Little Orphan Annie: Canceled!

Our heroes

Man, this is absolutely no good.

If you're looking for an indication of the sorts of things we're losing to a mix of the demise of print, changing cultural practices and what happens when you continue creating new and shinier franchises... The Chicago Tribune syndicate is canceling the 85-year-running strip "Little Orphan Annie".

Read here.

Since learning about Tintin while in middle school, I always sort of felt that Annie was America's Tintin. A globetrotting adventurer, getting into all sorts of scrapes that were a bit out of a kid's depth, and often had quite a grand scale to the adventure.


Annie enjoys the holidays

Unlike Europe, America doesn't do quite as much to pass down characters from one generation to another, and certainly hasn't embraced comics as a medium in the same way. Of course, Tintin lived in graphic novels, while Little Orphan Annie existed in newspaper strips and collections of that strip.

However, most Americans now associate Annie with spunky Aileen Quinn and Albert Finney as Daddy Warbucks (yes, war profiteer as hero). The movie is a bit of an American kid's classic, and was based upon a long-running stage play that has since become a staple of school and community theaters around the world. (As a kid, Sarah Jessica Parker played Annie in the Broadway version). I've seen the movie, likely, a dozen times since the theatrical release.

The strip always retained its tone of adventure, and its classic, post-Barney Google/ built in the 20's-look, compete with Annie's pupil-less eyes. At least the last time I saw the strip presented as new episodes in the paper, which was back in high school.


I think Sandy got into the catnip

Mostly, I'm sad to see a cultural touchstone closing up shop. Annie is a character that has been a common point of reference for Americans for 85 years. It's not a total surprise that 10 years past the 20th Century, we're beginning to say good-bye to the last party guests.


one of the first Annie strips

For the next fifty or so years, there will be those who grew up with Annie, and work to maintain memory of the characters, but at some point, Little Orphan Annie will be a museum piece that some grad student will puzzle over as they work on their dissertation on secret decoder rings and what "Drink Your Ovaltine" really means.


Your faithful blogger wows the crowd at Common Interest Karaoke with "Tomorrow" from the stage show "Annie". No, seriously. That is exactly what is going on in this picture.

As long as there are kids who want to believe adventure is around any corner, and that partnering with your dog, and guys named "Punjab" and "The Asp" is a good idea (and that a billionaire will decide you're keen and take you around the world), I think there's a place for Annie and her soulless, white eyes.

Sirk Watch: Imitation of Life (1959)

Watched:  09/21/2023

Format:  TCM

Viewing:  Second

Director:  Douglas Sirk

Sometimes you just need a good cry.  This is the movie to make you do it whether you like it or not.

Way back in the mid-90's when I was going through film school, we, of course, had screenings of films.  The movies were curated and representative of a variety of eras, forms, genres, etc...  all tee'd up to illustrate whatever the instructors planned to discuss that week.  It's a weird way to do homework, but we saw some great stuff.  Also, I got to learn to sit with films that were never going to be my cup of tea, especially at age 19 or so.

One of the films shown was Imitation of Life, a 1959 melodrama spanning decades and following a young, widowed white woman, Lora (Lana Turner), who teams up with an African-American single mother, Annie (Juanita Moore), to jointly raise daughters of a similar age.  

It's actually a remake of a film I haven't seen from 1934, starring Claudette Colbert and Louise Beavers.  And one day I'll watch that one, too.

During the same meet-cute where Annie and Lora meet, Steve (John Gavin) appears as a photographer, indirectly getting Lora her first gig and - as this is Lana Turner - deciding to woo her.  Lora welcomes Annie and her daughter into their humble apartment, and as Annie settles into triple role of housekeeper, best friend, co-mother, Lora's dreams of success on the stage suddenly take off. 

Rock Watch: The Nowhere Inn (2021)

Watched:  01/29/2022

Format:  Hulu

Viewing:  First

Director:  Bill Benz

Rock stardom in the modern era is not what I think it was 30 years ago.  Sure, there are acts that can fill a stadium these days, but in the age of splintered genres, channels, modes of consuming music, etc...  when is someone "famous" as a musician or band?

