Podcasts about Benchley

Dr Craken chats to ocean advocate Wendy Benchley about the new National Geographic Documentary "Jaws at 50" - telling the story of this iconic ocean movie 50 years later. She talks about how she, with her husband Peter (the author of Jaws), became shark conservation advocates after the global sucess of the movie. "Jaws at 50: the definitive inside story" premieres on July 10 on National Geographic, and the next day (July 11) on Disney+ and Hulu Contact info@absolutelysmashingllc.com for more information about sponsoring MCHH episodes  Music credits By Jolly Shore Leave  "Al For Me Grog (Trad.)" HandsomeForrune-FE (Adapted Lyrics by Taran Christen : Musical Arrangement by K. Ryan Hart) Represented by Rebellious Entertainment Dr Scarlett Smash Instagram Dr Scarlett Smash TikTok  Dr Craken MacCraic Instagram MCHH Instagram MCHH Facebook Dr Scarlett Smash YouTube

It's the second part of our Independence Day Rifftrax sandwich - and man, can we talk about Jaws a lot.Host segment: Biffo and the Squeeze; cut the big naturals; Quint's trauma; showing instead of telling; once again, Devori is begging you to watch Duel (1971); the strange history of The Lady of the Dunes; sharks do be biting us sometimes; dissecting a breakfast burrito.

Send us a textJAWS 50th Anniversary Why This Shark Thriller Still Terrifies! JAWS 5Oth Anniversary Movie Review! Our Thoughts On The Classic Film! Katht and Mark take a deep dive into JAWS, 1975 American thriller film directed by Steven Spielberg. Based on the 1974 novel by Peter Benchley, it stars Roy Scheider as police chief Martin Brody, who, with the help of a marine biologist (Richard Dreyfuss) and a professional shark hunter (Robert Shaw), hunts a man-eating great white shark that attacks beachgoers at a New England summer resort town. Murray Hamilton plays the mayor, and Lorraine Gary portrays Brody's wife. The screenplay is credited to Benchley, who wrote the first drafts, and actor-writer Carl Gottlieb, who rewrote the script during principal photography.#jaws #jaws50th #spielberg #jawsmoviereview #classicfilm #moviereviews #sharks Cinemondo is excited to announce that co-host, Burk Sauls, book, One Hundred Movies: Burk's Favorite Movies Volume 1, is available on Amazon!  https://www.amazon.com/dp/B0DML5K363?ref_=pe_93986420_774957520Support the show

fWotD Episode 2968: Jaws (film) Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Friday, 20 June 2025, is Jaws (film).Jaws is a 1975 American thriller film directed by Steven Spielberg. Based on the 1974 novel by Peter Benchley, it stars Roy Scheider as police chief Martin Brody, who, with the help of a marine biologist (Richard Dreyfuss) and a professional shark hunter (Robert Shaw), hunts a man-eating great white shark that attacks beachgoers at a summer resort town. Murray Hamilton plays the mayor, and Lorraine Gary portrays Brody's wife. The screenplay is credited to Benchley, who wrote the first drafts, and actor-writer Carl Gottlieb, who rewrote the script during principal photography.Shot mostly on location at Martha's Vineyard in Massachusetts from May to October 1974, Jaws was the first major motion picture to be shot on the ocean and consequently had a troubled production, going over budget and schedule. As the art department's mechanical sharks often malfunctioned, Spielberg decided to mostly suggest the shark's presence, employing an ominous and minimalist theme created by composer John Williams to indicate its impending appearances. Spielberg and others have compared this suggestive approach to that of director Alfred Hitchcock. Universal Pictures released the film to over 450 screens, an exceptionally wide release for a major studio picture at the time, accompanied by an extensive marketing campaign with heavy emphasis on television spots and tie-in merchandise.Regarded as a watershed moment in motion picture history, Jaws was the prototypical summer blockbuster and won several awards for its music and editing. It was the highest-grossing film of all time until the release of Star Wars two years later; both films were pivotal in establishing the modern Hollywood business model, which pursues high box-office returns from action and adventure films with simple high-concept premises, released during the summer in thousands of theaters and advertised heavily. Jaws was followed by three sequels (none of which involved Spielberg or Benchley) and many imitative thrillers. In 2001, the Library of Congress selected it for preservation in the United States National Film Registry. The film is available on DVD, Blu-ray, and Ultra HD Blu-ray; it was previously distributed on VHS and Betamax.This recording reflects the Wikipedia text as of 01:16 UTC on Friday, 20 June 2025.For the full current version of the article, see Jaws (film) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Emma.

Welcome to Camp Video Store Podcast! While we're not actually going to camp, we are getting your summer started off the right way with some summer-themed horror movies. We hope you packed your sleeping bag, your flashlight, and a big bowl of popcorn. Here are four films that give us the Summer Spookies. Friday the 13th (1980)The second of the big three slashers, Friday the 13th, gave us Jason and a summer full of terror. It's an iconic horror film for a reason, and the summer camp setting makes it a fantastic first choice for our short list of summer spookies. Get your bunkmates together for this classic of the horror genre. Bonus: You get to see an early film appearance of Kevin Bacon. Sleepaway Camp (1983)Our next trip to camp is with the 1983 cult favorite, Sleepaway Camp. This film has gained a cult following over the years due to its disturbing and now controversial ending. It's campy and over-the-top while simultaneously being an effective and disturbing horror film. It begat over three decades of sequels, so it's an icon of summer horror for a reason. I Know What You Did Last Summer (1997)We're going forward to the late 90s with our next film—I Know What You Did Last Summer, based on the 1973 novel of the same name by Lois Duncan. With a cast of young “it” stars of the time, I Know What You Did Last Summer sparked two sequels, a 2021 television adaptation, and a legacy sequel heading to theaters in July 2025. Check your mailbox and watch out for folks in rain slickers this summer. Jaws (1975)The big kahuna of summer movies is our last film for the week—Jaws from 1975. Directed by Steven Spielberg and written by Carl Gottlieb and Peter Benchley, and based on Benchley's book of the same name, Jaws is a film for movie lovers everywhere, even if you don't like horror. It's the reason we have the term “blockbuster” and boasts an amazing score and tension you can cut with a knife…or a harpoon. It's a film that's still beloved 50 years later and worth watching every summer, or any other time of year. Thanks for spending your summer with us at the Video Store Podcast!Thanks for reading Video Store Podcast! This post is public so feel free to share it. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.videostorepodcast.com

Sincere love and worship of God Deuteronomy 6:5 Malachi 1:6 Genesis 8:20-21 – Noah Genesis 12:7-8 – Abraham Psalms 145:1-5, 21 – David…

This week on Monster Madness, we're sinking our teeth into the ultimate summer blockbuster—Jaws (1975)! Music: Aiden Hatfield - This Is Heavier Than I ThoughtElevate Audio - HeadshotSocial Media:Bluesky: @monstermadness@bsky.socialInstagram: @monstermadnesspodDiscord: https://discord.gg/PCP2ZmyWPETwitch: https://www.twitch.tv/monstermadnesspodFacebook: https://www.facebook.com/monstermadnesspodYouTube: https://www.youtube.com/@monstermadnesspodWant to email us? Hit us up at: MonsterMadnessPodcast@gmail.comMerch:Teepublic: http://tee.pub/lic/zpJgzEGy3QAWant to support the show?Ko-Fi: https://ko-fi.com/monstermadnesspodPatreon: https://www.patreon.com/monstermadnessArtwork:Original logo and banner by Ian Gray Illustrations by Phil RoodCheck out his website: philrood.comHis Ko-fi shop: https://ko-fi.com/philroodHis podcast The Picture Show!: https://podcasts.apple.com/us/podcast/the-picture-show-with-austin-and-phil-rood/id1523101342Listener Advisory by Jackie SauerFind Jack's work here:Instagram: @jadedvaderhttps://www.thelastofuspodcast.com/Sources:https://www.imdb.com/title/tt0073195/Benchley, Peter. Jaws. Doubleday, 1974.Become a supporter of this podcast: https://www.spreaker.com/podcast/monster-madness--4303842/support.

Jaws is a 1975 American thriller film directed by Steven Spielberg, based on the 1974 novel by Peter Benchley. It stars Roy Scheider as police chief Martin Brody, who, with the help of a marine biologist (Richard Dreyfuss) and a professional shark hunter (Robert Shaw), hunts a man-eating great white shark that attacks beachgoers at a summer resort town. Murray Hamilton plays the mayor, and Lorraine Gary portrays Brody's wife. The screenplay is credited to Benchley, who wrote the first drafts, and actor-writer Carl Gottlieb, who rewrote the script during principal photography.

Rob Benchley at Sankaty Head Lighthouse, photo by Jeremy D'Entremont This is re-edited version of an interview with Rob Benchley first heard in episode 81 in September 2020. Rob is the volunteer modern day keeper of Sankaty Head Lighthouse in the Sconset village on Nantucket in Massachusetts. He's also an accomplished photojournalist who has been the staff photographer for three island newspapers, and his photography has been featured in the New York Times and the Boston Globe. Rob was one of the first people on the scene when Great Point Lighthouse on Nantucket was toppled by a storm in March 1984. He has written or co-written several books including Keeping the Light, about the historic move of Sankaty Head Lighthouse back from the edge of an eroding bluff in 2007.  Rob and his wife Carol, a retired Nantucket school teacher, live in a house they built together in ‘Sconset.

Rexall Hollywood Revue - 1944-11-04 (04) - Dr. Benchley, Tree Surgeon

Introduction Revelation 2:1-7 Casually stray to a different authority Give up hope and optimism

Introduction Jeremiah 35:5-10, 16 – God is having Jeremiah set up a lesson. The Rechabites carried out the legacy of their father. They…

Send us a Text Message.Fifty years ago, a human vs. beast thriller set in a summer beach town was published and devoured by readers. That book was Jaws, a best-selling novel that spawned a blockbuster movie the following year. Between the book and the film, we were all afraid to go back in the water. Peter Benchley, an established journalist and speechwriter, was instantly catapulted to fame as an author. Getting to that point took moxie! In this Moxie by Proxy episode, we talk with Nat Benchley, Peter's brother. Through Nat, we learn more about Peter's writing and how he often took a true story or incident and asked the question, “What if…?” An article that Peter carried in his wallet about a shark caught off Montauk became the launching point for Jaws. Having lived on Nantucket in his youth, Peter understood the tensions between the summer population and the year-rounders and the dependence of a small beach town on the income they make during the summer months. These social and economic dynamics form the backdrop to the drama unfolding on the water.The impact of Jaws, both book and movie, was a tidal wave of aggression against, and misunderstandings about, sharks. In the wake of that unfortunate outbreak, Peter and his wife Wendy began a lifelong crusade to educate about sharks and advocate for policies that protect them. Wendy Benchley continues that work today. Once educated about the fascinating world of sharks, Peter declared he could never again write a tale that villainized those magnificent creatures. He spent the rest of his life advocating for the protection and preservation of the species.To understand Peter's creative moxie, Nat delves into the Benchley family. Nat recounts stories of their grandfather, Robert Benchley, humorist, writer, actor, and member of the famed Algonquin Round Table; his father, Nathaniel Benchley, author of numerous books and articles, including The Off-Islanders, which became the movie “The Russians Are Coming, the Russians Are Coming!;” Peter as a journalist, author, and ocean advocate; and himself as a writer, actor, and performer. The intergenerational creative moxie running through the Benchley family is solid and enduring. This Main Street Moxie episode is proudly sponsored by Scenic Hudson and Thorunn Designs.ResourcesPeter Benchley websiteWendy Benchley websiteOblong Books: JawsAlgonquin Hotel: Algonquin RoundtableRobert_Benchley WikipediaNathaniel Benchley WikipediaNat Benchley WikipediaNat Benchley website Support the Show.

