Podcasts about bright lights big city

Jay McInerney is a New York Times best selling author known for his breakout novel Bright Lights Big City. He also wrote the screenplay for the 1988 film adaption of Bright Lights Big City and co-wrote the screenplay for the 1998 film Gia, starring Angelina Jolie. In addition to his fiction work, McInerney was the wine columnist for House & Garden magazine, The Wall Street Journal, and currently writes the wine column for Town & Country magazine. His essays on wine have been collected in Bacchus & Me (2000) and A Hedonist in the Cellar (2006) and his book of short stories, titled How It Ended, was named one of the 10 best books of the year by The New York Times in 2009. McInernay has also been honored by the New York Public Library as a “Literary Lion” and won the James Beard MFK Fisher Award for Distinguished Writing.See omnystudio.com/listener for privacy information.

welcome back to the penn badgley module. today's episode is the most “normal” book we've read in a while: bright lights, big city by jay mcinerney. we talk about the novel's deadpan humor, whether it feels tied to the 1980s, and how the main character ends the book while still sort of spiraling. we explore the current irony of a plot about fact-checking and computers making life easier, the arc to cocaine as a drug in the united states, and a time where t.g.i. friday's was a cool place to hang out. we wonder if there's a jay mcinerney connected universe and we revisit shreds's shared bennington literary universe. we discuss how the second-person perspective villainizes amanda, the amount that bret easton ellis seems to take from this writing, and the weird miscasting in the film adaptation. shreds champions a specific element of kevin smith's movies. reading list for season thirteen interior chinatown by charles yu if on a winter's night a traveler by italo calvino bright lights, big city by jay mcinerney suicide by édouard levé the malady of death by marguerite duras how like a god by rex stout the diver's clothes lie empty by vendela vida the night circus by erin morgenstern a man asleep by georges perec open water by caleb azumah nelson

The team make it to the Phoenix metroplex and discover a grungy, world native to a few of the group and completely foreign to others.    ★ CAST ★ Ethan playing "Mox" (@thousandfacescosplay )  Lauren playing "Drall" (@95PercentLauren_) Wild playing "Bee" (@Wildling011)  Pete playing "Dog" (@gator_pete)  Mallo playing “Samantha Grey” (@themalloman )  Caleb is our Game Runner (@TheCalebG)  "Neon Trails" is a LIVE actual play podcast using the IDENTECO cyberpunk tabletop roleplaying game. You can learn more about the game over at www.playidenteco.com. You can also interact with the cast and crew by watching along every-other-Tuesday at 6pm PT on https://www.twitch.tv/identeco.  We have a new album out: www.identeco.bandcamp.com Flash your cyberpunk swag: https://www.bonfire.com/store/identeco/ Get the game & missions: https://www.drivethrurpg.com/browse/pub/14491/Humanoid-Games (All the money we receive from sales of products, music, merch, Twitch subs and more goes to pay the independent artists and writing collaborators who help bring you content. If you love good independent content—and are able—please consider supporting.) FOLLOW US  -------------------------------------------- ► Twitch: https://www.twitch.tv/identeco ► Bluesky: https://bsky.app/profile/identeco.bsky.social ► Instagram: https://www.instagram.com/humanoidgames ► Facebook: https://www.facebook.com/identecogame — Intro by Mallo  Narration by Michael (@losermlw) Intro and background music from  @epidemicmusic   (Awesome resource for content creators)  © 2024 Humanoid Games, LLC.

In this episode of A Parenting is a Joke Snack, host Ophira Eisenberg talks with Mike Pesca, a seasoned journalist, author, and host of The Gist, for a thoughtful conversation about parenting teens and the importance of quality time with kids. As a father of two teenage sons in New York City, Mike offers a unique perspective on the challenges and rewards of raising teens in a fast-paced urban environment. He shares insights on how quality time with kids changes as they grow older, with a focus on meaningful moments like family meals, hanging out at home, and engaging in deeper conversations. They discuss how parenting strategies evolve over time, from managing curfews and boundaries to complex topics like toxic masculinity and politics. Mike sheds light on how today's teens are processing these issues and how they engage with the world around them, offering a glimpse into the modern teenage experience. The conversation also covers the impact of the city environment on family life, where subway rides replace driving and moments of connection can be fleeting but valuable. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, we are discussing Ex-Wife by Ursula Parrott, a novel originally published in 1929 and a fascinating account of the experiences of women during the Jazz age. I'm joined by Juliana Soltis, an internationally acclaimed cellist, to discuss the book's continued relevance and its portrayal of female independence during the Jazz Age, akin to a 'Sex and the City' for that era. We also shed light on Parrott's obscured legacy in contrast to Fitzgerald's 'The Great Gatsby.' Moreover, Juliana speaks about her new album American Woman, which highlights lost works by female composers, underscoring the importance of preserving and celebrating women's contributions to art and culture. We wrap up with a tasty note, enjoying a non-alcoholic gin fizz themed to the novel, reflecting Prohibition-era cocktail cultureJuliana Soltis is an internationally-acclaimed cellist, specializing in telling the forgotten stories of classical music. Her latest release from PARMA Recordings, American Woman, explores the lost legacy of America's women composers and is now streaming across all platforms. When not on the road or in the recording studio, Juliana makes her home in Richmond's historic Church HIll neighborhood, where she caters to the every whim of her two greyhounds, Rain and Ceci.Gin Fizz Recipe2 ounces gin (We used Monday NA Gin)1 ounce lemon juice, freshly squeezed3/4 ounce simple syrup1 egg white (about 1/2 ounce)Club soda, to top (about 1 ounce)DirectionsAdd the gin, lemon juice, simple syrup and egg white to a shaker and vigorously dry-shake (without ice) for about 15 seconds.Add 3 or 4 ice cubes and shake vigorously until well-chilled.Double-strain into a chilled Collins glass and top with club soda.In this EpisodeJuliana Soltis' WebsiteAmerican Woman AlbumBecoming the Ex-Wife by Dr. Marsha Gordon (Ursula Parrott's Biography)The Great Gatsby by F. Scott FitzgeraldPresentation by Dr. Marsha Gordon on Ursula Parrott (we didn't discuss this in the episode but I found it absolutely fascinating!)Bright Lights Big City by Jay McInerney

Two mishnah. The first describes which items are included in the sale of a city? The daf discusses the definition of one of the items mentioned in the mishnah and what does this mean about what the Rabbis in Bavel knew about life in the time of the Mishnah. The second mishnah discusses the sale of a field.

Another crack at the HumDinger plus MG shares the most memorable moments from a landmark night in Rugby League, in Vegas!  Mick & MG In The Morning - weekdays from 6am on Sydney's 104.9 Triple M or grab the podcast on LiSTNR or wherever you get your podcasts.  #MickAndMGInTheMorningSee omnystudio.com/listener for privacy information.

Interview by Kris PetersWhile the lure of bright light in the big city has always been the stuff of dreams and legends in the music industry, more often than not that pipe dream turns out to be just that.A dream.Not so for Aussie brothers Jake and Luke Davies who packed up and left their home country for the pursuit of musical salvation after relocating to Long Beach, California.Now, suddenly faced with a massive world from which to launch their craft - including a wide array of new temptations and influences - the brothers tasted the delights California had to offer before finding their feet and realising their goal.Now entrenched in Californian rock outfit Of Limbo, Jake and Luke are living the dream, recently releasing their latest single California Demon.HEAVY caught up with Jake to find out more."It's doing good," he smiled of the early reception received by the track. "We even had the Alice In Chains singer Will Duvall give some praise for it, so we were pretty pumped on that. When those kinds of things come in, it makes it all worthwhile. A lot of our peeps have liked it a lot. I think it's angered a few people that maybe took it the wrong way - a few Christian conspiracy people maybe took it a little bit too seriously and thought that we might have actually sold our souls to Satan - but aside from those few people it has been received pretty well."In the full interview, Jake talks more about the song, the musical side of it, whether it is a stand-alone track or part of a bigger cycle picture, the history on Of Limbo and their move from Australia, their influences and finding the balance between imitation and inspiration, settling into music in California from Australia, how different the music scenes are between the two countries, their live shows and making them fun, future plans and more.

This episode of Books for Men is a short recap of all the episodes from July '23. There were two works of fiction and two editions of From the Vault. It's also the one-year anniversary of the show—woohoo—so I share some high-level thoughts about the podcast. Listen for more!If you enjoyed this episode, please consider supporting the podcast. Any of the three things below will help provide awareness for the initiative—inspiring (more) men to read and bringing together men who do. (Ladies, of course, you're always welcome!)Share with a friend or on social mediaSubscribe or follow on your favorite podcast platformLeave a rating or reviewVisit BooksforMen.org to sign up for the Books for Men newsletter, a monthly round-up of every episode with full book and author info, all the best quotes, and newsletter-only book recommendations!

This episode of Books for Men features Bright Lights, Big City by Jay McInerney. A literary novel about a twenty-something writer who resorts to the hedonism of 1980's Manhattan—cocaine, nightclubs, etc—to cope with his hapless life. It's told using a second-person point of view, placing you in the shoes of the unnamed protagonist. Listen for more!If you enjoyed this episode, please consider supporting the podcast. Any of the three things below will help provide awareness for the initiative—inspiring (more) men to read and bringing together men who do. (Ladies, of course, you're always welcome!)Share with a friend or on social mediaSubscribe or follow on your favorite podcast platformLeave a rating or reviewVisit BooksforMen.org to sign up for the Books for Men newsletter, a monthly round-up of every episode with full book and author info, all the best quotes, and newsletter-only book recommendations!