The Nowhere Inn (2021) is a very small film that can very much feel like Annie Clark (aka: St. Vincent/ aka: Annie Clark) and Carrie Brownstein fucking around with a budget and telling a rock-and-roll fable that falls somewhere between Ziggy Stardust and Lynch and/ or a dozen other "identity" films.  That's not to say it isn't a watchable and interesting film, but it flits between "I feel like I've seen this before", "Oh, this is a very fun bit", and "people are assuming I know a lot more about Carrie Brownstein and Annie Clark's lives than I do".  

I genuinely cannot remember seeing a movie before that seemed so unclear on the idea that movies are a mass medium and need to contain everything the viewer needs to know - making references to information I'd be lost without from interviews I glanced at between 6 months and 4 years ago is... a choice.  

Watch Party Watch: Annie (1982)

pretty sure that's Aileen Quinn's head photoshopped onto someone else's body

Watched:  08/14/2021

Format:  Amazon Watch Party

Viewing:  Unknown

Decade:  1980's

Director:  John Huston

Little Orphan Annie is a weird property that, frankly, I can't believe hasn't resurfaced in the past decade of "re-imaginings".  If you can have Archie Andrews battling supernatural forces, and... the same with Nancy Drew, it seems like a junior, globe-trotting adventurer with a dog and a potentially diverse cast seems like a pretty easy sell for a franchise.  

But for people to know that was what the strip was about would mean people read newspapers and therefore comic strips.  Instead, most of my generation knows the character from either the 1982 film Annie, or from one of the thousands of local theatre group productions of the musical upon which the movie is based (I've never seen it live).  

Movie Watch 2012: Annie Get Your Gun

As biography, the splashy Irving Berlin musical Annie Get Your Gun is, charitably, less than accurate.  But that's not really the point of Annie Get Your Gun, so if that's what you were looking for, you may want to move on.

To be honest, I thought I'd seen this movie as a kid, but I now believe what I was watching was Calamity Jane featuring Doris Day, so that's going to be somewhere in my queue.

The movie is a bright, colorful MGM spectacular from 1950.  Annie is played by Betty Hutton, in her defining role as the Buffalo Bill's Wild West Show sharpshooter of legendary skill.  Howard Keel, in an early part, plays Frank Butler (he'd show up a few years later in Calamity Jane as Buffalo Bill, just to add confusion), a fellow sharpshooter and the man of Annie's dreams.  The performances are hokey and broad, but this isn't exactly A Streetcar Named Desire, so much as a sweet story in service of big show tunes.  The "Get Your Gun" of the title is, of course, not literal, and drives the feather-light story.

Noir Watch: Gun Crazy (1950)

This is, I believe, the fourth time I've watched Gun Crazy (1950), a movie about a guy, a girl, their guns and how it all gets a smidge out of control.  It's a movie both entirely of its time, but points the way for movies that would come along within 20 years from studios who learned to take chances as the 60's steamed along (Bonnie and Clyde), and maybe reached it's wildest point with Natural Born Killers (1994).

I'd label the movie safely noir.  Two people that can't control themselves who, through their actions and inactions, get in way over their heads with no path out.  When Bart Tare (John Dall) meets Annie Laurie Starr (Peggy Cummins), it's the worst possible combination for both of them as their obsession with guns gets mixed up in greed, sex and an inability to find a groove in square living.

Friday Watch Party: ANNIE (1982)

It's the hard knock life.  For us.  

The year was 1982!  Annie the Broadway Musical was now going to be Annie: The Movie!  

If you were of a certain age, you were legally required to see Annie, and, indeed, we did.  Not really understanding the Depression, the politics, or the greatness of Carol Burnet, but totally getting that moving into a mansion with endless money on hand was rad as hell.

It's since been remade at least twice that I know about, but there's only one original movie.  

LINK HERE TO WATCH ALONG

Day:  08/13/2021

Time:  8:30 Central/ 6:30 Pacific

Cost:  UNCLEAR.  It was $4.  Now it might be on Prime?  