It's finally time to cover the adaptation that inspired this show! Set sail on the Orca with Emma and Marn for a nearly two-hour discussion about the beast known as Jaws. Bridge the brief gap between Benchley's 1974 hit novel and Spielberg's inaugural summer blockbuster in 1975 with these two podcasters as Marn lets Emma gush about real-life shark footage, Hooper's affair with Brody's wife, and mafia subplots.   Content warnings for Jaws include: graphic shark attacks, child death, graphic descriptions of sharks being killed, infidelity, mentions of rape and rape fantasy, 70's-pulp typical nudity and horniness, and insufferable rich scientists.   The extra book Emma read for this episode is The Jaws Log by Carl Gottlieb. Emma read the 25th anniversary edition with introduction by Peter Benchley.   You can find Emma on twitter @ematsca and the show @UnselectPod. Marn can be found on most social media @corpserevivers. The web serial she writes with her wife can be found at https://prairiesongserial.com/ Unnatural Selection is a part of the Moonshot Podcast Network. If you like what you've heard from either Emma, Marn, or the myriad shows they make together, you can become a patron at patreon.com/moonshotnetwork The music for this show was commissioned from and composed by Jake Loranger. You can check out more of his work at https://amaranthine.bandcamp.com/

In this episode, we welcome cinematographer Christopher Ross, BSC. Chris has worked on critically-acclaimed series including “Shōgun,” “Top Boy” and “Trust” as well as films such as Yesterday, The Great Escaper, Eden Lake, and Room. In our chat, we hear his backstory, how he started in the industry, and about his process prepping and shooting various projects. Chris also takes us behind-the-scenes of “Shōgun” — sharing the techniques and technologies used to create this epic show. The Making Of is presented by AJA Video Systems:Meet AJA Ki Pro GO2Easily record up to four channels of simultaneous HEVC or AVC to cost-efficient USB drives and/or network storage with flexible connectivity, including four 3G-SDI and four HDMI digital video inputs, to connect to a wide range of video sources. Find out more: here From our Friends at Videoguys…Ninja your iPhone 15 Pro or Pro Max into a 1600nit, 10-bit, 2,000,000:1 contrast ratio, 460ppi, HDR OLED, ProRes monitor-recorder for any pro HDMI camera. Attach the Ninja Phone to your iPhone 15 Pro or Pro Max, plug in an HDMI-equipped camera, and you've got the best display on the planet with fast, low-latency connectivity.Take a look here“I of The Lens” Photo Exhibit At Euro Cine Expo 2024 in MunichA unique exhibit showcasing the external and internal expression of a cinematographer.IMAGO Camera, the world's only analogue, large format camera designed for life-sized, self-portraits, captivated audiences with an extraordinary exhibition featuring stunning black and white portraits of cinematographers from across the globe. This collection, curated by Vika Safrigina, producer and Susanna Kraus, the visionary artist behind IMAGO Camera, is on display at the Euro Cine Expo in Munich, June 27-29.The IMAGO Camera is a true interactive object d'art and transcends traditional photography by allowing cinematographers to step into the spotlight and become authors of their own images. This unique walk-in camera was invented by the physicist Werner Kraus and artist Erhard Hoesle in 1972 in Munich, 20 years before the IMAGO federation was founded. As photographer and subject converge, each sitter transforms into the artist behind the lens, creating captivating self-portraits that reveal a unique perspective of themselves.In partnership with IMAGO — International Federation of Cinematographers' Diversity and Inclusion Committee, SUMOLIGHT lighting solutions, and Leitz Cine, the exhibition aims to celebrate the diversity of filmmakers who breathe life into the grand canvas of the movie screen.Learn more here Explore ZEISS' Nano Prime Lenses ZEISS Nano Primes are the first high-speed (T1.5 throughout) cine lenses made specifically for mirrorless full frame cameras – initially available with Sony E-mount. These primes offer a pleasing, versatile look that is adaptable for an extensive range of shooting situations and a compact, lightweight design that makes them easy to use on any set or location. Available in six focal lengths (18mm, 24mm, 35mm, 50mm, 75mm, 100mm), this matched set conveniently covers wide-angle to telephoto.Thanks to the integrated electronic interface, metadata such as focal length, focus distance and aperture value are transmitted to the camera in real time. Additional lens data for distortion and vignetting is available in the ZEISS CinCraft ecosystem and thus for post-production (CinCraft Mapper) as well as in the recently introduced CinCraft Scenario camera tracking system. Adding to their versatility, Nano Primes are ready for the simple exchange of additional mounts thanks to the proven ZEISS IMS (Interchangeable Mount System). Learn more hereTips from theC47:Beach Read:The JAWS LogWinner of three Oscars and the highest-grossing film of its time, Jaws was a phenomenon, and this is the only book on how twenty-six-year-old Steven Spielberg transformed Peter Benchley's number-one bestselling novel into the classic film it became.Hired by Spielberg as a screenwriter to work with him on the set while the movie was being made, Carl Gottlieb, an actor and writer, was there throughout the production that starred Roy Scheider, Robert Shaw, and Richard Dreyfuss. After filming was over, with Spielberg's cooperation, Gottlieb chronicled the extraordinary yearlong adventure in The Jaws Log, which was first published in 1975 and has sold more than two million copies. This expanded edition includes a photo section, an introduction by Benchley, and an afterword by Gottlieb that gives updates about the people and events involved in the film, ultimately providing a singular portrait of a famous movie and inspired moviemaking.Get yours herePodcast Rewind:June 2024 - Ep. 36…The Making Of is published by Michael Valinsky.To advertise your products or services to over 30,000 filmmakers and industry pros reading this newsletter, please email us at mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe

Follow the homies Cam (Cameron Cox) and Dylan (Dylan Hernandez) two former AMC Theater employees as they take a nostalgic trip back in time to rewatch films that mean the most to them! This episode we decided to discuss the most influential Horror Epics of all time, "Jaws". Jaws is a 1975 American thriller film directed by Steven Spielberg, based on the 1974 novel by Peter Benchley. It stars Roy Scheider as police chief Martin Brody, who, with the help of a marine biologist (Richard Dreyfuss) and a professional shark hunter (Robert Shaw), hunts a man-eating great white shark that attacks beachgoers at a summer resort town. Murray Hamilton plays the mayor, and Lorraine Gary portrays Brody's wife. The screenplay is credited to Benchley, who wrote the first drafts, and actor-writer Carl Gottlieb, who rewrote the script during principal photography.Wanna ask us something?!? Hit us up at Xtrabutta@gmail.com or our Instagram https://instagram.com/xtrabuttapodcast?igshid=YmMyMTA2M2Y= ALSO Follow the homie Dylan and Steven on their fantastic Podcast "The Talk No Justsu Podcast" https://open.spotify.com/episode/05FUyTQLzBHBjGA8EIAjRB?si=b3CkutraR-Wjj5Cr1GI0FQ

Il cult di Steven Spielberg del 1975 è al centro di una puntata speciale, che insieme a Francesco Martinelli ed Emilio Silvestri, autori e host di "Miti da sfatare” indaga sulla psicosi collettiva che il film ha scatenato nei confronti degli squali. Tratto da un romanzo di Benchley: uno squalo semina il panico sulle spiagge di una cittadina americana e uno scienziato, un pescatore e lo sceriffo locale si impegnano per eliminare il mostro.See omnystudio.com/listener for privacy information.

What is the good news (the gospel)? God authorizes local churches to teach the gospel. Let's make sure Benchley continues to teach the…

**THIS EPISODE CONTAINS FULLS SPOILERS** Another special guest episode is hittin' the air WAVES! Listeners, please give a warm welcome to Laura's cousin, Frank Anderson, as he joins us for Film Is Lit's coverage of JAWS (Benchley, 1974/ Spielberg, 1975)!!! Another installation of our Summer Blockbuster series, this is one of the classics of cinema. Slide on your Sperrys and knit caps and join us for a riveting comparison of the novel and movie as well as a conversation on Spielberg's enduring influence on film and television history. #JAWS #StevenSpielberg #PeterBenchley #JohnWilliams #RichardDreyfuss #RoyScheider #RobertShaw #MurrayHamilton #LorraineGary #Shark #SharkWeek #SharkAttack #CarlGottlieb #FilmisLit #FilmisLitPodcast #FilmiLitPod #movieadaptation #Amity #moviereviewpodcast #bookreviewpodcast #bookworm #cinephile #LauraSielingGaylord #DannyGaylord #FrankAnderson #TheRevisiters

There's a fin in the water and fun in the air! From Jaws, Peter Benchley's incredibly popular 1974 novel, to Jaws, Steven Spielberg's even more popular 1975 film, Lizzy and Nate sink their teeth into the adaptation, rip into the differences, and digest the repercussions of both on the future of cinema and entertainment. Armed with the fleshed out story in the book, their discussion undulates between Ellen's pearl necklace to screenwriter Carl Gottlieb's tell-all book to Mayor Vaughn's re-election and appearance as mayor in Jaws 2. Actually, strike that last point--even the fearsome Hate Expectations crew can't figure that one out.

We are excited to welcome Tamara Weiss, and Amanda Benchley who are the authors of Vineyard Folk to The Style That Binds Us podcast. I met Tamara and Amanda when I went to their book talk at The Corner Bookstore and immediately knew we should have them on the podcast. I have so enjoyed reading this book! We can't wait to hear all about their book that celebrates the creatives who call Martha's Vineyard home. Thank you for being here! Vineyard Folk: https://rstyle.me/+a4iU53bItCUdSEGzezIEsA Our Shoes, Our Selves: https://rstyle.me/+IeY9W9uXT1Iv3uXcV0epQw Born Into The Gig film Tamara's Cookbook: https://rstyle.me/+4rf29WXpq_hnmemTzmlj-Q Boys in the trees memoir: https://rstyle.me/+fKCzrlJITFk_qyewbum_pw  Artist Living with Art book: https://rstyle.me/+Oq9F6v9LqC86Jf8jlFunFg --- Send in a voice message: https://podcasters.spotify.com/pod/show/delia-folk8/message Support this podcast: https://podcasters.spotify.com/pod/show/delia-folk8/support

Fear is still by far the most powerful motivator of human beings. Steve Sipress, entrepreneur, marketing, advertising, sales, tips, ideas, help, strategy, small business owner, direct response, tactics, success, profits, growth, results, marketing consultant, Jaws, Spielberg, movie, novel, Benchley, fear, motivator, motivation, pain, pleasure, advertising,

Rexall Hollywood Revue - 1944-10-29 (01) - Mailman Benchley Delivers the Gas Bill

