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Studio 57 (also known as Heinz Studio 57) is an American anthology series that was broadcast on the now-defunct DuMont Television Network from September 1954 to July 1955, and in syndication from 1955 to 1958. "It's a Small World", the pilot episode of the series Leave It to Beaver, was broadcast on the show on April 23, 1957. [citation needed]
54 is a 1998 American drama film written and directed by Mark Christopher.Starring Ryan Phillippe, Salma Hayek, Neve Campbell, and Mike Myers, the film focuses on the rise and fall of Studio 54, a famous nightclub in New York City during the late 1970s and early 1980s.
Taylor soon landed roles in television shows such as Studio 57 and the films Hell on Frisco Bay (1955) and Giant (1956). In 1955, he guest-starred as Clancy in the third episode ("The Argonauts") of the first hour-long Western television series, Cheyenne , an ABC program starring Clint Walker .
Stevens's first lead in a feature was Spy Ship (1942), a B movie. He followed it with leads in two other "B"s, Secret Enemies (1942), and The Hidden Hand (1942). He and Alexis Smith married on June 18, 1944. [9] He appeared in films like Three Cadets (1943), Learn and Live (1944), and Resisting Enemy Interrogation (1944).
Studio 57: CBS News Streaming Network and CBS Morning News, Former home of CBS This Morning; Studio 57 Newsroom: CBS News Streaming Network; Ed Sullivan Theater, aka CBS Studio 50: studio for The Late Show with Stephen Colbert; former studio for Late Show with David Letterman and The Ed Sullivan Show; Studio 1515 in One Astor Plaza, Times Square
Historic movie lot in Studio City that was home to iconic television shows, from 'Gunsmoke' to 'Seinfeld,' is getting a $1-billion makeover.
For more than four decades, thousands of the most iconic blockbuster movie effects ever to hit the screen were created in this unique studio: "Star Wars," "Star Trek," "Men In Black ...
The website's consensus reads, "Studio 54 offers audiences an engrossing close-up look at an emblem of a decade's decadence – as well as its sobering aftermath." [1] The New York Times wrote, "The movie is a fast account that is sometimes a tad facile in its analysis of a cultural moment. But as Mr. Schrager's personal too-much-too-soon story ...