Third from the Sun
"Third from the Sun" is episode 14 of the American television anthology series The Twilight Zone. It is based on a short story of the same name by Richard Matheson which first appeared in the first issue of the magazine Galaxy Science Fiction in October 1950. Will Sturka, a scientist who works at a military base, has been producing a great number of H-bombs in preparation for imminent nuclear war. Sturka realizes that there is only one way to escape—steal an experimental, top-secret spacecraft stored at the base, he plans to bring Sturka's daughter Jody. The two plot for months, making arrangements for their departure; when production of the bombs increases, Sturka realizes. He and Riden decide to put their plan in action—take their families to the craft to tour it, overpower the guards and take off. Sturka's superior Carling overhears the two men talking; that night, everyone gathers for a game of cards where Riden reveals that he has found a place to go—a small planet 11 million miles away. During the game, Carling unexpectedly appears at the door and hints that he knows what the group is planning.
He hints at trouble: "A lot can happen in forty-eight hours." After he leaves and Riden inform the women that they must leave that moment. When the five arrive at the site of the spacecraft and Riden spot their contact, who flashes a light; when the contact steps forward, though, he is revealed to be Carling, armed with a gun. He prepares to call the authorities; the women, who have been waiting in the car, watch as Carling orders them out. Jody throws the car's door open, knocking the gun from Carling's hand and giving the men enough time to overpower him; the group rushes into the ship. That evening, the group has safely escaped their doomed planet and are on course. Sturka comments. Riden smiles as he points out on the ship's viewer their mysterious destination, 11 million miles away—the third planet from the Sun, called "Earth". Todd VanDerWerff of The A. V. Club rated it A and called the twist "justifiably famous". "Probe 7, Over and Out", another Twilight Zone episode with a similar plot. "The Invaders", another episode in which a farm woman encounters tiny "alien" astronauts, who are Earthlings.
"Death Ship" is a TZ episode again featuring the Forbidden Planet Cruiser, where explorers find their ship E-89 has somehow crashed on the alien planet they have just found. Ancient astronaut theory DeVoe, Bill.. Trivia from The Twilight Zone. Albany, GA: Bear Manor Media. ISBN 978-1-59393-136-0 Grams, Martin.. The Twilight Zone: Unlocking the Door to a Television Classic. Churchville, MD: OTR Publishing. ISBN 978-0-9703310-9-0 "Third from the Sun" on IMDb "Third from the Sun" at TV.com Matheson, Richard. "Third from the Sun". Galaxy Science Fiction. P. 61. Retrieved 17 October 2013
Bernard Herrmann
Bernard Herrmann was an American composer best known for his work in composing for motion pictures. As a conductor, he championed the music of lesser-known composers. An Academy Award-winner, Herrmann is known for his collaborations with director Alfred Hitchcock, most famously Psycho, North by Northwest, The Man Who Knew Too Much, Vertigo, he composed scores for many other films, including Citizen Kane, The Day the Earth Stood Still, The Ghost and Mrs. Muir, Cape Fear, Fahrenheit 451, Taxi Driver, he worked extensively in radio drama, composed the scores for several fantasy films by Ray Harryhausen, many TV programs, including Rod Serling's The Twilight Zone and Have Gun – Will Travel. Herrmann, the son of a Jewish middle-class family of Russian origin, was born in New York City as Max Herman, he was the son of Ida and Abram Dardik, from Ukraine and had changed the family name. Herrmann attended high school at DeWitt Clinton High School, an all-boys public school at that time on 10th Avenue and 59th Street in New York City.
His father encouraged music activity, taking him to the opera, encouraging him to learn the violin. After winning a composition prize at the age of thirteen, he decided to concentrate on music, went to New York University, where he studied with Percy Grainger and Philip James, he studied at the Juilliard School and, at the age of twenty, formed his own orchestra, the New Chamber Orchestra of New York. In 1934, he joined the Columbia Broadcasting System as a staff conductor. Within two years he was appointed music director of the Columbia Workshop, an experimental radio drama series for which Herrmann composed or arranged music. Within nine years, he had become Chief Conductor to the CBS Symphony Orchestra, he was responsible for introducing more new works to US audiences than any other conductor — he was a particular champion of Charles Ives' music, unknown at that time. Herrmann's radio programs of concert music, which were broadcast under such titles as Invitation to Music and Exploring Music, were planned in an unconventional way and featured heard music and new, not heard in public concert halls.
