Podcasts about captain jean luc picard

One thing we can't get enough of is kids in space! If that's something you enjoy as well, then join us for “Hero Worship” . . . Remember the last episode where we got to watch Worf play awkward father to his son, Alexander? Now watch Data play awkward surrogate-father to some kid named Timothy! Seems young Timothy is the sole survivor of a science vessel investigating a “black cluster,” whatever the fuck that is. All we know is everyone on board is dead except Timothy, and the fresh-faced tween is seriously traumatized. So much so that he retreats from his feelings by deciding he's now an emotionless android just like Data! How is the crew of the Enterprise supposed to figure out what happened to Timothy's parents if he won't talk about it? By ordering Data to get the kid to lean into it in hopes that he'll start sharing. This brilliant idea is courtesy of renowned child expert Captain Jean-Luc Picard, former child hater-turned-Mr. Rodgers-in-space. He even has a sweater to change into! Will the crew discover the mystery of what destroyed the science vessel? Will Data get a new job grooming young boys' hair? Will anyone ever realize that having children on a spaceship is a really dumb idea? Find out on this exciting, all-new episode of ST:TNGeez! Even more available at: https://tngeez.com

On this week's episode of our show, Captain Ingle and I set a course for the 24th century and the profound experiences of one Captain Jean-Luc Picard. When a mysterious probe mentally transports him to living the life of a man on a dying world, Picard must accept his new reality and discover a way to avert total catastrophe for the people of the planet. Join us as we go boldly!

Prepare for warp speed as Gene Lyons and Big D travel back to the 24th century—and then to 2063—to review Star Trek: First Contact, the Next Generation crew's darkest and most action-packed cinematic outing. Commissioned by listener Jeremiah as part of a sci-fi classics series, this episode dives deep into the ethics of Picard's command decisions, the practical (and impractical) nature of Borg assimilation, and the horny weirdness of Star Trek fandom. Along the way, Gene and Big D debate Star Trek vs. Star Wars and ponder whether the Borg Queen really does have big “ASMR energy.” They also address critical questions like: What's the best Star Trek tech? And how many wipes does it take to remove Data's synthetic skin? Whether you're Team Trek or Team Wars, this episode is a hilarious, no-holds-barred deep dive into one of the franchise's most beloved films—and possibly its most awkward. Plot Summary In Star Trek: First Contact, Captain Jean-Luc Picard and the crew of the USS Enterprise-E defy Starfleet orders to confront the Borg, a cybernetic collective intent on assimilating Earth. After destroying a Borg cube near Earth, a Borg sphere escapes through a temporal vortex, altering the past to prevent humanity's first contact with alien life. The Enterprise follows the Borg to April 4, 2063—just before Zefram Cochran's historic warp flight that would attract the Vulcans. As the crew works to ensure history stays intact, Picard battles his trauma from past assimilation, while Lieutenant Commander Data is seduced—emotionally and physically—by the sinister Borg Queen. With humanity's future hanging in the balance, Picard must choose between revenge and reason, culminating in a high-stakes confrontation aboard a compromised Enterprise. Subscribe Now Android: https://www.shatpod.com/android Apple/iTunes: https://www.shatpod.com/apple Help Support the Podcast Contact Us: https://www.shatpod.com/contact Commission Movie: https://www.shatpod.com/support Support with Paypal: https://www.shatpod.com/paypal Support With Venmo: https://www.shatpod.com/venmo Shop Merchandise: https://www.shatpod.com/shop Theme Song - Die Hard by Guyz Nite: https://www.facebook.com/guyznite

Hosted by Andrew Quinn and Darren Mooney, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every second Saturday at 6pm GMT, with the occasional bonus episode between them. This week, Stuart Baird's Star Trek: Nemesis. A mysterious regime change on Romulus presents the Federation with an unprecedented opportunity for peace. The Enterprise is dispatched into Romulan space in the hopes of forging an alliance with a long-term enemy. However, Captain Jean Luc Picard quickly discovers the mysterious new leader of the Romulan Star Empire, Shinzon of Remus, has a very familiar face. Picard's past comes back to confront him. At time of recording, it was not ranked on the list of the best movies of all time on the Internet Movie Database.

Hosted by Andrew Quinn and Darren Mooney, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every second Saturday at 6pm GMT, with the occasional bonus episode between them. This week, Jonathan Frakes' Star Trek: Insurrection. On routine assignment to the Briar Patch, Commander Data suddenly and mysteriously malfunctions. Acting against orders, Data takes a covert Starfleet team hostage and exposes their activities to the indigenous population known as the Baku. Sensing that there is more to the story than Starfleet will admit, Captain Jean Luc Picard leads the USS Enterprise on a mission to discover what exactly has happened to their beloved colleague. At time of recording, it was not ranked on the list of the best movies of all time on the Internet Movie Database.

In this episode, we're joined by Steven, a Culinary Major, Pastry Specialist, and a passionate Star Trek fan. Together, we take a warp-speed journey through the expansive Star Trek Universe, exploring the various series that have captured the imagination of audiences for decades.We start with Star Trek: Enterprise and The Original Series, the beginnings of the Star Trek saga. Steven reflects on the groundbreaking legacy of Gene Roddenberry's vision, where humanity's exploration of the stars served as a hopeful metaphor for unity and progress. From Captain Kirk's daring adventures to the foundations laid in Enterprise with Captain Archer, Steven shares his thoughts on how these early series shaped the franchise's identity.Next, we navigate to Star Trek: The Next Generation, a series that redefined science fiction on television. Steven talks about the impact of Captain Jean-Luc Picard's leadership and the exploration of complex moral dilemmas, philosophical questions, and humanity's evolution. With iconic episodes like “The Best of Both Worlds,” he highlights why TNG remains a fan-favorite among Trekkies.Then, we venture into the Delta Quadrant with Star Trek: Voyager. Steven dives into the thrilling story of Captain Janeway and her crew, stranded far from home, and how the series balanced action, character development, and an exploration of survival. He shares his appreciation for Voyager's themes of resilience, camaraderie, and pushing the boundaries of the unknown.Finally, we discuss the modern era of Star Trek with Star Trek: Discovery. Steven explores how Discovery reimagined the franchise for a new generation while staying true to its roots. From the cinematic visuals to the diverse cast, he explains why this series breathes new life into the Star Trek universe and continues to expand its legacy.Whether you're a lifelong Trekkie or new to the final frontier, this episode offers an exciting deep dive into the Star Trek universe and why it remains a cultural phenomenon. Join us as we boldly go where no fan has gone before with Steven's unique perspective on the series that changed sci-fi forever.Want to be a guest on MC Anime Podcast? Send Maison Collawn a message on PodMatch, here: [https://www.podmatch.com/hostdetailpreview/1641957469391x431959952478003800]

In this episode of Say Whats Reel, Dom, and Q dive into the 1994 sci-fi epic Star Trek Generations! Join us as we explore the thrilling crossover where Captain Jean-Luc Picard (Patrick Stewart) teams up with the legendary Captain James T. Kirk (William Shatner) to take on the villainous Tolian Soran (Malcolm McDowell). Together, they race against time to stop Soran's destructive quest to return to the mysterious Nexus. Does this cinematic fusion of The Original Series and The Next Generation live up to its legacy? Beam in for our breakdown and bold reactions!startrek #filmreactions #swr #firsttimewatchingStar Trek Generations is a 1994 American science fiction film and the seventh film in the Star Trek film series. Malcolm McDowell joins cast members from the 1960s television show Star Trek and the 1987 sequel series The Next Generation, including William Shatner and Patrick Stewart. In the film, Captain Jean-Luc Picard of the USS Enterprise-D joins forces with Captain James T. Kirk to stop the villain Tolian Soran from destroying a planetary system in his attempt to return to an extra-dimensional realm known as the Nexus.Don't forget to like, comment, and subscribe to stay tuned for more movie reviews and reactions!Find the SWR Crew DOM CRUZETwitter: https://twitter.com/itzdomcruzehoe Instagram: https://www.instagram.com/itzdomcruzehoe/QTwitter: https://twitter.com/King_Quisemoe Instagram: https://www.instagram.com/king_quisemoe/We hope you enjoyed the video and the content we put out here at Say Whats Reel Thank you for watching!