This week we watched the CLASSIC film Jaws from 1975! J-8/10 M-8/10 For daily horror movie content follow the podcast on Twitter / Instagram @grindhausmc Each week we choose a movie from one of the horror genre to discuss the following week. Follow along each week by keeping up with the movies we are watching to stay in the loop with the movie club! Check out other podcasts, coffee and pins at www.darkroastcult.com ! THANKS TO ANDREW FOR MAKING THE INTRO SONG. (soundcloud.com / andoryukesuta)@andoryukesuta It's a hot summer on Amity Island, a small community whose main business is its beaches. When new Sheriff Martin Brody discovers the remains of a shark attack victim, his first inclination is to close the beaches to swimmers. This doesn't sit well with Mayor Larry Vaughn and several of the local businessmen. Brody backs down to his regret as that weekend a young boy is killed by the predator. The dead boy's mother puts out a bounty on the shark and Amity is soon swamped with amateur hunters and fisherman hoping to cash in on the reward. A local fisherman with much experience hunting sharks, Quint, offers to hunt down the creature for a hefty fee. Soon Quint, Brody and Matt Hooper from the Oceanographic Institute are at sea hunting the Great White shark. As Brody succinctly surmises after their first encounter with the creature, they're going to need a bigger boat. Jaws is a 1975 American thriller film directed by Steven Spielberg, based on the 1974 novel by Peter Benchley. It stars Roy Scheider as police chief Martin Brody, who, with the help of a marine biologist (Richard Dreyfuss) and a professional shark hunter (Robert Shaw), hunts a man-eating great white shark that attacks beachgoers at a summer resort town. Murray Hamilton plays the mayor, and Lorraine Gary portrays Brody's wife. The screenplay is credited to Benchley, who wrote the first drafts, and actor-writer Carl Gottlieb, who rewrote the script during principal photography. Shot mostly on location at Martha's Vineyard in Massachusetts, Jaws was the first major motion picture to be shot on the ocean and consequently had a troubled production, going over budget and schedule. As the art department's mechanical sharks often malfunctioned, Spielberg decided mostly to suggest the shark's presence, employing an ominous and minimalist theme created by composer John Williams to indicate its impending appearances. Spielberg and others have compared this suggestive approach to that of director Alfred Hitchcock. Universal Pictures' release of the film to over 450 screens was an exceptionally wide release for a major studio picture at the time, and it was accompanied by an extensive marketing campaign that heavily emphasized television spots and tie-in merchandise. Regarded as a watershed moment in motion picture history, Jaws was the prototypical summer blockbuster, and won several awards for its music and editing. It was the highest-grossing film of all time until the release of Star Wars two years later; both films were pivotal in establishing the modern Hollywood business model, which pursues high box-office returns from action and adventure films with simple high-concept premises, released during the summer in thousands of theaters and advertised heavily. Jaws was followed by three sequels (none of which involved Spielberg or Benchley) and many imitative thrillers, and in 2001, the Library of Congress selected it for preservation in the United States National Film Registry.