We survive Sisu and squirm over Huesera: The Bone Woman plus we also talk Tales from the Darkside: The Movie, Hands on a Hard Body, Startup.com, 16 Blocks, Casualties of War and Sunshine. 0:00 - Intro 9:30 - Review: Sisu 32:55 - Review: Huesera: The Bone Woman 46:40 - Other Stuff We Watched: Hands on a Hard Body, Tales from the Darkside: The Movie, Startup.com, Silicon Cowboys, The Investigation (2002), Metallica: Some Kind of Monster, Bright Lights Big City, Casualties of War, The Thing, First Blood, 16 Blocks, Mrs. Davis, Sunshine 1:33:30 - This Week on DVD, Blu-ray and VOD 1:35:50 - Outro

In the classic novel, Bright Lights Big City by Jay McInerney the narrator flashes back to the scene of his mother's deathbed. Battling cancer, aware the end is near, she takes just enough pain medication to be uninhibited but still lucid.The walls between parent and child fall away. They talk openly of the things they never managed to broach in life without embarrassment. They talk about sex. They talk about love. They talk about their fears and worries. They shared their insecurities, their feelings of inadequacies.✉️ Sign up for the Daily Dad email: DailyDad.com

Season 3* kicks off with full book episodes released on the first Monday of every month. First up, we return to the cocaine novels of the 1980s and one of the literary brat pack's brightest works. This novel has everything: Cocaine, Bolivian Marching Powder, Peruvian Pink (and also some really salient things to say about masculinity within the meat grinder of 1980s publishing.) You could watch the Michael J. Fox movie adaptation, but then you'd miss out on a rare novel told in the 2nd person POV.*Our Season 3 format will feature new episode on the first and third Monday of the month, with longer, full novel discussions on the first followed by special readings, road trips, interviews, and general pop culture discussions on the third. As always, you can join the discussion on Instagram: @litguise

The amazing @benmezrich and I talk about Bright Lights, Big City and about Hollywood.  Ben is one of the 25 most powerful writers according to Variety.  He wrote the books that became The Social Network, and 21.https://www.benmezrich.comThanks to the Miami Book Fair for another great episode:https://www.miamibookfair.com

