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Wink Martindale, the king of the television game show, dies at 91

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Wink Martindale, the king of the television game show, dies at 91

Wink Martindale, the king of the television game show who hosted “Tic-Tac-Dough,” “Gambit,” “High Rollers” and a slew of other programs that became staples in living rooms across America, died Tuesday in Rancho Mirage. He was 91.

Martindale, a longtime voice of Los Angeles radio who had an unexpected hit record in the late 1950s, died surrounded by family and his wife of 49 years, Sandra Martindale, according to a news release from his publicity firm.

Throughout a long career in radio and television, Martindale was frequently asked how he came by his unusual first name.

As he would explain, one of his young friends in Jackson, Tenn., had trouble saying his given name, Winston, and it came out sounding like Winkie. The nickname, shortened to Wink after he got into radio, stuck — with one exception.

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After Martindale signed to host his first national TV game show in 1964, NBC’s head of daytime programming felt that the name Wink sounded too juvenile. So, for its nearly one-year run, What’s This Song?” was hosted by Win Martindale.

Not that he particularly minded having the “k” dropped from Wink.

“Not really, because I loved those checks [from NBC],” he said in a 2017 interview for the Television Academy Foundation. “They can call me anything they want to call me: Winkie-dinkie-doo, the Winkmeister, the Winkman, you name it.”

The genial, dapper TV host with the gleaming smile and perfectly coiffed hair had hosted two local TV game shows in L.A. before going national with “What’s This Song?”

Over the decades, according to his website, Martindale either hosted or produced 21 game shows, including “Words and Music,” “Trivial Pursuit,” “The Last Word” and “Debt.”

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“That’s a lot of shows,” he acknowledged in a 1996 interview with the New York Daily News. “It either means everybody wants me to do their show or I can’t hold a job.”

Martindale was best known for hosting “Tic-Tac-Dough,” the revival of a late 1950s show, which aired on CBS for less than two months in 1978 but continued in syndication until 1986.

Unlike tic-tac-toe, in which two players simply try to get three Xs or three Os in a row in a nine-box grid, “Tic-Tac-Dough” required contestants to select a subject category in each of the nine boxes, everything from geography to song titles. Each correct answer earned the players their X or O in the chosen box.

“Tic-Tac-Dough” achieved its highest ratings in 1980 during the 88-game, 46-show run of Lt. Thom McKee, a handsome young Navy fighter pilot whose winning streak earned him $312,700 in cash and prizes and a spot in the Guinness Book of World Records.

“Our ratings were never as big until he came on and were never as big after he left,” Martindale said in his Television Academy Foundation interview.

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As he saw it, the simplicity of “Tic-Tac-Dough” and other TV game shows helps explain their continued popularity.

People at home, he said, “gravitate to games that they know. They can sit there, and they say to themselves, ‘Man, I could have gotten that; I can play that game.’ And when you get that from a home viewer or a person in the audience, you’ve got them captured.”

Martindale left “Tic-Tac-Dough” in 1985, a year before it went off the air, to host a show that he had created. Alas, “Headline Chasers” lasted less than a year.

As Martindale told The Times in 2010, “There have been a lot of bombs between the hits.”

Born Winston Conrad Martindale on Dec. 4, 1933, in Jackson, Tenn., he was one of five children. His father was a lumber inspector and his mother a housewife.

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While growing up, Martindale was a big fan of the popular radio shows of the day and early on dreamed of becoming a radio announcer. For years, he recalled in his Television Academy Foundation interview, he’d tear out advertisements from Life magazine and, behind a closed bedroom door, he’d ad-lib commercials as he pretended to be on the radio.

All that practice paid off. After repeatedly hounding the manager of a small, 250-watt local radio station in Jackson for a job, Martindale was offered an audition less than two months after graduating high school in 1951.

At 17, the former drugstore soda jerk was hired at $25 a week to work the 4-11 p.m. shift at radio station WPLI.

On-air jobs at two increasingly higher-wattage local radio stations followed before he landed his “dream” job in 1953: hosting the popular morning show “Clockwatchers” at WHBQ Radio in Memphis, Tenn.

For Martindale, working at WHBQ was a matter of being in the right place at the right time.

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One night in July 1954, he later recalled, he was showing some friends around the station when popular DJ Dewey Phillips played a demonstration disc of a recently recorded song that had been given to him by Sam Phillips (no relation), the founder of Sun Records in Memphis.

