Podcasts about Carradine

Russ and Jared are spiraling into the high-tech fever dream that is AfrAId (2024), featuring a cast so stacked it feels like a casting director lost a bet: John Cho, Katherine Waterston, Havana Rose Liu, Lukita Maxwell, Wyatt Lindner, Isaac Bae, David Dastmalchian, Ashley Romans, Bennett Curran, and Keith freakin' Carradine. There's AI. There's teen angst. There's a dinner party from hell. Is the house haunted? Hacked? Emotionally manipulative? Who knows—certainly not the characters. Join us as we untangle this digital mess, roast some questionable parenting choices, and wonder aloud how many lines of code it takes to ruin a family vacation. (Written by ITMTron)

Spring Break is here! This week we're traveling down to Florida for nationals with BIKINI SPRING BREAK. Lots of antics with one as we talk about yet another member of the Carradine family. Will We make it there in time? Probably not, but Pete wants to compete in the wet t-shirt contest, so we'll try our darnedest. Find us online: Instagram: @bmoviebeatFacebook: The B Movie BeatdownEmail: thebmoviebeatdown@gmail.com Letterboxd: @Petedown @SlenderJames  

Marina Anderson Ex-Wife of David Carradine, The Eye of My Tornado / Four Feet to Fame: A Hollywood Dog Trainer's Journeyop culture/Memoir/autobiography.This is a significant and very personal book.This book has been inducted into the Johnny Grant Hollywood Walk of Fame Library."...it was one long rollercoaster thrill... Mr. Toad's wild ride...intense passion and emotion. He was the eye of my tornado." Marina Anderson.Marina Anderson was just starting out taking acting lessons at Warner Bros., when she wandered one afternoon onto the candlelit set of a Shaolin temple and met for the first time, the volatile, dark and brilliant personality that was actor and icon, David Carradine. Two dynamic people merging into a karmic-destined, intense and turbulent love relationship. Each struggling with their own demons including sexual abuse and incest. Their private life was replete with love, passion, erotic pleasure and eventually bondage, sexual experimentation, and pain as an avenue to pleasure. Their marriage was marred by a toxic secret that could not be ignored. Her writing speaks to readers universally by focusing on their personal journey, revealing the truth about the couple, addresses conquering fear and overcoming obstacles, self discovery, recovery, re-inventing and rebuilding one's self. It's her personal survival while desperately trying to save the marriage as well as Carradine's constant struggle to be someone he wasn't, but wished he could be. Spirituality, psychic John Edward,other psychics and astrologers who helped her are written about in the book as well. They were married on the Warner Bros. back lot and their six-year relationship was a whirl of auditions, star-studded parties, exotic locations, red carpets and a star on the Hollywood Walk of Fame. Marina, who was already an established actress, became Carradine's personal manager and set about rehabilitating the career of an actor who was now known for his heavy drinking. She introduced him to Quentin Tarantino, who cast David in a lead role in the popular Kill Bill films. This vaulted Carradine back onto the Hollywood A-list.After their divorce with the help of re-known celebrity Dr. Drew Pinsky (Celebrity Rehab, Sober House), issues are addressed in the consultation verbatim, occupying an entire chapter. Anderson was able to finally exorcise the demons that have haunted her for so long about their relationship and herself that almost destroyed her. "This book is an avenue for his fans and the general public to know, understand and hopefully accept him as a man, not a celluloid fantasy...to be admired for his talents and the motivations behind certain issues in his life understood. It's also to reveal the very personal interior of a marriage that people can relate to. What we do for love. We are all human beings with our faults. He was afraid people wouldn't remember him. That will never happen. The legend continues."David Carradine's acting career spanned four decades onstage, television and cinema. He became an international sensation as Kwai Chang Caine in the 1970s hit television series Kung Fu and cemented his cult hero status with his role in the classic movie Death Race 2000. He portrayed Woody Guthrie in Hal Ashby's Bound for Glory and Bill in Quentin Tarantino's Kill Bill films. Carradine received four Golden Globe nominations. He was a talented songwriter and musician and performed in a band called Cosmic Rescue Team.He died in a Bangkok hotel room, June 3, 2009, an apparent victim of autoerotic asphyxiation. Amid sensational media speculation, Marina refused to let David's death remain stigmatized like it was and launched her own investigation into the death of her ex-husband. Suicide? Foul play? A sex act gone wrong? Was he alone? Was there a cover-up? Her conclusions are startling.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

Join Jim & Livio as they once again travel to Paris and are witness to the crimes of the person known as 'Bluebeard'. Made in 1944 and directed by Edgar G. Ulmer (The Black Cat, 1934) and starring John Carradine. Carradine delivers one of his finest performances as the tortured, yet evil Gaston Morrell. The film also stars Jean Parker, Nils Asther, Ludwig Stossel, and Sonia Sorrell. What on the surface seems like a typical 1940's PRC quickie horror movie, it quickly turns to a fantastically dark, moody, and deep horror film. This is truly a hidden gem of the 40's horror cycle! We discuss the movie itself, the actors, Ulmer, and the production. You don't want to miss this! The Regular Guy Movie ShowIn this podcast, three longtime friends revisit the movies they grew up with to...Listen on: Apple Podcasts Spotify

In this episode, Kansas Carradine explores the balance between personal spiritual practices—like yoga, meditation, and retreats—and the call to engage with the world's needs. She shares insights on cultivating inner stillness, self-compassion, and mindful presence as essential ways to recharge and show up more fully in service to others. Drawing from her experiences as a mother, traveler, and equestrian, Kansas emphasizes how small, intentional actions can create meaningful ripples of positive change, reminding us that inner work and outer action are deeply connected.--Kansas Carradine, a prominent figure in the Equestrian Industry, navigates a captivating journey from rodeo arenas to Hollywood stunts and circus performances. Evolving into an ethical horsemanship clinician and influential speaker, she maintains unwavering commitment to the highest animal ethics standards. Notably featured in publications like Sports Illustrated and Cowboys & Indians Magazine, Carradine's multifaceted career includes roles as a performer, horse trainer, coach, and mentor in the world-renowned equestrian show, CAVALIA.In her latest chapter, Carradine seamlessly transitions into the role of an Equine Guided Educator, utilizing her innate ability to connect with both horses and people. Kansas is also a HeartMath Certified Trainer, passionate about teaching emotional self-regulation tools and helping people activate the intelligence of their own hearts for greater health, vitality, and performance.With a wealth of experience, she serves as a mentor and coach, skillfully integrating science, spirituality, horsemanship, and heart. Carradine's transformative work bridges diverse realms, creating a powerful impact on aspiring horse enthusiasts and the broader public alike.Connect with Kansas:www.CircusCowgirl.comhttps://www.facebook.com/circuscowgirl/ Hosted on Acast. See acast.com/privacy for more information.

This entire series of The Peggy Mount Calamity Hour focuses on the more macabre facets of the magic lantern partly in a bid to help clear the supernatural backlog, and because sometimes a Halloween-themed programme crops up that's just too good to leave until Spooky-Season! (or is just too awful to take that coveted slot in the review-schedule, but let's try to be optimistic) Worlds collide at Mountpeg Towers this week when Ozzy Bognops drops round, and explosions meet ectoplasm for The Fall Guy on 'October The 31st', the textbook snapshot of a celebrated 1980s TV show having a mid-life crisis. Yes, whether you're raising a cold beer to The Unknown Stuntman or a smouldering absinthe to The Mistress Of The Dark, the level of For-The-Dads™ televisual entertainment here is positively off the scale... How many litres of water does it take to extinguish Sally Field? How many litres of whiskey does it take to incapacitate Colt Seavers? And how many members of the incidental cast are changing their surname to Carradine to ensure they get a screen-credit? Grab the coroner, unearth the casket, press the Play button, and find out... The Peggy Mount Calamity Hour is a free podcast from iPorle Media, which holds production copyright. Opinions and recollections expressed are not to be taken as fact. The title and credit music is by Doctor Velvet, with additional accompaniments from Ozzy Bognops. Audio segments from television programmes are presented for review and informational purposes only under fair use, and no ownership of these is claimed or implied by this show. Email enquiries to peggymountpod@gmail.com

In Episode 353, we take a closer look at the Hot Toys Rain Carradune from Alien: Romulus. This exciting new figure captures the intensity and mystery of the character, with incredible detail and craftsmanship. Join us as we break down everything you need to know about this must-see release from the Alien universe! #HotToys #RainCarradune #alienromulus Want to support our show? Check us out on Patreon: http://patreon.com/collectingweekly​== Channel Memberships: https://bit.ly/2SHjsHm Buy a shirt here: https://bit.ly/3wVXAHh Want to chat with us outside of the show? Check us out on Facebook! https://bit.ly/3seiNsv If you like our video podcast and want to hear our full library of audio releases check us out on Apple Podcasts: https://apple.co/3uL64iE

We're back! And what better way to start off the new year than with the second (and final) installment of our tribute to David Carradine? We could talk about Mr. Carradine for hours, so this is the short version - even with all our classic tangents (hey, new year, new tangents). Some ideas for new segments and episodes are touched upon as well, ensuring that 2025 is the year we DON'T run out of ideas! Thanks for listening and press play today! 

To paraphrase the great Faith No More, we Carradine a lot! Part one of our projected multi-part series on the multi-talented David Carradine starts out with a bang - jungle huts exploding, a falcon held by a quiet man, and a certain Chess Piece Killer. Carradine was so prolific, we can't stop at just one podcast - his movies are like Lay's potato chips in that way. So gently tap the play button today!

"Yes, we have no bananas, we have no bananas today.....", come on sing-a-long everyone. Join us as we talk to Cock-er-ney sing-a-long maestro, Tom Carradine, whose father did not play a mythical Shaolin monk travelling the American Old West, in a long running TV show. Instead he travels around London pushing his upright piano, Kimberly, to his gigs. Does this get him shirty? Why are river crossings a bug bear? And who doesn't love the great financial institutions?Hosted by Stuart Hardman with crass interruptions from #stu2, meanwhile, Sam provides the all important search engine protocol. Tom's WebsiteTom's YoutubeTom's Instagram#stu2 OnlyFans (~_^)Hardman & Hemming TailorsLinks to DatHazza, the music man!YouTube SoundcloudLinktree

Ready to break free from money stress and embrace your inner millionaire?

In this episode, Kansas Carradine rejoins the show to discuss The Gaucho Derby, Heartmath, and her spiritual mentors.At 11 years old, destiny took Kansas's hand and led her to Riata Ranch, one of theonly trick-riding schools in the world.  For the next 15 years, she performed as a member of the Riata Ranch Cowboy Girls Western Performance Team and traveled across the US and beyond to countries like Australia, France, Mexico, Spain, and Norway wearing a Cowboy Hat and displaying trust and bravery on a fast running horse.  What began as a healthy hobby has evolved into a lifelong career as a professional horsewoman.https://www.circuscowgirl.com/https://www.facebook.com/circuscowgirlBecome a Patreon Member today! Get access to podcast bonus segments, ask questions to podcast guests, and even suggest future podcast guests while supporting Warwick: https://www.patreon.com/journeyonpodcastWarwick has over 650 Online Training Videos that are designed to create a relaxed, connected, and skilled equine partner. Start your horse training journey today!https://videos.warwickschiller.com/Check us out on Facebook: https://www.facebook.com/WarwickschillerfanpageWatch hundreds of free Youtube Videos: https://www.youtube.com/warwickschillerFollow us on Instagram: @warwickschiller

Bucket trap, a slow Carradine, and a flat-toothed Clark.

Text Me ImmediatelyWell I'm back to making trippy episodes for people to take drugs to.  I'll sprinkle those in between all the guest episodes.  I figure we'll do this until one format clearly wins out over the other or until the world ends.  Whichever comes first.  Support the Show.Go to hunchbunny.com to see all the hidden secrets!!!

Since this is still Revenge Month, the time has come for a one-Ryan episode about Revenge Of The Nerds. Yes, there are a few controversial scenes where our otherwise-lovable heroes strike back against mean-spirited football players...although what they do to the jocks' snobby cheerleader girlfriends is far worse. But this IS a tacky, sex comedy that was made 40 years ago. Robert Carradine and especially Anthony Edwards are fun and sweet, but it's Carradine's character who---more than once---crosses the line with Julia Montgomery. Still, it's easy to enjoy the spirit and the sincerity of MOST of Jeff Kanew's silly comedy. It's also hard to beat the joyous musical number during the talent show or that inspirational ending. So laugh your obnoxious laugh while you get loaded with your geeky frat brothers as Ryan takes a nostalgia trip to talk about the Tri-Lambs, the Omega-Mus and their tormenters in the 584th podcast you'll find on Have You Ever Seen. Sparkplug Coffee would be great to have in the kitchen of any frat house. Look up "sparkplug.coffee/hyes". You can take advantage of a onetime 20% discount by using our "HYES" discount code. Communicate with our dorky selves by sending an email (haveyoueverseenpodcast@gmail.com) or a Twi-X (@moviefiend51 and @bevellisellis). Bev goes by @bevellisellis on Threads too. And we always post our podcasts on YouTube later on the posting day. Our destination in your browser should be @hyesellis...or just go on YouTube and search for "Have You Ever Seen". We ask that you rate and review our talks. Subscribe to us. Comment as much as you like. And do all those things either on your app or on YouTube. Or maybe both.

