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6 episodes with Bedelia
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2 episodes with Bedelia
2 episodes with Bedelia
3 episodes with Bedelia
2 episodes with Bedelia
2 episodes with Bedelia
2 episodes with Bedelia
The sold out Chaz and AJ Monster's Ball has two cash prizes for best group costume, and best individual costume. Lindsey was on the phone, a finalist of at least seven costume contests, but never winning the top prize. (0:00) Bridgeport's Fire Chief Lance Edwards was on the phone with Chaz and AJ to walk them through a daring rescue yesterday, where a worker became trapped when a basement wall collapsed. (17:33) Jimy Official was in studio to talk about the haunted places he's visited in Connecticut, and was looking for suggestions on where he should go next. Chaz and AJ asked the Tribe for help, and Jimy may have gotten more than he bargained for with Bedelia's call. (23:48) The sound of a 1,000 pound pumpkin being dropped onto a car is loud enough, but a young spectator that screamed the whole time cut through everything. (34:12) In Dumb Ass News, a man claims he can channel an alien and allow it to speak to people. Chaz and AJ remember a guest they've spoke with that used to do the same thing, Nancy Lieder. (41:38)
Tom Stanley in for Nick and joined by trainer Shark Hanlon who responds to yesterday's news that he has been suspended for 10 months, 5 months of which are suspended, for transporting a deceased horse in an open trailer. Shark takes us through the course of events that led to the hearing and confirms his intention to appeal the decision. Jane Mangan gives us an overview of the case and we also discuss the news of former racehorse Bedelia, pictures of whom emerged yesterday on social media looking malnourished having arrived in the UK from Ireland where she was trained. Jane gives her views on the two European Group 1s this weekend and also looks ahed to next week's Irish Champions Weekend. We hear from trainer Charlie Fellowes who has Vadream in the Betfair Sprint Cup and also the exiting 2yo Luther at Haydock. And, as ever on a Friday, Sporting Life's Ben Linfoot gives us something for the weekend.
Tom Stanley in for Nick and joined by trainer Shark Hanlon who responds to yesterday's news that he has been suspended for 10 months, 5 months of which are suspended, for transporting a deceased horse in an open trailer. Shark takes us through the course of events that led to the hearing and confirms his intention to appeal the decision. Jane Mangan gives us an overview of the case and we also discuss the news of former racehorse Bedelia, pictures of whom emerged yesterday on social media looking malnourished having arrived in the UK from Ireland where she was trained. Jane gives her views on the two European Group 1s this weekend and also looks ahed to next week's Irish Champions Weekend. We hear from trainer Charlie Fellowes who has Vadream in the Betfair Sprint Cup and also the exiting 2yo Luther at Haydock. And, as ever on a Friday, Sporting Life's Ben Linfoot gives us something for the weekend.
Wallingford mayor Vinny Cervoni was on with Chaz and AJ this morning to address their electric rates, and shared how the town has been able to keep prices more affordable for residents. (0:00) Dumb Ass News - Comedian Mike Finoia was in studio, as Chaz and AJ read the story of a father and son, stinky feet, and someone getting shot in the face. (8:15) The Tribe called in their hillbilly moments. Bedelia's RV is a hillbilly haven, and so many pooping stories were called in. (15:19) The Milford Oyster Fest is celebrating a massive anniversary this weekend, and are celebrating with their most impressive musical lineup to date. Jay and Ila were in studio to talk about the last 50 years of oyster fests, music, and how Oyster Eve evolved into a whole second night of music with thousands of attendees. (23:03) Boss Keith's Top 5 list doubled-down on his criticism of Michael McDonald, renewed his hatred for TikTok, and revealed his grand plans to openly steal from his grocery store. (36:08)
Welcome to Episode 99 where we discuss the 1982 classic, CREEPSHOW! With summer winding down we wanted to give you a little….SOMETHING TO TIDE YOU OVER because, let's face it, fall is CREEPING UP ON YOU. So, go get those vintage headphones out of THE CRATE, and don't wait until FATHER'S DAY, Bedelia. Listen today, wherever podcasts can be heard. Consider supporting us on Patreon https://www.patreon.com/aloneinthedarkpodcast --- Support this podcast: https://podcasters.spotify.com/pod/show/aloneinthedarkpodcast/support
Stew Leonard's in Orange? Chaz and AJ spoke with Stew Leonard Jr. about the possibility of a brand new store coming to Orange, to occupy a recently vacated building space. Plus, a little history about why Stew Leonard's was not able to move into Orange a few years ago. (0:00) This is not your average Top 10 list. Tribe member Bedelia agreed to try, but seemed confused on the difference between William Shatner and Captain Kirk, frequently lost her place, and yet still made the whole thing entertaining. (14:34) News 8's Jeff Derderian was in studio, driving all the way in from Rhode Island, to share a bizarre story about a moth ruining a first date. (27:18) William Yeske, a combat veteran who served 11 years in the United States Army, was on to talk about his book "Damn the Valley." William admits he never thought anyone would want to read his stories, but found that a lot of his honesty resonated with other veterans who had struggled since returning home from active duty. (38:05)
Episode 3 brings in 3 new ladies.... are they nice girls?? Are they Fgirls??? Are they Mia from Season 2 of FBoy??? Jolene defends Benedicts beard. Michael writes an apology letter to Kiara. And is Elizabeth messy???Follow us on social media:IG: @couplewatchingTwitter: @couplewatching
Dumb Ass News - Chaz & AJ were joined by comedian Vince Berry in-studio and heard about a seagull sound-alike contest, followed by everyone giving it their own best shot. (0:00) A Florida man was saved by his neighbor while being dragged by an alligator. Tribe member Bedelia helped Chaz & AJ think of other escape solutions. (4:43) What were the Tribe's most "hillbilly" moments? The responses were amazing, funny and gross at the same time! (14:54) Former WPLR General Manager Dick Kalt came to the studio with friends and shared a story from the very early days of the station. (34:43)
Chaz and AJ had comedian Ayesheh Mae in studio this morning, and discussed a viral list from women on the internet regarding where NOT to go on a first date. The list was quickly set aside as Ayesheh and Phil both had stories of terrible first dates, then Tribe member Bedelia shared the best bad date, Bubba.
Neste programa Angélica Hellish comenta o primeiro episódio da terceira e última temporada da série Hannibal (2013-2015) onde veremos Hannibal e Bedelia se adentrando à sociedade acadêmica italiana e também veremos que Hannibal vai passar por cima de qualquer coisa para ter um gostinho da vida que sempre sonhou. Um pequenoo interlúdio no meio do podcast, os meus gatos resolveram derrubar tudo. IMPORTANTE *** SEJA UM APOIADOR E NOS AJUDE A MANTER ESSE PROJETO QUE EXISTE DESDE 2009: Só clicar aqui https://linktr.ee/masmorracine nesse link, tem todas as maneiras de nos apoiar OU FAÇA UM PIX – nosso pix é o email apoiomasmorra@gmail.com **** *Procure e inscreva-se nos aplicativos de PODCAST e também no SPOTIFY, AMAZON MUSIC, APPLE PODCASTS! – Só procurar MASMORRACINE *Nosso e-mail: contato.cinemasmorra@gmail.com SIGA A GENTE NO NOSSO CANAL NA TWITCH @AngelMasmorra https://www.twitch.tv/angelmasmorra AJUDE O NOSSO PODCAST A APARECER MAIS NO SPOTIFY DANDO 5 ESTRELAS PARA A GENTE! Procure-nos lá como Cineclube da Masmorra ou como MasmorraCine Nosso canal no OK.RU!
Neste programa Angélica Hellish comenta o primeiro episódio da terceira e última temporada da série Hannibal (2013-2015) onde veremos Hannibal e Bedelia se adentrando à sociedade acadêmica italiana e também veremos que Hannibal vai passar por cima de qualquer coisa para ter um gostinho da vida que sempre sonhou. Um pequenoo interlúdio no meio do podcast, os meus gatos resolveram derrubar tudo. IMPORTANTE *** SEJA UM APOIADOR E NOS AJUDE A MANTER ESSE PROJETO QUE EXISTE DESDE 2009: Só clicar aqui https://linktr.ee/masmorracine nesse link, tem todas as maneiras de nos apoiar OU FAÇA UM PIX – nosso pix é o email apoiomasmorra@gmail.com **** *Procure e inscreva-se nos aplicativos de PODCAST e também no SPOTIFY, AMAZON MUSIC, APPLE PODCASTS! – Só procurar MASMORRACINE *Nosso e-mail: contato.cinemasmorra@gmail.com SIGA A GENTE NO NOSSO CANAL NA TWITCH @AngelMasmorra https://www.twitch.tv/angelmasmorra AJUDE O NOSSO PODCAST A APARECER MAIS NO SPOTIFY DANDO 5 ESTRELAS PARA A GENTE! Procure-nos lá como Cineclube da Masmorra ou como MasmorraCine Nosso canal no OK.RU!
In this episode, Maggie and Jordy discuss beer, bud, werewolves, Creepshow, and Courage the Cowardly Dog with our interactive audience! The show takes a hilarious turn when Jordy's cat involves himself in the episode!!
For our first episode of DISH BY DISH: A Hannibal Rewatch Project of the day, we're looking to make a meal of Season 3, Episode 10 “… and the Woman Clothed in the Sun!” Along the way, we delve into our feelings about Baz Luhrmann's ELVIS, our varying levels of knick knack usage, we explore the very nature and reality of sex within the show, and we do a complete compare and contrast of all the Red Dragon “let's touch a tiger” sequences!! All this plus we nosh on our favorite paintings and go deep into the details of Bedelia's first foray into murder! Get elbow deep with us today!!Our TeePublic shop for killer merch is right here: https://www.teepublic.com/stores/kill-by-kill-podcast?utm_campaign=18042&utm_medium=affiliate&utm_source=Kill%2BBy%2BKill%2Bpodcast%2BHave something to say? Find us on Twitter @KillByKillPod Join the conversation about any episode on the Facebook Group! Follow us on IG @killbykillpodcast Check out the films we've covered & what might come soon on Letterboxd! Get even more episodes exclusively on Patreon! Follow our station on vurbl: https://vurbl.com/station/2bdTISeI3X/ Artwork by Josh Hollis: joshhollis.com Kill By Kill theme by Revenge Body. For the full-length version and more great music, head to revengebodymemphis.bandcamp.com today!
Reunited and it feels so good! At least until Hannibal decides to take things too far as usual. At least Bedelia was smart enough to get the hell out. CW: Fantastic Beasts talk mins. 12-16:15. CW: Fantastic Beasts talk mins. 12-16:15 https://www.theringer.com/2022/5/25/23140578/janes-addiction-been-caught-stealing-dave-navarro-perry-farrell Mr. Bingsoo https://www.instagram.com/bmoresmrbingsoo/ Gordon's Breakfast Cocktail http://thirstycamelcocktails.com/mondays-classic-gordons-breakfast/ https://cryingintheclub.com/products/i-got-my-ass-eaten-at-bass-pro-shops-pyramid-shirt The eel guy https://twitter.com/SuperJulia/status/1536819737128214535 Biba https://byronsmuse.wordpress.com/2016/09/22/fashion-icons-biba-girl/ https://mydramalist.com/69667-kinnporsche John Oliver Subway Kdrama https://twitter.com/iamjohnoliver/status/1528758082838331393?lang=en Freya Marske “A Marvellous Light” https://freyamarske.com/books/
Felicia braves the mosh pit, Julie's fixer-upper is at a standstill, and a Creepshow flashback…”Bedelia, where's my cake, you dirty bitch?!?”Hosts: Julie Blair & Felicia FlorezExecutive Producer: david mills/InterWest Concepts InkSponsors: Better Homes & Gardens Real Estate/Golden Door, Ken Collins Marketing, Encore Coffee Shop & Traeger's Bar, Desert River Guides, LLCSound Engineer: david millsPhotographers: Angel FlorezMusic beds written & performed by: Eric CampbellRecorded live, unscripted and uncut at Better Homes & Gardens Real Estate/Golden Door in Farmington, NM. Better Homes & Gardens Real Estate/Golden Door is not responsible for any of the content of said programing, they just give us money to sit and chat. Guests are not paid to appear; they completely volunteer to subject themselves to the craziness.Female Encounters of the Life Kind is the sole property of InterWest Concepts Ink. All rights reserved. For permission to use all or part of the programming contact InterWest Concepts Ink at dageneralswakeupcall@gmail.com
Come find out if Bedelia ever gets her father his cake...Also, we would love to know who you would feed to Fluffy if given the chance --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
While Will is off being obtuse with Chio, Hannibal mopes around with Bedelia, goes full Eurotrash, and gets his ass thoroughly thrashed by Jack. It is very satisfying. Links: The salmon shirt of seduction https://twitter.com/trendhannibal/status/1476456156084248581 Shio pan/Japanese salt bread https://youtu.be/UD8oBImLvoM Garrett Jacobs Mansion https://www.instagram.com/historichomesofbaltimore/?hl=en Užupis https://www.bbc.com/travel/article/20181014-uupis-a-tiny-republic-of-free-spirits Užupis' Constitution http://uzhupisembassy.eu/uzhupis-constitution/ Jessica/@apoptosess https://twitter.com/apoptosess Post-fall thoughts https://twitter.com/madsmuse_/status/1473038757658079233?t=jLKvMjuDGzzThTbcOgF4yA&s=19 “Oddbodies” https://archiveofourown.org/works/5209922 Holland and Sherry https://apparel.hollandandsherry.com/en McQueen https://www.imdb.com/title/tt6510332/ The Gospel According to André https://www.imdb.com/title/tt7218804/ Bulgasal https://asianwiki.com/Bulgasal:_Immortal_Souls Love and Leashes https://asianwiki.com/Love_and_Leashes Divine Your Dinner https://www.goodreads.com/en/book/show/55835977-divine-your-dinner Mubi https://mubi.com/
A good book for kids who are afraid of the dark --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
In this week's episode of Murder Husbands, POPSKL presents to you another delicious, deep-dive discussion into Bryan Fuller's TV arthouse phenomenon Hannibal, continuing with Season 3, Episode 10: And the Woman Clothed in Sun. Bringing their professional creative backgrounds to this lively and thoughtful examination, the co-hosts of POPSKL parse through all things Hannibal. In this episode they discuss Bedelia's revelations, the difference between "in" and "with the", and the most visceral moment of the entire series. Whether you're ready for a re-watch–as four of our hosts are–or entering into it for the first time–as our fifth host is–you are cordially invited to pull up a chair and have a bite! Buon appetito! ••• Your POPSKL hosts are Moderator: Justin Peniston (@hunterblackcomx): Writer on Sonic Prime on Netflix and web comic Hunter Black Comix Kelly Sue Milano (@kellysuesays): Writer of comic series HEX11 Lisa K. Weber (@lkatweber): Artist of comic series HEX11 Phillip Kelly (@phillipcreates): actor, writer, filmmaker Claire Thorne (@unexpectedhobby): Author, A Geek's Guide to Cross-Stitch: Journeys into Space ••• Music Theme Music: Solo Cello Action Stock Media provided by MelodiesInMotion Introduction Music: Pond5 Plucky Cello composed and performed by kcello Plucky cello ~ Royalty Free Stock Music #104055520 | Pond5 Twins Peaks music: Stock Media provided by tephramedia / Pond5 Hunter Black Comix Music: Stock Media provided by Stereophone / Pond5 ••• New episodes of Murder Husbands are released every Tuesday and available on Spotify, Apple Podcasts, and Amazon Podcasts. Follow us across social media @popsklpod and visit our website at www.popsklpod.com where you can join our newsletter. If you like what you hear, don't be rude: share, subscribe, and leave a positive review! And check out their other ongoing series: That Episode Was.