The song was “That’s All Right” and the singer was a young Memphis electric company truck driver named Elvis Presley.

“Dewey put it on the turntable and the switchboard lit up,” Martindale said in a 2010 interview with The Times. “He kept playing it over and over.”

The song caused so much excitement that a call was made to Presley’s home to have him come in for an on-air interview. Elvis wasn’t home, so Gladys and Vernon Presley drove to a movie theater, where their son was watching a western, and drove him to the radio station for his first interview.

“That was the beginning of Presley mania,” said Martindale. “I think of that as the night when the course of popular music changed forever.”

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After WHBQ launched a television station in Memphis in 1953, Martindale branched into TV, first hosting a daily half-hour children’s show called “Wink Martindale of the Mars Patrol.” The live show featured a costumed Martindale, who would interview half a dozen kids in a cheaply built spaceship set, and segue to five- or six-minutes of old Flash Gordon movie serials.

Then, influenced by the success of Dick Clark’s still-local teenage dance show “Bandstand” in Philadelphia, Martindale began co-hosting WHBQ-TV’s “Top 10 Dance Party.”

He scored a coup in June 1956 when he landed Elvis, by then a show-business phenomenon, for an appearance and interview with Martindale on his live show — for free.

Col. Tom Parker, Presley’s manager, “would never speak to me after that because he wanted to be paid for everything. We had no budget. They hardly paid me, for Pete’s sake,” Martindale told The Times in 2010.

Because of Martindale’s local popularity with his “Top 10 Dance Party,” a small Memphis record company, OJ Records, signed him to a recording contract.

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His recording of “Thought It was Moonlove” led to his signing with Dot Records, for which he recorded well into the 1960s.

Martindale, who had a pleasant but not memorable singing voice, also played himself as the host of a teen TV dance show in the low-budget 1958 movie “Let’s Rock!,” in which he sang the mildly rocking “All Love Broke Loose.”

While working on radio and TV in Memphis, Martindale graduated from what is now the University of Memphis, where he majored in speech and drama.

In 1959, he moved to L.A. to become the morning DJ on radio station KHJ.

That same year, he scored a surprise hit in “Deck of Cards,” which reached No. 7 on the Billboard Hot 100 and No. 11 on its Hot Country Songs chart. Martindale, who received a gold record for the recording, performed the piece on Ed Sullivan’s popular Sunday-night variety show.

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While working at KHJ Radio in 1959, he began hosting “The Wink Martindale Dance Party” on KHJ-TV on Saturdays. The popular show, broadcast from a studio, also began airing weekdays, live from Pacific Ocean Park in Santa Monica.

Over the years, in addition to KHJ, Martindale worked at L.A. radio stations KRLA, KFWB, KMPC and KGIL.

In 2006, he received a star on the Hollywood Walk of Fame. A year later, he became one of the first inductees into the American TV Game Show Hall of Fame in Las Vegas.

“I always loved games,” he said in his Television Academy Foundation interview. “Once I got into the world of games, I just seemed to glide from one to the other. … I never looked down upon the idea that I was branded as a game-show host, because most people like games.”

Martindale is survived by his wife, Sandra; sister Geraldine; his daughters Lisa, Lyn and Laura; and several grandchildren and great-grandchildren.

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McLellan is a former Times staff writer.

Movie Reviews

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‘Michael’ — a new movie about the King of Pop – is drumming up big buzz. The film was produced in-part by the co-executors of the late singer’s estate, and has some critics questioning whether it is too focused on sanitizing the singer’s troubled image.

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‘Clayface’ trailer teases DC Studios’ first proper horror movie

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‘Clayface’ trailer teases DC Studios’ first proper horror movie

The DC universe is going full on body horror.

DC Studios released its first trailer for “Clayface” on Wednesday, giving audiences a glimpse of the gruesome origins of the shape-shifting Batman villain.

Set to an eerie rendition of the Flaming Lips’ “Do You Realize??,” the teaser flashes among various images of up-and-coming Hollywood actor Matt Hagen (portrayed by Tom Rhys Harries) before and after a violent encounter as the camera slowly zooms toward his haunted eyes and bloody, bandaged face as he is recovering on a hospital bed.

The clip also includes footage of Hagen’s clay-like, malleable face, which he appears to gain after some sort of scientific procedure.