The story so far: After getting trapped in a well in the middle of the woods without cell service, the boys try tunneling their way out, only to stumble on a secret underground bunker labeled "Moleman's Movie Hole" decorated and stocked like an 80s VHS rental store. After dealing with a bee attack and fixing their food shortage, they discover a magic box with a button that, when pressed, kills a random person somewhere in the world but materializes whatever item you're thinking about into the bunker...A week after discovering the magic box things in the movie hole are getting out of hand. While the guys wrestle with their new hoarding problem, they discuss 1989's dark drama Sonny Boy and, to lighten things back up a bit, revisit 1984's satire classic Top Secret! Also Greg has a green army man problem, Eric tells Boy Scouts stories, and Dan's surprised how ripped people could be in the 80's.Leave us a 30 second voicemail and if we like it we'll play it on the show: (949) 4-STABBY (949-478-2229)Next movie announced every Wednesday. New episodes every Monday. Follow us on the things: Linktree: https://www.linktr.ee/stabbystabbyInstagram:  @stabbypod  https://www.instagram.com/stabbypod/Letterboxd:   https://boxd.it/dp1ACMerch: https://www.big-other.com/shop/stabby-stabby

Frankenstein Meets the Wolf Man (1943), House of Frankenstein (1944), and House of Dracula (1945). Some say that the monster rally films marked the end of the Universal creature features, which could partially be true, but we feel it is for different reasons than the actual films themselves, and they still have a lot of merit to them. While the studio heads might not of cared too much about getting them made, those invovled did their best with what they had. One of the biggest highlights of these titles is the cast of actors in them, some making their last appearances. You get to see Karloff, Chaney Jr., Carradine, J. Carrol Naish, George Zucco, Lionel Atwill, Dwight Frye, and so many other regular faces that will bring a smile to your face when they pop up onscreen. While maybe running a little thin on ideas and decided to start combining monsters to hopefully bring back bigger box office returns, they still made films that we all still feel are entertaining and we feel are more than worth your time. Movies mentioned in this episode: Abbott & Costello Meet Frankenstein (1948), Billy the Kid vs Dracula (1966), The Body Snatcher (1945), Dracula (1931), Frankenstein (1931), Frankenstein Meets the Wolf Man (1942), Freddy vs Jason (2003), Ghost of Frankenstein (1942), House of Dracula (1945), House of Frankenstein (1944), The Invisible Man (1933), The Invisible Man Returns (1940), Man Made Monster (1941), A Nightmare on Elm Street (1984), The Mummy's Hand (1940), Nocturna (1979), Of Mice and Men (1939), She-Wolf of London (1946), Son of Dracula (1943), Son of Frankenstein (1939), Son of Kong (1933), The Wolf Man (1941)  

