Podcasts about Dirty Harry

Trump seeks $230m from taxpayers as compensation for what? Leading an attempted insurrection? Ben riffs. Jim Coogan on the weaponization of the Justice Department. The fictitious weaponization—imagined by MAGA—versus the real one, led by Trump. Also, the Erez Reuveni whistleblower suit. Stephen A Smith's false framing. And the Dirty Harry influence on due process. Jim is managing partner of Coogan Gallagher.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Dirty Harry said a man has got to know his limitations, and he was correct. Nick, Andreas and I talk about setting up practice and how to adjust the difficulty and keep yourself engaged. Log into Practical Shooting Training Group to watch the video feed for the podcast, view the content linked in the show notes, and ask follow up questions at http://pstg.us/

By Walt HickeyWelcome to the Numlock Sunday edition.This week, I spoke to Alyssa Rosenberg, Sunny Bunch and Peter Suderman, the three panelists of the outstanding film podcast Across the Movie Aisle. I really enjoy the show and have been a longtime fan of their individual work.I think that they're a group with genuinely diverse opinions but who have a lot of love for cinema and as a result have some of the most deeply interesting conversations about the art form of any show I listen to. The show just split off from The Bulwark's network and is striking it out independently. Do check them out!This interview has been condensed and edited. Hey, Across the Movie Aisle. Thank you so much for coming on Numlock. I really appreciate it.Absolutely.Thank you for having us.Yes, this is the first three-on-one conversation that I've ever done here, so we're gonna have to juggle a bit. Either way, I am just such a fan of the show. I really, really enjoyed it, subscribed to the Bulwark for it when I heard that you guys were going independent. I was really excited to see what was motivating that, what opportunities you were seeing out there. It's just such a really fun program, and I think it's so unique in the space.Before we get into talking about the movies, do you wanna talk a little bit about where this show came from, where it started, then what you would say your perspective on the film industry is?Sonny: Sure.Alyssa: Who wants to tell the story?Sonny: The origin of the show was back in 2019. I started working for an independent film studio that's based in Dallas, where I live now. I moved here for the job. The pitch was, “it's like Fangoria,” but for action movies and thrillers and heist movies, that sort of thing. And one of the things I wanted to do when we came over was a little podcast network. We were gonna have some shows, some storytelling things, et cetera. And one of the things I had wanted to do for a while (and hadn't really had an outlet for) was a show I had envisioned as like Crossfire or McLaughlin Group or something like that, but by way of movies.So Across the Movie Aisle — I've always shorthanded it as Siskel and Ebert meets Left Right Center. And the idea here is that I am a conservative. I don't know how other people would describe me, but I still think of myself as a center-right person. Alyssa is the center-left person.Peter: Would you even say that you are a neoconservative?Sonny: Well, I'm a neoconservative with libertarian tendencies, which is a funny thing.Peter: “You work at the Weekly Standard,” is a good way to think about your politics? And they basically haven't changed since you worked at The Weekly Standard. Is that fair? That's the long and the short of it.Sonny: Then Peter is whatever Peter is. I'll let him define himself. But the idea here was you have three people with differing political views talking about movies and other stories about movies. The show has two segments. The first is called Controversies and Nontroversies. The second is a review. And the Controversies and Nontroversies segment was initially thought of as we tackle some dumb internet outrage of the day and decide if it's really worth being mad about.And that evolved into something slightly different, right? Right, guys? I feel like it's now more about the business of Hollywood.Alyssa: Yes, exactly. But I think it's worth noting that our story actually starts way before 2019. The three of us were all critics in some respect or other. I was over at ThinkProgress running their culture and sports verticals. Sonny, were you at the Weekly Standard when we started or were you at the Free Beacon then?Sonny: I think I was at the Washington Free Beacon when we met. So it must've been 2012 or 13.Alyssa: The three of us were going to screenings every week and somehow just gravitated towards each other. We would sit together. We were the people who were hanging out and hashing things out together after the screening ended. When I moved to the Washington Post, I ended up bringing Sonny over as a contributor to the blog that I was working on there. They were invited to my wedding. We were authentically contentiously friends years before we started the podcast.I think that's been a little bit of the special sauce for us, right? We are capable of having conversations that are somewhat harder to have elsewhere because (even before we started working together) there were five, six years of trust built up in in-person