Podcast appearances and mentions of Brenda Fricker

Thaddeus and Chauncey say good-bye to World Cup fever and celebrate the Dodgers rebounding after the All-Star Break. They discuss whether the Dodgers will be buyers at the deadline and hope the Angels decide to be sellers. Later, they talk about LeBron going to Philly and Tony Romo having a bad day. Afterwards, they take a look at some Comicon trailers and get excited about "Lanterns", "Clayface", "The Batman Part II", and breakdown the first look at "Avengers: Doomsday". Chauncey shares his thoughts on the latest episodes of "X-MenL: 97" as well as what the MCU can do at ComicCon to restore some confidence. The guys review trailers for "Uprising", "Digger", "Resident Evil", "I Play Rocky", and "Other Mommy". Chauncey bids farewell to Sam Neill, Brenda Fricker, and Chuck Russell. Finally, they share what they watched this week including "Love Island", "Big Brother", "The Challenge", "The Odyssey", "Jeopardy", UFC 329, and more. LA PODFIDENTIAL is part of the LAFB PODCAST NETWORK Follow us on bluesky: @bigchaunc64.bsky.social, on Insta: @bigchaunc64, and Letterboxd: ChaunceyT Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

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Listen to #Pulse95Radio in the UAE by tuning in on your radio (95.00 FM) or online on our website: www.pulse95radio.net ************************ Follow us on Social. www.instagram.com/pulse95radio www.facebook.com/pulse95radio

Brenda Fricker became the first Irish woman to win an Academy Award for her performance in the film “My Left Foot”. She began her career with parts in Ireland's first soap opera Tolka Row, ITV's Coronation Street, and became a household name as the nurse Megan Roach in Casualty on the BBC. Her friend and fellow actress Anna Friel pays tribute.The BBC's long-serving correspondent David Willey was a renowned authority on the Vatican, covering the lives and deaths of five popes. Before he settled in Rome, David had travelled widely for the BBC, reporting from Algeria, the Vietnam War and China just after the communist revolution. Two of his colleagues, former Chief News Correspondent Kate Adie and International Editor Jeremy Bowen, share their memories of working with him.The name David Austin is forever indelibly associated with the rose growing business. He created some of the most sought after roses, naming new varieties after fictional or real-life people, including Gabriel Oak from Far From the Madding Crowd, the actress Dame Judi Dench and ceramicist Emma Bridgewater - who pays tribute to him alongside Gardeners' World presenter Sue Kent.Wally Funk broke records as the oldest person to go to space onboard Jeff Bezos' Blue Origin Rocket in 2021. In the early 1960s she was part of a group of women known as the Mercury 13 who were tested to see if they could compete with male astronauts for a place in the American space programme. But the project was abandoned and her hopes dashed. Loretta Hall, who co-wrote her memoir, tells us her story. Producer: Ben Mitchell Assistant Producer: Catherine Powell Researcher: Jesse Edwards Editor: Andrea KennedyArchive: "My Left Foot", Ferndale Films, Granada Film, RTÉ, Hell's Kitchen Films; BBC One, Wogan, 16/02/1990; 62nd Academy Awards, The Academy of Motion Picture Arts and Sciences, 26/03/1990; BBC Radio 4, Woman's Hour, 05/03/1997; BBC One, Wogan, 15/02/1991; BBC Radio 4, Sunday, 10/03/2013; BBC Radio 4, Archive on 4, From our Rome Correspondent, 07/04/2012; BBC One, RHS Chelsea Flower Show, 21/05/2007; BBC One, Football Focus, 06/10/2018; BBC Radio 4, Woman's Hour, 19/06/2019; BBC News, 19/06/1983; Blue Origin, YouTube, 20/07/2021; Other audio courtesy of Loretta Hall

Host Matthew Socey has a chat with Taffeta V (host of the podcast Late) and Devon Dean about the impact of actors Sam Neill, Brenda Fricker and Dave Kendall (MTV's 120 Minutes).

En el último programa de la temporada Mary Carmen Rodríguez se adentra en la pareja por antonomasia de toda una generación como es la formada por Tom Holland y Zendaya que este mes hacen doblete conjuntamente en la cartelera. Una de esas películas es "La odisea" que lleva a que Iker González Urresti abra La Música Clásica De Nuestro Tiempo con el análisis de una banda sonora que puede volver a llevar hacerle ganar el Oscar a Ludwig Göransson. Además el recuerdo In Memoriam a los actores Sam Neill y Brenda Fricker. Spooky a los mandos técnicos. ¡Muchas gracias por escucharnos!

Shane Gillen tells Oliver about his new portrait honouring the late Brenda Fricker.

Labhraíonn Rónán Ó Muirthile le Cuán faoi scéalta móra na seachtaine.

This Week on Pure Dead Gaming  Another packed week ahead — from Mbappé fronting the FC 27 cover to Sony finally winding down PS3's digital store We'll also touch on the inFAMOUS 2 online shutdown and the latest batch of 80‑plus scoring games lighting up OpenCritic.Then we'll look forward to what's coming next week — plus a heartfelt movie segment revisiting Home Alone 2 in memory of Brenda Fricker.If you enjoy the episode, please rate and review — it genuinely helps support the show.Want to get involved in next week's episode? Drop your thoughts in our form:https://shorturl.at/kpEZ2Timestamps00:00:00 Intro14:30 Games Played30:30 Latest Opencritic Scores38:26 Out Next Week 55:09 News1:11:40 Movie Review: Home Alone 2Links & Socials  PureDeadGaming.comBrand — @puredeadgamingCraig — @puredeadcraigJess — @xjesixAndy — @AkGarfunkelEverything else: https://bio.link/puredeadgamingTheme Song by David FinlaysonAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In de feestelijke 50e aflevering van de Gremlins Back 2 Back podcast worden Swing Shift (1984) en Eternity (2025) besproken. Sven graaft in zijn videotheek-geheugen voor Goldie Hawn, Maarten evalueert het star-charisma van Miles Teller en Callum Turner en beide heren tonen zich grote fan van een bepaalde premisse. Tijdens de intermission wordt stilgestaan bij het overlijden van Sam Neill en Brenda Fricker, trekken de hosts naar de cinema voor The Odyssey en heeft Maarten het over Toy Story 5, Mortal Kombat II, Backrooms en Disclosure Day. Omdat aflevering 50 een feestje verdient, krijgen de luisteraars na het reguliere gedeelte een bijzondere extra voorgeschoteld: de integrale live podcast die in oktober 2025 werd opgenomen in de bibliotheek van Sint-Katelijne-Waver. Daarin hadden Sven en Maarten het onder andere, hoe kan het ook anders, over films die exact 50 jaar oud zijn. Een ideaal haakje voor deze jubileumaflevering! De luisteraar mag bovendien de volgende aflevering bepalen! Welke twee films moeten Sven en Maarten zeker bekijken? Laat het weten via de reacties en wie weet bespreken de heren jouw film wel in episode 51 van de Gremlins Back 2 Back podcast!

The FullyGeeked Boys return for Episode 338 with a Live and Rich is back after we contemplated giving him his P45. Entertainment News includes several RIPs to some greats in Brenda Fricker, Kaylee Hottle and Kevin Keegan. Blue Beetle star Xolo Mariduena will be in the Man of Tomorrow Film. The Batman 2 has been pushed back again till 18th Feb 2028 and we look back at the World Cup 2026 and the impact it is going to have. Trailer of the week (⁠⁠⁠⁠34:00⁠⁠⁠⁠) include I Play Rocky (⁠⁠⁠⁠⁠#AmazonMGMStudios⁠) (20th November 2026), Misty Green (⁠⁠⁠⁠⁠⁠#A24⁠⁠) (September 2026), Power: Origins (⁠⁠⁠⁠⁠⁠#Starz) (2026), Clayface (⁠⁠⁠⁠⁠⁠#WarnerBrosPictures⁠) (23rd October 2026), Avengers: Doomsday (18th December 2026) (#WaltDisneyStudios).Before this week we go straight into what's been hot over the past week in TV and Films: X-Men 97 S2E5 (⁠⁠⁠⁠⁠⁠⁠⁠⁠#DisneyPlus⁠⁠) (⁠⁠⁠59:43⁠⁠⁠⁠⁠⁠⁠⁠) Cape Fear S1 E8 (⁠⁠⁠⁠⁠⁠⁠⁠#AppleTV⁠⁠⁠⁠⁠⁠) (⁠⁠⁠⁠⁠⁠⁠⁠01:16:45⁠⁠⁠⁠⁠⁠⁠⁠), House of the Dragon S3E5 (⁠⁠⁠⁠⁠⁠⁠⁠⁠#HBOMax⁠⁠⁠⁠) (⁠⁠⁠⁠⁠⁠⁠⁠⁠#SkyAtlantic⁠⁠⁠⁠) (⁠⁠⁠01:16:45⁠⁠⁠⁠⁠⁠⁠), The Odyssey (⁠⁠⁠⁠⁠⁠⁠⁠#UniversalPictures) (⁠⁠⁠36:55⁠⁠⁠⁠⁠⁠⁠), among many more ......⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#Podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#TheFullyGeekedPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#Films⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#TV⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#Review⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#GuysThatPodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#Like⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#Movies⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#Follow⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#Comment⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#Subscribe⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#Youtube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#FYP⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#PodcastReady⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

NBA News, NFL News , MLB News, WNBA News, NHL News, A Farewell to Duane Ward, Ron Hunt, Jayden Dalke, Hannah Rapp, Brenda Fricker, Dom Taylor, Peter Lassally, Kaylee Hottle, William Wisher Jr, Jennifer Finch, Freddy Cannon, John Kirby, LaToya Malcolm, Joe Caldwell, Hall Williams & David Kendall!

Los responsables de Decine21 comentan los estrenos de "Motorcity", "La última travesía", "Dos de más" y "El sueño americano", hablan de la repercusión de "La Odisea", de Christopher Nolan y recuerdan la carrera de la recientemente fallecida Brenda Fricker, y de Norman Jewison y Luis Sánchez Polack "Tip", en sus respectivos centenarios. Como todas las semanas, José María Aresté, Pablo de Santiago y Juan Luis Sánchez, recomiendan un clásico, una película reciente y una serie.

