Podcast appearances and mentions of Delta House

April 18-24, 1998 This week Ken welcomes actor, producer, director, writer Gregory Lay. Ken and Gregory discuss growing up as a TV Guide guy, calling out sick to school for game shows, cultural markers, pop culture reflections, making the case for what you like, Press Your Luck, Classic Concentration, Savage Steve Holland, One Crazy Summer, why Late Night talk shows are totally useless now, access to stars, actors who started on TV, George Clooney, Elizabeth Shue, Michelle Pfeiffer in Delta House, Meritt Ultra Lights, pay TV channels, Break Down with Kurt Russell, being forever disturbed by Pet Semetary, The Omen, Backdraft, being terrrified of The Incredible Hulk, how people can't stop talking like Hunter S. Thompson or Jeff Goldblum when they hang out with either, failed pilot "My Dad with the President's Daughter", how we'd vote for Dabney Coleman for president, E! True Hollywood Story: Bob Crane, how the X-Files CLEARLY didn't have a plan, the fake Dukes, The Moonlighting problem,  realism vs. escapism, shows with all bad people, Shelly Long and Robert Hayes returning to sitcoms, The Brady Bunch films, how irony can be done well, The Prophecy, all the weird religious films around the turn of the Century, Presumed Innocent, when Leslie Neilson stopped being funny (hint: It's when he started to think he was funny), The Omega Man, Frankenstein, Top Gun, the 30th Anniversary of Friends, movies that don't hold up, movies that DO hold up, Steven Segal, Jurrasic Park, CGI, when stories are thrown by the wayside, how Dark City is The Matrix if it was good, being trapped in an elevator, Beyond Belief, memes, Scott Baio's complete lack of selfawareness and reality, Pumpkinhead, Stan Winston, hating crossovers, and why P. Diddy was a sack of garbage even BEFORE we learned about him being a sexual deviant assaulting waste of humanity. 

In our newest "Best of" we go back to the Summer of 2020 when we looked at a trio of television shows that looked to capitalize on the popularity of "Animal House". All three shows would premiere around the same time in Early 1979 and would all be canceled by the end of the season. Let's look back at when we talked about "Delta House", "Brothers and Sisters (1979)", and "Co-Ed Fever".

Grow Your Non-Profit CEO and Host Tamika Peters, MSM, brings you the latest insights and discussions on nonprofit success stories. Join us in this enlightening episode as Tamika sits down with Dale Mullin, Founder of Warrior Homes of Collier.Celebrating a decade of service, Mullin and his team of dedicated volunteers have transformed Warrior Homes from a pass-through organization to owning a 10-unit apartment building accommodating 20 veterans, as well as the Alpha, Bravo, and Charlie Houses, providing housing for a total of 33 men and women veterans. With $2 million raised in donations to date for The Delta House and securing a three-year loan to fund the remaining 70% for the property, Warrior Homes exemplifies dedication and innovation in nonprofit growth.Dale shares valuable advice for nonprofits, emphasizing the importance of demand for services, community engagement through focus groups and roundtables, strategic partnerships, and showcasing tangible results to stakeholders.For more information about Warrior Homes of Collier, visit wwcollier.org or email info@wwcollier.org. Tune in now to hear from Dale firsthand and gain insights into nonprofit success!At Grow Your Non-Profit, we believe in holistic, business-oriented strategies for nonprofit success. With over a decade of dedicated service, we prioritize exceeding client expectations and delivering substantial returns on investment. Join us in our mission of holistic nonprofit management.Engage in these enlightening discussions! Show your support by liking, commenting, and subscribing to the #GrowYourNonProfit YouTube Channel for thought-provoking dialogues and valuable insights that empower positive change in our communities. Support the showStay connected:

March 24-30, 1979 This week Ken welcomes writer, podcaster, and lover of all things Mego, the man behind Plaid Stallions, Brian Heiler to the show. Ken and Brian discuss Canada, how long Ken has been following Brian's work, memorizing TV Guide as a kid, being the TV Oracle, late night horror and monster movies, Crestwood books, V, tourist traps, Hollywood Museum, Slim Goodbody, Mr. Rourke as devil or angel, Fantasy Island, toothless Animal House TV rip offs, fountain pens, how small pop culture used to be, being a smoker, Canada vs US buying cigarettes, loving cigarette machines even though you don't smoke, The Frozen Dead, The Last Man on Earth, Dracula '79, Cliff Hangers, Track and Field for women by Colgate, disco, Forever Night, Silk Stalkings, Steve Guttenberg, Merv Griffin, movie parodies, George Kennedy toys, Computer Dating, Rack Toys, Bruce Villanch's song writing career, Herve Valechez, Wendy Schaal, Susan Tyrell, Pyschotronic Films, Charlton Heston, marketing cases, Aydes weight loss product, made for TV Movies, SCTV, how Buddy Cole grew out of Johnny LaRue, Scott Thompson, The King of Kensington, Guy Big, Seeing Things, Canadian sitcoms, Friday the 13th the Series, Percy Rodriguez, The Starlost, Happy Days, Star Wars rip offs, Buck Rogers, Jason of Star Command, The Dark Secrets of Harvest Home, Rene Aborgenious, jiggle TV, Charlie's Angels, Vegas, monkeys on TV, Baby I'm Back, Delta House, Carter Country, pirate satellites, lessons in irony, Barnaby Jones, why Jack Kirby IS the King, 3-D comics, Barney Miller, Brian's cop dad who isn't a cop, Times Square, pen paling with James Gregory, Turnabout, body switching, Hello Larry, being forced to watch Dallas, and Mego. 

