Podcast appearances and mentions of Dennis Franz

This is a JUMBO Season 6, Episode 13 of this "The Vampire Diaries" related podcast! Pete is watching the show for the first time and Ash is a superfan. Each episode they watch an episode of TVD and discuss. This week they talk about their NEW new sponsor, Cheersing, Dupe Detection on Avid, The Portable Producer, words with different meanings, and much more!  They don't have ANY Pete-dictions at the end of the show! Haha, lol. Talk to Pete here: https://www.instagram.com/theportableproducer/ We were voted one of the Top 10 The Vampire Diaries Podcasts on the web. https://blog.feedspot.com/the_vampire_dairies_podcasts/ Also we're in the top 100 Vampire Podcasts here: https://www.millionpodcasts.com/vampire-podcasts/ The EC Little Free Library: https://www.instagram.com/eclittlefreelibrary/ Pete is on Letterboxd! https://letterboxd.com/peterlh/ Check out The VamPetey merch at https://www.teepublic.com/user/highdive If you like #TheVampireDiaries and/or you are a young adult, you should check out Pete's books! https://www.amazon.com/Peter-L-Harmon/e/B011SBWJF8/ref=dp_byline_cont_pop_book_1 And if you love this show, please leave us a review. Go to RateThisPodcast.com/vampetey and follow the instructions.

The terrifying story of a middle aged man going into a scary, dank house full off terror and fear. But enough about Chris' garage, we're here to have a nice old chat about the sequel to one of the most famous 'terror films' of all time.  No, not Leprechaun.  It's 1983's PSYCHO II.END CREDITS- Presented by Robert Johnson and Christopher Webb- Produced/edited by Christopher Webb- "Still Any Good?" logo designed by Graham Wood & Robert Johnson- Crap poster mock-up by Christopher Webb- Theme music ("The Slide Of Time") by The Sonic Jewels, used with kind permission(c) 2025 Tiger Feet ProductionsFind us:Twitter @stillanygoodpodInstagram @stillanygoodpodBluesky @stillanygood.bsky.socialEmail stillanygood@gmail.comSupport the show

We're getting sexy and mysterious when Jason from Dads from the Crypt returns to talk about Brian De Palma's Dressed to Kill, a film that begs the question, what is the proper painting to be looking at when we succumb to our innermost desires and fantasies?

City of Angels is on trial. A match made in heaven or has hell frozen over? Gav defends this week, pointing to a rich story that doesn't tug on your heartstrings for the sake of it and sublime performances. The devil is the details for Alex however, as he struggles to get past Maggie's lack of basic cycle safety awareness. All this with an impression of Dennis Franz and a quiz all about songs commissioned especially for movies. www.filmsontrial.co.uk/264

For one last time in 2024, we're closing out DePalmber: Part De by opening the vault door and welcoming another of our beloved classics into the podcast canon, this time a bleak noir thriller about a foley artist in the film industry who winds up recording proof of a political murder conspiracy while out grabbing sounds for a new low-end horror picture, and gets swept up into a dark world of intrigue where no one is safe. It's 1981's Blow Out, written and directed by Brian De Palma and starring John Travolta, Nancy Allen, Jon Lithgow, Dennis Franz, Peter Boyden, John Aquino and Deborah Everton. Like Michael Mann's Thief (released just four months earlier), it feels like a visionary director establishing countless trademark flourishes in an early outing before really hitting their stride as the decade continued. And just like Thief, that early outing may prove to be a high-water mark neither man ever cleared again. Plus: without any theatrical outing to report on to end the year, we're vibing out with hoarfrost and the music of Waxahatchee. If you'd like to watch the movie before listening along to this conversation, and we loved this movie so we strongly recommend you do, Blow Out is currently streaming for free on Tubi (at least in Canada) at the time of publication. Other works discussed in this episode include Sonic The Hedgehog 3, Nosferatu, The Last Voyage of the Demeter, Abigail, The Brutalist, The Order, Blue Chips, Air, Hustle, Hoosiers, Moneyball, Glory Road, Miracle, The Way Back, The Holdovers, Knives Out, Glass Onion, Law Abiding Citizen, I Saw the TV Glow, Monkey Man, Biggest Heist Ever, Joker: Folie à Deux, A Christmas Story, Black Christmas, Baby Geniuses, The Karate Dog, A Very Harold & Kumar Christmas, Harold & Kumar Go To White Castle, To Grandmother's House We Go, New York Minute, Scarface, Body Double, Pulp Fiction, Gotti, The Fanatic, Dexter, Conclave, Cliffhanger, Nightcrawler, and Nope among many more. We'll be back next week to kick off 2025 with the Bernie Mac baseball comedy Mr. 3000, to celebrate J Mo crossing the 3000 films watched lifetime milestone at some point in the year that was 2024. That's as good a reason to watch it as any I suppose, and you can find Mr. 3000 streaming for free on Hoopla at the moment. Until then, we'll see you at the movies!!

This week we're auditioning for the role of a lifetime as DePALMBER: PART DE continues with another example of what feels like well-worn territory for our man of the month: an erotic thriller in which a working class man in show business is forced to be an unlikely hero as he becomes entangled in a murder. It's 1984's Body Double, directed, produced, and co-written from a story by Brian De Palma, and starring Craig Wasson, Melanie Griffith, Gregg Henry, Deborah Shelton, Guy Boyd and Dennis Franz. As De Palma's immediate follow-up to Scarface, it's a brazenly bizarre swing on what was surely a blank check opportunity, and we have to admire the effort. Dripping in Hitchcockian influence with a plot that plays like Rear Window and Vertigo at the same time, it's another terrific showcase of that 80s cool De Palma style that would be pillaged decades later in the Grand Theft Auto video games. Plus: J Mo goes knives out on Wicked, having been held hostage by it for nearly three hours. If you'd like to watch the movie before listening to our discussion, Body Double is not currently streaming in Canada but can be rented on YouTube for $5. Other works referenced in this episode include The Producers (2005), Avengers Endgame, The Bourne Identity, The Bourne Supremact, Doubt, The Manchurian Candidate (2004), The Manchurian Candidate (1962), The Fog (2005), Mission: Impossible - Fallout, Super 8, The Fablemans, West Side Story (2021), Rory Scovel: Religion, Sex & A Few Things In Between, Batman Returns, Batman & Robin, The Game, North by Northwest and Deep Water, among others. We take a quick break from De Palma next week, as our final release before Christmas Day means it's time to celebrate Shaqmas once again! Our annual holiday tradition of covering a selection from the filmography of Shaquille O'Neal continues this year with what is surely the best movie he ever made: 1994's Blue Chips, directed by William Friedkin and co-starring Nick Nolte. And our DePalmber Canon Entry at the end of the month is 1981's Blow Out! Until next week, we'll see you at the movies!!

You can watch the VIDEO version of this episode here: https://youtu.be/KGVPU8JIVuk On Terror On The Tube, Joel, Peter, and Allyson pick, at random, a made-for-TV horror/suspense movie that aired sometime during the decades of the 1970s, 80s, or 90s. In this episode we're joined by special guest, Drew, to talk about Deadly Messages from 1985. Originally released on ABC on Thursday, February 21st, 1985, Deadly Messages stars Kathleen Beller, Michael Brandon, Dennis Franz, Scott Paulin, and Elizabeth Huddle Nyberg. ................................................................................................................................................ Synopsis: Laura Daniels, single and bored, finds new interest in life when she discovers an old ouija board. It appears, however, that the object's previous owner was murdered - and messages from beyond warn Laura that she may be next. ................................................................................................................................................ ................................................................................................................................................ Special thanks to Ross Bugden for the use of his music for the theme of this podcast under the Creative Commons Attribution 4.0 International License. You can find the track titled Something Wicked here.

Wir schauen heute gemeinsam auf die bisherige Saison aller deutschen Spieler. Es gibt sogar einen kurzen Abstecher in Richtung Natio und Euroleague. Wie läuft es aktuell bei Dennis, Franz & Co.? Was fällt uns auf und was erwarten wir über die nächsten Wochen und Monate? Außerdem viele kleine Side-Topics: Gerüchte, Skandale etc. Support & Extra-Folge: patreon.com/dasfuenfteviertel Instagram: instagram.com/5.viertel.pod/ Youtube: youtube.com/@5.viertel TikTok: tiktok.com/@5.viertel.pod

National chocolate day. Entertainment from 1990. Statue of Liberty opened, 1st Macy's store opened, Cuban missil crisis ends. Todays birthdays - Charlie Daniels, Dennis Franz, Telma Hopkins, Annie Potts, Lauren Holly, Julia Roberts, Daphne Zuniga, Brad Paisley, Joaquin Phoenix, Nolan Gould. Abigale Adams died.Intro - Pour some sugar on me - Def Leppard    http://defleppard.com/Chocolate song - ???Black cat - Janet JacksonYou Lie - Reva McEntireBirthdays - In da cluib - 50 Cent    http://50cent.com/Devil went down to Georgia - Charlie Daniels BandKnock three times - Tony Orlando & DawnTicks - Brad PaisleyExit - It's not love - Dokken     http://dokken.net/Follow Jeff Stampka on facebook and cooolmedia.com

It's the Brian DePalma homage(?) to "Blow Up".... it's 1981's "Blow Up"  and Comedian Tony Dijamco is here to discuss it all. Is Depalma a thief or a genius? Is this better than Urban Cowboy? Is it spoofing B-Movies or owning it? Is this underrated? Is this the birth of Lithgow villians? All these questions and more get answered on this week's Mazan Movie Club Podcast. Home of the Mazan Movie Club Steve Mazan on Instagram Home of Corporate Comedian Steve Mazan  