This week Esther O'Moore-Donohoe and I discuss the sad death of Brenda Fricker, Matty Healy's wedding to Gabriette, whether or not Prince Harry is Charming and Joanne and Vogue's rivalry with Katie Price's husband.To support the podcast and access bonus episodes, join the community on Patreon here. Hosted on Acast. See acast.com/privacy for more information.

RUNDOWN   Mitch and Hotshot Scott open Episode 391 by previewing football season for patrons before a laugh about Scott's father-in-law hijacking the family's evening. They hit the Mariners' 100-game .500 mark, reminisce about the Big Red Machine, then shift to the World Cup, where both stayed hooked long after Team USA's exit. Mitch and Scott rave about teenage phenom Lamine Yamal, poke fun at FIFA's halftime show, preview Seahawks camp, Ryan Fox's British Open win, and Bryson DeChambeau's penalty. Ray Roberts and Mitch discuss Seattle's new ownership, why the defending Super Bowl champs still seem overlooked, and what the Seahawks gained—and lost—this offseason. Roberts also shares hilarious training camp stories, from sneaking home to sleep in his own bed to finally meeting childhood hero Ed "Too Tall" Jones, the player who inspired him to wear No. 72. Mitch, Joe Doyle, and Brady Farkas break down another uneven Mariners series as Seattle reaches the 100-game mark at 50-50. They argue Dan Wilson has become an unfair scapegoat for a flawed roster, praise Cole Young's continued rise, and discuss Julio Rodríguez's return, Colt Emerson's progress, and looming roster decisions. Mitch welcomes three beat reporters who know the Mariners' top draft picks better than anyone. Sam Sklar breaks down first-round slugger Ace Reese, Koki Riley explains why LSU outfielder Jake Brown could become a second-round steal, and Scott Springer profiles Cincinnati right-hander Nathan Taylor, whose bulldog mentality and dominant slider made him one of the draft's best values. Together, they provide an inside look at Seattle's newest wave of talent and what fans can expect from each prospect.   GUESTS   Ray Roberts | Former Seahawks offensive lineman and Seahawks Radio Network Analyst Brady Farkas | Host, Refuse to Lose podcast Joe Doyle | MLB analyst, Over-Slot Sam Skylar | Mississippi State beat reporter, Clarion Ledger Koki Riley | LSU beat reporter, The Daily Advertiser and USA Today Scott Springer | Cincinnati Bearcats beat reporter, The Enquirer   TABLE OF CONTENTS   0:00 | World Cup Wrap, British Open Chaos & Birthday Trivia 26:378 | Ray Roberts; Training Camp Memories, New Seahawks Ownership & Barry Sanders Stories 55:12 | Mariners No-Table; Mariners Tread Water as Trade Deadline Decisions Loom 1:13:03 | Sam Skylar, Koki Riley, Scott Springer [Beat Reporters]; Inside the Mariners' Top Three Draft Picks 1:39:34 | Other Stuff: Josh Kerr breaks the 27-year-old mile record with a blistering 3:42, Roger Bannister's four-minute mile legacy, Alex Rodriguez's factually disastrous Justin Verlander interview during the All-Star Game, Mike Tyson's viral ESPYs moment after learning Shohei Ohtani is a man, Baron Davis sued by his sister over an alleged real estate fraud, suspended Cardinals executive Ryan Gold denies violating the NFL gambling policy, Matt Fitzpatrick says legalized sports betting is fueling fan abuse of golfers, JPMorgan executive Lorna Tsoujini countersues after denying allegations she tried to make a coworker her "sex slave." HEADLINES 93-year-old truck driver seeks Guinness World Record, naked man arrested for surfing atop a moving locomotive, reports claim Donald Trump's biological waste was transported back to the United States after a trip to Turkey, woman prescribed Diet Coke for an Ozempic-related stomach blockage, Peru sees a surge of babies named Holland and Erling Haaland after the Norwegian soccer star. RIPS Sam Neill (78), Brenda Fricker (81), Janice McNair (89).

This week on The Halloween Podcast, we cover one of the biggest paranormal stories of the year as Jason Hawes is officially listed as the owner of The Conjuring House, take a look at HalloweenCostumes.com's massive reveal of more than 100 new animatronics and inflatables, and discuss the announcement that a brand-new A Nightmare on Elm Street film is officially in development, along with Robert Englund's thoughts on the future of Freddy Krueger. We also head Around the Crypt with news about Connecticut's Forsaken Lands haunted attraction relocating, a new Choose Your Own Adventure Halloween book, and after-dark ghost tours at Australia's historic Gladstone Gaol. Plus, we remember Sam Neill and Brenda Fricker, welcome a new Pumpkin Room supporter, and read another fantastic five-star Apple Podcasts review. Story Links Jason Hawes & The Conjuring House https://www.wpri.com/target-12/who-owns-the-conjuring-house-jason-hawes-records-deed-amid-court-fight/amp/ HalloweenCostumes.com Reveals 100+ New Decorations https://horrorfuel.com/2026/07/15/video-halloweencostumes-com-drops-over-a-hundred-new-animatronics-and-inflatables/ New A Nightmare on Elm Street Movie Announced https://people.com/new-nightmare-on-elm-street-movie-announced-12019000 Robert Englund Discusses Freddy's Future https://www.yahoo.com/entertainment/movies/articles/robert-englund-return-freddy-krueger-213827060.html The Forsaken Lands Relocating https://www.yahoo.com/news/us/articles/one-connecticuts-biggest-halloween-attractions-100000803.html Choose Your Own Adventure: Fairy House Halloween https://bleedingcool.com/pop-culture/choose-your-own-adventure-preps-for-october-in-fairy-house-halloween/ Gladstone Gaol Halloween Ghost Tours https://glamadelaide.com.au/this-halloween-gladstone-gaol-is-opening-its-gates-after-dark-for-a-haunting-ghost-tour-that-delves-into-the-prisons-chilling-past/ Follow The Halloween Podcast Websitehttps://www.TheHalloweenPodcast.com Facebookhttps://www.Facebook.com/TheHalloweenPodcast Instagramhttps://www.Instagram.com/TheHalloweenPodcast YouTubehttps://www.YouTube.com/TheHalloweenPodcast EmailInfo@TheHalloweenPodcast.com Haunt Line731-400-0472 Support the Show on Patreonhttps://www.Patreon.com/TheHalloweenPod Happy Halloween! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Gay homosexuals Nick and Joseph review A Cry in the Dark Angels (released as Evil Angels within Australia and New Zealand) a 1988  film directed by Fred Schepisi. The screenplay by Schepisi and Robert Caswell is based on John Bryson's 1985 book of the same name. It chronicles the case of Azaria Chamberlain, a nine-week-old baby girl who disappeared from a campground near Uluru in August 1980, and the struggle of her parents, Michael Chamberlain and Lindy Chamberlain, to prove their innocence to a public convinced that they were complicit in her death. Meryl Streep and Sam Neill.Additional topics include:Sigourney Weaver slapping Shia LaBeouf's dadDenver restaurantsWest Hollywood water main breakThe deaths of Hal Williams, Lindsay Graham, Brenda Fricker, and Sam NeillJoin us on Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/FishJellyFilmReviews⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Want to send them stuff? Fish Jelly PO Box 461752 Los Angeles, CA 90046Find merch here: https://fishjellyfilmreviews.myspreadshop.com/allVenmo @fishjellyVisit their website at www.fishjellyfilms.comFind their podcast at the following: Anchor: https://anchor.fm/fish-jelly Spotify: https://open.spotify.com/show/388hcJA50qkMsrTfu04peH Apple Podcasts: https://podcasts.apple.com/us/podcast/fish-jelly/id1564138767Find them on Instagram: Nick (@ragingbells) Joseph (@joroyolo) Fish Jelly (@fishjellyfilms)Find them on Letterboxd: https://letterboxd.com/ragingbells/ https://letterboxd.com/joroyolo/Nick and Joseph are both Tomatometer-approved critics at Rotten Tomatoes: https://www.rottentomatoes.com/critics/nicholas-bell https://www.rottentomatoes.com/critics/joseph-robinson

AP correspondent Jennifer King reports on the passing of Irish actress Brenda Fricker.

Grainne Humphreys, Director of the Dublin International Film Festival and good friend of the actress, joined Rachael to pay tribute.

Lise Hand and Cathal O'Sullivan join The Last Word for the week trending. They pay tribute to Oscar-winning Irish actress Brenda Fricker who has died at the age of 81. They also look ahead to the World Cup final on Sunday and, as the heatwave continues, they ask, when is it acceptable for men to be topless in public?Catch the full chat by pressing the ‘Play' button on this page!

Evelyn O'Rourke, Arts and Media Correspondent, and My Left Foot actors Hugh O'Conor and Phelim Drew remember the Oscar-winner

Star of stage and screen Fiona Shaw gives her thoughts on the passing of Brenda Fricker, who she appeared with in 'My Left Foot'

Oscar-winning Irish actor Brenda Fricker, who starred in ‘My Left Foot' and ‘Home Alone 2: Lost in New York', has passed away at the age of 81…Joining Ciara to look back on her life and career is John Fardy, Presenter of Screentime on Newstalk, and later filmmaker Tadgh O'Sullivan, Director of the Dublin International Film Festival Grainne Humphries and Virginia Gilbert, Writer & Filmmaker.

Windsor-Essex remains under an orange air quality warning, five local beaches reported elevated bacteria levels, and Oscar-winning actress Brenda Fricker passes away. All the noon headlines on the go.