On this episode, we travel back to 1984, and the days when a "young adult" novel included lots of drugs and partying and absolutely no sparkly vampires or dystopian warrior girls. We're talking about Jay McInerney's groundbreaking novel, Bright Lights, Big City, and its 1988 film version starring Michael J. Fox and Keifer Sutherland. ----more---- Hello, and welcome to The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. The original 1984 front cover for Jay McInerney's Bright Lights, Big City If you were a young adult in the late 1980s, there's a very good chance that you started reading more adult-y books thanks to an imprint called Vintage Contemporaries. Quality books at an affordable paperback price point, with their uniform and intrinsically 80s designed covers, bold cover and spine fonts, and mix of first-time writers and cult authors who never quite broke through to the mainstream, the Vintage Contemporary series would be an immediate hit when it was first launched in September 1984. The first set of releases would include such novels as Raymond Carver's Cathedral and Thomas McGuane's The Bushwhacked Piano, but the one that would set the bar for the entire series was the first novel by a twenty-nine year old former fact checker at the New Yorker magazine. The writer was Jay McInerney, and his novel was Bright Lights, Big City. The original 1984 front cover for Raymond Carver's Cathedral Bright Lights, Big City would set a template for twenty something writers in the 1980s. A protagonist not unlike the writer themselves, with a not-so-secret drug addiction, and often written in the second person, You, which was not a usual literary choice at the time. The nameless protagonist, You, is a divorced twenty-four year old wannabe writer who works as fact-checker at a major upscale magazine in New York City, for which he once dreamed of writing for. You is recently divorced from Amanda, an aspiring model he had met while going to school in Kansas City. You would move to New York City earlier in the year with her when her modeling career was starting to talk off. While in Paris for Fashion Week, Amanda called You to inform him their marriage was over, and that she was leaving him for another man. You continues to hope Amanda will return to him, and when it's clear she won't, he not only becomes obsessed with everything about her that left in their apartment, he begins to slide into reckless abandon at the clubs they used to frequent, and becoming heavily addicted to cocaine, which then affects his performance at work. A chance encounter with Amanda at an event in the city leads You to a public humiliation, which makes him starts to realize that his behavior is not because his wife left him, but a manifestation of the grief he still feels over his mother's passing the previous year. You had gotten married to a woman he hardly knew because he wanted to make his mother happy before she died, and he was still unconsciously grieving when his wife's leaving him triggered his downward spiral. Bright Lights, Big City was an immediate hit, one of the few paperback-only books to ever hit the New York Times best-seller chart. Within two years, the novel had sold more than 300,000 copies, and spawned a tidal wave of like-minded twentysomething writers becoming published. Bret Easton Ellis might have been able to get his first novel Less Than Zero published somewhere down the line, but it was McInerney's success that would cause Simon and Schuster to try and duplicate Vintage's success, which they would. Same with Tana Janowitz, whose 1986 novel Slaves of New York was picked up by Crown Publishers looking to replicate the success of McInerney and Ellis, despite her previous novel, 1981's American Dad, being completely ignored by the book buying public at that time. While the book took moments from his life, it wasn't necessarily autobiographical. For example, McInerney had been married to a fashion model in the early 1980s, but they would meet while he attended Syracuse University in the late 1970s. And yes, McInerney would do a lot of blow during his divorce from his wife, and yes, he would get fired from The New Yorker because of the effects of his drug addiction. Yes, he was partying pretty hard during the times that preceded the writing of his first novel. And yes, he would meet a young woman who would kinda rescue him and get him on the right path.  But there were a number of details about McInerney's life that were not used for the book. Like how the author studied writing with none other than Raymond Carver while studying creative writing at Syracuse, or how his family connections would allow him to submit blind stories to someone like George Plimpton at the Paris Review, and not only get the story read but published. And, naturally, any literary success was going to become a movie at some point. For Bright Lights, it would happen almost as soon as the novel was published. Robert Lawrence, a vice president at Columbia Pictures in his early thirties, had read the book nearly cover to cover in a single sitting, and envisioned a film that could be “The Graduate” of his generation, with maybe a bit of “Lost Weekend” thrown in. But the older executives at the studio balked at the idea, which they felt would be subversive and unconventional. They would, however, buy in when Lawrence was able to get mega-producer Jerry Weintraub to be a producer on the film, who in turn was able to get Joel Schumacher, who had just finished filming St. Elmo's Fire for the studio, to direct, and get Tom Cruise, who was still two years away from Top Gun and megastardom, to play the main character. McInerney was hired to write the script, and he and Schumacher and Cruise would even go on club crawls in New York City to help inform all of the atmosphere they were trying to capture with the film. In 1985, Weintraub would be hired by United Artists to become their new chief executive, and Bright Lights would be one of the properties he would be allowed to take with him to his new home. But since he was now an executive, Weintraub would need to hire a new producer to take the reigns on the picture. Enter Sydney Pollack. By 1985, Sydney Pollack was one of the biggest directors in Hollywood. With films like They Shoot Horses, Don't They?, Jeremiah Johnson, Three Days of the Condor, The Electric Horseman and Tootsie under his belt, Pollock could get a film made, and get it seen by audiences. At least, as a director. At this point in his career, he had only ever produced one movie, Alan Rudolph's 1984 musical drama Songwriter, which despite being based on the life of Willie Nelson, and starring Nelson, Kris Kristofferson and Rip Torn, barely grossed a tenth of its $8m budget. And Pollock at that moment was busy putting the finishing touches on his newest film, an African-based drama featuring Meryl Streep and longtime Pollock collaborator Robert Redford. That film, Out of Africa, would win seven Academy Awards including Best Picture and Best Director, in March 1986, which would keep Pollock and his producing partner Mark Rosenberg's attention away from Bright Lights for several months. Once the hype on Out of Africa died down, Pollock and Rosenberg got to work getting Bright Lights, Big City made. Starting with hiring a new screenwriter, a new director, and a new leading actor. McInerney, Schumacher and Cruise had gotten tired of waiting. Ironically, Cruise would call on Pollock to direct another movie he was waiting to make, also based at United Artists, that he was going to star in alongside Dustin Hoffman. That movie, of course, is Rain Man, and we'll dive into that movie another time. Also ironically, Weintraub would not last long as the CEO of United Artists. Just five months after becoming the head of the studio, Weintraub would tire of the antics of Kirk Kerkorian, the owner of United Artists and its sister company, MGM, and step down. Kerkorian would not let Weintraub take any of the properties he brought from Columbia to his new home, the eponymously named mini-major he'd form with backing from Columbia. With a new studio head in place, Pollock started to look for a new director. He would discover that director in Joyce Chopra, who, after twenty years of making documentaries, made her first dramatic narrative in 1985. Smooth Talk was an incredible coming of age drama, based on a story by Joyce Carol Oates, that would make a star out of then seventeen-year-old Laura Dern. UA would not only hire her to direct the film but hire her husband, Tom Cole, who brilliantly adapted the Oates story that was the basis for Smooth Talk, to co-write the screenplay with his wife. While Cole was working on the script, Chopra would have her agent send a copy of McInerney's book to Michael J. Fox. This wasn't just some random decision. Chopra knew she needed a star for this movie, and Fox's agent just happened to be Chopra's agent. That'd be two commissions for the agent if it came together, and a copy of the book was delivered to Fox's dressing room on the Family Ties soundstage that very day. Fox loved the book, and agreed to do the film. After Alex P. Keaton and Marty McFly and other characters he had played that highlighted his good looks and pleasant demeanor, he was ready to play a darker, more morally ambiguous character. Since the production was scheduled around Fox's summer hiatus from the hit TV show, he was in. For Pollock and United Artists, this was a major coup, landing one of the biggest stars in Hollywood. But the project was originally going to be Toronto standing in for New York City for less than $7m with a lesser known cast. Now, it was going to be a $15m with not only Michael J. Fox but also Keifer Sutherland, who was cast as Tad, the best friend of the formerly named You, who would now known as Jamie Conway, and would be shot on location in New York City. The film would also feature Phoebe Cates as Jamie's model ex-wife, William Hickey, Kelly Lynch. But there was a major catch. The production would only have ten weeks to shoot with Fox, as he was due back in Los Angeles to begin production on the sixth season of Family Ties.  He wasn't going to do that thing he did making a movie and a television show at the same time like he did with Back to the Future and Family Ties in 1984 and 1985. Ten weeks and not a day more. Production on the film would begin on April 13th, 1987, to get as much of the film shot while Fox was still finishing Family Ties in Los Angeles. He would be joining the production at the end of the month. But Fox never get the chance to shoot with Chopra. After three weeks of production, Chopra, her husband, and her cinematographer James Glennon, who had also shot Smooth Talk, were dismissed from the film. The suits at United Artists were not happy with the Fox-less footage that was coming out of New York, and were not happy with the direction of the film. Cole and Chopra had removed much of the nightlife and drug life storyline, and focused more on the development of Jamie as a writer. Apparently, no one at the studio had read the final draft of the script before shooting began. Cole, the screenwriter, says it was Pollock, the producer, who requested the changes, but in the end, it would be not the Oscar-winning filmmaker producing the movie that would be released but the trio of newer creatives. Second unit footage would continue to shoot around New York City while the studio looked for a new director. Ironically, days after Chopra was fired, the Directors Guild of America had announced that if they were not able to sign a new agreement with the Producers Guild before the end of the current contract on June 30th, the directors were going on strike. So now United Artists were really under the gun. After considering such filmmakers as Belgian director Ulu Grosbard, who had directed Meryl Streep and Robert De Niro in Falling in Love, and Australian director Bruce Beresford, whose films had included Breaker Morant and Tender Mercies, they would find their new director in James Bridges, whose filmography included such critical and financial success as The Paper Chase, The China Syndrome and Urban Cowboy, but had two bombs in a row in 1984's Mike's Murder and 1985's Perfect. He needed a hit, and this was the first solid directing offer in three years. He'd spend the weekend after his hiring doing some minor recasting, including bringing in John Houseman, who won a Best Supporting Actor Oscar for his role in The Paper Chase, as well as Swoosie Kurtz, Oscar-winning actors Jason Robards and Dianne Weist, and Tracy Pollan, Fox's co-star on Family Ties, who would shortly after the filming of Bright Lights become Mrs. Michael J. Fox, although in the film, she would be cast not as a love interest to her real-life boyfriend's character but as the wife of Keifer Sutherland's character. After a week of rewriting McInerney's original draft of the screenplay from the Schumacher days, principal photography re-commenced on the film. And since Bridges would be working with famed cinematographer Gordon Willis, who had shot three previous movies with Bridges as well as the first two Godfather movies and every Woody Allen movie from Annie Hall to The Purple Rose of Cairo, it was also decided that none of Chopra's footage would be used. Everything would start back on square one. And because of the impending Directors Guild strike, he'd have only thirty-six days, a tad over five weeks, to film everything. One of the lobby cards from the movie version of Bright Lights, Big City And they were able to get it all done, thanks to some ingenious measures. One location, the Palladium concert hall on the Lower East Side of Manhattan, would double as three different nightclubs, two discotheques and a dinner club. Instead of finding six different locations, which would loading cameras and lights from one location to another, moving hundreds of people as well, and then setting the lights and props again, over and over, all they would have to do is re-decorate the area to become the next thing they needed. Bridges would complete the film that day before the Directors Guild strike deadline, but the strike would never happen. But there would be some issue with the final writing credits. While Bridges had used McInerney's original screenplay as a jumping off point, the writer/director had really latched on to the mother's death as the emotional center of the movie. Bridges' own grandmother had passed away in 1986, and he found writing those scenes to be cathartic for his own unresolved issues. But despite the changes Bridges would make to the script, including adding such filmmaking tropes as flashbacks and voiceovers, and having the movie broken up into sections by the use of chapter titles being typed out on screen, the Writers Guild would give sole screenwriting credit to Jay McInerney. As post-production continued throughout the fall, the one topic no one involved in the production wanted to talk about or even acknowledge was the movie version of Bret Easton Ellis's Less Than Zero that rival studio 20th Century Fox had been making in Los Angeles. It had a smaller budget, a lesser known filmmaker, a lesser known cast lead by Andrew McCarthy and Jami Gertz, and a budget half the size. If their film was a hit, that could be good for this one. And if their film wasn't a hit? Well, Bright Lights was the trendsetter. It was the one that sold more copies. The one that saw its author featured in more magazines and television news shows. How well did Less Than Zero do when it was released into theatres on November 6th, 1987? Well, you're just going to have to wait until next week's episode. Unless you're listening months or years after they were published, and are listening to episodes in reverse order. Then you already know how it did, but let's just say it wasn't a hit but it wasn't really a dud either. Bridges would spend nearly six months putting his film together, most of which he would find enjoyable, but he would have trouble deciding which of two endings he shot would be used. His preferred ending saw Jamie wandering through the streets of New York City early one morning, after a long night of partying that included a confrontation with his ex-wife, where he decides that was the day he was going to get his life back on track but not knowing what he was going to do, but the studio asked for an alternative ending, one that features Jamie one year in the future, putting the finishing touches on his first novel, which we see is titled… wait for it… Bright Lights, Big City, while his new girlfriend stands behind him giving her approval. After several audience test screenings, the studio would decide to let Bridges have his ending. United Artists would an April 1st, 1988 release date, and would spend months gearing up the publicity machine. Fox and Pollan were busy finishing the final episodes of that season's Family Ties, and weren't as widely available for the publicity circuit outside of those based in Los Angeles. The studio wasn't too worried, though. Michael J. Fox's last movie, The Secret of My Success, had been released in April 1987, and had grossed $67m without his doing a lot of publicity for that one, either. Opening on 1196 screens, the film would only manage to gross $5.13m, putting it in third place behind the previous week's #1 film, Biloxi Blues with Matthew Broderick, and the Tim Burton comedy Beetlejuice, which despite opening on nearly 200 fewer screens would gross nearly $3m more. But the reviews were not great. Decent. Respectful. But not great. The New York-based critics, like David Ansen of Newsweek and Janet Maslin of the Times, would be kinder than most other critics, maybe because they didn't want to be seen knocking a film shot in their backyard. But one person would actually would praise the film and Michael J. Fox as an actor was Roger Ebert. But it wouldn't save the film. In its second week, the film would fall to fifth place, with $3.09m worth of tickets sold, and it would drop all the way to tenth place in its third week with just under $1.9m in ticket sales. Week four would see it fall to 16th place with only $862k worth of ticket sales. After that, United Artists would stop reporting grosses. The $17m film had grossed just $16.1m. Bright Lights, Big City was a milestone book for me, in large part because it made me a reader. Before Bright Lights, I read occasionally, mainly John Irving, preferring to spend most of my free time voraciously consuming every movie I could. After Bright Lights, I picked up every Vintage Contemporary book I could get my hands on. One of the checklists of Vintage Contemporary books listed in the back of a Vintage Contemporary book. And one thing that really helped out was the literal checklist of other books available from that imprint in the back of each book. Without those distinct covers, I don't know if I would have discovered some of my favorite authors like Raymond Carver and Don DeLillo and Richard Ford and Richard Russo. Even after the Vintage Contemporary line shut down years later, I continued to read. I still read today, although not as much as I would prefer. I have a podcast to work on. I remember when the movie came out that I wasn't all that thrilled with it, and it would be nearly 35 years before I revisited it again, for this episode. I can't say it's the 80s as I remember it, because I had never been to New York City by that point in my life, I had never, and still never have, done anything like cocaine. And I had only ever had like two relationships that could be considered anything of substance, let alone marriage and a divorce. But I am certain it's an 80s that I'm glad I didn't know. Mainly because Jamie's 80s seemed rather boring and inconsequential. Fox does the best he can with the material, but he is not the right person for the role. As I watched it again, I couldn't help but wonder what if the roles were reversed. What if Keifer Sutherland played Jamie and Michael J. Fox played the friend? That might have been a more interesting movie, but Sutherland was not yet at that level of stardom. Thank you for joining us. We'll talk again next week, when Episode 95, on the novel and movie version of Less Than Zero is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Bright Lights, Big City, both the book and the movie, as well as other titles in the Vintage Contemporary book series. The full cover, back and front, of Richard Ford's 1986 The Sportswriter, which would be the first of four novels about Frank Bascombe, a failed novelist who becomes a sportswriter. The second book in the series, 1995's Independence Day, would win the Pulitzer Prize for Fiction, as well as the PEN/Faulkner Award for Fiction, the first of only two times the same book would win both awards the same year. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.  