Carradine-heads, assemble! This week the trash pals wallow in the 1990 sci-fi cyborg buddy cop western action comedy FUTURE ZONE! Want to watch exclusive Funhaus content? Click the link! https://www.youtube.com/funhaus/join or https://fun.haus/first Follow Us On Social: https://twitter.com/jameswillems https://twitter.com/handsomemaster2 Tshirts n stuff: https://store.roosterteeth.com/collections/funhaus Welcome to Funhaus, the internet's ONLY comedy, gaming, and variety channel since 2015! Trash for Trash is two filthy trashmen, who love watching trashy movies. Join them as they talk through some of the worst achievements in cinematic history. They're watching it so you don't have to. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's episode, I have actress Paula Marshall (Euphoria, Walker, Gary Unmarried, and many many more) and we dive into the origins of his career. We also talk about how she dealt with being a new mom and working on a sitcom at the same time. There is so much more so make sure you tune in.Show NotesPaula Marshall on Instagram: https://www.instagram.com/thepaulamarshall/?hl=enPaula Marshall IMDB: https://www.imdb.com/name/nm0005191/Paula Marshall on Wikipedia: https://en.wikipedia.org/wiki/Paula_MarshallA Paper Orchestra on Website - https://michaeljamin.com/bookA Paper Orchestra on Audible - https://www.audible.com/ep/creator?source_code=PDTGBPD060314004R&irclickid=wsY0cWRTYxyPWQ32v63t0WpwUkHzByXJyROHz00&irgwc=1A Paper Orchestra on Amazon - https://www.amazon.com/Audible-A-Paper-Orchestra/dp/B0CS5129X1/ref=sr_1_4?crid=19R6SSAJRS6TU&keywords=a+paper+orchestra&qid=1707342963&sprefix=a+paper+orchestra%2Caps%2C149&sr=8-4A Paper Orchestra on Goodreads - https://www.goodreads.com/book/show/203928260-a-paper-orchestraFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Newsletter - https://michaeljamin.com/newsletterAutogenerated TranscriptPaula Marshall:But a lot of parents, they go to jobs and then they come home or they don't work at all, and then it's just mom 100% and they're probably exhausted and happy. Some of my friends, I feel like they're like, I'm so glad. Finally I get to whatever. And either they're retiring and they get to go travel and like, no, I'm an actor. I'm looking for a gig, whatever. I don't think actors ever truly retire. I think we don't. I don't.Michael Jamin:You are listening to What the Hell is Michael Jamin talking about conversations and writing, art and creativity. Today's episode is brought to you by my debut collection of True Stories, a paper orchestra available in print, ebook and audiobook to purchase. And to support me on this podcast, please visit michael jamin.com/book and now on with the show.Welcome everyone. My next guest is actress Paula Marshall. She has been, I worked with her years ago on a show called Out of Practice, I think it was like 2005. But Paul, before I let you get a word in edgewise, I got to tell everyone, your credits are crazy long, so your intro may take a long time. So I'm going to just give you some of the highlights to remind you of your incredible body of work here. Really these are just the highlights. She works a ton. So well, let's see. I guess we could start with One Life To Live. That might've been your first one. Grapevine Life goes on. Wonder Years Seinfeld. I heard of that one. Perry Mason diagnosis. Murder Wild Oats. I'm skipping here. Nash Bridges. You did a couple Chicago Suns Spin. City Cupid Snoops Sports Night, the Weber Show. It doesn't end.Just shoot Me, which I worked on. I didn't even know you were on that. Maybe I wasn't there. Hitting Hills and Out of Practice, which we did together. Veronica Mars, nip Tuck, shark ca Fornication. You did a bunch of Gary Unmarried House friends with Benefits, the exes CSI, the Mentalist, two and a Half Men Murder in the First Major Crimes. What else have we got here? Goer Gibbons, I dunno what that is. You have to tell me what that is. And then Modern Family Euphoria. You did a bunch of them. Walker. Paula, I'm exhausted and I'm going to steal your joke here. You can because I'm going to say you're Paula Marshall, but you may know me as Carla Gina. That's what used to tell me CarlaPaula Marshall:And I know Carla,Michael Jamin:But knowPaula Marshall:She's like the younger version of me. Slightly shorter,Michael Jamin:Bigger, bigger. Boop. But you have done so much. I'm going to jump, I'm going to jump into the hardest part. I'm wondering if this is the hardest part for you is being a guest star on a show because you have to jump in with the cast, you have to know the rules and everything. Is that harder?Paula Marshall:Yes, a hundred percent. It's harder when I guest star on any shows, if I haven't seen the show, I watch three or four on YouTube just so I know who's who and the vibe and the energy. When I guest star on Modern Family I their last season and some could say I canceled the show by being there. I've been called a show killerMichael Jamin:Before. I remember You don't let Right.Paula Marshall:I still have not let that go. I like to say I've just worked on so many different shows at its peak and then it died anyway. It's hard because they're all in a flow and depending on the other actors, how cool they are to kind of throw the ball at you.Michael Jamin:But do you have to identify who's the alpha dog on set? Is that what your plan is? It'sPaula Marshall:Pretty clear right away. Really? Yeah. I mean besides whoever's first on the call sheet, I remember one of the producers of Snoop's, David Kelly's first big bomb. That was me.Michael Jamin:It was a sure thing what happened?Paula Marshall:You know what? I'm not sure. Well, when it was supposed to be a comedy quickly turned into a drama, it was not great. But as one of the producers of Snoop said, you don't fuck with the first person on the call sheet. You don't fuck with him. And so you identify that person and depending, it's funny because I've worked with so many great people and so many assholes too. Like David Deney. Damn, is he cool? He's so nice. When I worked on fornication with him, he set a tone for just the set, the crew, the actors, this freedom just to try things. And I remember during my, it was like the first day naked throwing up,Michael Jamin:Wait, were you nervous? Why were you throwing up?Paula Marshall:Hello? Of course. But IMichael Jamin:Remember you're never nervous, Paul, let me tell you who you were. I'm totally nervous. No, you're the most self-assured person probably I've ever worked with. You're very confident.Paula Marshall:Thank you. I'm actingMichael Jamin:Acting.Paula Marshall:But California occasion, it was my first day onset naked, fake fucking. And I remember standing there, it was yesterday, and either tweaking you and touching you up. And I say to everyone, what's amazing, what I'll do for $2,900 when a strike is pending? It was the writer's strike way back in the day. And I remember getting this part on fornication and I'm like to all the girls in the audition room, when we used to have auditions in rooms with other people, I looked around, I'm like, we're not going to really have to be naked. We're not those type of actresses. And they're like, no, no, no. And I'm like standing there. Yeah, yeah. I was naked.Michael Jamin:Was that your first time in a show being naked? I meanPaula Marshall:ToplessMichael Jamin:ShowPaula Marshall:On a show?Michael Jamin:Yes. Because you were in a model, I'm sure as a model, you're doing wardrobe changes all the time.Paula Marshall:I used to model. I was naked a few things back in the day.Michael Jamin:So were you really nervous about it? I mean, I imagine you would be, butPaula Marshall:Standing there naked is one thing. You just kind of have to dive in the pool, in the cold, cold pool and let it go because you got to put on the confident jacket, I guess I obviously wore a lot around you, but I mean it's more uncomfortable, the fake sex scenes, it's more technical and awkward. It's just but nervous. I dunno. Yeah, you're excited. But I'm also excited when I walk on stage on a sitcom before, if I'm not already in the set, when they start rolling, I'm backstage. How's my hair? Shit, how am I doing? Okay? I get hyped up until you do it once and people laugh and you're like, oh,Michael Jamin:Okay. Are you worried about going up on your lines at all? Is that at all you're thinking about?Paula Marshall:Yes, especially now. Oh shit, my memory. It's just that prevagen, I'm going to look it up later, but yeah, you do. But if you in a sitcom situation, we run it, we rehearse it all week. StillMichael Jamin:The lines are changing all week. That's all IPaula Marshall:Know. But they're changing all week. But then you run it and you drill it on TV shows like euphoria or whatever. Yeah, you run it. But then again, they don't really change the lines at all. But yeah, you were a little bit, but then you got a great script supervisor that you're like, I'm up. And then they say it and then you go back and you do it. But yeah, always, I'm always really nervous until maybe the second takeMichael Jamin:Of any, the hardest thing it seems to me is just like, okay, you're naked and you have to forget that there's all these people there. You havePaula Marshall:ToMichael Jamin:Completely, it's almost like you're crazy to have to be able to forget that,Paula Marshall:Michael, when you paid $2,900.That's right. I was shocked. That's all you get for being naked. Yeah, you do. You are nervous. But I don't know. I was 40 then, so I looked pretty good naked, although I only had four days notice. Back then we didn't have ozempic, so I was like, okay, I can't, no salt, no bread. And I remember in that shot that the camera guy, they decided in the moment, Hey, can you walk over to David? And then bent over, he's on the bed and then kiss him. I'm like, well, that depends. What's your lens there? You got there? And I'm like, how wide is your lens? And he looked at me and I'm like, I'm a photographer. I like taking pictures. So I know. And I'm like, so I'm going to bend over with my white ass and I had four days notice on this and my ass is just going to be in the pretty much. And you're like, okay, I could do it. But you hope for body makeup. I don't know. Don't you think I had any, I should have demanded bodyMichael Jamin:Makeup. And this was probably even before there were, what do they call them now? IntimacyPaula Marshall:Coordinators?Michael Jamin:Yes. Right.Paula Marshall:I mean, here's the thing. I guess it helps when you're not a loud mouth person like me. And even then it's hard to go, Hey dude, keep your tongue in your mouth. You don't want it in your mouth. Sometimes you're like, damn. He's a great kisser. Jason Bateman, I enjoyed the tongue in my mouth. SoMichael Jamin:It kind of dependsPaula Marshall:On who's sticking in the tongue. But the intimacy coordinator, I think it's just so people know what's going to kind of happen and get it. But California case, no, we didn't have that. This movie I was naked on with Peter Weller called The New Age. No, I remember in the middle of the scene, I'm on the bed and he's looking down at me and during one take he decides to suck on my nipple. Shocking. I turned bright red, which is what I do when I get nervous. And I'm like, dude, what are you doing? He goes, I dunno, I just thought it'd be fun. I'm like, okay. And I don't think they used it, but if there was an intimacy coordinator back then, I probably would've known.Michael Jamin:Yeah. So it'sPaula Marshall:Good I guess. But it's corny and you feel silly.Michael Jamin:Oh my God, I'm glad you mentioned the photography thing. That was one of my memories from working together and out of practice. This was before people had camera phones and cell phones and you carried a camera everywhere. And I remember thinking, you're the star of a sitcom. You're the star. I mean, you're an artist doing her craft, and yet it's still not enough that you wanted to work on something. You wanted to do something else as well.Paula Marshall:Maybe it's my parents growing up, they always had these really cool black and white pictures of them. And I used to look at them and go, wow, that was your life then. And it was hard to even imagine when they were so young. And so it's like photos are life to me. And I guess I don't want to forget the moments of my life that are important. And so I always would bring a camera with me on set, on location more than sitcom stages aren't as conducive to really cool shots. But yeah, I like capturing life.Michael Jamin:And you're still doing it on 35Paula Marshall:Millimeter? I still do it, although I did give in and I have a digital now because it's easier. It's easier. Develop film.Michael Jamin:Many. You took my headshot from me and for many years I way too long. I used that as my headshot.Paula Marshall:Yeah, it was good. I rememberMichael Jamin:It was great. And I wore Danny's shirt, you go, yeah, put this on. You look terrible. Whatever I was wearing, stillPaula Marshall:Do that. People still come over my friends and I'm like, you need a headshot. Put Danny's shirt on. He has some nice shirts.Michael Jamin:It's so funny.Paula Marshall:Yeah, I do. I still like taking pictures.Michael Jamin:I got to share another memory I had from out of practice, which I cherish this one. So it was right before it was show night for some reason. I don't know why. I had to run up pages to the cast. And maybe you were in the green room or you were somewhere upstairs. I don't know what the hell dressing. I don't know what was going on. I knock on the door and all of you we're standing in a circle holding hands. And Henry goes, Michael, you're just in inside. Come on in. And then I go in time for what? And then he tapped. This blew my, I love this memory. And you guys were just like, I don't know what you would call it, but you were invoking a good show to be supportive of each other and to be brave and true. And I was like, I can't believe I felt so honored that I was included in, I was like, are you serious,Paula Marshall:Henry? I actually forgot that memory and thank you for reminding me of it. Henry's just, he's something special.Michael Jamin:He is.Paula Marshall:I know there's rumors. Oh, who's the nicest guy in Hollywood? Henry Winkler. It's because it is, is I could text him right now and he would literally text me. Within eight minutes he will text me back. Oh, Paula, it's been so, he's just a dear. And so he is, again, back to the, when you go on set and who creates that energy? Although Chris Gorham, I think was the first on the call sheet, not Henry Winkler, but Henry was our dad. I mean, he was such a pro and yeah, he just created this lovely energy there.Michael Jamin:Yeah. Oh wow. So that's not common then for other shows that you've worked on. People don't do that. That's not a theater thing. It seems like a theater thingPaula Marshall:You would think. I think, I don't know, maybe it was a happy days thing.Michael Jamin:Why don't you start it on your next show? Why don't you start doingPaula Marshall:It? I think I might. I'm going to make it now.Michael Jamin:I thought it was so interesting. I was like, wow. But it's getting back to that first point, even the first, the first person on the call sheet technically is the head cheese. But they might not be the most difficult by far at all. I mean, you don't know who's the boss. That's true, right?Paula Marshall:I mean sometimes the and character is an asshole. I mean, I think mostly people when they don't really want to be there, they kind of rebel. I've always wanted to be on a sitcom. IMichael Jamin:Remember. Did that change? Oh, go ahead, please.Paula Marshall:I just remember, I believe my first sitcom was Seinfeld. I may have done a guest spot on some other one that maybe never aired or I can't remember. Or maybe I just think it's cooler to say my first sitcom was Seinfeld. I'm not sure. But that show, I don't know. There's a magic. But they didn't do any of that either. But they kind of really invited me in and I dunno, I'm just thinking,Michael Jamin:Do you prefer to do sitcoms, multi-camera sitcoms? Yes. Yes. Because the audience.Paula Marshall:Because the audience, because it's a high, I've never gotten anywhere else in my life. Not that I need to be high, but damn. When you go out and you make people laugh with a look or a line or a physical movement, I mean it's magic. And working with the actor, knowing more like theater, which by the way, I've never doneMichael Jamin:Well, why don't you do theater then?Paula Marshall:I don't know. I don't know. I'll call my agent another thing I'll write down.Michael Jamin:Yeah, do that.Paula Marshall:But probably only if it's a comedy. But it's that magic that you don't have to go and do another take and then they turn around and then you got a close up again. I mean, it's boring. Like our television, there's no magic in itMichael Jamin:Ever.Paula Marshall:Except on euphoria. I have to say there's magic there.Michael Jamin:Why do you say that?Paula Marshall:Because the writing directing the story level of, I mean, when Marsha is my character, when Marsha actually had a couple things to say. I remember I called or I spoke with Sam Levinson and I was like, dude, it's me, right? You wrote an eight page monologue almost for Marsha to say. And he goes, yeah, I can't wait to see it. And I'm like, oh my God. I was so nervous. I studied for three weeks. There was no rewrites. And then it's me and Jacob all Lorde on set. And we get there and there's no rush, there's no limitation. There's just like, what do you want to do? And he's like, I kind of feel like you're doing this and then you're doing the cookies and a lot of movement. But we did it until it felt good, and then we knew it, and there was a magic there. No one's laughing at me. But there's something special about that show. I mean, I've heard rumors like, oh, and on set. And I'm like, ah, not for me. Not for me at all. Not for you. No, it's amazing.Michael Jamin:What do you do though? When you're on set and you have an idea how you want to play or speech, how you want to deliver speech, and your scene partner is just on doing something completely fucking different. How do you handle that?Paula Marshall:If you know, don't have a say, meaning you're a guest, darn. You do what they tell you to. How high do you want me to jump? That's what you do. But if you're working together and you're equal parties, you probably have run it before. But I would say if they're not doing something that I want, then I use it and I am frustrated in the scene, or I just use whatever they're giving me because that's all I got. And I try to put that into my character.Michael Jamin:How much training have you had though? That's very actor speak.Paula Marshall:It really did sound a little actory, and IMichael Jamin:Apologize for that. No, it's good. I like it.Paula Marshall:I mean, I don't know. I lived in New York City and I took acting class with this guy named Tony Aon and Jennifer Aniston was in my class and Oh wow.Just a bunch of young people, but not all that much. Not all that much. I think the comedy thing, I didn't even know I was funny with Seinfeld, the guest stars aren't usually funny in sitcoms. The lead, the main characters, the stars of the show are funny guest stars just kind of throw the ball and you know what I mean? But something happened after I was on Seinfeld and then I read for, I guess it was Wild Oats, which was with Paul Rudd and Jan Marie hpp. And Tim Conlin. It was a sitcom on Fox. It was the same year that another show called Friends was coming out. And I remember them. Someone was interviewing us saying, oh, there's another show that NBC is doing with a group of friends. It's kind of like yours. And we're all friends. What's that cut to?And ours was canceled after one season, but I think the first time I was like, oh shit, I can do this. I know how to deliver a joke. But I never learned that again. It just happened one year in pilot season just kind of happened. And my agents were like, oh, Paul is funny. Okay. And then one time I remember I read for a pilot, after you do so many comedies, then people go, well, she's a comedic actress, she can't do drama. And then you're like, the fuck. Of course I could do drama. I remember one time during this callback, no original, just the first audition. And I had heard the casting director doesn't think or only thinks you're funny, doesn't think you're as good. Dramatic. Wow.Michael Jamin:Obviously if you could do comedy, you could do drama.Paula Marshall:No, you would think it's the other way around. It never works. It is really hard to doMichael Jamin:Comedy.Paula Marshall:But literally, I was like, well, I'm so angry that she thinks I can't. Finally, they couldn't find this girl, the character for the pilot. And then they finally, okay, Paula, we'll see her. So I get in there, and it was Davis Guggenheim was the director. I love Davis. After I read, I think it was three scenes. And during the last scene, I broke down and I was in tears over something and I look up with, you couldn't have placed the tear better. And I look up and I ended the scene and Davis goes, my god, Paula Marshall, you are one fine actress. And I do this. I look at the casting drifter and I go, you see, I'm not just funny. And I grabbed my bag and I walked out and I go, well, I just fucked myself for any future director again. There was something that came over me and I was like, I need you to know that I am not just one thing or the other. And then Davis probably three weeks later, texts me, I've been fighting every day for you. And I'm like, what are you talking about when you get these weird texts from people? I'm like, did I get the part? I got the part and they didn't want to see me.Michael Jamin:It's so interesting. I mean, obviously you're a working actor, you work a lot. You're successful, and yet you still feel like you're placed in this box and you have to prove yourself and get out of it.Paula Marshall:But there's something I really love about, there's part of me that I want to read, and I want everyone to look at that tape and go, fuck, I wish we could hire her. I wish there weren't the limitations and we didn't have to pick Carla at you now or whatever. I wish we could pick Paula. I want them to go, fuck man. She was really good. I want to stick in their brain. I always would cancel auditions if I wasn't ready for it. If I really knew I wasn't going to kill it, I wouldn't go, or I won't put myself on tape. I don't have enough time to prepare for it because that's the last thing they see of you.Michael Jamin:IPaula Marshall:Want it to be the best thing they see of me. So I only want to leave them with that because they're not going to remember that other stuff.Michael Jamin:That's a good point though. Are you doing a lot of self tape now? Is there anything in person?Paula Marshall:I have not had any auditions in person yet. Wow. Her actress ever Carradine. I think she's had her third one, and she always posts about it. She's so cute. And I think she booked one. No, I have a room now in my house. It's the tape room. And I've got a nice beauty light and I've got the tripod again. It's kind of easy for me because I have photography stuff.Michael Jamin:But who are you acting again or does Danny help you out?Paula Marshall:Well, Danny will sometimes read with me. My daughter would read with me. And sometimes when I'm all by myself, I read with myself. I will have a tape of the other voice, which is, or sometimes I leave space and then I put the audio in later. I mean, it's crazy the stuff that happens during Covid. We've got very creative over here.Michael Jamin:But in some ways though, because this sometimes a casting director is like, yeah, yeah, there couldn't be more wooden. And so in some ways it's got to be easier for you, right?Paula Marshall:Yes and no. Yes, because I get to pick the take I want,Michael Jamin:Right?Paula Marshall:Two, because two, I didn't even say one a b, I don't get nervous, so there's no nerves to hold me back or Oh man, I should have done it. Or I mess up. I just do another take. But then there's also, there's something about going in and being vulnerable in front of all those people and showing them what you can do. And especially in a comedy, I, it was like a zoom callback for a comedy. And I live in the hills and maybe it was the wifi or that slight timing was off just enough or the reader wasn't funny and I'm trying to connect with this dot. It was hard. There was no magic in it and you couldn't feel the other person. And so I think in a way, it's good in a way. It's really not good. So I'm willing to do whatever to get anything because I pay for college.Michael Jamin:But also, there's also the fact the to drive across town, I mean, that's got to get old, right? Driving everywhere.Paula Marshall:But when you're an actor, everything stops. You get a script, everything stops. You're not making dinner, you're not going out, you're not watching that movie or the show. You drop everything and then you focus on it. And hopefully, thankfully, because of the strike and the new negotiations that they got for us, I think we don't have to do a self tape over the weekend. We need to have enough time to actually prepare for it, which is amazing. Most of the time. Gary unmarried, I think I got the audition at eight o'clock in the morning. It was to meet producers at 11 o'clock the next day. And you're like, ah, okay, here I go. It's really hard to put all that energy and to them something great. And I never understand why you're casting people or producers. Don't give us more time because we want to give you something great. We don't want to go in there and read. I don't. I want to perform for you. And it's hard to do when I don't have enough time to do it. I also have a life, so I have other things, but you kind of do. You really drop it. You drop everything for an audition.Michael Jamin:It's interesting though. I want to get touched on something you said. You said it's hard to be vulnerable on camera, but then you said comedy, and do you feel like it's harder to be vulnerable? Because when I think of vulnerable, I think drama, not comedy.Paula Marshall:Yes. But there's nothing funnier. I remember my husband in many situations will say, I'll be upset or crying and I'll say something really funny, but humor comes out of the reality, like your honest to goodness, open soul, like your heart. The funniest stuff I think comes out of me when I'm in a vulnerable position, if I'm angry, if I'm sad when I'm just feeling whatever. So I don't know. I think in many sitcoms I've cried. And how do youMichael Jamin:Get past that though? How do you get past that vulnerability thing? I mean, are you a hundred percent past it or is there any reservations?Paula Marshall:Ask that again. Sorry.Michael Jamin:Very clear saying, well, when you're vulnerable on camera or trying to be, can you go, I don't know. Is there a limit to your vulnerability, do you think on camera or are you willing to go there all the time? As much, as far as you want?Paula Marshall:I guess so most of the time it depends on how much tears you have. And I usually, if the writing is good, and that's the big if this thing that I ended up booking with Davis Guggenheim, it was with John Corbett, and I had to cry and it was maybe like a steady cam up the stairs and going, and I break down and I crumbled to my knees, and I swear to God, I did it. Maybe 17 takes. And then we come around and turn around on him and I end up crying again. And John, after we, they yelled cut, he goes, Paula, what are you doing? Why are you crying again? I go, I don't know. The words are making me cry. I'm just tapped in doing it. They wipe it away. But you got to be careful because I'm vain and you got to look like you're not crying, and I'm really crying.So I get red and my eyes get bloodshot. You look different and the snot and you got to fix the whatever, makeup. But no, but when it's great, when the writing is great, of course, usually you don't have to do it. 17 takes, it was just had a lot to do with the steady cam and whatever. But usually you do it in three takes and you nail it and it's good, and they're like, wow, that was great. Let's move on. So you don't really have to in a movie, if you nail it, you nail it and they move on.Michael Jamin:What do you do though when you're in it and you feel like you're slipping out of it?Paula Marshall:Okay, so that when I drink this, soI have at least one of those before every tape night, I've always drink a Coke. If I can't, the writing isn't talking to me. If I can't relate to it, I do that substitute thing. If I have to cry, and this is really not making me cry, the subject and the words I substitute for something else that makes me cry. I'm a freakishly emotional person. I cry a lot. I'm very sensitive. You wouldn't really think that because kind of like Danny calls me bottom line, Marshall, and I'm very tough and whatever and no nonsense. And I say it like it is, and I will always tell you if you look fat in that dress, I like to be honest, but I don't know.Michael Jamin:But is there a moment where you feel like you're okay? You're on, you're giving a speech, you're in a scene, and then you're like, oh, I'm acting now.Paula Marshall:Yeah, yeah, yeah. I mean, every once in a while, I mean, I'll finish the scene. I don't want to stop myself. They might like it and for whatever reason, but I'll always say, can I have another one? Can I please have another one? Or Oh my gosh, I really like the second take. Just can you make a note of that, that the second take was much better. They know it's obvious when you see someone telling the truth, it's obvious which one is better, but you can't just tell the truth once and then move on because you don't know. Maybe there was a sound issue on that take. No. So it's tricky. Every once in a while you think you have it. The crappy thing is when they come around to you or they start on you and then you finally figure something out. I remember Bette Midler, we were doing the scene and they were on us first.It was a movie, I guess Danny and I did the scene together and it was bet opposite on a table. And they go to her, they turn the camera on her, and then she goes, oh, I just figured it out. We're like, no, the opposite. We did her first. Forgive me. We did her first and then they came on us. And then she goes, oh, I just figured out the scene. Can I do it again? And Carl Reiner's like, no, we got to move. No, we're out of here. So sometimes it takes a while to figure it all out, and she just thought she didn't nail it. It's Bette Midler. She nails every take all the timeMichael Jamin:You are listening to, what the Hell is Michael Jamin talking about? Today's episode is brought to you by my new book, A Paper Orchestra, A collection of True Stories. John Mayer says, it's fantastic. It's multi timal. It runs all levels of the pyramid at the same time. His knockout punches are stinging, sincerity, and Kirks Review says, those who appreciate the power of simple stories to tell us about human nature or who are bewitched by a storyteller who has mastered his craft, will find a delightful collection of vignettes, a lovely anthology that strikes a perfect balance between humor and poignancy. So my podcast is not advertiser supported. I'm not running ads here. So if you'd like to support me or the podcast, check out my book, go get an ebook or a paperback, or if you really want to treat yourself, check out the audio book. Go to michael jamin.com/book. And now back to our show.Do you have these conversations with them? Do you have conversations with actors with more experience and I don't know, are you still trying to learn from them?Paula Marshall:I just pay attention to what they're doing. I don't think I pick their brains like that, but I just watch them and I watch and I seeMichael Jamin:What are you looking for?Paula Marshall:Well, sometimes technically how they do it. I remember my first movie, Hellraiser three, I learned a lot about continuity,Which is something they don't really teach in acting class. If I'm going to play my drink up and sip it, I have to do that every single time. If I'm going to eat in the scene, I got to do it every single time, and I have to figure that out. And you have to really, if you're really going to eat, you got to really eat. Not teeny little bites, make your choice. But I learned things from different people. I remember Robert Duvall, I played his daughter in a movie and he would act and he kept going until his body knew it was over. And I remember the director had yelled cut at one point and he got really mad. He goes, I wasn't done, but he had finished talking. And he goes, I'm still acting here. It's like, I'm still walking here. But it was like, I'm still acting.I'm still doing, there's still so much more there. I observe and I see how they deal with issues and problems in their focus. ISHKA Harte guest star on that show of hers, and we auditioned a lot in the beginning. We came up at the same time and just everything was so serious to her. She really so passionate about her show and she threw away nothing. It was really kind of impressive after a hundred seasons now that she cared so much because some people after four Seasons, they're like ready to go. They're like, I got a movie down, I'm ready to go. But there's certain people like Maka who from day one till again, I think it's 25 seasons or 24 or something crazy. I remember when I worked with her and I hadn't seen her in 15 years or something, I just am like, God, how rich is she? And so instead I was like, tacky. I'm not going to say that. So again, I walk up to her and it was emotional that we hadn't seen each other in so long. I hugged her and I said, how big is your house? She goes, I can't complain.Michael Jamin:I'm like,Paula Marshall:But she's very passionate and so many actors are, and then there's some who are not and who are ready to goMichael Jamin:And who are they? Not names, but why are they there? Are they just rock stars who became actors? You don't know. It just falls into a job like that.Paula Marshall:There was one person and he just seemed really angry all the time. I don't think he was just a happy person. If you don't like doing this, I'm not sure why you're doing it. I don't know. There's just something inside you. I mean, this is the greatest thing ever to be paid to do what you love. And again, when my daughter said she wanted to be an actress, an actor, sorry, I was so happy. I was like, that's where I found joy in my life. I grew up in Rockville, Maryland, and I didn't know anybody, and I just watched the Mary Tyler Moore show, and I went, yep, that's what I want.How do I do that? I had no idea, none. And to find joy there. So when a person is coming to set and they're angry, it could be, they don't like the words actors are very particular about. If your dialogue is not great, it's really hard. It's so much easier when you have great dialogue and the scene makes sense and the relationships you buy them. It's so easy to do it. It's effortless and it's so real and it's so honest. And then when you've got this other stuff and you have to say the name of the person to remember that it's very cookie cutter network television, which you would think at this point would look at streaming and go, yeah, there's always something right over there because the quality is just beyond Well,Michael Jamin:How did you figure it out then? Okay, you're in Maryland. How did you figure out you stopped in New York first. What was that about?Paula Marshall:Did I moved to New York? I modeled in Georgetown as a local model there, doing little ads for Montgomery reward. And I didn't really want to go to college. My parents didn't make me go to college. I think I had two grand in my pocket from doing things here and there. I started doing commercials locally. And this woman by the name of Jay Sumner, who was the booker at this modeling agency called Panache, she said, we were at Champions. It was a bar called Champions. And though how I was there drinking at the bar, I don't know, I think I was 18. She said, Paula, you're so much more interesting in person than you are in a piece of paper, meaning I'm pretty, I'm good enough on paper, but you're so much more interesting in real life. And she goes, I think you should be an actress.And I'm like, okay, really? And I'm like, well, I always used to watch Mary Taylor Moore and all of that, but I'm from Maryland, how am I going to do? And she goes, I know somebody. I know someone in New York named Dian Littlefield, who's a manager, and I can set you up with a meeting. I'm like, what? So I ended up moving to New York City. Modeling was my waitressing job. I got a lot of money. It didn't take a lot of time. It was really easy. I love photography. So there was that connection that I wasn't just sitting there like an idiot with bathing suits or lingerie or junior wardrobe or whatever. So that was kind of my waitressing job to allow me to pay for rent and acting classes. And then I was like, you know what? I think I really like it. It's true. Just a piece of paper. And it's funny, I love taking pictures. I love stopping life, but there was just, I guess more to me than just the piece of paper. So I guess that's kind of how it happened.Michael Jamin:How did LA happen then?Paula Marshall:So I would audition test for a lot of things. I would fly to LA for different pilot projects. I would read in New York, and then most of the things were shooting in la, not New York at all back then. So I would fly to LA and I think it was just one of my agents said, look, Paul, if you really want to do this, you got to live in la,Michael Jamin:Right?Paula Marshall:I was like, ah, okay. So I moved to LA and yeah, and I was young and 20, I think I was 25 when I moved here, kind of old to kind of start, but I looked really young. And when you read for enough things and enough people are interested, the head of my agency said to me after a pilot, I, or I tested for something and I didn't get it. And he told me back when we didn't have computers, we had to go pick up our scripts and there would be a box outside the script, their office, after hours, he would look through and go, these are my scripts. In the middle envelopes, it says Paula Marshall on it. Anyway, I was kind of sad and I'm like, I don't know. I'm not booking anything. And he goes, but you're testing a lot. You're very close. And I'm like, what does it take? What am I lacking? What am I missing that I'm not booking the thing? He goes, I believe in you and you need to keep doing this. And then I did. I slowly would start booking things.Michael Jamin:What were you lacking? Do you know?Paula Marshall:Maybe it was the confidence, maybe I was really nervous. I remember one time, I think it was during the Flash, it was a pilot called The Flash with John Wesley ship, and Amanda pays Amanda Paynes. Anyway, ended up booking it. But I remember in the audition room, I think it was at NBC or I don't know, one of the big three, the scene, I put my hand on my knee and I was shaking so much from being nervous that I was like, oh, stop doing that. I don't want them to know. I'm nervous because they want everyone to be fearless and confident.And I get that because it takes a lot to go stand in front of a bunch of people and say stuff over and over, or stand there and be naked and do it over and over. There's got to be part of you that's kind of cocky and confident, and not that you think that you could do that over and over with someone else's words. I mean, it's kind of crazy that I do this, but I don't know what tipped me over the scale. I never gave up. And I kept doing it and trying to figure it out and asking and asking the casting directors, and they always say nice things. They never say, well, you messed this thing. No, it's just there's a magic. If I don't book something now, I don't take it personally. Someone else just had a little bit more magic that day, and they tapped into the character and the writer saw that person that they wrote down and spent so many hours writing that Blonde Girl or Carla Gino just got it better than I did. Okay. IMichael Jamin:Know. To me, one of the hardest parts of acting, aside from the acting part is the fact that you really don't, don't have agency over your, you have to wait often. You have to wait. So what do you do in that time?Paula Marshall:Well, you find hobbies. I learned very early on to save money. You live under your means. So even if you get a gig and you're the lead in a show, you're making a lot of money per week. And like me, most of the shows, they did not go more than a season. So you have to take that and live under your means, and you can't spend money and buy fancy things. I invested my money in my house, I think maybe three or four houses now. I try to invest my money and I fill my days with other things.Michael Jamin:Do you stress about it at all or no?Paula Marshall:Yeah. Yeah. I think in the beginning, early on I was very busy all the time. There wasn't a lull. And when you do have a job on, if you're a series regular on a show, you love your weekends, you love your time off. If you're working crazy hours sitcom's, not crazy hours, you know that those areMichael Jamin:Great for writers.Paula Marshall:I mean, yes, that's true, but if you're a director, Jimmy Burroughs would be like, I got a tea time at three 30. We got to get out of here. It's a dream. And maybe that's why I love the sitcom so much, because you got to to act and have a real life. When I had my daughter, I remember going, how would I be a mom and work on a single camera show? I would never see the kid. So when I was pregnant or when I read for Out of practice, I had just had my daughter a week before I went in to test for the show over at CBS. There was a script on my doorstep when I brought her up on the baby thing. And I'm like, I'm a mom and oh, right, I'm an actress and I'm 20 pounds overweight. And oh, I thought I was going to push the, I'm not going to work for a year button.That was the plan. Then I saw the script and I read it and I'm like, oh man, it's a sitcom. I'm not going to work very many hours. I'm going to work three weeks on one week off. I'm like, maybe I'll just do it. Maybe I'll just read for it and we'll see. And I really liked it. I really liked the character. And then when I got it, I was like, oh shit, I don't even have a nanny. How do I do this? So Danny went with me tape night. He was my nanny. I remember them going home because the baby, they were cool. Once we got picked up, they allowed me to have a little trailer outside for my nanny, Mariella and Maya, and I was breastfeeding at the time. She was just born. And it allowed me to do that. And I remember Henry, Henry Winkler still was like, how's Maya? And it was just a great thing. I had my baby. You couldn't ask for a better job for a mom. I was living my dream and I was having a baby when I was 40 years old.Sitcom is the greatest thing in the world, and I'm still trying to get back on one. There's just not that many of them now. It's really sad. Multicam, I've written like three of them. Speaking of writing. Yeah, go on. The writer. So I remember, I think it was when the pilot that I did with John Corbett, when I cried 17 takes in a row, when that didn't get picked up, I remember I was dropping off my daughter at elementary school and Dave Grohl, yes, that Dave Grohl sees me. And I had just found out that the pilot wasn't picked up. It's called Murder in the First, no, sorry, different thing called something different. That was another show that I did. But anyway, so Dave Girl's like Paula Marshall, what's up? You look sad. And I'm like, oh, another pilot wasn't picked up. It just sucks.And he goes, Paula, when either his studio or something, they didn't like the music or whatever, and he goes, you know what? I did put his arm around me. We're walking down that hallway. And he goes, I just did it myself. I got this set up and I just did it myself. And he goes, you should do it yourself. Why don't you write something? And I'm like, yeah, why don't I? And I'm like, well, because one, I'm not a writer, but he goes, who cares? So because of Dave Grohl, that opened the door to getting ideas out, writing something for me. One thing actually, I mean it went kind of far an idea went very far that I ended up producing with Paul Riser and Betsy Thomas wrote it. This was a little bit before, but it's an outlet for me. I'm still not great at Final Draft. I'm still like, oh, how do I get the thing and the thing and the page? I can't even figure it out half the time. So I've written a few sitcoms, mostly from my point of view, because I want the job, because I wantMichael Jamin:To. So you wrote a single camera sitcom and then you showed it to Paul, and thenPaula Marshall:What happened? The Paul and Betsy one, I met Paul's, I believe his name was Alex, but I can't really remember. I met this guy at a wedding and he was like, oh, you're really funny and blah, blah, blah. I'm a big fan. I'm like, oh, that's nice. Thank you very much. And he goes, do you have any ideas? Do you write? And I go, no, I don't write. I go, I have this idea for a show. And he goes, really? Why don't you come pitch it to me? And my partner? I'm like, great. Okay. He goes, Hollywood. I'm like, who's your partner? He goes, who's your partner? And he goes, Paul Riser. I'm like, what? Okay. So I literally got his number and I'm like, oh my God, I'm going to go meet with Paul Riser. I go meet with Paul Riser. I give him my pitch.He really liked it. And he goes, I like it. I think let's do it. Let's work together. I was like, you couldn't have given me anything that would've made me happier than the fact that Paul Riser liked an idea of mine. It's almost like when I made Diane Keaton laugh in an audition. I literally called my agents and I was like, I'm good. I could die now. So the Paul Riser thing, it was just my idea. I had a lot of say. So I got to produce, I got to make a lot of decisions. It was probably one of theMichael Jamin:Greatest. So you shot it then.Paula Marshall:So we shot it and it wasn't picked up, butMichael Jamin:You sold it to a studio.Paula Marshall:All of them wanted it. This is great. Everyone but Fox, wow.Michael Jamin:Wanted it. That's amazing.Paula Marshall:It was crazy. But you have Paul Riser, I matter your stuff, but when you have someone like a Paul Riser or someone who is respected in Hollywood and has produced before, of course people are going to give them a shot,Michael Jamin:But not necessarily. I mean, they must've really liked it. So you wrote it and you started it?Paula Marshall:I started in it. It was my idea, but I did not write it. Later on, I ended up writing things and pitching, and a lot of people like my stuff, but I really mean should go out a little more aggressively than I do. But I have one right now that we're kind of sending around me and my buddy Jeff Melnick, that he really likes this story. And it was, I won't tell you what it is,Michael Jamin:But that's not nothing. I mean, that's a big achievement, honestly,Paula Marshall:For me. Yeah, I don't write. I still am a terrible speller. I have a reading disorder. I've got this thing where reading is hard for me because the font and the text is very contrasty, so I'm a terrible speller. Thank God for spell check, because otherwise,Michael Jamin:Well, so you're working on another piece for yourself as well then? Yes. I'm impressed.Paula Marshall:I have about three scripts that I've worked on here and there, and I remember I thought, oh, well, this is when I'm going to kill it. I'm going to knock these things out. I'm What happened with Covid? We were so scared. And my daughter was home going to now, whatever, ninth grade or 10th grade. And so it became, that whole time became about helping her find joy. I always said, every day, I'm going to help her get through this. And I really pushed all my stuff back. Any good mom does let everyone eat before you eat. Maybe the way I grew up. So I took care of her and all of that stuff before I focused on me. And then she went to college this year, and you would still think I'm like, Paula, I got to finish these things, which I did. I'm back. I'm back doing it, and I like it. I really like it. There's something about the story, but no one ever taught me to write. So I'm writing from my experience, the years of reading sitcom scripts, IMichael Jamin:HavePaula Marshall:'em in my closet. I have almost every single script, especially the ones that I loved, and I go back to it and I refer back. I'm like, how did they do this? Even setting it up, I'll go back and sneak a peek.Michael Jamin:That's really smart. Was it hard for you when she left the house?Paula Marshall:Jesus. Oh, here's the thing.Michael Jamin:Yeah, make up touching upPaula Marshall:Makeup breakMichael Jamin:Last looks.Paula Marshall:I mean, because she's not in Boston,She's down the road. It feels like if something bad happened, I could be there. I don't have to get on a plane and only one direct flight. There's one school in Connecticut that she got into, and it was a great school, and there's one direct flight at 6:00 AM I'm like, this is never going to happen. And she chose, I was like, whatever you want, wherever you want to go to college, it's your decision. I mean, I'll tell you what I, but it's all up to you. And she chose and it was something that's not too far away. And it's great. I get to see her and it's worked out. It's a win.Michael Jamin:What about the emptiness of the house? I'm going to make you cry now. That's what I feel like. The house is so empty. YouPaula Marshall:Know what? And I think though, Michael, I think if she was in anywhere else, I think if I couldn't get to her, and that's a weird thing as a mom, it's about protecting your child. But yeah, I could cry when I think about certain things. Thanks, Michael. It's about protecting them. And I think that the distance, because we are close, she's still in. She's still here. I don't like cooking dinner as much. I'm sorry, Danny, because I don't really have to. The big change is just her presence, her energy, the thought about, well, what's Maya doing? Or what does she got to do? Now it's not, and one of my scripts is, well, I'll tell you one of my scripts is about what happens when your kid goes away to college? What happens to a woman?Michael Jamin:And go ahead. Can you tell me a little bit?Paula Marshall:So it started a while ago, just like my fear of who am I? What do I do? I mean, yes, I'm an actress, but then I pulled from that and I'm like, well, if I'm not an actress and I don't have a job and everything has been bombed, there's so many places to go. Okay, you've just got to, it's like reinventing yourself, which almost every mom that I know who doesn't have a job, it's very true. I was so fortunate that I could have my cake, my baby, and also work. But a lot of parents, they go to jobs and then they come home and or they don't work at all. And then it's just mom, 100%. And they're probably exhausted and happy. Some of my friends, I feel like they're like, oh, I'm so glad. Finally I get to whatever. And either they're retiring and they get to go travel, and I'm like, no, I'm an actor. I'm looking for a gig, whatever. I don't think actors ever truly retire. I think we don't do.Michael Jamin:I guess it depends on how much you love it and how much it must come on. It's got a wear on you. The downs have to be, I don't know.Paula Marshall:Well, I think probably just like a writer,You have to be able to fill your day when you're not going to be working and making money again. It's why it's smart to save your money and invest it and not buy that fricking mansion. If you got that check. Remember one time I went to the bank and I was depositing, it was before they had the picture phone deposits, a really big check. And it was the biggest check I think I've ever gotten. The first time I got that kind of money on a show and the teller, and again, I looked very young, the teller who didn't look much older than me and took the check,And he looked at the check and he looked at me and he goes, what do you do? What do you do? And I laughed. I go, I'm an actor. I go, but trust me, this thing, this isn't forever. I know it's not forever. So I have to live my life. It's not forever. Because my goal is I never want to lose my house. I always want to be able to afford things. You hear these horror stories about these, you think you got it, and then it shows canceled, and then you can't do that. I've always been kind of smart when it comes to money, but it's hard. It's really hard. WeMichael Jamin:Spoke a little about this because your daughter's interested in acting and you were, this is before we started taping, and what's your advice for her?Paula Marshall:My advice is find a way to tap in and find the truth in anything. And if you can't, then again, you substitute. If it's not connecting, you got to figure out a way to connect to it. It's about being truthful In imaginary circumstances, it's really hard to walk into a room and pretend the thing and crying. You just really have to practice going there. I remember one time, and even in my life, life situations, I will take note of them. One time I was in San Francisco drunker than I've ever been before for whatever reason. And I remember the hotel I was, I think it was during Nash Bridges, and I was like, oh, I'm so wasted. I want to remember what I look like when I'm this wasted. So I, my, I guess I did have a cell phone then. So I took my cell phone or my camera, no cell phone, and I recorded myself being drunk.And it's like that one actor, he would always, Michael, he's an English guy, Michael, I forget his name. He would be like, you can't overdo the acting, but you're trying not to be drunk. Yes. To try to make sure that the words are coming out. And so that's what I did. I literally was like, this is me talking at my, it was the craziest thing. So in life, take advantage again, back to the advice to my daughter. Live these experiences and remember them. And if you cry, if you're sensitive and emotional, fucking use it. There's plenty of people who can't cry at the drop of a hat. I can cry. You give me something to people always know Paula can cry in a scene and even if I don't connect to it again, I substitute and I find a way. I'm an emotional person and the thing I think I have trouble doing is the angry part.I'm not great at being super angry. I don't think I play a lot of those roles like I was doing, I've worked with Steven Weber on his new Chicago Med. I was going to say new show, it is like year nine, but I play his ex-wife. I think it's airing tomorrow as a matter of fact. And there was a scene where I had to come in and I'm yelling at him and I'm like, God, this is so not me. I'm not a yeller. I don't yell even in the middle of a fight. If I'm fighting, I try to get it out and then I cry because I get frustrated because I can't say, I'm not one of those bitchy women wives who are like, I'm just not. Anyway, back to the advice from my daughter, you take life's experiences and you put a little marker on them and you remember them.So when you need them, and I didn't even think I was going to have any children because I started so late and as the actress in me, I just never thought, I dunno, mom and my mom material. I don't know. I was like, you know what? I could really learn a lot as an actress by tapping into that love. I remember you'd see my friends who had kids way, way early and I'm like, God, they love these things. What did that feel like? I never knew what that was and so I took that experience and without it, I don't think I would truly ever be able to play a mom as genuinely as I am. Love because man, I love my kid and I didn't think I'd be like a great mom. I am the best mom I am and I love her and I love being a mom and all of it. So I tell my daughter to practice. Practice, learn your lines very easy and don't go in if you're not prepared. That's kind of a big one. You're not really,Michael Jamin:Just because you said mom was there, that fear the first time you decided to play mom, they say once you play mom like, oh, now she's a mom.Paula Marshall:Well, it's just an age thing, so that was never a thing for me. I'm going to play whatever I look like for sure. So I don't care. I don't care about that at all.Michael Jamin:Interesting. Paula, this has been such a great conversation, so thank you so much. You'rePaula Marshall:Welcome. I had so much fun talking with you.Michael Jamin:Yeah, I mean, I just love talking the craft with people like you. You're a pro and you're just, I don't know, so much wisdom to share, so thank you so much. You'rePaula Marshall:Welcome.Michael Jamin:Thank you.Paula Marshall:I'm enjoying your Instagram posts.Michael Jamin:Oh, we'll talk about that, but alright, well thank you. That's it. That's you're released, but don't go anywhere now we are going to talk some more here. Alright everyone, thank you so much. What a great conversation. Paul. Should they follow you somewhere? Did they do anything or just watch you on something? What do they want 'em to do?Paula Marshall:Depends on when you get this.Michael Jamin:Venmo you the most. What do you want? Venmo? MePaula Marshall:Cash is great. I mean, my Instagram is the Paula Marshall. I guess I'm not really great at all that stuff.Michael Jamin:Are you supposed to be though? Do your agents tell you?Paula Marshall:No, agents don't. But if you have so many followers, then it used to be this thing called a TV Q, which is your TV quotes, how many people know who you are? And that's just, social media has kind of taken that over, really. So people, I think people care how many followers you have. I do notMichael Jamin:Again, but Tbq is not a thing anymore, you're saying?Paula Marshall:I don't think it is. Wow. No. I mean maybe they call it something else, but I know an actress friend of mine was early on in the Instagram thing. She's like, yeah, I got to join Instagram. Yuck. I'm like, yeah, the thing. She's like, I was told I have to have it and you got to pitch. I'm not that self-promoting and I'll say things that are inappropriate and crude and get kicked off of Twitter for it, but whatever. That's who I'm,Michael Jamin:Thank you again. Really, it was such an honor to have you on. Alright everyone, more conversations coming. Thank you so much for tuning in. Until next week, keep creating. You're an actor. Tell your friends about this. You're other actor friends. Alright, everyone, thanks so much.Wow. I did it again. Another fantastic episode of What the Hell is Michael Jamon talking about? How do I do it week after week? Well, I don't do it with advertiser supported money. I tell you how I do it. I do it with my book. If you'd like to support the show, if you'd like to support me, go check out my new book, A Paper Orchestra. It asks the question, what if it's the smallest, almost forgotten moments that are the ones that shape us most. Laura Sanoma says, good storytelling also leads us to ourselves, our memories, our beliefs, personal and powerful. I loved the Journey and Max Munic, who was on my show says, as the father of daughters, I found Michael's understanding of parenting and the human condition to be spot on. This book is a fantastic read. Go check it out for yourself. Go to michael jamin.com/book. Thank you all and stay tuned. More. Great stuff coming next week.