Welcome Back Everyone! Thank You for joining us once again!   1st Film: Johnnie's Pick Masterminds (1997) Directed by: Roger Christian Starring: Patrick Stewart, Vincent Kartheiser, Brenda Fricker and Bradley Whitford 2nd Film: Director Choice - Wes Anderson  Fantastic Mr Fox (2009) Directed by: Wes Anderson Starring: George Glooney, Meryl Streep, Bill Murray and Jason Schwartzman Thanks for Listening! Email:   Strangerthanflicktion@gmail.com Twitters:  Podcast- @SFlicktion Joey - @SpaceJamIsMyjam Jacob - @Jabcup Johnnie- @Shaggyroaddogg Time Stamps: Masterminds -  Rate and Review - 00:33:20 Fantastic Mr. Fox - Review and Rate  -  00:53:10

On this week's episode, we're joined by Hugh O'Conor. Hugh is an accomplished Irish actor, writer, photographer and director from Dublin. Hugh began his career at a young age, first capturing audiences' attention in "Lamb" alongside the great Liam Neeson. He went on to deliver a remarkable performance as the young Christy Brown in "My Left Foot", starring Oscar winners Daniel Day-Lewis and Brenda Fricker, a role that remains one of the most memorable in Irish cinema history. As an adult, Hugh has built an impressive and varied career across film, television, and stage, with standout performances in productions such as "Showbands" and "The Stag". Beyond acting, he has also established himself as a talented writer and director. His latest project “Showkids”, which he both wrote and directed, is currently airing on RTÉ One every Sunday evening and has been receiving rave reviews for its warmth, humour, and family-friendly charm. Join us as we talk to Hugh about his early start in film, his journey from child star to accomplished filmmaker, and his creative process both in front of and behind the camera.Let Christy Take It is proud to bring you Hugh O'Conor. If you enjoy our show please Like and subscribe wherever you listen to your podcasts. Thanks to our sponsor Irish Woodcraft, please check them out at https://irishwoodcraft.ie

Brendan O'Connor meets Brenda Fricker, Morning Ireland says farewell to Mary and Aine and the presidential election campaign gets underway... Presented by Brian O'Connell.

Helen Whitney is an Oscar nominated, and Emmy and Peabody award-winning, producer, director and writer of documentaries and feature films. Her subjects have included youth gangs, presidential candidates, the McCarthy era, mental illness, Pope John Paul II, Great Britain's class structure and photographer Richard Avedon. She's worked with actors like David Straithern, Brenda Fricker and Estelle Parsons. Her works have been featured prominently on PBS, HBO and ABC. Helen has received numerous prizes and awards. She is a Woodrow Wilson Fellow and has presented her films and lectured at universities, museums and churches and seminaries around the country.My featured song is “Hollywood” from the album The PGS Experience by my band Project Grand Slam. Spotify link.------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH HELEN:www.helenwhitney.com—----------------------------------------ROBERT'S NEWEST SINGLE:“SUNDAY SLIDE” is Robert's newest single. It's been called “A fun, upbeat, you-gotta-move song”. Featuring 3 World Class guest artists: Laurence Juber on guitar (Wings with Paul McCartney), Paul Hanson on bassoon (Bela Fleck), and Eamon McLoughlin on violin (Grand Ole Opry band).CLICK HERE FOR ALL LINKSCLICK HERE FOR THE OFFICIAL VIDEO—-------------------------------------------ROBERT'S NEWEST ALBUM:“WHAT'S UP!” is Robert's new compilation album. Featuring 10 of his recent singles including all the ones listed below. Instrumentals and vocals. Jazz, Rock, Pop and Fusion. “My best work so far. (Robert)”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com  

Academy award winner, Brenda Fricker, invited Brendan into her home to talk about the events that have shaped her life. Her memoir is called 'She Died Young - A Life in Fragments' - published by Head of Zeus. And her new film, The Swallow, is on release at selected cinemas. The interview covers difficult themes.

This Culture File Digital Single meets Filmmaker, Tadhg O'Sullivan who speaks about his new film starring Brenda Fricker, The Swallow, a watery, elegiac meditation on memory and loss, and memory loss.

The Munsons shift gears from one of Hollywood's biggest stars to one of its most grounded character actors—Robert Forster. After Kyle recounts a run-in with Thomas McKenzie (and maybe the Bird Lady, Brenda Fricker?), we dive into Forster's remarkable and often overlooked career. The box office spreadsheet shows a stark contrast from Harrison Ford—going from first to nearly last—but Forster's story is anything but small. Entering Hollywood completely naive, he built a career on perseverance, a little luck (as he himself admitted), and an unshakable authenticity. We unpack the tragic and surreal story of his mother's self-immolation, his complete comfort with full frontal nudity on screen (respect), and his uncanny ability to ground films—whether they were good, bad, or somewhere in between. Was he one of the few actors who could have brought Max Cherry to life in Jackie Brown? The Munsons think so. Along the way, we discuss his repeated turns as law enforcement officials, debate whether “perfectly cromulent” defines his acting style, and reflect on his late-career roles before his passing from a brain tumor in 2019. This episode celebrates a man who may not have been a box office titan, but was the quiet engine behind some truly great films.  Where does Robert Forster rank on the Munson Meter?  Listen and find out.  

The Swallow, a feature film by Tadhg O'Sullivan featuring Academy Award winning actress Brenda Fricker, will be released in select Irish cinemas from September 19th. The film was shot on location in Co. Clare. To find out more, Alan Morrissey was joined by the man behind The Swallow, the Clare-based filmmaker, Tadhg O'Sullivan. Image (c) The Swallow, a film by Tadhg O'Sullivan - featuring Brenda Fricker

This week on Screentime John Fardy is joined by film critic Cara O'Doherty to review ‘Downton Abbey: The Grand Finale'. John is also joined by director Tadgh O'Sullivan to talk about his new film, ‘The Swallow', which sees Brenda Fricker play an artist looking back on her life and writing a long letter to an unknown correspondent. Plus, all the week's new TV you'll want to steam or skip.

Send us a textKatie and Bridget wave their arms at a baseball game as they re-watch the Disney classic: Angels in the Outfield! Come along as we meet Roger, a foster child living in a temporary home with his BFF J.P, who's also a foster child and it's SAD, GUYS. When his deadbeat dad tells him that they'll only ever be a family again if the California Angels baseball team wins the pennant, Roger prays to God for some help - and he/she listens! For some reason, that prayer gets listened to! Don't! Ask! Questions! Roger and J.P. watch as the Angels begin to win in miraculous ways and they convince the coach that it's angels, which honestly he just radically believes and it's great. This movie brings on all the tears as it asks the deep questions, such as: Why are people so willing to believe in God but not other miraculous things? Why didn't anyone punch Roger's deadbeat dad in the face multiple times throughout this movie? WILL J.P. EVER BE GIVEN THERAPY BECAUSE HE'S CRYING WAY TOO MUCH FOR MY LIKING!? All this and more in this emotionally charged Disney film! Released in 1994, it stars Danny Glover, Brenda Fricker, Tony Danza, Christopher Lloyd, Ben Johnson, Joseph Gordon-Levitt, Milton Davis Jr., Adrien Brody, Matthew McConaughey, and Dermot Mulroney.

fWotD Episode 2811: Josette Simon Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Tuesday, 14 January 2025 is Josette Simon.Josette Patricia Simon (born 1959 / 1960) is a British actor. She trained at the Central School of Speech and Drama in London and played the part of Dayna Mellanby in the third and fourth series of the television sci-fi series Blake's 7 from 1980 to 1981. First performing as a 14-year-old, in the choir for the world premiere of the finalized Joseph and the Amazing Technicolor Dreamcoat, she has continued a career in stage productions, appearing in 50 Royal Shakespeare Company (RSC) productions, from the single press night performance as a featured character in Salvation Now at the Warehouse theatre in 1982, through to playing Cleopatra in a six-month run of Antony and Cleopatra at the Royal Shakespeare Theatre in 2017. The first black woman in an RSC play when she appeared in Salvation Now, Simon has been at the forefront of colour-blind casting, playing roles traditionally taken by white actors, including Maggie, a character who is thought to be based on Marilyn Monroe, in Arthur Miller's After the Fall at the Royal National Theatre in 1990.Simon's first leading role at the RSC, the first principal part filled by a black woman for the company, was as Rosaline, in Love's Labour's Lost, directed by Barry Kyle, in 1984. In 1987, she appeared for the RSC again, in the lead role of Isabelle in Measure for Measure. Later leading roles for the RSC saw her as Titania/Hippolyta in A Midsummer Night's Dream (1999–2000) and Cleopatra in Antony and Cleopatra (2017–2018). She has played numerous other roles across stage, television, film, and radio. She starred alongside Brenda Fricker in the two-part television series Seekers (1993), written by Lynda La Plante. Simon has portrayed senior police officers in Silent Witness (1998), Minder (2009), and Broadchurch (2017); and portrayed a defence lawyer in Anatomy of a Scandal (2022).Simon won the Evening Standard's Best Actress award, a Critics' Circle Theatre Award, and Plays and Players Critic Awards for After the Fall and two film festival awards for her part in Milk and Honey (1988). She was made an Officer of the Order of the British Empire in 2000, for services to drama.This recording reflects the Wikipedia text as of 01:15 UTC on Tuesday, 14 January 2025.For the full current version of the article, see Josette Simon 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 generative Kajal.

“Another sympathetic reaction is watching people above the age of 30 fall on their backs. How is he walking?!” New friend of the show Amber Flannery Field – the only good tour guide in New York City – stops by to discuss Home Alone 2: Lost in New York. Strap the heck in for a discussion on the highly protected institution of the white American boy, the “clean-up” of New York City in the 90s, the racial politics of tourism, power, homelessness, violence and – look out below – Brenda Fricker. Settle in and learn why they call Amber “America's comic.” Also, what is a Lynchian couch? Gotta listen ‘til the end. This is about Home Alone 2, by the way.

While this is definitely a Christmas movie, Home Alone 2: Lost in New York should not have been made. It's a remake of Home Alone that came out 2 years before, but with worse pacing and less stakes. Written by John Hughes, directed by Chris Columbus, and starring Macaulay Culkin, Joe Pesci, Daniel Stern, John Heard, Tim Curry, Brenda Fricker, and Catherine O'Hara. --- Support this podcast: https://podcasters.spotify.com/pod/show/thegenxfiles/support

Brent, Nate, and Kate catch the wrong flight and end up watching the 1992 American Christmas comedy Home Alone 2: Lost in New York starring: Macaulay Culkin, Joe Pesci, Daniel Stern, Catherine O'Hara, John Heard, Devin Ratray, Hillary Wolf, Maureen Elisabeth Shay, Michael C. Maronna, Gerry Bamman, Terrie Snell, Jedidiah Cohen, Senta Moses, Daiana Campeanu, Kieran Culkin, Anna Slotky, Tim Curry, Brenda Fricker, Eddie Bracken, Dana Ivey, Rob Schneider, Leigh Zimmerman, and Ralph Foody Hosted on Acast. See acast.com/privacy for more information.