While on a charting mission, the Federation starship Enterprise, under the command of Captain Jean-Luc Picard, discovers a zone of pure blackness in space; probes launched into the area simply disappear. As they study it further, the zone expands and soon envelops the Enterprise, leaving them in a black void with sensors reporting nothing outside. Picard orders the ship on a return course but they find that they cannot escape. They leave a stationary beacon behind them, only to have it reappear ahead of them. https://linktr.ee/captainsquadrant Discord - discordapp.com/users/1089043225093869598 Goup Chat on FB- https://www.facebook.com/groups/980469412947636/people/?should_open_welcome_member_composer=1 #StarTrekTheNextGeneration #StarTrek #Silence #lease #space #eterpriseD #creepy #terminator

Wiz RECOMMENDS Star Trek: Generations Continuing a franchise with a brand new cast can be a risky gambit: people get comfortable with the standard players even though they may tire of them. What does Star Trek: Generations do? Create a bridge between the two. Starting the film with three of the original players was a nice touch which gets to showcase, one last time, how three of the crew members interacted and their natural charisma. But the point of a bridge is to connect from the current destination to the next...and while Generations is still a solid good time, it doesn't exactly show why people who are only familiar with the films (like myself) would want to continue with this cast of characters. If you are going into this film without previous experience with Star Trek: The Next Generation, Generations does not do much in easing you into the crew. In fact, only two characters have any sort of growth in the film: Captain Jean-Luc Picard and Data. In honesty, both characters arcs aren't that interesting but it's mainly due to a lack of depth to attach yourself to the character. But again, if you are already familiar with the series, this will likely not be an issue. But there are some highlights: First, there is a very clear visual upgrade to everything in the film in comparison to the last six. Everything has a very clean, vibrant look and the action in both space and on planets look well done. And Generations has one of the better villains of the films: Dr. Soran, played by Malcolm McDowell. The villain is directly tied to the gimmick of the film and McDowell's performance makes both the gimmick and his character entertaining. Star Trek: Generations is kind of a failure as a bridge from going to Kirk to Picard...but as just an entertaining piece of space sci-fi fun, it does enough to be entertaining. But what makes the last Star Trek films engaging and entertaining was it's characters...and they have to do a much better job the next time in order to keep the films compelling.

Imaginostics is a health tech startup developing a breakthrough longevity technology for precision medicine located in Lake Nona Medical City, Orlando, FL. The company's QUTE-CE MRI methodology provides vascular imaging biomarkers that can non-invasively assay vascular structure and function in high resolution anywhere in the body, providing clinicians and scientists new endpoints for early detection and enhanced characterization of complex diseases. Codi Amir Gharagouzloo, MSc, PhD, Scientific Founder & CEO Codi developed the technology as a Postdoctoral Fellow for two years at the Gordon Center for Medical Imaging at Massachusetts General Hospital & Harvard Medical School before founding the company to translate the technology from bench to bedside. He invented the imaging modality while pursuing his PhD in Bio-Engineering and has an extensive background in imaging and engineering, holding a Master's of Science degree in BioPhotonics and dual Bachelor degrees in Mechanical & Nuclear Engineering and Physics. He enjoys bike riding, the gym, and playing board games with his family. If given another lifespan, he would go on a space exploration adventure like Captain Jean-Luc Picard in Star Trek. Valerie Aimee Gharagouzloo, Esq., Co-Founder & COO Valerie is a New York attorney. Her background is in International Human Rights Law and U.S. Immigration Law. She is an advocate for affordable medical care for all. Valerie's youngest brother grew up with only one kidney and a rare uncurable disease of the peripheral nervous system, with unknown cause and symptoms similar to diabetic neuropathy. Valerie and Codi have been married for 13 years and have two beautiful children. In her role as COO, Valerie is outreaching to our first pharma clients to offer our services for accelerating drug development – especially for novel drugs that improve vascular biology. She is also reaching out to potential investors and partners to bring our breakthrough longevity technology to market. Connect with Jon Dwoskin: Twitter: @jdwoskin Facebook: https://www.facebook.com/jonathan.dwoskin Instagram: https://www.instagram.com/thejondwoskinexperience/ Website: https://jondwoskin.com/LinkedIn: https://www.linkedin.com/in/jondwoskin/ Email: jon@jondwoskin.com Get Jon's Book: The Think Big Movement: Grow your business big. Very Big!   Connect with Valerie and Codi Gharagouzloo: Website: https://imaginostics.com/ LinkedIn: https://www.linkedin.com/company/imaginostics/ *E – explicit language may be used in this podcast.

On today's bonus episode of Star Trek Stories, guest host Captain James T. Kirk sits down for an exclusive interview with Captain Jean-Luc Picard!

For this week's episode of Unclear and Present Danger, Jamelle and John watched Star Trek: First Contact, the eighth movie in the Star Trek film series and the first film in that series to focus solely on the cast of Star Trek: The Next Generation.First Contact stars Patrick Stewart, Jonathan Frakes, Levar Burton, Gates McFadden, Brent Spiner Marina Sartis, Michael Dorm, Alfrie Woodard, Alice Krige and James Cromwell. It was directed by Frakes with a score by Jerry Goldsmith.In First Contact, Captain Jean-Luc Picard and the crew of Enterprise races through time to Earth's past to confront the Borg, a cybernetic hivemind that has gone back to humanity's moment of first contact with an alien species in order to destroy the Federation and change the future. Picard and his team must fight two battles. On Earth, they must ensure First Contact. On the Enterprise, they must defeat the Borg, who have taken root on the ship.The tagline for Star Trek: First Contact is “Resistance is futile.”You can find Star Trek: First Contact to rent or buy on demand on Apple TV or Amazon Prime.Episodes come out roughly every two weeks, and we'll see you then with an episode on Independence Day, the 1996 blockbuster directed by Roland Emmerich and starring Will Smith, Jeff Goldblum, Bill Pullman and many others.And don't forget our Patreon, where we watch the films of the Cold War and try to unpack them as political and historical documents! For $5 a month, you get two bonus episodes every month as well as access to the entire back catalog — we're almost two years deep at this point. Sign up at patreon.com/unclearpod.The latest episode of our Patreon podcast is on Rambo: First Blood Part II, the second film in the Rambo franchise starring Sylvester Stallone.Connor Lynch produced this episode. Artwork by Rachel Eck.Contact us!

Send us a Text Message.On this episode of Fabulous Film and Friends we are looking back at two middling, lackluster sci-fi adventures from 1994 that have mysteriously stood the test of time: Stargate, directed by Roland Emmerich and starring Kurt Russell, James Spader, John Diehl, Jaye Davidson, Viveca Lindfors, Erick Avari, Alexis Cruz, Mili Avital, Leon Rippey, French Stewart, and Djimon Hounsou, which was released in October of ‘94 then Star Trek: Generations which was released a month later, was directed by David Carson and starred Patrick Stewart, Jonathan Frakes, Brent Spiner, Levar Burton, Michael Dorn, Marina Sirtis, Gates McFaddon, Malcolm McDowell, Walter Koenig, James Doohan and William Shatner.  I'm Gino Caputi your host, and back for more, especially if Star Trek is to be discussed I have series regular and IT tech Burton Brown, and representing the fresh eyes of the younger, non-cynical generation, author hypnotherapist Joe Field.  The synopses: In Stargate, a crack squad of US Special Forces led by Colonel Jack O'Neill with an assist from archeologist Dr. Daniel Jackson travel through a mysterious circular dimensional portal that was discovered in Giza Egypt in 1928 and kept a secret by the military until the mysteries of the portal could be unlocked. Once on the other side, Jackson and O'Neil discover they are on the planet Abydos with a culture very similar to ancient Egypt. There they befriend the locals and do battle with the god Ra, revealed to be an alien who has enslaved humans on this planet and is intent on destroying the human race on Earth through the Stargate.  In Star Trek Generations a single-minded, pleasure-seeking and murderous Dr. Tholian Soran attempts to destroy an entire solar system in order to get back into a heaven-like, temporal portal in the universe called The Nexus. It is up to the crew of the Starship Enterprise D, led by Captain Jean Luc Picard to stop Soran. Unfortunately, Picard proves to be too weak for the task and finds his ship and crew destroyed, the mission failed and he himself is trapped in the Nexus. Except…Captain James T. Kirk is also in the Nexus having landed in it 78 years earlier the Enterprise B encountered The Nexus on a rescue mission. Picard and Kirk join forces, leave the Nexus and stop Soran through the power of team work.  San Francisco Chronicle Film Critic Mick LaSalle, when summarizing the 1994 Year in Film wrote, “In 20 years will anyone still be watching Stargate? Or Star Trek Generations?”  I agreed with him wholeheartedly that these films were nothing but forgettable, but here we 30 years later and are still watching these works. Add to that, Stargate has had five spinoff  TV series on the subject and they're still planning cinematic reboots. Star Trek Generations was listed implausibly as a one of the great epics in the 2004 book Epic movies and will forever be remembered as the film that killed off Captain Kirk.  So, the burning question is WHY have these films endured?  Find out! The Youtube Version:https://youtu.be/K-irgi8Vp88 Follow the FFF Facebook page!https://www.facebook.com/groups/fabulousfilmandfriends 