This is Still Here Hollywood. I'm Steve Kmetko. Join me with today's guest, and prosecutor Sylvia Costas from NYPD BLUE,, Sharon Lawrence.Now I know that not many, if any, of you will remember the show DRAGNET, because it originally aired in the 1950's, I mean I was barely around then. But DRAGNET was one of the first big TV “Cop Shows” that came on just a smidge after TV was invented.Since then, police dramas have pretty much taken up residence on network television schedules…In the 1980's there was one show that broke the mold, showing the personal side of the people in law enforcement and the judicial system. That show was NYPD BLUE.  Show CreditsHost/Producer: Steve KmetkoAll things technical: Justin ZangerleExecutive Producer: Jim LichtensteinMusic by: Brian SanyshynTranscription: Mushtaq Hussain https://stillherehollywood.comSuggest Guests at: stillherehollywood@gmail.comAdvertise on Still Here Hollywood: jim@stillherenetwork.comPublicist: Maggie Perlich: maggie@numbertwelvemarketing.com

Jane Krakowski, Lauren Holly, Dennis Franz, and others join Natalie Maines and her gal pals for a lighthearted romp all about murdering your abusive husband.  Listening Portal: https://linktr.ee/averyspecialpodcast Patreon: https://www.patreon.com/averyspecialpodcast YouTube: https://www.youtube.com/channel/UCrc5qBjkvuEbelJd4khAY6Q

Here's the Movie Tourist Article Scarlet Witch found, discussing Philadelphia locations in chronological order. We reference episode 734 - The Bonfire of the Vanities, which had the same director. The next Philly Philm will be Trading Places (1983).

Episode 2765 of the Vietnam Veteran News Podcast will feature a story about Dennis Franz, the Vietnam Vet who became a popular TV star and a well known spokesman for veterans. The featured story appeared on the U.S. Department of … Continue reading →

We continue Romantic Movie Month with the surprisingly divisive (for us) CITY OF ANGELS! We talk about how the true star of the film is Dennis Franz, how Nicolas Cage's character is actually quite unsettling, and how being an angel seems mostly like being an agent from The Matrix franchise?   This episode is brought to you in part by TeePublic. Check out www.TeePublic.com and discover your next favourite Tee. Psst... they also have nerdy hoodies, sweaters, baseball tees and long sleeves. Check out our favourite designs at www.TeePublic.HateLovePodcast.com   Produced by Andrew Ivimey as part of The From Superheroes Network   Visit www.FromSuperheroes.com for more podcasts, articles, YouTube series, web comics, and more.

Get ready for a captivating exploration of the iconic TV series, "NYPD Blue."Join us as we unravel the complexities of this groundbreaking police procedural drama.We'll journey through the mean streets alongside Detectives Andy Sipowicz, Bobby Simone, and the unforgettable cast of characters as we dissect the show's gripping storytelling and intense character development.Discover the impact "NYPD Blue" had on television, from its realistic portrayal of police work to its groundbreaking use of mature themes and language. Explore the controversies it stirred and the critical acclaim it received.

This week on Mummy Dearest Podcast, Zach and Sloane unwrap 1998's romantic mystical fantasy film: City of Angels. This movie has it all: Nicolas Cage as an angel named Seth, Dennis Franz body surfing nude, dumpster babies, and a young Nick Offerman. It's a film that could not and would not be made in 2024. It's too wacky, too silly, and too heartfelt. Grab a pear, say a prayer and tune in to this week's episode of Mummy Dearest Podcast! Support the showVisit MummyDearestPodcast.com for merch and more!Follow the podcast on Instagram!Follow Sloane on Instagram!Follow Zach on Instagram!And most importantly, become a Patron and unlock hundreds of bonus episodes!

On today's new episode, the Bayer siblings welcome their delightful friend, writer and actor Zora Bikangaga! They ask whether their childhood selves would have found their adult selves cool? (Spoiler alert: They can stay up as late as they want and eat candy whenever they want, so...) Plus, they get into the ways they tried to act cool as kids i.e. one overall strap down, enormous pants that made it hard to walk, etc. Along those lines, Zora gets into a prolonged prank he did in college that years later ended up making him a perfect fit for the "I Love That For You" writers room! Plus Jonah reminisces about his childhood days of listening to NYPD Blue like it was on the radio, and they dig into the controversy of showing Dennis Franz's bare butt on TV (Which obviously Jonah couldn't see, but could hear?) Finally, in a rousing game of CONGRATULATIONS, YOU PLAYED YOURSELF: PRODUCT EDITION, the trio discusses what they will miss most out of the recently discontinued Starry Soda, McDonald's McCafé baked goods or—the only one most of them remember—Fruit Striped Gum. So be cool and listen to this episode!!See omnystudio.com/listener for privacy information.

“Like most motion pictures, this needed way more Reginald VelJohnson” - Andrew On this week's episode, we're chatting about the high body count/low IQ, Christmas-set sequel, Die Hard 2! Why couldn't they have developed a script where now-LAPD detective John McClane has some adventure on the streets of Los Angeles instead of a boring D.C. airport? How amazingly scuzzy and inept is Dennis Franz's Carmine Lorenzo? Did they really need to go the sequelitis route of just repeating famous beats from the first film? And has there been a better villain introduction than William Sadler's totally nude Colonel Stuart? PLUS: Dennis Franz storms out of a screening of the film Her! Die Hard 2 stars Bruce Willis, Bonnie Bedelia, William Sadler, Franco Nero, John Amos, Reginald VelJohnson, William Atherton, Art Evans, Fred Thompson, Tom Bower, Sheila McCarthy, and Dennis Franz as Carmine Lorenzo; directed by Renny Harlin. Snag your tickets and don't miss us THIS THURSDAY, December 7th, at White Eagle Hall in Jersey City, NJ where we'll be doing a live show all about Tim Allen in The Santa Clause! Don't hesitate, this is our only NY metro-area show for a spell!  Today's episode is brought to you in part by Factor! Head over to FACTORMEALS DOT COM SLASH WHM50 and use code WHM50 for 50% off! Want more WHM? Join our Patreon fam today and instantly unlock hours and hours of exclusive bonus content, including Ad-Free WHM Prime at the $8 level and up! Check out the WHM Merch Store featuring new Polish Decoy, ‘Jack Kirby', and Forrest the Universal Soldier designs! 

You may think Nicolas Cage is an unlikely choice to portray a lovelorn angel ... and you'd be right. Yes, 1998's City of Angels asked audiences to suspend a variety of beliefs: Meg Ryan as a seen-it-all surgeon. Dennis Franz as a fallen deity. And, oh yeah, beach-loving angels with cloudy job descriptions. Audiences bought it all. But now, over two cynical decades later, does this fantasy flick raise or sink our spirits? The Old Roommates adjust their middle-aged lenses, polish their halos, and rewatch this 90's romance. Listen to this.Old Roommates can be reached via email at oldroommatespod@gmail.com. Follow Old Roommates on Instagram and YouTube @OldRoommates for bonus content and please give us a rating or review!#NicolasCage #MegRyan #AndreBraugher #RobinBartlett

“DeGen has a sound all of its own!” Resident DeGens/Cohosts, Andy & Brandon, examine what could be the high-bar for trashy genre cinema with Brian DePalma's quintessential masterpiece (?) “BLOW OUT.” Blow Out is a 1981 American neo-noir mystery thriller film written and directed by Brian De Palma. The film stars John Travolta as Jack Terry, a movie sound effects technician from Philadelphia who, while recording sounds for a low-budget slasher film, unintentionally captures audio evidence of an assassination involving a presidential hopeful. Nancy Allen stars as Sally Bedina, a young woman involved in the crime. The supporting cast includes John Lithgow and Dennis Franz. Follow Us On Instagram: https://www.instagram.com/degencinema Email Us: DeGenCinema@gmail.com

National chocolate day. Entertainment from 1967. Statue of Liberty opened, 1st Macy's store opened, Cuban missil crisis ends. Todays birthdays - Charlie Daniels, Dennis Franz, Telma Hopkins, Annie Potts, Lauren Holly, Julia Roberts, Daphne Zuniga, Brad Paisley, Joaquin Phoenix, Nolan Gould. Abigale Adams died. Intro - Pour some sugar on me - Def Leppard http://defleppard.com/To sir with love - LuluI don't wanna play house - Tammy WynetteBirthdays - In da cluib - 50 Cent http://50cent.com/Devil went down to Georgia - Charlie Daniels BandKnock three times - Tony Orlando & DawnTicks - Brad PaisleyExit - It's not love - Dokken http://dokken.net/https://coolcasts.cooolmedia.com/

This week we are kicking off our 4th Scary Sequel Month for October and we are discussing one of the best horror sequels ever made Psycho II. This sequel is 22 years after the original and the script written by the great Tom Holland is perfect. This movie had us discussing mother vs. mother, trying to figure out the twists, Dennis Franz playing King of the Sleazebags, and more. Watch the unedited review at sequelsonly.com/Psycho2 Next week we are keeping the reviews going with a Friday the 13th and we are going with Part VI Jason Lives! Buy Larry Hankin's book that Doug helped him put together at https://www.amazon.com/That-Guy-Cautionary-Larry-Hankin/dp/B0BW32R6FN/ref=sr_1_1?qid=1678339317&refinements=p_27%3ALarry+Hankin&s=books&sr=1-1 Follow us on all social media @sequelsonly and our website is sequelsonly.com Review, rate, and share us with your friends, enemies, neighbors, exes, and even that annoying supermarket clerk!