BUT - just look at that CAST!  And directed by John "Treasure of the Sierra Madre" Huston!  It's a huge, splashy entertainment with a dog, helicopters and a shit ton of dancing!  Join us!

The Signal Watch Watches: When Harry Met Sally (for the first time)

My co-worker and I decided to try a movie exchange.  She generally seems to have good taste, but turns her nose up a bit at genre content and still holds the same prejudices she developed in the 80's when she was told "sci-fi is dumb".  Somehow it came to pass that after I let her know I had never seen When Harry Met Sally, that I was informed by her and another colleague that I had to watch it.

The explanation she made, that I bought, was that When Harry Met Sally is the quintessential modern romantic comedy from which all other rom-coms flowed.  It tried to be real, but cute and quirky, and whatever else.

"Fair enough," I said.  "But it's an exchange."

Pondering quintessential movies of the 80's, of course I immediately leaped to Commando, but in the end opted for RoboCop.  I figured she was less likely to be furious with me.  Also, I think RoboCop is a genuinely smart movie.  She watched it, and through gritted teeth lied about enjoying it.  My hat was off, and the game was on.

So, this evening, I watched When Harry Met Sally (1989).  

this movie would have been 100x better if it would have actually been about giants trampling Manhattan beneath their feet (and finding love & each other)

It is, of course, more than 20 years since the movie saw its release, and we're so far away from the date of the impact that water has filled the crater and evidence of the change is there only if you realize that's not just a tree-filled valley.  The plot and ideas have been imitated to death, its gags have become part of the zeitgeist, and I now believe it added the phrases "high maintenance" and "low maintenance" to the lexicon.  I was well aware of the "Sally fakes it in the deli" scene, which was more or less the essence of Sex and City every minute of every episode for its entire duration, so, credit where credit is due.

1950's Watch: Designing Woman (1957)

Watched:  06/10/2025

Format:  Amazon

Viewing:  First

Director:  Vincente Minnelli

I was a bit wary of this film as I watched the trailer, but you never know.  

For example, I'd quite liked Woman of the Year, and I thought that was not going to land with me.  But I've been taking a mini-journey through the very limited media lifespan of Dolores Gray, who was mostly a Broadway and West End performer (she's American - she played Annie Oakley in London's Annie Get Your Gun).  She only has, like, five or six movies, total, and Designing Woman (1957) is one of them.  

The story is about a sports reporter (Gregory Peck) who meets a high-end fashion designer (Lauren Bacall) while in California, but it turns out they both live in New York.  After a whirlwind week and marriage, they return to the city and what was going on in their prior lives.  

Turns out a hard-drinking sports writer and a wealthy woman used to more of a salon sort of atmosphere with her pals are somewhat at odds.  It's a deeply heightened "men be like this", "women be like this" clashing of worlds.  

Billie Holiday hits the Century Mark

It's tough to top Billie Holiday.  She's undoubtedly one of the most important vocal performers of the 20th Century, and certainly one of the most recognizable voices since recorded and broadcast music sprung into existence.

Today marks the birthday of Ms. Eleanora Fagan, born April 7th, 1915 in Philadelphia, Pennsylvania.

Holiday's biography also reads like the blueprint for a terribly depressing biopic, but it's also a remarkable American story.

This weekend I tried to watch Annie Lennox, who I have admired since I was a kid, perform her new concert, Nostalgia, on PBS, recorded in front of an upper-crust audience at LA's Orpheum Theater.  And, while I understand that many performers sooner or later hit a point where they explore The Great American Songbook - Lennox performed a few of Holiday's standards, and I found the thing puzzling enough I turned it off.  But, taking apart what was happening and for what audience could take a few hundred pages and a deconstruction of cultural appropriation that would leave nobody happy.