On this episode, we travel back to 1984, and the days when a "young adult" novel included lots of drugs and partying and absolutely no sparkly vampires or dystopian warrior girls. We're talking about Jay McInerney's groundbreaking novel, Bright Lights, Big City, and its 1988 film version starring Michael J. Fox and Keifer Sutherland. ----more---- Hello, and welcome to The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. The original 1984 front cover for Jay McInerney's Bright Lights, Big City If you were a young adult in the late 1980s, there's a very good chance that you started reading more adult-y books thanks to an imprint called Vintage Contemporaries. Quality books at an affordable paperback price point, with their uniform and intrinsically 80s designed covers, bold cover and spine fonts, and mix of first-time writers and cult authors who never quite broke through to the mainstream, the Vintage Contemporary series would be an immediate hit when it was first launched in September 1984. The first set of releases would include such novels as Raymond Carver's Cathedral and Thomas McGuane's The Bushwhacked Piano, but the one that would set the bar for the entire series was the first novel by a twenty-nine year old former fact checker at the New Yorker magazine. The writer was Jay McInerney, and his novel was Bright Lights, Big City. The original 1984 front cover for Raymond Carver's Cathedral Bright Lights, Big City would set a template for twenty something writers in the 1980s. A protagonist not unlike the writer themselves, with a not-so-secret drug addiction, and often written in the second person, You, which was not a usual literary choice at the time. The nameless protagonist, You, is a divorced twenty-four year old wannabe writer who works as fact-checker at a major upscale magazine in New York City, for which he once dreamed of writing for. You is recently divorced from Amanda, an aspiring model he had met while going to school in Kansas City. You would move to New York City earlier in the year with her when her modeling career was starting to talk off. While in Paris for Fashion Week, Amanda called You to inform him their marriage was over, and that she was leaving him for another man. You continues to hope Amanda will return to him, and when it's clear she won't, he not only becomes obsessed with everything about her that left in their apartment, he begins to slide into reckless abandon at the clubs they used to frequent, and becoming heavily addicted to cocaine, which then affects his performance at work. A chance encounter with Amanda at an event in the city leads You to a public humiliation, which makes him starts to realize that his behavior is not because his wife left him, but a manifestation of the grief he still feels over his mother's passing the previous year. You had gotten married to a woman he hardly knew because he wanted to make his mother happy before she died, and he was still unconsciously grieving when his wife's leaving him triggered his downward spiral. Bright Lights, Big City was an immediate hit, one of the few paperback-only books to ever hit the New York Times best-seller chart. Within two years, the novel had sold more than 300,000 copies, and spawned a tidal wave of like-minded twentysomething writers becoming published. Bret Easton Ellis might have been able to get his first novel Less Than Zero published somewhere down the line, but it was McInerney's success that would cause Simon and Schuster to try and duplicate Vintage's success, which they would. Same with Tana Janowitz, whose 1986 novel Slaves of New York was picked up by Crown Publishers looking to replicate the success of McInerney and Ellis, despite her previous novel, 1981's American Dad, being completely ignored by the book buying public at that time. While the book took moments from his life, it wasn't necessarily autobiographical. For example, McInerney had been married to a fashion model in the early 1980s, but they would meet while he attended Syracuse University in the late 1970s. And yes, McInerney would do a lot of blow during his divorce from his wife, and yes, he would get fired from The New Yorker because of the effects of his drug addiction. Yes, he was partying pretty hard during the times that preceded the writing of his first novel. And yes, he would meet a young woman who would kinda rescue him and get him on the right path.  But there were a number of details about McInerney's life that were not used for the book. Like how the author studied writing with none other than Raymond Carver while studying creative writing at Syracuse, or how his family connections would allow him to submit blind stories to someone like George Plimpton at the Paris Review, and not only get the story read but published. And, naturally, any literary success was going to become a movie at some point. For Bright Lights, it would happen almost as soon as the novel was published. Robert Lawrence, a vice president at Columbia Pictures in his early thirties, had read the book nearly cover to cover in a single sitting, and envisioned a film that could be “The Graduate” of his generation, with maybe a bit of “Lost Weekend” thrown in. But the older executives at the studio balked at the idea, which they felt would be subversive and unconventional. They would, however, buy in when Lawrence was able to get mega-producer Jerry Weintraub to be a producer on the film, who in turn was able to get Joel Schumacher, who had just finished filming St. Elmo's Fire for the studio, to direct, and get Tom Cruise, who was still two years away from Top Gun and megastardom, to play the main character. McInerney was hired to write the script, and he and Schumacher and Cruise would even go on club crawls in New York City to help inform all of the atmosphere they were trying to capture with the film. In 1985, Weintraub would be hired by United Artists to become their new chief executive, and Bright Lights would be one of the properties he would be allowed to take with him to his new home. But since he was now an executive, Weintraub would need to hire a new producer to take the reigns on the picture. Enter Sydney Pollack. By 1985, Sydney Pollack was one of the biggest directors in Hollywood. With films like They Shoot Horses, Don't They?, Jeremiah Johnson, Three Days of the Condor, The Electric Horseman and Tootsie under his belt, Pollock could get a film made, and get it seen by audiences. At least, as a director. At this point in his career, he had only ever produced one movie, Alan Rudolph's 1984 musical drama Songwriter, which despite being based on the life of Willie Nelson, and starring Nelson, Kris Kristofferson and Rip Torn, barely grossed a tenth of its $8m budget. And Pollock at that moment was busy putting the finishing touches on his newest film, an African-based drama featuring Meryl Streep and longtime Pollock collaborator Robert Redford. That film, Out of Africa, would win seven Academy Awards including Best Picture and Best Director, in March 1986, which would keep Pollock and his producing partner Mark Rosenberg's attention away from Bright Lights for several months. Once the hype on Out of Africa died down, Pollock and Rosenberg got to work getting Bright Lights, Big City made. Starting with hiring a new screenwriter, a new director, and a new leading actor. McInerney, Schumacher and Cruise had gotten tired of waiting. Ironically, Cruise would call on Pollock to direct another movie he was waiting to make, also based at United Artists, that he was going to star in alongside Dustin Hoffman. That movie, of course, is Rain Man, and we'll dive into that movie another time. Also ironically, Weintraub would not last long as the CEO of United Artists. Just five months after becoming the head of the studio, Weintraub would tire of the antics of Kirk Kerkorian, the owner of United Artists and its sister company, MGM, and step down. Kerkorian would not let Weintraub take any of the properties he brought from Columbia to his new home, the eponymously named mini-major he'd form with backing from Columbia. With a new studio head in place, Pollock started to look for a new director. He would discover that director in Joyce Chopra, who, after twenty years of making documentaries, made her first dramatic narrative in 1985. Smooth Talk was an incredible coming of age drama, based on a story by Joyce Carol Oates, that would make a star out of then seventeen-year-old Laura Dern. UA would not only hire her to direct the film but hire her husband, Tom Cole, who brilliantly adapted the Oates story that was the basis for Smooth Talk, to co-write the screenplay with his wife. While Cole was working on the script, Chopra would have her agent send a copy of McInerney's book to Michael J. Fox. This wasn't just some random decision. Chopra knew she needed a star for this movie, and Fox's agent just happened to be Chopra's agent. That'd be two commissions for the agent if it came together, and a copy of the book was delivered to Fox's dressing room on the Family Ties soundstage that very day. Fox loved the book, and agreed to do the film. After Alex P. Keaton and Marty McFly and other characters he had played that highlighted his good looks and pleasant demeanor, he was ready to play a darker, more morally ambiguous character. Since the production was scheduled around Fox's summer hiatus from the hit TV show, he was in. For Pollock and United Artists, this was a major coup, landing one of the biggest stars in Hollywood. But the project was originally going to be Toronto standing in for New York City for less than $7m with a lesser known cast. Now, it was going to be a $15m with not only Michael J. Fox but also Keifer Sutherland, who was cast as Tad, the best friend of the formerly named You, who would now known as Jamie Conway, and would be shot on location in New York City. The film would also feature Phoebe Cates as Jamie's model ex-wife, William Hickey, Kelly Lynch. But there was a major catch. The production would only have ten weeks to shoot with Fox, as he was due back in Los Angeles to begin production on the sixth season of Family Ties.  He wasn't going to do that thing he did making a movie and a television show at the same time like he did with Back to the Future and Family Ties in 1984 and 1985. Ten weeks and not a day more. Production on the film would begin on April 13th, 1987, to get as much of the film shot while Fox was still finishing Family Ties in Los Angeles. He would be joining the production at the end of the month. But Fox never get the chance to shoot with Chopra. After three weeks of production, Chopra, her husband, and her cinematographer James Glennon, who had also shot Smooth Talk, were dismissed from the film. The suits at United Artists were not happy with the Fox-less footage that was coming out of New York, and were not happy with the direction of the film. Cole and Chopra had removed much of the nightlife and drug life storyline, and focused more on the development of Jamie as a writer. Apparently, no one at the studio had read the final draft of the script before shooting began. Cole, the screenwriter, says it was Pollock, the producer, who requested the changes, but in the end, it would be not the Oscar-winning filmmaker producing the movie that would be released but the trio of newer creatives. Second unit footage would continue to shoot around New York City while the studio looked for a new director. Ironically, days after Chopra was fired, the Directors Guild of America had announced that if they were not able to sign a new agreement with the Producers Guild before the end of the current contract on June 30th, the directors were going on strike. So now United Artists were really under the gun. After considering such filmmakers as Belgian director Ulu Grosbard, who had directed Meryl Streep and Robert De Niro in Falling in Love, and Australian director Bruce Beresford, whose films had included Breaker Morant and Tender Mercies, they would find their new director in James Bridges, whose filmography included such critical and financial success as The Paper Chase, The China Syndrome and Urban Cowboy, but had two bombs in a row in 1984's Mike's Murder and 1985's Perfect. He needed a hit, and this was the first solid directing offer in three years. He'd spend the weekend after his hiring doing some minor recasting, including bringing in John Houseman, who won a Best Supporting Actor Oscar for his role in The Paper Chase, as well as Swoosie Kurtz, Oscar-winning actors Jason Robards and Dianne Weist, and Tracy Pollan, Fox's co-star on Family Ties, who would shortly after the filming of Bright Lights become Mrs. Michael J. Fox, although in the film, she would be cast not as a love interest to her real-life boyfriend's character but as the wife of Keifer Sutherland's character. After a week of rewriting McInerney's original draft of the screenplay from the Schumacher days, principal photography re-commenced on the film. And since Bridges would be working with famed cinematographer Gordon Willis, who had shot three previous movies with Bridges as well as the first two Godfather movies and every Woody Allen movie from Annie Hall to The Purple Rose of Cairo, it was also decided that none of Chopra's footage would be used. Everything would start back on square one. And because of the impending Directors Guild strike, he'd have only thirty-six days, a tad over five weeks, to film everything. One of the lobby cards from the movie version of Bright Lights, Big City And they were able to get it all done, thanks to some ingenious measures. One location, the Palladium concert hall on the Lower East Side of Manhattan, would double as three different nightclubs, two discotheques and a dinner club. Instead of finding six different locations, which would loading cameras and lights from one location to another, moving hundreds of people as well, and then setting the lights and props again, over and over, all they would have to do is re-decorate the area to become the next thing they needed. Bridges would complete the film that day before the Directors Guild strike deadline, but the strike would never happen. But there would be some issue with the final writing credits. While Bridges had used McInerney's original screenplay as a jumping off point, the writer/director had really latched on to the mother's death as the emotional center of the movie. Bridges' own grandmother had passed away in 1986, and he found writing those scenes to be cathartic for his own unresolved issues. But despite the changes Bridges would make to the script, including adding such filmmaking tropes as flashbacks and voiceovers, and having the movie broken up into sections by the use of chapter titles being typed out on screen, the Writers Guild would give sole screenwriting credit to Jay McInerney. As post-production continued throughout the fall, the one topic no one involved in the production wanted to talk about or even acknowledge was the movie version of Bret Easton Ellis's Less Than Zero that rival studio 20th Century Fox had been making in Los Angeles. It had a smaller budget, a lesser known filmmaker, a lesser known cast lead by Andrew McCarthy and Jami Gertz, and a budget half the size. If their film was a hit, that could be good for this one. And if their film wasn't a hit? Well, Bright Lights was the trendsetter. It was the one that sold more copies. The one that saw its author featured in more magazines and television news shows. How well did Less Than Zero do when it was released into theatres on November 6th, 1987? Well, you're just going to have to wait until next week's episode. Unless you're listening months or years after they were published, and are listening to episodes in reverse order. Then you already know how it did, but let's just say it wasn't a hit but it wasn't really a dud either. Bridges would spend nearly six months putting his film together, most of which he would find enjoyable, but he would have trouble deciding which of two endings he shot would be used. His preferred ending saw Jamie wandering through the streets of New York City early one morning, after a long night of partying that included a confrontation with his ex-wife, where he decides that was the day he was going to get his life back on track but not knowing what he was going to do, but the studio asked for an alternative ending, one that features Jamie one year in the future, putting the finishing touches on his first novel, which we see is titled… wait for it… Bright Lights, Big City, while his new girlfriend stands behind him giving her approval. After several audience test screenings, the studio would decide to let Bridges have his ending. United Artists would an April 1st, 1988 release date, and would spend months gearing up the publicity machine. Fox and Pollan were busy finishing the final episodes of that season's Family Ties, and weren't as widely available for the publicity circuit outside of those based in Los Angeles. The studio wasn't too worried, though. Michael J. Fox's last movie, The Secret of My Success, had been released in April 1987, and had grossed $67m without his doing a lot of publicity for that one, either. Opening on 1196 screens, the film would only manage to gross $5.13m, putting it in third place behind the previous week's #1 film, Biloxi Blues with Matthew Broderick, and the Tim Burton comedy Beetlejuice, which despite opening on nearly 200 fewer screens would gross nearly $3m more. But the reviews were not great. Decent. Respectful. But not great. The New York-based critics, like David Ansen of Newsweek and Janet Maslin of the Times, would be kinder than most other critics, maybe because they didn't want to be seen knocking a film shot in their backyard. But one person would actually would praise the film and Michael J. Fox as an actor was Roger Ebert. But it wouldn't save the film. In its second week, the film would fall to fifth place, with $3.09m worth of tickets sold, and it would drop all the way to tenth place in its third week with just under $1.9m in ticket sales. Week four would see it fall to 16th place with only $862k worth of ticket sales. After that, United Artists would stop reporting grosses. The $17m film had grossed just $16.1m. Bright Lights, Big City was a milestone book for me, in large part because it made me a reader. Before Bright Lights, I read occasionally, mainly John Irving, preferring to spend most of my free time voraciously consuming every movie I could. After Bright Lights, I picked up every Vintage Contemporary book I could get my hands on. One of the checklists of Vintage Contemporary books listed in the back of a Vintage Contemporary book. And one thing that really helped out was the literal checklist of other books available from that imprint in the back of each book. Without those distinct covers, I don't know if I would have discovered some of my favorite authors like Raymond Carver and Don DeLillo and Richard Ford and Richard Russo. Even after the Vintage Contemporary line shut down years later, I continued to read. I still read today, although not as much as I would prefer. I have a podcast to work on. I remember when the movie came out that I wasn't all that thrilled with it, and it would be nearly 35 years before I revisited it again, for this episode. I can't say it's the 80s as I remember it, because I had never been to New York City by that point in my life, I had never, and still never have, done anything like cocaine. And I had only ever had like two relationships that could be considered anything of substance, let alone marriage and a divorce. But I am certain it's an 80s that I'm glad I didn't know. Mainly because Jamie's 80s seemed rather boring and inconsequential. Fox does the best he can with the material, but he is not the right person for the role. As I watched it again, I couldn't help but wonder what if the roles were reversed. What if Keifer Sutherland played Jamie and Michael J. Fox played the friend? That might have been a more interesting movie, but Sutherland was not yet at that level of stardom. Thank you for joining us. We'll talk again next week, when Episode 95, on the novel and movie version of Less Than Zero is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Bright Lights, Big City, both the book and the movie, as well as other titles in the Vintage Contemporary book series. The full cover, back and front, of Richard Ford's 1986 The Sportswriter, which would be the first of four novels about Frank Bascombe, a failed novelist who becomes a sportswriter. The second book in the series, 1995's Independence Day, would win the Pulitzer Prize for Fiction, as well as the PEN/Faulkner Award for Fiction, the first of only two times the same book would win both awards the same year. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.  