This week on the blog, a podcast interview with Noah Diamond and Jim Cunningham, talking about the pleasures and perils of playing Groucho Marx.LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Noah Diamond website: https://www.noahdiamond.com/“Gimme a Thrill: The Story Of "I'll Say She Is," The Lost Marx Brothers Musical” -- https://tinyurl.com/28ftau5eEli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcast***Noah Diamond Transcript JOHNLet's go back to the beginning. We'll start with Noah and then go to Jim. What's your earliest memory of Groucho Marx or the Marx Brothers? NOAHWell, for me, it started in a kind of roundabout way, when I was a very little kid. Before I could even read, I was really interested in books. And I had my collection of Dr. Seuss, and all the books that would be read to me. But what I really liked to do was go downstairs where my parents had, in the living room, bookshelves lining the walls. And their books were really interesting to me. I just knew there were secrets there, you know? They had like big art books and books of poetry and maybe my first experiences with words were looking at the spines of the books in the living room. And one of the books they happen to have was then fairly recent book, Joe Adamson's Groucho, Harpo, Chico and Sometimes Zeppo, which is, I think most Marx Brothers fans would say it's the best loved book about them, certainly and I think the best written. That book came out in 1973. So, it's 50 years old this year and for some reason, as a tiny kid, that was a book that I took off the shelf. It was interesting that it had silver lettering on the spine and little icons, a harp, and what I would come later to recognize as a Chico hat. “Oh, look, this is interesting.” And I started looking through it, and I saw all these pictures. And the photographs of the Marx Brothers were just something to grapple with and it seemed a little familiar to me. My world was the Muppets and Dr. Seuss and Maurice Sendak. The Marx Brothers appeared in these photographs, like there was some continuity there and I also found them a little scary. Groucho in particular, that's quite a face for a child to reckon with. So, that was a book that I looked at a lot when I was just little more than a baby. I wouldn't really see the Marx Brothers in their movies until I was 12. Partly that's because, I'm just old enough to have had a childhood where it wasn't so easy to find old movies. And I sort of had to wait for home video to come along. And when it first came along, it's not like all 13 Marx brothers' movies were at the local Blockbuster.It was that that journey, that constant searching for things that characterized life in the analog world. So, it was very gradual in between those two times.Rather than blow your whole episode on this answer: in between the very little boy looking at pictures in Joe Adamson's book, and the 12-year-old finally, like seeing Duck Soup, and a Night at the Opera on video, there were many years where the Marx Brothers always seemed to be right around the corner. I would encounter them in Mad Magazine, or adults I knew might refer to them. And I sort of came to understand that the nose and moustache and glasses had something to do with Groucho. I was aware of them as a kind of vapor increasingly during those, I guess, nine or ten years between discovering the book and seeing the films. JOHNJim, how about you? Where did you first encounter them? JIM I was an enormous and still am a Laurel and Hardy fan. There was a local television show here in the Twin Cities where I live on Sunday mornings, hosted by a former television child's television host named John Gallos who played Clancy the Cop. And so I came to the Marx Brothers, kind of grudgingly because I was such an enormous and still am Laurel and Hardy fan, that I poo pooed the Marx Brothers for many, many years. I started watching Laurel and Hardy as a little kid. I mean, 7, 8, 9 years old. Every Sunday morning, I would rush home from church and plop down in front of the TV to watch Laurel and Hardy. They were sort of my comedic touchstones, if you will. And then the Marx Brothers were kind of off to the side for me. And I went to the Uptown Theater, John, here in the Minneapolis area … JOHN You crossed the river from St. Paul and came to Minneapolis, you must have really been interested. JIMOh, I only go across the river for work. This was a point where I was not working yet. And I saw a Night at the Opera and you know, was convulsed and then devoured everything I could get my hands on after that. The Marx Brothers were eye opening for me, just in terms of oh my gosh, this whole thing is so different. I was reading in your book that Frank Ferrante said “I was raised by Catholic nuns and I wanted to sort of do to the Catholic nuns would Groucho would do to Margaret Dumont.” And I was like, well, that's exactly right. Because I too was raised by Catholic nuns, and that sort of energy was really attractive to me as a sophomore in high school. And so I fell in love with them. And then, you know, anything I could get my hands on, I watched and read and loved them to this day. I still love Laurel and Hardy quite a bit too. JOHNOkay. Noah, this is just my own experience and I'm wondering if you guys have had the same thing: that entering the world of the Marx Brothers was actually a gateway to a whole bunch of other interesting stuff. I mean, you get into the Algonquin table, you get Benchley, and Perlman and into other plays of Kaufman. And you know, you're reading Moss Hart, and all sudden you look at the New Yorker, because, you know, he was there. I mean, did you find that it sort of was a spider web? NOAH No doubt about it. Yeah, that's very true. It's learning about them biographically and the times they lived in, the circles they traveled in; and partly it's in order to understand the references in their films. That's one of the great things about sophisticated verbal comedy: it's an education, and particularly if you're a kid. So, yes, through comedy and show business in general and the Marx Brothers in particular, I learned, I hesitate to say this, but probably just about everything else I know from following tributaries from the Marx Brothers. JOHNDo you remember the first time you performed as Groucho? NOAHThe first time I played Groucho in front of an audience was in a talent show, a school talent show in, I think seventh grade. I performed with my brother and sister as Harpo and Chico. They're both a little younger than me and by the time we became the Marx Brothers, they were so accustomed to involuntary service in my stock company. They were veterans by that time, they had done living room productions of Fiddler on the Roof where they had to play everyone but Tevya. And we did the contract routine from A Night at the Opera, with a little bit of Harpo stuff thrown in. JOHNOkay. Fantastic. Jim, how about you: first time as Groucho in front of an audience? JIM The first time in front of an audience as Groucho was really the first time I played Groucho. Just as I have a deep and abiding love and respect for the art of magic (and want to see it, want to read about it), I don't want to perform it. Because it is a thing in to its unto itself and if you do it poorly, it's horrible. So, I love to see it. I just don't love to perform it. And I felt the same way about Groucho. So, I went kind of kicking and screaming, to a staged reading of The Coconuts that Illusion Theater did. We really just carried our scripts because there was just a couple three rehearsals, but we read the whole thing and sang some of the stuff that was in it. And then that morphed from there into an actual production of The Coconuts and we did it both at the illusion theater in Minneapolis, and then it moved to the Fitzgerald Theater in St. Paul. When the Marx Brothers performed there, I think it was called The World theatre. So, I love that kind of thing. I love standing where Wyatt Earp stood or standing where William Shakespeare stood. And so, to be doing a play that Groucho did on a stage that Groucho did it. I should have gotten out of the business right then. I should have said it, I've done it. What's left? JOHNExcellent stories. Noah, have you ever done The Coconuts or Animal Crackers? NOAHI haven't done The Coconuts. I would love to. Animal Crackers … One of the subsequent childhood Groucho appearances was when I was 14 years old. I had a relationship with this community theater. At this point, I was living in South Florida. I spent the first part of my life in Connecticut, and then lived in South Florida when I was a teenager and New York since I grew up. And this was in the Florida years. There was a local theater in a town called Coral Springs, it's not there anymore, but it was called Opus Playhouse. And it was a great place that helped me a lot and gave me a chance to put on shows and learn how to do things. And I just wanted to do Animal Crackers. So, I did a bootleg production completely unauthorized. I didn't even have the script. I just wrote the movie down line by line to have a script of Animal Crackers. And so I've sort of done it. But you know, I really shouldn't put that on my resume as I was 14 and... JIMIt counts for me. Anybody who's willing, as a 14-year-old, to go line by line through a movie and write it down, you did the show in my book. NOAH That just shows the desperate measures we had to take in those days. There was no internet. Little kids writing down movies, you know? JIM Exactly. JOHNIt's charming. It's absolutely charming. So, what is it Noah that draws you to play Groucho? What is it about that guy? NOAH Yeah, what is it? I know, it's funny. ‘What is it about Groucho' is a question we can grapple with forever, even aside from the question of why try to be him? I think one thing that definitely true is that as soon as I saw the Marx Brothers and heard his voice and watched him moving around and interacting, the urge to be him, or at least to behave like him, was immediate. I mean, it was right there. Now, I was already a kid who was a little ham and a performer and would be inclined to find my role in anything, anyway. But nothing, no character other than myself, ever grabbed me the way Groucho did or ever has, really. And I think part of it is what you mentioned, Jim, that Frank Ferrante has said, part of it is the instinct to rebel against authority. And that's unquestionably part of the Marx Brothers act, and a big part of the Marx Brothers appeal I think to kids. But I think it's a little more like watching a great violin player and deciding you want to play the violin. It just seemed to me that, as far as embodying a character and getting laughs and singing songs, nobody ever did it like him. Nobody ever seemed to be speaking directly to my sense of humor and my sensibility. I just wanted to talk in that voice. I wanted to play that instrument. JOHNJIM, what about you? JIM Nothing. Really, truthfully, I did not want to do it. I still don't want to do it. But I would do it again tomorrow, if somebody asked.I think trying to find your way to entertain an audience through somebody else is tricky for me. I'm better at playing me than I am at playing anybody else. And so the desire to play Groucho, I have sort of put it inside me, and I have an eye on it all the time. I use Groucho's sensibility without the grease paint, and I'd like to believe that I do. I'm certainly not in Groucho's league. Laurence Olivier said it: steal from everybody, and no one will know. And so I have, but the desire to put on the grease paint and wear the frock coat is akin to me saying, I want to do a magic show. I just I love to go to a magic show. I love to watch a Marx Brothers movie. But I'm really kicking and screaming to play him again, because the mantle is so huge and heavy and I don't think that I'm particularly serviceable as GrouchoIt wasn't until we were halfway through the run of The Coconuts when a light bulb went off in the dressing room, while I was putting on the makeup: there's a difference between being faithful to the script of The Coconuts and what we learned, and being faithful to the Marx Brothers sensibilities, if that makes sense. There's the letter of the law versus the spirit of the law.About halfway through that run, I started doing things that I felt were more attune to the spirit of the Marx Brothers, then the letter of the script. So, I was calling other actors onto the stage. I was going out into the audience, I took a guy out and put him in a cab one night. That sort of anarchy that people talk about when you read about the Marx Brothers in their heyday, about Jerry Lewis and Dean Martin in their heyday: I don't know what's going to happen and I want to be there because of that.And for all I know, it was the exact same show night after night after night, and they just gave the impression that it was crazy. But that idea for me still percolates. This the idea of, am I creating a museum piece or am I trying to, in some way, channel that anarchy for an audience? The other show that I do that has some relevance here is we do a production of It's a Wonderful Life, at Christmas time, as a live radio play. And that too: what am I doing? Are we trying to capture the movie or are we creating something different? So, finding that sort of craziness is what I was most intrigued by and still am. NOAH There's not a lot of roles like that. If you're playing one of the Marx Brothers in Coconuts or Animal Crackers, or I'll Say She Is, it's not the same as playing Groucho Marx in a biographical piece about his life. Nor is it like playing Sherlock Holmes, a very familiar character, where there is room to make it your own. I suppose people have done that with Groucho, too. But generally, if you're in a production of one of the Marx Brothers shows, the assignment is to try to make the audience feel like, if they squint, maybe they're watching the Marx Brothers. JOHN Noah, when you tackled the formidable and important task of recreating, resurrecting, bringing back to life, I'll Say She Is, were you having that same sort of thing Jim was talking about? Balancing the reality of what may have happened against you don't really know for sure and the spirit of it? How did you approach it? But first, why did you pick that show? And then how did you bring it back to life? JIMCan I back up? Because the three of us at this table are enormous Marx Brothers fans. So, if you say I'll Say She Is, we have a frame of reference. But people listening to this may go, ‘what the hell is I'll Say She Is?' So, can you start with that? Can you start with what is I'll Say She Is and how did you come to it, because I think for the layman who's not a huge Marx Brothers fan, they don't even know what we're talking about. NOAH Yes, absolutely. In a nutshell, the Marx Brothers, although primarily remembered for their movies, were already halfway through their career by the time they ever made a film. Most of their lives were spent on stage. They had a long period in vaudeville, and then in the 20s, they became Broadway stars. And that was really the beginning of the Marx Brothers as phenomenon we would recognize. They did three Broadway musicals. The first was I'll Say She Is, a thinly plotted revue, and the second was The Coconuts, and the third was Animal Crackers. By the time they were making talkies, they had these two very prestigious vehicles, Coconuts, and Animal Crackers, written by George S. Kaufman and Morrie Riskin, with scores by accomplished composers, Irving Berlin and Kalmer and Ruby. And there was no question but that those would be the first two films.And as a result, I'll Say She Is just kind of faded into history. It was the show they'd never made it into a movie and no script survived or at least no complete, intact script survived. So, if you were a kid like all the Marx maniacs out there, reading every book you can get your hands on and learning everything you could about the Marx Brothers, I'll Say She Is just had a sort of intrigue about it. What was that show? Everyone knew from those books that the highlight of the show was the Napoleon scene in which Groucho played Napoleon and the other brothers played the various consorts of Josephine, who are always materializing every time he turns his back. And that scene was touted as like, that's really the arrival of the Marx Brothers. That was the essence of them, before they ever met George S. Kaufman. It's just such a tantalizing thing if you love them.I think—because I love the theater and I love musical theater—a lot of my other interests are also right in the bullseye of I'll Say She Is: Broadway, New York City history. I'm a big fan of the culture of the Jazz Age in the 1920s. And this was just so appealing to me. So, every time a new book about the Marx Brothers would fall into my hands, the first thing I would do is look up I'll Say She Is in the index and read all the associated stuff first. I just had a little obsession about it. In The Marx Brothers Scrapbook, which is a book I'm sure familiar to both of you and many of the fans, that book reprints the entire opening night program from I'll Say She Is on Broadway. When I was 12 years old, I took that book to the library and photocopied it, and cut out the pages, and made myself a little program so that I could pretend that I had seen I'll Say She Is. Fast forward many years, and I'm an adult doing theater in New York. My wife and collaborator, Amanda Sisk and I were doing political satires, writing these musicals that would be ripped from the headlines. And we did that for a long time before realizing that the time it takes to develop a musical is too long for topical material, so we could never really perfect our work. And we decided to stop doing those shows, which were a bit of a dead end for us creatively. And I found myself after many years of doing one thing trying to figure out, well, what's my thing going to be now?And I think it was probably inevitable that I would just sort of go home to the Marx Brothers. ‘Well, let's do a Marx Brothers show. I haven't done that in a while, you know?' I don't know, it seems a little bit silly to call something so unlikely, inevitable, but I just think I was hurtling toward it from the day I picked up Adamson's book when I was three or four years old. JIM It had to have been both a joyful and frustrating experiences as you tried to recreate something that doesn't exist. The Napoleon sketch: we did a version of that Napoleon sketch. The only line I can remember from that Napoleon sketch was, “I'll be in Paris tomorrow, don't wash.” That's the only line I can remember from the entire show. I think of that. Was it super fun or was it super frustrating? Or was there a combo? What was that like? NOAHIt was fun. I mean, writing is always a combination of both of those things. Stephen Sondheim once called it agonizing fun. That's kind of what almost any writing process is. This one, I wouldn't have taken on the idea of doing I'll Say She Is if enough of it didn't survive and how much of it seemed to have survived. Before my research, I think what I was really thinking is that I would maybe try to write a book about I'll Say She Is, and maybe figure out some way to do the Napoleon scene on stage. But realizing that it could be a show again, that happened kind of slowly as material started to accumulate. Yes, the Napoleon scene has survived and that's been known for a long time. Also, the first scene of I'll Say She Is is one that's familiar to Marx Brothers fans, because it was an old vaudeville piece that they filmed in 1931. The theatrical agency scene. [Audio from the Clip] NOAH So, those are two big pieces of material were a given. And then as for the rest of it, I became aware, by