Episode 275:   Episode 275: The Snobs rant, rave, review, mention in passing and briefly discuss these things: Starfield, AI art, police procedural shows, Dennis Franz, David Caruso, physical altercations, Classic Art by Reiner Knizia and much more, enjoy!   To Join Our Patreon: https://www.patreon.com/bgsnobs For merch: https://sirmeeple.com/collections/board-game-snobs For questions, comments or general adulation: Send voice memos to boardgamesnobs@gmail.com Special thanks to Ben Maddox for the intro and outro. Check him out for further podcasting goodness at https://fivegamesfordoomsday.com/ and his fantastic YouTube videos for Dice Tower, "Design Notes" at The Dice Tower's Design Notes with Ben Maddox

They answer listeners question.A cervical neck brace turns on women.Favorite shows growing up. https:/patreon.com/2als1podhttps://www.instagram.com/thetalkingdickscomedypodcast/https://twitter.com/DicksTwohttps://www.facebook.com/thetwodickshttps://www.facebook.com/The-Talking-Dicks-Comedy-Podcast-107101331446404Support the show

Show Notes Episode 419: Find A Stranger In the Alps This week Network boss Jeremy Balon shows up at the studio to wash Dave's filthy mouth out with soap! (We guess he finally listened to the podcast.) On the show this week we take a look at the strange history of The Bleep and swear words on television. (It is *bleep*ing more interesting than you think!) Along the way we learn that Dave is still afraid of his Mom. (He should be, he is a VERY bad son!) Then we dive right into the history of censorship in these United States. (Blame the Puritans, natch!) From there we follow along as technology makes hearing potty mouths more common. We see how early TV broadcasts found ways to keep bad words off the airwaves. (Mostly by hoping no one heard them.) Then we talk about the Bleep and how it became an American Icon. Finally we learn how and why for reasons never adequately explained, we all had to see Dennis Franz's hairy naked ass on ABC in the late 1990's. (Blame HBO!) Our Sponsor this week is Swearing Soap, specially formulated to get dirty mouths clean! We open the show with Carlin's famous Seven Dirty Words You Can't Say on Television and close with The P(Bleep)cat Dolls who censor their song for effect. Show Theme: Hypnostate Prelude to Common Sense The Show on Twitter: https://twitter.com/TheHell_Podcast The Show on Facebook: https://www.facebook.com/whatthehellpodcast/ The Show on Youtube: https://www.youtube.com/channel/UCjxP5ywpZ-O7qu_MFkLXQUQ Our Website: www.whatthehellpodcast.com Give us your money on Patreon https://www.patreon.com/Whatthehellpodcast The Show Line: 347 687 9601 Closing Music: https://youtu.be/1r9ghI7YcL0?si=NGG-R5Fw1W2oJpmO We are a proud member of the Seltzer Kings Podcast Network! http://seltzerkings.com/ Citations Needed: Cursing and swearing: an Englishman's birthright? https://universityofglasgowlibrary.wordpress.com/2011/08/22/cursing-and-swearing-an-englishman%E2%80%99s-birthright/#:~:text=Lickorous%20glutton%2C%20freckled%20bittor%2C%20jobbernol,words%20in%20the%20seventeenth%20century. Profanity https://www.mtsu.edu/first-amendment/article/1143/profanity Radio Act of 1927 (1927) https://www.mtsu.edu/first-amendment/article/1091/radio-act-of-1927 Jerry Springer and the history of that [bleeping] bleep sound https://theconversation.com/jerry-springer-and-the-history-of-that-bleeping-bleep-sound-204669 CURSES! THE BIRTH OF THE BLEEP AND MODERN AMERICAN CENSORSHIP https://www.theverge.com/2013/8/27/4545388/curses-the-birth-of-the-bleep-and-modern-american-censorship Go Bleep Yourself! Why Censorship is Funny https://www.academia.edu/79850481/Go_Bleep_Yourself_Why_Censorship_is_Funny Learn more about your ad choices. Visit podcastchoices.com/adchoices

Mo Rocca (Mobituaries, The Daily Show) joins Tom and Julie to help them write their obituaries, watch a TikTok where college athletes name their favorite musicals, and talk about sharing the stage with future Supreme Court Justice Ketanji Brown Jackson in a college production of Little Shop of Horrors! Plus Ripken the Bat Dog, the Alec Baldwin prank call that never aired, and Julie's Song of the Summer! Also the Schuylkill River, the one thing the Sharks and the Jets agree on, Bill Ripken's obscene trading card, the Low-Cal Ripken Diet, Rust starring Paul Rust, the AV Club tries to fix The Walking Dead, George R.R. Martin on the railroad line, Whiffenpoofs vs Hasty Pudding, famous alumni of Middlesex Community College, casting Bye Bye Birdie with Supreme Court justices, Sammy Davis Jr and the Church of Satan, Dennis Franz as James Bond, Art Buchwald vs Coming To America, Barbara Streisand vs Wall-E, and more. BUY JULIE'S NEW SONG "SILENCE" ON BANDCAMP https://julieklausner.bandcamp.com/track/silence WATCH THE "SILENCE" MUSIC VIDEO https://www.youtube.com/watch?v=FY9DSQJN_yU SUBSCRIBE TO MOBITUARIES https://mobituaries.com/news/the-podcast LITTLE LORD WATCHALONG IS COMING TO PATREON *Saturday August 12th - Selection Saturday - Follow @DoubleThreatPod on Twitter and Instagram to help Brett choose the first watchalong movie *Wednesday August 16th - Watchalong Wednesday Livestream 9pm ET/6pm PT https://www.patreon.com/DoubleThreatPod SUPPORT DOUBLE THREAT ON PATREON Weekly Bonus Episodes, Monthly Livestreams, Video Episodes, and More! https://www.patreon.com/DoubleThreatPod WATCH VIDEO CLIPS OF DOUBLE THREAT https://www.youtube.com/@doublethreatpod CLIPS IN THIS EPISODE *Bill Ripken Trading Card *Ripken the Bat Dog *College Athletes Favorite Musicals JOIN THE DOUBLE THREAT FAN GROUPS *Discord https://discord.com/invite/PrcwsbuaJx *Reddit https://www.reddit.com/r/doublethreatfriends *Facebook https://www.facebook.com/groups/doublethreatfriends DOUBLE THREAT MERCH https://www.teepublic.com/stores/double-threat TOTALLY EFFED UP T-SHIRTS https://www.teepublic.com/user/dttfu SEND SUBMISSIONS TO DoubleThreatPod@gmail.com FOLLOW DOUBLE THREAT https://twitter.com/doublethreatpod https://www.instagram.com/doublethreatpod DOUBLE THREAT IS A FOREVER DOG PODCAST https://foreverdogpodcasts.com/podcasts/double-threat Theme song by Mike Krol Artwork by Michael Kupperman Learn more about your ad choices. Visit megaphone.fm/adchoices

Luke and Andrew dig into the fake, A.I.-generated mini-episode of TBTL that was created by listener Seth. They also get updates on Luke's missing UPS package, the child who appears in John Mulaney's comedy special, and Dennis Franz's derriere.

Dracula. The Mummy. Wolfman. Creature from the Black Lagoon. And creature from the Bates Motel. We discuss the return of classic Universal movie monster Norman Bates in Psycho II (1983) Dir. Richard Franklin. Screenplay by Tom Holland. Starring Anthony Perkins, Vera Miles, Meg Tilly, and Dennis Franz. Facts about Psycho II: https://www.eightieskids.com/completely-terrifying-facts-about-psycho-ii/ That's So Gothic releases episodes on the first and third Thursday every month. Email sogothicpod@gmail.com. Follow Chance and Amanda on Letterboxd @mrchancelee and @mcavoy_amanda. Instagram @sogothicpod Closing music "Gothic Guitar" by Javolenus 2014 - Licensed under Creative Commons Attribution Noncommercial (3.0)

Billy Madison can't be made today, Eli Zaret back in studio, another Queefluencer, Drew Crime, Chet Hanks v. Podcasts, a Bonerline, and a deep dive into 1978's Rock 'n Roll Sports Classic. Eli Zaret is back LIVE in-studio to accept his Ghostbudsters samples, talk college free agency, Hunter Dickinson entering the transfer portal, break down the NCAA Final Four, discuss the terrible Detroit Tigers, the cult of Iowa basketball's Caitlin Clark, the rise of Pickleball, Lamar Jackson's agent Lamar Jackson, and Damar Hamlin meeting Joe Biden. Ford is getting rid of AM radios in their new vehicles. A Lyla interruption brings the question: Why won't Noel and Liam Gallagher just bury the hatchet and get back together before it's too late? Introducing StinkyLillyV, who either farts or queefs on camera for a living. Book her today. Nothing can be done about TikTok. Drew caught the greatest film ever made on TV today so we play and recite 163 drops from it. Grab your EXCLUSIVE NordVPN Deal by going to nordvpn.com/dams to get a Huge Discount off your NordVPN Plan + a Bonus Gift! It's completely risk free with Nord's 30-day money-back guarantee! Tax season is here, yay. The 1978 Rock 'N Roll Sports Classic was a who's who of the greatest rocking athletes possibly ever. Politricks: Donald Trump is preparing to be arrested on Tuesday. Mitch Albom has a pretty good take on the debacle. Asa Hutchinson is running for president. Yawn. Pennsylvania elected a suicidal senator. Drew Crime: 20/20 covered the murder of Lauren McCluskey. Dateline featured the murder of Kristin Smart. Scott Shaw is the Larry Nassar of San Jose State University. MSU's former Business Dean Sanjay Gupta got a raw deal. GhostBudsters Farms brings you today's Bonerline! Call or text 209-66-Boner. Dennis Franz looks like a 78-year-old and the tabloids can't believe it. Dysmorphia is SO HOT right now. You heard it here first, boobs will make a comeback. The guys that beat up Tekashi69 have been arrested. He's back to dropping music videos and handing out money to strangers. Some people are saying Tom Brady is plowing into Reese Witherspoon. JLo's kids can't stand JLo. All the poor celebrities losing their blue checkmark. Sad. Words are dangerous at MSU. Bill Maher has some good ideas for Donald Trump's next #1 hit tunes. Gretchen Whitmer got pummeled online for celebrating Trans Day of Visibility. 14-year-old Eric Kilburn's massive feet have been all the rage and now he's being hooked up by Shaq and Reebok. Meghan Markle continues sweeping the podcast awards. Harry and Meghan spent 1 hour a week working on their Archewell charity and their $18M podcast. Must be nice. The podcast boom is going BUST. Chet Hanks vs the Hard Knots Podcast. DOWN GOES CAITLIN CLARK! The LSU Tigers are the NCAA Women's Basketball Champions. Visit Our Presenting Sponsor Hall Financial – Michigan's highest rated mortgage company If you'd like to help support the show… please consider subscribing to our YouTube Page, Facebook, Instagram and Twitter (Drew and Mike Show, Marc Fellhauer, Trudi Daniels, Jim Bentley and BranDon). Or don't, whatever.