Examples include broadcasts devoted to music of famous amateurs or of notable royal personages, such as the music of Frederick the Great of Prussia, Henry VIII, Charles I, Louis XIII and so on. Herrmann's many US broadcast premieres during the 1940s included Myaskovsky's 22nd Symphony, Gian Francesco Malipiero's 3rd Symphony, Richard Arnell's 1st Symphony, Edmund Rubbra's 3rd Symphony and Ives' 3rd Symphony, he performed the works of Hermann Goetz, Alexander Gretchaninov, Niels Gade and Franz Liszt, received many outstanding American musical awards and grants for his unusual programming and championship of little-known composers. In Dictators of the Baton, David Ewen wrote that Herrmann was "one of the most invigorating influences in the radio music of the past decade." During the 1940s, Herrmann's own concert music was taken up and played by such celebrated maestri as Leopold Stokowski, Sir John Barbirolli, Sir Thomas Beecham and Eugene Ormandy. Between two films made by Orson Welles, he wrote the score for William Dieterle's The Devil and Daniel Webster, for which he won his only Oscar.
In 1947, Herrmann scored the atmospheric music for The Ghost and Mrs. Muir. In 1951 his score for The Day the Earth Stood Still featured the Theremin. In 1934, Herrmann met a young CBS secretary and aspiring writer, Lucille Fletcher. Fletcher was impressed with Herrmann's work, the two began a five-year courtship. Marriage was delayed by the objections of Fletcher's parents, who disliked the fact that Herrmann was a Jew and were put off by what they viewed as his abrasive personality; the couple married on October 2, 1939. They had two daughters: Dorothy and Wendy. Fletcher was to become a noted radio scriptwriter, she and Herrmann collaborated on several projects throughout their career, he contributed the score to the famed 1941 radio presentation of Fletcher's original story, The Hitch-Hiker, on The Orson Welles Show. The couple divorced in 1948; the next year he married Lucille's cousin, Lucy Anderson. That marriage lasted 16 years, until 1964. While at CBS, Herrmann met Orson Welles, wrote or arranged scores for radio shows in which Welles appeared or wrote, such as the Columbia Workshop, Welles's Mercury Theatre on the Air and Campbell Playhouse series, which were radio adaptations of literature and film.
He conducted the live performances, including Welles's famous adaptation of H. G. Wells's The War of the Worlds broadcast on October 30, 1938, which consisted of pre-existing music. Herrmann used large sections of his score for the inaugural broadcast of The Campbell Playhouse, an adaptation of Rebecca, for the feature film Jane Eyre, the third film in which Welles starred; when Welles gained his RKO Pictures contract, Herrmann worked for him. He wrote his first film score for Citizen Kane and received an Academy Award nomination for Best Score of a Dramatic Picture, he composed the score for Welles's second film, The Magnificent Ambersons. When more than half of his score was removed from the soundtrack, Herrmann bitterly severed his ties with the film and promised legal action if his name were not removed from the credits. Herrmann created the music for Welles's
One for the Angels
"One for the Angels" is the second episode of the American anthology television series The Twilight Zone. It aired on October 9, 1959 on CBS. Lou Bookman is a kindly sidewalk pitchman who sells and repairs toys and trinkets, is adored by the neighborhood children. One day, Bookman is visited by Mr. Death, who tells him that he is to die at midnight of natural causes. Unable to dissuade Death, Bookman instead convinces him to wait until Bookman has made his greatest sales pitch: "one for the angels". Death agrees, Bookman announces he is retiring, smug that he has cheated Death. Death concedes Bookman has found a loophole in their agreement, but warns Bookman that someone else now has to die in his place. Death chooses Maggie, a little girl who lives in Bookman's apartment building and is a friend of his. Maggie falls into a coma. Bookman begs Death to take him instead. Bookman gets out his wares and begins to eloquently boast one item after or another, making the greatest sales pitch of his life—one so great that he entices Death himself.