Saddle up for an unforgettable journey through the world of Hollywood with the one and only Robert Carradine on this episode of Backstage Pass with Gentry Thomas. Your host, Gentry Thomas, takes you behind the scenes of Carradine's iconic career, from his groundbreaking role in "Revenge of the Nerds" to his latest western film, "The Night They Come Home." In this episode, Robert Carradine reminisces about the cult classic "Revenge of the Nerds," sharing entertaining stories and insights into the making of this beloved film. Explore the cultural impact of the movie and Carradine's experiences portraying the unforgettable character of Lewis Skolnick. Venture into the wild west as Carradine discusses his latest project, "The Night They Come Home." Get an exclusive peek into the world of this exciting western and discover the challenges and rewards of working on a film that pays homage to the golden age of the genre. The conversation takes a nostalgic turn as Robert Carradine shares his experiences working with Hollywood legend John Wayne. Gain firsthand perspectives on the industry's evolution and the enduring influence of iconic figures on Carradine's own journey in the world of film. But the episode isn't just about Hollywood tales. Robert Carradine offers his unique perspective on the Alec Baldwin shooting controversy, providing insights into the challenges and responsibilities that come with working in the film industry. Backstage Pass with Gentry Thomas invites you to ride alongside Robert Carradine as we explore the diverse chapters of his career. Don't miss this candid and revealing episode as we uncover the stories behind the roles, the excitement of the western frontier, and the thoughtful reflections on Hollywood's ever-changing landscape.