This week on Remainders, we talk Brian De Palma and his 1981 film Blow Out. A classic in Travolta's and De Palma's filmography, the story of a movie soundman uncovering a murder plot against a presidential candidate has grown in appreciation amongst cinephiles since its release over 40 years ago. De Palma's innovative camera movements and focus on doubles and murder mystery do not go unnoticed as Hitchcock devotees, in addition to all time performances from Travolta and John Lithgow as the lurking serial killer. We pay homage to one of the most important auteurs of the 70s. Other topics include Tarantino's great book Cinema Speculation, new movies Air and Renfield, Dee Dee Ramone's hip hop, L.A. movie billboards vs. Chicago's movie billboards, John Lithgow's best performances, and Dennis Franz's exquisite scumbaggery. Songs of the WeekRacist Society by Screeching WeaselOpen Your Eyes by Lords of the New ChurchRemainders Podcast Jukebox PlaylistWebsiteFacebookInstagramYouTubeTwitter

On this episode, we talk about the great American filmmaker Robert Altman, and what is arguably the worst movie of his six decade, thirty-five film career: his 1987 atrocity O.C. and Stiggs. ----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're going to talk about one of the strangest movies to come out of the decade, not only for its material, but for who directed it.   Robert Altman's O.C. and Stiggs.   As always, before we get to the O.C. and Stiggs, we will be going a little further back in time.   Although he is not every cineaste's cup of tea, it is generally acknowledged that Robert Altman was one of the best filmmakers to ever work in cinema. But he wasn't an immediate success when he broke into the industry.   Born in Kansas City in February 1925, Robert Altman would join the US Army Air Force after graduating high school, as many a young man would do in the days of World War II. He would train to be a pilot, and he would fly more than 50 missions during the war as part of the 307th Bomb Group, operating in the Pacific Theatre. They would help liberate prisoners of war held in Japanese POW Camps from Okinawa to Manila after the victory over Japan lead to the end of World War II in that part of the world.   After the war, Altman would move to Los Angeles to break into the movies, and he would even succeed in selling a screenplay to RKO Pictures called Bodyguard, a film noir story shot in 1948 starring Lawrence Tierney and Priscilla Lane, but on the final film, he would only share a “Story by” credit with his then-writing partner, George W. George. But by 1950, he'd be back in Kansas City, where he would direct more than 65 industrial films over the course of three years, before heading back to Los Angeles with the experience he would need to take another shot.   Altman would spend a few years directing episodes of a drama series called Pulse of the City on the DuMont television network and a syndicated police drama called The Sheriff of Cochise, but he wouldn't get his first feature directing gig until 1957, when a businessman in Kansas City would hire the thirty-two year old to write and direct a movie locally. That film, The Delinquents, cost only $60k to make, and would be purchased for release by United Artists for $150k. The first film to star future Billy Jack writer/director/star Tom Laughlin, The Delinquents would gross more than a million dollars in theatres, a very good sum back in those days, but despite the success of the film, the only work Altman could get outside of television was co-directing The James Dean Story, a documentary set up at Warner Brothers to capitalize on the interest in the actor after dying in a car accident two years earlier.   Throughout the 1960s, Altman would continue to work in television, until he was finally given another chance to direct a feature film. 1967's Countdown was a lower budgeted feature at Warner Brothers featuring James Caan in an early leading role, about the space race between the Americans and Soviets, a good two years before Neil Armstrong and Buzz Aldrin landed on the moon. The shoot itself was easy, but Altman would be fired from the film shortly after filming was completed, as Jack Warner, the 75 year old head of the studio, was not very happy about the overlapping dialogue, a motif that would become a part of Altman's way of making movies. Although his name appears in the credits as the director of the film, he had no input in its assembly. His ambiguous ending was changed, and the film would be edited to be more family friendly than the director intended.   Altman would follow Countdown with 1969's That Cold Day in the Park, a psychological drama that would be both a critical and financial disappointment.   But his next film would change everything.   Before Altman was hired by Twentieth-Century Fox to direct MASH, more than a dozen major filmmakers would pass on the project. An adaptation of a little known novel by a Korean War veteran who worked as a surgeon at one of the Mobile Auxiliary Surgical Hospitals that give the story its acronymic title, MASH would literally fly under the radar from the executives at the studio, as most of the $3m film would be shot at the studio's ranch lot in Malibu, while the executives were more concerned about their bigger movies of the year in production, like their $12.5m biographical film on World War II general George S. Patton and their $25m World War II drama Tora! Tora! Tora!, one of the first movies to be a Japanese and American co-production since the end of the war.    Altman was going to make MASH his way, no matter what. When the studio refused to allow him to hire a fair amount of extras to populate the MASH camp, Altman would steal individual lines from other characters to give to background actors, in order to get the bustling atmosphere he wanted. In order to give the camp a properly dirty look, he would shoot most of the outdoor scenes with a zoom lens and a fog filter with the camera a reasonably far distance from the actors, so they could act to one another instead of the camera, giving the film a sort of documentary feel. And he would find flexibility when the moment called for it. Sally Kellerman, who was hired to play Margaret “Hot Lips” Houlihan, would work with Altman to expand and improve her character to be more than just eye candy, in large part because Altman liked what she was doing in her scenes.   This kind of flexibility infuriated the two major stars of the film, Elliott Gould and Donald Sutherland, who at one point during the shoot tried to get Altman fired for treating everyone in the cast and crew with the same level of respect and decorum regardless of their position. But unlike at Warners a couple years earlier, the success of movies like Bonnie and Clyde and Easy Rider bamboozled Hollywood studio executives, who did not understand exactly what the new generation of filmgoers wanted, and would often give filmmakers more leeway than before, in the hopes that lightning could be captured once again.   And Altman would give them exactly that.   MASH, which would also be the first major studio film to be released with The F Word spoken on screen, would not only become a critical hit, but become the third highest grossing movie released in 1970, grossing more than $80m. The movie would win the Palme D'Or at that year's Cannes Film Festival, and it would be nominated for five Academy Awards, including Best Picture, Best Director and Best Supporting Actress for Ms. Kellerman, winning only for Best Adapted Screenplay. An ironic win, since most of the dialogue was improvised on set, but the victory for screenwriter Ring Lardner Jr. would effectively destroy the once powerful Hollywood Blacklist that had been in place since the Red Scare of the 1950s.   After MASH, Altman went on one of the greatest runs any filmmaker would ever enjoy.   MASH would be released in January 1970, and Altman's follow up, Brewster McCloud, would be released in December 1970. Bud Cort, the future star of Harold and Maude, plays a recluse who lives in the fallout shelter of the Houston Astrodome, who is building a pair of wings in order to achieve his dream of flying. The film would feature a number of actors who already were featured in MASH and would continue to be featured in a number of future Altman movies, including Sally Kellerman, Michael Murphy, John Schuck and Bert Remson, but another reason to watch Brewster McCloud if you've never seen it is because it is the film debut of Shelley Duvall, one of our greatest and least appreciated actresses, who would go on to appear in six other Altman movies over the ensuing decade.   1971's McCabe and Mrs. Miller, for me, is his second best film. A Western starring Warren Beatty and Julie Christie, was a minor hit when it was first released but has seen a reevaluation over the years that found it to be named the 8th Best Western of all time by the American Film Institute, which frankly is too low for me. The film would also bring a little-known Canadian poet and musician to the world, Leonard Cohen, who wrote and performed three songs for the soundtrack. Yeah, you have Robert Altman to thank for Leonard Cohen.   1972's Images was another psychological horror film, this time co-written with English actress Susannah York, who also stars in the film as an author of children's books who starts to have wild hallucinations at her remote vacation home, after learning her husband might be cheating on her. The $800k film was one of the first to be produced by Hemdale Films, a British production company co-founded by Blow Up actor David Hemmings, but the film would be a critical and financial disappointment when it was released Christmas week. But it would get nominated for an Academy Award for Best Original Dramatic Score. It would be one of two nominations in the category for John Williams, the other being The Poseidon Adventure.   Whatever resentment Elliott Gould may have had with Altman during the shooting of MASH was gone by late 1972, when the actor agreed to star in the director's new movie, a modern adaptation of Raymond Chandler's 1953 novel The Long Goodbye. Gould would be the eighth actor to play the lead character, Phillip Marlowe, in a movie. The screenplay would be written by Leigh Brackett, who Star Wars nerds know as the first writer on The Empire Strikes Back but had also adapted Chandler's novel The Big Sleep, another Phillip Marlowe story, to the big screen back in 1946.   Howard Hawks and Peter Bogdanovich had both been approached to make the film, and it would be Bogdanovich who would recommend Altman to the President of United Artists. The final film would anger Chandler fans, who did not like Altman's approach to the material, and the $1.7m film would gross less than $1m when it was released in March 1973. But like many of Altman's movies, it was a big hit with critics, and would find favor with film fans in the years to come.   1974 would be another year where Altman would make and release two movies in the same calendar year. The first, Thieves Like Us, was a crime drama most noted as one of the few movies to not have any kind of traditional musical score. What music there is in the film is usually heard off radios seen in individual scenes. Once again, we have a number of Altman regulars in the film, including Shelley Duvall, Bert Remsen, John Schuck and Tom Skerritt, and would feature Keith Carradine, who had a small co-starring role in McCabe and Mrs. Miller, in his first major leading role. And, once again, the film would be a hit with critics but a dud with audiences. Unlike most of Altman's movies of the 1970s, Thieves Like Us has not enjoyed the same kind of reappraisal.   