Manai‘ula Tehuiari‘i Sumner was a princess from the Kingdom of Tahiti who settled in the Kingdom of Hawaii. Her name has been given as Mareilila, Mareiula, or Mareira. Manai‘ula Tehuiari‘i was born to Tute Tehuiari‘i, a chief from either Tahiti, or Moorea or Bora Bora, her father was the adoptive son of King Pōmare I of Tahiti, who named him Tute in honor of Captain Cook. In 1826, he brought his entire family over to Hawaii, where he served as missionary and royal chaplain to Kamehameha III and Kamehameha IV, it was during this time that Manai‘ula met and married High Chief William Keolaloa Kahānui Sumner, the son of Captain William Sumner and the High Chiefess Keakuaaihue. They had their only daughter Nancy Wahinekapu Sumner in March 9, 1839. Another conflictory version of her life by historian Albert Pierce Taylor tells that she arrived in 1849, chaperoned by her elder sister Mauli, along with her cousin Ninito Tera‘iapo, as the guests Admiral De Tromelin. Ninito was betrothed to Prince Moses Kekūāiwa and Manai‘ula to Prince Lot Kapuāiwa, but the first prince died before their arrival and the second prince departed to Europe with his other brother.
They were asked to wait for his return but not long after, both Ninito and Manai‘ula married the Sumner brothers, John Kapilikea Sumner and William Keolaloa Kahānui Sumner, respectively. This is chronologically impossible as Manai‘ula was in Hawaii and married in 1849. Manai`ula was still alive in 1858. With her cousin Ninito Sumner, she composed a mele for the Princess Victoria Kamāmalu in 1862. In 1848, John Mix Stanley, an American painter of landscapes, Native American portraits and tribal life, painted a portrait of Manaiula; the painting is on display at the Honolulu Museum of Art and was gifted in 2003 by Myrna Anne Kamamoakualii Kauapiiokamakaala Kekuiapoiwa Buffandeau Topolinski in memory of her grandmother, Victoria Kualii Sumner Ellis Buffandeau, a granddaughter of Manaiula through her daughter Nancy. Hawaii–Tahiti relations
"The Nerds" is a series of sketches on American sketch comedy series Saturday Night Live. The protagonists of the sketch are Lisa Loopner and Todd DiLaMuca, whose repartée with one another would be the focus of the sketch, regular character Mrs. Loopner, Lisa's mother, in whose home the sketches were set. All the time Mrs. Loopner, a widow, would wear a housecoat, she referred to her "wifely duties" concerning her late husband, told Lisa Loopner to "...go warm up the Gremlin..." before they went out somewhere. Todd would give Lisa noogies by getting her in a headlock and knocking her on the top of the head, a regular element of the sketches would be Todd making fun of her flat chest. He'd look down her shirt to see whether there were "any new developments" and make a disparaging comment such as "Better put some Band-Aids on those mosquito bites," to which Lisa's weary reply was "That's so funny I forgot to laugh," or "The last time I heard that I fell off my dinosaur". Todd's name was given as "Todd LaBounta", but was changed in sketches after legal action was threatened by a real person with that name.
When the earlier LaBounta "Nerd" sketches were re-run on repeat SNL broadcasts, the audio was re-edited so that Todd's last name was not heard. Guest stars included Michael Palin, who played Mr. Brighton, Lisa's piano teacher with an uncontrollable libido, in two sketches. In 1979, the series producers came up with a sketch in the series titled "Nerds' Nativity". Intended to be aired three days before Christmas Day, the sketch was a source of friction between the show's producer, Lorne Michaels, NBC's standards department; the standards department contended. In the end, the sketch was broadcast, although with some of the dialogue cut, resulting in viewers sending letters of complaint to the program. Recurring Saturday Night Live characters and sketches Hill, Doug. Saturday night: a backstage history of Saturday night live. Beech Tree Books. Pp. 168–170. ISBN 978-0-688-05099-3. Arthur M. Sackler Foundation. "Saturday Night Live". American film. 11. American Film Institute. Pp. 29, 59