In this episode of Film Ireland presents, Gemma Creagh talks with BAFTA-nominated writer/director Virginia Gilbert about her powerful and evocative film Reawakening. Virginia Gilbert is an award-winning, BAFTA and IFTA nominated writer and director. Her screenwriting work has been placed on the BritList and she was named as a 'Star of Tomorrow' by Screen International. Her debut short as writer-director, Hesitation, won numerous awards internationally and was nominated for a BAFTA and an IFTA. Her debut feature A Long Way From Home, starring Academy-Award winner Brenda Fricker, BAFTA winner James Fox and Natalie Dormer, was nominated for the Michael Powell award for Best British Feature. Recent work includes the two-part series finale of BBC One's Silent Witness – Betrayal; award-winning Screen Ireland short Day Out, starring Martin McCann and Alisha Weir and Home, starring Max Irons, currently on the festival circuit. Previous television credits include Lord Haw-Haw for RTE 1; Money, Money, Money, RTE 2; the award-winning series Whores and IFTA-nominated series An Irish State of Mind for TG4. Virginia is also a published author. Her fiction work has featured on BBC Radio 4 and her debut novel, Travelling Companion, has been optioned for screen. Reawakening is her second feature as writer-director and her first as producer.

It's like Die Hard for kids but Patrick Stewart is there and it's also kinda like Hackers but... not as smart? Yes, it's 1997's Masterminds and Nathan and Brendan discussed it this week. While Brendan stans hard for Brenda Fricker, Nathan points out all the non-lethal violence in a movie with a whole lot of guns. They also discuss taxi radios, the insane opening hacking sequence, the lead character doing serial killer stuff and much more. Next week: A big nerd-fest full o' nerds. What We've Been Watching: In a Violent Nature Twisters Questions? Comments? Suggestions? You can always shoot us an e-mail at wwttpodcast@gmail.com  Patreon: www.patreon.com/wwttpodcast Facebook: www.facebook.com/wwttpodcast Twitter: www.twitter.com/wwttpodcast Instagram: www.instagram.com/wwttpodcast Theme Song recorded by Taylor Sheasgreen: www.facebook.com/themotorleague Logo designed by Mariah Lirette: www.instagram.com/its.mariah.xo Montrose Monkington III: www.twitter.com/montrosethe3rd Masterminds stars Vincent Kartheiser, Patrick Stewart, Brenda Fricker, Bradley Whitford, Matt Craven, Annabelle Gurwitch, Callum Keith Rennie and Jon Abrahams; directed by Roger Christian. Learn more about your ad choices. Visit megaphone.fm/adchoices

We leave behind February musicians for March murderers! Erika and Paul dive into 1993's So I Married An Axe Murderer and delight in singing the praises of Nancy Travis and Amanda Plummer and Anthony LaPaglia and Brenda Fricker and Alan Arkin and…that's it, that's everyone who's going to get effusive praise in this episode. At least from Paul, Erika is, as always, a woman of the people!You can follow That Aged Well on Twitter (@ThatAgedWellPod), Instagram (@ThatAgedWell), Threads (@ThatAgedWell), and Spoutible (@ThatAgedWell)! SUPPORT US ON PATREON FOR BONUS CONTENT!THAT AGED WELL MERCH!Hosts: Paul Caiola & Erika VillalbaProducer & Editor: Paul Caiola

Documentary filmmaker, Tadhg O'Sullivan steps into the world of fiction, with his latest, The Swallow, starring Brenda Fricker as a painter recalling lost love.

The Earth Station One Rainbow Room screens the 2011 film adaptation of Thom Fitzgerald's stage play. Mike, Mike, Mary, and Ciaran Moffatt hit the road for this heartwarming and heartbreaking story starring Olympia Dukakis and Brenda Fricker. All this, along with Angela's A Geek Girl's Take, Ashley's Box Office Buzz, Michelle's Iconic Rock Moment, Creative Outlet with Jim Beard, and Shout Outs. We want to hear from you! Feedback is always welcome. Please write to us at feedback@earthstationone.com and subscribe and rate the show on Apple Podcast, Google Play, Spotify, Pandora, Amazon Music, wherever fine podcasts are found, and now we can be found on our own YouTube Channel. Links The Earth Station One Website Earth Station One on Apple Podcasts The Earth Station One YouTube Channel Earth Station One on Spotify Past Episodes of The Earth Station One Podcast Angela's A Geek Girl's Take Ashley's Box Office Buzz Michelle's Iconic Rock Talk Show Dolenz Sings R.E.M EvisionArts Please Attend Carefully Podcast Galloping Around the Cosmos The Jim Beard and Becky Books Page Promos Tifosi Optics Con Guys 42Cast The ESO Network Patreon Unique Crafts by Jenn ESO Network Tee-Public If you would like to leave feedback or a comment on the show please feel free to email us at feedback@earthstationone.com Special Guests: Ciarán Moffatt and Mary Ogle.

The Earth Station One Rainbow Room screens the 2011 film adaptation of Thom Fitzgerald's stage play. Mike, Mike, Mary, and Ciaran Moffatt hit the road for this heartwarming and heartbreaking story starring Olympia Dukakis and Brenda Fricker. All this, along with Angela’s A Geek Girl’s Take, Ashley's Box Office Buzz, Michelle's Iconic Rock Moment, Creative … An LGBT Look At Cloudburst Read More » The post An LGBT Look At Cloudburst appeared first on The ESO Network.

Charlie MacKenzie (Mike Myers) is afraid of commitment. He finds any reason to leave a relationship until he meats butcher, Harriet (Nancy Travis), who he quickly falls for. After introducing her to his best friend Tony (Anthony LaPaglia) and his parents (Brenda Fricker and Mike Myers) he recalls a Weekly World News article about a black widow who kills on her honeymoon night. He starts to suspect Harriet after noticing too many coincidences, but Tony convinces him it is his fear of commitment acting up. He marries her anyway only to be confronted on their wedding night by his wielding sister-in-lam Rose (Amanda Plummer). Will Charlie and Harriet live happily ever after? Find out this week on Doom Generation! Support this podcast at patreon.com/doomgeneration --- Send in a voice message: https://podcasters.spotify.com/pod/show/doomgeneration/message