The second film, California Split, was released in August, just six months after Thieves Like Us. Elliott Gould once again stars in a Robert Altman movie, this time alongside George Segal. They play a pair of gamblers who ride what they think is a lucky streak from Los Angeles to Reno, Nevada, would be the only time Gould and Segal would work closely together in a movie, and watching California Split, one wishes there could have been more. The movie would be an innovator seemingly purpose-build for a Robert Altman movie, for it would be the first non-Cinerama movie to be recorded using an eight track stereo sound system. More than any movie before, Altman could control how his overlapping dialogue was placed in a theatre. But while most theatres that played the movie would only play it in mono sound, the film would still be a minor success, bringing in more than $5m in ticket sales.   1975 would bring what many consider to be the quintessential Robert Altman movie to screens.   The two hour and forty minute Nashville would feature no less than 24 different major characters, as a group of people come to Music City to be involved in a gala concert for a political outsider who is running for President on the Replacement Party ticket. The cast is one of the best ever assembled for a movie ever, including Ned Beatty, Karen Black, Ronee Blakely, Keith Carradine, Geraldine Chaplin, Robert DoQui, Shelley Duvall, Allen Garfield, Henry Gibson, Scott Glenn, Jeff Goldblum, Barbara Harris, Cristina Raines, Lily Tomlin and Keenan Wynn.   Altman would be nominated for two Academy Awards for the film, Best Picture, as its producer, and Best Director, while both Ronee Blakely and Lily Tomlin would be nominated for Best Supporting Actress. Keith Carradine would also be nominated for an Oscar, but not as an actor. He would, at the urging of Altman during the production of the film, write and perform a song called I'm Easy, which would win for Best Original Song. The $2.2m film would earn $10m in ticket sales, and would eventually become part of the fourth class of movies to be selected for preservation by the National Film Registry in 1991, the first of four Robert Altman films to be given that honor. MASH, McCabe and Mrs. Miller, and The Long Goodbye would also be selected for preservation over the years.   And we're going to stop here for a second and take a look at that list of films again.   MASH Brewster McCloud McCabe and Mrs. Miller Images The Long Goodbye Thieves Like Us California Split Nashville   Eight movies, made over a five year period, that between them earned twelve Academy Award nominations, four of which would be deemed so culturally important that they should be preserved for future generations.   And we're still only in the middle of the 1970s.   But the problem with a director like Robert Altman, like many of our greatest directors, their next film after one of their greatest successes feels like a major disappointment. And his 1976 film Buffalo Bill and the Indians, or Sitting Bull's History Lesson, and that is the complete title of the film by the way, did not meet the lofty expectations of film fans not only its director, but of its main stars. Altman would cast two legendary actors he had not yet worked with, Paul Newman and Burt Lancaster, and the combination of those two actors with this director should have been fantastic, but the results were merely okay. In fact,  Altman would, for the first time in his career, re-edit a film after its theatrical release, removing some of the Wild West show acts that he felt were maybe redundant.   His 1977 film 3 Women would bring Altman back to the limelight. The film was based on a dream he had one night while his wife was in the hospital. In the dream, he was directing his regular co-star Shelley Duvall alongside Sissy Spacek, who he had never worked with before, in a story about identity theft that took place in the deserts outside Los Angeles. He woke up in the middle of the dream, jotted down what he could remember, and went back to sleep. In the morning, he didn't have a full movie planned out, but enough of one to get Alan Ladd, Jr., the President of Twentieth-Century Fox, to put up $1.7m for a not fully formed idea. That's how much Robert Altman was trusted at the time. That, and Altman was known for never going over budget. As long as he stayed within his budget, Ladd would let Altman make whatever movie he wanted to make. That, plus Ladd was more concerned about a $10m movie he approved that was going over budget over in England, a science fiction movie directed by the guy who did American Graffiti that had no stars outside of Sir Alec Guinness.   That movie, of course, was Star Wars, which would be released four weeks after 3 Women had its premiere in New York City. While the film didn't make 1/100th the money Star Wars made, it was one of the best reviewed movies of the year. But, strangely, the film would not be seen again outside of sporadic screenings on cable until it was released on DVD by the Criterion Collection 27 years later.   I'm not going to try and explain the movie to you. Just trust me that 3 Women is from a master craftsman at the top of his game.   While on the press tour to publicize 3 Women, a reporter asked Altman what was going to be next for him. He jokingly said he was going to shoot a wedding. But then he went home, thought about it some more, and in a few weeks, had a basic idea sketched out for a movie titled A Wedding that would take place over the course of one day, as the daughter of a Southern nouveau riche family marries the son of a wealthy Chicago businessman who may or may not a major figure in The Outfit.   And while the film is quite entertaining, what's most interesting about watching this 1978 movie in 2023 is not only how many great established actors Altman got for the film, including Carol Burnett, Paul Dooley, Howard Duff, Mia Farrow, Vittorio Gassman, Lauren Hutton, and, in her 100th movie, Lillian Gish, but the number of notable actors he was able to get because he shot the film just outside Chicago. Not only will you see Dennis Christopher just before his breakthrough in Breaking Away, and not only will you see Pam Dawber just before she was cast alongside Robin Williams in Mark and Mindy, but you'll also see Dennis Franz, Laurie Metcalfe, Gary Sinese, Tim Thomerson, and George Wendt.   And because Altman was able to keep the budget at a reasonable level, less than $1.75m, the film would be slightly profitable for Twentieth Century-Fox after grossing $3.6m at the box office.   Altman's next film for Fox, 1979's Quintet, would not be as fortunate.   Altman had come up with the story for this post-apocalyptic drama as a vehicle for Walter Hill to write and direct. But Hill would instead make The Warriors, and Altman decided to make the film himself. While developing the screenplay with his co-writers Frank Barhydt and Patricia Resnick, Altman would create a board game, complete with token pieces and a full set of rules, to flesh out the storyline.   Altman would once again work with Paul Newman, who stars as a seal hunter in the early days of a new ice age who finds himself in elaborate game with a group of gamblers where losing in the game means losing your life in the process. Altman would deliberately hire an international cast to star alongside Newman, not only to help improve the film's ability to do well in foreign territories but to not have the storyline tied to any specific country. So we would have Italian actor Vittorio Gassman, Spaniard Fernando Rey, Swedish actress Bibi Andersson, French actress Brigitte Fossey, and Danish actress Nina van Pallandt.    In order to maintain the mystery of the movie, Altman would ask Fox to withhold all pre-release publicity for the film, in order to avoid any conditioning of the audience. Imagine trying to put together a compelling trailer for a movie featuring one of the most beloved actors of all time, but you're not allowed to show potential audiences what they're getting themselves into? Altman would let the studio use five shots from the film, totaling about seven seconds, for the trailer, which mostly comprised of slo-mo shots of a pair of dice bouncing around, while the names of the stars pop up from moment to moment and a narrator tries to create some sense of mystery on the soundtrack.   But audiences would not be intrigued by the mystery, and critics would tear the $6.4m budget film apart. To be fair, the shoot for the film, in the winter of 1977 outside Montreal was a tough time for all, and Altman would lose final cut on the film for going severely over-budget during production, although there seems to be very little documentation about how much the final film might have differed from what Altman would have been working on had he been able to complete the film his way.   But despite all the problems with Quintet, Fox would still back Altman's next movie, A Perfect Couple, which would be shot after Fox pulled Altman off Quintet. Can you imagine that happening today? A director working with the studio that just pulled them off their project. But that's how little ego Altman had. He just wanted to make movies. Tell stories. This simple romantic comedy starred his regular collaborator Paul Dooley as  Alex, a man who follows a band of traveling bohemian musicians because he's falling for one of the singers in the band.   Altman kept the film on its $1.9m budget, but the response from critics was mostly concern that Altman had lost his touch. Maybe it was because this was his 13th film of the decade, but there was a serious concern about the director's ability to tell a story had evaporated.   That worry would continue with his next film, Health.   A satire of the political scene in the United States at the end of the 1970s, Health would follow a health food organization holding a convention at a luxury hotel in St. Petersburg FL. As one would expect from a Robert Altman movie, there's one hell of a cast. Along with Henry Gibson, and Paul Dooley, who co-write the script with Altman and Frank Barhydt, the cast would include Lauren Bacall, Carol Burnett, James Garner and, in one of her earliest screen appearances, Alfre Woodard, as well as Dick Cavett and Dinah Shore as themselves.   