Its our 100th episode and we honor the baddest dad of them all, John McClane. We re-watched Die Hard (1988), Die Hard 2 (1990), Die Hard with a Vengeance (1995), Live Free or Die Hard (2007), and A Good Day to Die Hard (2013). Grab an armful of Twinkies, make fists with your toes, and give it a listen.Subscribe, rate and review:Apple Podcasts: Our Film FathersSpotify: Our Film FathersGoogle Podcasts: Our Film FathersStitcher: Our Film FathersAmazon Music: Our Film Fathers-----------------------Follow us:Instagram: @ourfilmfathersTwitter: @ourfilmfathersEmail: ourfilmfathers@gmail.com
In an episode so random it may predict their downfall, Pat's universal experience causes Jim to recall his first trip to Disney. With remote control energy our hosts ignore growing pains to reveal it's not JUST a black hat. Apple bound & marching to the parade the boys talk almost as long as Batman.
In this week's episode of Murder Husbands, POPSKL presents to you another delicious, deep-dive discussion into Bryan Fuller's TV arthouse phenomenon Hannibal, continuing with Season 3, Episode 3: Secondo. Bringing their professional creative backgrounds to this lively and thoughtful examination, the co-hosts of POPSKL parse through all things Hannibal. In this episode they discuss Chiyoh, Bedelia, and Hannibal's emotional collapse. Whether you're ready for a re-watch–as four of our hosts are–or entering into it for the first time–as our fifth host is–you are cordially invited to pull up a chair and have a bite! Buon appetito! ••• Your POPSKL hosts are Moderator: Lisa K. Weber (@lkatweber): Artist of comic series HEX11 Phillip Kelly (@phillipcreates): actor, writer, filmmaker Claire Thorne (@unexpectedhobby): Author, A Geek's Guide to Cross-Stitch: Journeys into Space Kelly Sue Milano (@kellysuesays): Writer of comic series HEX11 Justin Peniston (@hunterblackcomx): Writer on Sonic Prime on Netflix and web comic Hunter Black Comix ••• Music Solo Cello Action Stock Media provided by MelodiesInMotion Pond5 Plucky Cello composed and performed by kcello Plucky cello ~ Royalty Free Stock Music #104055520 | Pond5 ••• New episodes of Murder Husbands are released every Tuesday and available on Spotify, Apple Podcasts, and Amazon Podcasts. Follow us across social media @popsklpod and visit our website at www.popsklpod.com where you can join our newsletter. If you like what you hear, don't be rude: share, subscribe, and leave a positive review! And check out their other ongoing series: That Episode Was.
Wherein Beth and Matt discuss talk Blake, Butts, and Bedelia. Peter Medak's The Changeling Illuminated Printing description at the William Blake Archive William Blake's "To Thomas Butts" Terence Malick's The Tree of Life Terence Malick's The New World Richard Armitage visits the Brooklyn Museum Michael Mann's Thief Son of the Invisible Man sketch Gerald Kargl's Angst Peter Medak's The Ruling Class Edward Goulding's Nightmare Alley
Wherein Beth and Matt discuss the best date ever, Bedelia and Will's stunning snot-off, Marie Samuels, and various tail-swallowing circular arguments. William Blake's Songs of Innocence and Experience at Project Gutenberg Liam Gavin's A Dark Song Morbid Anatomy classes A Clockwork Orange Murder Scene (graphic) Marion Crane's alias in Alfred Hitchcock's Psycho Ken Russel's Altered States Red queen scene from John Frankenheimer's The Manchurian Candidate Alien reveal scene in M. Night Shyamalan's Signs Brian De Palma's Dressed to Kill Deckard gives Rachael the Voight-Kampff test in Ridley Scott's Blade Runner Marion Crane's alias in Psycho The mouth image from A Clockwork Orange's murder scene Matt's gift to Beth: A "Murder Wives" Hoop from WitheringSlights' Etsy shop Beth's gift to Matt: A Kim Atlin painting from the Bugera Matheson Gallery
Tim might expect to see corpses, working graveyard in the morgue, but never expected one that could talk... Cast List Timothy Grant - Jasper Loovis Bedelia Crane - Emmatrice Devan Gordy - George Dunn Darcy - Megan Lane Halston - Gene Thorkildsen Sophia - Julie Hoverson Mr. Summerfield - Bryan Hendrickson Male Body - Reynaud LeBoeuf Security Guard - Sky Iolta Music: Kevin MacLeod (Incompetech.com) Recorded with the assistance of Ryan Hirst of Neohoodoo Studio Editing and Sound: Julie Hoverson Cover Design: Brett Coulstock "What kind of a place is it? Why it's a morgue - can't you tell?" ********************************************************* DRAWER 23 Cast: Olivia, host Timothy Grant (M20s), temp. night shift at morgue Sophia (F30s), who Tim is replacing Gordy (M20s), the go-to guy Darcy (F20s), med student Halston (M40s), swing shift attendant Bedelia Crane (F40-ish), ghost, southern belle from the 1920s MALE BODY - Bedelia, but with a man's voice Summerfield (M50s), tough boss Security guard (any) OLIVIA Did you have any trouble finding it? What do you mean, what kind of a place is it? Why, it's a morgue, can't you tell? MUSIC SCENE 1. MORGUE, NIGHT SOUND WHOOSH OF HYDRAULIC DOORS OPENING SOPHIA And THIS-- TIM --Got it. I watch CSI. SOPHIA On this shift, you won't usually have to deal with the - well, everyday ins and outs, but there are times when somebody has to get in here right away, so you need to know the check-in procedures. TIM Oh, sure. SOPHIA Is this your first time dealing with cadavers? TIM Mm, yeah, but I-- SOPHIA Try not to faint when you smell them. The cold helps, but I have some mentholatum if you need it-- TIM Oh, yeah, I saw Silence of the Lambs. SOPHIA [sigh, then muttered] And you plan to be a doctor...? TIM Hmm? SOPHIA If you, or anyone else, does faint, and sustains any appreciable injury, you must fill out a form 5-C-H dash 2-1-7 dash 62. TIM There's a form for it? SOPHIA There's insurance for it. Did you ever see Quincy? TIM Quincy Jones? SOPHIA [Sigh] A television show. In the opening credits - never mind. SOUND DOOR OPENS SOPHIA There are 30 drawers. You always fill the top row first, followed by the next down, and the floor level ones last of all. TIM 30? I never thought that Cumberland Pass would-- SOPHIA We really don't. I've only seen all the drawers filled once - after that really bad fire. Well, all the drawers but one. TIM [waits, then] One? SOPHIA [sighs, somewhat embarrassed] This one. Twenty-three. It's... tsk... It's supposed to be haunted. TIM I guess it's the right place for a-- SOPHIA I don't really believe it, but everybody else does. No one will put a body in that drawer. And me, I figure - why take a chance? TIM I-- I'm not getting it. So there's a ghost and you don't want to put a body in the drawer why...? Because it'll get scared? SOPHIA For 12 years, I have not seen anything to be scared of. I haven't heard anything but stories. TIM [eager] Tell me! SOPHIA Timothy, most people find working third shift hard enough without having ghost stories to freak out over. Just do the three months and when I get back, I promise you I will tell you everything I know. TIM What if you decide not to come back? SOPHIA Oh, please! Once this munchkin arrives, I'll be desperate to get back to my wonderful peaceful nights here. Dale swears up and down she's ready to lose sleep for the both of us. TIM Kids take a lot of time. SOPHIA [teasing] Don't get your hopes up - they take a lot of cash too, and I'm not about to give up my health benefits. MUSIC SCENE 2. CAFETERIA GORDY [coming on] Hey pal! I heard you got graveyard shift in the land of the dead! TIM Yeah, Sophia's been showing me the ropes. Seems easy. Clean this, lock that, don't take pictures of dead celebrities, make sure no one gets in without proper authorization. GORDY Did she tell you about the ghosts? TIM More than one? I mean, she mentioned [snickers] a haunted drawer in the cool room, but-- GORDY Hmm. Never heard THAT one, but there are supposed to be a bunch of-- DARCY [coming on] This seat taken? [sits without waiting] Hey, Tim! [less enthused] Gordy. GORDY The lovely Lady Darcy. TIM Hey Darce. GORDY Deigning to sit among the common folk? What will the world come to? TIM Gordy was just telling me-- GORDY Warning you. About the ghosts. In the morgue. DARCY That's ridiculous. GORDY Huh? And I suppose you know everything about-- DARCY I don't know anything about the morgue, but I do have a smattering of supernatural lore‑‑ GORDY I suppose someone's got to watch Ghosthunters. DARCY AND it is absolutely accepted common belief that a ghost haunts the place it DIED, not the place its body went later. TIM Maybe someone ... died in the morgue. [shudder] GORDY "Accepted common belief"? That's about as nebulous as "according to statistics." DARCY The O.R., now. Or the Burn Ward. That's where you'd find ghosts. MUSIC SCENE 3. MORGUE, NIGHT SOUND HYDRAULIC DOOR OPENS TIM Hello? Hello? Hello? HALSTON [off] Just a moment! SOUND HYDRAULIC DOOR CLOSES SOUND PAPERS RUSTLE TIM [muttering to self] Checklist, check. Clipboard - no scheduled arrivals, check. HALSTON [coming on] Yeah? TIM I'm Timothy Grant-- HALSTON Oh, yeah. Soph's gone off to spawn? TIM She went into labor this morning, so I get to start early-- HALSTON Don't worry. Piece of cake job. Could be done by a monkey, only monkeys won't work for this pay. TIM [chuckles] Seems fine to me. HALSTON Yeah, well, you don't have the monkeys' union. You need anything before I take off? Any last questions? TIM I don't think so - Sophia left me a pretty comprehensive set of notes. HALSTON Not surprising - she's so damn organized, that kid won't stand a chance. Well, don't you go slacking off and make her clean up your messes when she gets back. It'll be bad enough when all the construction starts, [shrugs] but she's always happiest telling people what to do. SOUND FOOTSTEPS START TO LEAVE, DOOR OPENS TIM Oh, I did-- HALSTON [pause] What? TIM Oh, [embarrassed] someone was telling me about a... well, a ghost. In one of the body drawers. HALSTON And? TIM What do you think? I'm dying of curiosity. HALSTON You ain't the ghoulish type, are you Tim? TIM I - I don't think so. HALSTON [thinks, then sighs] The guy who used to do nights, before Sophia took over, swore that there was ghost in drawer 23. He said the guy before him told him about it, but that no one really knew any details, like who or what it was, just that-- TIM Yes? HALSTON Shit. This is just one of those "you can't win" things. No matter what I say now, chances are you're gonna do something stupid. TIM Maybe not. I mean, I'll try-- HALSTON Just don't blame me. So Fred - the guy who told me this - Fred said that one night he DID put a body into 23. And nothing happened. TIM [deflated] Oh. HALSTON Until midnight. Then the corpse woke up and screamed. It screamed and scratched at the drawer for just about an hour-- TIM The witching hour-- HALSTON Whatever - around one, it just shut off like a light. TIM Maybe the poor stiff was still alive! Why didn't he open the drawer and check? HALSTON [beat, ominous] Because the body was already autopsied. MUSIC SCENE 4. DAY, SCHOOL SOUND QUICK FOOTSTEPS IN A TILED HALLWAY TIM [off mike, slightly out of breath] Hey! Darcy? DARCY Huh? Tim? What...? SOUND FOOTSTEPS APPROACH AND STOP TIM Hey. I- um, I wanted to ask-- DARCY [excited] Yes? TIM --about ghosts. DARCY [deflated] Oh. Why? TIM It's the stories - you know about the ghosts in the morgue. And you seemed to know a lot. I mean, about ghosts. So-- I figured what the heck? DARCY This is really not the place-- TIM Step outside? Just for a moment. I just got off shift and need some fresh air, anyway. SCENE 5. OUTDOORS, CONTINUOUS SOUND DOOR OPENS. MORNING NOISES - BIRDS, CARS DARCY [takes a deep breath] So. Ghosts. TIM Anything you can tell me. DARCY That's like asking a gearhead about cars. It covers way too much territory. You need to be more specific. TIM How do you ...talk to them? DARCY Depends. Some ghosts can't talk. A lot of them don't even realize they're dead - they say it's the trauma. They wipe their death right out of their memories, and then get mad because people are ignoring them. TIM Do you ...need a medium or something? DARCY Do you need a doctor to know when you have a cold? TIM What? DARCY I'm saying that without some detail about your symptoms, you won't know whether to consult an expert. TIM Oh, Ok. DARCY I approach ghosts from a theoretical and psychological angle. TIM Very scientific. DARCY So? Bring me some parameters. MUSIC SCENE 6. MORGUE, NIGHT SOUND BIG DRAWER ROLLS OUT TIM I wonder if it has to be pushed in? GORDY [filter, crackly] Dude, you're breaking up - the morgue sucks for reception. TIM [snicker] A dead zone. GORDY [filter, crackly] Ha-ha. TIM So I got this guy... [muttered, to corpse] Sorry, man. [to Gordy] I wonder if it needs to be rolled in? GORDY [filter, crackly] Did you remember to tie it up? TIM [resigned] Yes. GORDY [filter, crackly, fading] You'll thank me if this is a flesh eating zombie situation. TIM In, I think. SOUND DRAWER ROLLS IN TIM 10, 9, 8-- GORDY [filter, crackly, fading badly] 7--[static] 5-- TIM 4, 3, 2... SOUND PHONE BEEPS OFF TIM Crap! SOUND MUFFLED SCREAMING ["MALE BODY"] AND BANGING - CONTINUES UNTIL NOTED MALE BODY [light accent - very southern belle] LET ME OUT! TIM [almost paralyzed] Oh, shit! Oh, shit oh shit oh shit!!! MALE BODY PLEASE!!! LET ME OUT!!! SOUND DIALING PHONE TIM Gordy, man! SOUND PHONE BAD CONNECTION SOUND TIM Shit! MALE BODY [Screaming incoherently] TIM [yelling] If I open the drawer, will you shut up? MALE BODY [suddenly silent, then] Is there someone out there? TIM Yes. Just, be calm, OK? MALE BODY I'll try. SOUND DRAWER ROLLED OUT TIM [reacts in fear] MALE BODY Thank you ever so much! I was afraid-- I-- Why on earth am I bound? [clears throat, tries to speak higher pitch] And what in heaven's name has happened to my voice? MALE BODY I think somehow there is a great deal you are choosing not to tell me. TIM You're right, but--- this isn't going to be easy. First, who are you? Do you remember? MALE BODY Remember? Of course. Bedelia Crane. Miss Bedelia to my students. And yourself? TIM Um, Tim. Timothy Grant. MALE BODY Grant. Well, there's a name for you. TIM And -- what year do you think it is? MALE BODY 1932. Now it's your turn. Why don't you begin by telling me what it is you are keeping back. MUSIC SCENE 7. EMPTY CAFETERIA SOUND STRAW POPS MILK CARTON GORDY One advantage of working nights - we have our choice of tables. TIM Yup. GORDY So, do I have to beat it out of you? TIM What? GORDY What happened? TIM Oh. [lightly] Body came to life, killed me, went off on a rampage. GORDY Right, and even now, it is heading for the nation's capital, in search of brains. TIM Wrong direction. GORDY Well, that's because I was employing sarcasm. It's a tool of the trade for oncologists. TIM [beat, shrug] Nothing. GORDY Nothing? TIM Nope. GORDY Well. Guess I better cancel that Ghostbuster stripper I hired. MUSIC SCENE 8. OUTSIDE, DAY SOUND FOOTSTEPS ON CONCRETE, SECOND SET HURRY UP TIM Darcy! Got a minute? DARCY Hi! [damping her enthusiasm] Tim. TIM I have some more info on the ghost. DARCY You're serious? TIM Oh, yeah. I talked to her last night. Asked a bunch of questions - it was weird cause I didn't know she was a SHE, and I'd stuck in a man's body, but-- DARCY Tim? TIM Yes? DARCY You're telling me you spoke to a ghost? TIM Yes. DARCY A real live ghost? TIM Apart from the poor choice of words, yes. DARCY Are you sure you didn't just fall asleep? TIM [not too sure] Pretty sure. DARCY [sigh] I mean, I want to believe you, but - actually speaking to a ghost? Most people "feel a presence," or notice items have been moved a teensy bit from their previous position, or run into a cold spot. TIM Nope. We just chatted - once I explained how things were, she seemed mostly OK with it. I guess no one ever just talked with her before. DARCY [thinks for a moment, then] You need to video this or something. TIM Don't you even want to know who she is? I was kind of hoping you could help me look up her records... [running out of steam] Being in records, and all. DARCY Oh sure. Once I see your recording. MUSIC SCENE 9. MORGUE, NIGHT SOUND DRAWER ROLLS OUT TIM Is this one better? BEDELIA [delighted] Oh, much. I almost feel like myself again. Though of course, I am not. TIM You're taking it very well. BEDELIA I have always prided myself on being a practical woman. There is no use in shedding tears over what cannot be changed. [losing confidence] I