The Journey Begins.A Spring Break 14-part NovelBy FinalStand. Listen to the Podcast at Steamy Stories.*If my life is a mirror, why does mine have to be one-way with me on the wrong side*(Yes, this tale is supposed to be somewhat humorous and outrageous too. While not always comedic I'd like to think it is mostly a good-natured romp.)Barbie Lynn Masters – Dorm MotherTo say that I was pretty depressed when I began moving into college would have been an understatement. I met some nice girls who were also moving into my dorm but I wasn't much in the mood for talking. I found my room but they had my name wrong. Not only was I not Zane they even got Glenn wrong; they misspelled it as Glenda.I hadn't been unpacking fifteen minutes before this hottie breezed in asking if I was Glenda's brother. “Sure,” I joked, “I'm Zane.” “Can I see some ID? I'm the Dorm Mother,” she asked pleasantly. I showed her my driver's license which read ‘G. Zane Braxton'. “And you are?” I inquired. “Barbie Lynn Masters. Do you live close by?” she prodded. I looked around my room (which I shared with an as-of-yet unseen roomie), shrugged, and replied, “Yes. I live about a mile and a half away, just inside city limits,” I played along. Couldn't she see that it was my name on the luggage in my room and I'd already unpacked?“Can we count on seeing a lot more of you?” she purred, stepping up into my personal space. With her four-inch pumps, she was an inch taller than me, so I had to tilt my head up slightly to meet her gaze. “Unless you have a girlfriend, of course,” she demurred. “I don't have a girlfriend but I'm looking for one,” I grinned back. I wasn't really lying; I was looking for lots of girlfriends. “So, do you have a boyfriend?”“Oh, no,” she assured me. “I took a Purity Pledge and I have a fiancé so I can't be in a causal relationship with a boy, though being a ‘friend' of a student I'm responsible for is fine.” She licked her lips. My understanding of her convoluted reasoning was short-circuited by her D plus cleavage, perfect teeth, long light-golden hair, soft bedroom blue eyes, and blemish free, tanned skin.I've never considered myself terribly bashful. I hadn't been with a welcoming and available female in two months; she was right there in my face, so I grabbed Barbie's ass subtly, pulled her close, and began kissing her. At first Barbie seemed to be all talk and no action, but that lasted all of five seconds before she was all over me with our tongues intertwining and our hands going over each other's backs and asses.In a flash I had my hands up her pleated skirt, inside her plain white panties, and was massaging each muscular ass cheek separately and vigorously while my lips left hers and migrated to her neck and ear with kisses and bites, all of which seemed to really excite Barbie Lynn. She was moaning and grinding against me like a teenager coming down from a forty-eight hour unresolved porno binge.Her left hand slid around to the front of my jeans and touched my crotch where I was rapidly coming to the fullness of life. “Oh, God!” she whispered as she began stroking me up and down. “Tell me that's not a rolled up sock.” “Huh? What? No, that is all me. Why do you ask?” I mumbled between licks and kisses.“Oh, some boys can be very dishonest,” she sighed from past experience. “Does it hurt?” “No, it feels fine,” I assured her. “Are you sure it doesn't hurt just a little bit?” she persisted as she groped my bulge. Something clued me in.“Actually, it does hurt a little bit,” I guessed. Barbie Lynn broke our embrace, padded silently over to the door, took a quick look out, then shut it. She was back in my arms in record time. “In that case, let me see it,” she grinned. “How does a blowjob jive with your Purity Pledge?” I stupidly wondered out loud.“Oh,” she beamed an angelic radiance up at me as she slid down my body and unzipped my pants, our eyes locked together, “a blow job is sinful and done out of lust but relieving your pain is blessed and done out of love.” “I feel myself getting closer to spiritual fulfillment every second I'm with you,” I breathed huskily as she pulled down my pants and boxers, unleashing my manhood.Barbie tentatively, with a bit of fear showing, licked the tip of my penis. I let her get used to me before resting a hand on her head. She responded by slowly engulfing my cockhead, which felt freaking awesome after my long dry spell (please remember I had virtually non-stop sex for two and a half years). She bobbed slightly while pumping my shaft rapidly with one hand and tickling my balls with the other. I tried to push a little bit but Barbie gagged. I guessed she wasn't too skilled at this but hey, everyone starts somewhere.After five minutes she was taking more than half of my length in and doing so hungrily. “I hope you are not close to coming,” she mumbled between mouthfuls. “Actually, I'm feeling greedy,” I responded. She looked up at me, head still bobbing. “I can sense your pain and feel I should do something about it,” I explained.Now she looked confused so I backed up, pulled Barbie up by her waist and kissed her once more. I gracefully walked my hand down her waist and hip to her crotch. With a sharp intake of breath by Barbie, she melted into me and bit my shoulder. Next I spun us around and pushed her back on the bed at the corner, splaying her out for me as her bosom bounced sensually and enticingly. “What's on your mind?” Barbie asked with wide eyes. “I want a taste,” I grinned evilly, which only turned her on more.I fell between her outstretched knees. I made eye contact with her as she propped up on her elbows and my hands went to her panty waistband. I grinned, she blushed, and the panties came flying off. Barbie squeaked then slammed a hand over her mouth to muffle the noise. “Use my pillows to prop up your back,” I directed Barbie Lynn since she clearly wanted to watch. I maneuvered Barbie into a suitable position so that I was kneeling on the floor with Barbie's silky smooth legs spread to either side. Barbie Lynn was propped up so that she could watch me work. I got the feeling she was used to some level of stimulation, just not from a guy. I could deal with that.“Maybe we shouldn't do this now, or go back to my place where it is safer?” she asked. “I'm too hungry for you right now; your scent is intoxicating,” I finished up saying, and then I went in. I didn't rush things because every first time should be special. My right hand traced the line along the sides and rear of Barbie Lynn's thighs. My left hand traced the line over her pubic area to her stomach that finally ended with her left breast.“Hurry,” she panted. I knew she had somewhere to be but I was aware she could use some stress relief too. Barbie reached down with a hand to control my left hand and head but I was obeying my instincts. By the time she made up her mind to stop me, I overwhelmed Barbie with a pleasurable, mindwarping first orgasm. The noise brought a few students sneaking in to take a peak.Once I had a semblance of control over her, I began a series of actions to excite her whole body. On the second orgasm she wrapped her legs around my head and nearly crushed it. While I lapped up her juices, I decided to follow that up by kissing Barbie and giving her some of her own fluids to taste – a trick new to her.I kept my dick sheathed, though all three of Barbie's holes looked delightful. I figured she wasn't ready yet but I did manage to take off her shirt in the process and fondling and suckling at her magnificent breasts. After the third and fourth orgasms, Barbie passed out, and when she woke up, she whispered to me that she wanted my dick in her mouth and pussy. Purity Pledge? What Purity Pledge?Barbie Lynn confided in me that she'd sucked dick before and thought she was quite good at it, and that a few men had temped her cunt and ass with real penetration but all she had done so far was pleasure herself with toys and with the aid of other (female) students here at school. She was still technically a virgin (no boy parts had penetrated her vagina) but she'd done ‘everything else.' Was she or was she not an anal virgin? My money was on virginity.Barbie was pleased that I was going to her church (it was highly popular at the college, she told me), almost as pleased as I was to find her so receptive and hungry for more sex. I told her she needed sexier underwear and that I would gladly go shopping with her for some in case she wanted to model any (yes, I know they don't let you model underwear). While we talked I helped her get dressed, though we couldn't find her panties.We slipped out after that, Barbie to tend to her girls and me to go to my Aunt's. I told her I'd see her tomorrow. Barbie laughed as if she didn't believe me. As I left, I began to appreciate the guy: girl ratio of this place because it was looking very good in my favor. My evening with Jill passed uneventfully; we stayed up late as Jill suddenly realized she was going to be alone for the first time in years so I didn't end up sneaking quietly into my dorm room until well past midnight.Day One (It's a What?!?)My first day of college began with a six a.m. wake-up alarm in our room. Both my roommate and I sat up at the same time. We looked at each other and the sheets failed to conceal we apparently both slept shirtless.“Hi. You are a girl,” I got off first.“And you are a guy,” she replied indignantly.“What are you doing in my room? I mean, why did they give me a female roommate?” I countered.“Ah…are you joking?” she asked incredulously. Clearly I wasn't, and that realization made her grin mischievously.“Where is Glenda?” she inquired next.“Ugh,” I sighed. “When I was registered their system misspelled my name. My first name is Glenn, thus the Glenda, but I go by Zane, my middle name. What about you?”“Whoops. I'm Rio Talon and this is going to be wicked,” she giggled. “I have to admit I never thought I'd meet someone like you at FFU.”“You don't see quite the hardcore fundamentalist/survivalist type either,” I responded.“Ha!” she grunted. “You got me. It was either this or three years at a minimum security prison in Arizona,” she confessed. She didn't volunteer what she would have done time for and it was really none of my business.“I need to shower,” I changed the subject.“I'll go with you,” Rio volunteered as she slipped out of bed, and yes, she was naked…and cleverly and artfully shaved with several delicate chevrons pointing down. She also had a black tattoo of the name Lilith going from the right hip along the bikini line – definitely not Church issue.I went to the closet, got a robe, towel, and bathroom kit. Rio brazenly watched me move around.“Body-conscious much?” she chuckled.“Rio, I spent the last two years bathing down at the river with two hundred of my closest neighbors. Trying to cover up gets old really fast,” I grinned back at her. “Does my body disgust you?”“'Disgust' isn't the word I was going to use,” Rio said as she licked her lips and also got ready for the bathroom. “Now, let's get you shaved before…the bathroom gets flooded with people. By the way,” she tossed me Barbie's missing undies, “are these yours?”“Booty from my panty raid; please don't turn me in,” I chuckled, as I caught them, then stashed them in my backpack, hopefully to return to Barbie Lynn later. Rio laughed again.As I suspected, not only did I get assigned a female roommate but I was on a female floor, which earned me more than a few shocked looks. Since Rio stuck close to me, she earned her own share of looks, but these were more scornful; Rio ate it up. I still couldn't decide whether I'd miss Rio or not when I got my new room assignment.The two girls in the showers ignored Rio and I when we came in so I was able to shave in peace and get under a steamy shower without the expected shrieks. Only when they dressed in their robes and put on their glasses did things change. Their looks were best expressed as 'a boy saw me naked!' followed by 'A boy saw me naked…' and ended up with, 'A boy saw me naked and he liked what he saw.' I get hard when the wind blows – anywhere around the globe. They fled in a fit of giggles and I safely exited the bathroom before another girl entered.It was hardly unforeseen that my attire made Rio laugh but when she suggested black horn-rimmed glasses would really complete the nerd-look, I had to laugh too. I noted her regulation skirt appeared to be a bit higher above the knee than was prudent with a pronounced lack of underwear. Rio confessed that her parents tossed all her 'stripper' wear when they shipped her off and she wasn't going to wear the 'granny' panties they had put in place of her G-strings.The trek cross-campus to the Dining Hall would have been more enlightening if Rio had not lured me into an engrossing conversation. Remember now, I had been isolated from mainstream Western pop culture for over two years and had a lot of catching up to do. We grabbed some trays of breakfast; then, at Rio's insistence, we headed outside to eat pretty much by ourselves, or so we hoped.“Professor…” inquired this cute brunette with pig tails, dimples, and into pushing her tits in my face; I barely noticed she was backed up by three other girls.“Huh?” I questioned.“Braxton,” Rio spoke over me.“Could you tell me…where the…um…Clegger Science Building is, Professor Braxton?” She lied pathetically.My first thoughts were, 'why is she wearing such a thin white blouse two-sizes too small?' and wondering 'when is this thread holding that central button in place going to give up on it's hopeless struggle and let her boobs pop out?' Then I became curious why she called me 'professor'.“It is right over there,” I said, as I stood up, put my hand on the small of her back, and pointed the way with my other hand. The location of the building was blindingly obvious since this is not a huge campus.If things weren't awkward enough, Ms. Brunette twisted, rubbed her hardening nipples against my chest, and asked,“There?”“No,” I corrected by whispering into her ear, causing her to wiggle against me. I took her forearm, lingering my touch on the pulse of her wrist before directing it to the proper angle.“I would walk you there,” I added, “but we have to go to the auditorium soon.”“Thank you, Professor Braxton.” She wiggled a third time. “It is really a pity I don't have any of your classes. What do you teach?”“He's a Biblical Archeologist,” Rio interrupted, “specializing in Early Christian Erotic Art and Rituals.”I felt Ms. Brunette have a micro-orgasm over that piece of fantastical news.“Are you still taking on students?” Brunette panted to me. Rio jumped up.“Whoops! Look at the time!” exclaimed Rio, “Professor, you have to go – Right Now!” With that, she dragged me away from Ms. Brunette and her girl posse and across campus.“What the hell was that about and why did she call me Professor?” I hissed to Rio as we came to the auditorium for our first assembly.“Oh, it must be some Southern thing, sort of like the English calling men 'Governor',” she lied convincingly. How do I now know she lied? It will become obvious.I took a seat with Rio amongst the sea of students and it was just my luck that we were surrounded by girls once more. I really wasn't in the mood to have them gawk at me so I slumped down and kept a low profile. The auditorium sounded full-up and there was a magnitude of teachers and such on the stage.When a stately, attractive, yet demanding and stern tall woman with long grey hair worked up in a bun stepped up to the podium, the hall grew silent. First she led us in prayer, which I found odd because normally at this level of fundamentalism, women couldn't lead men in prayer, but I could have cared less. She welcomed the rising seniors first, then worked down the list until she recognized the new class of freshmen, reminding them of their 'Handmaiden Duties,' whatever that was.I looked to Rio who was stifling to suppress some dark glee, undoubtedly at my expense. The Chancellor of FFU worked us through some of what I assumed was normal school crap plus a reminder to review with diligence their code of moral and ethical behaviors and the names of their spiritual guidance counselors in case they felt wickedness overcoming them. Considering the thin white blouses and the short, pleated plaid skirts, yours truly and the other men on campus were going to be scoring like mad, morals and ethics be damned.A closing prayer ended the meeting and we dispersed like good little sheep heading for our first class of the semester. Rio and I both had English Literature but in different rooms so she was kind/sadistic enough to drop me by my room before heading her own way. I walked in and took a middle seat. Once again all the girls looked at me funny when they came in and I couldn't miss the fact that in a classroom size of twenty, we had nineteen girls and only one guy – me.I was mulling this over (I'm actually a smart guy but I admit, I hadn't been showing it too much recently) when our teacher came in. Her name was Ms. Goodswell (no lie) and she was a gorgeous brunette with breasts of greater proportions than Barbie Lynn's, and the rest just got lusher.Ms. Goodswell leaned against the front of her large wooden writing desk and used her tablet to scroll down the roll call. I was number three.“Braxton,” her sugary sweet voice drawled out. “Glenda Braxton.” I shifted in my seat.“Here,” I said in a clear masculine voice, “but I go by Zane.”Ms. Goodswell looked up over her reading glasses, expecting something other than me. As she looked at me her eyes grew larger…and she looked…and she looked.“What are you wearing?” she asked crisply.“What my Aunt told me was proper school attire, Ms. Goodswell,” I replied tentatively.“Proper attire is clearly outlined – white blouse and a pleated blue and gold tartan skirt with white knee sox and black shoes. Men wear pants; women wear skirts,” she clarified. I imagine my jaw dropped open at that one. Finally, I stood up so she could get a good look at me.“I'm dressed correctly, then I'm a guy,” I insisted. Ms. Goodswell had looked annoyed but now she looked pissed. She strode boldly toward me, heels clicking against the marble floor.“So you insist that you are a man, do you?” she snapped. Before I could do anything but nod she slapped a cupped hand against my crotch. I coughed in pain.I became aroused despite the mild discomfort because I was now gazing down into Ms. Goodswell's ample bosom. Her eyes went from angry to utter shock.“You are a man,” she whispered in horror. “What are you doing in my class?” I reached into my book bag and got my schedule, letting her gaze on it. I noticed her hand stayed on my crotch.“Nine a.m., English Lit. 101 in room 204, Denning Hall V. Goodswell,” I read out loud. Ms. Goodswell read it over while she massaged my growing shaft; subconsciously or not, I wasn't sure.“Very well,” she said decisively. She turned back and returned to the roll. As I sat down I had that creepy feeling that everyone else was staring at me, or more precisely, my Goodswell-inspired hard on.After that little bit of drama the actual class was okay. Ms. Goodswell was pretty bright and made our upcoming journey into the works of a bunch of old dead British guys sound fun. When the bell rang we got up and started to file out but Ms. Goodswell motioned me to wait for the others to leave us alone. It didn't work out that way; the other girls hovered right outside the door.“Okay, Mr. Braxton, what are you trying to prove?” she accused me with some real heat.“Please, Ms. Goodswell, believe me; I haven't a clue what is going on here. I woke up with a girl in my room this morning…” I began.“You had a girl in your room this morning? That didn't take you long,” she said bitterly.“No – wait; it was my assigned roommate, Rio Talon, and she was on her side of the room. It is okay because they accidently stuck me on a girl's floor in the dorm because there were girls in the showers too,” I continued.“Didn't you thing that was a bit odd?” she asked suspiciously.“Not really, ma'am. I've spent the last two years with missionaries in rural Thailand; I'm used to bathing with naked women all the time. Initially, I figured this was some sort of bureaucratic snafu but after doing my own quick census of your class, I think I've missed something crucial,” I explained.“Mr. Braxton…Zane, this is an all-girls school; men are not allowed. We can't even employ a man under the age of forty-five,” she informed me while studying my expression. While my penis would have done summersaults of joy, my brain was looking at my access to my trust fund going down the toilet.“I apologize. I'm pretty sure my Aunt Jill didn't know and I assure you, I was ignorant of this fact. What do we do now?” I sighed.“I believe you, Mr….Zane. No one would use this as an excuse after going through all the trouble to sneak in here. For now, you continue to your classes and I'll inform your other instructors of this…extraordinary event. Expect to spend lunch with the Chancellor so that we can extricate you from this situation. Can I rely on you to be good in the interim?”“I'll do my best,” I promised. She dismissed me and began using her phone. When I slipped out of the room, my classmates made room enough for me to make my way down the hall.“Zane!” a young female voice called out. I turned around to see Ms. Brunette. “Is it true you are a freshman here?” I was sure she would be pissed for the whole 'Professor' gag Rio had played and I'd unwittingly gone along with.“Yes,” I confessed. She'd assumed I was a teacher because I was male and I hadn't corrected her.“Kiss me!” she beamed hungrily. That was not what I expected but I reacted quickly and gave her a chaste kiss on the lips. Ms. Brunette looked upset. “You can do better than that,” she commanded. Again, not what I expected; I put my book bag down, took hers off her shoulder and placed it next to mine.I started off with a repeat of the last kiss but instead of that being the ending point, I used it as a foundation to build upon. I slowly drew her in; she pulled her arms up between us and cupped my face as I dipped her with enough tongue action to make our steamy embrace a thermographic exploration of lust. We kissed for over a minute before I brought her up and let her go.“Better?” I murmured to her. Ms. Brunette nodded dreamily. As I retrieved my book bag from the floor I realized I was adrift in a sea of lonely young women. I could now empathize with that lost baby seal who found itself surrounded by a pod of killer whales.“Kiss me!” insisted a blonde.“No, me; I was here first.”“I'm a senior; I go first,” demanded a breathtaking black woman. I didn't know what was going on and I had no idea how to deal with this bizarre situation but all that was taken out of my hands by the next noise I heard.“Get off me, bitch,” I heard Rio shout out, followed by a slap and her scream. Rio was hardly my friend – in fact, she had used me for her own personal amusement for the entire time I'd known her – but she was my roommate, an outsider, and I was sure no one else would come to her aid. I shouldered my way in the directions of her screams and sobs, parting the last few girls separating us.Rio was on her stomach on the floor with three girls gathered over her. Closest to me was one with thick, wavy black hair and dark skin who had her foot pushing down on Rio's butt. The second one, who appeared to be the leader, was a black girl with shiny black hair in an intricate weave and was bouncing on Rio's back, yanking her hair back painfully, and was taunting Rio, saying she was supposed to be a good little beast of burden as well as mocking her as a 'felon'. The last tormentor was the only one facing me, though she was preoccupied with holding Rio's arms forward so she couldn't reach back to scratch the ringleader.It wasn't hard for me to figure out what to do. When Weave started bouncing up, I swept the legs out from under the other wavy-haired girl, sending her toppling backwards. I then put a boot to the black girl's butt, propelling her into the spectators on the far side of us. I didn't even bother with girl number three.I grabbed Rio by the arm and yanked her up and swung her behind me. It turned out to be a good choice because when the black girl back-flipped up in one fluid move, she landed in a martial arts fighting stance. I had a fight on my hands, or would have if the bell hadn't rung. As it was, the black girl looked both outraged and shocked when she took in my gender and my counter-stance.A flood of girls suddenly separated us. Rio took the opportunity to grab her book bag, then my hand, and together we bolted to our next class which was, oddly enough, Biblical Archeology but without the procreation parts. Our professor, Mrs. Carradine, treated me a bit coldly but the attention directed my way by the student body was anything but.I had barely pulled out my book when the girl behind me tapped my shoulder and slipped me a note.You will take my book bag to lunch and eat lunch with me. Dove FosterI furrowed my brow and showed the note to Rio who was sitting next to me. She smiled and whispered, “Handmaiden's Duty,” in a condescending tone. “Didn't you read your handbook?” Any further conversation was cut short by Mrs. Carradine's blistering glare.For some reason, Buddy Jesus kept me safe from anymore female attention until the class ended and I began to make my way out. I took some comfort that Rio stayed close to my side.“Zane. Zane Braxton…do you mind if I call you Zane?” babbled a shorter, slender girl with shoulder length black hair and glasses as she grabbed my elbow in a death grip from behind.“You can't ask him to do anything until he steps out of class,” Rio cautioned the newcomer. Now I had to decide whether or not I'd be a slave to Dove for an hour because technically she appeared to be in violation of the rules…which I knew nothing about.“No! I want to help,” she pleaded. “Besides, I'm a freshman like Zane so I can't ask him to perform…I mean do something to me – gak – for me,” she blushed.“What is your name and how can you help?” I questioned. I gently rubbed her shoulder and upper left arm to calm her down. She rewarded me with a deep breath and a warm smile.“I'm Iona Becket. Well, I figure you don't have a web-spot or a schedule manager for your Handmaiden Duties and I could help with that. What do you think?” I was still mulling it over when Rio thrust me back into the flames of Hell.“Iona, if you could do that for Zane, I'm sure he'd give you a naked full-body oil massage,” she teased her fellow freshman. I was sure Iona was blushing furiously down to the soles of her sock covered feet.“Great; I'll put out my digits and create your calendar, so if you give me your number, I'll get to work,” she bubbled. I did as requested and Iona skipped off…through the mob of women waiting outside. I hoped they were waiting for me because if Rio had pissed off that many ladies, she was on her own.“How did you know that I've been taught massage?” I whispered out of the side of my mouth to Rio.“You were in Thailand for two years and you are both not too stupid and are really good looking so I figure some back alley lady-boy showed you a thing or two,” she answered.“It was two lady-boys, but I don't think we can go into this right now.” I glanced to the crowd.“Zane, I'm going to miss you when these Christian bitches fuck you to death; you are not a total asshole,” Rio sighed as we headed out. I had to figure that was the nicest thing she was ever going to say to me. I stepped out with the certainty that I would be torn apart by well-meaning jackals.“Come with me,” said this imperious voice over the din. A woman (clearly a dominant senior) who had a stunning resemblance to the love child of Angie Harmon and Tyra Banks motioned me forward. Since she had some frightened freshman already lugging around her gear, I was a little uncertain as to what she wanted me for in the fifteen (now ten) minutes between classes.I trailed after the Super Smoking Hot Chick in the general direction of the Dickens Life Sciences building, mostly watching her ass move underneath that skirt.“So, do you have a name?” I finally asked. The other freshman stumbled and gasped at my ignorance.“You really are clueless,” laughed SSHC. “I'm Christina Buchannan, Senior Class President and Captain of the Soccer and Bible Study Teams. I'm also the granddaughter of Clarence Ingersoll, one of the twenty-five richest men in America. So, do you like watching my ass or are you more of a tit man?”“That's not really fair,” I replied after some consideration. “Your ass is divine but your breasts are so perfect that I really feel the only way to tell is with a hands-on inspection.” She stopped, turned, and regarded me with renewed interest.“You don't lack ambition, M…Zane. Some day we may just have to see about letting you decide which is better,” Christina grinned in a decidedly non-Christian schoolgirl way before resuming our journey.Never one to resist the chance to throw myself into the rapids in pursuit of a woman, I asked her,“So, do you have a boyfriend?” Of course, this girl is three years older than me and a princess to boot but you never know unless you try.“You know better than that, Zane,” she playfully scolded me. “You have already had that talk with Barbie Lynn so you know about the Purity Pledge we…we girls take when we come here.”I chuckled which earned me a slightly harsher look.“Sorry. It is… I know this one student here who I can't imagine taking that pledge unless a gun was put to her head,” I responded. “Not everything revolves around you, ya know?”“Touché, Zane,” she acknowledged. “You are referring to your roommate. I don't imagine the felon will be keeping to it. Her father is on the board of directors to a sister church in Phoenix but she's been nothing but sinful and shameful.”“Wow,” I told her as my humor faded, “you went from beautiful to ugly in a breath-taking fifteen seconds. Have you spoken more than ten words to Rio…ever?”“Please accept the fact that you are still a young man who has a lot to learn about the world and Our Lord's plan for us in it,” Christina said with gravitas. After a few seconds of walking in silence, her poor enslaved freshman huffing along, she added.“You have known her how long, Zane?”“Five hours,” I confessed.“If you weren't about to be tossed out of here I would take offense with your attitude but since we will probably not see each other after today, I choose to find your act of chivalry toward Rio to be quaint,” she condescended to say.“Okay,” I responded, “you seem like a nice, intelligent woman so I'm going to allow you to apologize to Rio for calling her a felon when you see her next, or by the end of the week if your paths don't cross, no matter what.”“If I don't,” Christina taunted me, “what can you possibly do to me?”“I'll make you apologize anyway and you'll regret making me force you,” I promised her evenly. Christina knew all about the balance – or in this case imbalance– of power; everything appeared to be in her favor. I was an insect and she was right in that I would probably be gone from Freedom Fellowship University after lunch.At this point it might be good to mention that I was with my parents when they died. Mom was in the lead when a whole rock face separated from the mountain and dragged her down to the valley below. Dad was blown loose, and two of my three pitons snapped. Mom was gone and Dad was badly broken, but he was together enough to know he was about to pull me down to my death with him.I didn't know what Dad was reaching for and he didn't say anything, but when he started sawing away at his connection to me, I cried out for him to stop. He didn't. I watched him fall while I screamed his name. I spent all night on that mountain wedged under the cliff where I had secured myself using the survival skills my parents had taught me until help arrived.I was hardly going to let some immature, self-important, rich, religious snob get the better of me. I like to believe I appreciated my parents' lesson of living each moment to its fullest. Rio deserved the chance to live each moment too and not have her past thrown in her face; this place was bad enough just dealing with our present circumstance.“I'll pick you up here when class lets out,” Christina ordered as she dropped me off at Biology.“Sorry, but I've already been enslaved for the noon hour,” I countered.“That wasn't a request, Mr. Braxton,” she stated with a serene gaze. “I'm to take you to the Chancellor's office at noon.”“Am I not trusted to find my way there on my own?” I questioned.To Be Continued.By FinalStand for Literotica