On this episode, we do our first deep dive into the John Landis filmography, to talk about one of his lesser celebrated film, the 1985 Jeff Goldblum/Michelle Pfeiffer morbid comedy Into the Night. ----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.   Long time listeners to this show know that I am not the biggest fan of John Landis, the person. I've spoken about Landis, and especially about his irresponsibility and seeming callousness when it comes to the helicopter accident on the set of his segment for the 1983 film The Twilight Zone which took the lives of actors Vic Morrow, Myca Dinh Le and Renee Shin-Yi Chen, enough where I don't wish to rehash it once again.   But when one does a podcast that celebrates the movies of the 1980s, every once in a while, one is going to have to talk about John Landis and his movies. He did direct eight movies, one documentary and a segment in an anthology film during the decade, and several of them, both before and after the 1982 helicopter accident, are actually pretty good films.   For this episode, we're going to talk about one of his lesser known and celebrated films from the decade, despite its stacked cast.   We're talking about 1985's Into the Night.   But, as always, before we get to Into the Night, some backstory.   John David Landis was born in Chicago in 1950, but his family moved to Los Angeles when he was four months old. While he grew up in the City of Angels, he still considers himself a Chicagoan, which is an important factoid to point out a little later in his life.   After graduating from high school in 1968, Landis got his first job in the film industry the way many a young man and woman did in those days: through the mail room at a major studio, his being Twentieth Century-Fox. He wasn't all that fond of the mail room. Even since he had seen The  7th Voyage of Sinbad at the age of eight, he knew he wanted to be a filmmaker, and you're not going to become a filmmaker in the mail room. By chance, he would get a job as a production assistant on the Clint Eastwood/Telly Savalas World War II comedy/drama Kelly's Heroes, despite the fact that the film would be shooting in Yugoslavia. During the shoot, he would become friendly with the film's co-stars Don Rickles and Donald Sutherland. When the assistant director on the film got sick and had to go back to the United States, Landis positioned himself to be the logical, and readily available, replacement. Once Kelly's Heroes finished shooting, Landis would spend his time working on other films that were shooting in Italy and the United Kingdom. It is said he was a stuntman on Sergio Leone's The Good, The Bad, and The Ugly, but I'm going to call shenanigans on that one, as the film was made in 1966, when Landis was only sixteen years old and not yet working in the film industry. I'm also going to call shenanigans on his working as a stunt performer on Leone's 1968 film Once Upon a Time in the West, and Tony Richardson's 1968 film The Charge of the Light Brigade, and Peter Collinson's 1969 film The Italian Job, which also were all filmed and released into theatres before Landis made his way to Europe the first time around.   In 1971, Landis would write and direct his first film, a low-budget horror comedy called Schlock, which would star Landis as the title character, in an ape suit designed by master makeup creator Rick Baker. The $60k film was Landis's homage to the monster movies he grew up watching, and his crew would spend 12 days in production, stealing shots wherever they could  because they could not afford filming permits. For more than a year, Landis would show the completed film to any distributor that would give him the time of day, but no one was interested in a very quirky comedy featuring a guy in a gorilla suit playing it very very straight.   Somehow, Johnny Carson was able to screen a print of the film sometime in the fall of 1972, and the powerful talk show host loved it. On November 2nd, 1972, Carson would have Landis on The Tonight Show to talk about his movie. Landis was only 22 at the time, and the exposure on Carson would drive great interest in the film from a number of smaller independent distributors would wouldn't take his calls even a week earlier. Jack H. Harris Enterprises would be the victor, and they would first release Schlock on twenty screens in Los Angeles on December 12th, 1973, the top of a double bill alongside the truly schlocky Son of The Blob. The film would get a very good reception from the local press, including positive reviews from the notoriously prickly Los Angeles Times critic Kevin Thomas, and an unnamed critic in the pages of the industry trade publication Daily Variety. The film would move from market to market every few weeks, and the film would make a tidy little profit for everyone involved. But it would be four more years until Landis would make his follow-up film.   The Kentucky Fried Movie originated not with Landis but with three guys from Madison, Wisconsin who started their own theatre troop while attending the University of Wisconsin before moving it to West Los Angeles in 1971. Those guys, brothers David and Jerry Zucker, and their high school friend Jim Abrahams, had written a number of sketches for their stage shows over a four year period, and felt a number of them could translate well to film, as long as they could come up with a way to link them all together. Although they would be aware of Ken Shapiro's 1974 comedy anthology movie The Groove Tube, a series of sketches shot on videotape shown in movie theatres on the East Coast at midnight on Saturday nights, it would finally hit them in 1976, when Neal Israel's anthology sketch comedy movie TunnelVision became a small hit in theatres. That movie featured Chevy Chase and Laraine Newman, two of the stars of NBC's hit show Saturday Night Live, which was the real reason the film was a hit, but that didn't matter to Zucker, Abrahams and Zucker.   The Zucker/Abrahams/Zucker team decided they needed to not just tell potential backers about the film but show them what they would be getting. They would raise $35,000 to film a ten minute segment, but none of them had ever directed anything for film before, so they would start looking for an experienced director who would be willing to work on a movie like theirs for little to no money.   Through mutual friend Bob Weiss, the trio would meet and get to know John Landis, who would come aboard to direct the presentation reel, if not the entire film should it get funded. That segment, if you've seen Kentucky Fried Movie, included the fake trailer for Cleopatra Schwartz, a parody of blaxploitation movies. The guys would screen the presentation reel first to Kim Jorgensen, the owner of the famed arthouse theatre the Nuart here in Los Angeles, and Jorgensen loved it. He would put up part of the $650k budget himself, and he would show the reel to his friends who also ran theatres, not just in Los Angeles, whenever they were in town, and it would be through a consortium of independent movie theatre owners that Kentucky Fried Movie would get financed.   The movie would be released on August 10th, 1977, ironically the same day as another independent sketch comedy movie, Can I Do It Till I Need Glasses?, was released. But Kentucky Fried Movie would have the powerful United Artists Theatres behind them, as they would make the movie the very first release through their own distribution company, United Film Distribution. I did a three part series on UFDC back in 2021, if you'd like to learn more about them. Featuring such name actors as Bill Bixby, Henry Gibson, George Lazenby and Donald Sutherland, Kentucky Fried Movie would earn more than $7m in theatres, and would not only give John Landis the hit he needed to move up the ranks, but it would give Zucker, Abrahams and Zucker the opportunity to make their own movie. But we'll talk about Airplane! sometime in the future.   Shortly after the release of Kentuck Fried Movie, Landis would get hired to direct Animal House, which would become the surprise success of 1978 and lead Landis into directing The Blues Brothers, which is probably the most John Landis movie that will ever be made. Big, loud, schizophrenic, a little too long for its own good, and filled with a load of in-jokes and cameos that are built only for film fanatics and/or John Landis fanatics. The success of The Blues Brothers would give Landis the chance to make his dream project, a horror comedy he had written more than a decade before.   An American Werewolf in London was the right mix of comedy and horror, in-jokes and great needle drops, with some of the best practical makeup effects ever created for a movie. Makeup effects so good that, in fact, the Academy of Motion Pictures Arts and Sciences would make the occasionally given Best Makeup Effects Oscar a permanent category, and Werewolf would win that category's first competitive Oscar.   In 1982, Landis would direct Coming Soon, one of the first direct-to-home video movies ever released. Narrated by Jamie Lee Curtis, Coming Soon was, essentially, edited clips from 34 old horror and thriller trailers for movies owned by Universal, from Frankenstein and Dracula to Psycho and The Birds. It's only 55 minutes long, but the video did help younger burgeoning cineasts learn more about the history of Universal's monster movies.   And then, as previously mentioned, there was the accident during the filming of The Twilight Zone.   Landis was able to recover enough emotionally from the tragedy to direct Trading Places with Eddie Murphy and Dan Aykroyd in the winter of 1982/83, another hit that maybe showed Hollywood the public wasn't as concerned about the Twilight Zone accident as they worried it would. The Twilight Zone movie would be released three weeks after Trading Places, and while it was not that big a hit, it wasn't quite the bomb it was expected to be because of the accident.   