We finally complete our mini-series on the 1980s movies released by Miramax Films in 1989, a year that included sex, lies, and videotape, and My Left Foot. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we complete our look back at the 1980s theatrical releases for Miramax Films. And, for the final time, a reminder that we are not celebrating Bob and Harvey Weinstein, but reminiscing about the movies they had no involvement in making. We cannot talk about cinema in the 1980s without talking about Miramax, and I really wanted to get it out of the way, once and for all.   As we left Part 4, Miramax was on its way to winning its first Academy Award, Billie August's Pelle the Conquerer, the Scandinavian film that would be second film in a row from Denmark that would win for Best Foreign Language Film.   In fact, the first two films Miramax would release in 1989, the Australian film Warm Night on a Slow Moving Train and the Anthony Perkins slasher film Edge of Sanity, would not arrive in theatres until the Friday after the Academy Awards ceremony that year, which was being held on the last Wednesday in March.   Warm Nights on a Slow Moving Train stars Wendy Hughes, the talented Australian actress who, sadly, is best remembered today as Lt. Commander Nella Daren, one of Captain Jean-Luc Picard's few love interests, on a 1993 episode of Star Trek: The Next Generation, as Jenny, a prostitute working a weekend train to Sydney, who is seduced by a man on the train, unaware that he plans on tricking her to kill someone for him. Colin Friels, another great Aussie actor who unfortunately is best known for playing the corrupt head of Strack Industries in Sam Raimi's Darkman, plays the unnamed man who will do anything to get what he wants.   Director Bob Ellis and his co-screenwriter Denny Lawrence came up with the idea for the film while they themselves were traveling on a weekend train to Sydney, with the idea that each client the call girl met on the train would represent some part of the Australian male.   Funding the $2.5m film was really simple… provided they cast Hughes in the lead role. Ellis and Lawrence weren't against Hughes as an actress. Any film would be lucky to have her in the lead. They just felt she she didn't have the right kind of sex appeal for this specific character.   Miramax would open the film in six theatres, including the Cineplex Beverly Center in Los Angeles and the Fashion Village 8 in Orlando, on March 31st. There were two versions of the movie prepared, one that ran 130 minutes and the other just 91. Miramax would go with the 91 minute version of the film for the American release, and most of the critics would note how clunky and confusing the film felt, although one critic for the Village Voice would have some kind words for Ms. Hughes' performance.   Whether it was because moviegoers were too busy seeing the winners of the just announced Academy Awards, including Best Picture winner Rain Man, or because this weekend was also the opening weekend of the new Major League Baseball season, or just turned off by the reviews, attendance at the theatres playing Warm Nights on a Slow Moving Train was as empty as a train dining car at three in the morning. The Beverly Center alone would account for a third of the movie's opening weekend gross of $19,268. After a second weekend at the same six theatres pocketing just $14,382, this train stalled out, never to arrive at another station.   Their other March 31st release, Edge of Sanity, is notable for two things and only two things: it would be the first film Miramax would release under their genre specialty label, Millimeter Films, which would eventually evolve into Dimension Films in the next decade, and it would be the final feature film to star Anthony Perkins before his passing in 1992.   The film is yet another retelling of the classic 1886 Robert Louis Stevenson story The Strange Case of Doctor Jekyll and Mister Hyde, with the bonus story twist that Hyde was actually Jack the Ripper. As Jekyll, Perkins looks exactly as you'd expect a mid-fifties Norman Bates to look. As Hyde, Perkins is made to look like he's a backup keyboardist for the first Nine Inch Nails tour. Head Like a Hole would have been an appropriate song for the end credits, had the song or Pretty Hate Machine been released by that time, with its lyrics about bowing down before the one you serve and getting what you deserve.   Edge of Sanity would open in Atlanta and Indianapolis on March 31st. And like so many other Miramax releases in the 1980s, they did not initially announce any grosses for the film. That is, until its fourth weekend of release, when the film's theatre count had fallen to just six, down from the previous week's previously unannounced 35, grossing just $9,832. Miramax would not release grosses for the film again, with a final total of just $102,219.   Now when I started this series, I said that none of the films Miramax released in the 1980s were made by Miramax, but this next film would become the closest they would get during the decade.   In July 1961, John Profumo was the Secretary of State for War in the conservative government of British Prime Minister Harold Macmillan, when the married Profumo began a sexual relationship with a nineteen-year-old model named Christine Keeler. The affair was very short-lived, either ending, depending on the source, in August 1961 or December 1961. Unbeknownst to Profumo, Keeler was also having an affair with Yevgeny Ivanov, a senior naval attache at the Soviet Embassy at the same time.   No one was the wiser on any of this until December 1962, when a shooting incident involving two other men Keeler had been involved with led the press to start looking into Keeler's life. While it was never proven that his affair with Keeler was responsible for any breaches of national security, John Profumo was forced to resign from his position in June 1963, and the scandal would take down most of the Torie government with him. Prime Minister Macmillan would resign due to “health reasons” in October 1963, and the Labour Party would take control of the British government when the next elections were held in October 1964.   Scandal was originally planned in the mid-1980s as a three-part, five-hour miniseries by Australian screenwriter Michael Thomas and American music producer turned movie producer Joe Boyd. The BBC would commit to finance a two-part, three-hour miniseries,  until someone at the network found an old memo from the time of the Profumo scandal that forbade them from making any productions about it. Channel 4, which had been producing quality shows and movies for several years since their start in 1982, was approached, but rejected the series on the grounds of taste.   Palace Pictures, a British production company who had already produced three films for Neil Jordan including Mona Lisa, was willing to finance the script, provided it could be whittled down to a two hour movie. Originally budgeted at 3.2m British pounds, the costs would rise as they started the casting process.  John Hurt, twice Oscar-nominated for his roles in Midnight Express and The Elephant Man, would sign on to play Stephen Ward, a British osteopath who acted as Christine Keeler's… well… pimp, for lack of a better word. Ian McKellen, a respected actor on British stages and screens but still years away from finding mainstream global success in the X-Men movies, would sign on to play John Profumo. Joanne Whaley, who had filmed the yet to be released at that time Willow with her soon to be husband Val Kilmer, would get her first starring role as Keeler, and Bridget Fonda, who was quickly making a name for herself in the film world after being featured in Aria, would play Mandy Rice-Davies, the best friend and co-worker of Keeler's.   To save money, Palace Pictures would sign thirty-year-old Scottish filmmaker Michael Caton-Jones to direct, after seeing a short film he had made called The Riveter. But even with the neophyte feature filmmaker, Palace still needed about $2.35m to be able to fully finance the film. And they knew exactly who to go to.   Stephen Woolley, the co-founder of Palace Pictures and the main producer on the film, would fly from London to New York City to personally pitch Harvey and Bob Weinstein. Woolley felt that of all the independent distributors in America, they would be the ones most attracted to the sexual and controversial nature of the story. A day later, Woolley was back on a plane to London. The Weinsteins had agreed to purchase the American distribution rights to Scandal for $2.35m.   The film would spend two months shooting in the London area through the summer of 1988. Christine Keeler had no interest in the film, and refused to meet the now Joanne Whaley-Kilmer to talk about the affair, but Mandy Rice-Davies was more than happy to Bridget Fonda about her life, although the meetings between the two women were so secret, they would not come out until Woolley eulogized Rice-Davies after her 2014 death.   Although Harvey and Bob would be given co-executive producers on the film, Miramax was not a production company on the film. This, however, did not stop Harvey from flying to London multiple times, usually when he was made aware of some sexy scene that was going to shoot the following day, and try to insinuate himself into the film's making. At one point, Woolley decided to take a weekend off from the production, and actually did put Harvey in charge. That weekend's shoot would include a skinny-dipping scene featuring the Christine Keeler character, but when Whaley-Kilmer learned Harvey was going to be there, she told the director that she could not do the nudity in the scene. Her new husband was objecting to it, she told them. Harvey, not skipping a beat, found a lookalike for the actress who would be willing to bare all as a body double, and the scene would begin shooting a few hours later. Whaley-Kilmer watched the shoot from just behind the camera, and stopped the shoot a few minutes later. She was not happy that the body double's posterior was notably larger than her own, and didn't want audiences to think she had that much junk in her trunk. The body double was paid for her day, and Whaley-Kilmer finished the rest of the scene herself.   Caton-Jones and his editing team worked on shaping the film through the fall, and would screen his first edit of the film for Palace Pictures and the Weinsteins in November 1988. And while Harvey was very happy with the cut, he still asked the production team for a different edit for American audiences, noting that most Americans had no idea who Profumo or Keeler or Rice-Davies were, and that Americans would need to understand the story more right out of the first frame. Caton-Jones didn't want to cut a single frame, but he would work with Harvey to build an American-friendly cut.   While he was in London in November 1988, he would meet with the producers of another British film that was in pre-production at the time that would become another important film to the growth of the company, but we're not quite at that part of the story yet. We'll circle around to that film soon.   One of the things Harvey was most looking forward to going in to 1989 was the expected battle with the MPAA ratings board over Scandal. Ever since he had seen the brouhaha over Angel Heart's X rating two years earlier, he had been looking for a similar battle. He thought he had it with Aria in 1988, but he knew he definitely had it now.   And he'd be right.   In early March, just a few weeks before the film's planned April 21st opening day, the MPAA slapped an X rating on Scandal. The MPAA usually does not tell filmmakers or distributors what needs to be cut, in order to avoid accusations of actual censorship, but according to Harvey, they told him exactly what needed to be cut to get an R: a two second shot during an orgy scene, where it appears two background characters are having unsimulated sex.   So what did Harvey do?   He spent weeks complaining to the press about MPAA censorship, generating millions in free publicity for the film, all the while already having a close-up shot of Joanne Whaley-Kilmer's Christine Keeler watching the orgy but not participating in it, ready to replace the objectionable shot.   A few weeks later, Miramax screened the “edited” film to the MPAA and secured the R rating, and the film would open on 94 screens, including 28 each in the New York City and Los Angeles metro regions, on April 28th.   And while the reviews for the film were mostly great, audiences were drawn to the film for the Miramax-manufactured controversy as well as the key art for the film, a picture of a potentially naked Joanne Whaley-Kilmer sitting backwards in a chair, a mimic of a very famous photo Christine Keeler herself took to promote a movie about the Profumo affair she appeared in a few years after the events. I'll have a picture of both the Scandal poster and the Christine Keeler photo on this episode's page at The80sMoviePodcast.com   Five other movies would open that weekend, including the James Belushi comedy K-9 and the Kevin Bacon drama Criminal Law, and Scandal, with $658k worth of ticket sales, would have the second best per screen average of the five new openers, just a few hundred dollars below the new Holly Hunter movie Miss Firecracker, which only opened on six screens.   In its second weekend, Scandal would expand its run to 214 playdates, and make its debut in the national top ten, coming in tenth place with $981k. That would be more than the second week of the Patrick Dempsey rom-com Loverboy, even though Loverboy was playing on 5x as many screens.   In weekend number three, Scandal would have its best overall gross and top ten placement, coming in seventh with $1.22m from 346 screens. Scandal would start to slowly fade after that, falling back out of the top ten in its sixth week, but Miramax would wisely keep the screen count under 375, because Scandal wasn't going to play well in all areas of the country. After nearly five months in theatres, Miramax would have its biggest film to date. Scandal would gross $8.8m.   The second release from Millimeter Films was The Return of the Swamp Thing. And if you needed a reason why the 1980s was not a good time for comic book movies, here you are. The Return of the Swamp Thing took most of what made the character interesting in his comic series, and most of what was good from the 1982 Wes Craven adaptation, and decided “Hey, you know what would bring the kids in? Camp! Camp unseen in a comic book adaptation since the 1960s Batman series. They loved it then, they'll love it now!”   They did not love it now.   Heather Locklear, between her stints on T.J. Hooker and Melrose Place, plays the step-daughter of Louis Jourdan's evil Dr. Arcane from the first film, who heads down to the Florida swaps to confront dear old once presumed dead stepdad. He in turns kidnaps his stepdaughter and decides to do some of his genetic experiments on her, until she is rescued by Swamp Thing, one of Dr. Arcane's former co-workers who got turned into the gooey anti-hero in the first movie.   The film co-stars Sarah Douglas from Superman 1 and 2 as Dr. Arcane's assistant, Dick Durock reprising his role as Swamp Thing from the first film, and 1980s B-movie goddess Monique Gabrielle as Miss Poinsettia.   For director Jim Wynorski, this was his sixth movie as a director, and at $3m, one of the highest budgeted movies he would ever make. He's directed 107 movies since 1984, most of them low budget direct to video movies with titles like The Bare Wench Project and Alabama Jones and the Busty Crusade, although he does have one genuine horror classic under his belt, the 1986 sci-fi tinged Chopping Maul with Kelli Maroney and Barbara Crampton.   Wynorski suggested in a late 1990s DVD commentary for the film that he didn't particularly enjoy making the film, and had a difficult time directing Louis Jourdan, to the point that outside of calling “action” and “cut,” the two didn't speak to each other by the end of the shoot.   The Return of Swamp Thing would open in 123 theatres in the United States on May 12th, including 28 in the New York City metro region, 26 in the Los Angeles area, 15 in Detroit, and a handful of theatres in Phoenix, San Francisco. And, strangely, the newspaper ads would include an actual positive quote from none other than Roger Ebert, who said on Siskel & Ebert that he enjoyed himself, and that it was good to have Swamp Thing back. Siskel would not reciprocate his balcony partner's thumb up. But Siskel was about the only person who was positive on the return of Swamp Thing, and that box office would suffer. In its first three days, the film would gross just $119,200. After a couple more dismal weeks in theatres, The Return of Swamp Thing would be pulled from distribution, with a final gross of just $275k.   Fun fact: The Return of Swamp Thing was produced by Michael E. Uslan, whose next production, another adaptation of a DC Comics character, would arrive in theatres not six weeks later and become the biggest film of the summer. In fact, Uslan has been a producer or executive producer on every Batman-related movie and television show since 1989, from Tim Burton to Christopher Nolan to Zack Snyder to Matt Reeves, and from LEGO movies to Joker. He also, because of his ownership of the movie rights to Swamp Thing, got the movie screen rights, but not the television screen rights, to John Constantine.   