Strange Fruit and God Bless the Child aren't owned by Billie Holiday, but they're certainly part of her catalog, and I don't blame Lennox for wanting to emulate Lady Day, but...  context.   Billie Holiday's voice, song choice and expression were formed by what amounts to an extremely troubled youth (broken home - to put it mildly - and as a kid, she ran errands in a brothel) and young womanhood (prostitute by age 15).  Holiday was part of the colorful jazz scene of Harlem from the early 1930's and onward (she was performing by age 17), and was playing with Count Basie and Artie Shaw within a few years.  Even after some very public problems, she did manage to play shows at Carnegie Hall that were very well received.

Musical Watch: Kismet (1955)

Watched:  05/14/2025

Format:  Amazon

Viewing:  First

Director:  Vincent Minnelli

A couple of months ago, I rewatched It's Always Fair Weather, and remembered Dolores Gray existed. The first time I'd seen the movie, she was my favorite part of the film. And, sure, I like a smile that makes Geena Davis' grin seem understated, but she was hilarious and her two numbers were fantastic.

My understanding is that: as a teen she was given a shot by Rudy Vallee, and became a nightclub chanteuse, headlining by age 18 or so.  There's a whole story about her getting caught as a bystander in a drive-by shooting as a young woman, but that she recovered and was back performing in night clubs in a couple of months, the bullet never removed.  

Gray's career was primarily on the stage, both in New York and London.  She played Annie Oakley in Annie Get Your Gun for two years in the West End.  Back in the US she co-starred in a popular stage production of Destry Rides Again with Andy Griffith.  

Like many radio and stage performers, she'd have disappeared into the collective memory hole if not for her few movies.

Rockettes at 100

1925 marks the founding of what was then the "Missouri Rockets", in St. Louis, who would swiftly move to New York City and become The Rockettes.  

The Rockets were a Midwestern response to someone seeing a Ziegfeld Follies show and saying "I could maybe do that".  And, indeed, Russell Markert brought his vision to the stage in the Midwest and a sensation was born.

If you've never checked out the remarkable history of the Ziegfeld Follies, it is weird, wild stuff.  There's nothing like it in 2025 (and who can say if we're better or worse for it).  But suffice to say, Florenz Ziegfeld made an impression that echoes through to today in more ways than we can count.  

Circa 1932, the Missouri Rockets moved to New York's Radio City Music Hall, renamed themselves The Rockettes, and by 1933, they put on their first Christmas Spectacular, which dazzles to this day.

SW Watches: The Right Stuff (1983)

I was lucky to be born into an era when the job everyone aspired to was "astronaut".  As you got older, if you were me, you realized you were going to be too tall, wear too many glasses, be just amazingly awful at pre-Calc, and maybe develop a crippling fear of heights.  I was just never going to be astronaut material.

But, yeah, like a lot of people my age and older, I was pretty space-crazy growing up.  We were living on the edge of the world of Buck Rogers and Star Trek.  And, to be a part of that seemed like being a part of the future more than anything you could do (we can quiz Matt A. on the veracity of this childhood fantasy later, but it seemed right at the time).

On my 6th birthday, the Space Shuttle Colombia took off from Kennedy (STS-1). I was well aware it was a coincidence, but it still felt like a pretty good birthday present.  Watching it with the fam is still one of those indelible childhood memories.




Two years later, the Philip Kaufman directed movie The Right Stuff (1983) was released to theaters.  Based on a Thomas Wolfe novel, it's certainly not a movie aimed at kids, but The Admiral was also not one to let the two little miscreants he'd sired run around ignorant of one of the greatest periods (if not THE greatest period) of technical achievement in human history.  Nor would he let it pass that we would not know of the flawed, insanely brave men who sat atop those rockets and came back safely.  Let alone, we might not know the name of Chuck Yeager.

I remember seeing many movies in the theater from my childhood, and certainly the memory of seeing The Right Stuff is still vivid.  While the movie was not the sort of thing I was running around play-acting afterward, I knew I'd seen something quite different and kind of astonishing.

In the years that have passed, I have no idea how many times I'd seen it, but I caught it again while Jamie and I were dating, and I remember really realizing for the first time how damn good the movie really is.  I'm always shocked not just by the mixed reactions you can get at the mention of the film, but that it's not mentioned in the same breath with other films that routinely make great movie lists.

