him and became friends with Clyde Adler. In addition to his duties as Soupy's cast, Clyde was also the chief hurler-of-pies into the face of the star of the show and Clyde once paid me the honor of putting one of those shaving cream pies in my hand and "spotting" me as I lobbed it into the puss of Mr. Sales.

There were a number of local Soupy fans who were allowed/welcomed to hang out on the set during tapings supplementing the crew laughter. One of them was a fellow named Earl Kress and another was a fellow named Stu Shostak. I didn't know either of them at the time but both later became good friends, often mentioned on this blog.

Soupy's career followed a strange path before and after that series — game shows, radio, guest starring on every kind of show there was — and then there came tragedy. He has a ghastly accident that involved falling down a flight of stairs. He was never the same after that but he still had legions of loyal fans.

One Sunday some time ago, Soupy was a guest at the Hollywood Collectors Show held at the Beverly Garland Hotel out in the valley. He was mostly signing photos and copies of his book. A number of people you've heard of were there and most of them stopped by his table to say hello. Here's a little less than two minutes of video from that event. See how many people you can recognize in it…

Okay, you certainly spotted Buddy Hackett and Ed Asner…but there's someone else in the video you might (might!) spot.  I wouldn't fault you if you didn't but here, look at this screen grab I made…

That's me at right in the blue shirt weighing about ninety pounds more than I do today.  The lady in the green jacket next to me is my dear friend Carolyn Kelly.  If  you watch the video again, you may be able to also catch us walking out behind Soupy.

And I watched this video a couple of times before I noticed that the gent in the red-striped shirt behind me is not Waldo.  It's voice actor Wally Wingert, who years later I directed when he did the voice of Jon on The Garfield Show, and who became a very good friend.  I didn't know him at the time just as I didn't know Earl or Stu when I was standing with them on the set of Soupy's show.

Before this video was shot, I spent some time with Soupy and he signed a book to me.  He seemed a little overwhelmed at the attention he was getting there.  I don't think he had very many moments when there wasn't a line of folks waiting to meet him, buy his signature and tell him how much his work had meant to them.  I saw him again a year or two later at a comic convention in New York and the line was even longer. Before he left us a few years later, I hope he had an accurate sense of how beloved and appreciated he was.

Here's a piece John Oliver did a year or so ago for Stephen Colbert's show, explaining and in some cases defending British cuisine…

So Ron DeSantis is "suspending" his campaign for the G.O.P. nomination.  Obviously, his showing in the Iowa caucus and some sort of internal polling have a lot to do with that but I wonder: Is it that some big donor said, "I ain't giving you another nickel"?  A lot of presidential campaigns peter out when the money does.  Or is it that to stay in, DeSantis would have to get much rougher on Trump, which is what Nikki Haley is doing this weekend…and that could end any chance DeSantis might have had of being Donald's running mate. Or did he and Trump make a deal?

I dunno.  I'm just curious how these decisions get made.  It seems to me it's been a long time since DeSantis had even a scintilla of a chance of landing the nomination.  What happened to get him out now?

Maybe some of the answers are in this article by Jill Lawrence.  It was written a few days ago but all they'd have to do is change a few present-tense words to past-tense and it would be topical.

I have a batch of e-mails asking me to comment on the crashing and burning of Sports Illustrated, a magazine I believe I have opened exactly once in my life. That was around 1968 or so when someone made a remark on some TV show that some lady who was either a gymnast or a surfing champ was "almost naked" in the current issue.

Well, that I had to see and I was disappointed in the definition of "almost naked." The lady who delivered my groceries from Ralphs Market yesterday was wearing less clothing and this was in the rain.

I don't think I've looked at an issue since; not even the annual Swimsuit Issue which offers much the same thing. There's no need to see it there because we now have an Internet and at the moment it seems like every young, attractive woman in the world with a large chest has opened a Facebook account, an Instagram account and I suspect they're about to do a hostile takeover of The Los Angeles Times Sudoku page.

It's odd how all these women are opening sites with all the same photos of themselves and each other and how they all say the same things asking you to click to see their expertly-Photoshopped pictures. It makes you suspect one person or firm is posting them all. Never mind Hunter Biden. The United States House Committee on Oversight and Reform should be looking into this.

So what's happened to Sports Illustrated? The same thing that has happened to darn near every magazine. And if you don't know what that is, I'll let Kevin Drum tell you.