do, however, worry some little about what's to become of me. TIM I have some questions for you. Are you up to answering? BEDELIA Certainly. And, Timothy? Thank you so very much. For everything. Particularly for providing me with ... garments. I know it's ludicrous to be modest with another's-- TIM No, no. Perfectly reasonable. I'm curious‑‑ BEDELIA Could you help me out first? I would prefer to hold any such interview in a less horizontal position. SOUND DRAWER OUT A BIT MORE TIM & BEDELIA [grunts as he helps her up] SOUND SEVERAL BARE FOOTSTEPS BEDELIA [sighs as she sits] Timothy, was this poor girl deformed? TIM Huh? BEDELIA I can barely keep my balance and walk with such a monstrous bosom. Poor, poor child. TIM It's-- Um - guys like girls who-- BEDELIA How times change. Now in my day - well, my heyday, shall we say - the style was a more delicate, and slender figure. Athletic. A girl like this would have cried her eyes out every night and bound herself to kingdom come, trying to achieve a decent flapper slouch. TIM [shudder] Uhh. BEDELIA Of, course, I was hardly a flapper - I was a bit old to run with that crowd, [nostalgic] but I spent my share of time in the speaks. Weekends only, o'course. It would never do to show up hung at the schoolhouse of a morning. TIM Can I ask - I mean without offending you - when you were born? BEDELIA Oh, Timothy. You are a delight. I'm dead, child, how can you offend me? MUSIC SCENE 10. MEETING DARCY SOUND [On RECORDING] OUTSIDE NOISES BEDELIA [on recording] I was born in the year 1891, in Rock Creek, Georgia. I came here in-- SOUND CLICK - TAPE MACHINE OFF DARCY [sucks in breath, exasperated noise] But-- but that could be anyone. TIM Yeah, I figured you might think that, so here-- SOUND CLICKING OF COMPUTER KEYS DARCY [gasp] TIM Sorry, it's the only way to prove - see the time code - this was 11:50, and then this-- SOUND CLICKING TIM Was 1:08. There. Before and after shots of the same woman - dead. Autopsy scars and all. DARCY Still... TIM You could come and see for yourself. You can even choose the body-- DARCY I -- no. I mean, I'm in records for a reason. I don't like ...the smelly parts of medicine. TIM All right, so-- GORDY [coming on] Hey, hey! Darcy, are you warm in here, or is it just me? DARCY Is it funny in here, or is it just the way you smell? TIM Um-- DARCY I've got to go, Tim. If I think of anything, I'll let you know. TIM Um, Ok. SOUND CHAIR, FOOTSTEPS LEAVE GORDY Since the ghost in the drawer was a bust-- TIM [snort - almost a laugh] GORDY --I did a little digging in old newspapers and I found you another one. TIM Really? In the morgue too? GORDY Yup. There was this freshman at the medical school, who for a hazing had to spend the night in the morgue - to make sure he didn't cheat, the frat boys handcuffed him to one of the drawers TIM Number 23? GORDY Dude, no one was sober enough to count. Anyway, so this poor newbie was handcuffed, in his underwear, in the morgue all night, and when they came to let him out-- TIM [waits, then] --Yes? GORDY He was gone. TIM Oh. GORDY Wait, wait - He was gone, but his hand was still in the handcuff - he had chewed it off to escape! TIM That's insane -you can't chew through bone. GORDY Animals do it. TIM Animals have teeth made for it. Humans simply don't have the jaw strength-- GORDY Dude, it's just a story. I guess you don't want to hear the best part. TIM [long sigh, then] OK, what is it? GORDY [offhand, not caring] His body was never found. TIM Mm. Of course. MUSIC SCENE 11. MORGUE, NIGHT SOUND DRAWER PULLS OUT TIM Morning. BEDELIA [chuckle] Help me out of here, if you please. TIM Up you come. [grunt] BEDELIA [sigh] Oh, this is very nice. TIM You like? BEDELIA Yes. A good deal closer my own age, and not bad looking. TIM I was telling a friend about you-- BEDELIA [curious] But why? I mean, you start telling people that you're speaking with the dead, they're liable to look at you strangely. TIM Oh, no - Darcy's cool. I asked if she wanted to drop in, but she's - a bit creeped out. BEDELIA You have the most colorful colloquialisms. TIM It's not the ghosts that wig her, it's more the corpses. BEDELIA "wig"? TIM Bother her. BEDELIA Ahh. I don't wonder - not everyone can take a spirit at face value. TIM Come, sit. I'm eating lunch - I don't suppose you would like some...? BEDELIA I highly doubt it. But it certainly smells delicious. TIM [gracious] Smell away. BEDELIA Tell me about this lady friend of yours. Is it serious? TIM [almost choking] You mean like dating? Me and Darcy? BEDELIA Of course we called it courting in my day, but yes - is she your intended? TIM I-- we-- I guess I never really thought about it. I mean, she's smart and pretty and all, but she-- [snort] She'd never be interested in me. BEDELIA Why not? After all, you're obviously smart, kindhearted, and a fine-looking young man. TIM [huh?] Me? BEDELIA Of course. Is there anyone else in this room? Why, if I weren't a couple decades too old for you-- TIM --and dead-- BEDELIA --and, yes-- [sigh] You see there? Perhaps that's why you haven't any lady friend. You don't seem to think before you open your mouth. TIM But - I just - it's the truth. BEDELIA You are much too literal, Timothy. Sometimes - most of the time - tact isn't in what you say, so much as when you choose to say nothing at all. You would be amazed at how far a little tact and charm can take you. SOUND DOOR OPENS, ANGRY FOOTSTEPS ENTER SUMMERFIELD What in hell's going on? TIM I--I-- BEDELIA [sharp] Sir? And who the devil are you? TIM [whispered] It's my boss. SUMMERFIELD Yeah, I'm his boss, he's my soon to fired employee, and who the devil are you? BEDELIA [sweetness] I am Timothy's aunt, Bedelia Crane. I am so pleased to meet one of Timothy's co-workers. I didn't think I'd have such a chance-- SUMMERFIELD This is a restricted area, lady. BEDELIA [as if he was being polite] Oh, you can call me Bedelia. And you are--? SUMMERFIELD [rapidly losing steam] Alvin Summerfield, but-- BEDELIA I'm afraid this is all my fault, Mr. Summerfield. Or may I call you Alvin? SUMMERFIELD [softening noticeably] Alvin--Alvin's fine. Or Al. BEDELIA [troweling it on] Alvin is much more dignified. As I was saying, this is entirely my fault. I'm afraid I dropped in without the least warning - I'm only in town for a couple of hours, before my bus leaves again - and I came by with lunch to surprise him. I'm afraid Timothy just didn't have the heart to send his poor old aunt back out into the night, when we never get to see each other, ever, ever. TIM Yeah. SUMMERFIELD Well, I really can't let you stay, ma'am, but I... I understand. I won't write Tim up. This time. May I walk you to your car? BEDELIA I'm parked quite some ways away, and couldn't possibly take you away from your business here for that long - but I would certainly appreciate an escort out of the building-- SOUND TAKES HIS ARM, THEY WALK OFF BEDELIA [fading out] --I got myself terribly lost, trying to find my way in. But then, it is a fascinating place! SOUND DOOR STARTS TO SWING SHUT, RUNNING FOOTSTEPS, DOOR SWINGS OPEN AGAIN TIM Don't forget the time, aunt Bedelia! BEDELIA Oh? TIM You've only got [checks] uh, 43 minutes. Until you gotta be where you have to be. BEDELIA I understand! [fading again] Such a good boy - wants to make sure I don't get left behind somewhere-- SOUND DOOR SHUTS MUSIC SCENE 12. MORGUE, NIGHT, LATER SOUND PACING TIM 12:49. Where the heck is she? I need to get that body back-- SOUND CELL PHONE RINGS TIM [startled] Aah! SOUND FUMBLES WITH PHONE, THEN TURNS IT ON TIM H-hello? GORDY [on phone] [spooooky voice] Whooo-ooooo. This is your wake-up ghost. TIM Gordy? GORDY [on phone] No, it's Mabel fable, put the money back on the table. TIM Gordy! GORDY [on phone] Ok, ok! Jeez, don't get your shroud in a bunch. TIM Is there a point--? GORDY [on phone] Yeah. I was googling the morgue and stuff, and realized that one reason I didn't find much was that the hospital changed its name in the 1970s. Once I found that, I uncovered a bunch of stuff. TIM In the middle of the night? GORDY [on phone] "Best time" "In an empty house"? - "best place." TIM Huh? GORDY [on phone] [sigh] You're such a nerd. All right. Most of the stuff is crap. Not very interesting. [beat] Except.... TIM [disinterested] The freshman's handless body? GORDY [on phone] No. [serious] There really was a guy - and you can believe this, cause there's a wiki entry on it - who was working in the morgue and went nuts in the middle of July 17th. TIM [beat] That's it? GORDY [on phone] He claimed that a huge black shadow had risen from the floor or something, and touched him, and he like had visions or something and went nuts. TIM When did this happen? GORDY [on phone] uh [checking] 1945. TIM He was probably listening to War of the Worlds or something. GORDY [on phone] Well, there's more, [tailing off] but if you're not interested-- TIM All right. Go on. GORDY [on phone] It happened three other times - People claimed to have seen something horrible on July 17th, or else [pause, for suspense] they killed themselves. Two suicides - a janitor and a nurse who wasn't even supposed to be in the area, both in the mid 50s. TIM You're really serious? GORDY [on phone] As a snack attack. TIM But Sophia's worked here for twelve years, and she's never had a problem. GORDY [on phone] Hmm. Ask her. TIM Yeah - besides, she'll be back by then anyway. GORDY [on phone] Good. You can start leading a normal life again. Oh, wait, you never had a normal life. Oh well. Chow! TIM Bye. SOUND TURNS OFF PHONE SOUND MOMENT OF SILENCE, THEN A TAP AT THE WINDOW TIM [startled] Ahh! Oh shit - Bedelia! MUSIC SCENE 13. OUTDOORS, EARLY MORNING TIM [fading in] --and then it was 1 a-m and I had to drag the body back in really quick and clean it up! DARCY [chuckling] You are such a freak! TIM You think I'm a freak - It's Mr. Summerfield who was making all googly eyes at her. Ugh. Jeez, I hope he doesn't spot that body on the slab. DARCY [shudder] The way you talk about her, it's easy to forget she's really... well... dead. TIM Yeah, and she's been giving me all sorts of great advice-- [stops] DARCY Mm? TIM Nothing. [changing gears with difficulty] Um, Gordy told me there's concrete evidence of another ghostly presence, and I was hoping you might be interested. DARCY Who is it this time? TIM He said the only description was a "dark presence" and that came from a guy who went mad. I can forward you the e-mail. DARCY [interested] Yeah. Do. MUSIC SCENE 14. MORGUE, NIGHT BEDELIA It was so lovely. Being outside, in the night. TIM You shouldn't have been out alone! You could have been-- BEDELIA Killed? [chuckles] Oh, I haven't any real worries on that score. TIM Guess not. BEDELIA But I do appreciate your concern, Timothy. That's very considerate of you. TIM Well, I-- BEDELIA Now yesterday, before we were so rudely interrupted, you were telling me about your young lady friend. TIM Uh, yeah. Look - there's something more important-- BEDELIA More important than romance? Goodness. That is just like a man. TIM It's another ghost. BEDELIA Oh? TIM Here in the morgue. Someone - something - who only appears once a year - July 17 - and drives people crazy. BEDELIA I had an uncle like that, but he only-- TIM Please! Have you ever seen this - thing? BEDELIA [takes a moment to contemplate him] tsk. Timothy, you know very well that I have spent very little time of the last 75 years or so taking any notice of the world around me. When there's no body in the drawer at midnight, I just carry on asleep. TIM I figured it couldn't hurt to ask. BEDELIA Of course not. It never hurts to ask. You should ask your young lady to dinner sometime. TIM Why? We eat together - breakfast - all the time. [flushes, realizing how this must sound, blurts] I mean when I get off shift, and she's coming in. BEDELIA Silly boy. That's just food. "Dinner" is an event. MUSIC SCENE 15. OUTSIDE, MORNING DARCY I think I found out something for you... about your friend Bedelia. TIM Go on? SOUND FLIPS PAGES DARCY Hold on. All right. I found her hospital records, and they're pretty useless - it's amazing how unspecific stuff was back in the day! But they do say she was admitted on a Saturday morning, very early, unconscious, slipped into a coma and stopped breathing. TIM But did it say why? DARCY [she knows something] Noooo. [beat] But-- TIM But? DARCY I checked the papers around the same time, and there were a number of near deaths from a bad batch of bathtub gin-- TIM In 1932 - but prohibition ended-- [cuts self off] DARCY [waits a second, then] And, they all looked dead, presumably a deep coma, but then revived. TIM You mean she--? DARCY She probably revived in the drawer and then really died. TIM Oh. [swallows] Well, thanks! Sounds like you did a lot of work on that. DARCY Oh, I like going through old newspapers. The ads are hilarious! [beat] I also discovered one of the ineffable truths of life. TIM Huh? DARCY Gordy is an idiot. TIM Oh, well - we knew that. DARCY Your dark shape? It exists. TIM Really? DARCY In Ontario. Gordy mistook Moss Creek General, which was the old name here, for Moose Creek General, which is in some teensy town in Canada. Tsch. The wonders of the internet. TIM Darcy... DARCY Hmm? TIM [very awkward] Would you like to go to dinner sometime? MUSIC, MUCH TIME PASSES SCENE 16. ENTERING MORGUE, NIGHT TIM Thanks for staying up - Sophia warned me it would be awkward to readjust to days - and even more awkward to just work weekends like this. DARCY What else am I going to do with my weekend nights? [teasing] My boyfriend has to work. SOUND KISS, they break apart, both laughing a little SOUND A COUPLE MORE STEPS, THEN DOOR PUSHES OPEN. TIM [shock and horror] What the hell? HALSTON Hiya Tim. I shoulda warned you - they finished over on the quad building ahead of schedule, so they started tearing stuff out over here. Think of it - six months, and we'll have the newest facilities in the state! TIM But-- DARCY Oh, no! [sympathetic] Tim! HALSTON What? Didya leave something in the morgue? TIM Yeah. In one of the drawers. Where- where ... are ... they? HALSTON Out back with the rest of the rubble, I suppose. Why? TIM [strained] Nothing. Have a good night! [aside, to Darcy] Help me? DARCY Um, sure. What do you-- TIM Come back at 11:30 and-- HALSTON [slightly off] At least it means work will be a piece of cake - everyone's being re-rerouted to Central until we get an interim suite set back up. TIM [whispered] 11:30. We'll take a look. I just need to - at least say goodbye. DARCY [a little unsure] Sure. Um. What's the worst that can happen? MUSIC SCENE 17. OUTSIDE, OUT BACK AMBIANCE DISTANT TRAFFIC, NIGHTTIME SOUND CLANKING NOISES DARCY [whispered call] Found em! SOUND HURRIED FOOTSTEPS TIM Where? DARCY But they're all out of order. Ooh. Some really didn't take it well. TIM Check the numbers? DARCY Oh, Tim - most of them don't seem to have them-- TIM Look for a dent on the front that looks like a pair of lips - I rammed a gurney into the drawer one night. SOUND METAL RATTLES, ETC. DARCY [beat] This one? TIM Oh, yes! Help me turn it back over. DARCY But without a body, how can you-- SECURITY GUARD Hey, you over there! TIM Run, Darcy! SOUND DARCY RUNS SOUND TIM CLIMBS UNDER THE DRAWER AND HIDES. SECURITY GUARD Hey! You kids! SOUND RUNNING FEET GO PAST TIME PASSES SOUND DARCY'S FEET RETURN DARCY [whispered call] Tim? Tim? TIM Over here. DARCY Oh! When I realized you weren't behind me, I thought he got you! TIM [Sounding like Bedelia] Nonsense. I waited in ambush. [then, completely himself] Gotta get back to work. See you for breakfast? DARCY Did you--? The drawer--? TIM No. [rueful, but sounding just a touch like Bedelia] Not a soul. Any longer. CLOSER OLIVIA Now that you know how to find us, don't be a stranger - we have enough of those already... END