Coogler Watch: Sinners (2025)

Watched:  04/26/2025

Format:  Drafthouse

Viewing:  First

Director:  Ryan Coogler

I guess Marshall is my "there's a vampire movie out, we're going" buddy.  And, really, Marshall was the ideal movie buddy for this one.  He's an avid music fan, a musician, and his rock sensibilities - when I met him in the early 1990's - were blues-based.  He's also a fan of vampire flicks, although I don't think I've convinced him to watch the Hammer vampire flicks yet. 

In addition, Marshall is well-read, and with an academic background in creative fiction, his critical analysis is always impressive.  But he refused to send me a blog post for this movie so that I didn't have to write one.  He is refusing me this one simple request, and so I am hoping if I butter him up enough with this high praise, next time, he'll do it.

Anyway - count me in with the people who loved Sinners (2025), and am excited about seeing it again.

SPOILERS

Super Satire Watch: The Boys (Amazon Prime)

I haven't actually read Garth Ennis's The Boys series.  I read the first trade and always intended to follow up to see where it went from the set-up, but never quite got there.  I'll make up for it now, but it's gonna take some purchasing power, I guess.

Flat out, Garth Ennis is one the three or four best writers in comics, and, on some days, I think he's just "the best".  Some of us stumbled upon him due to his bizarre ability to make gore and violence absolutely hilarious (in the right context) but stayed for the amazing characterization, astounding turns to genuine sympathy for unsympathetic characters, and his ability to grasp humanity and the tragedy and comedy of his characters enough that they feel can feel three-dimensional.  All while existing in profane, graphically violent, sexually frank or ridiculous situations that seems like it would send many-a-comics-twitterer running for some pearls to clutch.

Signal Watch Watches: Manhattan (1979)

Hey, remember how we sometimes talk about how not everything works for everybody?

Woody Allen movies are one of those things for me.  Objectively, I can appreciate that there is punchy dialog, lovely cinematography, that nobody aside from Ghostbusters knows how to use New York as a character better.  I guess, I've only been there once for a few days 14 years ago.

I actually quite like Annie Hall and a few other Woody Allen movies.  But I think its fair to say that this was not a movie that was about anything I find terribly interesting.  But you're supposed to see it, so see it I have.

The movie has 30-odd years worth of folks who love it and who have gotten something out of it, and good on them.

That's probably enough on that.

Coen Bros. Watch: Hail, Caesar! (2016)

As I said to Jamie when we left the movie "Normally I get annoyed when it's clear the filmmakers expect you to watch the movie more than once to 'get it'."  It's a ridiculous value proposition.  And I am not talking about returning to a mystery movie once you've seen how it all plays out so you can see the pieces working together before the big reveal.  I'm referring to a brand of filmmaking that works extra hard to show how damn smart they are that they forget to tell a compelling story and instead leave a breadcrumb trail for a message that, ultimately, you wonder why they felt they needed to make it so complex you needed a Lil' Oprhan Annie Decoder Ring to decipher it, and it still wound up being "Drink your Ovaltine."

But complexity in messaging has always been the case with the Coen Bros., going especially back to Barton Fink and playing out in even some of their most commercially viable films.  There's always a Mike Yanagita scene, a curve ball leaving you with more questions than answers or at least begging to make you look deeper, and, if you sort it out, it unlocks the picture.   After all, the Coen Bros. do not make mistakes.  They do not do extraneous.  That scene is saying something.

Now, I have my ideas about what the final scene means in Barton Fink, but I would always, always be willing to hear someone else explain it to me, because as much as I like that movie and like what it has to say about the assumptions and pretensions of the creative person, I can't quite nail that last scene on the beach.  I have my ideas, but I am willing to be convinced otherwise.

Sometimes I have a lot of patience for what the Coen Bros. are up to (Inside Llewyn Davis), and sometimes I don't (The Man Who Wasn't There).  And, frankly, while I enjoyed The Big Lebowski's screwball atmosphere the first time I saw it, it was the second time I watched it that the pieces fell in place and I felt like I actually "got it".  Which, of course, makes me want to re-watch The Man Who Wasn't There despite the fact I can't really seem to find it.  Maybe I forgive them because it doesn't feel so much like pretension as a solid movie they're putting out there, one where they offer everything up, and you can try to keep up.  And it's okay to have that nagging feeling that maybe you just saw something that you didn't entirely get on the first round.  With them, I really don't mind giving it another shot.

