Podcasts about conquerer

What happened in the aftermath of the Battle of Hastings? What horrors did William the Conqueror have to inflict upon his Anglo Saxon subjects in order to consolidate his new realm? And, what role did castles, the Harrowing of the North, and the Doomsday Book play in the creation of a new England? Join Tom and Dominic as they discuss William the Conquerer's new reign in the wake of the Battle of Hastings, and the true nature of the Norman Conquest. _______ Twitter: @TheRestHistory @holland_tom @dcsandbrook Producer: Theo Young-Smith Assistant Producer: Tabby Syrett + Aaliyah Akude Executive Producers: Jack Davenport + Tony Pastor Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today, Helen Goldenberg preaches on what it means to live life in the victory that God calls us to live in and how, as a church, He want's us to not be the victim but the Victor.

In this message Pastor Aaron speaks on 3 names of God that together define him as the Conqueror. Listen in as he enocurages us to surrender our battles over to Him.

Trenayce will open with the “The Internal Light Meditation” and then continue our deep discussion on the Sacred Egyptian Tarot, by examining Card #7, of the Major Arcana. This is “The Conquerer” also known as “The Chariot” card in our modern day Tarot. Find out what power and significance is held within this Archetype and how it can help you Navigate Your Awakening!  #TheAwakening  #EgyptianTarot  #SelfEmpowerment  #Transformation

EJ Von Lyrik hails from a township called Mitchell's Plain on the Cape Flats, Cape Town, South Africa. She has been writing and performing her own material ever since she started working on music as a career in 1997. Having a distinct interest in music production, she started producing her own instrumentals in 2001.Her music is an eclectic mix of funk, rock, dancehall, hip hop and roots reggae. She is a strong advocate for human upliftment and inspiration through the medium of music and therefore her music carries positive messages in her lyrics. E.J feels the reason for this cross-over of musical genres is to reach out to a more diverse audience because the music is message orientated. She has performed on various international stages as well as collaborating with some hefty names in the music industry, and was a member of the (now disbanded) legendary, female hip hop group Godessa. This is a collection of her work spanning 20 years as a solo artist and also one third of the iconic and legendary African female rap group, Goddessa. I've had the honour of being the group DJ to both Godessa & EJ Von Lyrik performing within South Africa and abroad and her body of work is something to behold. 1.Intro Chuck D & Flava Flav 2.Conquerer (single - High Voltage Entertainment - prod Grenville Williams 2013) 3.Open your eyes ( (taken off debut album, Method in the Madness 2007, High Voltage Entertainment - prod. EJ Von Lyrik & Grenville Williams) 4.Flight over many cities (taken off debut album, Method in the Madness 2007, High Voltage Entertainment - prod. EJ Von Lyrik ) 5.Woo Eyes (with Mix & Blend prod Mix & Blend 2013) 6.Freedom in a cage ft. Teba (taken off debut album, Method in the Madness 2007, High Voltage Entertainment - prod. EJ Von Lyrik & Grenville Williams) 7.Inside out (taken of Rogue State of Mind Pt2 Compilation 2009) 8.Heartbreak love (taken off second album, The Human Condition 2010, High Voltage Entertainment - prod. EJ Von Lyrik) 9.Nguwe Mr. Sakitumi remix (with Godessa taken of the album Spillage prod Sean O'Tim 2011) 10.Mindz ablaze (with Godessa taken of the album Spillage - High Voltage Entertainment 2004 prod Grenville Williams) 11.Soul ft.Carlo Petersen (taken off second album, The Human Condition 2010, High Voltage Entertainment - prod. EJ Von Lyrik & Carlo Petersen) 12.The law (taken off second album, The Human Condition 2010, High Voltage Entertainment - prod. EJ Von Lyrik & Grenville Williams) 13.Mike Lesson (with Godessa taken of the album Spillage - High Voltage Entertainment 2004 prod EJ Von Lyrik) 14.Rise up (featured with Red Lion taken of album, Cape of Good Dope - African Dope Records 2002 - Williams) 15.Disfunksion (with Godessa taken of the album Spillage - prod EJ Von Lyrik 2004) 16.Younique (Indépendent release prod EJ Von Lyrik 2013) 17.Journey of mine (with Godessa taken of the album Spillage - prod Grenville Williams 2004) 18.Living my dreams ft Claire Phillips (taken off debut album, Method in the Madness 2007, High Voltage Entertainment - prod. EJ Von Lyrik & Grenville Williams) 19.Fuss & fight (taken off debut album, Method in the Madness 2007, High Voltage Entertainment - prod. EJ Von Lyrik) 20.Planet I. (Taken on Rogue State of Mind album prod Meisterbeatz 2006) 21.Law of attraction (with Josie Field taken of the album, Leyland 2008 - RPM Records) 22.She's got a gun (taken off second album, The Human Condition 2010, High Voltage Entertainment - prod. EJ Von Lyrik & Grenville Williams) 23.Somethings gotta give (Moodphase 5 ft. Godessa taken of the album Super Delux Mode - African Dope Records 2002 prod Grenville Williams & Douglas Armstrong) 24.They Go Crazy ft Teba & Dubmasta China (taken off second album, The Human Condition 2010, High Voltage Entertainment - prod. Dub Masta China) 25. Is soe (with Jits Vinge & Teba taken of the album Skeletsleutel - 2006 - prod Dub Masta China) 26.Ons beholder saam (with Jack Parrow 2015 title track for feature film Skeem) 27.Runaway (Independent release - prod EJ Von Lyrik 2013) 28.Gimme dat gem (with DJ Azuhl, Ben, Teba prod EJ Von Lyrik - 2016 prod EJ Von Lyrik) credits

This weeks primary podcast is about: Joseph Smith and Oliver Cowdry receive revelation NOT to retranslate the plates from which the manuscript was stolen. It might make sense to retranslate that portion, but the Lord saw something they could not: their enemies were planning to alter the words on those pages to cast doubt on Joseph's inspired work. God had a plan to avoid that problem and keep the work moving forward. Thousands of years earlier, God inspired Nephi to write a second record that covered the same time period “for a wise purpose in Him” (1 Nephi 9:5).“My wisdom,” the Lord said to Joseph, “is greater than the cunning of the devil” (Doctrine and Covenants 10:43). That's a reassuring message in a day like ours, when the adversary is intensifying his efforts to weaken faith. Like Joseph, we can be “faithful and continue on” in the work God has called us to do (verse 3). Then we will find that He has already provided a way so that “the gates of hell shall not prevail” against us (verse 69).The Lord's “wisdom is greater than the cunning of the devil.” Nephi didn't know why he was inspired to make two sets of records of his people. And Mormon didn't know why he was inspired to include the second set with the gold plates. But both prophets trusted that God had “a wise purpose” (1 Nephi 9:5; Words of Mormon 1:7).We will also learn about Divine Design reading from accounts in Elder Ronald A. Rasband's message “By Divine Design”—they might bring examples to your mind (Ensign or Liahona, Nov. 2017, 55–57).And we read from: The Lord's Hand”President M. Russell BallardA talk given at BYUHe basically tells the story of his ancestor who was on the Mayflower and during a terrible storm fell overboard. As this man was falling he was somehow able to grab onto a rope and hang on for dear life as he was drug through the water until the storm subsided. He now has over 2 million Americans who can trace their lives and genealogy back to him. Including several US Presidents, authors, and even our own prophet Joseph Smith! “That You May Come Off Conqueror”Doctrine and Covenants 10–11You're listening to Come Follow Me Kids! A Come Follow Me Podcast. We are an interactive game play podcast for kids. This is a Doctrine and Covenants Podcast for Kids! Our podcast is called Come Follow Me Kids. Come Follow Me for kids that are primary aged 2-12 in the Church or Jesus Christ of Latter Day Saints. We follow the come follow me manual from the church but are not officially affiliated in any way. Some audio segments come from the friend magazine and other church sources. On this podcast we play interactive games while learning about the gospel and atonement of Jesus Christ. If your children would like to be guests on this podcast, please email us at comefollowmekidspodcast@gmail.com They can share their testimony about the restoration of the gospel, or share an experience they had with prayer, the Holy Ghost, or Missionary Work. Make sure they include their name and where they are from in the audio recording. And don't worry about your recording being perfect, we can edit out mistakes. Any sound file should work. If your children would like a baptism shout out, email us their name, and where they are from and we will add them to an upcoming episode. Use the same email listed above.