Which brings us to Into the Night.   While Landis was working on the final edit of Trading Places, the President of Universal Pictures, Sean Daniels, contacted Landis about what his next project might be. Universal was where Landis had made Animal House, The Blues Brothers and American Werewolf, so it would not be unusual for a studio head to check up on a filmmaker who had made three recent successful films for them. Specifically, Daniels wanted to pitch Landis on a screenplay the studio had in development called Into the Night. Ron Koslow, the writer of the 1976 Sam Elliott drama Lifeguard, had written the script on spec which the studio had picked up, about an average, ordinary guy who, upon discovering his wife is having an affair, who finds himself in the middle of an international incident involving jewel smuggling out of Iran. Maybe this might be something he would be interested in working on, as it would be both right up his alley, a comedy, and something he'd never done before, a romantic action thriller.   Landis would agree to make the film, if he were allowed some leeway in casting.   For the role of Ed Okin, an aerospace engineer whose insomnia leads him to the Los Angeles International Airport in search of some rest, Landis wanted Jeff Goldblum, who had made more than 15 films over the past decade, including Annie Hall, Invasion of the Body Snatchers, The Big Chill and The Right Stuff, but had never been the lead in a movie to this point. For Diana, the jewel smuggler who enlists the unwitting Ed into her strange world, Landis wanted Michelle Pfeiffer, the gorgeous star of Grease 2 and Scarface. But mostly, Landis wanted to fill as many of supporting roles with either actors he had worked with before, like Dan Aykroyd and Bruce McGill, or filmmakers who were either contemporaries of Landis and/or were filmmakers he had admired. Amongst those he would get would be Jack Arnold, Paul Bartel, David Cronenberg, Jonathan Demme, Richard Franklin, Amy Heckerling, Colin Higgins, Jim Henson, Lawrence Kasdan, Jonathan Lynn, Paul Mazursky, Don Siegel, and Roger Vadim, as well as Jaws screenwriter Carl Gottlieb, Midnight Cowboy writer Waldo Salt, personal trainer to the stars Jake Steinfeld, music legends David Bowie and Carl Perkins, and several recent Playboy Playmates. Landis himself would be featured as one of the four Iranian agents chasing Pfeiffer's character.   While neither Perkins nor Bowie would appear on the soundtrack to the film, Landis was able to get blues legend B.B. King to perform three songs, two brand new songs as well as a cover of the Wilson Pickett classic In the Midnight Hour.   Originally scheduled to be produced by Joel Douglas, brother of Michael and son of Kirk, Into the Night would go into production on April 2nd, 1984, under the leadership of first-time producer Ron Koslow and Landis's producing partner George Folsey, Jr.   The movie would make great use of dozens of iconic Los Angeles locations, including the Beverly Wilshire Hotel, the Shubert Theatre in Century City, the Ships Coffee Shot on La Cienega, the flagship Tiffanys and Company in Beverly Hills, Randy's Donuts, and the aforementioned airport. But on Monday, April 23rd, the start of the fourth week of shooting, the director was ordered to stand trial on charges of involuntary manslaughter due to the accident on the Twilight Zone set. But the trial would not start until months after Into the Night was scheduled to complete its shoot. In an article about the indictment printed in the Los Angeles Times two days later, Universal Studios head Sean Daniels was insistent the studio had made no special plans in the event of Landis' possible conviction. Had he been found guilty of involuntary manslaughter, Landis was looking at up to six years in prison.   The film would wrap production in early June, and Landis would spend the rest of the year in an editing bay on the Universal lot with his editor, Malcolm Campbell, who had also cut An American Werewolf in London, Trading Places, the Michael Jackson Thriller short film, and Landis's segment and the Landis-shot prologue to The Twilight Zone.   During this time, Universal would set a February 22nd, 1985 release date for the film, an unusual move, as every movie Landis had made since Kentucky Fried Movie had been released during the summer movie season, and there was nothing about Into the Night that screamed late Winter.   I've long been a proponent of certain movies having a right time to be released, and late February never felt like the right time to release a morbid comedy, especially one that takes place in sunny Los Angeles. When Into the Night opened in New York City, at the Loews New York Twin at Second Avenue and 66th Street, the high in the city was 43 degrees, after an overnight low of 25 degrees. What New Yorker wants to freeze his or her butt off to see Jeff Goldblum run around Los Angeles with Michelle Pfeiffer in a light red leather jacket and a thin white t-shirt, if she's wearing anything at all? Well, actually, that last part wasn't so bad. But still, a $40,000 opening weekend gross at the 525 seat New York Twin would be one of the better grosses for all of the city. In Los Angeles, where the weather was in the 60s all weekend, the film would gross $65,500 between the 424 seat Avco Cinema 2 in Westwood and the 915 seat Cinerama Dome in Hollywood.   The reviews, like with many of Landis's films, were mixed.   Richard Corliss of Time Magazine would find the film irresistible and a sparkling thriller, calling Goldblum and Pfeiffer two of the most engaging young actors working. Peter Travers, writing for People Magazine at the time, would anoint the film with a rarely used noun in film criticism, calling it a “pip.” Travers would also call Pfeiffer a knockout of the first order, with a newly uncovered flair for comedy. Guess he hadn't seen her in the 1979 ABC spin-off of Animal House, called Delta House, in which she played The Bombshell, or in Floyd Mutrix's 1980 comedy The Hollywood Knights.    But the majority of critics would find plenty to fault with the film. The general critical feeling for the film was that it was too inside baseball for most people, as typified by Vincent Canby in his review for the New York Times. Canby would dismiss the film as having an insidey, which is not a word, manner of a movie made not for the rest of us but for the moviemakers on the Bel Air circuit who watch each other's films in their own screening room.   After two weeks of exclusive engagements in New York and Los Angeles, Universal would expand the film to 1096 screens on March 8th, where the film would gross $2.57m, putting it in fifth place for the weekend, nearly a million dollars less than fellow Universal Pictures film The Breakfast Club, which was in its fourth week of release and in ninety fewer theatres. After a fourth weekend of release, where the film would come in fifth place again with $1.95m, now nearly a million and a half behind The Breakfast Club, Universal would start to migrate the film out of first run theatres and into dollar houses, in order to make room for another film of theirs, Peter Bogdanovich's comeback film Mask, which would be itself expanding from limited release to wide release on March 22nd. Into the Night would continue to play at the second-run theatres for months, but its final gross of $7.56m wouldn't even cover the film's $8m production budget.   Despite the fact that it has both Jeff Goldblum and Michelle Pfeiffer as its leads, Into the Night would not become a cult film on home video the way that many films neglected by audiences in theatres would find a second life.   I thought the film was good when I saw it opening night at the Aptos Twin. I enjoyed the obvious chemistry between the two leads, and I enjoyed the insidey manner in which there were so many famous filmmakers doing cameos in the film. I remember wishing there was more of David Bowie, since there were very few people, actors or musicians, who would fill the screen with so much charm and charisma, even when playing a bad guy. And I enjoyed listening to B.B. King on the soundtrack, as I had just started to get into the blues during my senior year of high school.   I revisited the film, which you can rent or buy on Apple TV, Amazon and several other major streaming services, for the podcast, and although I didn't enjoy the film as much as I remember doing so in 1985, it was clear that these two actors were going to become big stars somewhere down the road. Goldblum, of course, would become a star the following year, thanks to his incredible work in David Cronenberg's The Fly. Incidentally, Goldblum and Cronenberg would meet for the first time on the set of Into the Night. And, of course, Michelle Pfeiffer would explode in 1987, thanks to her work with Susan Sarandon, Cher and Jack Nicholson in The Witches of Eastwick, which she would follow up with not one, not two but three powerhouse performances of completely different natures in 1988, in Jonathan Demme's Married to the Mob, Robert Towne's Tequila Sunrise, and her Oscar-nominated work in Stephen Frears' Dangerous Liaisons. Incidentally, Pfeiffer and Jonathan Demme would also meet for the first time on the set of Into the Night, so maybe it was kismet that all these things happened in part because of the unusual casting desires of John Landis.   Thank you for joining us. We'll talk again soon, when Episode 108, on Martha Coolidge's Valley Girl, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Into the Night.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