As everyone knows, the character of Spider-Man debuted in the fifteenth and final issue of Amazing Fantasy, which reached newsstands on or about June 5, 1962. Amazing Fantasy was only Amazing Fantasy for that one issue. Before that, it was called Amazing Adventures for a while and then it was called Amazing Adult Fantasy. The change of titles and formats were (obviously) because it didn't sell all that well.

Stan Lee used to always say that since his publisher, Martin Goodman, had decided #15 would be the last issue, he and artist Steve Ditko decided to get a little experimental. With the attitude of "What do we have to lose?" they gave the first half of #15 over to this new character called Spider-Man. They did that one story and when the issue got the reaction it got, the publisher was willing to launch the character in his own comic book. Amazing Spider-Man #1 came out on or about December 12 of 1962.

That's how the story is always told and I tend not to believe it. There is evidence supporting the theory that when Lee and Ditko did that first story, they had no idea that that would be the last issue of Amazing Fantasy; that that decision had not been made yet. There is, in fact, a blurb in that issue urging you to purchase the next issue. I believe the decision to terminate the title was made not only after they'd finished the story in #15 but after they'd finished a Spider-Man story for #16 and done at least some work on one for #17. When Spider-Man got his own comic, those stories appeared in that book.

The reasons some of us historian-types believe this will be discussed at some later date. It is a fact though that Amazing Spider-Man #1 came out around 12/12/62 and that Amazing Spider-Man #2 followed on (approximately) 2/12/63. Here are the covers of those issues. See if you can notice the big change between #1 and #2. Go on. I'll bet you can find it…

You see it? Starting with #2, the comic — in fact, every comic published by Marvel — featured a little box in the upper left-hand corner with an image of the star(s) of the comic and the word "Marvel," which was not seen on their comics until then.

(Oh — and before we leave that first issue, let me point something out. See where it says "2 Great Feature-Length Spider-Man Thrillers"?  Well, in case anyone asks you, "feature-length" at Marvel in those days was 10-14 pages.)

Moving on: Those corner boxes were important in establishing Marvel as a brand.  Before they came along, if you liked the comics they put out, you didn't really know what company it was that had put them out.  They had a little "MC" on the cover but you had no idea what that meant.  If you looked inside the comic in the little legal stuff text, it only told you which of Goodman's many shell companies the comic was officially being published through. There was some sort of legal and/or tax advantage to doing it that way.

So Amazing Spider-Man #1 was officially published by Non-Pareil Publishing Corp. while the same month's issue of Fantastic Four — which obviously was published by the same firm — was officially from Canam Publishers Sales Corp. Meanwhile, The Incredible Hulk was published by Zenith Publishing Corp. and that comic with Thor in it was published by Atlas Magazines, Inc. and that same month, the Hulk was guest-starring in the Fantastic Four comic and all those books seemed to be from the same folks and they all cross-plugged each other and…

This kind of thing can be very confusing when you're ten years old. Especially since I liked to file my comic book collection: The DCs in this pile, the Dells in that one, the Archies in that one…

Stan Lee once said that the idea for the corner boxes came from artist Steve Ditko and that once they adopted them, it caused sales to soar. Ditko, it is said, got the idea when he went to his local newsstand in New York to buy comics and found it difficult to find the ones he wanted on those racks. Most racks did not display the full cover of each comic. A lot of them only showed you the top left corner of the comic.

So the story is that Mr. Ditko thought something like, "Hey, we should put a little picture of Spider-Man in that space on the Amazing Spider-Man comic and a little picture of Thor on the comic he's in…" and I think I know where he got that idea. If he was browsing newsstands for comics, he would have seen such pictures on comics from the Harvey Comics Group. In 1962, they'd been doing this for about eight years. Look at this…

And while you're at it, look at this…

Beginning around 1954, Harvey put those little "stamp" images on all their comics that featured recurring characters. A few years later when they began marketing cartoons of some of those characters on television, the stamps changed into little TV screens but the principle was the same: Put a picture of the character(s) in the upper left hand corner to attract potential buyers.

Ditko couldn't helped but see this and he also would have seen Gold Key Comics and Charlton Comics and maybe a few others putting the name of the comic in the upper left hand corner. He especially couldn't have missed Charlton doing it because he was drawing for that line and even drawing a lot of their covers.

And were those little pictures then the key to Marvel's sudden spurt in sales? I suspect not…and I base that suspecting-not on the fact that other companies did not race to do likewise. The industry since Day One had been a place where publishers looked at what was selling for their competitors and shamelessly aped what seemed to be selling. Everyone had easy access to other companies' sales figures and DC especially would have noticed a sudden spurt in Marvel's sales because DC was then Marvel's distributor. But DC didn't try anything of the sort on their covers until 1970 and they gave it up after less than a year.