Hail, Caesar! (2016) was marketed as a sort of slapsticky comedy, something the Coens certainly did back in the Raising Arizona days and which they embraced mightily in The Hudsucker Proxy (a movie I will defend with punches, if necessary), riffing on post WWII-era Hollywood and the innate charm, goofiness and endless scandal that were part of the era.

But this is not that movie.

Happy Birthday, David Byrne

Happy Birthday to David Byrne.  Writer, musician and artist.

Today, David Byrne is 61.

Byrne is best known for his tenure with The Talking Heads, the art-punk band that was part of the late-70's, early-80's scene out of CBGB's.  He has written a few books, from The Bicycle Diaries to Strange Ritual.  His lyrics are rarely about the usual topics of newfound love, love gone wrong or partying all night.  Even in his most recent collaboration with St. Vincent, he's still singing about his relationship with television and mass media.

Comedy Watch: Barb & Star Go To Vista Del Mar (2021)

Watched:  04/11/2021

Format:  Amazon Streaming

Viewing:  First

Decade:  2020's

Director:  Josh Greenbaum

Delayed from summer 2020, Barb and Star Go To Vista Del Mar (2021) was released to streaming services in February for a premium fee, but is now available for a more standard fee, and if I knew how much I would like it, I would have paid the $20.  

It's *not* for everybody, but it was absolutely in my wheelhouse.  This thing - written by and starring Annie Mumolo and Kristen Wiig - is as bonkers a comedy as I've seen in a looong time.  I don't want to give you any spoilers or plot points.  Just let it unfold.

Geriatric Watch: Thelma (2024)

Watched:  11/02/2024

Format:  Prime

Viewing:  First

Director:  Josh Margolin

So, Thelma (2024) is basically every one of my anxieties about what's coming with my parents - and, god willing, eventually myself - but with a laugh track.

I want to be clear, this is a good movie.  I died laughing at some parts.  But I also did not laugh at other parts I know were supposed to be funny, and that's on me and my hang-ups and not on the movie.  

The basic set-up is that an elderly woman, Thelma (June Squibb), who loves her 24-year-old grandson, is scammed by someone pretending to be her grandson on the phone and sends $10,000 to a PO Box, lest he rot in jail.* When she finds her grandson is safe and it was a scam, she goes on a mission to retrieve her money, against the express wishes of her daughter - Parker Posey, typically *great* - and her son-in-law, good ol' Clark Gregg.

There's certainly some valid critique of how the elderly adults and the adult children are infantilized by the functional adults, as it's maybe more convenient for the middle-aged adults to feel they have everything contained.  The movie also has a nice story of a young man realizing maybe he is slightly capable if he stops living with his parents guard rails.

The cast is solid - June Squibb is the definition of "working actor" and it's amazing to see her get a starring role at this point in her career.  Richard Roundtree plays her pal, and he's... really good.  Which I guess isn't a shock (RIP, Richard Roundtree).  The grandson is Fred Hechinger, who manages to take a character I'd normally have minimal sympathy for and make him likable.  

The movie is not as wacky as I'd believed it would be, but more absurdist and a lot depressing in ways I was unclear it intended to be.  But you can't beat the senior citizens home's take on Annie.  I kind of get the feeling the people find this particularly funny are not the ones living with the absolute certainty they're getting tapped to handle everything when the time comes and have already been thinking about these things for a decade or two.

Anyway, it was fine.  Any issues with it are my own issues.

*this is a real scam, and people are now using AI to mimic people's voices.  What doesn't make sense is that the US mail apparently finds and sorts the mail the same day.  Also - why Thelma doesn't just ask the cops to go to the local PO Box.  A huge number of these scammers are overseas or VPNing from across the country.