Join us into the 80s as we explore the first of the Brat Pack, Jay McInerney, and his debut novel Bright Lights, Big City.  Warning: May Contain Spoilers Created by: Cristo M. Sanchez Written by: Cristo M. Sanchez and Jason Nemor Harden Hosted by: Jason Nemor Harden Music by: Creature 9, Wood, Cristo M. Sanchez and Jason Nemor Harden Follow us on instagram and facebook for the latest updates and more!

THURSDAY HR 3 To The Top with Carlos - Hamilton opening night. Katy Perry a cyborg? Monster Sports - NFL Thursday AXE Throwing World Championships

In another episode of Music That Broke Me, we move on from Pump Up The Volume and into the harder edge of The Pixies. Trompe Le Monde opened up a whole world of music for me and Less Than Zero and Bright Lights Big City opened up the possibility that I could harness my own voice into my first serious novel. The books and the music brought out PJ Harvey, Beastie Boys, Radiohead, and introduced me to punk rock. Different music was everywhere, including the magazine CMJ Monthly and I took it all in. Come take a listen to some music broke boundaries.In this episode:Subbacultcha – The PixiesSpace (I Believe In) – The PixiesHook – PJ HarveyInnercity Boundaries – Freestyle FellowshipSo Wat'cha Want – Beastie BoysI Don't Want You Around – NOFXIntentions – FifteenFor Beth – Coffin Break#podcast #music #books #breteastonellis #jaymcinerney #thepixies #pjharvey #beastieboys #nofx #fifteen #freestylefellowship #coffinbreakWebsite: www.seanmcginity.ca@seangeekpodcast on Twitter, Instagram and Facebook@toddgeek on Twitter@fastfretfingers on Instagram@ToddGeeks Tech Talk on Facebook @mbpodfest@captivatefmMentioned in this episode:Want Merch?You can get your own SeanGeek and FastFret Merch over at our storefront on Teepublic, over at https://www.teepublic.com/stores/seangeek-podcast