Joey Gabe and CJ talk.. Creepshow is a 1982 American horror comedy anthology film directed by George A. Romero and written by Stephen King, making this film his screenwriting debut. The film's ensemble cast includes Hal Holbrook, Adrienne Barbeau, Fritz Weaver, Leslie Nielsen, Carrie Nye, E. G. Marshall, and Viveca Lindfors as well as King himself (King's acting debut actually came a year prior in the Romero film Knightriders). The film was primarily shot on location in Pittsburgh and its suburbs, including Monroeville, where Romero leased an old boys academy (Penn Hall) to build extensive sets for the film. Prologue A young boy named Billy Hopkins[a] (Joe Hill) gets disciplined by his abusive father Stan (Tom Atkins) for reading a horror comic titled Creepshow. After swiping the comic from Billy and throwing it in the garbage, Stan tells his wife (Iva Jean Saraceni) that he has to be hard on Billy because he does not want their son to read it, calling it "horror crap". As Billy sits upstairs, wishing that his father rots in Hell, he hears a sound at the window. The source of the noise turns out to be the Creep, the host of the comic book, beckoning him to come closer. The film transitions to animation as the Creep removes the lid from the trash can, transitioning to the first story. "Father's Day" The first story, "Father's Day," is an original story by King written for the film. Sylvia Grantham (Carrie Nye) gathers with her nephew Richard (Warner Shook), niece Cass (Elizabeth Regan), and Cass's new husband Hank (Ed Harris) at their estate for their annual dinner on the third Sunday in June. They proceed to tell Hank about the current family matriarch, Great Aunt Bedelia (Viveca Lindfors) and about her father, the former patriarch, the miserly and domineering Nathan Grantham (Jon Lormer), who accumulated the family's fortune through bootlegging, fraud, extortion and murder-for-hire. Seven years earlier, Bedelia was rendered an unstable spinster as the result of a lifetime spent putting up with her father's incessant demands and emotional abuse, which only got worse after he suffered a stroke and she was made to nurse him full time. The abuse culminated in his orchestrating the murder of her sweetheart Peter Yarbro (Peter Messer) to keep her under his thumb. That Father's Day, Bedelia, having been driven into a murderous rage by his constant demanding for his cake, bludgeons her father to death with a marble ashtray (that is hidden throughout the other stories). In the present, Bedelia arrives at 6 p.m. and stops in the cemetery outside the family house to lay a flower at the grave site. There, she drunkenly reminisces about how she murdered her overbearing father and how Sylvia helped stage it as an accident to steal and distribute his fortune to the rest of the family. After she accidentally spills her whiskey bottle in front of the headstone, Nathan's putrefied, maggot-infested corpse (John Amplas) emerges from the burial plot in the form of a revenant, still demanding the Father's Day cake he never got. Grantham slowly avenges himself on Bedelia, strangling her to death. He moves on to kill the rest of the Granthams, murdering Hank with a falling gravestone, murdering Mrs. Danvers (Nann Mogg) the cook, and twisting Sylvia's neck. As a gruesome final joke, Nathan surprises Cass and Richard by presenting his Father's Day cake, topped with Sylvia's severed head. While the ending is left ambiguous in the film with Nathan gloating over a terrified Cass and Richard in freeze-frame, the comic book based on the film has the Creep giving a vague hint that Nathan's next act was to "blow out their candles". Returning to animation, the Creep turns the comic's page to the next story. "The Lonesome Death of Jordy Verrill" This section of the film is based on King's short story "Weeds". Jordy Verrill (Stephen King), a dimwitted backwoods yokel, watches a meteorite crash land near his farm. Observing the crash site, Jordy gets his fingers burned when he tries to touch the meteorite. In a fantasy sequence, Jordy imagines selling the meteor to the local college's "Department of Meteors", hoping the sale will provide enough money to pay off his $200 bank loan. Taking precautions, he douses it with a bucket of water, causing it to crack open and spill a glowing blue liquid. In another fantasy sequence, Jordy imagines the Department of Meteors refusing to purchase the broken meteorite. Resolving to try and glue the halves together in the morning, Jordy nonchalantly dumps the liquid inside the meteor into the soil, but not before it makes contact with his skin. As time passes, Jordy finds his fingers being overcome by a rapidly spreading plant-like organism. He attempts to call a doctor (Bingo O'Malley), but stops when he imagines (in another fantasy sequence) that the doctor will end up chopping the afflicted fingers off without anesthetic. Over time, the plants continue to grow all over Jordy's farm, everything Jordy has touched, and on Jordy's body, causing him to itch furiously. In a panic, Jordy pours himself a bottle of vodka, mixes it with orange juice, and falls asleep in a drunken stupor. He wakes up sometime later, believing it to have been a dream. But his hopes are dashed when he sees that the plants have managed to grow inside the house and discovering in a mirror that he has now grown a beard of plants. He starts to draw a bath to relieve the itching, but he is visited by the ghost of his deceased father (Bingo O'Malley) who appears in his mirror and warns him against doing so by quoting "You ain't going to get in that tub, are ya? It's the water that it wants, Jordy. Don't you know that? You get in that tub Jordy, you might as well sign your death warrant!" Jordy, grimly rationalizing that not getting in would only delay the inevitable, laments on how "[he's] a goner already." When the itching from the growth on his skin becomes unbearable, Jordy succumbs to temptation and collapses into the bathwater. The next morning, Jordy's farm has been completely covered with dense layers of the alien vegetation, with Jordy himself now transformed into a plant monster. In despair, he reaches for a shotgun, prays to God, and blows the top of his head off, thus killing himself. Immediately afterwards, a TV weather forecast announces that moderate temperatures and heavy rains are predicted, the implication being that this will accelerate the spread of the extraterrestrial plant growth to surrounding areas to the point where the Earth may be terraformed into an entirely green planet. Returning to animation, a gust of wind turns the comic book's page (briefly passing over an advertisement for a voodoo doll that is missing its order form) to the next story. "Something to Tide You Over" This story was also written specifically for the film. Richard Vickers (Leslie Nielsen), a vicious, wealthy, ruthless man whose spry jocularity belies his cold-blooded murderousness, pays a visit to Harry Wentworth (Ted Danson), the man his wife Becky (Gaylen Ross) is having an affair with. Rather than confront him with violence, Richard plays a recording of Becky's voice tearfully begging Harry to help her. Richard and Harry travel to Comfort Point, Richard's private beach house, where Richard points out what appears to be a burial mound in the sand, Harry runs to it, whereupon Richard holds him at gunpoint, telling him to jump into the hole and bury himself. Richard finishes burying Harry up to his neck in the sand below the high-tide line. He also sets up a closed-circuit TV camera, a VCR to record Harry, and a monitor that displays Becky, who is also buried up to her neck further down the beach and already having the tide wash over her face. Richard explains that the two of them have a chance of survival: if they can hold their breath long enough for the sand to loosen once the seawater covers them, they could break free and escape. With that, Richard abandons Harry and returns to Comfort Station where he watches Harry and Becky die in comfort and luxury. Before he is completely submerged by the advancing tide, Harry looks directly into the camera and vows revenge on Richard. Hours later, Richard returns to the spot he buried Harry to collect the tape. He finds the ruined monitor, but no sign of Harry's corpse, though he writes this off as the body being carried away by the current. Later that night, Richard seems to hear voices calling his name as well as observing some unseen force bypassing the many security measures he has in place. The culprits happen to be Harry and Becky, the two lovers returning as a pair of waterlogged, seaweed-covered zombies intent on revenge. Richard tries to shoot them, but the bullets have no effect. Richard attempts to barricade himself in his bedroom, but they manage to appear inside. All the while, the couple taunt Richard with the same words he said to them as Richard laughs with insanity. Richard soon finds himself on the beach, buried up to his neck, facing both the approaching tide and the sight of two sets of footprints disappearing into the surf. With the same seaweed-covered camera he used to record Harry's death recording him, Richard laughs insanely and screams how he can hold his breath "for a long time" as the rising tide begins to wash over him. Returning to animation, a stronger gust of wind blows the comic book out of the trash can and onto the street, where it opens to the next story. "The Crate" This section of the film is based on the short story of the same name. Mike Latimer (Don Keefer), a janitor at the prestigious Horlicks University, drops a quarter which rolls behind a grate under a basement staircase. While attempting to retrieve it, he comes across a wooden storage crate marked "Ship to Horlicks University via Julia Carpenter - Arctic Expedition - June 19, 1834" hidden underneath the staircase. He calls Dexter Stanley (Fritz Weaver), a biology professor, to notify him of the find, drawing Dexter away from a faculty social gathering. Also at the gathering is Dexter's good friend and colleague, the mild-mannered Professor Henry Northrup (Hal Holbrook), who witnesses his perpetually drunk, obnoxious, and emotionally abusive wife Wilma (Adrienne Barbeau), whom he often daydreams of killing, annoy the guests and embarrass both herself and Henry at the gathering. Meeting Mike at Amberson Hall, Stanley helps him remove the crate and move it into a nearby lab. While attempting to open it, Mike sticks his hand inside the crate and begins yelling in pain. The crate briefly opens to reveal that it contains a shaggy, ape-like creature with sharp fangs (Darryl Ferrucci). Despite its diminutive size, the creature promptly kills and entirely devours Mike, leaving behind only his mangled boot. Running from the lab, Dexter bumps into graduate student Charlie Gereson (Robert Harper), who he frantically tells about what has happened. While skeptical, Charlie agrees to investigate. The two return to the lab to find it covered in blood, with both the crate and the creature gone. They find that the crate has been moved back under the stairs, where they also find Mike's boot. Wanting to measure the bite marks on the boot, Charlie examines the crate closer. Unfortunately, the creature pounces on Charlie, killing him as Dexter flees and takes the boot with him. Traumatized and hysterical, Dexter runs to Henry's house after Wilma leaves for the evening. He relates everything that has happened since the crate was discovered, and argues that the monster must be disposed of somehow. Seeing the creature as a way to rid himself of his wife, Henry appears to believe Dexter's story. To that end, Henry concocts a scheme to lure Wilma near the crate. He spikes Dexter's drink with sleeping pills, writes a note describing the fake assault of a college student by Dexter to lure Wilma into Amberson Hall, and cleans up all evidence of blood from the lab. When Wilma arrives, Henry lures her under the basement stairs where the monster seems to be unresponsive. When Wilma begins ranting at Henry for his stunt, the beast mauls and eats her. The next morning, Henry describes to Dexter how he secured the beast back inside its crate, then dumped the crate into a nearby quarry where it sinks to the bottom. He assures Dexter that the creature has drowned and they will let the authorities handle the disappearances. However, it is subsequently revealed to the audience that the beast is still alive, and is last seen tearing the crate apart. Returning to animation, it begins raining as the comic book turns to the next page, beginning the final story. "They're Creeping Up on You!" This last story was also written specifically for the film. Upson Pratt (E.G. Marshall) is a cruel, wealthy, and ruthless business mogul who suffers from mysophobia, which has him living in a luxurious, futuristic, and hermetically-sealed penthouse apartment outfitted with electric locks and surveillance cameras. His apparent contacts with the outside world are primarily through the telephone and are mostly made to put-upon employees. One stormy night, Pratt receives a call from George Gendron, one of his subordinates, about the fact that his company (Pratt International) has recently bought the Pacific Aerodyne company in a corporate takeover. Gendron also informs Mr. Pratt that the takeover caused a business rival, Norman Castonmeyer, to commit suicide, much to Pratt's delight. During the call, Pratt slowly begins finding cockroaches around his apartment. A fanatical insect hater, Pratt arms himself with bug spray in an attempt to rectify the situation. Before long, someone manages to get through on Pratt's private line. The caller turns out to be Norman Castonmeyer's widow Lenore (Ann Muffly) who tearfully recalls her husband's final moments and hysterically curses out Pratt for causing his death. After finding pieces of cockroaches in his food processor, Pratt receives a call from his building's landlord Carl Reynolds (Mike Tierno). Despite calling during his vacation in Orlando, Florida, Pratt forces Reynolds to send handyman Mr. White to call an exterminator under the threat of firing him. Soon after, Pratt discovers more cockroaches in a box of cereal, trying and failing to crush any that he can. Mr. White (David Early) soon arrives outside Pratt's door, mockingly speaking in a stereotypical minstrel voice while talking to Pratt to mention that he is calling fumigators. Afterwards, a rolling blackout heads towards the building. During the blackout, cockroaches numbering in the hundreds of thousands begin pouring out of every nook and cranny in Pratt's apartment. As the situation rapidly becomes worse, Pratt activates the emergency power and attempts to call the police for assistance. Unfortunately, the police are unable to be of any help because of the blackout, nor is Mr. White who is stuck in the elevator. At his wit's end, Pratt locks himself inside a climate-controlled panic room to escape the growing swarm of cockroaches only to get another call from Lenore who continues to curse at him. Pratt also discovers that the cockroaches have already infested the panic room as well. With no way to escape, he is overwhelmed by the cockroaches, which induces a fatal heart attack. When electricity returns to the building, the apartment is now devoid of cockroaches. Pratt's corpse is shown in the panic room, where Mr. White calls in to report, but gets no answer. Mr. White mockingly quotes "What's the matter, Mr. Pratt? Bugs got your tongue?" However, Pratt's body soon begins to contort as cockroaches burst out of his mouth and body, re-enveloping the panic room. Mr. White continues to call his name to get a response and then quotes "bastard". Returning to animation, a final gust of wind blows the comic book further down the street, where it lands on a nearby curb. Epilogue The following morning, two garbage collectors (Marty Schiff and Tom Savini) find the Creepshow comic book on the curb. They look at the ads in the book for X-ray specs and a Charles Atlas bodybuilding course. They also see the advertisement for the voodoo doll that was briefly glimpsed earlier, but lament that the order form has already been redeemed. Inside the house, Stan complains to his wife that he is suffering from neck pain, figuring that he must have sprained it. Upstairs, Billy is revealed to have sent away for the voodoo doll seen earlier and has decorated it with a piece of his father's clothing and some of his hair. Stan clutches his throat in Pain as Billy repeatedly and gleefully jabs the voodoo doll with a pin, finally getting revenge on his father for his past abuse. Transitioning to animation for a final time, the images of Billy jabbing the doll becomes the cover of the next issue of Creepshow. The Creep is seen holding the same comic book, laughing sinisterly as a candle goes out.