What If Season 3 Kang Episode Removed? If you're struggling, consider therapy with our sponsor. Click https://betterhelp.com/newrockstars for a discount on your first month of therapy. Did Marvel Studios completely prune the character of Kang from the MCU timeline? What If Season 3 seemed to have removed a storyline with Kang the Conquerer, and now it looks like Avengers Doomsday will completely scrap any past plans for Avengers The Kang Dynasty. In this first episode of The Sneak Peek in 2025, Erik Voss and Brandon Barrick examine Marvel's pivot with the character of Kang. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hello, Niamh here! I am not on this episode but I'm taking over some of the scheduling, uploading, and promotion sides of production. Mostly what this means is I have decrees Coffee and Comic Books to be an every-other-Monday podcast, or at least that's the goal I'm setting. Anyway, on this episode Rick and Autumn continue their discussion of Hellboy with the third library edition, and we'll see you again in two weeks with an episode on Hellboy Library Edition volume 4! Also, Autumn and I are still working out plans for which episodes of Hellboy will be free public episodes and which will be Patreon-only exclusives, so if you're listening in the free feed and there isn't a new episode in two weeks it's because it's on the Patreon. Consider supporting us! Follow Autumn on Bluesky! Follow Rick on Bluesky and Patreon! Our art was done by Cam! You should follow their excellent webcomic, Matchmaker! To support the show and get access to an extra episode each month, go to exportaud.io! "Bass Vibes" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/

Fr. Patrick preached this homily on August 12, 2024. The readings are from Ez 1:2-5, 24-28c, PS 148:1-2, 11-12, 13, 14 & Mt 17:22-27. — Connect with us! Website: https://slakingthirsts.com/ Youtube: https://www.youtube.com/channel/UCytcnEsuKXBI-xN8mv9mkfw

Today is not the final message in the series, Who is Jesus?, but the last one for a few weeks as we start a new series about CommUNITY. But today we look at John 16:25-33 and Pastor Dustin Clegg shares 3 observations and applications from the text.(1) Jesus accepts the feeble faith of those who walk in what light they have as long as they are never satisfied with the light they have (John 16:25-32).             (1) Rest in the fact that Jesus has appropriate expectations on our faith, also          understanding that growth is essential.(2) People tend to scatter when the pressure hits (John 16:32).              (2) Invest all you can in the One relationship that you can always depend on.(3) Every negative thing that we face as believers now is a desperate attempt at dying blows from a defeated foe (John 16:33).             (3) Believers - - be courageous in all things because Jesus is the Compassionate Conquerer.                Unbelievers - - surrender to Him with all you know.

This lecture discusses key ideas from the 20th century philosopher, novelist, and essayist Albert Camus' work The Myth of Sisyphus Specifically it examines the third of the sketches or examples Camus provides in part 2 of the work, illustrating ways in which a person might live out an "ethics of quantity" in the face of the absurd. Camus discusses conquest and the person he calls "the conquerer", but this person in late modern times will be quite different from conquerors in earlier times. To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO - or at BuyMeACoffee - www.buymeacoffee.com/A4quYdWoM You can find over 3,000 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase The Myth of Sisyphus - amzn.to/304vSIQ

We love Max von Sydow, so Ron felt it was time to introduce Guy to one of his more serious films. With gritted teeth, Guy agreed to watch a foreign film with subtitles that wasn't about samurai, and guess what, he liked it! This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit betterangels1.substack.com

The power trio is one of the most ubiquitous line ups in rock. From The Jimi Hendrix Experience to RUSH, the formula has been repeated many times. On this week's Loudini Rock & Roll Circus we celebrate some lesser known power trios and some bands who you may not have known were actual power trios.       Topics Discussed:   What we did this week: Loudini: A.I. & Music: ColdFusion feat. Rick Beato, Adam Neely Loudini' thoughts on A.I. & Music, Randy defies Ozzy; gets fired; comes back; dies, Lou Gramm: tragedy to triumph, Most Dangerous Movies; The Conquerer, Joe Martin, Roar Mr Pittsburgh: Lily: Obituary (Mr Smalls), Vicious Blade, Foxes   Power Trios https://en.wikipedia.org/wiki/List_of_power_trios   Dada Husker Du Wolfmother   Green Day ZZ Top Blink182 dead sara   Blue Murder Chevelle Paramore 5678s Muse     New & Notable: Loudini: Florence Black; Look Up Lily: The Outfit; Go Mr. Pittsburgh:

Föstudagsgestur Mannlega þáttarins í dag var Margrét Einarsdóttir búningahönnuður. Hún hefur rekið tískuverslun, verið stílisti og hannað föt í fjölmörgum kvikmyndum og sjónvarpsþáttum. Meðal annars fyrir kvikmyndirnar Hrútar, Vonarstræti og Snertingu, nýjustu mynd Baltasars Kormáks og svo hannaði hún búningana í sjónvarpsþáttröðunum Verbúðinni, Aftureldingu og þessa dagana er hún að vinna í gríðarstórri þáttaröð, King and Conquerer. Við fórum með henni aftur í tímann og rifjuðum upp æskuslóðirnar, í Svíþjóð og Reykjavík og fórum svo á handahlaupum í gegnum lífið til dagsins í dag og fengum hana til að segja okkur hvernig það kom til að hún fór að vinna í sínu fagi. Í matarspjallinu töluðum við um hina frægu Worcestershiresósu. Sósan rekur uppruna sinn til Englands á 19. Öld, en hvað er í henni og í hvað er best að nota hana? Tónlist í þættinum í dag: Ég lifi í draumi / Björgvin Halldórsson (Eyjólfur Kristjánsson og Aðalsteinn Ásberg Sigurðarson) Fever / Sarah Vaughan (Eddie J. Cooley & John Davenport) Paroles... Paroles... / Dalida & Alain Delon (Giancarlo del Re, Giovanni Ferrio & Matteo Chiosso) UMSJÓN GUNNAR HANSSON OG GUÐRÚN GUNNARSDÓTTIR

This week Jordan and Micah talk through possible villain replacements for Kang the Conquerer. Should they of cut Kang? Should the replace him? What are your thoughts?  Either way, you're not going to want to miss this weeks episode!  New episodes drop every week!  Subscribe to us on iTunes here:  https://podcasts.apple.com/us/podcast/nerd-talk-with-jordan-halstead/id1562432069 Subscribe to us on Spotify here: https://open.spotify.com/show/2K9lWNv4o6pccGrbKMJK8g?si=1717848b5b7f4104 Follow us on Social!   Facebook here:  https://www.facebook.com/NerdTalkWithJordanHalstead/ Instagram here:  https://www.instagram.com/nerdtalkwithjordanhalstead/

Er þörf á norrænu varnarsamstarfi þegar þau eru öll í NATO? Jónas Allansson, skrifstofustjóri á varnarmálaskrifstofu utanríkisráðuneytisins segir að Atlantshafsbandalagsaðild allra styrki bæði bandalagið og Norðurlöndin sjálf með þéttri samvinnu og samruna á sviði hermála, líkt og þegar sé á félagslega og pólitíska sviðinu. Samingur um Uppbyggingarsjóð EES ríkjanna, Íslands, Noregs og Lichtenstein er enn til umfjöllunar í Ráðherraráði Evrópusambandsins, tæpum fimm mánuðum eftir að framkvæmdastjórn sambandsins staðfesti hann. Ekki virðist vera eining um innihald samningsins í vinnuhópi ráðherraráðsins sem fjallar um málið og óljóst hvenær hann verður endanlega staðfestur Í kvikmyndaveri RVK Studios í Gufunesi er verið að taka upp sjónvarpsþættina King and Conquerer sem gerðir eru fyrir BBC í Bretlandi og CBS í Bandaríkjunum, nærri þúsund manns koma að þáttagerðinni með einum eða öðrum hætti. Spegillinn slóst í för með Baltasar Kormáki, ræddi við hann um stærð íslenska hestsins og af hverju það margborgar sig fyrir stjórnvöld að setja fé í sjónvarps-og kvikmyndaframleiðslu.

Christ the Conquerer // Pastor Vlad For notes and quotes of this message, go to hungrygen.com/sermons/

Rita Rae Roxx invented "it girl" behavior. Have you ever been to a concert and seen the cool, pretty girl in one-of-a-kind clothing who the artists can't take their eyes off of? That was and is Rita. Well, at the beginning of her night -- before she got invited backstage, and then back to the hotel, duh. As a teen in Omaha, she made it her life's mission to go to every concert she could and hang out (and sometimes more *wink*) with rockstars. For decades, Rita has built relationships with rockstars that wrote classics, and she has the stories and pictures to back it up. Rita and I met on our gameshow, and I knew I needed her to come on Lit Hein and tell her juicy and hilarious stories. Check out her book, Once Upon a Rockstar, but reach out to me or Rita to buy a copy directly from her! Support your local rock goddess ;)

How do you win your battles in a world set against you? Join us at we look at the story of a man who went from coward to conquerer, by the Spirit of God ⚔️

Our King and the Kingdom, part 1. Right at the beginning of Jesus's ministry he has an encounter with Satan in a high place, but our King is obedient, and conquers the enemy. By Oli Stevens.