You'll understand why AnnMarie Milazzo considers her craft a design category by the end of this episode! If you are listening to this on Apple Podcast, we'd love it if you could share your love in a review! ABOUT ANNMARIE MILAZZO A.R.T.: Finding Neverland, Prometheus Bound. Broadway (Vocal Designer): Spring Awakening, Next to Normal, If/Then, Finding Neverland. Off-Broadway: Carrie, Bright Lights Big City, Superhero; (Orchestrator, with Michael Starobin): Once on this Island (Tony, Drama Desk, Outer Critics Circle nominations). Regional: Dangerous Beauty, Some Lovers, Dave, A Walk on the Moon, Almost Famous. Other credits include The Radio City Rockettes' Summer Spectacular 2016 (co-arranger/lyricist, co-composer); Cirque du Soleil's Le Rêve and La Perle. Film: Pretty Dead Girl (Composer and Lyricist; Special Jury Award, Sundance Film Festival). Milazzo is the Grammy-nominated female vocalist for East Village Opera Company on Decca/Universal Records MENTIONED IN THIS EPISODE: A Beautiful Noise on Instagram: instagram.com/abeautifulnoisemusical A Beautiful Noise on Facebook: facebook.com/ABeautifulNoiseMusical Get Your Tickets: abeautifulnoisethemusical.com --- Come say hi to us! Facebook: @PageToStagePodcast @BroadwayPodcastNetwork Instagram: @PageToStagePodcast @TheMaryDina @BrianSedita @BroadwayPodcastNetwork Twitter: @TheMaryDina @BwayPodNetwork YouTube: @PageToStagePodcast @BroadwayPodcastNetwork #PageToStagePodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Recorded poolside at my home in Ojai, California, meet George – owner, inventor, founder of Bangin Headlights.. I've driven a few dark roads that no matter how much my high beams put out, it just can't compare to today's high tech lights…until now. Not only is George a Classic Mustang enthusiast and owner, he's an entrepreneur with a dream – to brighten up everyone's road ahead. Ford Mustang, The Early Years Podcast -- Guest Interview ApplicationHow long have you owned your ride?: 10 yearsWhat do you do for a living?: Maker of the best damn headlights for classic cars!If you own a Mustang or classic car, have you named your car? If so, what is his/her name?:No, could never think of a suitable name, I just say "My Baby" :)If you've made improvements to your classic car or restored it, what work have you done?:Initially restored to stock to have it registered for the first time in Australia. Many continuous upgrades and parts restored over the years. Suspension, brakes, power steering, electrical, ignition, interior....What plans do you have for improvements/restoration/modification of your classic car?: Big plans - front suspension & brakes!Please share your social media names/handles so we can tag you when promoting your episode.: Instagram: @banginheadlights https://www.instagram.com/banginheadlights/Link to get YOUR Bangin' Headlights - www.TheMustangPodcast.com/headlightsFord Mustang The Early Years Podcast (social media)The Facebook GroupTheMustangPodcast.com/facebookhttps://www.facebook.com/groups/185146876036328Instagram@mustangpodcasthttps://www.instagram.com/mustangpodcast/An Expert's Guide to Maintaining Your Classic Mustangwww.TheMustangPodcast.com/repairCover Art: Doug Sandler's Jewel with Bangin Headlights, Photo credit: Bangin HeadlightsKeep it safe, keep it rollin' and keep it on the road. Until next time! ~Doug Sandler

Do your players (or yourself as a player) behave differently when your PCs enter a city, village, or township? Today we're discussing some of the unique challenges of playing in a city setting.We go in-depth on how specific game times associated with city play differ from a traditional gaming model which heavily incorporates the TTRPG pillar of exploration. We run down several methods for keeping the action moving, avoiding boredom, and maintaining canon.We also cover the idea of player pragmatism, and the unique phenomenon of behavioral shifts caused by a change of locale.Our Website: https://icastspells.comOur Twitter: @passive_podcastOur Email: passiveaggropod@protonmail.comShow Breakdown:0:00: Intro0:30: TTRPG News08:35: How some adventure types lend themselves to city settings.09:30: Adapting the TTRPG pillar of exploration for intuitive city play.11:50: Making a locale robust without getting stuck in the trap of endless prep.20:15: Lore is great for reinforcing a city's character.22:43: Maintaining canon.26:32: Cities provide much more immediate consequence for questionable behavior.31:58: How to avoid alienating certain player types while in different locales.36:48: Pragmatism, character integrity, and how locale can influence the behavioral shifts of players.44:07: Ways to regain tone after out-of-character conversations short circuit encounters.49:44: Avoiding getting into a boring string of fetch quests.54:33: Outro

“You are not the kind of guy who would be at a place like this at this time of the morning.” So begins Jay McInerney's “Bright Lights, Big City”, a debut novel that sets out to encapsulate an era at its frantic extremity. That era is New York City in the early 1980s and our narrator is living the high life in the fast lane. Or to be more accurate, our narrator is getting high because life is moving a bit too fast. On the surface there's a supermodel wife, a job at an unnamed literary magazine that sounds like it might rhyme with The Blue Talker, and a never-ending slew of yuppie parties and yucky nightclubs. But underneath there is a different story, a story full of the kind of suffering that can't be solved by regular cash contributions to the Colombian cartels. Set over the course of one wild week, McInerney's novel follows our narrator as he races from the heights of New York society all the way to the curb, and in between he has a lot of growing up to do. Some of the books and authors discussed in this episode include: "Bright Lights, Big City" by Jay McInerny “Metamorphosis” by Ovid “Trust” by Hernan Diaz Additional segments throughout the podcast include: Inner Shelf Fact or fiction What are you reading? On that Quote Apple Podcast: https://lnkd.in/gF2zVhQT Spotify: https://lnkd.in/gTHtxVh5 Podbean: https://onthesamepagepodcast.podbean.com/ Twitter: https://twitter.com/thesamepagepod_ Email: seamusandblake@gmail.com IG: https://www.instagram.com/on.the.same.page.podcast/  -------- #bookpodcast #podcast #book #novel #stories #shortstories #apassagenorth #anukaradpragasm #brightlightsbigcity #hernandiaz #tolstoy #trust #poetry #shortstoryskirmish #litfacts #paris #literature #books #novels #salmonrushdie #spotifypodcasts #applepodcasts #audible #samsungpodcasts #books #novels #audibleau #lit #onthesamepage #whatareyoureading #literaryfacts #podbean #whatareyoureading

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Brendan is the writer and director of The Isolation Chamber and is the host of Tales From the Mall. Listen to The Isolation Chamber: https://spoti.fi/3nvK5vJ  Follow Brendan on Twitter: https://twitter.com/luso_brendan  SPONSOR: https://surfshark.deals/lowres  [Get 83% off Surf Shark VPN and help out the podcast] Video Episodes & Bonus Episodes: https://patreon.com/lowres  LowRes Instagram Page: https://www.instagram.com/lowreswunderbred  Hans on Twitter: https://www.twitter.com/hwordname 

Meg tells the story of Marla Hanson and The Landlord From Hell. Jessica checks in with NYC's literary Brat Pack: Tama, Jay, and Bret.

We're looking towards the light in episode four. We wanted to understand more about the thought processes behind lighting spaces and the considerations that need to be made when designing with light. With this in mind, we reached out to two experts on light from The UCL Institute for Environmental Design and Engineering. Join host Christoph for a fascinating discussion on the different kinds of light: from healthy light, safe light, indoor light, outdoor light, public light, all the way to the future of light with Dr Jemima Unwin Teji, lecturer and programme lead for the Light and Lighting MSc and Lorna Flores-Villa, Industrial Designer and PhD student. For more information and to access the transcript, visit https://www.ucl.ac.uk/bartlett/transcript-bright-lights-big-city Catch up on previous episodes here: soundcloud.com/uclsound/sets/building-better-the-bartlett Date of episode recording: 2022-01-17 Duration: 32:04 Language of episode: English Presenter: Christoph Lindner Guests: Dr Jemima Unwin Teji; Lorna Flores-Villa Producer: Cerys Bradley

We're looking towards the light in episode four. We wanted to understand more about the thought processes behind lighting spaces and the considerations that need to be made when designing with light. With this in mind, we reached out to two experts on light from The UCL Institute for Environmental Design and Engineering. Join host Christoph for a fascinating discussion on the different kinds of light: from healthy light, safe light, indoor light, outdoor light, public light, all the way to the future of light with Dr Jemima Unwin Teji, lecturer and programme lead for the Light and Lighting MSc and Lorna Flores-Villa, Industrial Designer and PhD student. Access transcript: https://www.ucl.ac.uk/bartlett/transcript-bright-lights-big-city Hosted on Acast. See acast.com/privacy for more information.

Sure, thorium could provide practically limitless clean energy, but then we couldn't build weapons of mass destruction.

Novelist and veteran wine writer Jay McInerney, famous for his 1984 cult classic “Bright Lights, Big City,” talks with us about how vineyard owners are coping with the climate crisis, the opportunity plant-based fine dining presents for rethinking wine pairings, and why great food should cost a certain price.Episode sponsored by Château Troplong Mondot.

The Career of Michael J. Fox  - Talkin' Baloney LIVE!Talkin' Baloney Podcast - covering Pop Culture, Sports, Family and Friends - Nothing is Off Limits!  Except politics.  And religion.  But everything else...Jim Deezy and The Big Guy talk the career of Michael J. Fox, a TV and Movie Icon of the 80's & 90'sPlus,  who can forget his TV career and start with Family Ties!And - Baloney Nation questions from our viewers!Follow this link https://www.buzzsprout.com/?referrer_id=819616 and Buzzsprout will give you a $20 Amazon gift card if you sign up for a paid plan, and that helps support our show. Like and Subscribe! - Call or Text the Baloney Nation Hotline (585-484-1770) and leave us a question or comment!  Visit the Talkin' Baloney merchandise store - https://classywolf.square.site/shop/2

Phil Callihan and Clint Derringer sift through the post Orange Bowl debris and discuss the Jim Harbaugh contract situation.

Discover the Burbs checks out the beautiful Festival of Lights at Cal Expo. Set up for these beautiful exhibits began at the beginning of October and now you can see and interact with these shining displays, enjoy the carnival rides and even catch a quick bite to eat. Make sure you check out their calendar here as the schedule does vary.If you're looking for opportunities for you or your family to volunteer in our community visit justserve.org There's something for everyone.  Service can create a beautiful glow in anyone's life.Get in touch through Facebook, Instagram or email at discovertheburbs@gmail.comMusic: Bensound: "Jazzy Frenchy" and Scott Holmes "Little Idea"

This episode is also available as a blog post: https://thecitylife.org/2021/11/15/bright-lights-big-city/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

In this episode, the guys from TRT talk about the races from Las Vegas. They also dive a little bit into short track racing.