Kansas Carradine is a globally acclaimed professional horsewoman with a lifelong dedication to her craft. Since she was 11 years old, she has entertained audiences around the world, demonstrating her exceptional talents as a trick rider, roman rider, and lasso artist.Some of her performance credits include Hidalgo, Heartland, the World Equestrian Games, Queen Elizabeth's Diamond Jubilee, National Finals Rodeo, appearances on MTV, ESPN, CBS, Equitana, Cheval Passion and Equifest. She has been featured in publications such as Sports Illustrated, Western Horseman, Cowboy & Indians, and the LA Times. With Cavalia, she toured over five continents as a featured soloist, roper, rider, and trainer.Kansas is a HeartMath Certified Trainer and SkyHorse Equine Guided Educator and incorporates her unique skills into her training and coaching; bridging science, spirituality, horsemanship and heart. Through her workshops and teachings, she helps individuals activate their own heart intelligence for improved emotional self-regulation, self-confidence, health, connection, and performance.Following the wisdom and power of her heart, Kansas has made a positive impact through her service work with G20/C20 Presidency in India as Project Manager for the Fyera Foundation, as well as outreach in indigenous communities and fundraising for the Humane Society, Equestrian Aid Foundation, Wild Beauty Foundation, Compton Cowboys, and Embracing the World Charities.