Death buys item after item and does not remember his appointment with Maggie until it is past midnight, when he has missed it. When Maggie awakens, her doctor leaves the apartment and sees Bookman, assuring him that Maggie will live. Death observes that by making that great sales pitch, Bookman has met the original terms of their deal. Now content and willing to accept his fate, Bookman packs his things and leaves with Death toward Heaven, remarking that "you never know who might need something up there", he looks to Death, adding "Up there?" and Death replies, "Up there, Mr. Bookman. You made it." Ed Wynn as Lewis J. "Lou" Bookman Murray Hamilton as Mr. Death Dana Dillaway as Maggie Polanski Zicree, Marc Scott: The Twilight Zone Companion. Sillman-James Press, 1982 DeVoe, Bill.. Trivia from The Twilight Zone. Albany, GA: Bear Manor Media. ISBN 978-1-59393-136-0 Grams, Martin.. The Twilight Zone: Unlocking the Door to a Television Classic. Churchville, MD: OTR Publishing. ISBN 978-0-9703310-9-0 Sander, Gordon F. Serling: the rise and twilight of television's last angry man.
New York: Penguin Books, 1992. ISBN 0-525-93550-9 "One for the Angels" on IMDb "One for the Angels" at TV.com
Fifteen Million Merits
"Fifteen Million Merits" is the second and penultimate episode of the first series of British science fiction anthology series Black Mirror. It was written by series creator and showrunner Charlie Brooker and his wife Konnie Huq and directed by Euros Lyn, first aired on Channel 4 on 11 December 2011. In a world where most of society must cycle on exercise bikes in order to power their surroundings and earn currency called "Merits", the episode tells the story of Bing, who meets Abi and convinces her to participate in a talent game show to escape the slave-like world around them; the episode is a science-fiction dystopia which features a parallel to reality shows and figures such as The X Factor and Simon Cowell. The episode received positive reviews; some reviewers praised the episode's visual style and thought-provoking nature, along with the actor's performances, believe it to be superior to previous episode "The National Anthem". A society lives in an enclosed, automated space, with nearly every surface an interactive video screen with personalised entertainment and frequent advertising.
They ride on stationary bikes to generate power in exchange for a form of currency. The society shuns overweight people, who are tasked with janitorial jobs and subjected to humiliation via a game show, Botherguts. Bingham "Bing" Madsen has inherited millions of merits from his dead brother. Overhearing Abi Khan singing in a restroom, he encourages her to enter Hot Shot, a reality contest where winners are able to forgo bike riding and live luxuriously. Both thinking the entry ticket costs 12 million merits, Abi reluctantly lets Bing buy her a ticket. Bing realises it costs 15 million merits his entire stock, but he buys the ticket anyway. Abi goes to the audition with Bing accompanying. Abi is required to drink a beverage labeled "Cuppliance", goes out to sing "Anyone Who Knows What Love Is" by Irma Thomas for judges Hope and Wraith. Though impressed, they say there are no more positions for singers, Hope suggests she is better suited for Wraith's pornography show WraithBabes. Despite Bing's protests from the wings, Abi caves into pressure from both the crowd and judges and accepts.
One day, while watching entertainment in his personal cell, Bing sees an advert for WraithBabes featuring Abi. Bing is forced to watch the ad as he cannot afford to skip it, when he looks away, a high-pitched noise sounds until he looks at the screen. Bing angrily bashes one of the screens, he picks up a shard of glass and cuts into the back of his hand where the Hot Shot temporary tattoo remains. Inspired, he hides the shard under his bed, along with the used container from Abi's Cuppliance, he spends the next few months single-mindedly earning merits and living frugally to re-earn the 15 million merits and buy another Hot Shot entry ticket. At his audition, Bing hides the glass shard in his trousers and pretends that he has drunk Cuppliance by showing them the empty container, he starts his performance with a dance number, but midway through pulls out the shard and threatens to slice his neck. Wraith goads him to do it. Bing angrily rants about the system they live under, talking about the heartlessness and artificiality of it.
After some discussion between the judges, Hope offers Bing his own regular show on one of his channels. Bing is shown recording his show, which consists of him ranting while holding the glass shard to his neck, he finishes with an advert for a doppel accessory. Bing lives in much larger quarters, the episode ends with him looking out from his room onto what appears to be a vast green forest; this episode was the first Black Mirror episode to be written, though it aired following "The National Anthem". It was written by his wife Konnie Huq. Huq had conceived of a future where the walls of every house would be a touch-screen television, whilst Brooker had been inspired by avatars on the Xbox 360 and Wii. Huq had had an idea that gyms should be powered by the energy produced by its exercise equipment. Additionally, the episode is based on the "narrative in talent shows", where "there are a lot of people who do a job they hate for little reward, one of the main means of salvation that's held up is to become an overnight star."