No, I think three things began steadily raising sales at Martin Goodman's company around the time of Amazing Spider-Man #2. I think it was the quality of their comics, the sense that that line was expanding (which was kind of exciting) and, most of all, that they finally put a name on that line. Suddenly, us kids buying them could say, "Hey, have you seen the new Marvels?" It was Basic Branding 101. If you have a product people want, give them a name by which they can ask for it.

They say that one picture is worth a thousand words…and maybe some pictures are. But in this case, I think one word was worth a thousand pictures. And an awful lot of money.

There was a period there where any "name" comedic actor who could conceivably have played Oscar Madison and/or Felix Unger took a shot at The Odd Couple. Some played both roles at times. Here's a review of a production which starred Tom Poston and Tim Conway…and you'll notice that Mr. Conway added some physical comedy to the festivities…

Stephen Pickios sent me the following…

I wonder if you could write about your personal philosophy being a freelance writer towards finances, and retirement? I'm not trying to get you to reveal your personal financial status, but as a professional whose work and attitude I greatly respect, I've often wondered how a freelancer such as yourself handles things like healthcare expenses and savings when they don't work a "typical" corporate job with a guaranteed income and may not have had access to corporate sponsored health insurance.

I should point out that I've zero experience with writing for the entertainment industry or knowledge of how the Writer's Guild or SAG-AFTRA organizations work and whether they offered benefits like insurance or a 401k (which could make the answer to this extremely short, and extremely boring).

It's fairly simple. My health insurance came for a long time through the Writers Guild and since I hit that certain age, it has come from Medicare plus supplemental insurance from the Writers Guild. I have a private pension plan linked to investments plus I have a Writers Guild pension and Social Security. I handle savings the way anyone handles savings.

By the way: I have been a professional writer for 54 and a half years and in all but a few of those years, I wrote along with other things, comic books. I still write comic books. And in all that time, not one penny of one medical bill was ever paid with the financial assistance of a comic book company.

At the risk of stating the obvious: The trick to being a freelancer is to keep making enough money to maintain your current lifestyle and build up some sort of savings that will get you through those times when you (a) don't have the necessary income or (b) have some unexpected major expense or (c) both. I have somehow managed this for the 54.5 years.

I'm not wise enough to have done this alone. I had a couple of good agents along the way and I've had some good business managers as well as a couple who were not-so-good. I also learned, the need to be very realistic about money. No matter how likely or firm that next project may seem, don't spend the money (even in your imagination) until you actually have the money.

It's real easy to decide you want to buy something you can put on your credit card and think, "By the time I have to pay this off, I'll have the dough." No matter how sound that premise may seem, don't count on it. I've sometimes waited months for checks that were supposed to arrive next week.

And when you have a steady flow of income from one source, don't assume it will be steady forever. You should never be getting all your pay from one place even if that one place is a big, seemingly invincible company. Preferably, you should never get it from one kind of writing (see above remarks about health insurance and comic book companies).

You need to accept that by choosing to be a freelance writer, you're choosing to put yourself at the mercy of a capricious and often maddeningly unpredictable system. Look at all the Big Stars who draw in megabucks one day and wind up a few months later in bankruptcy court right next to Rudy Giuliani.

You may feel certain that that screenplay you're about to finish will sell immediately for six, maybe even seven figures. I know guys who felt that way about scripts they wrote decades ago and which have yet to net a nibble…and those may be great scripts, I don't know. It's a strange, not-always-logical business so you need to be very realistic about your income and your outgo.

And it helps to keep writing things that buyers want to buy. I have taken "retirement" to begin collecting pensions but I have not stopped trying to write things that buyers want to buy.

I don't go out much these days. Instacart, DoorDash and the virus SARS-CoV-2 have turned me into a big stay-at-home. Ah, but this evening I took my friend, the lovely Brinke Stevens, to the Orpheum Theater in Downtown L.A. There, we saw this gay guy singing well-known show tunes but he'd rewritten their lyrics to be about Donald Trump, Rudy Giuliani, Kevin McCarthy, Marjorie Taylor Greene and other Red State Sweethearts.