But between the shooting of the film in the late winter and early spring of 1979 and the planned Christmas 1979 release, there was a change of management at Fox. Alan Ladd Jr. was out, and after Altman turned in his final cut, new studio head Norman Levy decided to pull the film off the 1979 release calendar. Altman fought to get the film released sometime during the 1980 Presidential Campaign, and was able to get Levy to give the film a platform release starting in Los Angeles and New York City in March 1980, but that date would get cancelled as well. Levy then suggested an April 1980 test run in St. Louis, which Altman was not happy with. Altman countered with test runs in Boston, Houston, Sacramento and San Francisco. The best Altman, who was in Malta shooting his next movie, could get were sneak previews of the film in those four markets, and the response cards from the audience were so bad, the studio decided to effectively put the film on the proverbial shelf.   Back from the Mediterranean Sea, Altman would get permission to take the film to the Montreal World Film Festival in August, and the Telluride and Venice Film Festivals in September. After good responses from film goers at those festivals, Fox would relent, and give the film a “preview” screening at the United Artists Theatre in Westwood, starting on September 12th, 1980. But the studio would give the film the most boring ad campaign possible, a very crude line drawing of an older woman's pearl bracelet-covered arm thrusted upward while holding a carrot. With no trailers in circulation at any theatre, and no television commercials on air, it would be little surprise the film didn't do a whole lot of business. You really had to know the film had been released. But its $14k opening weekend gross wasn't really all that bad. And it's second week gross of $10,500 with even less ad support was decent if unspectacular. But it would be good enough to get the film a four week playdate at the UA Westwood.   And then, nothing, until early March 1981, when a film society at Northwestern University in Evanston IL was able to screen a 16mm print for one show, while a theatre in Baltimore was able to show the film one time at the end of March. But then, nothing again for more than another year, when the film would finally get a belated official release at the Film Forum in New York City on April 7th, 1982. It would only play for a week, and as a non-profit, the Film Forum does not report film grosses, so we have no idea how well the film actually did. Since then, the movie showed once on CBS in August 1983, and has occasionally played on the Fox Movie Channel, but has never been released on VHS or DVD or Blu-Ray.   I mentioned a few moments ago that while he was dealing with all this drama concerning Health, Altman was in the Mediterranean filming a movie. I'm not going to go too much into that movie here, since I already have an episode for the future planned for it, suffice to say that a Robert Altman-directed live-action musical version of the Popeye the Sailor Man cartoon featuring songs by the incomparable Harry Nilsson should have been a smash hit, but it wasn't. It was profitable, to be certain, but not the hit everyone was expecting. We'll talk about the film in much more detail soon.   After the disappointing results for Popeye, Altman decided to stop working in Hollywood for a while and hit the Broadway stages, to direct a show called Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. While the show's run was not very long and the reviews not very good, Altman would fund a movie version himself, thanks in part to the sale of his production company, Lion's Gate, not to be confused with the current studio called Lionsgate, and would cast Karen Black, Cher and Sandy Dennis alongside newcomers Sudie Bond and Kathy Bates, as five female members of The Disciples of James Dean come together on the 20th anniversary of the actor's death to honor his life and times. As the first film released by a new independent distributor called Cinecom, I'll spend more time talking about this movie on our show about that distributor, also coming soon, suffice it to say that Altman was back. Critics were behind the film, and arthouse audiences loved it. This would be the first time Altman adapted a stage play to the screen, and it would set the tone for a number of his works throughout the rest of the decade.   Streamers was Altman's 17th film in thirteen years, and another adaptation of a stage play. One of several works by noted Broadway playwright David Rabe's time in the Army during the Vietnam War, the film followed four young soldiers waiting to be shipped to Vietnam who deal with racial tensions and their own intolerances when one soldier reveals he is gay. The film featured Matthew Modine as the Rabe stand-in, and features a rare dramatic role for comedy legend David Alan Grier. Many critics would note how much more intense the film version was compared to the stage version, as Altman's camera was able to effortlessly breeze around the set, and get up close and personal with the performers in ways that simply cannot happen on the stage. But in 1983, audiences were still not quite ready to deal with the trauma of Vietnam on film, and the film would be fairly ignored by audiences, grossing just $378k.   Which, finally, after half an hour, brings us to our featured movie.   O.C. and Stiggs.   Now, you might be asking yourself why I went into such detail about Robert Altman's career, most of it during the 1970s. Well, I wanted to establish what types of material Altman would chose for his projects, and just how different O.C. and Stiggs  was from any other project he had made to date.   O.C. and Stiggs began their lives in the July 1981 issue of National Lampoon, as written by two of the editors of the magazine, Ted Mann and Tod Carroll. The characters were fun-loving and occasionally destructive teenage pranksters, and their first appearance in the magazine would prove to be so popular with readers, the pair would appear a few more times until Matty Simmons, the publisher and owner of National Lampoon, gave over the entire October 1982 issue to Mann and Carroll for a story called “The Utterly Monstrous Mind-Roasting Summer of O.C. and Stiggs.” It's easy to find PDFs of the issues online if you look for it.   So the issue becomes one of the biggest selling issues in the history of National Lampoon, and Matty Simmons has been building the National Lampoon brand name by sponsoring a series of movies, including Animal House, co-written by Lampoon writers Doug Kenney and Chris Miller, and the soon to be released movies Class Reunion, written by Lampoon writer John Hughes… yes, that John Hughes… and Movie Madness, written by five Lampoon writers including Tod Carroll. But for some reason, Simmons was not behind the idea of turning the utterly monstrous mind-roasting adventures of O.C. and Stiggs into a movie. He would, however, allow Mann and Carroll to shop the idea around Hollywood, and wished them the best of luck.   As luck would have it, Mann and Carroll would meet Peter Newman, who had worked as Altman's production executive on Jimmy Dean, and was looking to set up his first film as a producer. And while Newman might not have had the credits, he had the connections. The first person he would take the script to his Oscar-winning director Mike Nichols, whose credits by this time included Who's Afraid of Virginia Wolff?, The Graduate, Catch-22, and Carnal Knowledge. Surprisingly, Nichols was not just interested in making the movie, but really wanted to have Eddie Murphy, who was a breakout star on Saturday Night Live but was still a month away from becoming a movie star when 48 Hours was released, play one of the leading characters. But Murphy couldn't get out of his SNL commitments, and Nichols had too many other projects, both on Broadway and in movies, to be able to commit to the film.    A few weeks later, Newman and Altman both attended a party where they would catch up after several months. Newman started to tell Altman about this new project he was setting up, and to Newman's surprise, Altman, drawn to the characters' anti-establishment outlook, expressed interest in making it. And because Altman's name still commanded respect in Hollywood, several studios would start to show their interest in making the movie with them. MGM, who was enjoying a number of successes in 1982 thanks to movies like Shoot the Moon, Diner, Victor/Victoria, Rocky III, Poltergeist, Pink Floyd - The Wall, and My Favorite Year, made a preemptive bid on the film, hoping to beat Paramount Pictures to the deal. Unknown to Altman, what interested MGM was that Sylvester Stallone of all people went nuts for the script when he read it, and mentioned to his buddies at the studio that he might be interested in making it himself.   Despite hating studio executives for doing stuff like buying a script he's attached to  then kicking him off so some Italian Stallion not known for comedy could make it himself, Altman agree to make the movie with MGM once Stallone lost interest, as the studio promised there would be no further notes about the script, that Altman could have final cut on the film, that he could shoot the film in Phoenix without studio interference, and that he could have a budget of $7m.   Since this was a Robert Altman film, the cast would be big and eclectic, filled with a number of his regular cast members, known actors who he had never worked with before, and newcomers who would go on to have success a few years down the road. Because, seriously, outside of a Robert Altman movie, where are you going to find a cast that included Jon Cryer, Jane Curtin, Paul Dooley, Dennis Hopper, Tina Louise, Martin Mull, Cynthia Nixon, Bob Uecker, Melvin van Peebles, and King Sunny Adé and His African Beats? And then imagine that movie also featuring Matthew Broderick, Jim Carrey, Robert Downey, Jr. and Laura Dern?   The story for the film would both follow the stories that appeared in the pages of National Lampoon fairly closely while also making some major changes. In the film, Oliver Cromwell “O.C.” Oglivie and Mark Stiggs are two ne'er-do-well, middle-class Phoenix, Arizona high school students who are disgusted with what they see as an omnipresent culture of vulgar and vapid suburban consumerism. They spend their days slacking off and committing pranks or outright crimes against their sworn enemies, the Schwab family, especially family head Randall Schwab, a wealthy insurance salesman who was responsible for the involuntary commitment of O.C.'s grandfather into a group home. During the film, O.C. and Stiggs will ruin the wedding of Randall Schwab's daughter Lenore, raft their way down to a Mexican fiesta, ruin a horrible dinner theatre performance directed by their high school's drama teacher being attended by the Schwabs, and turn the Schwab mansion into a homeless shelter while the family is on vacation. The film ends with O.C. and Stiggs getting into a gun fight with Randall Schwab before being rescued by Dennis Hopper and a helicopter, before discovering one of their adventures that summer has made them very wealthy themselves.   