relying on the work of other researchers, that there was a type script I'll Say She Is at the Library of Congress. Also, another slightly different one at the American Musical Theatre Institute run by Miles Kruger. And I was able to get my hands on the type script. Now it is on one hand, it's the script of I'll Say She Is. That isn't quite that what it is, though. It's a 30-page document that they went into rehearsal with. And, you know, going into rehearsal with the Marx Brothers, it's an outline with dialogue. It's what we would now refer to as a treatment. and there is some dialogue in it, some of which is recognizable from later Marx Brothers projects. Some of it is very sketchy. Of course, almost everything Harpo does is merely indicated: stage directions like, Harpo business, or sometimes, business with hat. But this provided something like 20% of the dialogue and the continuity for I'll Say She Is. There were no lyrics in it, but it did specify where the songs would fall. So, my first attempt to write a script for this was a combination of material from that type script and things learned from the playbill, from reading every account of I'll Say She Is I could find in books and interviews. And then I started to search old newspaper archives, which was just getting easier to do at this time. I was embarking on this sort of major I'll Say She Is research period around 2010 and it was just starting to be possible to read decades worth of old newspapers on the internet. It's gotten much easier since then. So, by reading every review I could find FROM every city I'll Say She Is had played in 1923, and 1924, and 1925, I started to realize there's material here. There's reviews that quote dialogue or describe scenes that aren't in the type script and that I didn't know about before and maybe nobody did (unless they've read this copy of the New York Clipper from 1924). And some of the songs from the original I'll Say She Is were published in 1924 and it was fairly easy to get my hands on those. But that represented only about half the score, maybe a third of the score. A number of the original songs remain missing. And of those, I did manage to find a couple. And to fill in the gaps, I found other songs written by the same people. Will Johnstone was the lyricist (Marx Brothers fans will know him as a screenwriter on some of their later films) and his brother Tom Johnstone wrote the music. Well, the Johnstones also wrote six or seven other Broadway shows during the same period. So, I was able to find some of those songs and interpolate them and do a sort of general polish on the lyrics on the surviving lyrics.When I was bringing in other songs, sometimes I would write the lyrics. I know there was a song here, and I know what it was about. So, I'll write a lyric about that and whenever I had to do that kind of thing, where I would invent something to fill a gap, I would always try to do it very conscientiously, by relying on what I knew about the Marx Brothers act up to 1924. And also by immersing myself in Will Johnstone's writing. He's an interesting, very unsung artist too; he was a very prolific newspaper writer and cartoonist and did a little bit of everything. So, by reading everything I could get my hands on by Johnstone, it made it a little easier to write what he would have written for them. JOHNThat's just fascinating. JIM It really is. The whole thing to me is it's so titillating and so exciting that even though I say I never really want to do Groucho ever again, if you said, I'm gonna send you a copy of I'll Say She Is, I produced that. I'd be in that. I put that up right now. NOAHIt could happen, Jim. I think what you said earlier, Jim, about playing Groucho, you feel like there's this mantle of greatness that is, is impossible to live up to. I feel that way too. It is impossible. I mean, playing Groucho on stage, you're kind of making a deal with the audience, like, ‘Hey, we both know, I'm not him. I'm not. Nobody will ever be that good at doing that. But if you'll meet me in the middle, I think I can fool you for a minute.' It becomes a sense of responsibility. And it's the same thing with reviving, I'll Say She Is. If we're gonna put that title on a marquee, and charge people money to see it, boy, this better be the very best we can do. JOHNSo, once you started reconstructing I'll Say She Is, were you always planning on putting it on its feet? NOAH Well, probably, the answer is definitely yes. I think the question is, would I have admitted it to myself early on? I do remember nibbling around the edges of it for a while before looking at squarely in the face and saying, ‘We have to do this.' We have to do this on stage for that very reason: because it is so daunting. It's daunting to produce a big musical, even without all the baggage and the history and responsibility of the Marx Brothers and I'll Say She Is. JIM I looked at the pictures of your production and was flabbergasted at the cast and how big the cast is, and the costumes for the cast. It was like, this is a big deal. NOAH One thing that was very lucky—because of the nature of the project, and because it's so interesting and historical—it attracted a lot of really talented people, all of whom worked for much less than they deserved. We have done it twice at this point: the Fringe Festival production in 2014 was the first, full staging and the book Give Me a Thrill is current through that production. Then in 2016, we did an Off-Broadway production, which was larger and fuller and ran longer and was even more fully realized. There will be a new edition of a book covering that production. But even that is now some years ago.There is in the future, I think for an even bigger, even more 1924-faithful I'll Say She Is. And I also think there may be a lightweight version of I'll Say She Is. I think we may experiment with that, saying, ‘Oh, okay, it's a 1920s revue. It has a line of chorus girls. It's spectacular. But what if we did to it what Marx Brothers fans often want to do to the film's and just boiled it down to just the Marx Brothers gold and do an I'll Say She Is Redux?' There two licensable versions of Animal Crackers. There's a small cast multiple role kind of version, and then there's the big full musical. JOHNIt's like the Teeny Sweeney. The idea of you offering and creating a version that would be a little easier for most theaters to do. I think is really a smart idea. JIMKnowing the Marx Brothers, and knowing Coconuts and Animal Crackers, because of course, they're enshrined in celluloid and we can look at them whenever we want. There's a story to both of those things, loose as it may be. I wouldn't say either The Coconuts or Animal Crackers were a revue. Is the same true of I'll Say She Is? Is it a revue where we're just going from sketch to sketch to sketch or song to song to sketch, and they're not connected by a through line the way Coconuts or Animal Crackers are? NOAHIt's an interesting question and the answer is kind of both. One thing that has happened is I think the word revue is now understood more narrowly than it was in the Marx Brothers day. When we use the word revue now, we generally mean exactly what you're describing: a variety kind of evening, with a series of unrelated sketches or songs. But the truth is in the 1920s, particularly, revues tended to have either thin plots or themes that tied them together. And that's exactly what distinguished a Broadway review or what would have been called rather snootily, a legitimate revue. That's what distinguishes it from vaudeville, which really was one act after another and what the third on the bill does on stage has nothing to do with the content of what was second on the bill. A lot of these Broadway revues, including the Ziegfeld Follies, they would be built on themes or plots. An example would be As Thousands Cheer, Irving Berlin's famous revue. It doesn't have a plot that runs all the way through it, but each piece is based on a news story of the day. It's not just a collection of songs. In the case of I'll Say She Is, it was a thinly plotted revue. And the thin plot is: a bored heiress is looking for thrills. That's the plot. It makes Animal Crackers look very sophisticated. It begins with a breaking news that a society woman craves excitement, she has promised her hand, her heart, and her fortune to whoever can give her the biggest thrill. Very saucy stuff. So, each scene or musical number in the show is vaguely an attempt to give her a thrill. It's kind of like a clothesline. You can hang anything on it. So, the Napoleon's sketch—in the context that was provided for it in 1924—is a fantasy sequence where the ingenue fantasizes that she's in the court of Napoleon. That's the attempt of the hypnotist to give her a thrill. In order to make the show a little more compact and a little more accessible, in my adaptation I did nudge it a little closer to being a book show. I did I strengthen the plot a little bit. I just added some reinforcements, some undergirding to the plot. And some things in the show that weren't connected to the plot, but could have been, I made some little connections there. And also, some of the sequencing was a little perverse in terms of how the evening built. So I thought, with the help of many people who worked on the show with me, but I'll mention Travest-D and Amanda Sisk, who had a lot to do with the development of the script, we figured out that the Napoleon scene really should go at the end of Act One. And the courtroom scene should go at the end of Act Two. And other little concessions like that to make a contemporary audience feel some sense of satisfaction. JOHNYou both do such a nice job of Groucho—even though one of you has to be dragged into it kicking and screaming. What is, from your experience, what is the hardest part of being Groucho on stage? NOAH Well, for me, the most challenging part is the physical performance. That's the part I work on the most. When I see video of myself as Groucho, that's the part—if I notice things to improve on next time—they're usually physical things. I think that may have something to do with my particular skill set. I'm very comfortable vocally. I like my vocal version of Groucho and it sounds the way he sounds to me. I generally feel confident with that, although off nights do happen. But physically, being him physically, partly because he was so verbally overwhelming, we often overlook what an interesting and unusual and brilliant physical performer, Groucho Marx was. I can't think of anyone who moved the way he moved. Both his physical body was unusual, his shape, and the way he—especially in the early films—he like has no gravity. He's sort of weightless.There is a tendency to make him too manic and to try to match his impact by being loud and fast and very abrupt in your movements. Or overly precise. He wasn't that precise, actually. He was pretty sloppy in the way he moved. But there was a grace in all that sloppiness…The difficulty of putting it into words—that you're experiencing with me right now—is part of where the challenge is. There are times when I feel good about the physical performance, and I nail something, a move of his that I've been working on. But I think that's the part that's the most challenging. JOHNOkay, Jim, how about you? What did you find most challenging? JIM You know, what I found most challenging is dealing with the mantle of Groucho. Not just the audience's expectations of what that means, but more problematic, my own belief system, about what I'm capable of, and how far short of what the man was and did on stage my version of him is.So for me, I always had to really kind of get myself ramped up in order to believe that, okay, I'm going to go on, I'm going to do this. And it was a constant battle for me every night before I would go on. Am I capable of this? Is there anything about this that's even moderately entertaining for an audience? And I just couldn't get by that and I still can't, you know, I still can't get that out of my head. Now, I separate that for a second and set it aside with It's a Wonderful Life. I'm very happy with what I've achieved in It's a Wonderful Life. Very happy with, what I've done, me personally, and the show in general. But my performances, I'm very happy and satisfied with them and I'd love to do them and can't wait till December comes around so I can do it again. But the Marx Brothers thing is that there's a fear factor, I guess that I'm going to let him down in some way and I can't help but let him down. There's a certain love and respect I have for him, in the same way that I have love and respect for magic, that I just don't want to be a bad Elvis impersonator. You know what I mean? That's what I don't want to do. There's a big difference between Elvis and the best Elvis impersonator and you can have joy in both. But, you know, Groucho is so far—and nothing against Elvis, please. If you're listening to this podcast, and you think I'm about to diss Elvis, you're right. But I don't mean it that way. There's a vast difference between what Groucho was on screen and what Elvis was on screen. Elvis could sing. Groucho could do anything. And that's the difference, and I can't do anything. I can barely sing. I'm lucky enough to have done it and I'm happy to have done it and when people talk to me about it. ‘Oh, I saw you was Groucho. You were excellent.' And I want to say, ‘Apparently, you don't know the Marx brothers. I wasn't.' NOAH That's a very Groucho response, that hey, you are great in that show, and you have no taste, you know? JIM That's exactly right. JOHNWell, I could do this all night, but we're not going to do that. I want to just wrap up with a couple Speed Round questions, kind of general Marx Brothers questions. Noah, do you have a favorite of the movies? NOAH Animal Crackers, because I think it's the closest we can get to seeing them as a stage act at the peak of their powers. JOHNOkay, do you have a favorite scene? NOAHYes, I feel guilty because my favorite Marx Brothers scene only has one Marx Brothers in it and I I love Harpo and Chico and I even love Zeppo. I have to say that, but my favorite scene is the strange interlude scene in Animal Crackers. [Audio from the Clip] JOHNTo have been there live, to watch him do that, to see him step forward. I would rank that very high for my favorite scene. Jim, do you have a favorite movie and a favorite scene? JIMYeah, I think so. Largely because it was my first experience of the Marx Brothers, nothing for me compares to a Night at the Opera. If I am clicking around and Night at the Opera is on, we stopped clicking and that's what it is. And anybody who is in the house, my wife or the kids, I'm sorry, but you'll either have to find another TV or go out to play, because this is what we're going to be watching for a while And you know the line of Groucho's, what happened? [Audio from the Clip: “Oh, we had an argument, and he pulled a knife on me so I shot him.”]. JIM That right there. When I heard that the first time, I was afraid I'd have to leave the theater. I started laughing so hard, and I couldn't come back from it. It just kept coming to me. I kept thinking of that well past it and was giggling about it and so that whole ‘belly up, put your foot up here.' That whole thing to me is as good as it gets. JOHNOne other little alley, I want to go down. There's another great book and Noah, if I get the title wrong, please correct me. Is it Four of the Three Musketeers? NOAH Yes. JOHNWhich tracks in exhausting detail, every stage appearance of their stage career. As you look through it—we're all getting older, all three guys—you begin to realize the weird gap or you think something was a long time ago and it turns out it wasn't. I was born in 1958 and realized just recently that Abbott and Costello Meet Frankenstein was made a mere 10 years before I was born. The Marx Brothers on stage in the 20s, or late teens and 20s, they're traveling everywhere in the country. They came to Minneapolis a lot. They went to Duluth a lot. And, you know, a mere 40 years before I was born, I could have gone and seen them. So, my question to you guys is: you have a chance to see the Marx Brothers live on stage in that era. What is your pick? What do you go see? You have a time machine. You can go you can go see one thing or two. I'll give you two, because I have two. NOAHWell, I'm glad. I'm glad you're given me two, because the obvious answer is I'll Say She Is and.... JIM That would be my answer too. JOHN Bring your iPhone and hit record. Yeah. NOAH Yeah, right, bootleg it. Nobody knows what an iPhone is anyway. Exactly. JIM And then you just go right back to what you did as a 14-year-old line by line. JOHNOkay. So, your second choice after the obvious, I'll Say She Is? NOAH I guess it would be to see some of the even earlier stuff, satisfying the urge to see them at their best on Broadway. You know, there's a lot of curiosity about the act up really up to 1920. In 1920 or 21, there's a big change. That's when Groucho painted the moustache on and drops the German or sometimes Yiddish accent he had been using before. Harpo and Chico evolved more subtly, but in a sense, they were all playing somewhat different characters in the early vaudeville tabs. So I guess I would want to see Home Again, which was their vaudeville tabloid, that carried them through the World War One years and beyond. JOHNJim? JIMAnything vaudeville. The school sketches that they did. I'd see anything. It wouldn't matter to me. If I could get back there, I'd go every day. John, you and I were talking about Robin Williams and being the greatest improviser of all time, and the quote that you said was, somebody had said, “see the eight o'clock show, then see the 10 o'clock show, and we'll talk.” And to me, that's interesting. I would kill to, you know, follow them on the road, like Bruce Springsteen, and just see how much of it really is the same. In the same way that I'm tickled, when somebody says to me, ‘How much of that did you just make up on the spot?' None of it. Essentially, none of it did I make up on the spot. I'd like to see how much of what they did day to day was exactly the same and how much of it was, ‘today, I'm going to do this for no reason at all' and I'd like to see how much of that is different. JOHNYou know, my two choices kind of fall within that. One is the day that Chico's daughter didn't go to the show, and she came home, and Chico thought she'd gone to it and he said, ‘What did you think?' And she said, ‘What do you mean?' And he said, ‘Harpo and I switched roles.' And I know it's weird: if you had like one chance to go see the Marx Brothers, you're gonna go see them do the role they're supposed to do. But it's just fascinating when you think about it. The other one is when Groucho was sick and Zeppo stepped in and if I'm quoting Susan Marx's book correctly, the reaction was so strong towards what Zeppo did that Groucho got healthy really fast and came back. But Zeppo was really, really good. We do have the agent sketch, so you get a sense of what they were like on stage. You do get that. But the idea of seeing, I can easily see Zeppo doing Groucho. But Chico doing Harpo and vice versa? I realize that if I have a time machine, I should go back and do something more helpful for the world. But at that same time, I want to stop by and see that one show where they switched. JIM That you'll do that on your lunch break. While you're stopping World War Two, on the way home, swing by and see that show. You've earned it. NOAH That's a good answer. JOHNYeah. Noah, thank you so much for chatting with us. JIM Just a delight. Thank you so much. I had a great time talking to you. NOAHIt's been a pleasure, fellas. Thank you for having me on.