Miramax didn't have too much time to worry about The Return of Swamp Thing's release, as it was happening while the Brothers Weinstein were at the 1989 Cannes Film Festival. They had two primary goals at Cannes that year:   To buy American distribution rights to any movie that would increase their standing in the cinematic worldview, which they would achieve by picking up an Italian dramedy called, at the time, New Paradise Cinema, which was competing for the Palme D'Or with a Miramax pickup from Sundance back in January. Promote that very film, which did end up winning the Palme D'Or.   Ever since he was a kid, Steven Soderbergh wanted to be a filmmaker. Growing up in Baton Rouge, LA in the late 1970s, he would enroll in the LSU film animation class, even though he was only 15 and not yet a high school graduate. After graduating high school, he decided to move to Hollywood to break into the film industry, renting an above-garage room from Stephen Gyllenhaal, the filmmaker best known as the father of Jake and Maggie, but after a few freelance editing jobs, Soderbergh packed up his things and headed home to Baton Rouge.   Someone at Atco Records saw one of Soderbergh's short films, and hired him to direct a concert movie for one of their biggest bands at the time, Yes, who was enjoying a major comeback thanks to their 1983 triple platinum selling album, 90125. The concert film, called 9012Live, would premiere on MTV in late 1985, and it would be nominated for a Grammy Award for Best Long Form Music Video.   Soderbergh would use the money he earned from that project, $7,500, to make Winston, a 12 minute black and white short about sexual deception that he would, over the course of an eight day driving trip from Baton Rouge to Los Angeles, expand to a full length screen that he would call sex, lies and videotape. In later years, Soderbergh would admit that part of the story is autobiographical, but not the part you might think. Instead of the lead, Graham, an impotent but still sexually perverse late twentysomething who likes to tape women talking about their sexual fantasies for his own pleasure later, Soderbergh based the husband John, the unsophisticated lawyer who cheats on his wife with her sister, on himself, although there would be a bit of Graham that borrows from the filmmaker. Like his lead character, Soderbergh did sell off most of his possessions and hit the road to live a different life.   When he finished the script, he sent it out into the wilds of Hollywood. Morgan Mason, the son of actor James Mason and husband of Go-Go's lead singer Belinda Carlisle, would read it and sign on as an executive producer. Soderbergh had wanted to shoot the film in black and white, like he had with the Winston short that lead to the creation of this screenplay, but he and Mason had trouble getting anyone to commit to the project, even with only a projected budget of $200,000. For a hot moment, it looked like Universal might sign on to make the film, but they would eventually pass.   Robert Newmyer, who had left his job as a vice president of production and acquisitions at Columbia Pictures to start his own production company, signed on as a producer, and helped to convince Soderbergh to shoot the film in color, and cast some name actors in the leading roles. Once he acquiesced, Richard Branson's Virgin Vision agreed to put up $540k of the newly budgeted $1.2m film, while RCA/Columbia Home Video would put up the remaining $660k.   Soderbergh and his casting director, Deborah Aquila, would begin their casting search in New York, where they would meet with, amongst others, Andie MacDowell, who had already starred in two major Hollywood pictures, 1984's Greystoke: The Legend of Tarzan, Lord of the Apes, and 1985's St. Elmo's Fire, but was still considered more of a top model than an actress, and Laura San Giacomo, who had recently graduated from the Carnegie Mellon School of Drama in Pittsburgh and would be making her feature debut. Moving on to Los Angeles, Soderbergh and Aquila would cast James Spader, who had made a name for himself as a mostly bad guy in 80s teen movies like Pretty in Pink and Less Than Zero, but had never been the lead in a drama like this. At Spader's suggestion, the pair met with Peter Gallagher, who was supposed to become a star nearly a decade earlier from his starring role in Taylor Hackford's The Idolmaker, but had mostly been playing supporting roles in television shows and movies for most of the decade.   In order to keep the budget down, Soderbergh, the producers, cinematographer Walt Lloyd and the four main cast members agreed to get paid their guild minimums in exchange for a 50/50 profit participation split with RCA/Columbia once the film recouped its costs.   The production would spend a week in rehearsals in Baton Rouge, before the thirty day shoot began on August 1st, 1988. On most days, the shoot was unbearable for many, as temperatures would reach as high as 110 degrees outside, but there were a couple days lost to what cinematographer Lloyd said was “biblical rains.” But the shoot completed as scheduled, and Soderbergh got to the task of editing right away. He knew he only had about eight weeks to get a cut ready if the film was going to be submitted to the 1989 U.S. Film Festival, now better known as Sundance. He did get a temporary cut of the film ready for submission, with a not quite final sound mix, and the film was accepted to the festival. It would make its world premiere on January 25th, 1989, in Park City UT, and as soon as the first screening was completed, the bids from distributors came rolling in. Larry Estes, the head of RCA/Columbia Home Video, would field more than a dozen submissions before the end of the night, but only one distributor was ready to make a deal right then and there.   Bob Weinstein wasn't totally sold on the film, but he loved the ending, and he loved that the word “sex” not only was in the title but lead the title. He knew that title alone would sell the movie. Harvey, who was still in New York the next morning, called Estes to make an appointment to meet in 24 hours. When he and Estes met, he brought with him three poster mockups the marketing department had prepared, and told Estes he wasn't going to go back to New York until he had a contract signed, and vowed to beat any other deal offered by $100,000. Island Pictures, who had made their name releasing movies like Stop Making Sense, Kiss of the Spider-Woman, The Trip to Bountiful and She's Gotta Have It, offered $1m for the distribution rights, plus a 30% distribution fee and a guaranteed $1m prints and advertising budget. Estes called Harvey up and told him what it would take to make the deal. $1.1m for the distribution rights, which needed to paid up front, a $1m P&A budget, to be put in escrow upon the signing of the contract until the film was released, a 30% distribution fee, no cutting of the film whatsoever once Soderbergh turns in his final cut, they would need to provide financial information for the films costs and returns once a month because of the profit participation contracts, and the Weinsteins would have to hire Ira Deutchman, who had spent nearly 15 years in the independent film world, doing marketing for Cinema 5, co-founding United Artists Classics, and co-founding Cinecom Pictures before opening his own company to act as a producers rep and marketer. And the Weinsteins would not only have to do exactly what Deutchman wanted, they'd have to pay for his services too.   The contract was signed a few weeks later.   The first move Miramax would make was to get Soderbergh's final cut of the film entered into the Cannes Film Festival, where it would be accepted to compete in the main competition. Which you kind of already know what happened, because that's what I lead with. The film would win the Palme D'Or, and Spader would be awarded the festival's award for Best Actor. It was very rare at the time, and really still is, for any film to be awarded more than one prize, so winning two was really a coup for the film and for Miramax, especially when many critics attending the festival felt Spike Lee's Do the Right Thing was the better film.   In March, Miramax expected the film to make around $5-10m, which would net the company a small profit on the film. After Cannes, they were hopeful for a $15m gross.   They never expected what would happen next.   On August 4th, sex, lies, and videotape would open on four screens, at the Cinema Studio in New York City, and at the AMC Century 14, the Cineplex Beverly Center 13 and the Mann Westwood 4 in Los Angeles. Three prime theatres and the best they could do in one of the then most competitive zones in all America. Remember, it's still the Summer 1989 movie season, filled with hits like Batman, Dead Poets Society, Ghostbusters 2, Indiana Jones and the Last Crusade, Honey I Shrunk the Kids, Lethal Weapon 2, Parenthood, Turner & Hooch, and When Harry Met Sally. An independent distributor even getting one screen at the least attractive theatre in Westwood was a major get. And despite the fact that this movie wasn't really a summertime movie per se, the film would gross an incredible $156k in its first weekend from just these four theatres. Its nearly $40k per screen average would be 5x higher than the next closest film, Parenthood.   In its second weekend, the film would expand to 28 theatres, and would bring in over $600k in ticket sales, its per screen average of $21,527 nearly triple its closest competitor, Parenthood again. The company would keep spending small, as it slowly expanded the film each successive week. Forty theatres in its third week, and 101 in its fourth. The numbers held strong, and in its fifth week, Labor Day weekend, the film would have its first big expansion, playing in 347 theatres. The film would enter the top ten for the first time, despite playing in 500 to 1500 fewer theatres than the other films in the top ten. In its ninth weekend, the film would expand to its biggest screen count, 534, before slowly drawing down as the other major Oscar contenders started their theatrical runs. The film would continue to play through the Oscar season of 1989, and when it finally left theatres in May 1989, its final gross would be an astounding $24.7m.   Now, remember a few moments ago when I said that Miramax needed to provide financial statements every month for the profit participation contracts of Soderbergh, the producers, the cinematographer and the four lead actors? The film was so profitable for everyone so quickly that RCA/Columbia made its first profit participation payouts on October 17th, barely ten weeks after the film's opening.   That same week, Soderbergh also made what was at the time the largest deal with a book publisher for the writer/director's annotated version of the screenplay, which would also include his notes created during the creation of the film. That $75,000 deal would be more than he got paid to make the movie as the writer and the director and the editor, not counting the profit participation checks.   During the awards season, sex, lies, and videotape was considered to be one of the Oscars front runners for Best Picture, Best Director, Best Screenplay and at least two acting nominations. The film would be nominated for Best Picture, Best Actress and Best Supporting Actress by the Golden Globes, and it would win the Spirit Awards for Best Picture, Soderbergh for Best Director, McDowell for Best Actress, and San Giacomo for Best Supporting Actress. But when the Academy Award nominations were announced, the film would only receive one nomination, for Best Original Screenplay. The same total and category as Spike Lee's Do the Right Thing, which many people also felt had a chance for a Best Picture and Best Director nomination. Both films would lose out to Tom Shulman's screenplay for Dead Poet's Society.   The success of sex, lies, and videotape would launch Steven Soderbergh into one of the quirkiest Hollywood careers ever seen, including becoming the first and only director ever to be nominated twice for Best Director in the same year by the Motion Picture Academy, the Golden Globes and the Directors Guild of America, in 2001 for directing Erin Brockovich and Traffic. He would win the Oscar for directing Traffic.   Lost in the excitement of sex, lies, and videotape was The Little Thief, a French movie that had an unfortunate start as the screenplay François Truffaut was working on when he passed away in 1984 at the age of just 52.   Directed by Claude Miller, whose principal mentor was Truffaut, The Little Thief starred seventeen year old Charlotte Gainsbourg as Janine, a young woman in post-World War II France who commits a series of larcenies to support her dreams of becoming wealthy.   The film was a modest success in France when it opened in December 1988, but its American release date of August 25th, 1989, was set months in advance. So when it was obvious sex, lies, and videotape was going to be a bigger hit than they originally anticipated, it was too late for Miramax to pause the release of The Little Thief.   Opening at the Lincoln Plaza Cinemas in New York City, and buoyed by favorable reviews from every major critic in town, The Little Thief would see $39,931 worth of ticket sales in its first seven days, setting a new house record at the theatre for the year. In its second week, the gross would only drop $47. For the entire week. And when it opened at the Royal Theatre in West Los Angeles, its opening week gross of $30,654 would also set a new house record for the year.   The film would expand slowly but surely over the next several weeks, often in single screen playdates in major markets, but it would never play on more than twenty-four screens in any given week. And after four months in theatres, The Little Thief, the last movie created one of the greatest film writers the world had ever seen, would only gross $1.056m in the United States.   The next three releases from Miramax were all sent out under the Millimeter Films banner.   The first, a supernatural erotic drama called The Girl in a Swing, was about an English antiques dealer who travels to Copenhagen where he meets and falls in love with a mysterious German-born secretary, whom he marries, only to discover a darker side to his new bride. Rupert Frazer, who played Christian Bale's dad in Steven Spielberg's Empire of the Sun, plays the antique dealer, while Meg Tilly the mysterious new bride.   Filmed over a five week schedule in London and Copenhagen during May and June 1988, some online sources say the film first opened somewhere in California in December 1988, but I cannot find a single theatre not only in California but anywhere in the United States that played the film before its September 29th, 1989 opening date.   Roger Ebert didn't like the film, and wished Meg Tilly's “genuinely original performance” was in a better movie. Opening in 26 theatres, including six theatres each in New York City and Los Angeles, and spurred on by an intriguing key art for the film that featured a presumed naked Tilly on a swing looking seductively at the camera while a notice underneath her warns that No One Under 18 Will Be Admitted To The Theatre, The Girl in a Swing would gross $102k, good enough for 35th place nationally that week. And that's about the best it would do. The film would limp along, moving from market to market over the course of the next three months, and when its theatrical run was complete, it could only manage about $747k in ticket sales.   We'll quickly burn through the next two Millimeter Films releases, which came out a week apart from each other and didn't amount to much.   Animal Behavior was a rather unfunny comedy featuring some very good actors who probably signed on for a very different movie than the one that came to be. Karen Allen, Miss Marion Ravenwood herself, stars as Alex, a biologist who, like Dr. Jane Goodall, develops a “new” way to communicate with chimpanzees via sign language. Armand Assante plays a cellist who pursues the good doctor, and Holly Hunter plays the cellist's neighbor, who Alex mistakes for his wife.   Animal Behavior was filmed in 1984, and 1985, and 1987, and 1988. The initial production was directed by Jenny Bowen with the assistance of Robert Redford and The Sundance Institute, thanks to her debut film, 1981's Street Music featuring Elizabeth Daily. It's unknown why Bowen and her cinematographer husband Richard Bowen left the project, but when filming resumed again and again and again, those scenes were directed by the film's producer, Kjehl Rasmussen.   Because Bowen was not a member of the DGA at the time, she was not able to petition the guild for the use of the Alan Smithee pseudonym, a process that is automatically triggered whenever a director is let go of a project and filming continues with its producer taking the reigns as director. But she was able to get the production to use a pseudonym anyway for the director's credit, H. Anne Riley, while also giving Richard Bowen a pseudonym of his own for his work on the film, David Spellvin.   