Join us to talk about Captain Picard and the Episode "Darmok". We get to chat about language and inter-cultural relations. SHOW NOTES Jean-Luc Picard | Memory Alpha | Fandom Darmok (episode) | Memory Alpha | Fandom Music by Charles Michel

Hosted by Andrew Quinn and Darren Mooney, The 250 is a weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released Saturdays at 6pm GMT. This week, Jonathan Frake's Star Trek: First Contact. Years after he was traumatised by the Collective, Captain Jean-Luc Picard wakes up from a nightmare to terrible news: the Borg have returned, and they have charted a course to Earth. Thrown into conflict with his old enemy, Picard finds himself fighting not only to protect the Federation's values and its future, but also its past. At time of recording, it was not ranked on the list of the best movies of all time on the Internet Movie Database.

Hey Listener, set your phasers to listen, because this week Callie Wright from the podcast Philosophers in Space is on the show to talk about Star Trek. Topics this week include: Is it better to be the host or the hosted on a podcast? Microphones are scary. The cast dives into philosophy, religions, and death. From Enter Sandman to being in a band. How people engage in fandom. Trying to find a friend who likes the Enterprise. Teaching a Klingon bonding ritual. Friends. Never cut your hair. Living in a Post Scarcity future. They're not gay, they're aliens. Learning about life from Captain Jean-Luc Picard. The Misfits. Riker isn't a normie? What's your favorite vessel? Whats up with the shirts? Learning about the culture of Klingons. How do you make an alien language? Stories outside of Star Fleet.

Beam aboard the starship Enterprise this week as Amy takes the helm to explore the grand debut of "Star Trek: The Next Generation." In "Encounter at Farpoint," we're introduced to Captain Jean-Luc Picard and his diverse crew as they embark on their maiden voyage to the mysterious Farpoint Station. This inaugural episode not only sets the stage for new adventures in the iconic sci-fi series but also confronts the crew with the enigmatic and omnipotent Q, challenging their values and purpose. Next week - Watch Twin Peaks - S1E1. Available on Paramount PlusSend us feedback about the show on Twitter at @thosedaysshow or email us thosewerethedaysshow@gmail.comFollow us on Twitter!StephenAmyAudieTvsTravisSupport 2Dorks on PatreonJoin us every Monday at 9pm ET on Twitch to watch live! Hosted on Acast. See acast.com/privacy for more information.

Join Marshal and Keith as they trek with Captain Jean Luc Picard, Commander William Riker, Lieutenant Commander Data, and the rest of crew of the starship USS Enterprise (NC-1701-D).   We meet mysterious and powerful Q, the dangerous Ferengi, the Traveler, and racist stereotypes.To download, right-click here and then click SaveJoin the Journey Into Patreon to get extra episodes and personal addresses, plus other extras and rewards.Timecode          Episode Title00:15:00            "Encounter at Farpoint"00:38:27            "The Naked Now"00:48:16            "Code of Honor"00:56:47            "The Last Outpost"01:04:16            "Where No One Has Gone Before"01:15:20             "Lonely Among Us"01:24:09             "Justice"01:34:29             "The Battle"01:41:32             "Hide and Q"01:53:02             "Haven"02:05:09             "The Big Goodbye"02:16:03             "Datalore"To comment on this or any episode:Send comments and/or recordings to journeyintopodcat@gmail.comLook for JourneyInto on Instagram, Threads, Facebook, or even X

Merry Christmas Everyone.Join us on this month's episode of the "Make It So" podcast, the Star Trek legacy podcast, as we delve "Star Trek Generations." Hosts Geoff Owen and Baz Greenland invite Hugh Mcstay around for Christmas Dinner.In "Star Trek Generations," the Starship Enterprise is once again at the centre of a thrilling adventure, this time bridging the gap between two generations of Starfleet captains. Captain James T. Kirk, played by the legendary William Shatner, and Captain Jean-Luc Picard, portrayed by the incomparable Patrick Stewart, find themselves facing a cosmic phenomenon known as the Nexus.So, set your phasers to festive, and join us for an interstellar journey through the cosmos as we explore the Star Trek universe and its unexpected Christmas Joy in "Star Trek Generations" on the "Make It So" podcast! Engage!Host/Editor: Geoff OwenGuests:Baz Greenland and Hugh McStayShow Producer Kurt North Make It So on socials: https://linktr.ee/makeitsoTheme music: (c) Sam Dillard Support the show and get access to bonus Star Trek-fuelled episodes, ad free listening, and early access to episodes coming soon: Join us as the Legacy continues...

Sir Patrick Stewart is beloved for his portrayal of Captain Jean-Luc Picard in Star Trek: Next Generation and its spinoff films. But Patrick was 47 years old when he took that life-changing role... and he almost turned it down! He sits down with Guy to talk about the extraordinary life that led to Picard: his working-class upbringing, how he learned to tame perfectionism on stage and embrace his own dark side when playing "horrible" men; and why he wants to focus on comedy in the final chapter of his career.Links from this episode:Star Trek: Next Generation - Picard's best speechesShakespeare play The Winter's Tale Patrick playing MacbethPicard memes (CNET)Patrick's InstagramPatrick's memoir, 'Making It So'See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Making it So.     When people think of Star Trek, there are actors names that immediately come to mind and one of the first is Patrick Stewart for his portrayal of Captain Jean-Luc Picard. In this episode of Literary Treks hosts Matthew Rushing and Casey Pettitt talk about Patrick Stewart's memoir, Making it So. We discuss his early life, theater life, leading to Picard, left out, Star Trek work, other movies, Star Trek Picard, further stories our ratings and final thoughts.  In a monster news section we have a contest announcement,  some sad news, two book announcements, a comic announcement, then review Star Trek #12, Shax's Best Day, Defiant #8, Motion Picture Echos #5, The Scorpious Run #2 and Picard's Academy #1.   News Contest (00:02:17) Sad News (00:04:24) Pliable Truths (00:05:12) Lost To Eternity (00:10:16)                 Sons of Star Trek (00:13:58) Star Trek #12 (00:18:32) Shax's Best Day (00:22:35) Defiant #8 (00:24:52) Motion Picture Echos #5 (00:29:03) The Scorpious Run #2 (00:32:22) Picard's Academy #1 (00:35:43) Feature: Making it So   Something Interesting (00:42:58) Early Life (00:47:21) Theater Life (00:52:55) Leading to Picard (01:00:51) Left Out (01:04:37) Star Trek Work (01:07:29) Other Movies (01:12:05) Star Trek Picard (01:15:28) Further Stories (01:26:07) Ratings (01:29:22) Final Thoughts (01:31:56)        Hosts Matthew Rushing and Casey Pettitt  Production Matthew Rushing (Editor and Producer) C Bryan Jones (Executive Producer) Greg Rozier (Associate Producer) Casey Pettitt (Associate Producer)

Making it So. When people think of Star Trek, there are actors names that immediately come to mind and one of the first is Patrick Stewart for his portrayal of Captain Jean-Luc Picard. In this episode of Literary Treks hosts Matthew Rushing and Casey Pettitt talk about Patrick Stewart's memoir, Making it So. We discuss his early life, theater life, leading to Picard, left out, Star Trek work, other movies, Star Trek Picard, further stories our ratings and final thoughts. In a monster news section we have a contest announcement, some sad news, two book announcements, a comic announcement, then review Star Trek #12, Shax's Best Day, Defiant #8, Motion Picture Echos #5, The Scorpious Run #2 and Picard's Academy #1. News Contest (00:02:17) Sad News (00:04:24) Pliable Truths (00:05:12) Lost To Eternity (00:10:16) Sons of Star Trek (00:13:58) Star Trek #12 (00:18:32) Shax's Best Day (00:22:35) Defiant #8 (00:24:52) Motion Picture Echos #5 (00:29:03) The Scorpious Run #2 (00:32:22) Picard's Academy #1 (00:35:43) Feature: Making it So Something Interesting (00:42:58) Early Life (00:47:21) Theater Life (00:52:55) Leading to Picard (01:00:51) Left Out (01:04:37) Star Trek Work (01:07:29) Other Movies (01:12:05) Star Trek Picard (01:15:28) Further Stories (01:26:07) Ratings (01:29:22) Final Thoughts (01:31:56) Hosts Matthew Rushing and Casey Pettitt Production Matthew Rushing (Editor and Producer) C Bryan Jones (Executive Producer) Greg Rozier (Associate Producer) Casey Pettitt (Associate Producer)

With a career spanning seven decades, Sir Patrick Stewart is still probably best known to many as Captain Jean-Luc Picard or Professor X - but what of the journey towards these career highs? With his memoir, Making it So, now on shelves, we sat down to speak with him about his childhood in Yorkshire, the influence of a troubled father, and the inspiring teachers who set him on the path to stardom.