Excerpt of the 12 Jan 1943 Al Jolson Colgate Program. Humorist Robert Benchley joined Al Jolson on this program, along with the regulars. Here is some of the comedy routine between Benchley and Jolson, followed by Benchley's introduction of Jolson's classic hit, "Sonny Boy." The complete program includes more Benchley, Parkyarkarkus, and Carol Bruce, with much more material. The complete broadcast recording, along with other Jolson radio shows, is available at the Official Al Jolson Website at www.jolson.org.

Close out the summer with the AMPM VIDEO crew as they go on vacation with Jaws a 1975 American thriller film directed by Steven Spielberg, based on the 1974 novel by Peter Benchley. It stars Roy Scheider as police chief Martin Brody who, with the help of a marine biologist (Richard Dreyfuss) and a professional shark hunter (Robert Shaw), hunts a man-eating great white shark that is attacking beachgoers at a summer resort town. Murray Hamilton plays the mayor, and Lorraine Gary portrays Brody's wife. The screenplay is credited to Benchley, who wrote the first drafts, and actor-writer Carl Gottlieb, who rewrote the script during principal photography. Shot mostly on location on Martha's Vineyard in Massachusetts, Jaws was the first major motion picture to be shot on the ocean, and consequently had a troubled production with issues such as going over budget and past schedule. As the art department's mechanical sharks often malfunctioned, Spielberg decided mostly to suggest the shark's presence, employing an ominous and minimalist theme created by composer John Williams to indicate its impending appearances. Spielberg and others have compared this suggestive approach to that of director Alfred Hitchcock. Universal Pictures' release of the film to over 450 screens was an exceptionally wide release for a major studio picture at the time, and it was accompanied by an extensive marketing campaign with a heavy emphasis on television spots and tie-in merchandise. For the AMPM VIDEO crew you can watch the video podcast on YouTube, listen on Spotify or Apple Music & catch us next week live on twitch.tv/ampmvideo Drop a comment, like & hit the subscribe button. Give us a follow @ampm.video & @goteamvideo BIG shoutout to @gubbsmusic for our intro/outro music & BIG shoutout to @shotfromthepit for our fun promo photos! ⚡️ If you would like to support @ampm.video & @goteamvideo for all we do & so that we can keep creating more content, check out patreon.com/ampmvideo

And we're back! We sat down and reviewed the 1941 film, The Reluctant Dragon! A story about a dragon who would much rather recite poetry and play is taught how to be ferocious by a young boy and a knight. Well part of the story at least, along with an hour long tour of Walt Disney Animation Studios. Join us as we join Mr. Benchley on his day at the studio, ending with his meeting with Walt.   Next episode: Dumbo   Follow on Twitter @WeWatchDisney We Went To Disney Youtube We Watch Disney Podcast on Spotify We Watch Disney Podcast on Apple Podcasts We Watch Disney Podcast on Patreon

Ed Brand made a trip to Zimbabwe to meet with Dickson Dangirwa, who is supported by the church at Benchley. Zimbabwe has been known by many…

In this episode, we're dissecting the Steven Spielberg classic Jaws, including how it benefited from mistakes, its painful similarities to our modern lives, the creation of the summer blockbuster, masculinity, economical character development, bell-bottoms, sharks, & more! Jaws is a 1975 American thriller film directed by Steven Spielberg, based on the 1974 novel by Peter Benchley. It stars Roy Scheider as police chief Martin Brody who, with the help of a marine biologist (Richard Dreyfuss) and a professional shark hunter (Robert Shaw), hunts a man-eating great white shark that is attacking beachgoers at a summer resort town. Murray Hamilton plays the mayor, and Lorraine Gary portrays Brody's wife. The screenplay is credited to Benchley, who wrote the first drafts, and actor-writer Carl Gottlieb, who rewrote the script during principal photography.

This is Garrison Hardie with your CrossPolitic Daily News Brief for Monday, June 20th, 2022. Here’s what you may have missed, over the weekend! On Saturday, game 2 of the Stanley Cup Finals between the Colorado Avalanche, and the Tampa Bay Lightning took place. The Avalanche took game 1, so Tampa Bay really wanted to even up the series as it shifts back to Florida today… and well… here’s how it went. If you’re a Tampa Bay fan, cover your ears! Cup Final, Gm2: Lightning @ Avalanche 6/18 | NHL Playoffs 2022 Play 0:48-1:05 Play 2:11-2:27 Play 3:40-3:55 Play 5:15-5:27 Play 6:25-6:35 Play 7:43-7:55 Play 8:15-8:30 https://www.outkick.com/nichushkin-stays-hot-avalanche-take-commanding-2-0-series-lead-over-lightning-in-stanley-cup-final/ What you just heard was the absolute demolition of the Tampa Bay Lightning at the hands of the Colorado Avalanche. The Tampa Bay Lightning came into Game 2 of the 2022 Stanley Cup Final with a plan. But like Mike Tyson once said, everybody’s got a plan until they get punched in the face. Or in this case, an avalanche of seismic proportions. Lightning head coach Jon Cooper said the key to evening up the series at two was weathering the storm in the first 10 minutes from the Colorado Avalanche. And yet, after those 10 crucial minutes of play inside Ball Arena, Colorado held a 2-0 advantage — just as they did in Game 1. The Avalanche’s onslaught started early and never let up, as Colorado defeated Tampa Bay, 7-0, to take an all-important 2-0 series lead. Why’s that so important, you ask? Teams leading 2-0 in the Stanley Cup Final are 47-5 all-time. The touchdown + extra point loss is Tampa Bay’s worst in its playoff history, topping the 5-0 defeat against the Toronto Maple Leafs in Round 1 this year and the 6-1 loss to the Philadelphia Flyers back in 1996, the franchise’s first ever playoff appearance. The Avalanche have now scored 11 goals through two games in the series and are 14-2 overall during the playoffs. The seven-goal margin is the largest in a Stanley Cup Final game since 1991, when the Pittsburgh Penguins defeated the Minnesota North Stars, 8-0, in Game 6 of the series. The series will now shift back to Tampa Bay for Games 3 and 4, with the Lightning looking for any sort of jolt from the Amalie Arena crowd. Puck drop for Game 3 is scheduled for Monday at 8 p.m. ET on ESPN. Lies, Propaganda, Story Telling, and the Serrated Edge: This year our national conference is in Knoxville, TN October 6th-8th. The theme of this year’s conference is Lies, Propaganda, Storytelling and the Serrated Edge. Satan is the father of lies, and the mother of those lies is a government who has rejected God. We have especially been lied to these last two years, and the COVIDpanic has been one of the central mechanisms that our government has used to lie to us and to grab more power. Because Christians have not been reading their bibles, we are susceptible to lies and weak in our ability to fight these lies. God has given us His word to fight Satan and his lies, and we need to recover all of God’s word, its serrated edge and all. Mark your calendars for October 6th-8th, as we fight, laugh and feast with fellowship, beer and Psalms, our amazing lineup of speakers, hanging with our awesome vendors, meeting new friends, and more. Early bird tickets are available now, but will be gone before you know it! Sign up now at flfnetwork.com/knoxville2022 https://www.politico.com/news/2022/06/19/world-swimming-transgender-athletes-00040722 Speaking of lies & Propaganda… let’s talk about transgender athletes! World swimming bans transgender athletes from women’s events World swimming’s governing body has effectively banned transgender women from competing in women’s events, starting Monday. FINA members widely adopted a new “gender inclusion policy” on Sunday that only permits swimmers who transitioned before age 12 to compete in women’s events. The organization also proposed an “open competition category.” “This is not saying that people are encouraged to transition by the age of 12. It’s what the scientists are saying, that if you transition after the start of puberty, you have an advantage, which is unfair,” James Pearce, who is the spokesperson for FINA president Husain Al-Musallam, told The Associated Press. “They’re not saying everyone should transition by age 11, that’s ridiculous. You can’t transition by that age in most countries and hopefully you wouldn’t be encouraged to. Basically, what they’re saying is that it is not feasible for people who have transitioned to compete without having an advantage.” Pearce confirmed there are currently no transgender women competing in elite levels of swimming. The World Professional Association for Transgender Health just lowered its recommended minimum age for starting gender transition hormone treatment to 14 and some surgeries to 15 or 17. FINA’s new 24-page policy also includes proposals for a new “open competition” category. The organization said it was setting up “a new working group that will spend the next six months looking at the most effective ways to set up this new category.” Pearce told the AP that the open competition would most likely mean more events, but those details still need to be worked out. The members voted 71.5% in favor at the organization’s extraordinary general congress after hearing presentations from three specialist groups — an athlete group, a science and medicine group and a legal and human rights group — that had been working together to form the policy following recommendations given by the International Olympic Committee last November. The IOC urged shifting the focus from individual testosterone levels and calling for evidence to prove when a performance advantage existed. FINA said it recognizes “that some individuals and groups may be uncomfortable with the use of medical and scientific terminology related to sex and sex-linked traits (but) some use of sensitive terminology is needed to be precise about the sex characteristics that justify separate competition categories.” In March, Lia Thomas a man, made history in the United States as the first man to win woman’s NCAA swimming championship, the 500-yard freestyle. The coward, Thomas said last month on ABC’s “Good Morning America” that he was aiming to become an Olympic swimmer. He also disputed those who say he has an unfair biological edge that ruins the integrity of women’s athletics, saying “trans women are not a threat to women’s sports.” The University of Pennsylvania didn’t immediately respond to a request for comment from Thomas. Other sports have also been examining their rules around transgender athletes. On Thursday, cycling’s governing body updated its eligibility rules for transgender athletes with stricter limits that will force riders to wait longer before they can compete. The International Cycling Union (UCI) increased the transition period on low testosterone to two years, and lowered the maximum accepted level of testosterone. The previous transition period was 12 months but the UCI said recent scientific studies show that “the awaited adaptations in muscle mass and muscle strength/power” among athletes who have made a transition from male to female takes at least two years. From sports, let’s go to entertainment, to infinity and beyond!!! https://variety.com/2022/film/box-office/box-office-lightyear-disappoints-1235298248/ Pixar’s ‘Lightyear’ Underwhelms With $51 Million Debut as ‘Jurassic World’ Stays No. 1 To infinity and beyond? Not exactly… “Lightyear,” a spinoff story set in Pixar’s “Toy Story” universe, fell short of that boundless milestone in its box office debut, collecting a lackluster $51 million from 4,255 North American theaters. Family audiences, the movie’s prime demographic, haven’t returned to theaters in full force since the start of the COVID-19 pandemic. Even so, those ticket sales are disappointing for a brand as recognizable as Pixar, the home of “The Incredibles,” “Finding Nemo” and “Up.” It’s particularly problematic given that “Lightyear” cost $200 million to produce and tens of millions more to market. Heading into the weekend, the Disney film was expected to generate at least $70 million. But its ambitions were thwarted by heightened competition from Universal’s behemoth “Jurassic World Dominion” and Paramount’s high-flying “Top Gun: Maverick,” as well as little intrigue to watch a slightly esoteric origin story about Buzz Lightyear, one that had only a tenuous connection to the four films in the popular kid-friendly franchise. With its wobbly liftoff, “Lightyear” landed in second place, becoming one of the rare Pixar films to not take the top spot at the domestic box office. Internationally, “Lightyear” earned $34.6 million from 43 markets, taking its global total to $85.6 million. The movie was banned in smaller foreign markets, including Saudi Arabia and the United Arab Emirates, because it depicts a same-sex kiss. Notably, “Lightyear” is the first Pixar movie to play on the big screen in more than two years — since “Onward” in March 2020. During the pandemic, three of the animation studio’s titles — “Soul,” “Luca” and “Turning Red” — skipped theaters to land directly on Disney+, leaving some box office analyst to question if consumers have been trained to watch Pixar movies at home. Other industry experts question if Disney is relying too heavily on brand recognition and not enough on execution. It’s not that people disliked the movie, which landed an “A-” CinemaScore and 77% on Rotten Tomatoes. But Disney certainly hoped that more ticket buyers would feel compelled to see “Lightyear” in theaters over the weekend. Believe me, I would have loved to see this movie. I mean, Toy Story was a part of my child-hood growing up, so it really pained me to see the headlines that they were going to force a gay kiss into the movie… based on that, I, and many of the people I’ve spoken with, refused to see the movie, as I’m sure all of our audience would agree. Even with a colossal 60% decline, “Jurassic World Dominion” managed to capture the box office crown again in a surprise upset. Universal’s prehistoric sequel generated $58.6 million from 4,697 cinemas in its second weekend of release, bringing its domestic total to $259 million. In third place, “Top Gun: Maverick” keeps flying high with a mammoth $44 million from 4,035 venues in North America, marking a scant 15% drop from last weekend. You know what those two shows have in common? They just tried to entertain the audience… not educate, or force satanic themes upon us. Speaking of education… Classical Conversations Classical Conversations supports homeschooling parents by cultivating the love of learning through a Christian worldview in fellowship with other families. We provide a classical Christ-centered curriculum, local like-minded communities across the United States and in several countries, and we train parents who are striving to be great classical educators in the home. For more information and to get connected, please visit our website at ClassicalConversations.com. Again that’s ClassicalConversations.com. Finally, let’s end today’s news brief, with a stroll down on this day in history! Jaws Theme Song - Play 1:07-1:18 Iconic! Anything directed by the great John Williams is just amazing… On June 20th, 1975, Jaws, a film directed by Steven Spielberg that made countless viewers afraid to go into the water, opens in theaters. The story of a great white shark that terrorizes a New England resort town became an instant blockbuster and the highest-grossing film in movie history until it was bested by 1977’s Star Wars. Jaws was nominated for an Academy Award in the Best Picture category and took home three Oscars, for Best Film Editing, Best Original Score and Best Sound. The film, a breakthrough for director Spielberg, then 27 years old, spawned several sequels. The film starred Roy Scheider as principled police chief Martin Brody, Richard Dreyfuss as a marine biologist named Matt Hooper and Robert Shaw as a grizzled fisherman called Quint. It was set in the fictional beach town of Amity, and based on a best-selling novel, released in 1973, by Peter Benchley. Subsequent water-themed Benchley bestsellers also made it to the big screen, including The Deep (1977). With a budget of $12 million, Jaws was produced by the team of Richard Zanuck and David Brown, whose later credits include The Verdict (1982), Cocoon (1985) and Driving Miss Daisy (1989). Filming, which took place on Martha’s Vineyard, Massachusetts, was plagued by delays and technical difficulties, including malfunctioning mechanical sharks. Jaws put now-famed director Steven Spielberg on the Hollywood map. Spielberg, largely self-taught in filmmaking, made his major feature-length directorial debut with The Sugarland Express in 1974. The film was critically well-received but a box-office flop. Following the success of Jaws, Spielberg went on to become one of the most influential, iconic directors in the film world, with such epics as Close Encounters of the Third Kind (1977), Raiders of the Lost Ark (1981), ET: the Extra-Terrestrial (1982), Jurassic Park (1993), Schindler’s List (1993) and Saving Private Ryan (1998). E.T., Jaws and Jurassic Park rank among the highest-grossing movies of all time. This has been your CrossPolitic Daily News Brief. If you liked the show, go ahead and hit that share button… or become a club member, as we’re starting to put out content only available to CLUB MEMBERS! Also check out our Fight Laugh Feast Magazine at flfnetwork.com/membership, and as always, if you want to talk corporate partnerships, let’s talk… email me, at garrison@fightlaughfeast.com. For CrossPolitc News, I’m Garrison Hardie. Have a great day, and Lord bless.