Sun, 11 Feb 2024 12:00:00 -0700

The Gents start reflecting on how fast the year has flown by as they take in all the holiday festivities before they start breaking down movies in this week's podcast episode. They open up the show with the instigating movie that the Daily Wire released earlier this month, Lady Ballers (7:40), a comedy film that challenges the conflict with transgender athletes. Though the film is targeting, the Gents also point out that this topic has been done before when it comes to television and film. The Gents also celebrate how Japan keeps winning this year with two releases they had this month Godzilla Minus One and Boy and the Blue Heron both winning their opening weeks at the box office (21:00). A breaking news segment comes across TV's attention that is critical to the MCU (30:25), with Jonathan Majors fired from Disney; what will become of Kang the Conquerer? EstoBro acknowledges the Wonka film that is a prequel to the epic of Charlie and the Chocolate Factory (35:00), and the latest installments contribution to the legacy of the original Gene Wilder film. Even though it is not movie-related, EstoBro also reminds TV that Netflix has finally released the YuYu Hakusho live-action series that debuted last week (41:15), and the anime fans are really happy about it. Finally, the Gents wrap the episode by talking about Christmas films that are the movies that are not truly celebrated on Christmas (56:00) but are cult classics in households by each family's traditions. Interact with the Gents of the podcast on the following social media platforms:TwitterInstagramFacebookTumblrEmail: estobrotvpod@gmail.com

Welcome back, Cromrades! Here we revisit Robert E. Howard's "Hour of the Dragon," which you may also know as "Conan the Conquerer!" This is REH's only novel-length Conan story, so we only get through about the front half of the book! It's a heck of a tale, and we hope you join us for this episode alongside the second episode that will drop in coming weeks!One ThingsJon: Rock tumbling is a hell of

After a fateful near-miss, a patreon supporter joins a collection of nutty podcasters under the super-shady name of Task Force (se)X as they are dropped off on a remote, starfish-infused island. On Episode 592 of Trick or Treat Radio it's time for another Patreon Takeover! Joining us this time is old friend Evil Corny who selected the films The Killer from David Fincher, and The Suicide Squad from James Gunn for us to discuss! We also talk about comic book to film adaptations, 80s vs 90s slashers, and the effect expectations can have on your viewing experience! So grab a muzzled nerf gun, put on some ridiculously colorful outfit, and strap on for the world's most dangerous podcast!Stuff we talk about: Beetlejuice II, Thanksgiving 2, Eli Roth, Tristar, RIP Francis Sternhagen, Stephen King, Tryptophan Man, Mystery Men, Patrick Dempsey, Can't Buy My Love, Loverboy, 80s slashers vs. 90s slashers, Inglourious Basterds, Death Wish, Fin, Stephen Scarlata, Botox, Gina Gershon, Fall of the House of Usher, Mike Flanagan, Test, Toby Poser, Planes Trains and Automobiles, The Pootie Tang, Gen V, Tek Knight, Patreon Takeover, Evil Corny, From the Canopy Podcast, Todd McFarlane, Spawn Reboot, Silent Night, Aquaman, Night Swim, Wyatt Russell, Dune 2, Different Strokes, David Fincher, Fight Club, Se7en, Mindhunter, Alien 3, Dark Phoenix, Taika Waititi, Next Goal Wins, Brad Pitt, The Killer, film noir, Day of the Jackyl, Ichi the Killer, Charles Parnell, Tilda Swinton, Arliss Howard, Full Metal Jacket, Trent Reznor, Mank, sitcom TV names, Dexter Morgan, The Suicide Squad, James Gunn, John Cena, Joel Kinnaman, King Shark, Peacemaker, Metallica, Charles Band, Bloodsport, Idris Elba, Will Smith, Margot Robbie, Michael Rooker, Lloyd Kaufman, Franco Nero, The Visitor, Starro the Conquerer, Kaiju, Sylvester Stallone, Buttcrack, Batpussy, Fatty Drives the Bus, Dylan Dog, Toxic Avenger, Uncle Buck or Home Alone, Alice, Onyx the Fortuitious and the Talisman of Souls, It's a Wonderful Knife, Tyler McIntyre, Task Force Sex, and Binging and Splurging.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

Today we learn about one polish town's bus route to Hell, the wealthy widow who tried to build a ghost-proof house, and the strange adventure of William the Conquerer's earthly remains.   Show Links Website Sources   Credits Narrated and executive produced by Aaron Mahnke, with Robin Miniter as Senior Producer, research and writing help from the Grim & Mild team, and audio production from Otis Gray.

Download the Volley.FM app for more short daily shows!