This week, Sir Patrick Stewart, best known for the role of Captain Jean-Luc Picard on Star Trek. After a working-class childhood in Yorkshire, Stewart trained as a classical actor at England's Royal Shakespeare Company, where he appeared on stage for more than two decades. In 1986, he was invited to star in the first season of Star Trek: The Next Generation. No one could predict the success of the program, in fact, when Stewart traveled to California to take the role, he didn't expect the show to last beyond than that first season. The program continued for seven years, and was followed by four films and three seasons of a sequel starring Stewart, "Star Trek: Picard". On October 8th, 2023, Stewart came to the Sydney Goldstein Theater in San Francisco to talk to Alexis Madrigal on the occasion of the publication of his memoir “Making It So”.

Patrick Stewart cut his acting teeth in the theater, taking on numerous roles in Shakespeare and other classics. For his second act, he became known to millions as Captain Jean-Luc Picard in "Star Trek" and Charles Xavier in the "X-Men" films. Now, he tells his own story in a new memoir, "Making It So." Stewart discussed the book with Jeffrey Brown for our arts and culture series, CANVAS. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

Patrick Stewart cut his acting teeth in the theater, taking on numerous roles in Shakespeare and other classics. For his second act, he became known to millions as Captain Jean-Luc Picard in "Star Trek" and Charles Xavier in the "X-Men" films. Now, he tells his own story in a new memoir, "Making It So." Stewart discussed the book with Jeffrey Brown for our arts and culture series, CANVAS. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

When Patrick Stewart was first cast as Captain Jean-Luc Picard on the hit TV series “Star Trek: The Next Generation,” the Los Angeles Times referred to him as “an unknown British Shakespearean actor.” But it didn't take long for him to become a household name. Sir Patrick has just released a memoir, “Making It So,” about his life in acting. He joins Tom to talk about it and share stories from his career.

During Breast Cancer Awareness month, we're introducing you to two leaders of The Breasties, an all-inclusive community for survivors and others impacted by breast and gynecologic cancers. Chief community officer Trish Michelle and co-founder Paige More join "CBS Mornings" to discuss their personal journeys and how The Breasties is bringing people together and making a difference. They are joined by Dr. Elisabeth Potter, a plastic surgeon who specializes in breast reconstruction and advocated with The Breasties to reverse the Centers for Medicare and Medicaid Services' decision to limit access to reconstruction options for women affected by breast cancer.For the second Sunday in a row, superstar Taylor Swift attends a Kansas City Chiefs game to cheer tight end Travis Kelce amid romance rumors.As part of our ongoing series Kindness 101, CBS News' Steve Hartman and his kids are sharing stories built around themes of kindness and character and the people who have mastered both. His latest lesson is encouragement.Sir Patrick Stewart, best known as legendary Captain Jean-Luc Picard in the "Star Trek" franchise and as Professor Charles Xavier in the "X-Men" movies, sat down with CBS News' Vladimir Duthiers to discuss his new book, "Making it So: A Memoir."Best-selling author Michael Lewis joins "CBS Mornings" to discuss his new book, "Going Infinite: The Rise and Fall of a New Tycoon," which tracks the growth and collapse of cryptocurrency firms founded by Sam Bankman-Fried, who is facing trial this week on fraud charges.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

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.

Danny Almagor and Berry Liberman are pioneers of impact investing in Australia. In 2007, the married couple founded "Small Giants", a rare 100% impact family office that invests in businesses driving positive impact for people and planet. Sounds like a dream job? But this wasn't the dream they started with. As a child, Danny wanted to be an astronaut. He enrolled in aerospace engineering as an imagined pathway to be Captain Jean Luc Picard of the next Starship Enterprise. But witnessing a devastating earthquake while travelling in India planted seeds for a different form of service. Straight out of college, he let go of a lucrative job opportunity and founded "Engineers Without Borders" in Australia, mobilizing thousands of engineers to make a difference via aid work and education in marginalized communities across the world. Berry, on the other hand, was deeply drawn to storytelling. After studying acting in Australia, she moved to Los Angeles and began her career in Hollywood. After a short time, however, Berry's focuses shifted to using business and capital as a force for good, in a world that was desperate for radical change. These changes in career and mindset coincided with Danny and Berry's meeting and marriage. For two decades since, they have lived and worked together, bringing their diverse gifts - their skills, wealth, and networks - into alignment with the simple and profound Gandhian principle: "Be the change you wish to see in the world." In 2007, wandering through Hong Kong airport, the couple stumbled upon Bo Burlingham's book Small Giants. A book about companies that chose to become great instead of big. Inspired, and with Bo's blessings, the couple started Small Giants with a new vision that business can and should be a force for good. At a time when the term "impact investing" hadn't even been coined globally, they committed to moving 100% of their wealth to solely positive impact businesses - something that's extremely rare even today in the impact circles. Small Giants also went on to become Australia's first certified B-Corp. "You guys are just weird hippies with money. This is not how business is done," somebody told them. Yet, not only did Small Giants flourish, but in 2013 they also launched Impact Investment Group (IIG) where many more investors joined the journey of aligning their wealth with their values. This led to more than $650 million worth of impact investments by 2020, and IIG consistently performed in the top quartile of all venture funds in Australia. Come 2020, the pandemic and the lockdown, instead of shrinking in times of uncertainty, they've launched a new impact funds manager Sentient Impact Group, to further mainstream the idea of harnessing capital to benefit the living world. Danny and Berry recognize that if we reallocate capital without changing ourselves, we just change the face of the problems. "From oil barons, we will move to having solar power barons." That's where they see the work of Small Giants Academy, a not-for-profit accelerator, education and media initiative, to help move hearts and minds towards more authentic life-giving choices within, and greater harmony without. Additionally, they have founded over a dozen ethical, sustainable, and regenerative businesses in several sectors including agriculture, property development, and impact investing. Between them, they have received dozens of awards including a Medal of the Order of Australia, Social Entrepreneur of the Year, and UN's Shared Values Award. Danny has a flair for combining adventure with values - he was part of a team that broke the record for racing a solar car across Australia from Darwin to Adelaide; guides impact safaris to places like Bhutan, Israel and Palestine; and loves jumping on the trampoline with his three kids. Berry was the Publisher and Editor-in-Chief of Dumbo Feather Magazine (now a podcast), which has reached over 500,000 people. She has interviewed hundreds of the world's deepest thinkers, philosophers, and change-makers and believes that "stories have the power to heal us and give us a vision of the way forward." Together, they have been the best sounding boards and greatest blessing in each others' lives helping them make more authentic and compassionate choices, and nourishing the best in each other. They are also parents to three young humans and do their life's work in service to them and to the generations beyond. Please join Ari Nessel and Navin Amarasuriya in conversation with this remarkable couple on a beautiful, courageous and inspiring journey to change the world both within and beyond.