This is Garrison Hardie with your CrossPolitic Daily News Brief for Monday, June 20th, 2022. Here’s what you may have missed, over the weekend! On Saturday, game 2 of the Stanley Cup Finals between the Colorado Avalanche, and the Tampa Bay Lightning took place. The Avalanche took game 1, so Tampa Bay really wanted to even up the series as it shifts back to Florida today… and well… here’s how it went. If you’re a Tampa Bay fan, cover your ears! Cup Final, Gm2: Lightning @ Avalanche 6/18 | NHL Playoffs 2022 Play 0:48-1:05 Play 2:11-2:27 Play 3:40-3:55 Play 5:15-5:27 Play 6:25-6:35 Play 7:43-7:55 Play 8:15-8:30 https://www.outkick.com/nichushkin-stays-hot-avalanche-take-commanding-2-0-series-lead-over-lightning-in-stanley-cup-final/ What you just heard was the absolute demolition of the Tampa Bay Lightning at the hands of the Colorado Avalanche. The Tampa Bay Lightning came into Game 2 of the 2022 Stanley Cup Final with a plan. But like Mike Tyson once said, everybody’s got a plan until they get punched in the face. Or in this case, an avalanche of seismic proportions. Lightning head coach Jon Cooper said the key to evening up the series at two was weathering the storm in the first 10 minutes from the Colorado Avalanche. And yet, after those 10 crucial minutes of play inside Ball Arena, Colorado held a 2-0 advantage — just as they did in Game 1. The Avalanche’s onslaught started early and never let up, as Colorado defeated Tampa Bay, 7-0, to take an all-important 2-0 series lead. Why’s that so important, you ask? Teams leading 2-0 in the Stanley Cup Final are 47-5 all-time. The touchdown + extra point loss is Tampa Bay’s worst in its playoff history, topping the 5-0 defeat against the Toronto Maple Leafs in Round 1 this year and the 6-1 loss to the Philadelphia Flyers back in 1996, the franchise’s first ever playoff appearance. The Avalanche have now scored 11 goals through two games in the series and are 14-2 overall during the playoffs. The seven-goal margin is the largest in a Stanley Cup Final game since 1991, when the Pittsburgh Penguins defeated the Minnesota North Stars, 8-0, in Game 6 of the series. The series will now shift back to Tampa Bay for Games 3 and 4, with the Lightning looking for any sort of jolt from the Amalie Arena crowd. Puck drop for Game 3 is scheduled for Monday at 8 p.m. ET on ESPN. Lies, Propaganda, Story Telling, and the Serrated Edge: This year our national conference is in Knoxville, TN October 6th-8th. The theme of this year’s conference is Lies, Propaganda, Storytelling and the Serrated Edge. Satan is the father of lies, and the mother of those lies is a government who has rejected God. We have especially been lied to these last two years, and the COVIDpanic has been one of the central mechanisms that our government has used to lie to us and to grab more power. Because Christians have not been reading their bibles, we are susceptible to lies and weak in our ability to fight these lies. God has given us His word to fight Satan and his lies, and we need to recover all of God’s word, its serrated edge and all. Mark your calendars for October 6th-8th, as we fight, laugh and feast with fellowship, beer and Psalms, our amazing lineup of speakers, hanging with our awesome vendors, meeting new friends, and more. Early bird tickets are available now, but will be gone before you know it! Sign up now at flfnetwork.com/knoxville2022 https://www.politico.com/news/2022/06/19/world-swimming-transgender-athletes-00040722 Speaking of lies & Propaganda… let’s talk about transgender athletes! World swimming bans transgender athletes from women’s events World swimming’s governing body has effectively banned transgender women from competing in women’s events, starting Monday. FINA members widely adopted a new “gender inclusion policy” on Sunday that only permits swimmers who transitioned before age 12 to compete in women’s events. The organization also proposed an “open competition category.” “This is not saying that people are encouraged to transition by the age of 12. It’s what the scientists are saying, that if you transition after the start of puberty, you have an advantage, which is unfair,” James Pearce, who is the spokesperson for FINA president Husain Al-Musallam, told The Associated Press. “They’re not saying everyone should transition by age 11, that’s ridiculous. You can’t transition by that age in most countries and hopefully you wouldn’t be encouraged to. Basically, what they’re saying is that it is not feasible for people who have transitioned to compete without having an advantage.” Pearce confirmed there are currently no transgender women competing in elite levels of swimming. The World Professional Association for Transgender Health just lowered its recommended minimum age for starting gender transition hormone treatment to 14 and some surgeries to 15 or 17. FINA’s new 24-page policy also includes proposals for a new “open competition” category. The organization said it was setting up “a new working group that will spend the next six months looking at the most effective ways to set up this new category.” Pearce told the AP that the open competition would most likely mean more events, but those details still need to be worked out. The members voted 71.5% in favor at the organization’s extraordinary general congress after hearing presentations from three specialist groups — an athlete group, a science and medicine group and a legal and human rights group — that had been working together to form the policy following recommendations given by the International Olympic Committee last November. The IOC urged shifting the focus from individual testosterone levels and calling for evidence to prove when a performance advantage existed. FINA said it recognizes “that some individuals and groups may be uncomfortable with the use of medical and scientific terminology related to sex and sex-linked traits (but) some use of sensitive terminology is needed to be precise about the sex characteristics that justify separate competition categories.” In March, Lia Thomas a man, made history in the United States as the first man to win woman’s NCAA swimming championship, the 500-yard freestyle. The coward, Thomas said last month on ABC’s “Good Morning America” that he was aiming to become an Olympic swimmer. He also disputed those who say he has an unfair biological edge that ruins the integrity of women’s athletics, saying “trans women are not a threat to women’s sports.” The University of Pennsylvania didn’t immediately respond to a request for comment from Thomas. Other sports have also been examining their rules around transgender athletes. On Thursday, cycling’s governing body updated its eligibility rules for transgender athletes with stricter limits that will force riders to wait longer before they can compete. The International Cycling Union (UCI) increased the transition period on low testosterone to two years, and lowered the maximum accepted level of testosterone. The previous transition period was 12 months but the UCI said recent scientific studies show that “the awaited adaptations in muscle mass and muscle strength/power” among athletes who have made a transition from male to female takes at least two years. From sports, let’s go to entertainment, to infinity and beyond!!! https://variety.com/2022/film/box-office/box-office-lightyear-disappoints-1235298248/ Pixar’s ‘Lightyear’ Underwhelms With $51 Million Debut as ‘Jurassic World’ Stays No. 1 To infinity and beyond? Not exactly… “Lightyear,” a spinoff story set in Pixar’s “Toy Story” universe, fell short of that boundless milestone in its box office debut, collecting a lackluster $51 million from 4,255 North American theaters. Family audiences, the movie’s prime demographic, haven’t returned to theaters in full force since the start of the COVID-19 pandemic. Even so, those ticket sales are disappointing for a brand as recognizable as Pixar, the home of “The Incredibles,” “Finding Nemo” and “Up.” It’s particularly problematic given that “Lightyear” cost $200 million to produce and tens of millions more to market. Heading into the weekend, the Disney film was expected to generate at least $70 million. But its ambitions were thwarted by heightened competition from Universal’s behemoth “Jurassic World Dominion” and Paramount’s high-flying “Top Gun: Maverick,” as well as little intrigue to watch a slightly esoteric origin story about Buzz Lightyear, one that had only a tenuous connection to the four films in the popular kid-friendly franchise. With its wobbly liftoff, “Lightyear” landed in second place, becoming one of the rare Pixar films to not take the top spot at the domestic box office. Internationally, “Lightyear” earned $34.6 million from 43 markets, taking its global total to $85.6 million. The movie was banned in smaller foreign markets, including Saudi Arabia and the United Arab Emirates, because it depicts a same-sex kiss. Notably, “Lightyear” is the first Pixar movie to play on the big screen in more than two years — since “Onward” in March 2020. During the pandemic, three of the animation studio’s titles — “Soul,” “Luca” and “Turning Red” — skipped theaters to land directly on Disney+, leaving some box office analyst to question if consumers have been trained to watch Pixar movies at home. Other industry experts question if Disney is relying too heavily on brand recognition and not enough on execution. It’s not that people disliked the movie, which landed an “A-” CinemaScore and 77% on Rotten Tomatoes. But Disney certainly hoped that more ticket buyers would feel compelled to see “Lightyear” in theaters over the weekend. Believe me, I would have loved to see this movie. I mean, Toy Story was a part of my child-hood growing up, so it really pained me to see the headlines that they were going to force a gay kiss into the movie… based on that, I, and many of the people I’ve spoken with, refused to see the movie, as I’m sure all of our audience would agree. Even with a colossal 60% decline, “Jurassic World Dominion” managed to capture the box office crown again in a surprise upset. Universal’s prehistoric sequel generated $58.6 million from 4,697 cinemas in its second weekend of release, bringing its domestic total to $259 million. In third place, “Top Gun: Maverick” keeps flying high with a mammoth $44 million from 4,035 venues in North America, marking a scant 15% drop from last weekend. You know what those two shows have in common? They just tried to entertain the audience… not educate, or force satanic themes upon us. Speaking of education… Classical Conversations Classical Conversations supports homeschooling parents by cultivating the love of learning through a Christian worldview in fellowship with other families. We provide a classical Christ-centered curriculum, local like-minded communities across the United States and in several countries, and we train parents who are striving to be great classical educators in the home. For more information and to get connected, please visit our website at ClassicalConversations.com. Again that’s ClassicalConversations.com. Finally, let’s end today’s news brief, with a stroll down on this day in history! Jaws Theme Song - Play 1:07-1:18 Iconic! Anything directed by the great John Williams is just amazing… On June 20th, 1975, Jaws, a film directed by Steven Spielberg that made countless viewers afraid to go into the water, opens in theaters. The story of a great white shark that terrorizes a New England resort town became an instant blockbuster and the highest-grossing film in movie history until it was bested by 1977’s Star Wars. Jaws was nominated for an Academy Award in the Best Picture category and took home three Oscars, for Best Film Editing, Best Original Score and Best Sound. The film, a breakthrough for director Spielberg, then 27 years old, spawned several sequels. The film starred Roy Scheider as principled police chief Martin Brody, Richard Dreyfuss as a marine biologist named Matt Hooper and Robert Shaw as a grizzled fisherman called Quint. It was set in the fictional beach town of Amity, and based on a best-selling novel, released in 1973, by Peter Benchley. Subsequent water-themed Benchley bestsellers also made it to the big screen, including The Deep (1977). With a budget of $12 million, Jaws was produced by the team of Richard Zanuck and David Brown, whose later credits include The Verdict (1982), Cocoon (1985) and Driving Miss Daisy (1989). Filming, which took place on Martha’s Vineyard, Massachusetts, was plagued by delays and technical difficulties, including malfunctioning mechanical sharks. Jaws put now-famed director Steven Spielberg on the Hollywood map. Spielberg, largely self-taught in filmmaking, made his major feature-length directorial debut with The Sugarland Express in 1974. The film was critically well-received but a box-office flop. Following the success of Jaws, Spielberg went on to become one of the most influential, iconic directors in the film world, with such epics as Close Encounters of the Third Kind (1977), Raiders of the Lost Ark (1981), ET: the Extra-Terrestrial (1982), Jurassic Park (1993), Schindler’s List (1993) and Saving Private Ryan (1998). E.T., Jaws and Jurassic Park rank among the highest-grossing movies of all time. This has been your CrossPolitic Daily News Brief. If you liked the show, go ahead and hit that share button… or become a club member, as we’re starting to put out content only available to CLUB MEMBERS! Also check out our Fight Laugh Feast Magazine at flfnetwork.com/membership, and as always, if you want to talk corporate partnerships, let’s talk… email me, at garrison@fightlaughfeast.com. For CrossPolitc News, I’m Garrison Hardie. Have a great day, and Lord bless.