In 1977 James Bridges cashed in his “Paper Chase” cred to make this deeply personal film about the effect of James Dean's death on a group of young Arkansans played by a supremely talented gang of newcomers to the screen. Alex Simon of The Hollywood Interview is our guest co-host for this episode Written and Directed by James Bridges. Cinematographer Gordon Willis. Starring Richard Thomas, Susan Tyrrell, Lisa Blount, Thomas Hulce, Dennis Quaid, Dennis Christopher How is the world wrong about this movie? From Andras: Released with little fanfare the same year as “Star Wars” toward the end of the wave of cinematic nostalgia for the 50's that was kicked off with “American Graffiti” you could say this film is both a beneficiary and the victim of George Lucas's success. Find all of our episodes at www.theworldiswrongpodcast.com Follow us on Instagram @theworldiswrongpodcast Follow us on Twitter @worldiswrongpod The World Is Wrong theme written, produced and performed by Andras Jones Check out: The Director's Wall with Bryan Connolly & AJ Gonzalez & The Radio8Ball Show hosted by Andras Jones See omnystudio.com/listener for privacy information.

In today's episode of The Real State, we explore the intersection between real estate and New York City. Today's guest is Ed Freiberg is a born-and-bred NYer, with 15 years of experience in NYC real estate, currently with Compass.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On this episode of Cardboard Time, Arwen and Justin talk about: What have we been playing?: Sheepy Time, Machi Koro: Bright Lights Big City Our Game Design Experiences and Stories --- Send in a voice message: https://anchor.fm/cardboardtime/message

How are you going to keep them down on the farm after they hear our show on “Bright Lights, Big City”? We start our tour with Jimmy Reed's 1961 original version (0:55), with the marital harmonies of Jimmy and Mama Mary Reed seeming to drift out of a divey, spit-and-sawdust saloon, punctuated by Earl Phillips' startling cymbal crashes and Bill Putnam's pleasing production. After we listen to the Rolling Stones's 1963 version, Erik makes the hot take scene and says the Stones never sounded better and Weldon wonders why they even bothered even writing originals! (39:30) By the time we get to the Animals (1:06:24), we're definitely on Broadway (and in Vegas?) and Eric Burdon sure sounds less resigned about his baby being there than JR or MJ did. Their 1965 version cranks up the neon lights and gets really cinematic: ‘sparking' organ, 12-string spangles, filled with long cadillacs, men with money, and more sinful temptations than even the House of the Rising Sun! We imagine Eric Burdon birdin' and we like his spoken wordin'. Stay in the city for awhile after the bars close and have a listen to the funky Gordon Gartelles do the song at (1:45:01). Flamingo!

I indulgently run through some party movies of my formative years — Animal House, Saturday Night Fever, 80s teen comedies, Back to School, Bright Lights Big City, The Doors, riffing about where I was in life, culminating with Swingers. A bit different.

In this episode we welcome a very special guest, Jay McInerney. Jay is a novelist, editor, screenwriter and columnist. He wrote the June 1996 "TV Guide" article, "Is Seinfeld the Best Comedy Ever?" "This Podcast Is Making Me Thirsty" is a podcast dedicated to "Seinfeld," the last, great sitcom of our time. Sit back and enjoy. Thank you for listening. Twitter: https://twitter.com/ThisThirsty

Okay, we're talking about a Michael J. Fox movie called "Bright Lights, Big City" (1988) and that's great and all, but the real story here is that Quibi's day of reckoning is at hand. So that's neat. Next week, it's something actually new! The Shudder original "Creepshow" (2019-) Halloween animated special thing. Yes! Thanks to Kaya Thies for our beautiful artwork, you can find her at https://www.instagram.com/ky4night/ or https://www.twitch.tv/ky4night. Music from https://filmmusic.io "Sax, Rock, and Roll" by Kevin MacLeod (https://incompetech.com) License: CC BY (http://creativecommons.org/licenses/by/4.0/) Follow us on Instagram https://www.instagram.com/hakpodcast/?hl=en Follow us on Twitter https://twitter.com/hakpod He's a Kiefer is hosted by Zachary LeDuke and Jaden Krahn. It is edited/produced by Zachary LeDuke. --- Send in a voice message: https://anchor.fm/kiefercast/message

Michael Douglas recalls one of his favorite soundtracks, playing some of the tracks from the Bright Lights Big City soundtrack from 1988.

This episode pays tribute to Melbourne's eclectic alternative music scene in the 80s. COVID 19 has put a temporary halt to the city's normally vibrant artistic pursuits, so we thought we'd devote this episode to our adopted home. As regular listeners will know, we are interstate blow-ins, from Perth and Brisbane respectively, which is why we provide an outsider's perspective on the big city sounds of old Melbourne town by recalling and resurrecting them from the ashes of the decade that taste, apparently, forgot. Hey, this is serious, mum!

You talk about Jay McInerney's 1984 debut novel “Bright Lights, Big City” in an effort to explore the transition from the Long Seventies to the Eighties and what liminal properties you can pinpoint about this unique time period.

Jewel, Singer & Stennel make some first impressions, and shop for warmer, thematic clothing and candy. Plugs: The Bail Project: https://bailproject.org ACLU- https://www.aclu.org/ -------- Website: https://totalpartyguild.com/ Twitter & IG: @totalpartyguild Facebook: https://www.facebook.com/TotalPartyGuild/ Email: totalpartyguild@gmail.com ------- Dungeons And Dragons, DnD, RPG, TTRPG, retrowave, live play, actual play

I Don't Wanna Hear It PodcastEpisode 072 – One and One Are Five: Cut and Paste, BabaaayIt’s another One and One so here’s some things we love to hate and hate to love. That covers everything, right? HELP.Check out more of our stuff at I Don’t Wanna Hear It and join the Patreon, jabroni. I mean, if you want. Don’t be weird about it. Oh, and we publish books now at WND Press because we want to be bankrupted by a dying medium.Episode Links:InstilledDynamoMadonna’s a fucking idiotCold Bones by Bad LuckGoldfinger’s quarantine videosHalf Asleep In Frog PajamasBright Lights, Big City8th Round PickThe Hicks/Burke TheoryMusical Attribution: Licensed through NEOSounds. License information available upon request.“5 O’Clock Shadow,” “America On the Move,” “Baby You Miss Me,” “Big Fat Gypsy,” “Bubble Up,” “Here Comes That Jazz,” “I Wish I Could Charleston,” “It Feels Like Love,” “I Told You,” “Little Tramp,” “Mornington Crescent,” “No Takeaways.”

BRIGHT LIGHTS BIG CITY ! It's the first of our Las Vegas specials! Daniel runs Rory through Vegas' odds and ends before talking about Bugsy Siegel, notorious gangster and nickname collector, as well as his rowdy woman-punching mistress Virginia Hill. Daniel wants to Frost/Nixon the Backpack Kid, Rory gets grossed out by shrimp consumption, and 20s gangsters are unrelentingly horny.

This week we discuss The Last Broadcast, The Peanut Butter Solution, The Departed, H.H. Holmes: America's First Serial Killer, Bright Lights Big City, Prevenge, Hondo, House of Dracula, The Premonition and Unrest.

Jen talks with Sean Morris (@saneiscrazy on Twitter) about a drug movie in which the producers were afraid to show the drugs. Have You Seen This? BONUS episodes See acast.com/privacy for privacy and opt-out information.

Jen talks with Sean Morris (@saneiscrazy on Twitter) about a drug movie in which the producers were afraid to show the drugs.

Jen talks with Sean Morris (@saneiscrazy on Twitter) about a drug movie in which the producers were afraid to show the drugs.

Will light pollution and apathy kill amateur astronomy? --- Support this podcast: https://anchor.fm/starsnstuff/support

One of the things Las Vegas is perhaps most famous for are the bright neon lights of the World Famous Vegas Strip.  But as resorts close down or signs are replaced with massive HD LED video screens, what happens to those iconic neon signs? Amanda Riley of the Neon Museum Las Vegas joins me on this episode to answer that question! We talked about museum's mission to preserve Las Vegas' history, some of the unique & interesting signs in the museum's collection, their plans for future expansion and a very special exhibit/collaboration involving a major Hollywood director. For tickets and information on the Neon Museum Las Vegas you can visit their website.  Also, be sure to follow the Neon Museum on Twitter, Facebook and Instagram.  

Erin, Lis, and Sara get a taste of the fast paced, cocaine fueled lifestyle of 1980's New York through Jay McInerney's debut novel. Listeners will get a taste of how little we understand or relate to his brand of fast lane living.

Meet your Host Natasha a Global citizen, lover of dance, music, languages and travelling and business strategy and efficiency expert. She helps creative business owners scale up with ease and make more money doing what they love without working harder. Follow her journey from small town Australia, overcoming a paralyzing illness at 18 and scaling the corporate ladder in New York City, to running her own business Inspire & Drive. In this episode she shares vulnerable insights into some of her biggest challenges and how those experiences have paved the way and motivated her to follow her dreams and never settle for the status quo. She’s is driven by creativity, freedom and fun and wants to inspire you to infuse more of what you love into your everyday business and life too.

Charley Crockett is a self-taught guitarist who cut his teeth busking on the streets of America. He hails from the same Texas border town as Freddy Fender. He has a talent for seamlessly integrating traditional blues with country. Charley has cut several studio records, his latest is called Lil GL’s Blue Bonanza. The album features original songs and a few covers of blues standards including Jimmy Reed’s hit, ‘Bright Lights Big City’ and GL Crockett’s south Chicago hit, ‘There’s a Man Down There.’