Learn more about the team of indie authors at Crazy 8 Press and how Michael Jan Friedman keeps things in line as writer and editor of multiple anthologies and his own work on this episode of And I Quote. We will also be taking your questions! Michael Jan Friedman is the author of nearly 70 books of fiction and non-fiction, about half of them set somewhere in the wilds of the Star Trek universe. In 1992 Friedman wrote Reunion, the first Star Trek: The Next Generation hardcover, which introduced the crew of the Stargazer, Captain Jean-Luc Picard's first command. Over the years, the popularity of Reunion has spawned a number of Stargazer stories in both prose and comic book formats, including a six-novel original series. Friedman has also written for the Aliens, Predator, Wolf Man, Lois and Clark, DC Super Hero, Marvel Super Hero, and Wishbone licensed book universes. Eleven of his book titles, including the autobiography Hollywood Hulk Hogan and Ghost Hunting (written with SciFi's Ghost Hunters), have appeared on the prestigious New York Times primary bestseller list, and his novel adaptation of the Batman & Robin movie was for a time the #1 bestselling book in Poland (really). Friedman has worked at one time or another in network and cable television, radio, business magazines, and the comic book industry, in the process producing scripts for nearly 180 comic stories. Among his comic book credits is the Darkstars series from DC Comics, which he created with artist Larry Stroman, and the Outlaws limited series, which he created with artist Luke McDonnell. He also co-wrote the story for the acclaimed second-season Star Trek: Voyager episode “Resistance,” which guest-starred Joel Grey. For more on Michael Jan Friedman and his fiction, visit his personal website, follow him on Twitter @FriedmanMJ, and like him on Facebook. Follow Ryan on Social Media: Linktree: https://linktr.ee/ryanandiquote Make Sure to LIKE, COMMENT, & SUBSCRIBE! Nerd Culture MERCH!!! www.nerdculture.threadless.com HWWS NC Merch - https://hwwswebtv.threadless.com/design Follow: Twitch: https://www.twitch.tv/itsnerdculture/ Instagram: https://www.instagram.com/itsnerdculture Twitter :https://twitter.com/itsNerdCulture Facebook: https://www.facebook.com/itsnerdculture

Keine vier Wochen sind es mehr bis zum TNG-Finale bei TaD. Simon & Sebastian blicken wieder auf drei Hauptcharaktere – und auf zwei weitere, die in fast jeder Staffel auftraten. Turbulent ist die Entstehungsgeschichte und Entwicklung der empathischen Deanna Troi – und auch über ihre exzentrische Mutter Lwaxana ist zu sprechen. Ein völlig unerwarteter Durchbruch gelang dem sturen Klingonen Worf. Und endlich geht es um den Stuhl in der Mitte, auf dem Captain Jean-Luc Picard sitzt – Schöngeist, Forscher, Ruhepol und Vorbild. Ein Liebling von Fans, ein Liebling von TaD, ein Liebling von Q.

In this 50th episode of Flavortone, Alec and Nick settle deep in cups of “earl grey, hot” from the replicator for an entry into the Star Ship Flavorphonia Captain's Log. Citing Star Trek's Captain Jean-Luc Picard, the duo take this ancient maritime convention of record keeping at sea to trace various other epistemic fault-lines in the practice and theory of notation. The duo consider the “log” as a mundane account which transcends its quantitative form in generating unanticipated moral and aesthetic inventories. Branching from this analysis, the broader discussion includes consideration of a tweet by Holly Herndon on the stakes of creative work alongside AI, Deleuze & Guattari's emphasis on expression dictating methods, the holodeck and other utopian imaginaries in Star Trek, the notation practice of Pascale Criton, the Ryan Trecartin film “center jenny” (2013), Anthony Braxton, the daily-life “logging” involved in gardening, cooking, home-improvement, and more.

The voyage of Star Trek: Picard comes to an end. The series had the best of episodes, and the worst of episodes. But Jim and A.Ron say this finale stuck the landing. The return of the entire cast was a good burst of nostalgia and the perfect way to end the show for those diehard Trek Heads. Though the journey may end here for Captain Jean-Luc Picard, Jim and A.Ron speculate on the future storylines of some of these newer characters.  Don't feel borged-out! Jim and A.Ron are going to beam a wrapup podcast your way. Beam your feedback to picard@baldmove.com.  Hey there! Check out https://support.baldmove.com/ to find out how you can gain access to ALL of our premium content, as well as ad-free versions of the podcasts, for just $5 a month! Join the Club! Join the discussion: Email | Discord | Reddit | Forums Follow us: Twitch | YouTube | Twitter | Instagram | Facebook Leave Us A Review on Apple Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices

Captain Jean-Luc Picard is a stalwart example of Starfleet ideals, confident, calm, and seemingly able to diffuse any situation with an inspirational speech....but nobody's perfect. Prepare your hand for all the facepalms as Blunderdome takes a look at some of our favorite captain's gaffes, whoopsies, and faux pas in both his personal and professional life.Follow The Green Shirt Podcast:Podcast | Twitter | InstagramSupport the show

On this week's episode of Random Trek, Captain Ingle and I set a course for a mysterious energy ribbon and the crossover of a lifetime, where we will witness the historic meeting between Captain Jean-Luc Picard and Captain James Tiberius Kirk. But of course, we cannot complete this journey without a special guest; in this case, my oldest friend and the reason why I'm a Star Trek fan, Admiral Scott Ferguson. Join us as we go boldly! --- Send in a voice message: https://anchor.fm/pageturnerstheywerenot/message

This week, we look back at a time when Hollywood used to make original movies, rather than remaking or sequelizing everything under the sun! Get this: a Christmas-hating, greedy misanthrope is haunted by three ghosts until he learns to love humankind again! Crazy, right? Hollywood, take note! Thank you to our very own Laura Taylor for editing this episode! Find us at all the finest podcast places: Stitcher: https://www.stitcher.com/podcast/dj-phillips/your-inner-child-is-an-idiot Apple: https://podcasts.apple.com/us/podcast/your-inner-child-is-an-idiot/id957660267 Spotify: https://open.spotify.com/show/4BHABEvxH02VSCkhvKX2HQ?si=NHxzzArHSxGnxFUvTEpbNQ Sometimes we find our Patrons hurting from giving too much. And we'd say "Stop it.": Particle Man, T. Smith, Caroline Amberson, Hizoner the Mayor, Shit on the Cartouche!, Larissa Maestro, Lindsay Alice Halik, Heather Tuggle, Jonathon Day, Damon's Australian Accent, Dan McIntyre, The Hands of Fate, Jackson Has An Unhealthy Obsession With Damon, The Elusive Fan Gromkin, Josh Frigo, Dramatically Placed Hot Dog, Travis Vance, Beth Surmont, David Mort, The Supreme Ruler of This Podcast, Just Cuz, Scalfasaurus, Dr. Malcolm's Heaving Bosom, Captain Jean-Luc Picard, Karen Curd, Lindsey Nell, The Zesty, Jeremy Powlen, theKuehm, Jody Passanisi, M Moran, Jessica Hurtado, Jirah Cox, Manstrocity, Vincent Jorgensen, Kathleen Campagna, Toxoglossa, Dan McIntyre is the Worst, Amy Parman, Emily Bucago, Caroline Amberson, Jarrad Holbrook, Kristin Carter, Little Flick, Emeka Obika, Jason X, GoodCause, Justin Shea and Bill Haynes.

Dr. Peter Caddick-Adams is a historian but it was the dreams of the future in the Gerry Anderson shows of the sixties that inspired his entire generation to be forward thinking. Now there's just one question– where's the real life Thunderbirds machines? Peter uses his leadership expertise to analyse Anderson heroes like Ed Straker and Colonel White. Also, tune in for Richard James impersonating Captain Jean-Luc Picard and Jamie reading out a jet-powered FAB Fact as Chris Dale heads for a forgotten planet destroyed by an unlikely menace!01:07 Welcome to the Gerry Anderson Podcast! 04:32 FAB Jet Facts8:52 You Clever Podsterons!13:36 The Gerry Anderson News! See links below18:27 Shifting towards the Podcast Facebook Group23:18 Peter Caddick-Adams - Part Two50:54 Over on Twitter57:11 The Randomiser with the Doctor1:23:50 Wrapping things up! Links MentionedFollow Peter Caddick-Adams on TwitterTop 5 Gerry Anderson Christmas EpisodesBBC Radio 3 - Sound of Cinema Barry GraySHADO Technical Operations Manual (Few more copies in stock!)Intergalactic Rescue 4Never Miss An EpisodeJoin the Podsterons Facebook groupSubscribe wherever you get your podcastsThe Randomiser with Chris DaleHelp The ShowLeave us a review on Apple PodcastsTweet about it! Use the hashtag #GerryAndersonPodcast@ImJamieAnderson / @RichardNJames / @ChrisDalekJoin the Anderson Insiders for Extra ContentStay In TouchEmail Podcast AT GerryAnderson.comJoin the Email Newsletter