Wherein Beth and Matt discuss Bedelia's posture and Winston's sobriety. Part one of a two-part discussion. Nice links: Visions of Light (the Godfather discussion starts at 1:01)
Are you ready for a second course? DISH BY DISH is back for the season 2 premiere of HANNIBAL!! We’ve got corpse dams, knife fights, how Michaels is full of murderers, and how it feels to be a dead reject. Also, we talk about how county fairs connect to serial killers and revel in Bedelia's very sexy house. Dish By Dish is served with a smile! And probably some lips. Probably. Never fear - new episodes of Kill By Kill are made available every other Friday! Dish By Dish: A Hannibal Rewatch on the Fridays in-between. Have something to say? Find us on Twitter @KillByKillPod Join the conversation about any episode on the Facebook Group! Follow us on IG @killbykillpodcast Check out the films we’ve covered & what might come soon on Letterboxd! Get even more episodes exclusively on Patreon! Follow our station on vurbl: https://vurbl.com/station/2bdTISeI3X/ Artwork by Josh Hollis: joshhollis.com Kill By Kill theme by Revenge Body. For the full-length version and more great music, head to revengebodymemphis.bandcamp.com today!
This week we talk about TikTok communities, miniature things, blessing people, vaccinated gatherings, security cameras, and the Chameleon effect. Support us on Patreon to keep the podcast going, view more detailed show notes, and to gain access to exclusive content at: http://www.patreon.com/theshowsamandjoe Favorite things: Local Bakeries Wyze Cam Pan
Earhart. Bones. Thermopolis. Bedelia. In the great tradition of people named Amelia, one diarist from the mid-1990s stands alone. With her handy composition notebook, Amelia could keep track of the latest gossip, her family’s major move, and her growing interest in drawing noses. For this episode, we re-read Amelia's Notebook (1995) by Amelia (she's like Cher) and the one and only Marissa Moss. In addition to a careful study of each beautifully illustrated notebook page, we also plunged back into some of the vintage Amelia material published in the American Girl magazine. Of course, this episode also covers springtime treats, the early 2000s American Girl website, and an Amelia quiz. Grab an AOL disc, some colored pencils, and get ready for a dive in to a series of notebooks you have not thought about in 20 years but won’t soon forget. Visit our merch store! (Link: https://www.teepublic.com/stores/american-girls-podcast?ref_id=14940 ) Join our patreon! (https://www.patreon.com/americangirlspodcast) Follow the show on Instagram (@americangirlspodcast) and Twitter (@agirlspod) Email us at AmericanGirlsPod@gmail.com You can follow Allison on Instagram (@allisonhorrocks) and Twitter (@allisonhorrocks) You can follow Mary on Instagram (@mimimahoney) and Twitter (@MaryMahoney123)Need a source of calm in your day? Subscribe to Libro FM! Choose from over 150,000 audiobooks and even support your local bookstore with your purchases as a member. To sign up, use code AGReads or this link: libro.fm/redeem/AGReads
Colpo di scena! A partire da quest'anno, il podcast meno ascoltato da giopep™ si accoda al resto della produzione di Outcast inaugurando i COTY, laddove la “C” sta per Comics dal momento che la “F” era già presa da quell'altra categoria là. Per il resto, vale la solita formula di cinque preferenze per ospite più chiacchiera annessa; in studio, con in tasca i loro bravi fumetti americani, italiani e manga: Andrea Peduzzi, Francesco Tanzillo e Luca Cerutti. Buon ascolto! Soundtraccia: nananananananana - Alessandro Mucchi L'elenco completo dei fumetti menzionati nel podcast: Asadora!, Bakemonogatari, Bedelia, Dylan Dog 666 (ciclo), Gleipnir, Jagan, Jujutsu Kaisen, Scheletri, Spy × Family, Tex Willer #20 - Nella terra dei Seminoles, The Goon, Thor di Donny Cates, Tracce di sangue.
Colpo di scena! A partire da quest’anno, il podcast meno ascoltato da giopep™ si accoda al resto della produzione di Outcast inaugurando i COTY, laddove la “C” sta per Comics dal momento che la “F” era già presa da quell’altra categoria là. Per il resto, vale la solita formula di cinque preferenze per ospite più chiacchiera annessa; in studio, con in tasca i loro bravi fumetti americani, italiani e manga: Andrea Peduzzi, Francesco Tanzillo e Luca Cerutti. Buon ascolto! Soundtraccia: nananananananana - Alessandro Mucchi L’elenco completo dei fumetti menzionati nel podcast: Asadora!, Bakemonogatari, Bedelia, Dylan Dog 666 (ciclo), Gleipnir, Jagan, Jujutsu Kaisen, Scheletri, Spy × Family, Tex Willer #20 - Nella terra dei Seminoles, The Goon, Thor di Donny Cates, Tracce di sangue.
We're late but not undone by the natural powers that be! But really, apologies for the delay – another California road bump but we are back with our S2E2 Review of Sakizuke! Come spend a duo of hours with us as we pick apart all the nuance of Will's usurp, Bedelia's outmatching Hannibal and our favorite BAU baddie doing her thing. The table is... s e t, Designers. ❤ Our Patreon launched! Find more about that here: https://www.patreon.com/hannibalismOur [Hannibalesque] Rolodex:• Twitter: https://www.twitter.com/hannibalists• Instagram: https://www.instagram.com/hannibalists• Reddit: https://www.reddit.com/user/hannibalists• Email: hannibalismpod@gmail.com• Ko-fi.com/hannibalism ❤
In via dell’inevitabile idiosincrasia temporale tra chi registra cose e chi, invece, le ascolta, mentre voialtri siete già alle prese con i primi giorni di questo 2021 coronato da vaccini, abbracci e da un’impennata economica senza precedenti, ritroviamo i nostri Andrea Peduzzi, Francesco Tanzillo, Luca Cerutti e Marco Esposto ancora intrappolati nell’anno appena passato, mentre si dibattono nella consueta cavalcata fumettara tra Italia, Stati Uniti e Giappone. Buon ascolto, e buon anno! In questo episodio: Bedelia [02:32}, le ristampe del Braccio di Ferro della Bianconi [14:13}, Marvel Omnibus - Licantropus [35:00], La storia dell'Universo Marvel [49:00], il dicembre di Dylan Dog e Tex Willer [01:09:20], Shonen Ciao [01:22:15}, Spy × Family [01:44:24}, Erased [01:56:13}. Soundtraccia: nananananananana - Alessandro Mucchi Abbiamo avuto la possibilità di leggere Dylan Dog #412 e Oldboy #4 grazie all’ufficio stampa di Sergio Bonelli Editore, mentre Shonen Ciao #1 ci è stato mandato direttamente da Shockdom. Segnaliamo che gli albi sono tutti disponibili nelle edicole, così come nelle fumetterie, nelle librerie e nei negozi online degli editori.
In via dell'inevitabile idiosincrasia temporale tra chi registra cose e chi, invece, le ascolta, mentre voialtri siete già alle prese con i primi giorni di questo 2021 coronato da vaccini, abbracci e da un'impennata economica senza precedenti, ritroviamo i nostri Andrea Peduzzi, Francesco Tanzillo, Luca Cerutti e Marco Esposto ancora intrappolati nell'anno appena passato, mentre si dibattono nella consueta cavalcata fumettara tra Italia, Stati Uniti e Giappone. Buon ascolto, e buon anno! In questo episodio: Bedelia [02:32}, le ristampe del Braccio di Ferro della Bianconi [14:13}, Marvel Omnibus - Licantropus [35:00], La storia dell'Universo Marvel [49:00], il dicembre di Dylan Dog e Tex Willer [01:09:20], Shonen Ciao [01:22:15}, Spy × Family [01:44:24}, Erased [01:56:13}. Soundtraccia: nananananananana - Alessandro Mucchi Abbiamo avuto la possibilità di leggere Dylan Dog #412 e Oldboy #4 grazie all'ufficio stampa di Sergio Bonelli Editore, mentre Shonen Ciao #1 ci è stato mandato direttamente da Shockdom. Segnaliamo che gli albi sono tutti disponibili nelle edicole, così come nelle fumetterie, nelle librerie e nei negozi online degli editori.
Luke & Corrye break down the dynamite crew of henchmen, explain why this is actually a sequel, and give extra props to Bonnie Bedalia, and of course Hart Bochner - the ultimate 1980s sleazeball. Plus: Corrye's hot take on Home Alone won't sit well with many Americans, but he redeems himself with a couple Tom Hardy/Bane impressions.
This time around is all about Creepshow! So many stories, so little time! Prop your feet up on your (Ch-ch-ch) Chia Pet ottoman (like Mr. Verrill would) and come along with us on a ride through 5 tales of terror and fun (including Ed Harris dancin' in Levis)! This episode Colleen and Jill compare notes on baked goods, beach action, close encounters of the meteor kind, furry/teeth-y creature revenge and uninvited insects. We'll also share some sound advice about watering your plants (if you dare) and not your electronics. Enjoy, strangers! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/4forgore/support
Bedelia, Cinzia, Andrà tutto bene. Per non parlare ovviamente di Venerdì 12, Buio in sala e Rat-Man. La miniera di idee e successi Leo Ortolani è nostro gradito ospite per parlare delle ultime uscite, ma anche di aspettative, imprevisti, Star Wars e Marvel. Una chiacchierata a tutto tondo nella nostra migliore tradizione, con le risate assicurate che solo Leo può portare con sé.---Merchandising:http://store.polonerd.netPer sostenerci offrendoci uno o più caffèhttps://www.buymeacoffee.com/polonerdSito, Mail e Contatti:redazione@polonerd.nethttps://www.polonerd.nethttps://www.polonerd.net/contattiPagina dell'episodio: https://www.polonerd.net/?p=718
Sostieni BadTaste e ottieni tutti i vantaggi di Plus! Iscriviti: https://plus.badtaste.it/ Registrazione della chiaccherata su Fumetti tra Carlo Alberto Montori e Claudio Scaccabarozzi in onda il 13/11/2020 su Twitch. Siamo su Twitch! Seguiteci per le dirette quotidiane su cinema, tv, fumetti e videogiochi: https://www.twitch.tv/videos/765174664
https://plus.badtaste.it ➡ Contenuti esclusivi, navigazione personalizzata e molto altro ti aspetta su BadTaste+. Da oggi, come lo vuoi tu Carlo Alberto Montori ha recensito per voi “Bedelia”, il nuovo fumetto di Leo Ortolani edito da BAO Publishing.
Hannibal and Bedelia's time together in Italy has come to an end as the good doctor is luring all his enemies to him. Jack, Will, and Pazzi close in on Hannibal in an explosive couple of episodes that sets up the mid-season finale. Tune in and find out what we thought about the latest gruesome developments!
In part two of our three-part letter to J. Vernon Shea, Lovecraft visits popular culture, discussing music, plays and his favorite motion pictures. Even in 1934 movies about time-travel had plot holes. BLEEP WARNING: The majority of this episode is light and whimsical, but there are a couple of passing mentions of racist language. Sadly, the version of Berkeley Square that was viewable on YouTube has apparently vanished. But there is still a version with no sound at all, and a clip or two with sound. Our thanks to listener David Kellogg, who writes to solve the mysterious reference to the "Ah Wilderness year" that left us stumped by saying "...while Ah, Wilderness was produced in 1933, it is *set* on July 4, 1906."
Paul and Erika close out their first year with a holiday classic...1988’s Die Hard! Is it a Christmas movie? Does that really matter? Listen and find out!
