Lilo and Stitch (DeBlois and Sanders, 2002)
“When Judy started working at Metro, she was as round as a rain barrel. There was no problem in getting her to eat those days. She loved food, as she loved life. When she reported to wardrobe for a fitting, she’d be placed before a mirror with a dress-form of a fat woman standing beside her. ‘Now look at yourself,’ she’d be told. Do you want to look like that dummy, or do you want to be a star?’ ‘Of course,’ said Judy, ‘I wanted to be star. Some years were required to get rid of my surplus fat, and lots of my energy went into it. But it was fine to be able to draw in my breath and feel my backbone against my stomach. ‘Now,’ I thought, ‘I can become a star.’”
Hopper, Hedda. “Garlands for Judy.” Chicago Tribune. 26 Jun. 1949: B4. Web.
Love, Marilyn (Garbus, 2012)
The Maiden’s Reply to the Young Man’s Resolution, from after 1670
Wherein she fits him in his kind,
And lets him know her settled mind,
She can as well live single and not marry
As well as he without a wife can tarry.
Found on a search in the IU libraries’ database for the season 1 DVD of Living Single (Yvette Lee Bowser, Creator and Executive Producer, FOX, 1993-8)
The Sopranos (David Chase, Creator and Executive Producer, HBO, 1999-2007), S1.E1 Pilot
“…. Tony and his crew profit from the over-indulgence of the corporeally fit but spiritually weak. They run the sports betting racket; they run the drug trade. They produce the consumption by which middle-class masculinity has come to define itself. In fact, it might be argued that Tony’s entire existence is the product of consumption…. Even Tony’s ‘legitimate’ business, waste management, profits from discarded consumer products.”
“In the end, Tony’s body must be understood as the expression of self-made manhood’s subsistence, which is consumption itself. In order for Tony to embody the values of self-made manhood, which asserts its identity through battle in the free market and the accumulation of capital, then his girth can only be read as resulting from the profits he has reaped. Those profits are the result of producing the very consumption that causes overindulgence and its repressive counterpart constraint, and which lead, inevitably… to the destruction of the body. In other words, the self-made man that Tony embodies is, essentially, a cannibal, since he feeds off the destructive consequences of consumption….”
Santo, Avi. “‘Fat Fuck! Why Don’t You Take a Look in the Mirror?’: Weight, Body Image, and Masculinity in The Sopranos.” This Thing of Ours: Investigating The Sopranos. Ed. David Lavery. New York: Columbia University Press; London: Wallflower Press, 2002. Print. p. 92
“We kind of wrote it like a guy would…”
Director Paul Feig on how Judd Apatow’s suggestion led him to add the food poisoning scene to the Wiig-Mumolo script in Bridesmaids (2011)
“…. the original format for The Munsters was written by Allan Burns (my note: co-creator of The Mary Tyler Moore Show) and Chris Hayward, and the show was produced and scripted by Joe Connelly and Bob Mosher, the creators of Leave It to Beaver (CBS/ABC [US], 1957-63). Connolly and Mosher’s link to this earlier family sitcom is particularly significant, in that it suggests a direct continuum from the earlier, ‘straight’ incarnations of the genre to these Gothic family sitcoms…. Indeed, on numerous occasions throughout The Munsters’ two year run, Herman Munster, a big fan of television, makes reference to the family sitcom and often quotes Leave It to Beaver. This not only serves to ironically underscore the very ‘everydayness’ of these monsters…, but also knowingly acknowledges their TV ancestry.”
Wheatley, Helen. Gothic Television. Manchester and New York: Manchester University Press, 2006. Print. p. 128-9.