From the get-go, this movie stumbles by naming the movie “Tommy Boy” when the titular character is clearly a post-pubescent man. Can it right the ship? Listen to find out. Voicemail or Text YICIAI: (615) 576-0525 Find us at all the finest podcast places: Patreon: https://www.patreon.com/yourinnerchildisanidiot Stitcher: https://www.stitcher.com/podcast/dj-phillips/your-inner-child-is-an-idiot Apple: https://podcasts.apple.com/us/podcast/your-inner-child-is-an-idiot/id957660267 Spotify: https://open.spotify.com/show/4BHABEvxH02VSCkhvKX2HQ?si=NHxzzArHSxGnxFUvTEpbNQ Thank you to our Patrons for helping us make this show. Not here or here so much, but right here: Caroline Amberson, T. Smith, Hizoner the Mayor, Tyler Richardson, Shit on the Cartouche!, Larissa Maestro, Lindsay Alice Halik, Heather Tuggle, Jonathon Day, Damon's Australian Accent, Particle Man, Dan McIntyre, The Hands of Fate, Jackson Has An Unhealthy Obsession With Damon, The Elusive Fan Gromkin, Josh Frigo, Dramatically Placed Hot Dog, Travis Vance, Beth Surmont, David Mort, The Supreme Ruler of This Podcast, Just Cuz, Scalfasaurus, Dr. Malcolm's Heaving Bosom, Captain Jean-Luc Picard, Karen Curd, Lindsey Nell, The Zesty, Jeremy Powlen, theKuehm, Jody Passanisi, M Moran, Jessica Hurtado, Jirah Cox, Manstrocity, Vincent Jorgensen, Kathleen Campagna, Toxoglossa, Dan McIntyre is the Worst, Amy Parman, Emily Bucago, Caroline Amberson, Jarrad Holbrook, Kristin Carter, Little Flick, Emeka Obika, Jason X, GoodCause, Justin Shea and Bill Haynes. Edited by: https://www.weeditpodcasts.com/

Women be shopping! Also, women be matchmaking for their friends! Women be helping their community! And women be committing step-incest! Voicemail or Text YICIAI: (615) 576-0525 Find us at all the finest podcast places: Patreon: https://www.patreon.com/yourinnerchildisanidiot Stitcher: https://www.stitcher.com/podcast/dj-phillips/your-inner-child-is-an-idiot Apple: https://podcasts.apple.com/us/podcast/your-inner-child-is-an-idiot/id957660267 Spotify: https://open.spotify.com/show/4BHABEvxH02VSCkhvKX2HQ?si=NHxzzArHSxGnxFUvTEpbNQ Thank you to our Patrons for not brutally rebuffing us: Lindsey Nell, Caroline Amberson, T. Smith, Hizoner the Mayor, Tyler Richardson, Shit on the Cartouche!, Larissa Maestro, Lindsay Alice Halik, Heather Tuggle, Jonathon Day, Damon's Australian Accent, Particle Man, Dan McIntyre, The Hands of Fate, Jackson Has An Unhealthy Obsession With Damon, The Elusive Fan Gromkin, Josh Frigo, Dramatically Placed Hot Dog, Travis Vance, Beth Surmont, David Mort, The Supreme Ruler of This Podcast, Just Cuz, Scalfasaurus, Dr. Malcolm's Heaving Bosom, Captain Jean-Luc Picard, Karen Curd, The Zesty, Jeremy Powlen, theKuehm, Jody Passanisi, M Moran, Jessica Hurtado, Jirah Cox, Manstrocity, Vincent Jorgensen, Kathleen Campagna, Toxoglossa, Dan McIntyre is the Worst, Amy Parman, Emily Bucago, Caroline Amberson, Jarrad Holbrook, Kristin Carter, Little Flick, Emeka Obika, Jason X, GoodCause, Justin Shea, Bill Haynes and Ryan McWilley. Edited by: https://www.weeditpodcasts.com/

Come for the review of The Crow. Stay for our retroactive apologies to Hocus Pocus, The Craft and A Christmas Story. Voicemail or Text YICIAI: (615) 576-0525 Find us at all the finest podcast places: Patreon: https://www.patreon.com/yourinnerchildisanidiot Stitcher: https://www.stitcher.com/podcast/dj-phillips/your-inner-child-is-an-idiot Apple: https://podcasts.apple.com/us/podcast/your-inner-child-is-an-idiot/id957660267 Spotify: https://open.spotify.com/show/4BHABEvxH02VSCkhvKX2HQ?si=NHxzzArHSxGnxFUvTEpbNQ Thank you to our Patrons for coming back from the dead to avenge us: Caroline Amberson, T. Smith, Hizoner the Mayor, Tyler Richardson, Shit on the Cartouche!, Larissa Maestro, Lindsay Alice Halik, Heather Tuggle, Jonathon Day, Damon's Australian Accent, Particle Man, Dan McIntyre, The Hands of Fate, Jackson Has An Unhealthy Obsession With Damon, The Elusive Fan Gromkin, Josh Frigo, Dramatically Placed Hot Dog, Travis Vance, Beth Surmont, David Mort, The Supreme Ruler of This Podcast, Just Cuz, Scalfasaurus, Dr. Malcolm's Heaving Bosom, Captain Jean-Luc Picard, Karen Curd, Lindsey Nell, The Zesty, Jeremy Powlen, theKuehm, Jody Passanisi, M Moran, Jessica Hurtado, Jirah Cox, Manstrocity, Vincent Jorgensen, Kathleen Campagna, Toxoglossa, Dan McIntyre is the Worst, Amy Parman, Emily Bucago, Caroline Amberson, Jarrad Holbrook, Kristin Carter, Little Flick, Emeka Obika, Jason X, GoodCause, Justin Shea, Bill Haynes and Ryan McWilley. Edited by: https://www.weeditpodcasts.com/

History thinks of the Salem Witch Trials as an example of religiosity gone awry and a community punishing independent-thinking women for things they couldn't control. With 'Hocus Pocus,' Disney demonstrates they think it was totes legit. Voicemail or Text YICIAI: (615) 576-0525 Find us at all the finest podcast places: Patreon: https://www.patreon.com/yourinnerchildisanidiot Stitcher: https://www.stitcher.com/podcast/dj-phillips/your-inner-child-is-an-idiot Apple: https://podcasts.apple.com/us/podcast/your-inner-child-is-an-idiot/id957660267 Spotify: https://open.spotify.com/show/4BHABEvxH02VSCkhvKX2HQ?si=NHxzzArHSxGnxFUvTEpbNQ Thank you to our Patrons for running amok amok amok amok amok: T. Smith, Hizoner the Mayor, Tyler Richardson, Shit on the Cartouche!, Larissa Maestro, Lindsay Alice Halik, Heather Tuggle, Jonathon Day, Damon's Australian Accent, Particle Man, Dan McIntyre, The Hands of Fate, Jackson Has An Unhealthy Obsession With Damon, The Elusive Fan Gromkin, Josh Frigo, Dramatically Placed Hot Dog, Travis Vance, Beth Surmont, David Mort, The Supreme Ruler of This Podcast, Just Cuz, Scalfasaurus, Dr. Malcolm's Heaving Bosom, Captain Jean-Luc Picard, Karen Curd, Lindsey Nell, The Zesty, Jeremy Powlen, theKuehm, Jody Passanisi, M Moran, Jessica Hurtado, Jirah Cox, Manstrocity, Vincent Jorgensen, Kathleen Campagna, Toxoglossa, Dan McIntyre is the Worst, Amy Parman, Emily Bucago, Caroline Amberson, Jarrad Holbrook, Kristin Carter, Little Flick, Emeka Obika, Jason X, GoodCause, Justin Shea, Bill Haynes and Ryan McWilley. Edited by: https://www.weeditpodcasts.com/