We're back for real this time! Welcome to Season 2, where everything you thought you knew about Hannibal gets turned on its head. Y'all best buckle up because this is a long one. Episode 1: Kaiseki Written by: Bryan Fuller & Steve Lightfoot Directed by: Tim Hunter Aired: February 28, 2014 Viewed by: 3.27 million in the US Episode 2: Sakizuke Written by: Jeff Vlaming and Bryan Fuller Directed by:Tim Hunter Aired: March 7, 2014 Viewed by: 2.50 million in the US Talking points include: TWELVE WEEKS EARLIER????? BRIAN FULLER HOW DARE U?????, Chilton's Meatless Mondays, "How do I even begin to describe Will Graham," "What can't you repress, Hannibal?", “You are not my design,” and Bedelia's perfume. Music credits: Theme song: Red Hills Solstice Artist: Lobo Loco Source: Free Music Archive License: Creative Commons BY 4.0
Where's our cake, Bedelia?! You can help us find our cake, dear listeners, by checking out this episode of George A. Romero and Stephen King's horror anthology classic, Creepshow! Listen as we break down each segment of this 80's staple into digestible slices made just for your palate and pleasure. Let us know what YOU think of Creepshow and we'll add your comments to our next Shooting the Flames episode! Out this Month: Week 1: Shooting the Flames: October 2019 Week 2: Top Ten Stephen King Movies Week 3: Hot Take: It: Chapter 2 Week 4: Creepshow (1982) Coming in November: Interview With The Vampire (1994): https://amzn.to/2njgXep Get in Touch: Support us on Patreon: https://www.patreon.com/TheFilmFlamers Visit our Store: https://teespring.com/stores/thefilmflamers Facebook: https://www.facebook.com/TheFilmFlamers/ Twitter: https://twitter.com/TheFilmFlamers Our Website: https://www.filmflamers.com New! Call our hotline and leave us a message: 972-666-7733 Sweet dreams... Intro/Outro Music Credits: "Welcome to Horrorland" and "Master Disorder" by Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/
I had a lot of fun watching Creepshow (1982). It’s presented in an entertaining way, has a ton of big names, and if you aren’t into the story, you can wait 20 minutes and see a new one because it’s a compilation of five horror stories. This was the only George A. Romero film to open at number one in the weekend box-office. It was a sleeper hit in theaters, and its charm is mostly to blame. Skip to Intro - 0:17Skip to Trailer - 5:39Skip to Synopsis/Review - 7:07Skip to Score - 9:52Skip to Spoilers/Discussion - 12:20Skip to Final Recommendations - 48:38Skip to Lifetime Movie Or Horror Movie - 50:08Skip to Killcount - 57:26Skip to Outro - 1:05:55 Creepshow Trailer https://youtu.be/owdnnaNs2RI Creepshow is a cult classic that has remained low on horror fan’s collective radar since it was released. It was directed by the great and powerful George Romero and written by Stephen King, so it already has a huge amount going for it. Add to it a cast that includes Leslie Nielsen, Ted Danson, Ed Harris, Adrienne Barbeau, and Stephen King himself, and you have a horror gem. Creepshow is comprised of five short horror stories that are each compelling and envelope-pushing and memorable. The acting is hammy, the actors are having fun, the stories are spooky but not hard to handle for the easily spooked horror fan. This movie is like a trip down to nostalgia town. Creepshow is a fun, funny, and scary movie that I had not seen before this, and will now revisit year after year. Want To Watch It Now?Click the button below to watch it on AmazonCreepshow My Rating 8/10 While Creepshow is an excellent example of a cult classic, it’s too light and breezy to be much higher than an 8/10. Spoilers Creepshow is presented in a comic book format. They do some interesting paneling shots where the video is shown in the same way that a comic book panel would be presented. The motif is made to look eerily similar to the classic comic titles, Eerie and Creepy did, almost down to the T. It’s clear that these comics made a big difference in Stephen King’s childhood, and probably Romero’s as well. This was Stephen King’s screenwriting debut, and it’s pulled off without all the confusing bullshit that is known to accompany much of his writing. Father’s Day The first of the stories that Creepshow has to offer is titled, “Father’s Day” and is the story of a well-to-do family who is reprehensible human beings whom each get their comeuppance. The dead father was killed by his daughter, Bedelia, on Father’s day while being a real jerk to her. The rest of the family is rich and living off of daddy’s fortune. On this Father’s day, dad comes back from the grave to exact revenge on his ungrateful and equally terrible kids. Father’s Day presents a bit of a lesson to the audience, which I took to be, you get what you give. Alternatively, don’t be a dick, especially when family is involved. Check Out Our Review of Gremlins! https://www.horrormovietalk.com/2018/12/26/gremlins-review/ The Lonesome Death of Jordy Verrill The second story is titled, “The Lonesome Death of Jordy Verrill”, which is based on the short story “Weeds.” This is a one-man-play starring the King himself as a goofy hillbilly who finds a meteorite that crashes to earth on his property. He touches it, which is enough to spell his doom. King, bumbles and stumbles around as his luck grows worse and worse until he finally is overcome by the plants that the meteorite brought to earth. The Lonesome Death of Jordy Verrill was reminiscent of pulp mags and stories from the ’50s and ’60s. I enjoyed the special effects on this story quite a bit - tons of plants! Something to Tide You Over “Something to Tide You Over” is the third story in Creepshow, and it’s one of my favorites. This one stars Ted Danson as Harry, who is the victim to Leslie Nielsen’s wealthy psychopathic killer. Leslie's wife has been cheating on him with Ted,
Holly Gennaro McClane: portrayed in Die Hard by Bonnie Bedelia, John McClane's estranged wife reflects the conflicts and contradictions facing women at the time the film was made – and even still today. She's a working woman, a mother, and a wife. But there’s no consensus on whether she’s also a damsel in distress, or if she – like so many other conventions that Die Hard challenges – goes beyond your typical 80s action movie female lead. Let us know what you think! Drop us a line at diehardwithapodcast@gmail.com, or visit our site at www.diehardwithapodcast.com Links How Did This Get Made? mini-sode 199.5 (Paul's recommendation is at 33:29) The Q&A Podcast with Jeb Stuart and Stephen E. de Souza, hosted by Jeff Goldsmith Die Hard: The Ultimate Visual History, by James Mottram and David S Cohen John McTiernan: The Rise and Fall of an Action Movie Icon, by Larry Taylor Source Links Another Angry Woman, Making fists with your toes: Towards a feminist analysis of Die Hard Deep Focus Review, The Definitives: Die Hard Empire Magazine, October 2018 issue, Tower of Terror (p. 98) Mental Floss, 19 Things to Look for the Next Time You Watch Die Hard MovieTime Guru, Die Hard: First Impressions Last Script Secrets, Die Hard analysis The Guardian, Die Hard at 30: how it remains the quintessential American action movie Guests Reed Fish Ed Grabionowski Sasha Perl-Raver Adam Sternbergh Katie Walsh Scott Wampler Get In Touch Email Website Twitter Facebook Instagram Patreon Full Episode Transcript Welcome to the podcast, pal. My name is Simone Chavoor, and thank you for joining me for Die Hard With a Podcast! The show that examines the best American action movie of all time: Die Hard. Welcome to the fourth episode! A lot has happened Die Hard-wise since the last show. I want to get to everything, so I’m just going to jump in with a big thanks to Paul Scheer and the How Did This Get Made podcast. He recommended the show on one of his mini-sodes, and I’m stoked he likes the show, and took the time to give it a shout out. I’m still not sure how he heard about this show in the first place, but however he came across it, I’m glad he did! Also, a couple of weeks ago I went on a spur-of-the-moment road trip to Los Angeles to see the Los Angeles Historic Theatre Foundation’s screening of Die Hard, which was followed by a Q&A with both screenwriters, Jeb Stuart and Stephen E de Souza, hosted by Jeff Goldsmith of Backstory Magazine. Now, the entire conversation is available to listen to and there’s a link in the show notes. Aaaand you can hear me at about one hour, twenty five minutes in, because you know I just had to ask a question. Although it was really hard just picking one. Anyway, go listen to the whole thing because it’s absolutely fascinating. I learned so much. I literally sat in the audience with a notebook and pen and took notes like it was for school. One of the funniest things was, this was Jeb and Stephen’s first time being interviewed together, which I could not believe. They talked about the process of writing Die Hard, but also talked about their writing habits in general. I’ll bring up just one tidbit I learned that they shared in the Q&A. So, when you go through Hans’s gang, only two of them survive: Theo, and the pretty French dude who’s trying to run away with an armful of bearer bonds before McClane knocks him out. I’d just never kept track of all the gang members like that before. So, I think, if they’re gonna do a sequel anyway, they should bring Theo back. Just sayin’. Finally, I got two books in the mail the other day that I’m excited to dig into. The first is Die Hard: The Ultimate Visual History by James Mottram and David S. Cohen. I had that book on pre-order the moment I found out about it, and it’s a huge tome that covers all of the Die Hard movies in detail, with these pieces put in between the pages – kind of like a pop-up book, but nothing… pops – it has storyboards, sketches, script pages, and my favorite, an envelope of photos taken to use as props in the film. The second is the book John McTiernan: The Rise and Fall of an Action Movie Icon by Larry Taylor. Larry contacted me on Twitter and kindly offered me a copy of the book, and I can’t wait to read it for deeper insight on Die Hard’s director. Okay, a few more pieces of business. You can always contact me and share your thoughts on Die Hard and this podcast by... Email Website Twitter Facebook Instagram There’s also a Patreon for the show – it takes an incredible amount of time to put this together, so any contribution helps me to offset the cost of creating it, and is a real vote of encouragement. Patreon Shout out to our new contributors, Heather and David. Thank you so much! You can also support Die Hard With a Podcast by leaving a review on iTunes. With more starred ratings and written reviews, the show becomes more visible to other potential listeners, so please share the love and let me know what you think! All right. On to our main topic. When we first see Holly Gennaro – or Holly McClane – she’s walking through the Nakatomi Corporation’s Christmas party, which is already in full swing. But she’s completely focused on a stack of papers in her hand as she brushes past her partying coworkers. She has shit to get done. And that’s mostly how I think of Holly. She’s a woman with shit to do. And not Ellis, not Hans, and not even her husband John can distract her from doing what needs to get done. Holly Gennaro, as portrayed in the movie by Bonnie Bedelia, turns out to be the character who most split people’s opinions. There’s no consensus on whether she’s a damsel in distress, or if she – like so many other conventions that Die Hard challenges – goes beyond your typical 80s action movie female lead. She’s characterized as cold… and warm. Strong… but not having an agency. A good wife and mother just doing her best… or a woman trying and failing to have it all. Even I go back and forth on these. As one of the very few women in Die Hard, Holly Gennaro McClane comes to represent changing societal roles that had mostly been left to romantic comedies. Holly’s portrayal as a working woman, a mother, and a wife reveals the conflicts facing women at that time – and the conflicting viewpoints of the culture around her. Let’s start as we did with our examination of John, and go into her character as written in Roderick Thorp’s 1979 novel, Nothing Lasts Forever. She’s a totally different person, I think even more than how John was changed from the page to the screen. Retired former detective Joe Leland – who would later become John McClane – goes out to Los Angeles for Christmas to visit his daughter, not his estranged wife. Stephanie Gennaro – Steffie – is a divorced mother of two and an executive at Klaxon Oil. We see her through her father’s eyes, and it’s not a pretty picture. She’s sleeping with Ellis, and she’s been doing coke. Which I guess you would expect from someone sleeping with Ellis. It’s also reeeally awkward that her dad is putting thought into who his daughter is sleeping with. Also, there’s this: “Leland thought she looked tired. For years she had been five pounds too heavy, and now it looked like ten. With cocaine in her life, he had to be glad to see that she was still eating.” Yikes. The events of the book transpire pretty much as they do in the movie. The employees are held hostage by terrorists – real terrorists in the book, not thieves – and Joe / John gets away and begins taking them down one by one. But when we get to the final showdown with Joe and the terrorist leader Anton Gruber, there’s a big, big difference. Spoiler alert for the book: Steffie goes out the window with Anton. So yeah, the book is kind of a downer. Movie Holly, thankfully, is a much less tragic character. In Jeb Stuart’s draft of the Die Hard script, this is how Holly is introduced. She turns into: That’s the Holly we know. And the Ellis we know, unfortunately. There’s a movie goof I’d like to point out. For all the drama over which last name Holly uses, if you look at the name on her office door, you can see that it’s misspelled. On her door it says “H. M. Gennero” with a second E instead of an A. I just thought that was amusing. Maybe McClane would have been easier to spell… According to Die Hard: The Ultimate Visual History, casting for Holly’s role was part of a larger strategy of casting warm actors with a lot of depth to balance out Willis’s tough cop. Casting director Jackie Burch chose Bedelia, a New York stage actor who had won a Golden Globe for playing Shirley Muldowney, the first female hot rod racer in the 1983 movie Heart Like a Wheel. Bruce Willis liked Bedelia being brought on board. “Bruce thought that Bonnie would be wonderful; he had enormous respect for her as an actor, and he was so right!” said director John McTiernan. “She was again completely a working-class lady, but solid and honest as the day is long – and that is who he [McClane] would have as a wife.” We actually don’t know all that much about Holly. Like with John, we meet her without a lot of exposition of her background; we have to pick up the context clues. We don’t know anything about how she met John, how she got her job. It leaves a lot of room for us to speculate – speculate about her history, and therefore what her motivations are in the film. Holly’s roles as a working woman, a mother, and a wife allow us to project our own feelings and beliefs onto her, so I’m actually not surprised that the people I talked to ended up with very different assessments of her. It’s also worth noting that there’s a cultural gap between how she was viewed in 1988 versus today, so we need to constantly ask ourselves, is this what the film is trying to say, or is that what I’m taking away from it? The thing we’re most sure of when it comes to Holly is that she is a powerful, high-ranking working woman inside this large corporation. She works hard, and has been rewarded for her efforts. She’s got a corner office, a secretary of her own, and... [CLIP - DIE HARD - ELLIS - SHOW HIM THE WATCH] Holly tries to downplay her success to John, since it’s already a sore spot in their marriage. But she’s still wearing that watch, and she doesn’t mask the fact that she has even higher ambitions. [CLIP - DIE HARD - HOLLY - I HAVE AN EYE ON HIS PRIVATE BATHROOM] Katie Walsh, film critic for the Tribune News Service and LA Times. KATIE WALSH I think that it’s nice to see Holly in a executive role. I think a lot of times, you have like films like 9 to 5 where the working women are more secretaries, or they start as secretaries and they move up to something better. I think it’s nice to see the way that, she says, “I had an opportunity and and I took it.” And we don’t have to really explain how Holly got there, we just understand that, you know, she’s obviously a valued member of the team, Takagi really likes her, she’s doing a great job. And so I think that it’s kind of nice to see that there’s an effortlessness to her success . And I think that’s a bit of an anomaly, otherwise I think 80s movies were constantly showing how women had to like, struggle and get to that role. In the films of the 80s, we can see the intersection of corporate culture and second-wave feminism play out on screen. Unsurprisingly, it’s a mixed message. We applaud the ambition of women escaping the “pink collar ghetto,” as they call it in Nine to Five. In that 1980 film, Dolly Parton, Lily Tomlin, and Jane Fonda are secretaries who are held down, underestimated, and harassed at the office – until they kind of by accident take out their boss. After holding him hostage at his home for weeks, he escapes and returns to the office, only to see that while he was gone, the three women made changes that drastically improved the morale and performance of his workers. In 1988’s Working Girl, Melanie Griffith plays Tess McGill, a woman driven to improve herself and grow her career as she works for a coldly calculating executive played by Sigourney Weaver. When her boss is laid up with an injury, Tess takes over her office, her home, her wardrobe, even her boyfriend, and uses them to execute her own business plan. Which is actually pretty creepy if you think about it. But she’s the hero of the story, so her chutzpah gets rewarded when she’s given a job by the executive she had been pitching. In these films, we see likeable women with low-ranking office roles climb the corporate ladder to success, and we applaud them for their determination. But there’s also the reverse. Women who are already high-powered businesspeople are forced to reckon with their desire for a family, and end up taking a step back from the workplace. In 1987’s Baby Boom, Diane Keaton is made the guardian of a baby girl when a distant relative dies. She’s a busy executive – with the biggest shoulder pads there could possibly be, they’re more like helipads instead of shoulder pads – and at first she refuses to take responsibility for this child. But of course, something inside her melts and she bonds with the child and quits her job – something unthinkable at the beginning of the movie – to devote herself to raising this girl… and to creating a nice little business of baby foods, too. Now, the 1983 film Mr Mom focuses more on Michael Keaton’s character learning to deal with being a stay-at-home dad after losing his job, but we also see his wife, played by Teri Garr, return to the workforce. She’s met with immediate success – but in the end, her lecherous boss and her desire to be with her family pushes her to scale back her time at work. In these films, we can’t say that these women are punished for their ambition, but we do get the message that these women are wrong. They’re wrong to focus on their careers, and once they realize what’s really important – raising a family – that’s how they can get their happy ending. Adam Sternbergh, novelist, contributing editor to New York Magazine, and pop culture journalist. ADAM STERNBERGH I think it’s also not a mistake that the movie uses this kind of marital discord around the idea of a husband and wife dealing with the fact that the wife has a powerful career, or a more important career than the husband. That was also very much of that moment in history and it was, you know, around the same time that movies like Mr Mom were coming out. And you know, America, to some extent was at the cineplex was grappling with this idea that women are successful, and they’re in the workforce and traditional roles are changing. And you know there was this idea in the movies that this was this incredibly new and novel thing, this sort of ascendant woman in the workplace, and the men around her are all trying to deal with the fact that, whoa, she’s got responsibility and she’s got a real job. Bonnie Bedelia is a great actor and was sort of perfectly cast in Die Hard, so I think that she has a sort of gravity that I think some of the other sort of similar characters in the other movies don’t have. And I think they handled it well in the movie. You know her relationship with Mr. Takagi is sort of established early on, that she’s this trusted lieutenant of his. So I think even in her smaller role you take her seriously in a way that you never quite manage to take Melanie Griffith seriously in Working Girl. Women in these executive roles are judged for “trying to be a man;” some do try to take on characteristics coded as masculine