On this episode, we do our first deep dive into the John Landis filmography, to talk about one of his lesser celebrated film, the 1985 Jeff Goldblum/Michelle Pfeiffer morbid comedy Into the Night. ----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.   Long time listeners to this show know that I am not the biggest fan of John Landis, the person. I've spoken about Landis, and especially about his irresponsibility and seeming callousness when it comes to the helicopter accident on the set of his segment for the 1983 film The Twilight Zone which took the lives of actors Vic Morrow, Myca Dinh Le and Renee Shin-Yi Chen, enough where I don't wish to rehash it once again.   But when one does a podcast that celebrates the movies of the 1980s, every once in a while, one is going to have to talk about John Landis and his movies. He did direct eight movies, one documentary and a segment in an anthology film during the decade, and several of them, both before and after the 1982 helicopter accident, are actually pretty good films.   For this episode, we're going to talk about one of his lesser known and celebrated films from the decade, despite its stacked cast.   We're talking about 1985's Into the Night.   But, as always, before we get to Into the Night, some backstory.   John David Landis was born in Chicago in 1950, but his family moved to Los Angeles when he was four months old. While he grew up in the City of Angels, he still considers himself a Chicagoan, which is an important factoid to point out a little later in his life.   After graduating from high school in 1968, Landis got his first job in the film industry the way many a young man and woman did in those days: through the mail room at a major studio, his being Twentieth Century-Fox. He wasn't all that fond of the mail room. Even since he had seen The  7th Voyage of Sinbad at the age of eight, he knew he wanted to be a filmmaker, and you're not going to become a filmmaker in the mail room. By chance, he would get a job as a production assistant on the Clint Eastwood/Telly Savalas World War II comedy/drama Kelly's Heroes, despite the fact that the film would be shooting in Yugoslavia. During the shoot, he would become friendly with the film's co-stars Don Rickles and Donald Sutherland. When the assistant director on the film got sick and had to go back to the United States, Landis positioned himself to be the logical, and readily available, replacement. Once Kelly's Heroes finished shooting, Landis would spend his time working on other films that were shooting in Italy and the United Kingdom. It is said he was a stuntman on Sergio Leone's The Good, The Bad, and The Ugly, but I'm going to call shenanigans on that one, as the film was made in 1966, when Landis was only sixteen years old and not yet working in the film industry. I'm also going to call shenanigans on his working as a stunt performer on Leone's 1968 film Once Upon a Time in the West, and Tony Richardson's 1968 film The Charge of the Light Brigade, and Peter Collinson's 1969 film The Italian Job, which also were all filmed and released into theatres before Landis made his way to Europe the first time around.   In 1971, Landis would write and direct his first film, a low-budget horror comedy called Schlock, which would star Landis as the title character, in an ape suit designed by master makeup creator Rick Baker. The $60k film was Landis's homage to the monster movies he grew up watching, and his crew would spend 12 days in production, stealing shots wherever they could  because they could not afford filming permits. For more than a year, Landis would show the completed film to any distributor that would give him the time of day, but no one was interested in a very quirky comedy featuring a guy in a gorilla suit playing it very very straight.   Somehow, Johnny Carson was able to screen a print of the film sometime in the fall of 1972, and the powerful talk show host loved it. On November 2nd, 1972, Carson would have Landis on The Tonight Show to talk about his movie. Landis was only 22 at the time, and the exposure on Carson would drive great interest in the film from a number of smaller independent distributors would wouldn't take his calls even a week earlier. Jack H. Harris Enterprises would be the victor, and they would first release Schlock on twenty screens in Los Angeles on December 12th, 1973, the top of a double bill alongside the truly schlocky Son of The Blob. The film would get a very good reception from the local press, including positive reviews from the notoriously prickly Los Angeles Times critic Kevin Thomas, and an unnamed critic in the pages of the industry trade publication Daily Variety. The film would move from market to market every few weeks, and the film would make a tidy little profit for everyone involved. But it would be four more years until Landis would make his follow-up film.   The Kentucky Fried Movie originated not with Landis but with three guys from Madison, Wisconsin who started their own theatre troop while attending the University of Wisconsin before moving it to West Los Angeles in 1971. Those guys, brothers David and Jerry Zucker, and their high school friend Jim Abrahams, had written a number of sketches for their stage shows over a four year period, and felt a number of them could translate well to film, as long as they could come up with a way to link them all together. Although they would be aware of Ken Shapiro's 1974 comedy anthology movie The Groove Tube, a series of sketches shot on videotape shown in movie theatres on the East Coast at midnight on Saturday nights, it would finally hit them in 1976, when Neal Israel's anthology sketch comedy movie TunnelVision became a small hit in theatres. That movie featured Chevy Chase and Laraine Newman, two of the stars of NBC's hit show Saturday Night Live, which was the real reason the film was a hit, but that didn't matter to Zucker, Abrahams and Zucker.   The Zucker/Abrahams/Zucker team decided they needed to not just tell potential backers about the film but show them what they would be getting. They would raise $35,000 to film a ten minute segment, but none of them had ever directed anything for film before, so they would start looking for an experienced director who would be willing to work on a movie like theirs for little to no money.   Through mutual friend Bob Weiss, the trio would meet and get to know John Landis, who would come aboard to direct the presentation reel, if not the entire film should it get funded. That segment, if you've seen Kentucky Fried Movie, included the fake trailer for Cleopatra Schwartz, a parody of blaxploitation movies. The guys would screen the presentation reel first to Kim Jorgensen, the owner of the famed arthouse theatre the Nuart here in Los Angeles, and Jorgensen loved it. He would put up part of the $650k budget himself, and he would show the reel to his friends who also ran theatres, not just in Los Angeles, whenever they were in town, and it would be through a consortium of independent movie theatre owners that Kentucky Fried Movie would get financed.   The movie would be released on August 10th, 1977, ironically the same day as another independent sketch comedy movie, Can I Do It Till I Need Glasses?, was released. But Kentucky Fried Movie would have the powerful United Artists Theatres behind them, as they would make the movie the very first release through their own distribution company, United Film Distribution. I did a three part series on UFDC back in 2021, if you'd like to learn more about them. Featuring such name actors as Bill Bixby, Henry Gibson, George Lazenby and Donald Sutherland, Kentucky Fried Movie would earn more than $7m in theatres, and would not only give John Landis the hit he needed to move up the ranks, but it would give Zucker, Abrahams and Zucker the opportunity to make their own movie. But we'll talk about Airplane! sometime in the future.   Shortly after the release of Kentuck Fried Movie, Landis would get hired to direct Animal House, which would become the surprise success of 1978 and lead Landis into directing The Blues Brothers, which is probably the most John Landis movie that will ever be made. Big, loud, schizophrenic, a little too long for its own good, and filled with a load of in-jokes and cameos that are built only for film fanatics and/or John Landis fanatics. The success of The Blues Brothers would give Landis the chance to make his dream project, a horror comedy he had written more than a decade before.   An American Werewolf in London was the right mix of comedy and horror, in-jokes and great needle drops, with some of the best practical makeup effects ever created for a movie. Makeup effects so good that, in fact, the Academy of Motion Pictures Arts and Sciences would make the occasionally given Best Makeup Effects Oscar a permanent category, and Werewolf would win that category's first competitive Oscar.   In 1982, Landis would direct Coming Soon, one of the first direct-to-home video movies ever released. Narrated by Jamie Lee Curtis, Coming Soon was, essentially, edited clips from 34 old horror and thriller trailers for movies owned by Universal, from Frankenstein and Dracula to Psycho and The Birds. It's only 55 minutes long, but the video did help younger burgeoning cineasts learn more about the history of Universal's monster movies.   And then, as previously mentioned, there was the accident during the filming of The Twilight Zone.   Landis was able to recover enough emotionally from the tragedy to direct Trading Places with Eddie Murphy and Dan Aykroyd in the winter of 1982/83, another hit that maybe showed Hollywood the public wasn't as concerned about the Twilight Zone accident as they worried it would. The Twilight Zone movie would be released three weeks after Trading Places, and while it was not that big a hit, it wasn't quite the bomb it was expected to be because of the accident.   