Sex! Now that I've got your attention, here's our episode about these two movies named after flying things that kill. Spoopvember never dies!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5070447/advertisement

The first guest of The Best Song Podcast is Keith Carradine, who talks with host Jeff Commings about writing the Oscar-nominated song "I'm Easy" for the 1975 Robert Altman film Nashville. Carradine tells of the origins of the film's concept, including having actors write and perform their own songs, and how he handled the sudden award attention for his song. You'll also learn about the other four songs nominated for the 1975 Academy Award and why Carradine thought "the Motown machine" made one song a likely Oscar winner.

This book has been inducted into the Johnny Grant Hollywood Walk of Fame LibraryDr. Drew Pinsky: "I commend you for having the courage to step up and do it and do it thoroughly and do it properly.""Originally, the main purpose for writing this book was first to help heal myself and maintain a sense of humor as I vented.I found it was helping by opening a door to dialogue, with people especially about "taboo" subjects. It became my mission to help empower others through our experiences and maybe others will see how they too can help themselves, confront their demons, issues, seek answers, recognize patterns, listen to their instincts, get clarity, closure and healing. If people reach out and are open to change, miracles can happen. It's not to say it won't be painful, but we can transform our lives for the better. By bringing various sensitive issues out in the open, I hope this book sheds a beacon of light on a path for others to find their way as I did."Two dynamic people merging into a karmic-destined, intense and turbulent love relationship. Each struggling with their own demons including sexual abuse and incest.They were married on the Warner Bros. back lot Larmie St. and their six-year relationship was a whirl of auditions, star-studded parties, exotic locations, red carpets and a star on the Hollywood Walk of Fame. Marina, already an established actress, became Carradine's personal manager and set about rehabilitating David's the career, who was now known for his heavy drinking. She introduced him to Quentin Tarantino, who cast David in a lead role in the popular film Kill Bill, which vaulted Carradine back onto Hollywood's A-list.Their marriage was marred by a toxic secret that could not be ignored and private life was replete with love, passion, erotic pleasure, sexual experimentation. With the help of re-known celebrity Dr. Drew Pinsky (Celebrity Rehab, Sober House), issues are addressed with the interview occupying an entire chapter. Anderson was able to exorcise the demons that have haunted her for so long about their relationship and herself that almost destroyed her.Her writing speaks to readers universally by focusing on their personal journey, revealing the truth about the couple, addresses conquering fear and overcoming obstacles, self discovery, recovery, re-inventing and rebuilding one's self. It's her personal survival while desperately trying to save the marriage as well as Carradine's constant struggle to be someone he wasn't, but wished he could be. Spirituality, psychic John Edward, other psychics and astrologers who helped her are written about in the book as well“It's an avenue for his fans and the general public to know, understand and hopefully accept him as a man, not a celluloid fantasy…to be admired for his talents and the motivations behind certain issues in his life understood. We are all human beings with our faults. What we do for love. He was afraid people wouldn't remember him. That will never happen. The legend continues.”His acting career spanned four decades onstage, television and cinema. He became an international sensation as Kwai Chang Caine in the 1970s hit television series Kung Fu and cemented his cult hero status with his role in the classic movie Death Race 2000. He portrayed Woody Guthrie in Hal Ashby's Bound for Glory and Bill in Quentin Tarantino's Kill Bill films. Carradine received four Golden Globe nominations. He was a talented songwriter and musician and performed in a band called Cosmic Rescue Team.David Carradine died in a Bangkok hotel room, June 3, 2009, an apparent victim of autoerotic asphyxiation. Amid sensational media speculation, Marina refused to let David's death remain stigmatized like it was and launched her own investigation into the death of her ex-husband. Suicide? Foul play? A sex act gone wrong? Was he alone? Was there a cover-up? Her conclusions are startling.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/1198501/advertisement

The now infamous rants of Randy Quaid regarding Star Whackers has become a punch line and source of ridicule. But, what about all the "stars" before and after him who have made the same claims but didn't put the "Star Whackers" label out there. Is there any truth to all of this or is it just ramblings of washed up actors looking for attention? We look into it all on this weeks episode.Email us at: downtherh@protonmail.comSend in a voice message: https://podcasters.spotify.com/pod/show/nwczradios-dtrh/messageThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4656375/advertisement

CARRADINE, Unvarnished, Raw, Uncut, Uncensored!

El pequeño David nació el 8 de diciembre de 1936 en Hollywood, porque su padre, el actor John Carradine, trabajaba allí, que si el padre hubiera sido ditero, a lo mejó hubiera nacido en Pinomontano. Su madre fue Ardanelle McCool, la que le hizo el disfraz casero de superman y al niño no se le ocurrió otra cosa que atarse la capa al cuello y subirse al tejado para intentar volar. Al final no pasó nada, pero desde ese día David fue un hombre temerario, sin miedo y empeñado en atarse cosas al cuello. Sus padres se divorciaron en 1941, cuando David tenía 5 años. A él no le gustaba ser hijo de un famoso porque siempre se estaban mudando y nunca le daba tiempo de hacer amiguitos y conseguir el cromo de Clemente. De personalidad un tanto extraña, el chiquillo un año por reyes pidió un gancho pa colgar la bicicleta y claro, la madre le tuvo que explicar que primero tenía que pedir la bicicleta, pero él no lo entendía. A él lo que más le gustaba era acompañar a su madre a tender, que la madre cuando levantaba el colchón, en vez de revistas del Venca se encontraba los cordeles de las vecinas. En su juventud se convirtió en uno de los pioneros del movimiento hippy norteamericano y vivía en comunas, porque ya se veía que una mijita espeso sí era David, que le gustaba menos un jabón que un peine, que ni en las películas lo peinaban ar gachó. Y es que él en verdá no quería ser actor, sino granjero, que tienen esos graneros con esas vigas altas que dan ganas de hacerse una… hamaca. Al final un día estaban buscando a un actor con rasgos asiáticos, pero no tanto como Bruce Lee, y acabó interpretando a un monje Shaolin al que otro monje con los ojos como las caballas del Mercadona le decía “pequeño saltamontes”. De aquí a Kill Bill, lo que hizo David fue - ir al Karate los lune y los miércole. - tener siempre la melenita cortada a la misma altura. - y casarse muchas veces: en 1960, en 1977, en 1986, en 1999 y en 2004, que el cromo de Clemente no, pero sentencias de divorcios, hasta repetías. Tuvo 3 hijos, Calista, Tom y Kansas. No sé qué niño corresponde a qué madre porque hay fechas de nacimiento que no coinciden con ningún intervalo de matrimonio, pero es que creo que David tampoco lo sabía con seguridad. Allá por los 90, ya tenía la melenita gris, que si bien no era abundante, eso ya no se perdía porque las canas vuelven a salir y los ojos así caiditos como un Gran Danés. Fue en esta época cuando dirigió, produjo y protagonizó “Kun fú, La leyenda continúa”, menos mal que luego llegó Quentin Tarantino y le dio un papel en “Kill Bill” para que su carrera tuviera un cierre digno a tan extraña persona que tenía pinta de gustarle los garbanzos de los mezclaitos. Una de sus últimas apariciones fue en una serie televisiva “de fantasma” dónde se encerraban a famosos en casa encantadas, hola, qué tal, igualmente, para encontrarse con espíritus y ruidos raros, como los que salen en Cuarto Milenio, que al final es una rata comiendo pipas. Carradine era parte guía y persona de experiencia para acompañar a los famosos, la Aramis Fuster de ellos. Desgraciadamente, el 4 de junio de 2009, en un descansito par shangüi mientras rodaba su último proyecto en Tailandia, lo encontraron con la cara un poquito azul en la habitación de un hotel a lo Pedro J. Ramírez, con un VHS de los mejores momentos de Bricomanía y un rollo de córdel verde, de los que es una jartá de difícil hacerle el nudo porque se resbala, aunque ustedes siempre podrán recordarlo cada vez que vean un granero con vigas altas o conozcan a alguien que se comen los garbancitos del mezclaito.