Charley Crockett is a self-taught guitarist who cut his teeth busking on the streets of America. He hails from the same Texas border town as Freddy Fender. He has a talent for seamlessly integrating traditional blues with country. Charley has cut several studio records, his latest is called Lil GL’s Blue Bonanza. The album features original songs and a few covers of blues standards including Jimmy Reed’s hit, ‘Bright Lights Big City’ and GL Crockett’s south Chicago hit, ‘There’s a Man Down There.’

On this episode, Jamie, Rob and Jennifer chat with actor, writer, director and “theater maker” Arian Moayed. We discuss his short form thriller, “The Accidental Wolf,” playing a wonderful yet terrible character on HBO's “Succession,” the obstacles we all face day to day, making a nonprofit from scratch, and the incredible work his company, Waterwell, is doing every day. Jennifer, Jamie, and Rob have a big “Take Two” to discuss, and Rob walks us through the Vomitorium (which probably isn't what you think it is). This week's music: Stevie Wonder's “Sir Duke,” “Big Easy” from “The Accidental Wolf,” Liz Callaway's rendition of Frank Losser's “My Heart Is So Full Of You,” and “Kindness” from “Bright Lights Big City." Learn more about your ad choices. Visit megaphone.fm/adchoices

Susan Mara Bregman author of “New England Neon” talks about the New England neon lights that have become landmarks of the region.

Cold Dog Soup is back with a weird not poem-poem mishmash of two geniuses. Also, the debut of a new segment, Body Like a Backroad. Executively Produced, as always, by Cassie Moore Reid. Support Cold Dog Soup by donating to the tip jar: https://tips.pinecast.com/jar/cold-dog-soupCheck out our podcasting host, Pinecast. Start your own podcast for free, no credit card required, forever. If you decide to upgrade, use coupon code r-1b6d07 for 40% off for 4 months, and support Cold Dog Soup.

DMoney joins the show.

In their first podcast, mother-teen daughter movie critics Tara McNamara and Riley Roberts examine 1988's BRIGHT LIGHTS BIG CITY for all its 80sness, for better or worse. 

We have a bumper crop of movies on this week's show (have we used that description before?)! First, it's a bout of RIEDEL'S RECAPS, with James Bridges' BRIGHT LIGHTS, BIG CITY (3:57) and John McTiernan's THE HUNT FOR RED OCTOBER (10:03). Then we're KEEPING UP WITH THE JENSON's and his take on MEMINO (14:32) (not to be confused with MEMENTO or former Boston mayor Tom Menino). Evan takes one for the team and watches REBEL IN THE RYE, which is NOT about Rebel Wilson, but J.D. Salinger (27:00). Then it's THE WOMEN'S BALCONY (36:02), an Israeli film that Evan missed at the Boston Jewish Film Festival but is making up for it now. Lastly, it's AMERICAN ASSASSIN (42:33), which Kris and Dave saw together against their better judgment (Evan took a pass - kudos to him).

Vi rivstartar med att prata om lagen som har kommit först till 50 segrar, om begreppet 'designated for assignment' och om showen Tim Tebow. Vi tar också upp några smarta små moves som kan visa sig betydelsefulla för Boston Red Sox i höst och går sedan all-in på historien om Mookie Betts, innan vi avslutar med att plocka ut våra egna lag till All-Star Game. Välkommen in i vår - ibland skruvade - värld.

American writer Jay McInerney discusses his debut novel Bright Lights, Big City with James Naughtie and a group of readers. Bright Lights, Big City not only cemented Jay McInerney as a superstar among debut novelists, but came to define the culture of 80s New York in all its gritty yet glamorous glory. We follow the young unnamed narrator - he's 'You' throughout the book - during a whirlwind week in New York. He is bored with his job on a Manhattan magazine, wants to be a writer, and has been abandoned by his fashion-model wife. By night he roams the brightly lit streets of the city, hanging out in clubs and loft parties, powered by "Bolivian Marching Powder". By the time his crazy week is over the emptiness returns. Presenter : James Naughtie Interviewed guest : Jay McInerney Producer : Dymphna Flynn January's Bookclub choice : Capital by John Lanchester (2012).

Our investigators of the unknown check out nearby Yorba Linda, hoping to find out more about Thin Jack...   The Lovecraft Tapes is a weekly real-play Call of Cthulhu 7th edition RPG campaign podcast recorded using Google Hangouts, roll20.net, Audacity and Adobe Creative Cloud. Episodes are available on iTunes, Google Music, Stitcher and Podbean. For more information and advertising/sponsorship opportunities please contact podcast@thelovecrafttapes.com   This Week's Sponsor: BOOMstick Brew   Website: http://thelovecrafttapes.com Twitter: https://twitter.com/lovecrafttapes Facebook: https://facebook.com/thelovecrafttapes YouTube: https://www.youtube.com/c/Thelovecrafttapes Reddit: https://www.reddit.com/r/TheLovecraftTapes Wiki: http://thelovecrafttapes.wikia.com/wiki/The_Lovecraft_Tapes_Podcast_Wiki

Donovan Honeyborne is a singer-songwriter and actor from Pretoria who is currently on tour in Cape Town with his band Bright Lights Big City. Donovan also fronts another band called Feed The Wolf and now and then he’ll act in Afrikaans soapies where he usually plays a bad guy or a kidnapper. We talk about all his bands, influences, travels, that time when he played with Piet Botha and Jack Hammer, how Lanie van der Walt produced his solo album and his random web and video collaborations with Gifford of Watkykjy.co.za. Willim also prank calls him prior to the interview.

One of the most sought after session horn players on saxophone, flute and clarinet, solo artist, arranger and composer Lou Marini has electrified audiences with his "sultry, seductive and singular" sounds in jazz, rock, blues, classical music and in film and television shows and specialsHe's been a member of Blood, Sweat and Tears, The Saturday Night Live Band from 1975-1983, The Blue Brothers Band and his credits include hundreds of albums, many of which have gone platinum.He has recorded with Eric Clapton, Aretha Franklin, Tony Bennett, Stevie Wonder, Diana Ross, Lou Reed, Frank Zappa, Aerosmith, The Rolling Stones, The Band, Steely Dan, Dionne Warwick, Maureen McGovern, Deodato, James Taylor, Aerosmith, the Buddy Rich Big Band, the Tad Jones-Mel Lewis Big Band and the Woody Herman Orchestra, to name just a few.Lou has contributed both playing and writing to such films as THE REF, HAIR, THE WIZ, BRIGHT LIGHTS BIG CITY, TRUE COLORS, BYE BYE BIRDIE TURNER HOOCH.In June 2010, Marini, Jr. was named artistic director at the first Brianza Blues Festival, Monza, Italy. Marini attended North Texas State University College of Music, where he played in the One O'Clock Lab Band. Marini has spent most of his professional life working as a sideman and arranger. In 2001, Marini recorded his first recording as a leader, with Ray Reach and the Magic City Jazz Orchestra, titled "Lou's Blues" In 2010, Marini released Blue Lou and Misha Project , “ Highly Classified”, a collaboration with Misha Segal, and in 2012 the CD “Starmaker”.Marini is a seasoned performance artist, actor, arranger, and composer, fluent in jazz, rock, blues, and classical. Accomplished on soprano, alto, tenor sax, flute, piccolo, alto flute, and clarinet, he is truly one of the industry’s most prolific artist’s of all time. 

Shelley and I spend time playing through the new version of Medici from Grail Games (which includes a great 2-player game), as well as two of the new Target-exclusive releases - Ticket to Ride: First Journey and Machi Koro: Bright Lights, Big City. Medici by Reiner Knizia and from Grail Games Ticket to Ride: First Journey by Alan Moon and from Days of Wonder and Machi Koro: Bright Lights, Big City by Masao Suganuma from IDW and Pandasaurus

This week Kris takes the floor for his very first segment of “Keepin’ up with the Jensons,” where he fills Evan and Dave in on the remainder of HELLO, MY NAME IS DORIS, a movie he started to talk about last week. Kris thinks the film is based on a lot of contrivances, but he forgives them because Sally Field is great in it and director Michael Showalter seems to know exactly what to focus on. Following brief baby poop tangent, Kris also shares his take on PEE-WEE’S BIG HOLIDAY. He agrees with Dave and Evan about it, although he spends a little more time comparing and contrasting it with PEE-WEE’S BIG ADVENTURE, which he also watched. Then the guys dig into HARDCORE HENRY the one movie they all saw this week. Sadly it’s not about Baby Henry, but it is an intense action flick shot entirely in first person. Kris compares it to BRIGHT LIGHTS BIG CITY meets CALL OF DUTY, while Evan says it’s a cross between CRANK and SHOOT EM UP. All three of them admit that it has its entertaining moments and characters (like the ones played by Sharlto Copley), but that there’s only so good it can be given how it’s shot. Finally, they wrap up by delivering a sneak peek of the movies they’ll be talking about next episode. Kris is looking forward to discussing the Don Cheadle/Miles Davis film MILES AHEAD, while Evan is anxious to talk about GREEN ROOM.   

Join us with our movie podcast Over/Under Movies, where our film expert panel chooses one underrated and one overrated movie each episode and discuss them. The third episode's underrated movie is Bright Lights, Big City (1988) and the overrated movie is Flight (2012). Please remember to leave comments so we can improve our podcast.

These days, two versions of Las Vegas occupy the public imagination. One is of Sin City, home to The Strip, to glitter and entertainment. The oth… READ MORE