Indiana Jones stops Nazis from taking over the world, finds arguably the most famous artifact in Christendom, and singlehandedly defeats the artillery of Hatay all for approval of his Dad. Grow up. Voicemail or Text YICIAI: (615) 576-0525 Find us at all the finest podcast places: Patreon: https://www.patreon.com/yourinnerchildisanidiot Stitcher: https://www.stitcher.com/podcast/dj-phillips/your-inner-child-is-an-idiot Apple: https://podcasts.apple.com/us/podcast/your-inner-child-is-an-idiot/id957660267 Spotify: https://open.spotify.com/show/4BHABEvxH02VSCkhvKX2HQ?si=NHxzzArHSxGnxFUvTEpbNQ Thank you to our Patrons for being the 'X' that definitely marks the spot: Hizoner the Mayor, Tyler Richardson, Shit on the Cartouche!, Larissa Maestro, Lindsay Alice Halik, Heather Tuggle, Jonathon Day, Damon's Australian Accent, Particle Man, Dan McIntyre, The Hands of Fate, Jackson Has An Unhealthy Obsession With Damon, The Elusive Fan Gromkin, Josh Frigo, Dramatically Placed Hot Dog, Travis Vance, Beth Surmont, David Mort, The Supreme Ruler of This Podcast, Just Cuz, Scalfasaurus, Dr. Malcolm's Heaving Bosom, Captain Jean-Luc Picard, T. Smith, Karen Curd, Lindsey Nell, The Zesty, Jeremy Powlen, theKuehm, Jody Passanisi, M Moran, Jessica Hurtado, Jirah Cox, Manstrocity, Vincent Jorgensen, Kathleen Campagna, Toxoglossa, Dan McIntyre is the Worst, Amy Parman, Emily Bucago, Caroline Amberson, Jarrad Holbrook, Kristin Carter, Little Flick, Emeka Obika, Jason X, GoodCause, Justin Shea, Bill Haynes and Ryan McWilley. Edited by: https://www.weeditpodcasts.com/

“…and the Temple of Orientalism” didn't test as well in focus groups. Voicemail or Text YICIAI: (615) 576-0525 Find us at all the finest podcast places: Patreon: https://www.patreon.com/yourinnerchildisanidiot Stitcher: https://www.stitcher.com/podcast/dj-phillips/your-inner-child-is-an-idiot Apple: https://podcasts.apple.com/us/podcast/your-inner-child-is-an-idiot/id957660267 Spotify: https://open.spotify.com/show/4BHABEvxH02VSCkhvKX2HQ?si=NHxzzArHSxGnxFUvTEpbNQ Thank you to our Patrons for not betraying Shiva: Tyler Richardson, Shit on the Cartouche!, Larissa Maestro, Lindsay Alice Halik, Heather Tuggle, Jonathon Day, Damon's Australian Accent, Particle Man, Dan McIntyre, The Hands of Fate, Jackson Has An Unhealthy Obsession With Damon, The Elusive Fan Gromkin, Josh Frigo, Dramatically Placed Hot Dog, Travis Vance, Hizoner the Mayor, Beth Surmont, David Mort, The Supreme Ruler of This Podcast, Just Cuz, Scalfasaurus, Dr. Malcolm's Heaving Bosom, Captain Jean-Luc Picard, T. Smith, Karen Curd, Lindsey Nell, The Zesty, Jeremy Powlen, theKuehm, Jody Passanisi, M Moran, Jessica Hurtado, Jirah Cox, Manstrocity, Vincent Jorgensen, Kathleen Campagna, Toxoglossa, Dan McIntyre is the Worst, Amy Parman, Emily Bucago, Caroline Amberson, Jarrad Holbrook, Kristin Carter, Little Flick, Emeka Obika, Jason X, GoodCause, Justin Shea and Bill Haynes. Edited by: https://www.weeditpodcasts.com/

“What's in the booooooox?” The power of G-d. Voicemail or Text YICIAI: (615) 576-0525 Find us at all the finest podcast places: Patreon: https://www.patreon.com/yourinnerchildisanidiot Stitcher: https://www.stitcher.com/podcast/dj-phillips/your-inner-child-is-an-idiot Apple: https://podcasts.apple.com/us/podcast/your-inner-child-is-an-idiot/id957660267 Spotify: https://open.spotify.com/show/4BHABEvxH02VSCkhvKX2HQ?si=NHxzzArHSxGnxFUvTEpbNQ Thank you to our Patrons for melting our faces: Tyler Richardson, Shit on the Cartouche!, Larissa Maestro, Lindsay Alice Halik, Heather Tuggle, Jonathon Day, Damon's Australian Accent, Particle Man, Dan McIntyre, The Hands of Fate, Jackson Has An Unhealthy Obsession With Damon, The Elusive Fan Gromkin, Josh Frigo, Dramatically Placed Hot Dog, Travis Vance, Hizoner the Mayor, Beth Surmont, David Mort, The Supreme Ruler of This Podcast, Just Cuz, Scalfasaurus, Dr. Malcolm's Heaving Bosom, Captain Jean-Luc Picard, T. Smith, Karen Curd, Lindsey Nell, The Zesty, Jeremy Powlen, theKuehm, Jody Passanisi, M Moran, Jessica Hurtado, Jirah Cox, Manstrocity, Vincent Jorgensen, Kathleen Campagna, Toxoglossa, Dan McIntyre is the Worst, Amy Parman, Emily Bucago, Caroline Amberson, Jarrad Holbrook, Kristin Carter, Little Flick, Emeka Obika, Jason X, GoodCause, Justin Shea and Bill Haynes. Edited by: https://www.weeditpodcasts.com/

All the great questions of cinema have been answered, except one. Who's afraid of Virginia Woolf? Easy: Elizabeth Taylor and Richard Burton. What ever happened to Baby Jane? She went to the beach and killed her sister. Who's Harry Crumb? He's played by John Candy, you idiot. But as for who framed Roger Rabbit? We find out this week. Voicemail or Text YICIAI: (615) 576-0525 Find us at all the finest podcast places: Patreon: https://www.patreon.com/yourinnerchildisanidiot Stitcher: https://www.stitcher.com/podcast/dj-phillips/your-inner-child-is-an-idiot Apple: https://podcasts.apple.com/us/podcast/your-inner-child-is-an-idiot/id957660267 Spotify: https://open.spotify.com/show/4BHABEvxH02VSCkhvKX2HQ?si=NHxzzArHSxGnxFUvTEpbNQ Thank you to our Patrons for popping open tiny parasols to protect us from falling anvils: Shit on the Cartouche!, Larissa Maestro, Lindsay Alice Halik, Heather Tuggle, Jonathon Day, Damon's Australian Accent, Particle Man, Dan McIntyre, The Hands of Fate, Jackson Has An Unhealthy Obsession With Damon, The Elusive Fan Gromkin, Josh Frigo, Dramatically Placed Hot Dog, Travis Vance, Hizoner the Mayor, Beth Surmont, David Mort, The Supreme Ruler of This Podcast, Just Cuz, Scalfasaurus, Dr. Malcolm's Heaving Bosom, Captain Jean-Luc Picard, T. Smith, Karen Curd, Lindsey Nell, The Zesty, Jeremy Powlen, theKuehm, Jody Passanisi, M Moran, Jessica Hurtado, Jirah Cox, Manstrocity, Vincent Jorgensen, Kathleen Campagna, Toxoglossa, Dan McIntyre is the Worst, Amy Parman, Emily Bucago, Caroline Amberson, Jarrad Holbrook, Kristin Carter, Little Flick, Emeka Obika, Jason X, GoodCause, Justin Shea and Bill Haynes. Edited by: https://www.weeditpodcasts.com/

Where the guys in the room? Women be time-traveling! Y'all know what I'm talking about! Voicemail or Text YICIAI: (615) 576-0525 Find us at all the finest podcast places: Patreon: https://www.patreon.com/yourinnerchildisanidiot Stitcher: https://www.stitcher.com/podcast/dj-phillips/your-inner-child-is-an-idiot Apple: https://podcasts.apple.com/us/podcast/your-inner-child-is-an-idiot/id957660267 Spotify: https://open.spotify.com/show/4BHABEvxH02VSCkhvKX2HQ?si=NHxzzArHSxGnxFUvTEpbNQ Thank you to our Patrons for being thirty, flirty and thriving: Larissa Maestro, Lindsay Alice Halik, Heather Tuggle, Jonathon Day, Damon's Australian Accent, Particle Man, Dan McIntyre, The Hands of Fate, Jackson Has An Unhealthy Obsession With Damon, The Elusive Fan Gromkin, Shit on the Cartouche!, Josh Frigo, Dramatically Placed Hot Dog, Travis Vance, Hizoner the Mayor, Beth Surmont, David Mort, The Supreme Ruler of This Podcast, Just Cuz, Scalfasaurus, Dr. Malcolm's Heaving Bosom, Captain Jean-Luc Picard, T. Smith, Karen Curd, Lindsey Nell, The Zesty, Jeremy Powlen, theKuehm, Jody Passanisi, M Moran, Jessica Hurtado, Jirah Cox, Manstrocity, Vincent Jorgensen, Kathleen Campagna, Toxoglossa, Dan McIntyre is the Worst, Amy Parman, Emily Bucago, Caroline Amberson, Jarrad Holbrook, Kristin Carter, Little Flick, Emeka Obika, Jason X, GoodCause and Justin Shea. Edited by: https://www.weeditpodcasts.com/