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

We continue our miniseries on the 1980s movies distributed by Miramax Films, with a look at the films released in 1988. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we finally continue with the next part of our look back at the 1980s movies distributed by Miramax Films, specifically looking at 1988.   But before we get there, I must issue another mea culpa. In our episode on the 1987 movies from Miramax, I mentioned that a Kiefer Sutherland movie called Crazy Moon never played in another theatre after its disastrous one week Oscar qualifying run in Los Angeles in December 1987.   I was wrong.   While doing research on this episode, I found one New York City playdate for the film, in early February 1988. It grossed a very dismal $3200 at the 545 seat Festival Theatre during its first weekend, and would be gone after seven days.   Sorry for the misinformation.   1988 would be a watershed year for the company, as one of the movies they acquired for distribution would change the course of documentary filmmaking as we knew it, and another would give a much beloved actor his first Academy Award nomination while giving the company its first Oscar win.   But before we get to those two movies, there's a whole bunch of others to talk about first.   Of the twelve movies Miramax would release in 1988, only four were from America. The rest would be a from a mixture of mostly Anglo-Saxon countries like the UK, Canada, France and Sweden, although there would be one Spanish film in there.   Their first release of the new year, Le Grand Chemin, told the story of a timid nine-year-old boy from Paris who spends one summer vacation in a small town in Brittany. His mother has lodged the boy with her friend and her friend's husband while Mom has another baby. The boy makes friends with a slightly older girl next door, and learns about life from her.   Richard Bohringer, who plays the friend's husband, and Anémone, who plays the pregnant mother, both won Cesars, the French equivalent to the Oscars, in their respective lead categories, and the film would be nominated for Best Foreign Language Film of 1987 by the National Board of Review. Miramax, who had picked up the film at Cannes several months earlier, waited until January 22nd, 1988, to release it in America, first at the Paris Theatre in midtown Manhattan, where it would gross a very impressive $41k in its first three days. In its second week, it would drop less than 25% of its opening weekend audience, bringing in another $31k. But shortly after that, the expected Oscar nomination for Best Foreign Language Film did not come, and business on the film slowed to a trickle. But it kept chugging on, and by the time the film finished its run in early June, it had grossed $541k.   A week later, on January 29th, Miramax would open another French film, Light Years. An animated science fiction film written and directed by René Laloux, best known for directing the 1973 animated head trip film Fantastic Planet, Light Years was the story of an evil force from a thousand years in the future who begins to destroy an idyllic paradise where the citizens are in perfect harmony with nature.   In its first three days at two screens in Los Angeles and five screens in the San Francisco Bay Area, Light Years would gross a decent $48,665. Miramax would print a self-congratulating ad in that week's Variety touting the film's success, and thanking Isaac Asimov, who helped to write the English translation, and many of the actors who lent their vocal talents to the new dub, including Glenn Close, Bridget Fonda, Jennifer Grey, Christopher Plummer, and Penn and Teller. Yes, Teller speaks. The ad was a message to both the theatre operators and the major players in the industry. Miramax was here. Get used to it.   But that ad may have been a bit premature.   While the film would do well in major markets during its initial week in theatres, audience interest would drop outside of its opening week in big cities, and be practically non-existent in college towns and other smaller cities. Its final box office total would be just over $370k.   March 18th saw the release of a truly unique film.    Imagine a film directed by Robert Altman and Bruce Beresford and Jean-Luc Godard and Derek Jarman and Franc Roddam and Nicolas Roeg and Ken Russell and Charles Sturridge and Julien Temple. Imagine a film that starred Beverly D'Angelo, Bridget Fonda in her first movie, Julie Hagerty, Buck Henry, Elizabeth Hurley and John Hurt and Theresa Russell and Tilda Swinton. Imagine a film that brought together ten of the most eclectic filmmakers in the world doing four to fourteen minute short films featuring the arias of some of the most famous and beloved operas ever written, often taken out of their original context and placed into strange new places. Like, for example, the aria for Verdi's Rigoletto set at the kitschy Madonna Inn in San Luis Obispo, where a movie producer is cheating on his wife while she is in a nearby room with a hunky man who is not her husband. Imagine that there's almost no dialogue in the film. Just the arias to set the moments.   That is Aria.   If you are unfamiliar with opera in general, and these arias specifically, that's not a problem. When I saw the film at the Nickelodeon Theatre in Santa Cruz in June 1988, I knew some Wagner, some Puccini, and some Verdi, through other movies that used the music as punctuation for a scene. I think the first time I had heard Nessun Dorma was in The Killing Fields. Vesti La Giubba in The Untouchables. But this would be the first time I would hear these arias as they were meant to be performed, even if they were out of context within their original stories. Certainly, Wagner didn't intend the aria from Tristan und Isolde to be used to highlight a suicide pact between a young couple killing themselves in a Las Vegas hotel bathroom.   Aria definitely split critics when it premiered at the 1987 Cannes Film Festival, when it competed for the festival's main prize, the Palme D'Or. Roger Ebert would call it the first MTV opera and felt the filmmakers were poking fun at their own styles, while Leonard Maltin felt most of the endeavor was a waste of time. In the review for the New York Times, Janet Maslin would also make a reference to MTV but not in a positive way, and would note the two best parts of the film were the photo montage that is seen over the end credits, and the clever licensing of Chuck Jones's classic Bugs Bunny cartoon What's Opera, Doc, to play with the film, at least during its New York run. In the Los Angeles Times, the newspaper chose one of its music critics to review the film. They too would compare the film to MTV, but also to Fantasia, neither reference meant to be positive.   It's easy to see what might have attracted Harvey Weinstein to acquire the film.   Nudity.   And lots of it.   Including from a 21 year old Hurley, and a 22 year old Fonda.   Open at the 420 seat Ridgemont Theatre in Seattle on March 18th, 1988, Aria would gross a respectable $10,600. It would be the second highest grossing theatre in the city, only behind The Unbearable Lightness of Being, which grossed $16,600 in its fifth week at the 850 seat Cinerama Theatre, which was and still is the single best theatre in Seattle. It would continue to do well in Seattle, but it would not open until April 15th in Los Angeles and May 20th in New York City.   But despite some decent notices and the presence of some big name directors, Aria would stiff at the box office, grossing just $1.03m after seven months in theatres.   As we discussed on our previous episode, there was a Dennis Hopper movie called Riders on the Storm that supposedly opened in November 1987, but didn't. It did open in theatres in May of 1988, and now we're here to talk about it.   Riders on the Storm would open in eleven theatres in the New York City area on May 7th, including three theatres in Manhattan. Since Miramax did not screen the film for critics before release, never a good sign, the first reviews wouldn't show up until the following day, since the critics would actually have to go see the film with a regular audience. Vincent Canby's review for the New York Times would arrive first, and surprisingly, he didn't completely hate the film. But audiences didn't care. In its first weekend in New York City, Riders on the Storm would gross an anemic $25k. The following Friday, Miramax would open the film at two theatres in Baltimore, four theatres in Fort Worth TX (but surprisingly none in Dallas), one theatre in Los Angeles and one theatre in Springfield OH, while continuing on only one screen in New York. No reported grosses from Fort Worth, LA or Springfield, but the New York theatre reported ticket sales of $3k for the weekend, a 57% drop from its previous week, while the two in Baltimore combined for $5k.   There would be more single playdates for a few months. Tampa the same week as New York. Atlanta, Charlotte, Des Moines and Memphis in late May. Cincinnati in late June. Boston, Calgary, Ottawa and Philadelphia in early July. Greenville SC in late August. Evansville IL, Ithaca NY and San Francisco in early September. Chicago in late September. It just kept popping up in random places for months, always a one week playdate before heading off to the next location. And in all that time, Miramax never reported grosses. What little numbers we do have is from the theatres that Variety was tracking, and those numbers totaled up to less than $30k.   Another mostly lost and forgotten Miramax release from 1988 is Caribe, a Canadian production that shot in Belize about an amateur illegal arms trader to Central American terrorists who must go on the run after a deal goes down bad, because who wants to see a Canadian movie about an amateur illegal arms trader to Canadian terrorists who must go on the run in the Canadian tundra after a deal goes down bad?   Kara Glover would play Helen, the arms dealer, and John Savage as Jeff, a British intelligence agent who helps Helen.   Caribe would first open in Detroit on May 20th, 1988. Can you guess what I'm going to say next?   Yep.   No reported grosses, no theatres playing the film tracked by Variety.   The following week, Caribe opens in the San Francisco Bay Area, at the 300 seat United Artists Theatre in San Francisco, and three theatres in the South Bay. While Miramax once again did not report grosses, the combined gross for the four theatres, according to Variety, was a weak $3,700. Compare that to Aria, which was playing at the Opera Plaza Cinemas in its third week in San Francisco, in an auditorium 40% smaller than the United Artist, grossing $5,300 on its own.   On June 3rd, Caribe would open at the AMC Fountain Square 14 in Nashville. One show only on Friday and Saturday at 11:45pm. Miramax did not report grosses. Probably because people we going to see Willie Tyler and Lester at Zanie's down the street.   And again, it kept cycling around the country, one or two new playdates in each city it played in. Philadelphia in mid-June. Indianapolis in mid-July. Jersey City in late August. Always for one week, grosses never reported.   Miramax's first Swedish release of the year was called Mio, but this was truly an international production. The $4m film was co-produced by Swedish, Norwegian and Russian production companies, directed by a Russian, adapted from a Swedish book by an American screenwriter, scored by one of the members of ABBA, and starring actors from England, Finland, Norway, Russia, Sweden and the United States.   Mio tells the story of a boy from Stockholm who travels to an otherworldly fantasy realm and frees the land from an evil knight's oppression. What makes this movie memorable today is that Mio's best friend is played by none other than Christian Bale, in his very first film.   The movie was shot in Moscow, Stockholm, the Crimea, Scotland, and outside Pripyat in the Northern part of what is now Ukraine, between March and July 1986. In fact, the cast and crew were shooting outside Pripyat on April 26th, when they got the call they needed to evacuate the area. It would be hours later when they would discover there had been a reactor core meltdown at the nearby Chernobyl Nuclear Power Plant. They would have to scramble to shoot in other locations away from Ukraine for a month, and when they were finally allowed to return, the area they were shooting in deemed to have not been adversely affected by the worst nuclear power plant accident in human history,, Geiger counters would be placed all over the sets, and every meal served by craft services would need to be read to make sure it wasn't contaminated.   After premiering at the Moscow Film Festival in July 1987 and the Norwegian Film Festival in August, Mio would open in Sweden on October 16th, 1987. The local critics would tear the film apart. They hated that the filmmakers had Anglicized the movie with British actors like Christopher Lee, Susannah York, Christian Bale and Nicholas Pickard, an eleven year old boy also making his film debut. They also hated how the filmmakers adapted the novel by the legendary Astrid Lindgren, whose Pippi Longstocking novels made her and her works world famous. Overall, they hated pretty much everything about it outside of Christopher Lee's performance and the production's design in the fantasy world.   Miramax most likely picked it up trying to emulate the success of The Neverending Story, which had opened to great success in most of the world in 1984. So it might seem kinda odd that when they would open the now titled The Land of Faraway in theatres, they wouldn't go wide but instead open it on one screen in Atlanta GA on June 10th, 1988. And, once again, Miramax did not report grosses, and Variety did not track Atlanta theatres that week. Two weeks later, they would open the film in Miami. How many theatres? Can't tell you. Miramax did not report grosses, and Variety was not tracking any of the theatres in Miami playing the film. But hey, Bull Durham did pretty good in Miami that week.   