Which brings us to Into the Night.   While Landis was working on the final edit of Trading Places, the President of Universal Pictures, Sean Daniels, contacted Landis about what his next project might be. Universal was where Landis had made Animal House, The Blues Brothers and American Werewolf, so it would not be unusual for a studio head to check up on a filmmaker who had made three recent successful films for them. Specifically, Daniels wanted to pitch Landis on a screenplay the studio had in development called Into the Night. Ron Koslow, the writer of the 1976 Sam Elliott drama Lifeguard, had written the script on spec which the studio had picked up, about an average, ordinary guy who, upon discovering his wife is having an affair, who finds himself in the middle of an international incident involving jewel smuggling out of Iran. Maybe this might be something he would be interested in working on, as it would be both right up his alley, a comedy, and something he'd never done before, a romantic action thriller.   Landis would agree to make the film, if he were allowed some leeway in casting.   For the role of Ed Okin, an aerospace engineer whose insomnia leads him to the Los Angeles International Airport in search of some rest, Landis wanted Jeff Goldblum, who had made more than 15 films over the past decade, including Annie Hall, Invasion of the Body Snatchers, The Big Chill and The Right Stuff, but had never been the lead in a movie to this point. For Diana, the jewel smuggler who enlists the unwitting Ed into her strange world, Landis wanted Michelle Pfeiffer, the gorgeous star of Grease 2 and Scarface. But mostly, Landis wanted to fill as many of supporting roles with either actors he had worked with before, like Dan Aykroyd and Bruce McGill, or filmmakers who were either contemporaries of Landis and/or were filmmakers he had admired. Amongst those he would get would be Jack Arnold, Paul Bartel, David Cronenberg, Jonathan Demme, Richard Franklin, Amy Heckerling, Colin Higgins, Jim Henson, Lawrence Kasdan, Jonathan Lynn, Paul Mazursky, Don Siegel, and Roger Vadim, as well as Jaws screenwriter Carl Gottlieb, Midnight Cowboy writer Waldo Salt, personal trainer to the stars Jake Steinfeld, music legends David Bowie and Carl Perkins, and several recent Playboy Playmates. Landis himself would be featured as one of the four Iranian agents chasing Pfeiffer's character.   While neither Perkins nor Bowie would appear on the soundtrack to the film, Landis was able to get blues legend B.B. King to perform three songs, two brand new songs as well as a cover of the Wilson Pickett classic In the Midnight Hour.   Originally scheduled to be produced by Joel Douglas, brother of Michael and son of Kirk, Into the Night would go into production on April 2nd, 1984, under the leadership of first-time producer Ron Koslow and Landis's producing partner George Folsey, Jr.   The movie would make great use of dozens of iconic Los Angeles locations, including the Beverly Wilshire Hotel, the Shubert Theatre in Century City, the Ships Coffee Shot on La Cienega, the flagship Tiffanys and Company in Beverly Hills, Randy's Donuts, and the aforementioned airport. But on Monday, April 23rd, the start of the fourth week of shooting, the director was ordered to stand trial on charges of involuntary manslaughter due to the accident on the Twilight Zone set. But the trial would not start until months after Into the Night was scheduled to complete its shoot. In an article about the indictment printed in the Los Angeles Times two days later, Universal Studios head Sean Daniels was insistent the studio had made no special plans in the event of Landis' possible conviction. Had he been found guilty of involuntary manslaughter, Landis was looking at up to six years in prison.   The film would wrap production in early June, and Landis would spend the rest of the year in an editing bay on the Universal lot with his editor, Malcolm Campbell, who had also cut An American Werewolf in London, Trading Places, the Michael Jackson Thriller short film, and Landis's segment and the Landis-shot prologue to The Twilight Zone.   During this time, Universal would set a February 22nd, 1985 release date for the film, an unusual move, as every movie Landis had made since Kentucky Fried Movie had been released during the summer movie season, and there was nothing about Into the Night that screamed late Winter.   I've long been a proponent of certain movies having a right time to be released, and late February never felt like the right time to release a morbid comedy, especially one that takes place in sunny Los Angeles. When Into the Night opened in New York City, at the Loews New York Twin at Second Avenue and 66th Street, the high in the city was 43 degrees, after an overnight low of 25 degrees. What New Yorker wants to freeze his or her butt off to see Jeff Goldblum run around Los Angeles with Michelle Pfeiffer in a light red leather jacket and a thin white t-shirt, if she's wearing anything at all? Well, actually, that last part wasn't so bad. But still, a $40,000 opening weekend gross at the 525 seat New York Twin would be one of the better grosses for all of the city. In Los Angeles, where the weather was in the 60s all weekend, the film would gross $65,500 between the 424 seat Avco Cinema 2 in Westwood and the 915 seat Cinerama Dome in Hollywood.   The reviews, like with many of Landis's films, were mixed.   Richard Corliss of Time Magazine would find the film irresistible and a sparkling thriller, calling Goldblum and Pfeiffer two of the most engaging young actors working. Peter Travers, writing for People Magazine at the time, would anoint the film with a rarely used noun in film criticism, calling it a “pip.” Travers would also call Pfeiffer a knockout of the first order, with a newly uncovered flair for comedy. Guess he hadn't seen her in the 1979 ABC spin-off of Animal House, called Delta House, in which she played The Bombshell, or in Floyd Mutrix's 1980 comedy The Hollywood Knights.    But the majority of critics would find plenty to fault with the film. The general critical feeling for the film was that it was too inside baseball for most people, as typified by Vincent Canby in his review for the New York Times. Canby would dismiss the film as having an insidey, which is not a word, manner of a movie made not for the rest of us but for the moviemakers on the Bel Air circuit who watch each other's films in their own screening room.   After two weeks of exclusive engagements in New York and Los Angeles, Universal would expand the film to 1096 screens on March 8th, where the film would gross $2.57m, putting it in fifth place for the weekend, nearly a million dollars less than fellow Universal Pictures film The Breakfast Club, which was in its fourth week of release and in ninety fewer theatres. After a fourth weekend of release, where the film would come in fifth place again with $1.95m, now nearly a million and a half behind The Breakfast Club, Universal would start to migrate the film out of first run theatres and into dollar houses, in order to make room for another film of theirs, Peter Bogdanovich's comeback film Mask, which would be itself expanding from limited release to wide release on March 22nd. Into the Night would continue to play at the second-run theatres for months, but its final gross of $7.56m wouldn't even cover the film's $8m production budget.   Despite the fact that it has both Jeff Goldblum and Michelle Pfeiffer as its leads, Into the Night would not become a cult film on home video the way that many films neglected by audiences in theatres would find a second life.   I thought the film was good when I saw it opening night at the Aptos Twin. I enjoyed the obvious chemistry between the two leads, and I enjoyed the insidey manner in which there were so many famous filmmakers doing cameos in the film. I remember wishing there was more of David Bowie, since there were very few people, actors or musicians, who would fill the screen with so much charm and charisma, even when playing a bad guy. And I enjoyed listening to B.B. King on the soundtrack, as I had just started to get into the blues during my senior year of high school.   I revisited the film, which you can rent or buy on Apple TV, Amazon and several other major streaming services, for the podcast, and although I didn't enjoy the film as much as I remember doing so in 1985, it was clear that these two actors were going to become big stars somewhere down the road. Goldblum, of course, would become a star the following year, thanks to his incredible work in David Cronenberg's The Fly. Incidentally, Goldblum and Cronenberg would meet for the first time on the set of Into the Night. And, of course, Michelle Pfeiffer would explode in 1987, thanks to her work with Susan Sarandon, Cher and Jack Nicholson in The Witches of Eastwick, which she would follow up with not one, not two but three powerhouse performances of completely different natures in 1988, in Jonathan Demme's Married to the Mob, Robert Towne's Tequila Sunrise, and her Oscar-nominated work in Stephen Frears' Dangerous Liaisons. Incidentally, Pfeiffer and Jonathan Demme would also meet for the first time on the set of Into the Night, so maybe it was kismet that all these things happened in part because of the unusual casting desires of John Landis.   Thank you for joining us. We'll talk again soon, when Episode 108, on Martha Coolidge's Valley Girl, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Into the Night.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