conversations and discussions over beers at the really terrible bar near the former AMC in Friendship Heights. Nobody is here on this podcast to blow each other up. But it's also not like “We're friends for the camera!”I think the show has always been like both a reflection of our dynamic. It's also the way that we hang out every week, even though Sonny lives in Dallas, and Peter lives in Boston some of the time. So for me, it's like my night out.I mean, as a listener, I really find the appeal to be exactly that. I think that having different perspectives on something as universal as film makes the show super compelling to listen to, even if I don't always necessarily agree with the perspective on it. What makes movies just so good to view from multiple different angles? There are lowercase “c” conservative films, there are lowercase “l” liberal films, that stuff. How do you guys find approaching the current state of the film industry from these different points of view?Peter: Alyssa talked about how our story goes back even before 2019, when the podcast started. And just for people who may not be familiar with the dynamic of Washington that all of us came up in in our 20s, Alyssa was working for ThinkProgress, which was the journalism arm of the Center for American Progress, which is this leading democratic or democratic affiliated think tank. Sonny was working for the Weekly Standard and then for the Washington Free Beacon, these feisty, conservative journalistic outlets.I actually started writing movie reviews for National Review for a couple of years. When I moved over full-time to Reason Magazine, which is where I've been for more than 15 years now, and also to the Washington Times, which is someplace that both Sonny and I wrote for. It's a conservative-leaning paper that has undergone many transformations. If you live in Washington, your social circle and your conversations and your life are so frequently segmented by politics.What we liked about being friends with each other and seeing movies with each other was that we saw that it didn't have to be the case. Movies and art and pop culture, even disagreements about them, were ways that we could come together and maybe not even agree, but like learn about each other. We're really good friends, but we also like each other's minds. This is something that is really important and drew us all together. I have learned a lot about movies from Sonny. I have learned about culture from Alyssa. I don't know if they've learned anything from me. Maybe they've been annoyed about how I'm fine with A.I.Having those perspectives, it's not just that it's like, “Oh, that's nice that you're a little different.” This is a learning opportunity for all of us. It also makes the act of watching movies together much richer. When you're watching the movie, if you're watching it next to Alyssa, I know what she's thinking. Maybe not what I'm thinking, but it's like having another set of eyes. If you're a critic, if you're somebody who likes movies, if you are somebody who likes movies for the social aspect of them, seeing them with somebody else and talking about them afterwards just makes it so much more enjoyable. The fact that we then get to have that conversation in public for an audience that seems to enjoy this is really rewarding.Alyssa: I have a very hard time with certain kinds of violence in movies. But I can sit in a theater with Peter, and he can tell me when I need to cover my eyes, but also when I'm gonna be okay when it's over. And he's always right, right? And that's the thing that we get.Peter: But also when we see the Taylor Swift movie, I show up, and Alyssa has friendship bracelets for us. Everybody's bringing something to the party here.Alyssa: Peter, you joked about whether or not we've gotten anything from you. And I actually think that in some ways, I'm the one of us whose politics and aesthetics have changed most as a result of doing the show with both of you. I came up in an era of lefty cultural criticism when there were real incentives for tearing things apart. And I think I, in some ways early in my career, helped advance a fairly doctrinaire vision of what political conversations about art should be. And I have some regrets about some of the things that I wrote and some non-regrets too. I did a lot of work at that point in my career that I liked a lot.But one of the things I've come to believe in my conversation with these guys is that art is at its most politically powerful not when it affirms an agenda or a worldview that is defined by a political movement, but it is at its most powerful and interesting when it creates space for conversations that are not possible in conventional political formats and political venues. I think the unpredictability of movies and the inability to shove movies neatly into a partisan schema is where their power comes from.It is not in being subordinate to an agenda, but in opening the space for new possibilities. And I think that having a space to come to that conclusion made me a better critic and a better person. Maybe less employable as someone who writes about this stuff full-time in a predictable way. But I really enjoy seeing the world through the lenses that Peter and Sonny helped me apply to all of this.Peter: And just to underline that