At the time, Huq was presenting The Xtra Factor, a reality series companion show. She had presented children's television show Blue Peter and noted that many children wanted to be famous without knowing what they would be famous for; the episode was influenced by The Year of the Sex Olympics, a 1968 dystopia which comments on reality television. Brooker compared the episode to the "1984" ad produced by Apple, Inc. for the Apple Macintosh computer. He and Huq nicknamed the episode the "Screenwipe Story" because of Bing's similarities to Brooker's televised rants on Charlie Brooker's Screenwipe; the ending went through various drafts. One idea featured Abi living together, both unhappy with their lives. One ending revealed. Euros Lyn directed the episode. Daniel Kaluuya was cast as Bing Madsen
Television in the United States
Television is one of the major mass media of the United States. As of 2011, household ownership of television sets in the country is 96.7%, with 114,200,000 American households owning at least one television set as of August 2013. The majority of households have more than one set; the peak ownership percentage of households with at least one television set occurred during the 1996–97 season, with 98.4% ownership. As a whole, the television networks that broadcast in the United States are the largest and most distributed in the world, programs produced for U. S.-based networks are the most syndicated internationally. Due to a recent surge in the number and popularity of critically acclaimed television series during the 2000s and the 2010s to date, many critics have said that American television is undergoing a modern golden age. In the United States, television is available via broadcast – the earliest method of receiving television programming, which requires an antenna and an equipped internal or external tuner capable of picking up channels that transmit on the two principal broadcast bands high frequency and ultra high frequency, in order to receive the signal – and four conventional types of multichannel subscription television: cable, unencrypted satellite, direct-broadcast satellite television and IPTV.
There are competing video services on the World Wide Web, which have become an popular mode of television viewing since the late 2000s with younger audiences as an alternative or a supplement to the aforementioned traditional forms of viewing television content. Individual broadcast television stations in the U. S. transmit on either VHF channels 2 through 13 or UHF channels 14 through 51. During the era of analog television, broadcast stations transmitted on a single universal channel; the UHF band spanned from channels 14 to 83, though the Federal Communications Commission has twice rescinded the high-end portions of the band from television broadcasting use for emergency and other telecommunications purposes in 1983 and 2009. As in other countries, television stations require a license to broadcast and must comply with certain requirements in order to retain it. Free-to-air and subscription television networks, are not required to file for a license to operate. Over-the-air and free-to-air television do not necessitate any monthly payments, while cable, direct broadcast satellite, IPTV and virtual MVPD services require monthly payments that vary depending on the number of channels that a subscriber chooses to pay for in a particular package.
Channels are sold in groups, rather than singularly. Most conventional subscription television services offer a limited basic tier, a minimum base package that includes only broadcast stations within the television market where the service is located, public and government access cable channels. Elevated programming tiers start with an expanded basic package, offering a selection of subscription channels intended for wide distribution. A la carte subscription services in the U. S. are limited to pay television channels that are offered as add-ons to any programming package that a customer of a multichannel video programming distributor can subscribe to for an additional monthly fee. The United States has a "decentralized", market-oriented television system in regard to broadcast television; the nation has a national publi
The Number Twelve Looks Like You
The Number Twelve Looks Like You is an American mathcore band formed in Bergen County, New Jersey, in 2002. The band went on a six-year hiatus in 2010. In May 2016, they performed a secret show and announced their reunion. In early 2002, Jesse Korman, Chree Conger and Justin Pedrick met through mutual acquaintances and recruited Jamie McIlroy and Alexis Pareja which formed the bass-free outfit And Ever; the band was formed by "accident" where Pedrick was the only vocalist and Korman played drums. Korman apparently realized he was a "terrible drummer", as a result, took up being a second vocalist for the band wherein Conger played drums in his place. After releasing a five-song demo and playing a handful of songs together, the band's style began to change slightly, they soon changed their name to The Number Twelve Looks Like You, a name taken from the Twilight Zone episode "Number 12 Looks Just Like You". In early 2003, with newly added bassist Mike Smagula, the band was heard at a live show by an A&R representative from Brutal Records, impressed, informed the heads of the record label about the band.