Cops that stop crime with their hands! Listen and learn about cop relationships, cool character names, throw away plot points, and the power of location. DISCLAIMER: Language and Spoilers!MARTIAL LAWdir. Steve Cohenstarring: Chad McQueen; Cynthia Rothrock; David Carradine

In the stunning equestrian spectacle, Cavalia, Kansas Carradine was a featured soloist in five acts and became renowned for her skills of roman-riding a team of four horses. Kansas then worked behind the scenes buying and training horses for Cavalia in both trick-riding and roman-riding. Relax Trax is specifically designed to relieve stress in your horse by mimicking the rhythm of a horse's gaits and using string instruments. Listen to Sarah Reuss, VMD, DACVIM, Equine Technical Manager at Boehringer Ingelheim share why this works. Listen in... Show Host: Debbie LoucksTitle Sponsor: HandsOn Gloves, All-In-One Shedding/Bathing/GroomingGlovesGuest: Dr. Sarah ReussWhat's playing in the barn? A science-based approach to music​ by Boehringer Ingelheim US: Equine HealthA Music Track Specially Designed to Help Relieve Stress in Horses, Equine Relax TraxGuest: Kansas CarradineFor tips on Good Horsemanship: Ask MontyLearn more about Good Horsemanship at Monty Roberts EQUUS Online UniversityMonty's CalendarPlease follow Monty Roberts on FacebookFollow Monty Roberts on Twitteror on InstagramSee more at: MontyRoberts.comHear all the shows on the Horse Radio Network

Get ready for racing and fighting, Shaolin-style! Okay, maybe there's not really any Shaolin action, but CANNONBALL (1976) stars KUNG FU's very own DAVID CARRADINE! Beating the 1981 CANNONBALL RUN to theaters by 5 years, Carradine's vehicle (pun intended) trades the comedy focus for a more serious look at the world of illegal road trips! Not only is Carradine along for the ride, but so is cult icon MARY WORONOV in this flick penned and directed by DEATH RACE 2000 legend PAUL BARTEL! Oh, and SYLVESTER STALLONE, MARTIN SCORSESE and JOE DANTE are tucked in there, too (yes, it's a ROGER CORMAN production!)We "HIT THE ROAD!" on this week's episode of CULT and CLASSIC Films Podcast! Listen wherever you get your podcasts and at https://cultandclassicfilms.com/!Last Week: "TALLADEGA NIGHTS: THE BALLAD OF RICKY BOBBY" (2006)Host: NATE WYCKOFFPanelist: MANDY LONGLEY & CORINNE PORTER

This week Short and Spooky is covering a very bad episode of The Hitchhiker. Like, REALLY bad. It's called "Garter Belt" and even though it has a Carradine in it, it's a rough watch. Don't say I didn't warn ya. But hey, at least it's fun to talk about! Please rate, review, subscribe, and tell your friends! --- Send in a voice message: https://podcasters.spotify.com/pod/show/shortandspooky/message Support this podcast: https://podcasters.spotify.com/pod/show/shortandspooky/support

Nye makes a bizarre recovery. Carradine spies the prize. The home of a master thief becomes a refuge to two singed Feds.

Join Maria Lovelady & Michael Alan-Bailey as they chat to everyone's favourite sing-a-long musical maestro Tom Carradine. Our duo discuss all things London, Music Hall and Variety with Tom, we hear about the beginnings of his now infamous moustache and how the vintage scene made Tom blossom into all he truly is. We also chat poignantly about the mental health pressures placed upon performers and Tom's own journey with this as he has risen to more and more popular heights. As a bonus, you will even discover which movie Michael and Maria watched in preparation for meeting Tom. Have a listen to find out… Find out more about Tom here: https://www.carradinescockneysingalong.co.uk Links to 'Twice Nightly' show tickets: LIVERPOOL - Royal Court - Studio Thu 27 - Sat 29 April - 2.30pm/7.30pm www.liverpoolsroyalcourt.com SETTLE - Victoria Hall Thu 11 May – 7.30pm www.settlevictoriahall.org.uk BRIDGNORTH - Theatre On The Steps Fri 12 May – 7.30pm www.theatreonthesteps.co.uk WIRRAL - The Gladstone Theatre Sat 20 May – 7.30pm www.gladstonetheatre.org.uk MIDDLESBOROUGH - Middlesborough Theatre Thu 25 May – 7.30pm www.middlesbroughtheatre.co.uk Appear on the show and leave us a voice message at https://www.speakpipe.com/TwiceNightlyThePodcast Get in touch - twicenightlythepodcast@gmail.com IG - twicenightlytheatrepodcast TikTok- twicenightlypodcast Twitter - @twicenightlypod Facebook - Twice Nightly: The Podcast Brought to you by Frame This Presents...

We get another, less cosmic step into the past when we review "First Flight"! Back in the day, Archer wanted to prove he had The Right Stuff, but can he overcome Action Grandpa?

This episode's film is Revenge of the Nerds from 1984. We talk about the controversy surrounding the film, Teen Sex Comedy tropes, the iconic character “Booger”, the lost Carradine, and much more. Join us and dive into this 80s cult classic comedy! WEBSITE: https://linktr.ee/BrokenVCR

Pusher wants intel on Division 10. Nye and Carradine head to New York. Ellie and Jake run low on time.

Author Stephen D. Sullivan takes a break from his and his to join Derek to discuss one of the last Universal monster rally films - House of Dracula (dir. Erle C. Kenton). Plus Listener Feedback, Kenny's Look at Famous Monsters of Filmland, and Mark Matzke's Beta Capsule Review. Save $2 at with code MonsterKidSaves, or click here - https://tinyurl.com/mkrscaregrounds Voicemail: (360) 524-2484‬ Email: Monster Kid Radio's Discord Server - Monster Kid Radio on Reddit - Monster Kid Radio on Twitch! - - Monster Kid Radio on YouTube - Scaregrounds PDX - Follow Mark MatzkeMonsteropolis - Monster Study Group - Small Town Monsters - Monster Fest - Small Town Monsters YouTube Channel (Home of SasWatch) - Follow Stephen D. SullivanAdventure Guaranteed. (Monsters Optional.) - Monster Kid Radio Amazon Wishlist - Monster Kid Radio on TeePublic - Next time on Monster Kid Radio: Stay tuned! All original content of Monster Kid Radio by is licensed under a .

Bloodsports season finally concludes with Paul W. S. Anderson's remake of Death Race 2000, which is just called Death Race. Join us as we discuss Statham, Carradine, badly designed prisons, and Lovejoy.   Next episode, we move on from deadly racing to, er, weirdo pervert body horror, with Splice!   Get in touch! Visit the Website! See the list so far! Download the soundtrack! Buy our Merch! And we're on Twitter, Instagram and Facebook too!

Getting from here to there has never been so dangerous! Dom Delouse wouldn't have survived 30 feet from the start line. So yeah, its a Cannonball run. That's about all it has in common with the Burt Reynolds classic. This isn't much of a laugh goofball screw fest. What we have here is something in between Deathrace 2000 and Cannonball Run. Its not really funny. Its not really that campy. But its not really a race movie either. Its like a little bit of everything. But wow does it have a lot of Hal Needham shenanigans that is missing from most Corman movies. Speaking of Corman, talk about a huge amount of cameos. Corman himself, Don Simpson, Martin Scorsese, Sly Stallone, Paul Bartel and Dick Miller! Wahhoo. I think what Cannonball suffers from is a very bad job explaining what the heck Dick Miller's character, Bennie, is up to. It turns out that he's trying to help his brother Coy win, but it appears up to about 9/10s of the way through that he's trying to kill Coy. So maybe people just couldn't really put together what was going on and that's completely up to the fault of the editor. And there's quite a bit of bad editing here. Carradine's kung fu is quite terrible. The car chases are moderate. And the driving is lack luster. But when it gets to its second climax (this movie has too many of those) it lights up on fire. It's no Deathrace 2000 but this isn't exactly a pile of dook either.

Pod Friends features confessional conversations going “behind the mic” with the voices of the RHAP network. Host Matt Scott sits down with Sarah Carradine. The post Pod Friends | Sarah Carradine: Escaping Through Theater, Covering Crime Shows, & Learning You Don't Need An Invitation appeared first on RobHasAwebsite.com.

Pod Friends features confessional conversations going “behind the mic” with the voices of the RHAP network. Host Matt Scott sits down with Sarah Carradine. The post Pod Friends | Sarah Carradine: Escaping Through Theater, Covering Crime Shows, & Learning You Don't Need An Invitation appeared first on RobHasAwebsite.com.

In today's episode I am honored to chat with Kansas Carradine who tells us about her start at Riata Ranch trick riding, transitioning into the circus life with Cavalia, and lastly how having kids has shifted her world view. Enjoy! Kansas's Links: https://circuscowgirl.com/index.html Episode Links: Ojai Valley Boarding School: https://www.ovs.org/ Riata Ranch: https://riataranchsantamargarita.com/ Arapaho Bryar horse: https://www.worthpoint.com/worthopedia/breyer-model-horse-arapaho-riato-trick-riding Cavalia: https://cavalia.com/horse-show/ Sky Horse Ranch: https://www.skyhorseacademy.com/ Heart Math: https://www.heartmath.com/ Black Beauty: https://www.goodreads.com/book/show/3685.Black_Beauty International Liberty Horse Assoc.: https://www.libertyhorseassociation.com/

This episode's film is Revenge of the Nerds from 1984. We talk about the controversy surrounding the film, Teen Sex Comedy tropes, the iconic character “Booger”, the lost Carradine, and much more. Join us and dive into this 80s cult classic comedy! Find us here: theturnbuckletavern.com

Join Jessica Sterling (@thejesssterling) and Sara Fergenson (@sarafergenson) as they finish out this spooky October with Interview with the Vampire with Special Guest, Sarah Caradine (@sarahcarradine). They talk through the wonder that is young Kirsten Dunst, the definition of "companion," and debate whether Louis should have just walked into the light.Follow us on Twitter and Instagram at @shit90spod.Email us at shit90spod@gmail.comVisit our website at www.shit90spod.comAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

First, the boys go to the land of beer farts and broken hearts to hang with the Two Cs – Chuck and Carradine – as they do battle in hand-to-hand Carate (yes… also with a “C”) in Lone Wolf McQuade! Then… Chucky-boy keeps his cowboy hat on to fight a different kind of enemy – an invincible killing machine created by three Frankensteins with comically kindergarten beakers in Silent Rage! ___________________________________________ Have a compliment about our delicious snack bar treats, our (mostly) friendly staff and our spotless restrooms? Don't bother filling out a comment card. (Lucy throws those away.) Connect with us via: Twitter: https://twitter.com/AllNightDriveIn Instagram: @allnightdrivein Facebook: https://www.facebook.com/TheAllNightDriveInPictureShow/  E-mail: Allnightdriveinpictureshow@gmail.com Join us every month for another double feature under the stars by subscribing, reviewing, and rating the show on Apple Podcasts, Stitcher, or your favorite podcatcher, or check out The All-Night Drive-In Picture Show YouTube page!  We appreciate your patronage and please hang up your speaker, and drive safely!   

In part 2 of Anne Marie's interview with Tom Carradine, the genius behind Carradine's Cockney Sing-a-Long, Tom shares his personal journey from science major at university to dapper sing-a-long entertainer who has truly embraced his inner vintage dandy. Since its inception in 2014, Tom's old fashioned music hall style sing-a-long has become a fixture on the UK's thriving vintage scene. He has played sellout dates at London's historic Wilton's Music Hall, Hoxton Hall and he brings his act along with his affectionately named piano, Ol' Joanna, weekly to Mr. Fogg's Tavern where he leads the patron's in a good old fashioned "knees up". During COVID social distancing restrictions, Tom has brought his act "Carradine's Self-Isolation Singalong" to the internet every Thursday where anyone in the world with an internet connection and Facebook can tune in live. More on Tom Carradine:WebsiteFacebookInstagramTwitterJoolz GuidesSome of the performers and songwriters Tom mentions Max BygravesDandy WellingtonChas & DaveLonnie DoneganThe Sherman BrothersPop culture mentioned in this episodeHerman Hermits cover of "I'm Henery the Eighth, I am"2001: A Space OdysseyMisc.Your Baby has Gone Down the Plug HoleNick and Gillian Perry Vintage Shop in Salem, MASupport the show (https://www.patreon.com/armchairhistorians)

In this episode Anne Marie talks to Tom Carradine, the genius behind Carradine's Cockney Sing-a-Long. Since its inception in 2014, Tom's old fashioned music hall style sing-a-long has become a fixture on the UK's thriving vintage scene. He has played sellout dates at London's historic Wilton's Music Hall, Hoxton Hall and he brings his act along with his affectionately named piano, Ol' Joanna, weekly to Mr. Fogg's Tavern where he leads the patron's in a good old fashioned "knees up". During COVID social distancing restrictions, Tom has brought his act "Tom Carradine's Self-Isolation Singalong" to the internet every Thursday where anyone in the world with an internet connection and Facebook can tune in live. More on Tom Carradine:WebsiteFacebookInstagramTwitterJoolz GuidesJoolz Guides on Armchair Historians, Part 1Joolz Guides on Armchair Historians, Part 2Resources on Victorian Music Hall and some of the musician's Tom references in interviewV&A, Music Hall and Variety TheaterPalaces of Pleasure, Lee JacksonCanterbury HallThe Eagle Tavern and Pop Goes the WeaselWilton's Music HallHoxton Music HallBritannia PanopticonLeeds City VarietiesLondon PalladiumLondon ColiseumHackney EmpireFrank MatchamSome of the musicians Tom mentionsVesta TilleyGus ElanMary LloydChampagne Charlie, George LeybourneHetty KingWinifred AtwellMrs MillsHarry ChampionPop culture mentioned in this episodeGood Old DaysPenny DreadfulTo Support Armchair Historians:Support the show (https://www.patreon.com/armchairhistorians)

Travis is back for another busy offseason show. Today's topics include David Johnson's comments on Josh Rosen -- what does Rosen have to do to become dominant in this league? Plus, did Tank Carradine finally find a new home? The Face of the Franchise Series takes us out to Oregon to scout Justin Herbert and we finish up with a preview of the AFC South and the Dolphins matchup with the Colts this season.@WingfieldNFL@LockedOnPhinsLockedOnDolphins.comLockedOnPodcasts.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

Travis is back for a jam-packed Monday edition (early release edition) of the LOD pod. Topics include the hiring of Reggie McKenzie, the signings of Tank Carradine and Jomal Wiltz, the coaching staff pressers from Friday, and an in-depth breakdown of Chad O'Shea's offensive scheme.@WingfieldNFL@LockedOnPhinsLockedOnDolphins.comLockedOnPodcasts.com Learn more about your ad choices. Visit podcastchoices.com/adchoices