The film would next open in theatres in Los Angeles. This time, Miramax bought a quarter page ad in the Los Angeles Times on opening day to let people know the film existed. So we know it was playing on 18 screens that weekend. And, once again, Miramax did not report grosses for the film. But on the two screens it played on that Variety was tracking, the combined gross was just $2,500.   There'd be other playdates. Kansas City and Minneapolis in mid-September. Vancouver, BC in early October. Palm Beach FL in mid October. Calgary AB and Fort Lauderdale in late October. Phoenix in mid November. And never once did Miramax report any grosses for it.   One week after Mio, Miramax would release a comedy called Going Undercover.   Now, if you listened to our March 2021 episode on Some Kind of Wonderful, you may remember be mentioning Lea Thompson taking the role of Amanda Jones in that film, a role she had turned down twice before, the week after Howard the Duck opened, because she was afraid she'd never get cast in a movie again. And while Some Kind of Wonderful wasn't as big a film as you'd expect from a John Hughes production, Thompson did indeed continue to work, and is still working to this day.   So if you were looking at a newspaper ad in several cities in June 1988 and saw her latest movie and wonder why she went back to making weird little movies.   She hadn't.   This was a movie she had made just before Back to the Future, in August and September 1984.   Originally titled Yellow Pages, the film starred film legend Jean Simmons as Maxine, a rich woman who has hired Chris Lemmon's private investigator Henry Brilliant to protect her stepdaughter Marigold during her trip to Copenhagen.   The director, James Clarke, had written the script specifically for Lemmon, tailoring his role to mimic various roles played by his famous father, Jack Lemmon, over the decades, and for Simmons. But Thompson was just one of a number of young actresses they looked at before making their casting choice.   Half of the $6m budget would come from a first-time British film producer, while the other half from a group of Danish investors wanting to lure more Hollywood productions to their area.   The shoot would be plagued by a number of problems. The shoot in Los Angeles coincided with the final days of the 1984 Summer Olympics, which would cut out using some of the best and most regularly used locations in the city, and a long-lasting heat wave that would make outdoor shoots unbearable for cast and crew. When they arrived in Copenhagen at the end of August, Denmark was going through an unusually heavy storm front that hung around for weeks.   Clarke would spend several months editing the film, longer than usual for a smaller production like this, but he in part was waiting to see how Back to the Future would do at the box office. If the film was a hit, and his leading actress was a major part of that, it could make it easier to sell his film to a distributor.   Or that was line of thinking.   Of course, Back to the Future was a hit, and Thompson received much praise for her comedic work on the film.   But that didn't make it any easier to sell his film.   The producer would set the first screenings for the film at the February 1986 American Film Market in Santa Monica, which caters not only to foreign distributors looking to acquire American movies for their markets, but helps independent filmmakers get their movies seen by American distributors.   As these screenings were for buyers by invitation only, there would be no reviews from the screenings, but one could guess that no one would hear about the film again until Miramax bought the American distribution rights to it in March 1988 tells us that maybe those screenings didn't go so well.   The film would get retitled Going Undercover, and would open in single screen playdates in Atlanta, Cincinnati, Dallas, Indianapolis, Los Angeles, Nashville, Orlando, St. Louis and Tampa on June 17th. And as I've said too many times already, no reported grosses from Miramax, and only one theatre playing the film was being tracked by Variety, with Going Undercover earning $3,000 during its one week at the Century City 14 in Los Angeles.   In the June 22nd, 1988 issue of Variety, there was an article about Miramax securing a $25m line of credit in order to start producing their own films. Going Undercover is mentioned in the article about being one of Miramax's releases, without noting it had just been released that week or how well it did or did not do.   The Thin Blue Line would be Miramax's first non-music based documentary, and one that would truly change how documentaries were made.   Errol Morris had already made two bizarre but entertaining documentaries in the late 70s and early 80s. Gates of Heaven was shot in 1977, about a man who operated a failing pet cemetery in Northern California's Napa Valley. When Morris told his famous German filmmaking supporter Werner Herzog about the film, Herzog vowed to eat one of the shoes he was wearing that day if Morris could actually complete the film and have it shown in a public theatre. In April 1979, just before the documentary had its world premiere at UC Theatre in Berkeley, where Morris had studied philosophy, Herzog would spend the morning at Chez Pannise, the creators of the California Cuisine cooking style, boiling his shoes for five hours in garlic, herbs and stock. This event itself would be commemorated in a documentary short called, naturally, Werner Herzog Eats His Shoe, by Les Blank, which is a must watch on its own.   Because of the success of Gates of Heaven, Morris was able to quickly find financing for his next film, Nub City, which was originally supposed to be about the number of Vernon, Florida's citizens who have “accidentally” cut off their limbs, in order to collect the insurance money. But after several of those citizens threatened to kill Morris, and one of them tried to run down his cinematographer with their truck, Morris would rework the documentary, dropping the limb angle, no pun intended, and focus on the numerous eccentric people in the town. It would premiere at the 1981 New York Film Festival, and become a hit, for a documentary, when it was released in theatres in 1982.   But it would take Morris another six years after completing Vernon, Florida, to make another film. Part of it was having trouble lining up full funding to work on his next proposed movie, about James Grigson, a Texas forensic psychiatrist whose was nicknamed Doctor Death for being an expert witness for the prosecution in death penalty cases in Texas. Morris had gotten seed money for the documentary from PBS and the Endowment for Public Arts, but there was little else coming in while he worked on the film. In fact, Morris would get a PI license in New York and work cases for two years, using every penny he earned that wasn't going towards living expenses to keep the film afloat.   One of Morris's major problems for the film was that Grigson would not sit on camera for an interview, but would meet with Morris face to face to talk about the cases. During that meeting, the good doctor suggested to the filmmaker that he should research the killers he helped put away. And during that research, Morris would come across the case of one Randall Dale Adams, who was convicted of killing Dallas police officer Robert Wood in 1976, even though another man, David Harris, was the police's initial suspect. For two years, Morris would fly back and forth between New York City and Texas, talking to and filming interviews with Adams and more than two hundred other people connected to the shooting and the trial. Morris had become convinced Adams was indeed innocent, and dropped the idea about Dr. Grigson to solely focus on the Robert Wood murder.   After showing the producers of PBS's American Playhouse some of the footage he had put together of the new direction of the film, they kicked in more funds so that Morris could shoot some re-enactment sequences outside New York City, as well as commission composer Phillip Glass to create a score for the film once it was completed. Documentaries at that time did not regularly use re-enactments, but Morris felt it was important to show how different personal accounts of the same moment can be misinterpreted or misremembered or outright manipulated to suppress the truth.   After the film completed its post-production in March 1988, The Thin Blue Line would have its world premiere at the San Francisco Film Festival on March 18th, and word quickly spread Morris had something truly unique and special on his hands. The critic for Variety would note in the very first paragraph of his write up that the film employed “strikingly original formal devices to pull together diverse interviews, film clips, photo collages, and” and this is where it broke ground, “recreations of the crime from many points of view.”   Miramax would put together a full court press in order to get the rights to the film, which was announced during the opening days of the 1988 Cannes Film Festival in early May. An early hint on how the company was going to sell the film was by calling it a “non-fiction feature” instead of a documentary.   Miramax would send Morris out on a cross-country press tour in the weeks leading up to the film's August 26th opening date, but Morris, like many documentary filmmakers, was not used to being in the spotlight themselves, and was not as articulate about talking up his movies as the more seasoned directors and actors who've been on the promotion circuit for a while. After one interview, Harvey Weinstein would send Errol Morris a note.   “Heard your NPR interview and you were boring.”   Harvey would offer up several suggestions to help the filmmaker, including hyping the movie up as a real life mystery thriller rather than a documentary, and using shorter and clearer sentences when answering a question.   It was a clear gamble to release The Thin Blue Line in the final week of summer, and the film would need a lot of good will to stand out.   And it would get it.   The New York Times was so enthralled with the film, it would not only run a review from Janet Maslin, who would heap great praise on the film, but would also run a lengthy interview with Errol Morris right next to the review. The quarter page ad in the New York Times, several pages back, would tout positive quotes from Roger Ebert, J. Hoberman, who had left The Village Voice for the then-new Premiere Magazine, Peter Travers, writing for People Magazine instead of Rolling Stone, and critics from the San Francisco Chronicle and, interestingly enough, the Dallas Morning News. The top of the ad was tagged with an intriguing tease: solving this mystery is going to be murder, with a second tag line underneath the key art and title, which called the film “a new kind of movie mystery.” Of the 15 New York area-based film critics for local newspapers, television and national magazines, 14 of them gave favorable reviews, while 1, Stephen Schiff of Vanity Fair, was ambivalent about it. Not one critic gave it a bad review.   New York audiences were hooked.   Opening in the 240 seat main house at the Lincoln Plaza Cinemas, the movie grossed $30,945 its first three days. In its second weekend, the gross at the Lincoln Plaza would jump to $31k, and adding another $27,500 from its two theatre opening in Los Angeles and $15,800 from a single DC theatre that week. Third week in New York was a still good $21k, but the second week in Los Angeles fell to $10,500 and DC to $10k. And that's how it rolled out for several months, mostly single screen bookings in major cities not called Los Angeles or New York City, racking up some of the best reviews Miramax would receive to date, but never breaking out much outside the major cities. When it looked like Santa Cruz wasn't going to play the film, I drove to San Francisco to see it, just as my friends and I had for the opening day of Martin Scorsese's The Last Temptation of Christ in mid-August. That's 75 miles each way, plus parking in San Francisco, just to see a movie. That's when you know you no longer just like movies but have developed a serious case of cinephilea. So when The Nickelodeon did open the film in late November, I did something I had never done with any documentary before.   I went and saw it again.   Second time around, I was still pissed off at the outrageous injustice heaped upon Randall Dale Adams for nothing more than being with and trusting the wrong person at the wrong time. But, thankfully, things would turn around for Adams in the coming weeks. On December 1st, it was reported that David Harris had recanted his testimony at Adams' trial, admitting he was alone when Officer Wood stopped his car. And on March 1st, 1989, after more than 15,000 people had signed the film's petition to revisit the decision, the Texas Court of Criminal Appeals overturned Adams's conviction “based largely” on facts presented in the film.   The film would also find itself in several more controversies.   Despite being named The Best Documentary of the Year by a number of critics groups, the Documentary Branch of the  Academy of Motion Pictures Arts and Sciences would not nominate the film, due in large part to the numerous reenactments presented throughout the film. Filmmaker Michael Apted, a member of the Directors Branch of the Academy, noted that the failure to acknowledge The Thin Blue Line was “one of the most outrageous things in the modern history of the Academy,” while Roger Ebert added the slight was “the worst non-nomination of the year.” Despite the lack of a nomination, Errol Morris would attend the Oscars ceremony in March 1989, as a protest for his film being snubbed.   Morris would also, several months after Adams' release, find himself being sued by Adams, but not because of how he was portrayed in the film. During the making of the film, Morris had Adams sign a contract giving Morris the exclusive right to tell Adams's story, and Adams wanted, essentially, the right to tell his own story now that he was a free man. Morris and Adams would settle out of court, and Adams would regain his life rights.   