The film would begin production in Phoenix on August 22nd, 1983, with two newcomers, Daniel H. Jenkins and Neill Barry, as the titular stars of the film. And almost immediately, Altman's chaotic ways of making a movie would become a problem. Altman would make sure the entire cast and crew were all staying at the same hotel in town, across the street from a greyhound racetrack, so Altman could take off to bet on a few of the races during production downtime, and made sure the bar at the hotel was an open bar for his team while they were shooting. When shooting was done every day, the director and his cast would head to a makeshift screening room at the hotel, where they'd watch the previous day's footage, a process called “dailies” in production parlance. On most films, dailies are only attended by the director and his immediate production crew, but in Phoenix, everyone was encouraged to attend. And according to producer Peter Newman and Dan Jenkins, everyone loved the footage, although both would note that it might have been a combination of the alcohol, the pot, the cocaine and the dehydration caused by shooting all day in the excessive Arizona heat during the middle of summer that helped people enjoy the footage.    But here's the funny thing about dailies.   Unless a film is being shot in sequence, you're only seeing small fragments of scenes, often the same actors doing the same things over and over again, before the camera switches places to catch reactions or have other characters continue the scene. Sometimes, they're long takes of scenes that might be interrupted by an actor flubbing a line or an unexpected camera jitter or some other interruption that requires a restart. But everyone seemed to be having fun, especially when dailies ended and Altman would show one of his other movies like MASH or The Long Goodbye or 3 Women.   After two months of shooting, the film would wrap production, and Altman would get to work on his edit of the film. He would have it done before the end of 1983, and he would turn it in to the studio. Shortly after the new year, there would be a private screening of the film in New York City at the offices of the talent agency William Morris, one of the larger private screening rooms in the city. Altman was there, the New York-based executives at MGM were there, Peter Newman was there, several of the actors were there. And within five minutes of the start of the film, Altman realized what he was watching was not his cut of the film. As he was about to lose his stuff and start yelling at the studio executives, the projector broke. The lights would go up, and Altman would dig into the the executives. “This is your effing cut of the film and not mine!” Altman stormed out of the screening and into the cold New York winter night.   A few weeks later, that same print from New York would be screened for the big executives at the MGM lot in Los Angeles. Newman was there, and, surprisingly, Altman was there too. The film would screen for the entire running length, and Altman would sit there, watching someone else's version of the footage he had shot, scenes put in different places than they were supposed to be, music cues not of his design or consent.   At the end of the screening, the room was silent. Not one person in the room had laughed once during the entire screening. Newman and Altman left after the screening, and hit one of Altman's favorite local watering holes. As they said their goodbyes the next morning, Altman apologized to Newman. “I hope I didn't eff up your movie.”   Maybe the movie wasn't completely effed up, but MGM certainly neither knew what to do with the film or how to sell it, so it would just sit there, just like Health a few years earlier, on that proverbial shelf.   More than a year later, in an issue of Spin Magazine, a review of the latest album by King Sunny Adé would mention the film he performed in, O.C. and Stiggs, would, quote unquote, “finally” be released into theatres later that year.   That didn't happen, in large part because after WarGames in the early summer of 1983, almost every MGM release had been  either an outright bomb or an unexpected financial disappointment. The cash flow problem was so bad that the studio effectively had to sell itself to Atlanta cable mogul Ted Turner in order to save itself. Turner didn't actually want all of MGM. He only wanted the valuable MGM film library, but the owner of MGM at the time was either going to sell it all or nothing at all.   Barely two months after Ted Turner bought MGM, he had sold the famed studio lot in Culver City to Lorimar, a television production company that was looking to become a producer and distributor of motion pictures, and sold rest of the company he never wanted in the first place to the guy he bought it all from, who had a kind of seller's remorse. But that repurchase would saddle the company with massive bills, and movies like O.C. and Stiggs would have to sit and collect dust while everything was sorted out.   How long would O.C. and Stiggs be left in a void?   It would be so long that Robert Altman would have time to make not one, not two, but three other movies that would all be released before O.C. and Stiggs ever saw the light of day.   The first, Secret Honor, released in 1984, featured the great Philip Baker Hall as former President Richard Nixon. It's probably Hall's single best work as an actor, and the film would be amongst the best reviewed films of Altman's career.   In 1985, Altman would film Fool For Love, an adaptation of a play by Sam Shepard. This would be the only time in Shepard's film career where he would star as one of the characters himself had written. The film would also prove once and for all that Kim Basinger was more than just a pretty face but a real actor.   And in February 1987, Altman's film version of Beyond Therapy, a play by absurdist playwright Christopher Durant, would open in theatres. The all-star cast would include Tom Conti, Jeff Goldblum, Christopher Guest, Julie Hagerty and Glenda Jackson.   On March 5th, 1987, an article in Daily Variety would note that the “long shelved” film would have a limited theatrical release in May, despite the fact that Frank Yablans, the vice chairman of MGM, being quoted in the article that the film was unreleasable. It would further be noted that despite the film being available to international distributors for three years, not one company was willing to acquire the film for any market. The plan was to release the movie for one or two weeks in three major US markets, depending on its popularity, and then decide a future course of action from there.   But May would come and go, without a hint of the film.   Finally, on Friday, July 10th, the film would open on 18 screens, but none in any major market like Chicago, Los Angeles or New York City. I can't find a single theatre the film played in that weekend, but that week's box office figures would show an abysmal $6,273 worth of tickets were sold during that first weekend.   There would not be a second weekend of reported grosses.   But to MGM's credit, they didn't totally give up on the film.   On Thursday, August 27th, O.C. and Stiggs would open in at least one theatre. And, lucky for me, that theatre happened to be the Nickelodeon Theatre in Santa Cruz. But despite the fact that the new Robert Altman was opening in town, I could not get a single friend to see it with me. So on a Tuesday night at 8:40pm, I was the only person in all of the region to watch what I would soon discover was the worst Robert Altman movie of all time. Now, I should note that even a bad Robert Altman movie is better than many filmmakers' best movies, but O.C. and Stiggs would have ignobility of feeling very much like a Robert Altman movie, with its wandering camera and overlapping dialogue that weaves in and out of conversations while in progress and not quite over yet, yet not feeling anything like a Robert Altman movie at the same time. It didn't have that magical whimsy-ness that was the hallmark of his movies. The satire didn't have its normal bite. It had a number of Altman's regular troop of actors, but in smaller roles than they'd usually occupy, and not giving the performances one would expect of them in an Altman movie.   I don't know how well the film did at the Nick, suffice it to say the film was gone after a week.   But to MGM's credit, they still didn't give up on the film.   On October 9th, the film would open at the AMC Century City 14, one of a handful of movies that would open the newest multiplex in Los Angeles.   MGM did not report grosses, and the film was gone from the new multiplex after a week.   But to MGM's credit, they still didn't give up on the film.   The studio would give the film one more chance, opening it at the Film Forum in New York City on March 18th, 1988.   MGM did not report grosses, and the film was gone after a week. But whether that was because MGM didn't support the film with any kind of newspaper advertising in the largest market in America, or because the movie had been released on home video back in November, remains to be seen.   O.C. and Stiggs would never become anything resembling a cult film. It's been released on DVD, and if one was programming a Robert Altman retrospect at a local arthouse movie theatre, one could actually book a 35mm print of the film from the repertory cinema company Park Circus.   But don't feel bad for Altman, as he would return to cinemas with a vengeance in the 1990s, first with the 1990 biographical drama Vincent and Theo, featuring Tim Roth as the tortured genius 19th century painter that would put the actor on the map for good. Then, in 1992, he became a sensation again with his Hollywood satire The Player, featuring Tim Robbins as a murderous studio executive trying to keep the police off his trail while he navigates the pitfalls of the industry. Altman would receive his first Oscar nomination for Best Director since 1975 with The Player, his third overall, a feat he would repeat the following year with Short Cuts, based on a series of short stories by Raymond Carver. In fact, Altman would be nominated for an Academy Award seven times during his career, five times as a director and twice as a producer, although he would never win a competitive Oscar.   In March 2006, while editing his 35th film, a screen adaptation of the then-popular NPR series A Prairie Home Companion, the Academy would bestow an Honorary Oscar upon Altman. During his acceptance speech, Altman would wonder if perhaps the Academy acted prematurely in honoring him in this fashion. He revealed he had received a heart transplant in the mid-1990s, and felt that, even though he had turned 81 the month before, he could continue for another forty years.   Robert Altman would pass away from leukemia on November 20th, 2006, only eight months after receiving the biggest prize of his career.   Robert Altman had a style so unique onto himself, there's an adjective that exists to describe it. Altmanesque. Displaying traits typical of a film made by Robert Altman, typically highly naturalistic, but with a stylized perspective and often a subversive twist.   He truly was a one of a kind filmmaker, and there will likely never be anyone like him, no matter how hard Paul Thomas Anderson tries.     Thank you for joining us. We'll talk again in two weeks, when Episode 106, Mad Magazine Presents Up the Academy, 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.  