This wasn't the first time I've taken Brinke to see Randy Rainbow perform live. Four years ago, I took her down to the Wiltern where, as Mr. Raindow did this evening, he played to a sold-out crowd which loved just about every note and word that came out of his mouth. In fine voice and without so much as sitting down to rest a second, he performed a mix of old faves and new pieces for two hours. And he was very funny.

A lot of the show consists of videos he's made — some you may have seen on YouTube, some that haven't been there yet — and he sings his parts live with a small live band playing along. It's kind of semi-Karaoke. The video and audio on the screen were a bit outta-sync with each other tonight but no one in the audience seemed to mind. They loved everything he did except for when he ended the show.

About that audience: Brinke and I both felt it was markedly older than the folks at the Wiltern…or maybe it was the same people and they've aged a lot in four years. It also felt a lot straighter in the Orpheum. I have no idea what, if anything, that indicates.

I also have no idea why he's only playing the one night here in Los Angeles. Given the speed with which tonight sold out, I bet he could have filled the joint several more nights…but no. He's also doing one show only in San Francisco tomorrow night. You can find out if/when he's coming your way over on this page. If you enjoy his videos, you'll enjoy him in person.

The theme of this tour is Randy Rainbow for President and he explained his platform and sang his campaign song (this one). He also announced his forthcoming second book, Low-Hanging Fruit, which will be out in October.

I'll tell you one of many things I like about this fellow: I'm impressed by people who have, in effect, made their own industry. Longtime readers of this blog are probably weary of me raving about my buddy Frank Ferrante and it isn't just because he puts on a marvelously-entertaining show. It's because he invented his career. He didn't answer a classified ad in the newspaper — "Wanted: Groucho Marx impersonator." No, Frank was a self-starter in this. He started doing it and did it so well that it turned into a thing.

Randy Rainbow, not so long ago, was just a guy making YouTube videos. There are skillions of 'em and most of those who make these videos do not make a living wage or anything close to it. Mr. Rainbow had the talent to perform, the skill to make and edit those videos and the perseverance to keep doing them until they got better and better and more and more noticed. And now that's a thing and he's a thing…a very successful thing.

And like I said, he's funny. Very funny. I suspect even some Trump supporters would have laughed at some of what he did tonight. Just not as long and loud as the rest of us.

I can't sit through the Emmy Awards or any of the shows like that. It's lots of very well-paid and famous people — some of whom deserve it and some of whom don't — fawning over each other and sharing perfunctory compliments and making like what they do is the supreme human achievement. I am not alone in my disdain for these telecasts. Viewership has been steadily plunging for years but despite this, content suppliers keep crafting new awards and new shows.

The one thing I like about the Emmys is that each year when John Oliver's show gets its obligatory two, Mr. Oliver is genuinely funny and spontaneous in his acceptance speeches and post-award interviews…and you can see that he doesn't attach any undue importance to the wins. Indeed, he seems to treat the statuettes and the attendant rituals as gestures that will keep his program on the air and free of network interference.

Here's an acceptance speech from the other night and a couple of the many interviews he did in the press room after…

And here he is, expertly handling a reporter from TMZ who stuck a camera in his face at the airport…

Broadway shows that are in rehearsal sometimes have a "press day" in which they invite reporters and cameras in to to view the work-in-progress. Here are two numbers from The Producers — one featuring Nathan Lane, the other featuring Matthew Broderick — from that show's press day. You may notice a few lyrics are different from what was on the stage on opening night. Opening night in this case was April 19, 2001…

Well, Donald Trump didn't get kicked out of his trial today so we'll put another $10 in the jackpot. He pulled this miracle off by not showing up for the trial but he's still very much in "the rules don't apply to me" mode. A reporter who was in the courtroom the other day tweeted this…

Perfect little detail illustrating Trump's disrespect for process, judge, and jury: he walked out of the courtroom at the end of court day rather than standing for the jury and waiting for them to exit, as every litigant, lawyer, audience member knows to do.

What kind of man is he? Well, let's find out from seventeen people who worked for him and, before they criticized him, were referred to as "the best people in the world."

I'm about to go to bed and I have the feeling that tomorrow will be the day that Donald Trump gets himself ejected from the E. Jean Carroll defamation trial currently going on in New York. He sure seems to be trying to get tossed out so he can complain that the trial is illegitimate because the judge wouldn't let him participate. You have here a man who will never ever learn that being loud is not the same thing as being right.

Meanwhile, Nikki Haley was asked, "How do you feel about your party's frontrunner being found liable for sexual abuse?" Take a look at what she said…or rather, didn't say.