Once the movie was played out in theatres, it had grossed $1.2m, which on the surface sounds like not a whole lot of money. Adjusted for inflation, that would only be $3.08m. But even unadjusted for inflation, it's still one of the 100 highest grossing documentaries of the past forty years. And it is one of just a handful of documentaries to become a part of the National Film Registry, for being a culturally, historically or aesthetically significant film.”   Adams would live a quiet life after his release, working as an anti-death penalty advocate and marrying the sister of one of the death row inmates he was helping to exonerate. He would pass away from a brain tumor in October 2010 at a courthouse in Ohio not half an hour from where he was born and still lived, but he would so disappear from the spotlight after the movie was released that his passing wasn't even reported until June 2011.   Errol Morris would become one of the most celebrated documentarians of his generation, finally getting nominated for, and winning, an Oscar in 2003, for The Fog of War, about the life and times of Robert McNamara, Richard Nixon's Secretary of Defense during the Vietnam War era. The Fog of War would also be added to the National Film Registry in 2019. Morris would become only the third documentarian, after D.A. Pennebaker and Les Blank, to have two films on the Registry.   In 1973, the senseless killings of five members of the Alday family in Donalsonville GA made international headlines. Four years later, Canadian documentarian Tex Fuller made an award-winning documentary about the case, called Murder One. For years, Fuller shopped around a screenplay telling the same story, but it would take nearly a decade for it to finally be sold, in part because Fuller was insistent that he also be the director. A small Canadian production company would fund the $1m CAD production, which would star Henry Thomas of E.T. fame as the fifteen year old narrator of the story, Billy Isaacs.   The shoot began in early October 1987 outside Toronto, but after a week of shooting, Fuller was fired, and was replaced by Graeme Campbell, a young and energetic filmmaker for whom Murder One would be his fourth movie directing gig of the year. Details are sketchy as to why Fuller was fired, but Thomas and his mother Carolyn would voice concerns with the producers about the new direction the film was taking under its new director.   The film would premiere in Canada in May 1988. When the film did well up North, Miramax took notice and purchased the American distribution rights.   Murder One would first open in America on two screens in Los Angeles on September 9th, 1988. Michael Wilmington of the Los Angeles Times noted that while the film itself wasn't very good, that it still sprung from the disturbing insight about the crazy reasons people cross of what should be impassable moral lines.   “No movie studio could have invented it!,” screamed the tagline on the poster and newspaper key art. “No writer could have imagined it! Because what happened that night became the most controversial in American history.”   That would draw limited interest from filmgoers in Tinseltown. The two theatres would gross a combined $7k in its first three days. Not great but far better than several other recent Miramax releases in the area.   Two weeks later, on September 23rd, Miramax would book Murder One into 20 theatres in the New York City metro region, as well as in Akron, Atlanta, Charlotte, Indianpolis, Nashville, and Tampa-St. Petersburg. In New York, the film would actually get some good reviews from the Times and the Post as well as Peter Travers of People Magazine, but once again, Miramax would not report grosses for the film. Variety would note the combined gross for the film in New York City was only $25k.   In early October, the film would fall out of Variety's internal list of the 50 Top Grossing Films within the twenty markets they regularly tracked, with a final gross of just $87k. One market that Miramax deliberately did not book the film was anywhere near southwest Georgia, where the murders took place. The closest theatre that did play the film was more than 200 miles away.   Miramax would finish 1988 with two releases.   The first was Dakota, which would mark star Lou Diamond Phillips first time as a producer. He would star as a troubled teenager who takes a job on a Texas horse ranch to help pay of his debts, who becomes a sorta big brother to the ranch owner's young son, who has recently lost a leg to cancer, as he also falls for the rancher's daughter.   When the $1.1m budgeted film began production in Texas in June 1987, Phillips had already made La Bamba and Stand and Deliver, but neither had yet to be released into theatres. By the time filming ended five weeks later, La Bamba had just opened, and Phillips was on his way to becoming a star.   The main producers wanted director Fred Holmes to get the film through post-production as quickly as possible, to get it into theatres in the early part of 1988 to capitalize on the newfound success of their young star.    But that wouldn't happen.   Holmes wouldn't have the film ready until the end of February 1988, which was deemed acceptable because of the impending release of Stand and Deliver. In fact, the producers would schedule their first distributor screening of the film on March 14th, the Monday after Stand and Delivered opened, in the hopes that good box office for the film and good notices for Phillips would translate to higher distributor interest in their film, which sorta worked. None of the major studios would show for the screening, but a number of Indies would, including Miramax. Phillips would not attend the screening, as he was on location in New Mexico shooting Young Guns.   I can't find any reason why Miramax waited nearly nine months after they acquired Dakota to get it into theatres. It certainly wasn't Oscar bait, and screen availability would be scarce during the busy holiday movie season, which would see a number of popular, high profile releases like Dirty Rotten Scoundrels, Ernest Saves Christmas, The Naked Gun, Rain Man, Scrooged, Tequila Sunrise, Twins and Working Girl. Which might explain why, when Miramax released the film into 18 theatres in the New York City area on December 2nd, they could only get three screens in all of Manhattan, the best being the nice but hardly first-rate Embassy 4 at Broadway and 47th. Or of the 22 screens in Los Angeles opening the film the same day, the best would be the tiny Westwood 4 next to UCLA or the Paramount in Hollywood, whose best days were back in the Eisenhower administration.   And, yet again, Miramax did not report grosses, and none of the theatres playing the film was tracked by Variety that week. The film would be gone after just one week. The Paramount, which would open Dirty Rotten Scoundrels on the 14th, opted to instead play a double feature of Clara's Heart, with Whoopi Goldberg and Neil Patrick Harris, and the River Phoenix drama Running on Empty, even though neither film had been much of a hit.   Miramax's last film of the year would be the one that changed everything for them.   Pelle the Conquerer.   Adapted from a 1910 Danish book and directed by Billie August, whose previous film Twist and Shout had been released by Miramax in 1986, Pelle the Conquerer would be the first Danish or Swedish movie to star Max von Sydow in almost 15 years, having spent most of the 70s and 80s in Hollywood and London starring in a number of major movies including The Exorcist, Three Days of the Condor, Flash Gordon,Conan the Barbarian, Never Say Never Again, and David Lynch's Dune. But because von Sydow would be making his return to his native cinema, August was able to secure $4.5m to make the film, one of the highest budgeted Scandinavian films to be made to date.   In the late 1850s, an elderly emigrant Lasse and his son Pelle leave their home in Sweden after the death of the boy's mother, wanting to build a new life on the Danish island of Bornholm. Lasse finds it difficult to find work, given his age and his son's youth. The pair are forced to work at a large farm, where they are generally mistreated by the managers for being foreigners. The father falls into depression and alcoholism, the young boy befriends one of the bastard children of the farm owner as well as another Swedish farm worker, who dreams of conquering the world.   For the title character of Pelle, Billie August saw more than 3,000 Swedish boys before deciding to cast 11 year old Pelle Hvenegaard, who, like many boys in Sweden, had been named for the character he was now going to play on screen.   After six months of filming in the summer and fall of 1986, Billie August would finish editing Pelle the Conquerer in time for it to make its intended Christmas Day 1987 release date in Denmark and Sweden, where the film would be one of the biggest releases in either country for the entire decade. It would make its debut outside Scandinavia at the Cannes Film Festival in May 1988, where it had been invited to compete for the Palme D'Or. It would compete against a number of talented filmmakers who had come with some of the best films they would ever make, including Clint Eastwood with Bird, Claire Denis' Chocolat, István Szabó's Hanussen, Vincent Ward's The Navigator, and A Short Film About Killing, an expanded movie version of the fifth episode in Krzysztof Kieślowski's masterful miniseries Dekalog. Pelle would conquer them all, taking home the top prize from one of cinema's most revered film festivals.   Reviews for the film out of Cannes were almost universally excellent. Vincent Canby, the lead film critic for the New York Times for nearly twenty years by this point, wouldn't file his review until the end of the festival, in which he pointed out that a number of people at the festival were scandalized von Sydow had not also won the award for Best Actor.   Having previously worked with the company on his previous film's American release, August felt that Miramax would have what it took to make the film a success in the States.   Their first moves would be to schedule the film for a late December release, while securing a slot at that September's New York Film Festival. And once again, the critical consensus was highly positive, with only a small sampling of distractors.   The film would open first on two screens at the Lincoln Plaza Cinemas in midtown Manhattan on Wednesday, December 21st, following by exclusive engagements in nine other cities including Los Angeles, Philadelphia, San Francisco, Seattle and Washington DC, on the 23rd. But the opening week numbers weren't very good, just $46k from ten screens. And you can't really blame the film's two hour and forty-five minute running time. Little Dorrit, the two-part, four hour adaptation of the Charles Dickens novel, had been out nine weeks at this point and was still making nearly 50% more per screen.   But after the new year, when more and more awards were hurled the film's way, including the National Board of Review naming it one of the best foreign films of the year and the Golden Globes awarding it their Best Foreign Language trophy, ticket sales would pick up.   Well, for a foreign film.   The week after the Motion Picture Academy awarded Pelle their award for Best Foreign Language Film, business for the film would pick up 35%, and a third of its $2m American gross would come after that win.   One of the things that surprised me while doing the research for this episode was learning that Max von Sydow had never been nominated for an Oscar until he was nominated for Best Actor for Pelle the Conquerer. You look at his credits over the years, and it's just mind blowing. The Seventh Seal. Wild Strawberries. The Virgin Spring. The Greatest Story Ever Told. The Emigrants. The Exorcist. The Three Days of the Condor. Surely there was one performance amongst those that deserved recognition.   I hate to keep going back to A24, but there's something about a company's first Oscar win that sends that company into the next level. A24 didn't really become A24 until 2016, when three of their movies won Oscars, including Brie Larson for Best Actress in Room. And Miramax didn't really become the Miramax we knew and once loved until its win for Pelle.   Thank you for joining us. We'll talk again soon, when Episode 117, the fifth and final part of our miniseries on Miramax Films, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Today on the show we have actor, producer, and director Kevin Sorbo. Kevin spent 3 years traveling around the world, modeling for print ads and appearing in over 150 commercials, before becoming a full-fledged international TV star when he was cast as the lead role in the immensely popular series, Hercules: The Legendary Journeys.In the mid-90s, Hercules became the most-watched television show in the world.Kevin also guest-starred as Hercules in episodes of the successful spin-off series Xena: Warrior Princess as well as providing his voice to the animated Hercules films.In 1997 Kevin accepted his first leading film role in the fantasy action feature Kull the Conquerer.Kevin guest-starred on the sitcom Two and a Half Men and played a recurring role in the final season of The O.C. One glimpse at Kevin's IMDB and it's clear that this hard-working actor takes no breaks! In addition to his work onscreen, Kevin now also produces films, recently serving as Executive Producer and star of the movie Abel's Field.Kevin recently authored the widely praised book, True Strength, which recounts the painful recovery from serious health setbacks that changed his life during his Hercules years.We discuss what he looks for in movies today, his years on Hercules and Andromeda, directing indie films and how he too was a victim of Hollywood accounting when it came time to get paid backend on Hercules: The Legendary Journeys.Enjoy my eye-opening and entertaining conversation with Kevin Sorbo.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/2881148/advertisement