In 1978, the Lord gave us National Lampoon's Animal House.  Not to be outdone, in 1979 Satan smited us with ABC's TV version, Delta House.  I had to take a closer look at this show.  I also take a few detours and talk about sharing a toilet with Meatloaf, Bob Saget's acts of kindness, silent rage and silent farts, making out with Valerie Bertinelli, and seeing Laurie Metcalf at a bookstore.  I may or may not sing some Twisted Sister.  Bon Appetit. 

On Today's Episode of "It's Radio with TV's Tim Stack" - Tim welcomes James “Jamie” Widdoes! Jamie Widdoes started out as an actor and starred as senior student and Fraternity President "Robert Hoover", alongside John Belushi, in the 1978 film, National Lampoon's National Lampoon's Animal House(1978), as well as the 1979 TV series spin-off, Delta House (1979). He was also the original Father in the NBC show, “Charles in Charge. But he eventually worked his way into directing television and has become one of the most successful, literally, in the history of TV. In all, give or take, he has directed 518 episodes of half-hour tv plus too many TV movies to mention. Including 142 episodes of “Two and A Half Men” and 133 episodes of “Mom". Host - Tim Stack Executive Producer - Jeremiah Higgins Sound Engineer - Richard "Dr. D." Dugan

SEASON 5 PREMIERE: Our 5th Season And "The Wrecks of '79" begins by going back to School to cover Not one, but THREE Ripoffs (or really, 1 Ripoff, 1 Sliver of a Ripoff, and 1 Actual Spinoff) of an All-Time Comedy Classic. Can all 3 of them make the grade? SPONSORED BY: Dave's Archives Retrocirq And Our Patrons (NOW AT NEW LOW PRICES)

March 31- April 6, 1979 This week Ken welcomes the  man behind the Pop Arena YouTube Channel and the force behind Nick Knacks, Greg Stevens to the show. Ken and Greg discuss Idaho, the I states, growing up in CA but moving to the midwest, the birth of Nickelodeon, MTV, the cutthroat nature of the cable business in the 1970s, cigarettes, shared experience, the 80s and 90s boom of VCR driven television preservation, the lost media of the 21st Century, prescient and haunting articles about Robin Williams on Mork and Mindy, the news, After School Specials, The Baby with Four Fathers, Filmation Live Action, Roller Derby, Saturday Mornings, Hollywood Teen, how the Bad News Bears TV series is the best Bad News Bears, LA's Channel 18 KSCI owned by The transcendental Medication Movement, positive programming, Dynaman, Night Flight, hatred of 80s teen comedies, Delta House, love boat, Easter programming, Kraft Food Hints, demon fruit plates, Space Junk Yard Men looking for scrap, Andy Griffith, Conversations with Charlie Lutes, WKRP, the mystery of "Slim Skins", Cliffhangers, Dracula, offensive pulp images, Taxi, Disney Cartoons, Lucha Libre, Police Woman, Night Gallery, Dear Detective and how Mr. Wizard shows you how to make giant turtles attack people. 

By Willow Hill. I interviewed Julia Stoner and got a few words from her about the history and significance of the Tri Delta house. I enjoyed hearing the research that she'd done previously during her time at Brenau, as well as researching more into the history myself.

Pass the vinaigrette, because General Mark Milley is tossing a word salad worthy of Delta House as he's grilled by Congress over the disastrous pullout from Afghanistan. Plus, useful idiot (she's legally an adult, so don't even start) Greta Thunberg whines before a global warming handshake party masquerading as a conference about how we're all eating meat and how people in the Sahara are using air conditioning, but her arguments are anything but verbose. TOP STORIES: It Gets Worse: Look Who Worked Together to Frame Donald Trump With Fake Russia Hoax West Coast, Messed Coast: Redemption Edition FBI Narrative About the Jan. 6th Capitol 'Insurrection' Is IMPLODING Here's What We Did With Our California Recall Ballots The 'F*** Joe Biden' Chant Is EVERYWHERE Portland TV Station Cancels News for One Day to Deal With 'Stress.' Did Anyone Notice? Things Just Got Worse for the Marine Who Slammed Pentagon Brass for Afghanistan Disaster in Viral Video It Starts: Dem Leader Gives Biden a Pass on Disastrous Illegal Alien Policies Because of How He Identifies More Federal Indictments Issued Against Hillary's Lawyer for Russia Hoax Op Shots Fired: Iconic Gunsmith 'Smith & Wesson' Gets the Hell Out of Springfield, Massachusetts MORE INFO: VictoriaTaft.com Victoria Taft @ PJ Media --- Support this podcast: https://anchor.fm/victoria-taft/support

PLUS: Big Dick SpaceshipsSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Let’s say you have an R-rated, crass, gross film comedy filled with subversive material, drugs, nudity, alcoholism, and many other things that would be deemed awful by society at the time but ALSO happens to be one of the biggest hit comedies of all time? Turn it into a TV show on ABC of course! We watched Delta House, the tv spinoff of National Lampoon’s Animal House! Follow The More You Nerd Visit our website and archives at themoreyounerd.comFollow us on Twitter @themoreyounerdLike us on Facebook

Ačkoliv většina herců umí alespoň průměrně zpívat, málokterý začne svou kariéru skutečně dělit mezi obě profese a v obou mít vyrovnaný úspěch. Mezi ty, kteří to dokázali, patří např. Američan Marvin Lee Aday nebo jeho kolegyně Cherilyn Sarkisian, kteří si dokonce zazpívali jednu píseň společně. Že vám ta jména nic neříkají? Možná spíše tedy jejich umělecké pseudonymy – Meat Loaf a Cher. Vznik písně Dead Ringer For Love spadá do historie amerického komediálního seriálu Delta House. Právě pro něj písničku spolu s dalšími spoluautory napsal Jim Steinman, hudební producent nejen Meata Loafa, ale také třeba Bonnie Tyler nebo později Céline Dion.

Detective Shelly meets Stacie Womack at the Delta House to discuss Saturday's party. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Actor/writer Peter Fox has written a companion piece to Eve Ensler's much-loved "Vagina Monologues." His is called the "Testicle Monologues: If These Balls Could Talk" and has been recorded with professional actors and is being live-streamed at Santa Barbara's Center Stage Theater as a fund-raising event. Much like Ensler's feminine tour de force, Peter's play is a set of loosely woven, hilarious, touching and poignant reflections on man's distinctive pair of characteristics. We talk about Fox's pandemic-induced creativity, the role of the arts in culture, the tremendous hardship, and also opportunity, faced by arts organizations - as imperiled as they are, the human hunger for the nourishment of the creative arts has reached a fever pitch. We talk about how this pent-up enthusiasm, following a fallow period for artists, could lead to a cultural flourishing not seen since the Roaring '20s. Fox grew up in the Chicago area as second of eight children, and was introduced to show business at an early age, doing modeling for department stores as well as television commercials. He went to Harvard University on a scholarship, where he participating in the famous Hasty Pudding shows. Despite his fancy degree he did not have a post-college plan, drifting into acting through bartending, where he was discovered through a very Lana Turner-at-Schwab's Deli-esque moment. He first came to acting fame through a lead role as Otter on the "Delta House" television show, then made the move into writing with a script for the show "Simon & Simon" and has written for stage and screen, including "Acts of God," which played for months in Los Angeles and was picked up by script publisher Samuel French, one of Peter's most glorious moments. Peter grew up in a cultural milieu that included his high school "frenemy" Bill Murray, as well as John Hughes, Charlton Heston, Gilda Radner and Ann Margret. In fact, a couple years ago he attended a fundraiser at Fordham University with John Prine playing, then hopped in a limo to go to Bill Murray's Christmas party further up the Hudson River. We had a surprise visitor show up during our call, who challenged the veracity of many of Peter's family stories. We did not talk about the Inuit diet, anarchist hero Nestor Mahkno or the Mississippi flyways. Further links: www.centerstagetheater.org. The show will be up til January 31 and all proceeds go to the Center Stage Theater. Candid Camera: https://www.youtube.com/watch?v=7mGlQeSbou0

Animal House starred John Belushi - and was a game changer in movie history. So less than a year after its release, ABC tried to cash in on the film's success with the sitcom: Delta House. Despite having some of the original cast members, and episodes written by the likes of John Hughes, Harold Ramis, and Doug Kenney - the show was a huge flop. It featured a laugh track, Josh Mostel filling in for Belushi, and not an ounce of raunchy humor - which made Animal House a success. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Johns have decided to pledge Delta and watch Animal House. Will they make it through double secret probation? Can they find enough sheets for the social distancing toga party? Will this classic comedy survive a litany of horribly outdated sexist and racist high jinx? Listen and find out!