in order to sort of disguise the fact that they’re a woman. You know, if women are perceived as weak, then she must not display emotion, she must be even tougher than the men around her. Unfortunately this can backfire, as a woman controlling her emotions is often seen not as stoic, but as cold. KATIE WALSH You know, I think it’s interesting, the way they portray the essential conflict of their relationship, which is that she wants a high powered career, and he clearly has an idea about more traditional values in their gender roles and their marriage, taking his name, that sort of thing. But I think Holly has kind of toughened herself to exist in that world. And so she has kind of like, I mean as we see her at the party and stuff, it’s like she has to put on this front a little bit of, I’m tough, I can hang with the boys, nothing bothers me. So she’s a little bit colder and more brittle in a way. And I hate to describe a woman that way, but she does have like a hard shell a little bit throughout the movie. And John is more like nakedly emotional, or at least we see him being more nakedly emotional about the situation. Sasha Perl-Raver, writer, correspondent, and the host of FX’s Movie Download. SASHA PERL-RAVER I have in my head Joan Cusack wearing a power suit with giant shoulder pads and a huge Aquanet bang wave, and Reeboks on top of nude tights. But the working woman of the 80s was somebody who had to have it all, she has a great career, she had a great sex life, she wasn’t afraid to let you know about it. She’s Sigourney Weaver. But not Ripley Sigourney Weaver, she’s Working Girl Sigourney Weaver. She’s a working woman in the 80s. Was a little brash, a little bit ball-busting, and usually had to be taken down a peg. Like it tended to be more of like the villain character than the hero. Like I’m thinking of Julia Louis-Dreyfus in Mannequin. In Mannequin she’s trying to do the corporate takeover and she’s overpowering and she really needs to be one of the people that falls in like a vat of tar at the end. All of those women sort of in the end, it was their drive that ended up being the hubris. SIMONE: Does Die Hard do that with Holly? SASHA: Of course they do that with Holly. She had to come all the way across the country and drag her children and leave her husband? You deserve to be held hostage in Nakatomi Plaza. When we talk about working women of the 1980s, the first thing to come to mind, even before the sexual politics, is the fashion. Maybe the fact we think of the fashion is already gendered because we’re talking about women here, but it’s a powerful image. As we’ve heard, there are iconic pieces that come up over and over again: shoulder pads. Big hair. Bright eyeshadow. Power suits. White sneakers over nude hose. Holly’s look is very much in this vein, but also more sophisticated – just as her character is, compared to those who came before her. According to Die Hard: The Ultimate Visual History, costume designer Marilyn Vance conceived Holly’s look to convey professionalism and power, using browns and pinks that complemented Bonnie Bedelia’s hair color and skin tone. A business suit was never an option. “She was a softer character,” says Vance. “But at the same time, she had a very important position, so her clothing, to me, had to be suede and leather and something more sumptuous. And it was the right time of year for that because it was Christmastime.” Vance shopped for Holly’s clothes at Saks Fifth Avenue, then had the studio’s costume department use them for inspiration when creating the character’s wardrobe. “The whole idea was for her to be strong but not tailored,” says Vance. “She’s soft as a person but she still means business.” And let’s not forget the importance of Holly’s Rolex. Given to her as a reward for her hard work, it’s symbolically sacrificed at the end of the film, as John unclasps the band so that Hans loses his grip on her and falls from Nakatomi Tower. The symbolism is pretty heavy-handed. The thing that represents her corporate life must be released so that she can keep her family life. And, you know, her life-life. But at least there’s ambiguity about whether or not she’ll give up her job at the end of the film. Concessions are made: losing the watch, Holly using the last name McClane – and we’ll talk about that more in a minute – but she doesn’t also declare that she’s quitting her job and moving the family back to New York. One more thing about the watch. Jeb Stuart, Die Hard screenwriter, has a nitpick. He says: “Anyone who’s ever owned a Rolex knows that watch isn’t gonna just open. It’s a sealed clasp! I brought that up at a production meeting and everybody looked at me like I was insane.” Now, I’ve never owned a Rolex, but if someone wants to send me one so that I can test this out myself, you are more than welcome to. But more than just looking the part, Holly is a natural in the workplace. She’s a good boss, making sure the work gets done, but also looking out for her employees, whether it’s sending her secretary Ginny off to enjoy the party, or negotiating better treatment for her fellow hostages. Even Hans has to acknowledge that. [CLIP - DIE HARD - HANS - MR TAKAGI CHOSE HIS PEOPLE WELL] Reed Fish, director and screenwriter. REED FISH Yeah, I think Holly was portrayed pretty sympathetically. I mean, maybe not in the context of the late 80s where it’s like some affront that she’s going to use her maiden name. But you know, she was a good boss, right? She had a pregnant assistant she was always looking out for her. And she was someone who seemed to put her team members above herself, you know she was in a situation, a hostage situation, and she seemed to be looking out for everyone else before her. So it’s pretty sympathetic. Holly’s office is decorated with the trappings of one of her other roles: mother. Images of her children play a pivotal role in the plot of the film, even if they barely appear in the movie themselves. Pictures of her and her kids fill the shelf behind her desk. In frustration, Holly slams one family portrait facedown on the shelf, hiding the only evidence of her marriage to John from Hans. And Hans finds that portrait when reporter Richard Thornberg interviews little Lucy McClane on TV – Holly’s horrified face at seeing the McClane children on camera gives her connection away. For his part, John spends a moment looking at pictures of his kids in his wallet, a reminder of the way things used to be, and how he’d like them to be again. We never actually see Holly with her children. This makes sense narratively, as pretty much the entire movie takes place at her office just as the Christmas party starts. It’s hard to say how Holly is as a mother, but we do get a short scene with her on the phone with her daughter Lucy. [CLIP - DIE HARD - HOLLY - ON THE PHONE WITH LUCY] Holly’s tone becomes warm, and she smiles to herself as she talks to her daughter. She’s comforting and reassuring without promising too much – after all, Holly doesn’t even know if John will make it home for Christmas. The ability for Holly to work a demanding job while still having children is a dilemma faced by working women in a way that working fathers never seem to worry about. It also speaks to class and racial divisions, where we must acknowledge that Holly is extremely privileged to even attempt to have it all. Holly relies on her housekeeper Paulina to watch her children while she’s at work. It makes me think about that scene in the awful, awful Sex and the City 2 movie where Charlotte and Miranda complain about how hard motherhood is when they both have full-time help, and they cheers their Cosmo cocktails in honor of the “women without help.” Yeah, thanks Sex in the City 2, thanks for that shoutout from two women having cocktails at a resort in Abu Dhabi. Die Hard of course doesn’t go in depth on this issue, but we get a glimpse of it. [CLIP - DIE HARD - HOLLY - ON THE PHONE WITH NANNY] KATIE WALSH I also think it’s interesting to think about her relationship with her nanny. And how upper class working women often rely on women of color and that type of domestic labor in order to both have kids and be in the working world. So there are multiple industries and levels of classes that are going on in the sense of, how do I be a working woman and be a mother and be a wife, and it’s sort of like, one’s gotta go for Holly, and she’s gonna be a mom and she’s gonna be a working woman but she can’t really be a wife. So you see that struggle, and I think at one point she says to the nanny, “What would I do without you?” and it’s such a small moment but it really illustrates that you really can’t be everything to all people at all times in those roles. Die Hard’s emotional arc for its lead character, John, hinges on his relationship with his wife. Now, we know Holly is a good employee and boss. We think she’s probably a pretty good mom; it’s hard to tell but we don’t have anything totally contradicting that. But Holly as a wife – this is where she most obviously can’t have it all. By prioritizing her other two roles, Holly shirks her role as a wife. She leaves John behind, even leaves his name behind. Holly’s use of her maiden name becomes a particular sticking point in the film. [CLIP - DIE HARD - JOHN - YOU DIDN’T MISS MY LAST NAME] Then again, John doesn’t sound like he was a supportive husband. [CLIP - DIE HARD - JOHN AND ARGYLE - GREAT JOB TURNED INTO A GREAT CAREER] So, should we be blaming Holly? Is she putting herself and her career first, and dragging the kids along with her? Or is she doing what’s best for her family, and leaving John behind because he’s not going to support her in the way that she needs? ADAM STERNBERGH If you think too much about their marriage, though, it seems quite problematic. Like, she’s moved with the kids across the country and he stayed in New York. The movie doesn’t really explain why he would do that; it quite seems – at least to a modern perspective, it seems quite a dramatic choice for him to just refuse to move with his kids, and be separated from his kids. But again this is the sort of time period between like, on one end, Kramer Versus Kramer, and on the other end Mr. Mom and movies like that, so obviously there was a lot of issues that were being worked out in the movie theaters about men and women and families and who was the head of the house, and how we were going to like work that all out together. One way to get a read on what the movie is trying to say about Holly is to see how she compares to her husband. As the couple fights, whose side do you take? Is she treated more sympathetically, or is he? Opinions are split. Ed Grabianowski, pop culture writer and horror and fantasy author. ED GRABIANOWSKI I think the intent was to make Holly a little less sympathetic because I think in that era, the whole working woman image and the idea of it, a woman who puts her career before family is somehow neglecting her responsibilities or something like that. I guess it depends on how tied you are to the idea of a traditional family. So I think anyone who is is going to find Holly very unsympathetic, and anybody who’s more interested in feminism and equality among men and women is going to find Holly more sympathetic. So overall I find Holly sympathetic, but I definitely understand where John McClane is coming from. And I don’t feel unsympathetic towards him, because I don’t think like, he didn’t set out to do anything bad. He just reacted shittily to a situation that happened to his family, that wasn’t necessarily what he wanted. And that happens to people, you know, like regardless how you feel about family structure in general, like just stuff happens to your family and you’re like, I don’t know how to deal with this and sometimes you fuck it up and you have to go back and fix it. And that’s what John is doing. I guess in that way, it sort of comes out a tie. [CLIP - DIE HARD - HOLLY - I KNOW WHAT YOUR IDEA OF OUR MARRIAGE IS LIKE] The fact that we don’t know what John and Holly were like at the beginning of their relationship can leave you wondering how they were even together in the first place. SASHA PERL-RAVER If you say that opposites attract, I get that, but I don’t think that opposites marry and have children and are then suddenly torn asunder by a move across the country, or whatever other things are the reasons that they actually broke up. I think that they – she is too no-nonsense to have been with him for as long as she was. She seems to me a very pragmatic woman who would not have taken his stuff, and they would not have gone to the altar. Unless it was like, a Las Vegas 36-hour situation. They make no sense to me. What do you think? SIMONE: I think they probably got together, they were younger; there was probably some hot chemistry. You know, they’re both attractive and there’s passion; they seem like passionate people. And then they actually get married and have kids and she shifts that passion to the career. And they don’t talk about the reasons for taking this job but I would have to assume, at least she’s telling herself she’s doing it for the sake of her family, that this will help take care of them or something. And just drifts apart from John and they sort of evolve as people on their own. And so when you see them later, they’ve already moved far apart. SASHA: And I always assumed she took the part because she was sick of dealing with this workaholic, New York City police guy who was always off with his trigger finger like at the ready, and she just wanted to have a nice, stable life so she got the job working for the Nakatomi Corporation so she could provide for her family and not have to worry about him. Or maybe! She was always afraid he was going to get himself killed on the job, so she pulled away to protect her heart and had to make sure she didn’t have to live on like a widow’s severance or whatever. What’s that called? SIMONE: It’s not like a pension. Like a benefit? SASHA: Whatever the death benefit would be. Maybe that’s what it is. Maybe she always knew that he was too wild. And she just wanted to make sure – she, she seems very stable. Very stable. It’s true that at first glance, John and Holly seem like opposites. But at their cores, they’re both very determined – and stubborn – people. Scott Wampler, news editor at Birth. Movies. Death., and host of the Trying Times podcast. SCOTT WAMPLER I think it’s complicated, to borrow some terminology from social media. I think that Holly is – I think that they’re both career people, and when you have two people that are that invested in their careers and then they have kids, shit gets complicated. Holly’s thing is that, you know, she got moved out to LA for a job, or she chose to move out to LA for this job. I can’t fault her for that. I also can’t fault John McClane for being mad that she pulled up roots and took the kids out there. I can imagine not being thrilled with that either. So I think it’s sort of a draw in terms of who my sympathies would lie with more. And I also think they’re both a little dickish in their own ways. In this sense, I do believe them as a couple. And I can see what attracted them to one another. You know, on a physical level, and just on a worldview level. You know? REED FISH I think that that whole Holly-John dynamic, but for me it felt like very just unreal? Because it didn’t seem like someone in her position would be with someone like him. And maybe it’s one of those things where their lives were, you know, when they first got together ten years ago their lives were much different, and then her career took off. But like I never really saw what the deal was, why they would ever be together, and why, say, anyone would ever want to be with John McClane romantically whatsoever, at all. ‘Cause clearly he is not someone you’d want to be married to, in my opinion. I feel like the dynamic between Holly and John – there’s good tension there, but I just didn’t find the relationship all that believable. It didn’t seem to me that she would be with him. I really have to do some mental gymnastics to figure out the scenario where those two characters would have gotten together and gotten married and had kids. These unanswered questions about the couple’s past leaves us unsure about their marriage’s future. But there are clear signs that both hope for a reconciliation – they just need to get out of their own ways first. When Holly calls her housekeeper Paulina, she tries to play it cool, but you know she wasn’t intending on using that spare bedroom if John came home. She likewise tries to act disinterested with John himself, not let on how bad she wants him... [CLIP - DIE HARD - HOLLY - I HAVE THE SPARE BEDROOM] … Until, of course, she finally opens up. [CLIP - DIE HARD - HOLLY - I MISSED YOU] And John has to blow it by picking a fight with her, right at that moment. But we know that John loves Holly. He spends the entire movie putting his life on the line for her. At the end of the film, we don’t know how their marriage will fare once they get home. But at least for a moment, we get a happy ending. [CLIP - DIE HARD - ARGYLE - RUN INTO EACH OTHER’S ARMS] John and Holly exit Nakatomi Tower together, holding each other, happy to be safely reunited. When John introduces her to Al Powell, Holly takes a turn. [CLIP - DIE HARD - HOLLY - HOLLY McCLANE] This one line always ends up at the center of analyses of Holly’s character. What does it mean? Is Holly going to give up her career and go back to being primarily a wife and mother? Is she just in a particularly generous mood because she just escaped with her life? In my personal opinion, I believe that because John introduced her to Al as Holly Gennaro, using her own preferred name, with no hesitation, that she felt it was time to make a concession. And if both John and Holly are willing at long last to make concessions, they have a future together. Well, if we ignore the sequel films, anyway. Another way to try and analyze how Die Hard treats its female lead is to compare it to other action films. So: Is Holly considered a damsel in distress? After our analysis of her character, we can tick off some pros and cons. Let’s say Holly is a damsel in distress. Well, she… Is literally being held hostage. And when the villain finds out her connection to the hero, the villain targets her specifically to cause the hero emotional pain. It can be argued that she has no agency, no ability to make decisions or act pro-actively to save herself: she just sits with the other hostages and waits. Her emotions betray her when she sees her kids on TV. And finally, we do get a peek at her bra by the end of the film. But what does Die Hard do differently? Holly’s not the only hostage, of course. She’s being held with men and other women. The villain first uses another man – Ellis – to try to manipulate our hero; Hans is using whoever he thinks might have a connection to John, regardless of gender. Holly doesn’t act fearful throughout the film – except for the very last bit where’s she’s hanging out of a 40th floor window, which, who could blame her? And finally, maybe she does have agency. Maybe she thought about trying to escape or sabotage the villain’s plan. But it could be that she assessed her options and decided that trying to go along with the villains’ plan would give her the best outcome. We know she’s an incredibly level-headed and pragmatic person. ADAM STERNBERGH And she gets a lot of great moments in the film. The film totally does not discard her or disregard her. She is very strong in her own right and gets to – and is quite instrumental as to how the whole thing plays out too. Which in hindsight might not seem like a big deal, but at the time it also felt like a break from the sort of standard action movie foil, heroine, damsel, exactly. Whether or not Holly is a damsel in distress leads us to our final question of this episode. Is Die Hard a feminist film? Yeah, okay, that even sounded funny to me. I’m gonna go ahead and say “No” here. I think that a film has to be doing more to actively challenge the patriarchy and promote women’s rights and explain women’s issues to be called feminist. But I do think that Die Hard was working a little harder than other films at the time. Die Hard is elevated above all other action films of its time in nearly every aspect: story, acting, the craft of the film. And I think in so doing, it put a little more thought into Holly too. Her character, with all her positive attributes and flaws, achieves a level of humanity that many other films deny their female leads. As we discussed in the last episode, what makes the character of John McClane such a beloved hero is his humanity. It makes sense that his wife would have her own humanity shine through, too. In our next episode, we’re going back to the beginning. We’re going to take an in-depth look at Roderick Thorp’s novel Nothing Lasts Forever to see where the seeds of Die Hard were sown. Thank you to our guests Ed Grabionowski, Sasha Perl-Raver, Scott Wampler, Reed Fish, Adam Sternbergh, and Katie Walsh. Be sure to check the show notes on the website to learn more about them. Thanks again for joining me, and yippee-kai-yay, motherfuckers!