In this installment of TPS Reports the Squares discuss killing the emo intro, Term's freestyle, Jason Derulo songs, robot farts, Dennis Franz's butt & bike rage. Pre-save "American Psycho" by Junkyard Samurai (coming 2/17) Outro song: "Honey on Toast" by James Begin Smoochie Gang Playlist Term's Album of the Week Playlist Please send questions, stories & whatever else to tpsreportspodcast@gmail.com and feel free to leave us a voicemail at 708-797-3079. The Palmer Squares on Facebook, Twitter, YouTube, Patreon & more!  Shop for Official TPS Merchandise

Join Nickzach and Seansial on an angelic adventure to decide between 1998's City of Angels and 1995's Kiss of Death. Come for Nic Cage bench pressing a small woman and hot-n-mean Tucci, stay for Dennis Franz's balls and Nick's thumb tricks. This is Cage Match.

New eps drop first on our Patreon page! Dennis Franz (3:04), HBO's "The Last of Us" (14:02), people who go to movies (26:02), flash mobs (31:03), douche-chills (40:23), living in NYC vs visiting NYC (47:23), is the NBA too confusing for dumb fans? (1:02:02), Tyrese Maxey, savior turned scapegoat (1:16:03), are the Chicago Bulls buyers or sellers? (1:37:33), Mac McClung in the dunk contest (1:50:32).  

This week we review Die Hard 2! Starring Bruce Willis, Bonnie Bedelia, William Sadler, Dennis Franz, Art Evans, Fred Thompson, Reginald VelJohnson, William Atherton, and John Amos.

Agents Scott and Cam, along with guest operatives Matt Brothers and Liam Dempsey from the Spocklight podcast, partake in a little holiday espionage with Gene Hackman and Tommy Lee Jones while decoding the 1989 political thriller The Package.  Directed by Andrew Davis. Starring Gene Hackman, Joanna Cassidy, Tommy Lee Jones, John Heard, Dennis Franz and Pam Grier. Check out Spocklight: A Star Trek Podcast wherever you get your podcasts. Hear more from Matt on the Is Paul Dano OK? and Sudden Double Deep podcasts, available everywhere. You can also follow Liam on Twitter. Become a SpyHards Patron and gain access to top secret "Agents in the Field" bonus episodes, movie commentaries and more! Pick up exclusive SpyHards merch, including the "What Does Vargas Do?" t-shirt by @shaylayy, available only at Redbubble Social media: @spyhards View the NOC List and the Disavowed List at Letterboxd.com/spyhards Podcast artwork by Hannah Hughes. Theme music by Doug Astley.

Carly from her car(ly), Bean's sun asses, the Famous Deads Incident, Dennis Franz mocks Kevdogg, Geometric Bananas the food contrarian, we all have strokes reliving old cartoons, Katy Cats, and Christopher's latest music hot takes! --- Send in a voice message: https://anchor.fm/quitters-never-give-up/message

Happy (you guessed it) Donald Pleasence Day! Oh no, the dastardly Prince of Space has invaded, hoping to steal our precious reserves of Donald Pleasence! Luckily his weapons are useless against Chris and Charlotte, who instead talk about wormholes, stargates, portals, haiku, and Lutherans.SHOW NOTES.Prince of Space: IMDB. MST3K Wiki. UnMSTed.Donkeylips and Zeke the Plumber, remembered.Happy Donald Pleasence Day! Our Donald Pleasence Day episodes.Catch Chris and other Megaphonians streaming most Friday nights at twitch.tv/MegaphonicFMOur episodes on the Coleman Francis movies.The results of that poll.Wormholes.A little bit about haiku.Steve McCaffery: The Basho Variations.Gary Barwin and Derek Bealieu: Frogments from the Frag Pool: Haiku after Basho.R.H. Blyth: Haiku.Ezra Pound: In a Station of the Metro.Haiku generator.Dennis Franz looks back.Fabian: Tiger.Dr. Goldfoot and the Girl Bombs also stars Vincent Price. We should have mentioned that.Junior Samples samples from Hee-Haw.Hardrock, Coco, and Joe: The Three Little Dwarfs.Phyllis Diller.Some Wario (and Waluigi) history.Modernist Lutheran churches and Hallgrímskirkja.Support It's Just A Show on Patreon and hang out with us as we watch new episodes — oh, and get to hear superfan bonus bits!

John Travolta stars as Jack Terry, a sound effects engineer for cheapie horror exploitation flicks. When a producer deems the victim's screams and wind effects used in their slasher film as substandard, Jack determines to capture new recordings. While outdoors, his tape captures audio from a nearby car careening off of a bridge and into a river after its tire blows out. Jack jumps to action to save a drowning woman (Nancy Allen) from the vehicle, but the driver dies, later revealed to be the presidential frontrunner, Pennsylvania Governor George McRyan. While listening to the tape, Jack hears a gunshot just before the blowout, suggesting it was no accident. It's revealed that a photographer in the area (Dennis Franz) captured film of the incident, which Jack synchronizes with his audio, proving an assassin was the cause. The authorities and media want the proof, but an assassin (John Lithgow) seeks to silence Jack's obsessive quest for truth. Brian De Palma writes and directs this potent political thriller.

Jason is super excited to see Dennis Franz in this episode. The synopsis for this episode "Ben's defense of a '60s activist accused of assassination uncovers a mayor's unsavory past." Email benmattalk@gmail.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/mattalk/message Support this podcast: https://anchor.fm/mattalk/support

We're already halfway through 2022's Cage-A-Palooza. This week, Kit London is back, and she brought the 1998 romantic fantasy City of Angels, where Nicolas Cage plays an Angel named Seth, who falls in love with a heart surgeon, played by Meg Ryan. With a soundtrack that will take you right back to the late 90s. It's a little different Cage film, but it still manages to be interesting. You also get to see a naked Dennis Franz, AND Nic Cage, how fun is that? Thanks go out to Audie Norman (@OddlyNormalOne) for the album art. Outro music “In Pursuit” provided by Purple-Planet.net

We're already halfway through 2022's Cage-A-Palooza. This week, Kit London is back, and she brought the 1998 romantic fantasy City of Angels, where Nicolas Cage plays an Angel named Seth, who falls in love with a heart surgeon, played by Meg Ryan. With a soundtrack that will take you right back to the late 90s. It's a little different Cage film, but it still manages to be interesting. You also get to see a naked Dennis Franz, AND Nic Cage, how fun is that? Thanks go out to Audie Norman (@OddlyNormalOne) for the album art. Outro music "In Pursuit" provided by Purple-Planet.net

Steve & Izzy kick continue Nic-August Cage, a celebration of the movies of the greatest living actor Nicolas Cage, as they are joined by Cam & Scott of the SpyHards Podcast to celebrate their 350th episode by discussing 1998's "City of Angels" starring Nicolas Cage, Meg Ryan, Andre Braugher, Dennis Franz & a banger of a soundtrack!!! How has Steve never seen this movie? What's the best song on the soundtrack? Is Izzy obsessed with biblically accurate angels? Is Nic Cage an angel or a demon? Which character will Steve personify with? Basketball on a helipad? Has anyone else ever played the Steam Man Game? Did Meg Ryan's character deserve what she got?!? Let's find out!!! So kick back, grab a few brews, eat a pear for hours, and enjoy!!! This episode is proudly sponsored by Untidy Venus, your one-stop shop for incredible art & gift ideas at UntidyVenus.Etsy.com and be sure to follow her on Twitter, Facebook, Instagram & Patreon at @UntidyVenus for all of her awesomeness!!! Try it today!!! Twitter - www.twitter.com/eilfmovies Facebook - www.facebook.com/eilfmovies Etsy - www.untidyvenus.etsy.com TeePublic - www.teepublic.com/user/untidyvenus Learn more about your ad choices. Visit megaphone.fm/adchoices

Tom and Jenny discuss Brian de Palma’s underrated 1981 thriller about a sound engineer, played by John Travolta, who accidentally records a car crash that he becomes convinced was actually a political assassination. The film also stars Nancy Allen, John Lithgow, and Dennis Franz. Find this movie and more at the 13 O’Clock Amazon Storefront! … Continue reading Movie Retrospective: Blow Out (1981)

Our seventh season loops back around to the Monster division for another exciting matchup! Returning contender Jon takes on new challengers Mark and Josh. We'll start with some classic popular popular music presented in an unconventional way, then head out into the wild wilderness to go a pop culture hunt for Bigfoot (and his cousins Sasquatch, the Yeti, and the abominable snowman). All this, plus a lightning round! Bzzzzzap!Support Us On Patreon

Our seventh season loops back around to the Monster division for another exciting matchup! Returning contender Jon takes on new challengers Mark and Josh. We'll start with some classic popular popular music presented in an unconventional way, then head out into the wild wilderness to go a pop culture hunt for Bigfoot (and his cousins Sasquatch, the Yeti, and the abominable snowman). All this, plus a lightning round! Bzzzzz NOTES ⚠️ Inline notes below may be truncated due to podcast feed character limits. Full notes are always on the episode page.

The Ringer's Bill Simmons, Chris Ryan, and Sean Fennessey are pissing in somebody's pool, and they're fresh out of chlorine. They celebrate Bruce Willis as John McClane in ‘Die Hard 2', also starring William Sadler and Dennis Franz. Producer: Craig Horlbeck Learn more about your ad choices. Visit podcastchoices.com/adchoices

This month on the show we're joined by Angelica Jade Bastién (Vulture, HBO Max's Station Eleven podcast) to talk about a crazy episode of T.J. Hooker. Dennis Franz plays a pornographer and folks, he nails it. Heather Thomas does not nail her turn as Sandy the criminal partner of Hooker but at least porn ring enforcer Moloch thrills us with his shotgun antics. Join us as we navigate these bumpy roads of 1980's television.

This month on the show we're joined by Angelica Jade Bastién (Vulture, HBO Max's Station Eleven podcast) to talk about a crazy episode of T.J. Hooker. Dennis Franz plays a pornographer and folks, he nails it. Heather Thomas does not nail her turn as Sandy the criminal partner of Hooker but at least porn ring enforcer Moloch thrills us with his shotgun antics. Join us as we navigate these bumpy roads of 1980's television. Direct Download