Case of the Mondays... 83/67, Sun, clouds, maybe rain. Sun up - 6:26AM, Sun down - 8:48PM.   Novak Djokovic won the French Open again, which nets him the record of most Grand Slam singles wins in tennis. And France loses again.     Interested in sponsoring this podcast? ---> channelochoproductions@gmail.com Need Voice Over greatness for your business, project or production? ---> kevincheathamvo.com

Episode 147!! Talking Gaming, DC's Swimsuit edition and how important villains are to movies. We also talk MK 1's release, Zelda Tears of the Kingdom, and the most recent saga of the Microsoft/Activision Blizzard merger. Deadpools place in superhero movies in general.Kang the Conquerer & Arnold being named "Head of Action" at Netflix.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/4372557/advertisement

“Stone Cold Slaparoonies.” In this episode, Kevin put Mac Demarco's One Wayne G on trial for breaking his precious “Views Rule” and provides alternative ways to spend 9 1/2 hours. The guys discuss the merits of choruses in songs and debate the use of the term “Gunting.” Plus they play an amazing lineup of new songs from incredible artists. Songs Played In This Episode: Generationals - Dirt Diamond from Heatherhead out June 2nd on Polyvinyl Hippo Campus - Honeysuckle from Wasteland out now via Grand Jury Music Summer Like The Season - Mental from Aggregator out June 1st on Earth Libraries Beach Fossils - Don't Fade Away from the album Bunny out June 2nd on Bayonet Angelo De Augustine - Another Universe from Toil and Trouble out June 30th via Asthmatic Kitty Records William the Conqueror - Somebody Else from Excuse Me While I Vanish out July 28th via Chrysalis Records Photo Credits: Generationals by POND Creative Hippo Campus by Pooneh Ghana Summer Like The Season by Toko Shiiki Beach Fossils by Hana Mendel Angelo De Augustine by Pooneh Ghana William the Conquerer by @WetheDee Listen to our Official Best Song Ever playlist. Presented by Planet Ant Podcasts (planetant.com) & Offshelf (offshelf.net)

God is for us! This is a powerful truth that we as believers need to grab a hold of. This means we are inseparable from God. It means that everything in your life is working for you. It means you are more than a conquerer. It means you can be victorious in life today not just when you get to heaven. 

From time to time I will perform a classic Poe just for you, my friends. Enjoy it!Get Cool Merchandise https://weeklyspooky.storenvy.comContact Us/Submit a Storytwitter.com/WeeklySpookyfacebook.com/WeeklySpookyWeeklySpooky@gmail.comMusic by Ray Mattis http://raymattispresents.bandcamp.comExecutive Producer Rob FieldsProduced by Daniel WilderThis episode sponsored by HenFlix.comFor everything else visit WeeklySpooky.com

Thank you for tuning into Episode 118 of Who Gives A Dram!  This week we sip on a dram of Larceny Barrel Proof Batch B522, released in May of 2022. We also preview the Season 3 finale of The Mandalorian, discuss this weekends box office #s and The Super Mario Bros Movie's historic second weekend, discuss the MCU keeping Jonathan Majors as Kang the Conquerer despite domestic abuse allegations, debate what is next for Max Holloway and I explain why I think Jake Paul vs Nate Diaz does 1 million PPV buys in August.0:00:00 - 0:17:05 - Intro + Larceny Barrel Proof B522 Initial Tasting0:17:05 - 0:27:28 - The Mandalorian Season 3 Finale Predictions0:27:28 - 0:33:19 - MCU Keeping Jonathan Majors as Kang the Conquerer Despite Accusations0:33:19 - 0:37:45 - Weekend Box Office #s & The Super Mario Bros Movies' Historic Second Weekend0:37:45 - 0:44:36 - What Is Next For Max Holloway?0:44:36 - 0:49:23 - Why I Think Jake Paul vs Nate Diaz Will Do 1 Million PPV Buys0:49:23 - 0:51:35 - Why Doing Stuff Alone Is Awesome0:51:35 - 0:59:00 - Final Larceny Barrel Proof B522 Rating + Comparison With Larceny Barrel Proof C921

Middle of the week!   69giggity/42, cloudy and a bit chilly. Sun up - 7:38AM, Sun down - 7:50PM.   First!!! I need to say that I have spent a WHOLE ENTIRE DAY without using/looking at my phone! I woke up to find my phone off and not wanting to turn on. I held and pressed all the buttons to no avail the entire day, until... I got home, googled my issue in great detail, followed the secret button mashing-holding and voíla, it came. back... on. whew!   Anywho, the US Army has revamped its "Be All You Can Be" ad campaign and this time, its with attitude and featuring Kang the Conquerer. AKA, Jonathan Majors. ;)   Interested in sponsoring this podcast? ---> channelochoproductions@gmail.com Need Voice Over greatness for your business, project or production? ---> kevincheathamvo.com

The next big bad for the MCU is Kang the Conqueror, but he's a more complicated villain than Thanos, who was just a purple alien collecting space rocks to destroy the universe. So who is Kang? Where did he come from? Why are there so many versions of him, and how bad is he really? We answer all these questions and more on this episode, so if you're too lazy to read Wikipedia we totally got you. Kang Discussion around 17:30 Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode as the not so long awaited return of Marvel, kicks off Phase five with the little guy and sometimes massive guy. Ant-man and the Wasp: Quantumania is finally here, with our first proper look at Kang the Conquerer. So of course we are talking about a subject of films that connects quite nicely from an Ant-man film. Paul Ru.... no wait that not right. Ant films. Yes we are doing Ant films. Consider the barrel scraped.Warning we will be talking SPOILERS Boaz's choice for part 1 is a childhood favourite of his, one of Pixars first films, a forgotten gem, A Bug's Life. On this one we talk about how intelligent this film is for essentially a kids film. We talk about the epic action. We talk how dire they make the situation for the ants at the beginning. Plus we talk about how surprising macabre this film is. Trust us its's true! IMDB page      FVF Social linkstwitterinstagramTikTokAs ever please enjoy.Support the show

This episode as the not so long awaited return of Marvel, kicks off Phase five with the little guy and sometimes massive guy. Ant-man and the Wasp: Quantumania is finally here, with our first proper look at Kang the Conquerer. So of course we are talking about a subject of films that connects quite nicely from an Ant-man film. Paul Ru.... no wait that not right. Ant films. Yes we are doing Ant films. Consider the barrel scraped.Warning we will be talking SPOILERSMartin's pick for this week is the first Marvel film about the little guy. On this one we talk about some of the reasons why Edgar Wright did not end up directing this film. We talk about the comedy genius that is Paul Rudds acting that frankly holds this film together. Plus we talk about the scene stealer, Michael Pena. IMDB page   FVF Social linkstwitterinstagramTikTokAs ever please enjoy.Support the show

The Marvel Cinematic Universe kicks off Phase Five with Ant-Man and the Wasp: Quantumania. Jettisoning the fleet caper energy of the first two films, the latest Scott Lang adventure finds the titular shrinking hero at odds with a new multiverse-threatening big bad: Jonathan Majors' Kang the Conquerer. Is this new chapter for Marvel a fresh start? Or a dire miscalculation? Tune in and find out our thoughts.

The MCU starts Phase 5 off with 'Ant-Man and the Wasp: Quantumania'! Scott Lang, Hope Van Dyne and the Pyms return to battle their biggest foe yet: Kang the Conquerer! So I join Geekscape's own multi-versal warlord Ian Kerner to talk about the film and compare it to the comics! What parts felt straight from the books and what parts were added to make things work on the big screen? Who is Kang and why is he really bad news for the rest of the Marvel universe? What might need to be phased out of this phase going forward? And where do these characters go from here? There's lots to talk about! You can also subscribe to the Geekscape podcast on Apple Podcasts: https://apple.co/3BVrnkW Spotify: https://spoti.fi/3H27uMH Learn more about your ad choices. Visit megaphone.fm/adchoices

"Scott Lang. Your reality, everything you're holding on to, I know how it ends." - Kang the Conquerer   Welcome to episode 153! On this episode, Infinity Bros Robbie & Isaac are on to discuss all things "Ant-Man & The Wasp: Quantumania" from Marvel Studios. Infinity Bro Robbie has some opinions on the storytelling decisions made by writer Jeff Loveness (Rick & Morty) while Infinity Bro Isaac shares his passionate insight into Jonathan Majors portrayal of Kang the Conquerer. It's a SPOILER review, so don't listen until you see the movie.     See Infinity Bro Max's Review by Clicking Here!   Support our friends at https://manyworldstavern.com and use the code "THEINFINITYBROS" when you checkout for a 10% discount!   Check out the Infinity Bros Patreon for EXCLUSIVE content, including unedited episodes, exclusive podcasts, and more!   Want to connect with the Infinity Bros Universe? Click this link --> https://linktr.ee/infinitybros   Listen to our Review of the Guardians of the Galaxy Holiday Special ---> https://podcasts.apple.com/us/podcast/the-infinity-bros-podcast/id1460090836?i=1000588053070   Listen to our Black Panther: Wakanda Forever review here ---> https://infinitybrospodcast.podbean.com/e/episode-142-black-panther-wakanda-forever-spoiler-review/   Listen to us review Season 1 of Loki here -->  https://podcasts.apple.com/us/podcast/the-infinity-bros-podcast/id1460090836?i=1000528934304   Cover Art: Artist: Jack Baumert | @Jack_baumertart (Instagram)

it's time to discuss the Conquerer, Immortus, he who remains... and Victor Timely III. Whatever you call him, KANG is here! Lance and Chris time travel into the past... (and future?) to discuss the Marvel villain's multi-dimensional origin, many namesakes, media adaptations, and we recommend some essential Kang stories. We also ask: what if we could go back in time and get a comic book that we did not get?! Comic Book Keepers is hosted by the Geekly Grind. Check out reviews and discussion on everything Geeky from Anime, Manga, Boardgames, comics, and more. www.thegeeklygrind.com The Geekly Grind @thegeeklygrind Link tree: https://linktr.ee/CBKcast Social media: Twitter @cbkcast Instagram @cbkcast Facebook Chris @dungeonheads Lance @roguesymbiote Chris's draws free D&D art which you can find and support him on Patreon, and see more of his art on Instagram Original Theme by Weston Gardner @ArcaneAnthems on Patreon