Folks, we tackle a lot of stories this week, including what giant animal once snatched a Neanderthal child, what old west tool the cops have turned into a future weapon, what dumb ass shit Elon Musk is doing this week, a serial gnome thief, and how some confederate statues were hilariously vandalized Our second FREE What A Time To Be Alive stand up show is TUESDAY, OCTOBER 23rd at Stand Up NY with all three of us and hilarious comics like Josh Gondelman, Alison Leiby, Joyelle Johnson, and Luke Mones! Reserve tickets at the link below! http://standupny.laughstub.com/event.cfm?id=517584 Grab shirts and other merch at our TeePublic: https://www.teepublic.com/user/whatatimetobealive We are on Patreon! Become a patron for weekly bonus eps and more stuff! www.patreon.com/whatatimepod Join our Discord chat here: discord.gg/sSRGUKQ @pattymo // @kathbarbadoro // @eliyudin // @whatatimepod Send comments or questions to whatatimepodcast@gmail.com
Christmas means many things to many people. But we can all agree on one thing this season: Die Hard is the ultimate Christmas movie. So it seemed only right to invite ourselves into your home and talk over it! Along the way we get very into Bruce Willis's body, point out several continuity errors, root for the true hero of the movie: Reginald VelJohnson, extol the virtues of Hans Gruber (and Alan Rickman's American accent!), marvel at the over-engineered nature of Nakatomi Plaza, give the production designer a lot of credit, and give our first perfect score to a movie! If there's a movie you would like us to ruin commentate, hit us up! As always, we'd like to thank Laura Hammond for the art, Bensound.com for the outro music, and you the listener for sticking with us! Please tell your friends about this show. Merry Christmas, everybody!
This week Roger, Gene, and Dick cook up the perfect receipt for a delicious 1980’s cinematic treat. With all the key ingredients on hand: a cop trapped inside a high-rise, a team of desperate terrorists, an iconic villain with brains and panache, and a group of hostages including the cop's estranged wife and you've got yourself the classic 1998 Die Hard. Subscribe & Follow Android: http://shatthemovies.com/android Apple/iTunes: http://shatthemovies.com/itunes Social Media: Twitter, Facebook, Instagram, YouTube, Snapchat Website: http://shatthemovies.com/ Help Support the Podcast Donate with Paypal: http://shatthemovies.com/paypal Donate With Venmo: https://venmo.com/shatpodcasts Shop Amazon With Our Affiliate Link: https://www.amazon.com/?tag=shatmovies-20 Sponsor's Listener Survey: http://shatthemovies.com/survey Leave an iTunes Review: http://shatthemovies.com/review Vote for our Next Movies: http://shatthemovies.com/vote Feeds & Social Media: http://shatthemovies.com/subscribe-and-follow Leave a Voicemail: (914) 719-SHAT - (914) 719-7428 Email: hosts@shatthemovies.com Listen to our TV Podcasts: https://shatontv.com/shat-on-podcasts Theme Song - Die Hard by Guyz Nite: https://www.facebook.com/guyznite
The penultimate episode of Season 2, “Tome-wan,” welcomes Bedelia back while saying buh bye to the Vergers. Rachael gives Bedelia side-eye but loves her anyway. Amberlee is perplexed by the various Wills, and Rachael is utterly baffled by her vague note, “Hannibal is an ass,” but we both agree that it probably applies to […]
Season 1 episode 7 of Hannibal, the absurdly hilarious “Sorbet,” is all about loneliness and the accompanying dull ache. We discuss the mirrored therapy sessions and the connections they draw between Franklyn and Hannibal, the poignancy of Franklyn’s situation, and what role Bedelia really plays in all of this. Rachael suggests that Hannibal’s dishonesty […]
SPOILERS FOR ALL THREE SEASONS OF HANNIBAL, and potential spoilers for where they plan(ned) to take the series next. In this episode: Cleolinda Jones joins us once again! We discuss the Hannibal panels at Dragon Con 2015 and the way the Hannibal TV series wrapped up. Cleo's Dragon Con experience was pretty awesome. Our discussion of Dragon Con mixes with our discussion of the Hannibal Finale. We get very deeply into discussions of the placement of Bedelia's final scene, joking ways that Hannibal and Will could have survived, and the ramifications of the finale on all of Will's emotional connections were the show to continue and he actually run off to Argentina with Hannibal. At 1:25:52, we begin our discussion about Hannibal as a show in a broader context, including how Bryan Fuller handled the show and its community, the contrast between the first and second halves of Season 3 (and the reasons thereof), and how we feel about the show as a whole. Links: Part 1 and Part 2 of the now-infamous Hannibal panel where Scott Thompson and Aaron Abrams drove off storm troopers with finger-guns. (Header image screen-grabbed from Part 2.) Blight club: Mr. Robot, Hannibal, and self-destructive TV The Bait, by John Donne Keep us in your podcast feed! We're moving to a monthly format, so stay tuned next month for a special, Halloween-themed episode. THERE'S ALWAYS AND ADDENDUM: Alternate titles for this episode: God, Tennis Balls Get Weird With The Lithuanian? Playing Around With Tiny Flaming Homoerotic Birds Highlights from Fio's timestamps: 36:38 - “Or something stupid like that” - Ian on American education. Ian from the future: “Critical Thinking,” that's the homework question section I was thinking of. The Sordid Activities of Scott Thompson and Aaron Abrams “They should take it on the road” Yeah they should. Sorry, I'm terrible. Cleo shouldn't feel bad about not being able to talk to famous people, I totally clammed up while meeting Gail Simone in bmore. “You can't do that, people won't be on board with that” - And the ratings told them that they were right, hahaha Man, we could probably talk about The Satanic Verses and its intrusive narrator forever. We get mad sappy about this show, dude. Music: "This is My Design" - Ian Doherty | SoundCloud | Bandcamp | http://archive.org/download/AMOT085/AMOT085.mp3
(Cue fingersnaps and Dolarhyde getting ready to rumble with some Sharks) SPOILERS UP TO (and including) HANNIBAL 3x12 and RED DRAGON (Book, Movie, whaddaya got), SILENT HILL (Movies and games), SPAWN (Todd MacFarlane gives good cape), SINISTER, SINISTER 2 (No real spoilers, just that it's terrible) In this episode: CHILTON'S LIPS FOR THE LOVE OF THE NINE BLOODPISSING HELLS So, that happened. Chilton has layers in this adaptation. Get out your Shrek jokes now. All the love to Raul Esparza Nah, but for real, we spend a lot of time talking about the Dolarhyde/Chilton scene so... you know... strap in for that. Bedelia has moved into a very sinister, alien place in the Hannibal mythos Also, I didn't think we were gonna compare Bedelia to Scully at all, but whatever, here we are, everything's Hannibal and everything Hurts. We also talk about the origins of the Bedelia character as we know her. Will's character progression and how his somewhat-regression-y-motions during this episode are super really important. How certain are we that Will's responsible for Chilton's predicament and how conscious was he about this happening? The fact that Armitage has managed to make his performance so distinct from Fiennes while walking a lot of the same ground is frankly astonishing. Our (super-vague, unsatisfying) predictions for the way the finale is going to shake out. How exactly do you read the last scene between Dolarhyde and Reba? THERE'S ALWAYS AN ADDENDUM: We're running lean this week this folks, so no real notes from timestamps to speak of, which is a shame, we know you love our sloppy excuse for wit. Lots of thanks to @princess_starr for reminding us how cruel Bryan Fuller can be and to @munin_and_hugin for pointing out the staples (to me at least). Ian delivers "I was lying... on yOUR BEHALF!" really well, if anybody's looking to audition voice actors, give him a ring. Ian mentions Bedelia talking about being Hannibal's bride, but I'm pretty sure she's making a Bluebeard reference in that scene. Just poking you with this one, Ian. Music: "This is My Design" - Ian Doherty | SoundCloud | Bandcamp | http://archive.org/download/AMOT083/AMOT083.mp3
The penultimate episode of Season 3 of Hannibal, “The Number of the Beast is 666…” has come and gone and it was hilarious! Srsly? Srsly! From Chilton’s quantifiably bitchy tantrum to Hannibal’s jailhouse slurp we giggle over everything, well, except the horrifying torture and immolation. We discuss Will and Bedelia’s mystifying mutual therapy session, […]
...I think I fought that in a Diablo III boss fight. SPOILERS UP TO (and including) HANNIBAL 3x10, as well as spoilers for the Red Dragon novel/movies. In this episode: Discussion of Hannibal 3x10 "...And the Woman Clothed in the Sun," including Hannibal's changing role, Dolarhyde and Reba's relationship, Will and Bedelia's relationship, and where the season may take us next. How many religious figures has Hannibal been compared to on this show? Can we take some bets on who's going to be next? (Fio's money's on Ammit) We appreciate the amount of effort the scriptwriters are making to get these actors all into the same room for certain scenes. The echoes of the Sutcliffe situation felt retroactively in our glimpse at Bedelia's encounter with her “violent” patient The beastial side of humanity and different beastial facets of nature are a running theme in this episode, which is an area we haven't really explored yet. We also don't have the entire story behind the Bedelia/Neil story yet, and since we've got 3 more episodes with Gillian Anderson this season, there's a good possibility we'll see something more of this before the season is out.* The rehearsals we've had for the Red Dragon story over the past couple of seasons THERE'S ALWAYS AN ADDENDUM: From Ian: Looking back at this scene in particular, I realized we never really touched on the fact that Neil's description of Lecter's treatment seems to imply that Hannibal is essentially programming him (psychic driving, anyone?) to involuntarily start swallowing his own tongue when exposed to certain stressors. The way I was talking about it, I was almost believing it to be a tick that developed naturally from Neil himself somehow, brought to light by Lecter's unorthodox treatment (just goes to show how insidious Hannibal can be, even toward the audience). I think that is an important distinction to make when discussing this scene, especially if when Neil starts talking about the tongue-swallowing to Bedelia, it's her first time hearing about it. At that point she may still be operating in a worldview where she hears that and is like, "Wow, this guy really is losing it if he thinks he can swallow his tongue," rather than "That certainly sounds like something Hannibal could make someone do." The big question that needs to be answered is, how close is Bedelia to Hannibal when he refers Neil to her? How much does she know of his darker side at that point in time? Highlights from Fio's notes: The Tyger is generally interpreted as highlighting a duality of aesthetic beauty and primal ferocity, so I'm not 100% off base in my interpretation, but I am pretty grade school about it on the podcast When I was talking out “explicit” I was talking about Reba's comments on other people's view of Dolarhyde being positive, but it seems like you thought I was talking about the sex scene, so I'm going to leave any freudian judgements up in the air here, haha. Ian from the future: Specifically, the thing that made me go "Oh, this is something that's happening on network television, ok" was Reba going down on Dolarhyde in the living room. ...I was going to say "We've had weirder sex scenes on this show than Reba and Dolarhyde's," but on second thought, I'm not so sure we have, what with the imagery of Reba LITERALLY as the woman in the Blake paintings. Music: "This is My Design" - Ian Doherty | SoundCloud | Bandcamp | http://archive.org/download/AMOT081/AMOT081.mp3
“The one thing I learned from Hannibal is the alchemy of lies and truths.” – Bedelia returns in order to participate in an amusing battle of wits with Will Graham....
Season 3 episode 6 of Hannibal, “Dolce,” was all about the ladies, and we enjoyed every minute of it. We talk about Bedelia’s masterful plan to get herself out of this mess she’s gotten herself in to, how lucid she was when talking to Jack, and how well things seem to be coming together […]
The internet was abuzz with reactions to Season 3 episode 3 of Hannibal, “Secondo.” Some viewers decried it for being too slow while others lauded the carefully crafted character development. We discuss both sides of the argument and which side we are on before moving on to episode specific topics including: Dracula, the specifics […]
Bonsoir Fannibals! What a season opener! Despite the lack of Will Graham, Season 3 episode 1 of Hannibal, “Antipasto,” was everything we could have wanted and more. The flashbacks! The innuendo! The hat! We talk at length about Bedelia’s striking fashion choices, her role in Hannibal’s antics, why she may have agreed to accompany him […]
Tune in for another special edition as I interview actress Nasim Pedrad. Nasim is best known for her comical skits on Saturday Night Live, where she performed for five seasons. Some of her memorable impressions were of Kim Kardashian and Arianna Huffington. Her characters on SNL range from the quirky, parent loving "Bedelia" to underground rocker, "Lil Blaster." Now Nasim can be seen as "Jane" in the new FOX's comedy, "Mulaney," which is played by a former writer of SNL, John Mulaney. It also stars Oscar Award nominee, Elliott Gound and Emmy Award winner, Martin Short. Listen in as I interview actress Nasim Pedrad on Friday, October 31 at 11am ET on www.blogtalkradio.com/tammyjones-gibbs. Follow on twitter - thatsentertain1 fb - www.facebook.com/thatsentertainment.radio
Comedian Dustin Meadows hosts a weekly show wherein he watches his favorite movies with other comedians who've never seen the film before. Dustin and Laura Sanders introduce Lisa Berry to the second installment of the Die Hard franchise and they tackle the big questions, such as "Just how stupid is this very specific plot by a group of so called military special forces dudes?" and "Why is Dennis Franz such an asshole?" and "Why didn't Bruce Willis say 'Ice to meet you' immediately after murdering a dude with an icicle?" *Artwork by Brandon Schneider
Welcome to Mancave Movie Review, the podcast that reviews the good, the bad and the ugly of movies for men. Today is our special Christmas and Mayan Doomsday episode where we will talk about . This classic 1988 John McTiernan movie stars Bruce Willis, Alan Rickman and Bonnie Bedelia. So kick back with your egg nog or doomsday drink of choice while Steve, Jeff, Mark and Ken tell you why you should never take off your shoes in a hostage situation. So stay tune for us next week when we talk about the 'prequel' to this movie, better known as Commando. So until then, the crew at Mancave Movie Review wants to wish you all a very Merry Christmas and a happy whatever other winter holiday you celebrate.
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