For the third time running, Ol' Zelda goes and gets herself kidnapped by some evil wizard. Hero/simp Link decides he must save her and all of Hyrule. Again. Desperate, much? Voicemail or Text YICIAI: (615) 576-0525 Find us at all the finest podcast places: Patreon: https://www.patreon.com/yourinnerchildisanidiot Stitcher: https://www.stitcher.com/podcast/dj-phillips/your-inner-child-is-an-idiot Apple: https://podcasts.apple.com/us/podcast/your-inner-child-is-an-idiot/id957660267 Spotify: https://open.spotify.com/show/4BHABEvxH02VSCkhvKX2HQ?si=NHxzzArHSxGnxFUvTEpbNQ Thank you to our Patrons for being our missing heart pieces: Lindsay Alice Halik, Heather Tuggle, Jonathon Day, Damon's Australian Accent, Particle Man, Dan McIntyre, The Hands of Fate, Jackson Has An Unhealthy Obsession With Damon, The Elusive Fan Gromkin, Shit on the Cartouche!, Josh Frigo, Dramatically Placed Hot Dog, Travis Vance, Hizoner the Mayor, Beth Surmont, David Mort, The Supreme Ruler of This Podcast, Just Cuz, Scalfasaurus, Dr. Malcolm's Heaving Bosom, Captain Jean-Luc Picard, T. Smith, Karen Curd, Lindsey Nell, The Zesty, Jeremy Powlen, Larissa Maestro, Jody Passanisi, M Moran, Jessica Hurtado, Jirah Cox, Manstrocity, Vincent Jorgensen, Kathleen Campagna, Toxoglossa, Dan McIntyre is the Worst, Amy Parman, Emily Bucago, Caroline Amberson, Jarrad Holbrook, Kristin Carter, Little Flick, Emeka Obika, Jason X, GoodCause and Justin Shea. Edited by: https://www.weeditpodcasts.com/

The Rock (1996) Episode 166: Show Notes. Hello everyone and thank you for joining us for another episode of Your Inner Child Is An Idiot podcast, a show diving into the nostalgic memories of pop culture from our childhoods. When you hear ‘The Rock' most people will think of the wrestler, but we are not talking about that rock; we are talking about the 90s hit film about an escape from Alcatraz Prison. It starred Nicholas Cage as the no-holds-barred hero, the legend Sean Connery, and Ed Harris as the perplexing villain. In this episode, we don't hold back and talk about the plot of the movie, why the love interest has no impact on the plot, the problems with Nicholas Cage's character, what the best lines in the movie are, the role of female characters in the film, why some of the movie's plot does not make sense, and why the car chase scene is good and bad at the same time. Tune in today for another hilarious episode as we unpack one of the cheesiest movies in history to find out if your inner child is an idiot, with your hosts, Damon Xanthopoulos and DJ Phillips! Key Points From This Episode: Introduction to today's topic and discussion about Sausalito cookies. We find out how Damon feels about the actor Ed Harris. A breakdown and recap of the plot of the movie The Rock. What people first think of when you mention Michael Bay. A discussion about the confusing plot of the hero's love interest. We attempt to pin down the exact character traits of the hero, Stanley Goodspeed. Why the pregnancy test in the movie is in a little glass vial. The problem with Nicholas Cage's character: too good, too soon. What the roles of female characters are in typical Michael Bay movies. A rundown of the cast and what other movies they have acted in. We discuss Ed Harris's character and why it is so cheesy. Damon points out how rain does not work properly in the movie. We unpack the plot twists regarding Ed Harris's character. The point where we lost our patience with the movie. Why Damon cannot sympathize with Ed Harris's character. One of the craziest scenes in the movie: the car chase scene. Find out some of the best lines in the movie. Reasons why the ‘rocket man' scene is so ridiculous. We close the show by hearing Damon and DJ's verdicts on the movie. Tweetables: “I usually think of Transformers. I think I didn't realize this was him. But this might be the platonic form of a Michael Bay movie. I'm not going to declare that, but I'm going to put that forward as a possibility.” — @yiciai DJPhillips [0:16:28] “Yeah. He plays that James Bond-ish character very well and he does it with aplomb in this movie. But Nicolas Cage is so all over the place that I don't know what I'm supposed to think about him.” — @yiciai @damonxanth [0:27:20] “It's not just like he changes over the course of the movie. It's literally from sentence to sentence. It's completely different. It makes me miss his characterization in Con Air, if that tells you anything.” — @yiciai DJPhillips [0:28:36] “It's a really dumb plan and I feel aggrieved that the movie wants me to sympathize with Ed Harris, even though he's doing reprehensible things.” — @yiciai @damonxanth [0:46:24] “This is a very stupid car chase. Please let the record show that I believe that. I really enjoyed this car chase. It was very dumb. But I don't know if I've ever seen a car chase that makes me think.” — @yiciai @damonxanth [0:49:54] Links Mentioned in Today's Episode: YICIAI YICIAI on Facebook YICIAI on Twitter YICIAI Email - yourinnerchildisanidiot@gmail.com Voicemail or Text YICIAI: (615) 576-0525 The Rock (1996) Find us at all the finest podcast places: Patreon: https://www.patreon.com/yourinnerchildisanidiot Stitcher: https://www.stitcher.com/podcast/dj-phillips/your-inner-child-is-an-idiot Apple: https://podcasts.apple.com/us/podcast/your-inner-child-is-an-idiot/id957660267 Spotify: https://open.spotify.com/show/4BHABEvxH02VSCkhvKX2HQ?si=NHxzzArHSxGnxFUvTEpbNQ Mentions: Thank you to our Patrons for welcoming us to The Rock: Heather Tuggle, Jonathon Day, Damon's Australian Accent, Particle Man, Dan McIntyre, The Hands of Fate, Jackson Has An Unhealthy Obsession With Damon, The Elusive Fan Gromkin, Shit on the Cartouche!, Josh Frigo, Dramatically Placed Hot Dog, Travis Vance, Hizoner the Mayor, Beth Surmont, David Mort, The Supreme Ruler of This Podcast, Just Cuz, Scalfasaurus, Dr. Malcolm's Heaving Bosom, Captain Jean-Luc Picard, T. Smith, Karen Curd, Lindsey Nell, The Zesty, Jeremy Powlen, Larissa Maestro, M Moran, Jessica Hurtado, Jirah Cox, Manstrocity, Vincent Jorgensen, Kathleen Campagna, Toxoglossa, Dan McIntyre is the Worst, Amy Parman, Emily Bucago, Caroline Amberson, Jarrad Holbrook, Kristin Carter, Little Flick, Emeka Obika, Jason X, GoodCause and Justin Shea. Edited by: https://www.weeditpodcasts.com/

A sociopath surrounded by expendable henchman holds the planet ransom, and there's only one man who can stop him: a brazen sexual predator. Find us at all the finest podcast places: Stitcher: https://www.stitcher.com/podcast/dj-phillips/your-inner-child-is-an-idiot Apple: https://podcasts.apple.com/us/podcast/your-inner-child-is-an-idiot/id957660267 Spotify: https://open.spotify.com/show/4BHABEvxH02VSCkhvKX2HQ?si=NHxzzArHSxGnxFUvTEpbNQ Thank you to our Patrons for INSERT AUSTIN POWERS QUOTE HERE: Larissa Maestro, Heather Tuggle, Jonathon Day, Damon's Australian Accent, Particle Man, Dan McIntyre, The Hands of Fate, Jackson Has An Unhealthy Obsession With Damon, The Elusive Fan Gromkin, Shit on the Cartouche!, Josh Frigo, Dramatically Placed Hot Dog, Travis Vance, Hizoner the Mayor, Beth Surmont, David Mort, The Supreme Ruler of This Podcast, Just Cuz, Scalfasaurus, Dr. Malcolm's Heaving Bosom, Captain Jean-Luc Picard, T. Smith, Karen Curd, Lindsey Nell, The Zesty, Jeremy Powlen, M Moran, Jessica Hurtado, Jirah Cox, Manstrocity, Vincent Jorgensen, Kathleen Campagna, Toxoglossa, Dan McIntyre is the Worst, Amy Parman, Emily Bucago, Caroline Amberson, Jarrad Holbrook, Kristin Carter, Little Flick, Emeka Obika, Jason X, GoodCause and Justin Shea.