Opening on 24 screens on October 27th, Animal Behavior would come in 50th place in its opening weekend, grossing just $20,361. The New York film critics ripped the film apart, and there wouldn't be a second weekend for the film.   The following Friday, November 3rd, saw the release of The Stepfather II, a rushed together sequel to 1987's The Stepfather, which itself wasn't a big hit in theatres but found a very quick and receptive audience on cable.   Despite dying at the end of the first film, Terry O'Quinn's Jerry is somehow still alive, and institutionalized in Northern Washington state. He escapes and heads down to Los Angeles, where he assumes the identity of a recently deceased publisher, Gene Clifford, but instead passes himself off as a psychiatrist. Jerry, now Gene, begins to court his neighbor Carol, and the whole crazy story plays out again. Meg Foster plays the neighbor Carol, and Jonathan Brandis is her son.    Director Jeff Burr had made a name for himself with his 1987 horror anthology film From a Whisper to a Scream, featuring Vincent Price, Clu Gulager and Terry Kiser, and from all accounts, had a very smooth shooting process with this film. The trouble began when he turned in his cut to the producers. The producers were happy with the film, but when they sent it to Miramax, the American distributors, they were rather unhappy with the almost bloodless slasher film. They demanded reshoots, which Burr and O'Quinn refused to participate in. They brought in a new director, Doug Campbell, to handle the reshoots, which are easy to spot in the final film because they look and feel completely different from the scenes they're spliced into.   When it opened, The Stepfather II actually grossed slightly more than the first film did, earning $279k from 100 screens, compared to $260k for The Stepfather from 105 screens. But unlike the first film, which had some decent reviews when it opened, the sequel was a complete mess. To this day, it's still one of the few films to have a 0% approval rating on Rotten Tomatoes, and The Stepfather II would limp its way through theatres during the Christmas holiday season, ending its run with a $1.5m gross.   But it would be their final film of the decade that would dictate their course for at least the first part of the 1990s.   Remember when I said earlier in the episode that Harvey Weinstein meant with the producers of another British film while in London for Scandal? We're at that film now, a film you probably know.   My Left Foot.   By November 1988, actor Daniel Day-Lewis had starred in several movies including James Ivory's A Room With a View and Philip Kaufman's The Unbearable Lightness of Being. He had even been the lead in a major Hollywood studio film, Pat O'Connor's Stars and Bars, a very good film that unfortunately got caught up in the brouhaha over the exit of the studio head who greenlit the film, David Puttnam.   The film's director, Jim Sheridan, had never directed a movie before. He had become involved in stage production during his time at the University College in Dublin in the late 1960s, where he worked with future filmmaker Neil Jordan, and had spent nearly a decade after graduation doing stage work in Ireland and Canada, before settling in New York City in the early 1980s. Sheridan would go to New York University's Tisch School of the Arts, where one of his classmates was Spike Lee, and return to Ireland after graduating. He was nearly forty, married with two pre-teen daughters, and he needed to make a statement with his first film.   He would find that story in the autobiography of Irish writer and painter Christy Brown, whose spirit and creativity could not be contained by his severe cerebral palsy. Along with Irish actor and writer Shane Connaughton, Sheridan wrote a screenplay that could be a powerhouse film made on a very tight budget of less than a million dollars.   Daniel Day-Lewis was sent a copy of the script, in the hopes he would be intrigued enough to take almost no money to play a physically demanding role. He read the opening pages, which had the adult Christy Brown putting a record on a record player and dropping the needle on to the record with his left foot, and thought to himself it would be impossible to film. That intrigued him, and he signed on. But during filming in January and February of 1989, most of the scenes were shot using mirrors, as Day-Lewis couldn't do the scenes with his left foot. He could do them with his right foot, hence the mirrors.   As a method actor, Day-Lewis remained in character as Christy Brown for the entire two month shoot. From costume fittings and makeup in the morning, to getting the actor on set, to moving him around between shots, there were crew members assigned to assist the actor as if they were Christy Brown's caretakers themselves, including feeding him during breaks in shooting. A rumor debunked by the actor years later said Day-Lewis had broken two ribs during production because of how hunched down he needed to be in his crude prop wheelchair to properly play the character.   The actor had done a lot of prep work to play the role, including spending time at the Sandymount School Clinic where the young Christy Brown got his education, and much of his performance was molded on those young people.   While Miramax had acquired the American distribution rights to the film before it went into production, and those funds went into the production of the film, the film was not produced by Miramax, nor were the Weinsteins given any kind of executive producer credit, as they were able to get themselves on Scandal.   My Left Foot would make its world premiere at the Montreal World Film Festival on September 4th, 1989, followed soon thereafter by screening at the Toronto International Film Festival on September 13th and the New York Film Festival on September 23rd. Across the board, critics and audiences were in love with the movie, and with Daniel Day-Lewis's performance. Jim Sheridan would receive a special prize at the Montreal World Film Festival for his direction, and Day-Lewis would win the festival's award for Best Actor. However, as the film played the festival circuit, another name would start to pop up. Brenda Fricker, a little known Irish actress who played Christy Brown's supportive but long-suffering mother Bridget, would pile up as many positive notices and awards as Day-Lewis. Although there was no Best Supporting Actress Award at the Montreal Film Festival, the judges felt her performance was deserving of some kind of attention, so they would create a Special Mention of the Jury Award to honor her.   Now, some sources online will tell you the film made its world premiere in Dublin on February 24th, 1989, based on a passage in a biography about Daniel Day-Lewis, but that would be impossible as the film would still be in production for two more days, and wasn't fully edited or scored by then.   I'm not sure when it first opened in the United Kingdom other than sometime in early 1990, but My Left Foot would have its commercial theatre debut in America on November 10th, when opened at the Lincoln Plaza Cinemas in New York City and the Century City 14 in Los Angeles. Sheila Benson of the Los Angeles Times would, in the very opening paragraph of her review, note that one shouldn't see My Left Foot for some kind of moral uplift or spiritual merit badge, but because of your pure love of great moviemaking. Vincent Canby's review in the New York Times spends most of his words praising Day-Lewis and Sheridan for making a film that is polite and non-judgmental.    Interestingly, Miramax went with an ad campaign that completely excluded any explanation of who Christy Brown was or why the film is titled the way it is. 70% of the ad space is taken from pull quotes from many of the top critics of the day, 20% with the title of the film, and 10% with a picture of Daniel Day-Lewis, clean shaven and full tooth smile, which I don't recall happening once in the movie, next to an obviously added-in picture of one of his co-stars that is more camera-friendly than Brenda Fricker or Fiona Shaw.   Whatever reasons people went to see the film, they flocked to the two theatres playing the film that weekend. It's $20,582 per screen average would be second only to Kenneth Branagh's Henry V, which had opened two days earlier, earning slightly more than $1,000 per screen than My Left Foot.   In week two, My Left Foot would gross another $35,133 from those two theatres, and it would overtake Henry V for the highest per screen average. In week three, Thanksgiving weekend, both Henry V and My Left Foot saw a a double digit increase in grosses despite not adding any theatres, and the latter film would hold on to the highest per screen average again, although the difference would only be $302. And this would continue for weeks. In the film's sixth week of release, it would get a boost in attention by being awarded Best Film of the Year by the New York Film Critics Circle. Daniel Day-Lewis would be named Best Actor that week by both the New York critics and the Los Angeles Film Critics Association, while Fricker would win the Best Supporting Actress award from the latter group.   But even then, Miramax refused to budge on expanding the film until its seventh week of release, Christmas weekend, when My Left Foot finally moved into cities like Chicago and San Francisco. Its $135k gross that weekend was good, but it was starting to lose ground to other Oscar hopefuls like Born on the Fourth of July, Driving Miss Daisy, Enemies: A Love Story, and Glory.   And even though the film continued to rack up award win after award win, nomination after nomination, from the Golden Globes and the Writers Guild and the National Society of Film Critics and the National Board of Review, Miramax still held firm on not expanding the film into more than 100 theatres nationwide until its 16th week in theatres, February 16th, 1990, two days after the announcement of the nominees for the 62nd Annual Academy Awards. While Daniel Day-Lewis's nomination for Best Actor was virtually assured and Brenda Fricker was practically a given, the film would pick up three other nominations, including surprise nominations for Best Picture and Best Director. Jim Sheridan and co-writer Shane Connaughton would also get picked for Best Adapted Screenplay.   Miramax also picked up a nomination for Best Original Screenplay for sex, lies, and videotape, and a Best Foreign Language Film nod for the Italian movie Cinema Paradiso, which, thanks to the specific rules for that category, a film could get a nomination before actually opening in theatres in America, which Miramax would rush to do with Paradiso the week after its nomination was announced.   The 62nd Academy Awards ceremony would be best remembered today as being the first Oscar show to be hosted by Billy Crystal, and for being considerably better than the previous year's ceremony, a mess of a show best remembered as being the one with a 12 minute opening musical segment that included Rob Lowe singing Proud Mary to an actress playing Snow White and another nine minute musical segment featuring a slew of expected future Oscar winners that, to date, feature exact zero Oscar nominees, both which rank as amongst the worst things to ever happen to the Oscars awards show.   The ceremony, held on March 26th, would see My Left Foot win two awards, Best Actor and Best Supporting Actress, as well as Cinema Paradiso for Best Foreign Film. The following weekend, March 30th, would see Miramax expand My Left Foot to 510 theatres, its widest point of release, and see the film made the national top ten and earn more than a million dollars for its one and only time during its eight month run.   The film would lose steam pretty quickly after its post-win bump, but it would eek out a modest run that ended with $14.75m in ticket sales just in the United States. Not bad for a little Irish movie with no major stars that cost less than a million dollars to make.   Of course, the early 90s would see Miramax fly to unimagined heights. In all of the 80s, Miramax would release 39 movies. They would release 30 films alone in 1991. They would release the first movies from Jean-Pierre Jeunet, Quentin Tarantino and Kevin Smith. They'd release some of the best films from some of the best filmmakers in the world, including Woody Allen, Pedro Almadovar, Robert Altman, Bernardo Bertolucci, Atom Egoyan, Steven Frears, Peter Greenaway, Peter Jackson, Neil Jordan, Chen Kaige, Krzysztof Kieślowski, Lars von Trier, and Zhang Yimou. In 1993, the Mexican dramedy Like Water for Chocolate would become the highest grossing foreign language film ever released in America, and it would play in some theatres, including my theatre, the NuWilshire in Santa Monica, continuously for more than a year.   If you've listened to the whole series on the 1980s movies of Miramax Films, there are two things I hope you take away. First, I hope you discovered at least one film you hadn't heard of before and you might be interested in searching out. The second is the reminder that neither Bob nor Harvey Weinstein will profit in any way if you give any of the movies talked about in this series a chance. They sold Miramax to Disney in June 1993. They left Miramax in September 2005. Many of the contracts for the movies the company released in the 80s and 90s expired decades ago, with the rights reverting back to their original producers, none of whom made any deals with the Weinsteins once they got their rights back.   Harvey Weinstein is currently serving a 23 year prison sentence in upstate New York after being found guilty in 2020 of two sexual assaults. Once he completes that sentence, he'll be spending another 16 years in prison in California, after he was convicted of three sexual assaults that happened in Los Angeles between 2004 and 2013. And if the 71 year old makes it to 107 years old, he may have to serve time in England for two sexual assaults that happened in August 1996. That case is still working its way through the British legal system.   Bob Weinstein has kept a low profile since his brother's proclivities first became public knowledge in October 2017, although he would also be accused of sexual harassment by a show runner for the brothers' Spike TV-aired adaptation of the Stephen King novel The Mist, several days after the bombshell articles came out about his brother. However, Bob's lawyer, the powerful attorney to the stars Bert Fields, deny the allegations, and it appears nothing has occurred legally since the accusations were made.   A few weeks after the start of the MeToo movement that sparked up in the aftermath of the accusations of his brother's actions, Bob Weinstein denied having any knowledge of the nearly thirty years of documented sexual abuse at the hands of his brother, but did allow to an interviewer for The Hollywood Reporter that he had barely spoken to Harvey over the previous five years, saying he could no longer take Harvey's cheating, lying and general attitude towards everyone.   And with that, we conclude our journey with Miramax Films. While I am sure Bob and Harvey will likely pop up again in future episodes, they'll be minor characters at best, and we'll never have to focus on anything they did ever again.   Thank you for joining us. We'll talk again soon, when Episode 119 is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Sit-up Britain! Grab your turkey curry, it's time to discuss Bridget Jones's Diary (2001). Discussion Points: -Bridget Jones sell-by-date. -Peppa's Pig attitude. -Lou and Marv again mix with the stars. -Vile Richard. -Anybody who says the phrase "Does nothing work outside of London" raises red flag to Sean. -Jellyfisher alert! -The Bridget Cinematic Universe (BCU). -Hugh Grant and why he declined appearing in the third installment of the BCU. -Sir Trevor McDonald V Walter Cronkite. Raised Questions: -Do you find this job worse than a job wiping someone's ar*e? -Is this film more for women? -Is it charitable to take Marv and his skirt out and try and fan it up a bit? -Is Kafka's motorbike the greatest novel of our time? -Do you sympathise with being single at a couples dinner party? -Do you find relatable at all? -Has Zellweger been typcast? Random Recommendations: -Bridget Jones: The Edge of Reason (2004). -Bridget Jones's Baby (2016). -Me, Myself and Irene (2000). -Morning Glory (2010). -Home Alone 2: Lost in New York (1992)-with Brenda Fricker, not Brenda Blethyn. -Romancing the Stone (1984). -The Jewel of the Nile (1985). -Sleeping with the Enemy (1991). Lou's Recommendations: -New In Town (2009). -Something Gotta Give (2003). -Leap Year (2010). -My Big Fat Greek Wedding (2002). -The Time Traveller's Wife (2009). -Six Days, Seven Nights (1998). Thanks for Listening! *Apologies for the background noise during parts of this episode* Trailer: FilmFloggers: www.filmfloggers.com Review It Yourself now has a Patreon! Choose from TWO memberships: -'Nowt Special' Side Series: This 'Nowt Special' tier gives you Exclusive Access to a (ANOTHER) side-series in which Sean watches older, classic films.... + other benefits. -Rewatch It Yourself: +All the benefits of the 'Nowt Special' tier PLUS -An even-more exclusive series, where Sean takes you through every Zombie film he owns (there's quite a few). Find us here: Patreon: https://www.patreon.com/review_it_yourself21 Twitter: @YourselfReview Instagram: reviewityourselfpodcast2021