After hearing all the songs the band had recorded, the label signed the band in March and commissioned them to record two new songs, which along with the songs they had recorded, were soon released on the band's first full-length album, Put On Your Rosy Red Glasses After extensive touring in promotion of Put On Your Rosy Red Glasses, the band began to catch the attention of Eyeball Records, they were signed in October 2004. Soon thereafter the band returned to the studio and began work on recording their first release for Eyeball, An Inch Of Gold For An Inch Of Time; the EP, released on January 25, 2005, featured a cover of The Knack's hit, "My Sharona", two new songs, a re-recording of "Don't Get Blood On My Prada Shoes" and "Jesus And Tori", from their first full-length. After a short promotional tour for An Inch of Gold for an Inch of Time, the band returned to the studio in March, with producer D. James Goodwin, recorded their follow-up full length Nuclear. Sad. Nuclear.. Finished in seven days and released on June 7, the album contained, amongst 10 new tracks, re-recordings of two tracks featured on An Inch Of Gold For An Inch Of Time, "Like A Cat" and "Clarissa Explains Cuntainment".
On June 19, 2007, the band released another full-length album, which featured all new material. The album peaked at No. 34 on the Top Independent Albums chart. Mongrel spawned only one single, Grandfather. In 2008, TNTLLY released two CDs. One was a live CD/DVD entitled, Here at the End of All Things and the second release was a limited edition "alien green" 7" titled, The Remixes; the Number Twelve Looks Like You released their follow-up to Mongrel, entitled Worse Than Alone, on March 10, 2009. Worse Than Alone leaked in its entirety to various Internet websites and communities on March 6, 2009. Worse Than Alone reached the Billboard Heatseekers charts, peaking at No. 47. During the band's tour with Protest the Hero, Misery Signals and Scale the Summit, the band announced that Justin Pedrick had left the band due to his long-time struggle with depression and anxiety. On a blog on the band's MySpace page, they talked about Pedrick's departure from the band. "We’ve seen a number of posts and comments wondering about Justin, we are sad to announce that Justin is no longer with the band.
It is unfortunate. The No. 12 has always maintained one that feeds off the support of our fans. We will continue playing and writing music for the wonderful fan base we have". In early 2010, the band confirmed rumors; the reason the band split was due to internal issues with each member. The group played their final show on January 29, 2010; the band now claims, on their Twitter page, that if they reach 10,000 followers they "...will play a show or two", they have asked fans on their Facebook page the question "so what cities love the 12 the most?" along with a rumour stating that they were expected to reform on December 12, 2012 to coincide with their band name. On August 2, 2013, The Number Twelve Looks Like You released the first episode of their upcoming video series, called 24/7.12, onto YouTube. In the first episode of the video series, the band speaks of their formation; as of May 2016, no other video has yet been uploaded. On May 18, 2016, the band posted an image on their Facebook account which appeared to be a gig flyer, displaying an updated band logo, a short set list of songs from their back-catalogue, further text on the side stating the date May 19, 2016, the location of Kingston, New York.
Fans raised speculation. As speculated, on May 19, 2016, the band played their first show together since January 2010, frontman Jesse Korman confirmed the following day that the band were back with "News to follow. Maybe." The line-up at the band's return show saw both Korman and guitarist Alexis Pareja performing, completed by Michael Kadnar on drums and DJ Scully on bass. The band supported The Dillinger Escape Plan on their Limerent Death tour in 2016. Following extensive touring by the band, they announced in fall 2017 an anniversary tour celebrating the 12-year anniversary of Nuclear. Sad. Nuclear. Arguably their most iconic album. In February, 2019, the band confirmed that they had finished recording their fifth record and first album in a decade; the Number Twelve Looks Like You's music has been described as screamo. AllMusic describes them as a "particularly dark and dystopian form of screamo" that incorporates elements of "Japanese-style noise rock à la
Richard Long (actor)
Richard Long was an American actor best known for his leading roles in three ABC television series, including The Big Valley and the Professor, Bourbon Street Beat. He was a series regular on ABC's 77 Sunset Strip during the 1961-1962 season. Long was the fifth of six children born in Chicago, Illinois, to Sherman D. Long, a commercial artist who operated his own studio, Dale McCord Long; the family settled in Evanston. He attended Waller High School in Evanston Township High School; the family relocated again in 1944, to Hollywood and Long attended Hollywood High School for his senior year. Long said. I took senior drama class because it was a snap course, I needed the credit for my English requirement."At Hollywood High School, Long caught the eye of a talent scout from Universal-International by accident. Casting director Jack Murton gave a ride to a couple of students and asked them if a school play was scheduled; the boys told Murton about Richard Long. In 1946, Long was cast in his first film, Tomorrow Is Forever as Drew, the son of the characters played by Claudette Colbert and Orson Welles.