How do you follow up one of the funniest and raunchiest comedies of all time? How about with a sitcom airing during the family hour [...]

It's like the Newcrest version of Delta House. Clinton decides to give his Sims 4 character some neighbors. But what fun is that if they aren't all just a bit quirky? Okay. A lot quirky. Meet Barney, Betty, Guybrush and Rusty. And discover that Clinton doesn't know how to count. BarneyBettyGuybrushReginald's house and Barney's compoundBed count >> Visit Dog Days of Podcasting>> Become a comedy4cast patron with Patreon and get episodes before everyone else!>> Follow us on Twitter>> Become a fan and comment on Facebook or MeWe>> Follow us on Instagram>> Call the Super Secret Phone Line: (360) 515-0004>> Drop us an email at podcast @ comedy4cast.com>> And be sure to check out everything happening over at The Topic is Trek, including the podcast and Clinton's reviews of "Star Trek: Discovery" episodes

The guys pit the new record from The Japanese House “Good at Falling” vs the reimagining of a classic with Mercury Rev’s “The Delta Sweete Revisited“  

Drumsticks and Delta House! It’s the College Episode of Film Loop! Darian and Victor reminisce about their favorite (or best forgotten) college memories. Victor then starts with the seminal college flick, 1978’s “Animal House.” Darian continues with “All That” alum Nick Cannon’s 2002 dramedy, “Drumline.” Be true to your pod and listen now! ANNOUNCEMENTS Film Loop Slack Team Talk about the latest films and cinema news with us and fellow Film Nerds every day on Slack! Invite link here: www.filmloopshow.com/slack   Film Loop: Season 2 Spotify Playlist Picks   Darian’s Pick “Let’s Go” - Big D, Lil Jon, Twista Victor’s Pick “Louie Louie” - The Kingsmen   Listen here: https://spoti.fi/2LSrw3t REFERENCES AND LINKS “Animal House” Trailer - https://www.youtube.com/watch?v=KWjtI6n5xWM   “A Futile and Stupid Gesture” Trailer - https://www.youtube.com/watch?v=L7aFokcAal8   Trailers From Hell - “Animal House” - https://www.youtube.com/watch?v=A5AHvdCEj8k   Drumline Trailer - https://www.youtube.com/watch?v=3J_LqCnPvgI   Drumline: A New Beat TV Series - https://www.youtube.com/watch?v=4u94qJeqYHU Film Loop is a movie podcast hosted by Victor De Anda (a GenXer) and Darian Davis (a Millennial). Every episode, each host picks one movie from their past to share with the other, and together they debate and ruminate over their favorite moments as the generations collide! To stay in the loop, follow us on Twitter, Facebook, and Instagram at @filmloopshow, show your love by rating and reviewing us on iTunes here: https://apple.co/2M1jQuR, and visit us at www.filmloopshow.com!

Sibling battlers, Tydal & Loxy, join Tom to preview KOTR's upcoming Birmingham event, 'We Told You So'.    Double L vs KinellP Solja vs Blunt TedHulk vs BlittzLoxy vs Raw TalentTydal vs XenSeany B vs ZakPenance vs Mac sherryDefenin vs Sk4mSaturday June 23rd2pm - 8pmDragon Music LairUnit 6, Delta House. Adderley Street.Digbeth.Birmingham.B9 4EE£6 tickets £7 on the door There will be BBQ food being served and a selection of great priced drinks!!Open Mic CypherAll round KOTR madness!

Lift up your head, wash off your mascara, and get ready to be entertained by the original Seymour from Little Shop of Horrors, Tony nominee Lee Wilkof. While audiences are familiar with Lee's counltess stage appearances in such shows as Little Shop of Horrors with Ellen Greene, Sweet Charity with Debbie Allen, Assassins with Victor Garber, She Loves Me with Boyd Gaines, Kiss Me Kate with Brian Stokes Mitchell, The Odd Couple with Nathan Lane and Matthew Broderick, Lee is also a familiar face on screen having appeared in Delta House, Law & Order, Private Parts, and Before The Devil Knows You're Dead and, behind the camera, as the director of the fabulous No Pay, Nudity. Lee pulls back the curtain on his career to discuss how his performance as Seymour won him a trip down the aisle, what it was like collaborating with Howard Ashman, and why Brushing Up His Shakespeare led him to tears and a Tony nomination! Also, Lee shines the spotlight on Nathan Lane, Kathleen Marshall, and Norman Lear! Become a sponsor of Behind The Curtain and get early access to interviews, private playlists, and advance knowledge of future guests so you can ask the legends your own questions. Go to: http://bit.ly/2i7nWC4

Dopo un lungo periodo di inattività, siamo finalmente tornati. Puntata dedicata: all’analisi della Top 10 Le implicazioni playoff con i vari scenari possibili La situazione delle power 5 Conference La week entrante con i nostri pronostici Heisman Watch Carosello dei coach A cura di Andre Simone, Andrea Cornaglia, Emanuele Addondi e Luca Domenighini. Sperando di […]

Animal House pits Delta House against the college dean and the rest of the school. Chaos and classic quotes ensue. Join Cory, John, and GSM founder Darrell Darnell as they quote their way through the podcast. "A PODCAST PIN?!?! On your UNIFORM?!! Just tell me, mister, what podcast would pledge a man like you? It's a Triplecast pin sir!" Read more... The post TC150 – Quotable Movies Vol. 1 – “Animal House” appeared first on Golden Spiral Media- Entertainment Podcasts, Technology Podcasts & More.

Animal House pits Delta House against the college dean and the rest of the school. Chaos and classic quotes ensue. Join Cory, John, and GSM founder Darrell Darnell as they quote their way through the podcast. "A PODCAST PIN?!?! On your UNIFORM?!! Just tell me, mister, what podcast would pledge a man like you? It's a Triplecast pin sir!" Read more... The post TC150 – Quotable Movies Vol. 1 – “Animal House” appeared first on Golden Spiral Media- Entertainment Podcasts, Technology Podcasts & More.

Dopo il National Championship, arriva l’ultima puntata stagione per Delta House. -Analisi dei New Years Six Bowl e delle semifinali -Commento sul National Championship vinto da Clemson -Dato che non è mai troppo presto, pronostico su chi saranno le 4 finaliste del prossimo anno. Un ringraziamento a tutti quelli che ci hanno seguito per tutto l’anno […]

Puntata extralarge per recuperare tutto quello successo nelle ultime due settimane. -Recap della Championship Week. -Analisi delle top 4 del ranking -Tutti i cambi di Head Coach -L’Heisman Trophy vinto da Lamar Jackson -Preview e pronostici di tutti i Bowl Game A cura di Andrea Cornaglia, Andre Simone e Luca Domenighini. Buon ascolto e buone […]

Non poteva mancare Delta House dopo la Rivalry Week. Analisi approfondita di The Game, tutti gli upset della settimana e il racconto della storica vittoria di Colorado contro Utah. Uno sguardo al nuovo ranking e tutti i possibili scenari che potrebbero accadere. Le ultime sui recenti cambi d’allenatori ad LSU e Texas, oltre ad un focus […]

Dopo un lungo periodo di assenza per vari motivi, torna Delta House, il Podcast dedicato al mondo collegiale americano. Torniamo nel momento più caldo della stagione con le ultime due settimane di “Regular Season” alle porte. Prima parte dedicata ad una review di tutte le conference con possibili scenari per i titoli di Conference. Successivamente […]

Settimana numero Sette in archivio, torna puntuale Delta House con una puntata ricca di contenuti. Il racconto di Arizona State – Colorado di Andre, che era al Folsom Field nella cabina di commento. Review della week 7 con spunti di analisi su Nebraska, Clemson e West Virginia. Le ultime dalla BIG12, che ha deciso di non espandersi […]

Nuovo episodio stagionale di Delta House, puntata dedicata all’analisi della week 7. Analisi del nuovo ranking squadra per squadra e le partite più importanti del weekend. Qualche chicca statistica ed alcuni digressioni su Washington, Tom Herman e molto altro. Finale col consueto angolo dei pronostici. A cura di Andrea Cornaglia e Luca Domenighini. Buon ascolto!