Words of Power by Wendy N. Wagner. Narrated by J.S. Arquin. Featuring an afterword by Wendy N. Wagner.    Kádár scrutinized the flake of clay on the blade of the screwdriver. "He's just getting too old to be a war truck," she said. "Look at this clay. The logos barely flickers in it." Zugsführer Warren spat on the packed earthen floor of the machine house. "You know I can't see that magic shit," he growled. "And it wouldn't matter if I did. An order is an order, Gefreiter Kádár, and the Oberst needs every last golem out on the field." The small woman wiped the screwdriver clean on her shirt tail and restrained a sigh. There was no point arguing with the big American; if anyone was a stickler for following orders, it was the Zugsführer. They'd butted heads before, and Kádár had come away with a headache. She stroked the pitted side of the golem. Even the Amero-Hungarian state seal, painted on each of its shoulders, looked worn out. "Poor old Benchley." "You name them?" She didn't bother glancing at Warren. Instead, she studied the dull gray places where the field operators had patched the injured clay. She narrowed her eyes. "This patch clay is shit," she growled. "Even the clay I used to convert him from a fighting man to a war truck was better than this, and I wouldn't have used that crap to make a singing tea pot."   Wendy N. Wagner is the editor-in-chief of Nightmare Magazine and the managing/senior editor of Lightspeed. Her short stories, essays, and poems run the gamut from horror to environmental literature. Her longer work includes the novella The Secret Skin, the horror novel The Deer Kings,  the Locus bestselling SF eco-thriller An Oath of Dogs,  and two novels for the Pathfinder role-playing game. She lives in Oregon with her very understanding family, two large cats, and a Muppet disguised as a dog. https://winniewoohoo.com/ Twitter: @wnwager facebook.com/wendynwagner   This is the final episode of The Overcast. Thank you so much for listening and for all of your support over the past 7 years!    Until we meet again... Keep dreaming,                                 J.S. Arquin  

Onchi, Lamp and Benchley have to grapple with the true, nefarious nature of the research they've been conducting for the past 2 years. Will they be able to correct the wrongs of their employers? And what part does Tyson have to play in all this?? Bubbo Boutique: Grab the limited edition character dice bags hand made by Elaine!Visit ScrapBrainStudios and use code "TABLEVERSE" for 10% off your purchase!Discord: Join our Discord to hang out with other fans and chat with us!If you liked this episode, share it and leave us a review and rating on iTunes!Find us on social media @thetableverse.Edited by: Justin Harris  Produced by: Elaine BledsoeCASTStarlord: Elaine BledsoeOnchi: Alison KlempBenchley Parker: Johnny McNultyTyson Williams: Quinten LamarLamp: Conor GallagherOriginal music composed by Jennifer RowekampOriginal artwork illustrated by Liara K. Crane

(An Offer I Can't Refuse) Stephanie and Aaron are joined by Richard Roeper (The Chicago Sun-Times, At the Movies with Roger Ebert) to talk about the 1975 thriller Jaws, directed by Steven Spielberg, written by Peter Benchley and Carl Gottlieb based on Benchley's book of the same name, and starring Roy Scheider, Robert Shaw, Richard Dreyfuss, Lorraine Gary, and Murray Hamilton.   For premium content, including bonus episodes, early access to episodes, video episodes, behind-the-scenes content, and more subscribe to An Offer I Can't Refuse at https://www.patreon.com/anofferpod

Introduction II Thessalonians 2:16 We believe and practice what's in the Bible – even the controversial stuff! I Peter 3:21 – Baptism is…

Jim Abernethy, diver and shark advocate, claims that sharks are "the dogs of the sea." How is that possible? What does that even mean? Lisa and Ann dive deep into their fears and fascinations. Who are sharks really, can you befriend them, and is it safe or even sane to do so? What does shark friendship look like? Want to follow up on our sources or watch any of the videos we mention? Go to ThisAnimalLIfe.com and click on Show Notes. References: Abernethy, Jim, featured in “Guy and Wild Shark Have Been Best Friends for Decades,” The Dodo Wild Hearts. August 4, 2020. Abernethy, Jim, featured with Eric Cheng in "Misunderstood Predators: Part 2," Tales by Light,  Netflix April 2017.. Abernethy, Jim. Scuba Adventures, dive-with-the-sharks website. Abernethy, Jim featured in “Shark Encounter in 180: Worth More Alive,” National Geographic on YouTube. Surprising and sobering interdependence between human and shark. Abernethy, Jim, “Tiger Shark Love,” YouTube video of Jim and Tarantino, November 2014. Benchley, Peter, Jaws, Random House, 1974. Frazer, Bryant, "The Deep (1977) Blu-Ray," Film Freak Central, June 2012. Article about the making of the film and Percy the eel puppets. Ghose, Tia, “Why Shark Embryos Gobble Each Other Up in Utero,” Live Science, April 30, 2013. Lazarus, Keo Felker, The Shark in Charlie's Window, Scholastic Book Services, 1972. Children's book. Martinez, Eli, “Brave explorer shows how to tame a giant man-eating tiger shark” by Tom Davidson. Mirror 2/8/2018. Moray eel puppet scene from The Deep on YouTube. Shiffman, David, “How Smart Are Sharks?” Sport Diver, July 30, 2020. Taylor, Valerie, featured in "Woman Shares a Magical Bond With A Spotted Moray Eel," by Sarah Barness,  Huffington Post, July 9, 2014. Taylor, Valerie with Honey the spotted moray eel, "Valerie Taylor Befriends a Spotted Moray Eel." Central Florida Aquarium Society. Weber, Chuck, “Are sharks the ‘dogs' of the ocean?” CBS, November 4, 2016.

I Thessalonians 4:1 Leaving our first love Ephesus timeline Paul's second journey: Acts 18:19-21 Paul's third journey: Acts 19 Paul's…

Personal notes: Today is Jesse Jenkins' last Sunday as a local preacher at Benchley. He's been working with the church in Benchley for 2…

[Due to to COVID19 restrictions, we are doing things a little differently at Benchley and an audio recording is not available for this…

[Due to to COVID19 restrictions, we are doing things a little differently at Benchley and an audio recording is not available for this…

[Due to to COVID19 restrictions, we are doing things a little differently at Benchley and an audio recording is not available for this…

[Due to to COVID19 restrictions, we are doing things a little differently at Benchley and an audio recording is not available for this…

[Due to to COVID19 restrictions, we are doing things a little differently at Benchley and an audio recording is not available for this…

[Due to to COVID19 restrictions, we are doing things a little differently at Benchley and an audio recording is not available for this…

[Due to to COVID19 restrictions, we are doing things a little differently at Benchley and an audio recording is not available for this…

[Due to to COVID19 restrictions, we are doing things a little differently at Benchley and an audio recording is not available for this…

[Due to to COVID19 restrictions, we are doing things a little differently at Benchley and an audio recording is not available for this…