On our final episode of 2022, the gang welcomes Chelsea Jupin back to the show to chat about the beloved, Christmas cookie-cutter sequel, Home Alone 2: Lost in New York! How successful of an arms dealer must Uncle Rob McCallister be to afford this Upper West Side townhouse? Would it have been a better movie if the hotel staff entirely replaced the Sticky Bandits? Why couldn't they mix up the story a little bit so it's not just a carbon copy of part one set in NYC? And what's with that Uncle Frank crotch comment? PLUS: Snooty UWS residents band together Spider-Man-style to fight the holiday evil that is Kevin McCallister! Home Alone 2: Lost in New York stars Macaulay Culkin, Joe Pesci, Daniel Stern, Catherine O'Hara, John Heard, Kieran Culkin, Tim Curry, Brenda Fricker, Eddie Bracken, Dana Ivey, Sweet Robbie Schneider, and Gerry Bamman as Uncle Frank; directed by Chris Columbus.  Check out the WHM Merch Store featuring new SW Crispy Critters, MINGO!, WHAT IF Donna? & Mortal Kombat designs! This episode is brought to you by BetterHelp. Give online therapy a try at betterhelp.com/whm and get on your way to being your best self. Advertise on We Hate Movies via Gumball.fmUnlock Exclusive Content!: http://www.patreon.com/wehatemoviesSee omnystudio.com/listener for privacy information.

Special Guest, The Godfather, John Flack, joins your hosts Lizzy Haynes and Russell Guest for the Retro Movie Roundtable as they revisit Home Alone 2: Lost In New York (1992) [PG] Genre: Comedy, Christmas, Action, Adventure, Crime, Family Starring: Macaulay Culkin, Joe Pesci, Daniel Stern, Catherine O'Hara, John Heard, Devin Ratray, Hillary Wolf, Maureen Elisabeth Shay, Michael C. Maronna , Gerry Bamman, Terrie Snell, Jedidiah Cohen, Senta Moses, Diana Rein, Kieran Culkin , Anna Slotky, Tim Curry, Brenda Fricker, Eddie Bracken, Dana Ivey, Rob Schneider   Director: Chris Columbus Recorded on 2022-11-28

Live from the Omniplex its the 2nd Christmas Watch Party, this year Home Alone 2: Lost In New York.Oh this was a fun one! We cheer Kevin, booo Uncle Frank and sing Olé Olé Olé when Brenda Fricker is on screen. Thank you again to our sponsor Omniplex for having us.Go see Avatar 2 there!