Non poteva mancare Delta House dopo la settimana incredibile di College Football. Review della week 5 analizzando tutti i match più importanti con un occhio di riguardo ai pazzeschi finali di Ann Arbor, Tallahassee, Athens e Clemson. Analisi del ranking con le nostre possibili final four di fine stagione e per chiudere le preview della week […]

Today's Guest: Saul Austerlitz, author, Another Fine Mess: A History of American Film Comedy Order Another Fine Mess: A History of American Film Comedy by Saul Austerlitz, available in print or ebook from Amazon.com by clicking on the book cover above! Image via WikipediaIf it’s a choice between watching drama or comedy, I always pick comedy.Why choose to get all weepy and sad when the other option is to fall off your chair laughing? I think the die was cast for me back in 1978, when Steve Goldin and I saw Animal House the night it opened at a theater in Princeton, NJ. I had seen comedies before, of course, but none that had ever worn me out. We laughed so hard at the antics of the Delta House gang that we went back again the next night. And quite a few more times after that. SAUL AUSTERLITZ podcast excerpt: "I wanted to broaden the definition of comedy to some extent. In terms of Renee Zellweger, I thought it was valuable to include some of the performers who had been quite funny in films more oriented to women. Because I think some of today's movies are aggressively marketed for men. People like Renee Zellweger and Julia Roberts are comedic performers, though obviously in a different way than Will Ferrell, but they do have something to contribute." Saul Austerlitz would probably make the same choice, I’m guessing. He’s the author of a new movie history, Another Fine Mess: A History of American Film Comedy. It takes the genre from Charlie Chaplin—whose work I myself studied at the University of Florida many years ago — to Judd Apatow, whose work I now study from the comfortable of my family room, without the annoyance and interruption of pop quizzes and term papers. Austerlitz established his pop culture research credentials with a previous book, Money for Nothing: A History of the Music Video from the Beatles to the White Stripes. Saul Austerlitz Website •  Twitter • Facebook • Order Another Fine Mess from Amazon.com Saul Auserlitz returned to Mr. Media in 2014 to discuss his book Sitcom: A History in 24 Episodes from I Love Lucy to Community   Kicking Through the Ashes: My Life As A Stand-up in the 1980s Comedy Boom by Ritch Shydner. Order your copy today by clicking on the book cover above!   The Party Authority in New Jersey, Pennsylvania, Delaware and Maryland!

Dopo un paio di settimane di assenza torna Delta House. Due settimane in cui è successo di tutto, dal licenziamento di Les Miles ai tanti upset, tutto analizzato in studio. Finale con i classici pronostici, con ben tre sfide tra squadre nella top10 del ranking. A cura di Andre Simone e Luca Domenighini. PS: qua il nostro report […]

Nuova stagione, nuova puntata di Delta House. Un episodio speciale, in quanto è stato registrato da Denver, Colorado. Recap di tutto quello che è successo nelle prime due settimane, upset, sorprese, delusioni e tutto quello che c’è da sapere. Finale col consueto angolo dei pronostici. A cura di Andre Simone, Andrea Cornaglia e Luca Domenighini.

Torna il College Football, torna ovviamente Delta House dopo la lunghissima offseason. Puntata dedicata alla preview di tutte le Conference, con un occhio in particolare alle 5 principali, con i nostri pronostici di fine anno. Seconda parte di episodio dedicata alla Week 1, pronostici dei match più importanti e qualche spunto d’analisi interessante. A cura […]

In the second episode of Pretty in Podcast, John Hughes leaves his job at Leo Burnett toRead the post02 – National Lampoon’s Delta House (1979)

Ultimo episodio della stagione per Delta House. In questa puntata tutto quello successo nell’ultimo mese: -Recap ed Analisi del National Championship -National Signing Day, vincitori e vinti. -Due parole sul Senior Bowl. L’appuntamente è per First Pick nelle prossime settimane, il Podcast dedicato al Draft. A cura di Andre Simone, Andrea “Cern” Cornaglia, Federico “FedePanthers” […]

When we were kids we didn't notice things in movies, such as that Ferris Beuller is a sociopath or that the guys of Delta House are the villains in Animal House. Lets look at his growing up puts old movies into a new perspective. --- Support this podcast: https://anchor.fm/radiodrome/support

Dopo le abbuffate di cibo e la sbronza di capodanno torna Delta House per raccontare quello accaduto in questi giorni di College Football. -Recap ed analisi delle due semifinali: Michigan State – Alabama e Clemson – Oklahoma -Preview e pronostici per il National Championship. -Review di tutti i Bowl giocati dal 28 Dicembre. -Due parole […]

Ultima puntata del 2015 per Delta House purtroppo a ranghi molto ridotti. -Analisi rapida dei Bowl Game giocati fino al 28 Dicembre. -Preview dei restanti Bowl con un occhio di riguardo per le semifinali del 31 Dicembre. A cura di Luca Domenighini e Federico Vedovelli. Buon Ascolto!

Nuova settimana, nuova puntata che anticipa l’inizio della Bowl Season. -Heisman Trophy e la vittoria di Derrick Henry -Preview dei Bowl sino al 28 Dicembre. -News, varie ed eventuali. A cura di Andre Simone, Andrea “Cern” Cornaglia e Luca “DommiToad” Domenighini. Buon Ascolto!

Nuova puntata di Delta House ma ultima della Regular Season del College Football. -Analisi della settimana dei Championship. -Sguardo al ranking ed i Bowl più interessanti. -Heisman Trophy e qualche parola sui vari premi individuali. -Le ultime news sui vaari cambi di panchine. A cura di Andre Simone, Andrea “Cern” Cornaglia e Luca “DommiToad” Domenighini. […]

Il College football entra nel periodo più caldo dell’anno con la fine della Regular Season e la settimana dei Championship delle Conference. -Classico Recap di tutte le conference -Analisi sul ranking con i possibili scenari che potrebbero accadere. -Heisman Watch (Free Keenan Reynolds) -La situazione dei posti vacanti e l’analisi dei nuovi HC. -Pronostici dell’ultima […]

Week 12 in archivio, nuova puntata di Delta House. -Classico recap di tutte le conference. -Una analisi sulla vicenda Les Miles. -Uno sguardo al nuovo ranking. -In conclusione il solito angolo delle scommesse e dei pronostici. A cura di Andre Simone, Andrea “Cern” Cornaglia e Luca “DommiToad” Domenighini. Buon Ascolto!

Week 11 per il College Football e puntata numero 108 per Delta House. -Consueto recap delle Power 5 Conference con Cern che analizza anche tutte le altre Conference. -Commento sul Ranking della commissione. -Heisman Watch: chi sono i frontrunner e chi potrebbe rientrare nella corsa. -Finale con scommesse e pronostici. A cura di Andre Simone, Andrea […]

Nuova Settimana, nuova puntata di Delta House. -Classico recap di tutto quello che è successo in settimana, tra big match ed upset inaspettati. -Commento sul nuovo ranking rilasciato dalla commissione. -Le scommesse di Andre. -I pronostici della settimana. A cura di Federico “FedePanthers”Vedoveli, Andre Simone, Andrea “Cern” Cornaglia e Luca “DommiToad” Domenighini. Buon Ascolto!