In this thirty-second episode of Learned Hands, the Official Podcast of the Westerosi Bar Association, Merry & Clint ask: Is the Seven Kingdoms a Federalist System? Which has more power, a US State or a Westerosi Realm?Our analysis this week includes:The Westerosi Seven Kingdoms are compared and contrasted with real-life federal and confederate systems back to antiquity.Your hosts have some strong words to say about James Madison, effete dork, slavery enthusiast, and the only US president to allow Canada to burn the Capitol to cinders.We evaluate the good-government bona fides of Aegon the Conquerer, Maegor the Cruel, Jaehaerys the Conciliator,  Good Queen Alysanne, Septon Barth, and others. Clint gets so amped up to talk about Federalist Papers that you can hear him vibrating with sheer glee.Maester Merry squares off in a LAWYER FIGHT against her greatest ever foe: Maester Merry.Answers to your questions about federal taxes, customs, minting, and central banking!The return of burrito analogies to explain things like the Anti-Commandeering Doctrine, the Dormant Commerce Clause, Field Preemption, and Younger Abstention (we are sorry, this is a lot). We finally update on the WBA 2023 Dues Donation Drive which is ON NOW (PAY YOUR DUES)Supplemental reading: Where do pay your duesFederalist 45, and other Federalist Papers to read at your leisure.Cold Open and Bumpers by Jimi and Ray.  Extensive audio engineering by LittleWolfBird. Intro & Outro music courtesy Sid Luscious & The Pants. Cold Open music composer Nico Maximilian, Audio source: Jamendo. None of this should be construed as legal advice OBVIOUSLY. Support the show

Some would say the 1956 movie, The Conqueror, was cursed from the beginning. It had a terrible script, an unhappy crew, and a producer, in Howard Hughes, who would soon lose his mind to obsessive compulsive disorder and any number of other unknown mental challenges. Within two years, he quit wearing clothes or cutting his nails, and would eat only three different foods - chicken, chocolate, and milk. Hughes quit bathing and bought every copy of The Conqueror for the modern-day equivalent of 120 million dollars. In order to punish himself for this commercial and critical flop, he sat alone watching it on repeat, naked in his chair, while peeing into Mason jars. Find us on all podcasting platforms. Support our podcast by becoming a patron. Visit us online.

Ant-Man and the Wasp Quantumania Trailer reveals the MCU Kang with SCARS on his face! Which Avenger gave him the scars? Stream DC's Batman: The Audio Adventures Season 2 now on HBO Max. Visit http://Brooklinen.com and get $20 off plus free shipping on orders $100+ with code INSIDEMARVEL Try BlueChew FREE by using promo code MARVEL at http://BlueChew.com -- just pay $5 shipping! Upgrade your closet with Rhone and use MARVEL to save 20% at https://www.rhone.com/MARVEL Marvel Phase 5 and the Multiverse are coming with Ant-Man and the Wasp Quantumania, and the arrival of Kang the Conquerer in the Quantum Realm! In this episode of Inside Marvel, Erik Voss and Jessica Clemons answer your biggest questions from the Quantumania trailer! Check out our sweet, sweet merch! http://www.newrockstarsmerch.com

Kevin Sorbo is an actor, director, producer, author and has also been a part of many great documentaries, like ShadowRing by our mutual friends, Free Mind Films. In 1993, Kevin emerged as a full fledged international TV star when he was cast as the lead role of Hercules in a series of TV films that would lay the groundwork for the immensely popular series, Hercules: The Legendary Journeys. Kevin also guest-starred as Hercules in episodes of the successful spin-off series Xena: Warrior Princess as well as providing his voice to the animated Hercules films. In 1997 Kevin accepted his first leading film role in the fantasy action feature Kull the Conquerer. Along the way, Kevin played characters in video games such as Mortal Kombat 4, God of War and The Conduit. Today, after being blacklisted by Hollywood, Kevin spends most of his time creating the type of films he enjoys and Hollywood no longer makes.Dr. Susan Downs is award winning filmmaker, host of the Occupy Health show and is an integrative physician. Dr. Downs has been on before to discuss her amazing documentary 'The Big Secret' and returns to discuss her new film Something Ain't Right.KEVIN SORBOWebsite: http://www.kevinsorbo.net/IMDb: https://www.imdb.com/name/nm0001757/Twitter: https://twitter.com/ksorbsInstagram: https://www.instagram.com/ksorbo/DR. SUSAN DOWNSSomething Ain't Right (Movie Trailer): https://vimeo.com/653513831 Something Ain't Right (Full Film-Password: 1390): https://vimeo.com/690001186The Big Secret (Full Film):https://www.youtube.com/watch?v=_QGPxlx0oOYThe Big Secret (Website): https://www.thebigsecretmovie.com/Radio Show: https://www.occupyhealth.com/THE RIPPLE EFFECT PODCASTWEBSITE: http://TheRippleEffectPodcast.comWebsite Host & Video Distributor: https://ContentSafe.co/SUPPORT:PATREON: https://www.patreon.com/TheRippleEffectPodcastPayPal: https://www.PayPal.com/paypalme/RvTheory6VENMO: https://venmo.com/code?user_id=3625073915201071418&created=1663262894MERCH Store: http://www.TheRippleEffectPodcastMerch.comMUSIC: https://music.apple.com/us/album/the-ripple-effect-ep/1057436436ROKFIN: https://rokfin.com/RippleEffectSPONSORS:LMNT Electrolyte Drink Mix (Free Gift With Purchase): http://DrinkLMNT.com/TheRippleEffectTHE UNIVERSITY OF REASON (Autonomy Course): https://www.universityofreason.com/a/29887/ouiRXFoLContentSafe: https://ContentSafe.co/OTHER SPONSORS:IPAK-EDU Classes (10% OFF Link): https://ipak-edu.org/?afmc=RVIPAKHealth Products & Supplements: https://shareasale.com/r.cfm?b=895844&u=3238711&m=53676&urllink=&afftrack=%22%3EVisitJohnny Larson (Artist): https://linktr.ee/johnnylarsonWATCH:ROKFIN: https://rokfin.com/RippleEffectODYSEE: https://odysee.com/@therippleeffectpodcast:dBITCHUTE: https://www.bitchute.com/channel/6bOtjURD1rds/FLOTE: https://flote.app/trepodcastRUMBLE: https://rumble.com/c/c-745495Banned.VIDEO: https://banned.video/channel/the-ripple-effect-podcastYOUTUBE: https://www.youtube.com/channel/UCVfy9MXhb5EIciYRIO9cKUwLISTEN:SPOTIFY: https://open.spotify.com/show/4lpFhHI6CqdZKW0QDyOicJGOOGLE PLAY/PODCASTS: https://podcasts.google.com/search/the%20ripple%20effect%20podcastiTUNES: http://apple.co/1xjWmlFSTITCHER RADIO: https://www.stitcher.com/show/the-ripple-effect-podcastSUBSTACK: https://TheRippleEffectPodcast.substack.com/Fringe.FM: https://fringe.fm/shows/the-ripple-effect-podcast/CONNECT:TeleGram: https://t.me/TREpodcastTWITTER: https://twitter.com/RvTheory6INSTAGRAM: https://www.instagram.com/rvtheory6/FLOTE: https://flote.app/user/RvTheory6GETTR: https://www.gettr.com/rickyvarandasPARLER: https://parler.com/#/user/RvTheory6FACEBOOK: https://www.facebook.com/TheRippleEffectPodcast/LOCALS: https://locals.com/member/RickyVarandasTHE UNION OF THE UNWANTEDLinkTree: https://linktr.ee/uotuwRSS FEED: https://uotuw.podbean.com/Merch Store: https://www.teepublic.com/stores/union-of-the-unwanted?ref_id=22643&utm_campaign=22643&utm_medium=affiliate&utm_source

William the Conquerer's youngest son, Henry, had to scheme and fight to become King of England. But his dreams of peacefully united England and Normandy would run into rocky waters. Support Noble Blood: — Bonus episodes, stickers, and scripts on Patreon — Merch! — Order Dana's book, 'Anatomy: A Love Story' and pre-order its sequel 'Immortality: A Love Story'See omnystudio.com/listener for privacy information.

Did Aegon the Conquerer prepare for the White Walkers? The reread will continue!  Join the discussion: https://www.facebook.com/BendtheKneePodcast/ ***BTK UPDATES*** Subscribe to our YouTube Page: http://www.youtube.com/c/BendtheKnee If you'd like to support the show, gain access to additional WESTEROS content, or LISTEN LIVE then hit us up at Patreon: https://www.patreon.com/bendtheknee EMAIL: BTKcast@gmail.com Support the show: https://www.patreon.com/bendthekneeSee omnystudio.com/listener for privacy information.