According to the DC description, “Clayface” will see Hagen transformed into a “revenge-filled monster” and explore “the loss of one’s identity and humanity, corrosive love, and the dark underbelly of scientific ambition.”

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“Clayface,” set for an Oct. 23 release, will be the third DCU film to hit theaters since James Gunn and Peter Safran took over DC Studios and reset (most of) its comic book superhero franchise. The studio’s upcoming slate also includes “Supergirl,” which will hit theaters June 26, as well as “Man of Tomorrow,” the sequel to Gunn’s 2025 blockbuster “Superman,” announced for 2027.

Who is Clayface?

Clayface is a DC Comics villain usually affiliated with Batman. The alias has been used by a number of different characters over the years, but they all usually possess shape-shifting abilities due to their clay-like bodies. Created by Bill Finger and Bob Kane, the original Clayface was a washed-up actor turned criminal who first appeared in a 1940 issue of “Detective Comics.”

Matt Hagen was the name of the second Clayface, who first appeared in an issue of “Detective Comics” in the 1960s. He was the first to have shape-shifting powers, which he gained after encountering a mysterious radioactive pool of protoplasm.

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Other versions of Clayface have been introduced in various media since.

Who is in ‘Clayface’?

The upcoming film stars Tom Rhys Harries as rising Hollywood actor Hagen. The cast also includes Naomi Ackie, who is seen in the trailer, reportedly as the scientist Hagen turns to for help following his disfigurement. Also set to appear are David Dencik, Max Minghella and Eddie Marsan, as well as Nancy Carroll and Joshua James.

Who are the ‘Clayface’ filmmakers?

Director James Watkins, known for horror films including “Speak No Evil” (2024), is helming “Clayface.” The script was written by prolific horror scribe Mike Flanagan (“The Haunting of Hill House,” “Doctor Sleep”) and Hossein Amini (“The Snowman”).

The producers are Matt Reeves, Lynn Harris, James Gunn and Peter Safran. Exective producers include Michael E. Uslan, Rafi Crohn, Paul Ritchie, Chantal Nong Vo and Lars P. Winther.

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Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC

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Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC

Nintendo’s Shigeru Miyamoto says he’s surprised at the negative critical reception to the Super Mario Galaxy Movie.

As reported by Famitsu, Miyamoto conducted a group interview with Japanese media to mark the local release of The Super Mario Galaxy Movie.

During the interview, Miyamoto was asked for his views on the critical reception to the film in the West, where critics’ reviews have been mostly negative.

Miyamoto replied that while he understood some of the negative points aimed at The Super Mario Bros Movie, he thought the reception would be better for the sequel.

“It’s true: the situation is indeed very similar,” he said. “Actually, regarding the previous film, I felt that the critics’ opinions did hold some validity. “However, I thought things would be different this time around—only to find that the criticism is even harsher than it was before.

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“It really is quite baffling: here we are—having crossed over from a different field—working hard with the specific aim of helping to revitalize the film industry, yet the very people who ought to be championing that cause seem to be the ones taking a passive stance.”

As was the case with the first film, opinion is divided between critics and the public on The Super Mario Galaxy Movie. On review aggregate site Rotten Tomatoes, the film currently has a critics’ score of 43% , while its audience score is 89%.

Shigeru Miyamoto says he was surprised by Mario Galaxy Movie reviews.

While this is down from the first film’s scores (which were 59% critics and 95% public) it does still appear to imply that the film’s target audience is generally enjoying it despite critical negativity.

The negative reception is unlikely to bother Universal and Illumination too much, considering the film currently has a global box office of $752 million before even releasing in Japan, meaning a $1 billion global gross is becoming increasingly likely.

Elsewhere in the interview, Miyamoto said he hoped the film would perform well in Japan, especially because it has a unique script rather than a simple localization as in other regions.

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“The Japanese version is a bit unique,” he said. “Normally, we create an English version and then localize it for each country, but for the first film, we developed the English and Japanese scripts simultaneously. For this film, we didn’t simply localize the completed English version – instead, we rewrote it entirely in Japanese to create a special Japanese version.

“So, if this doesn’t become a hit in Japan, I feel a sense of pressure – as the person in charge of the Japanese version – to not let [Illumination CEO and film co-producer] Chris [Meledandri] down.

“However, judging by the reactions of the audience members who’ve seen it, I feel that Mario fans are really embracing it. I also believe we’ve created a film that people can enjoy even if they haven’t seen the previous one, so I’m hopeful about that as well.”