The role had been unfilled for months, producers selected Long who most matched the credentials required. It was made by International Pictures. Long impressed Welles who cast the actor in The Stranger, as the younger brother of Loretta Young, made for International. International was going to lend Long to 20th Century Fox to make Margie but they changed their mind and put him in The Dark Mirror, directed by Robert Siodmak. International Pictures merged with Universal Pictures, his fourth film was The Egg and I, playing Tom Kettle, the eldest son of Ma and Pa Kettle, the characters played by Marjorie Main and Percy Kilbride. The movie was a huge hit – so much so that Universal decided to spin off the Kettles into their own series. Long signed a contract with Universal, for which he appeared in Tap Roots and Criss Cross, playing Burt Lancaster's brother in the latter for Siodmak, he supported William Bendix in The Life of Riley based on the NBC radio show. Long reprised his role as Tom Kettle in Ma and Pa Kettle, a solid success at the box office.
So too was Ma and Pa Kettle Go to Town. He was Frank James in the Western Kansas Raiders. In December 1950 Long was drafted into the army for service in the Korean War. Before he left he made Jet Men of the Air served for two years. Ma and Pa Kettle Back on the Farm was Long's final Kettle movie, he was the juvenile lead in Back at the Front and had supporting parts in All I Desire, All American and Playgirl. Long began guest starring on TV shows such as Lux Video Theater and was given a lead role by Universal in Cult of the Cobra - though still billed under Faith Domergue. Long focused on television over the next few years, guest starring on episodes of shows like Climax!, Screen Directors Playhouse, TV Reader's Digest, The United States Steel Hour, Jeannie!, Schlitz Playhouse, Alcoa Theatre, Wagon Train, Have Gun - Will Travel, The Millionaire, Matinee Theatre, The Further Adventures of Ellery Queen. At Columbia he had a supporting role in the Western Fury at Gunsight Pass and in a Blake Edwards comedy, He Laughed Last.
Long went to Japan to star in Tokyo After Dark and had a key role in William Castle's House on Haunted Hill. Long signed a contract with guest starred in many of their TV series like Lawman, he played the recurring role of gambler/con artist "Gentleman Jack Darby" in four episodes of the ABC/WB western series, Maverick beginning in 1958, including the most remembered "Shady Deal at Sunny Acres" installment. His character appeared only with Jack Kelly, never with other cast members James Garner and Roger Moore. Gentleman Jack Darby was created by Maverick producer Roy Huggins as a replacement for "Dandy Jim Buckley," played by Efrem Zimbalist, Jr. after Zimbalist had moved on from Maverick to his own series, 77 Sunset Strip. Five months before he was cast in Bourbon Street Beat, Long appeared as U. S. Army Captain Clayton Raymond in the episode "The Vultures" in another ABC/WB series, with Will Hutchins in the title role. Raymond faces court martial for desertion at a western fort prior to a deadly Indian attack.
Fledgling lawyer Sugarfoot defends Raymond, who refuses to explain the incident in question, which involves Isabel Starkey, the wife of the fort commander, Colonel Starkey. Philip Ober is cast as General Humphrey, determined to find the truth of the matter. Warners starred Long in Bourbon Street Beat, which only ran for 39 episodes. With Andrew Duggan, Van Williams, Arlene Howell. Long reprised his character on episodes of Hawaiian Eye and joined the cast of 77 Sunset Strip from 1960 to 1962. Long continued to guest star on shows like Thriller, Tales of Wells Fargo, Alfred Hitchcock Presents and The Twilight Zone, he returned to films with a role in the MGM romantic musical Follow the Boys, along with co-stars Connie Francis, Paula Prentiss, Roger Perry. He did The Tenderfoot for Walt Disney's Wonderful World of Color. In 1963, Long guest starred in the episode "Hear No Evil" of ABC's Going My Way, a drama series starring Gene Kelly about a Catholic priest in New York City loosely based on the 1944 Bi