really quickly, a little bit more. One of the things that brings all of us together is that we are all three people who moved to Washington to work in political journalism, to work in discourse about politics. We have very strongly held beliefs. At the same time, I think all three of us come to movies, to art and to culture thinking, “You know what, you can make good art. You can make a great movie that maybe I find doesn't in any way align with my beliefs, right?” It has nothing to do with my political world or is even critical of my political worldview, but it's still a great movie.And this is a thing that you see very rarely in Washington and political discussions of art and film, but also in criticism. You have so much criticism that is out there, especially in the movie criticism world, that is just straightforwardly, politically determined. I don't think that that is the best way to approach art and to live a life that is about art because. Of course, it engages with politics. And of course you have to talk about that. And of course, you have to deal with that, but it's not just politics. If what you want from a movie is for it to be an op-ed, then what you want isn't a movie, it's an op-ed.I think that's really interesting. And actually, let's dive into that real quick. We'll go around the horn, perhaps. Peter, you brought it up. What is an example of a film or a piece of media that maybe either subverts or goes upstream compared to your personal politics that you nevertheless enjoyed? Or you, nevertheless, in spite of where you were coming from on that, really tended to like?Peter: So we all had mixed reactions to Paul Anderson's, P.T. Anderson's One Battle After Another, which is quite a political film, just came out. All of us thought that on a micro level, scene by scene, as a piece of filmmaking, it's genius. But on a macro level, its big ideas are kind of a mess. I go back to another Paul Anderson film from the aughts, There Will Be Blood, which is fairly critical of capitalism and of the capitalist tendencies that are deeply rooted in America. And it's not just a polemic, just an op-ed. It's not something that you can sum up in a tweet. It is quite a complex film in so many ways. And I'm a capitalist. I am a libertarian. I am a markets guy. And it is, I love that movie.Sonny and I frequently have arguments over whether There Will Be Blood is the first or second best movie of the last 25 years or so. Sonny thinks it's maybe the best. I think it's the second best. This is a movie that I think offers a deep critique of my ideology and my political worldview. But it is so profound on an artistic character narrative, just deep engagement level. I could talk about it for a long time. It's a movie I really love that doesn't support what I believe about politics in the world.Yeah, Sonny, how about you?Sonny: Bernardo Bertolucci's The Last Emperor is commie agitprop, but it's also very good. It's one of those movies where the lesson of the movie is literally “The elite overclass needs to be taught how to pee correctly in a bucket, so as not to annoy the normals.” But it's a beautiful movie, including the bucket. You don't have to agree with a film's politics to recognize that it is a great movie. It certainly doesn't hurt. I flipped through my rankings, and a lot of it does line up.But another one is JFK. Oliver Stone's JFK is a movie that is nonsense as history. If you look at it as a history text, you are reading the film wrong. What it excels at and the way that it is great is that it's the absolute perfect distillation of sitting next to an insane conspiracy theorist and hearing them ramble. The way that Oliver Stone edits together all of these disparate ideas — the way he edits is like hearing a conspiracy theorist talk.The way a conspiracy theorist talks is that they overwhelm you with information. They will just throw out random things and be like, “And this is connected to this, and this is connected to this.” And you are not able to actually judge these things because you have no idea really what they're talking about. You're not steeped in this stuff like they are, but it all sounds right. And all of a sudden, yeah, I believe that the military industrial complex murdered JFK at the behest of a fascist homosexual conspiracy, which is just another amusing little element to JFK by Oliver Stone.Those would be two examples, I would say.I love that. Alyssa, how about you?Alyssa: I would say Dirty Harry. I did a huge project about 10 years ago on depictions of the police in pop culture. And the ways in which law enforcement, as an industry, has actually really shaped their depictions on film. And look, I don't think the police always get everything right. And I think that shooting people is not a viable solution to a crime, especially without a trial. But God damn, does Clint Eastwood make like a sweater and a blazer and a real big gun look awesome, right?Sonny: Those are things that look awesome. Of course, they look awesome on Clint Eastwood.Alyssa: Of course, they look awesome, but they look especially awesome on Clint Eastwood. And they look even more awesome when he's shooting a crazed hippie who has commandeered a busSonny: Full of children.Alyssa: Yes, a bus full of children. The evil hippie deserves to get shot, and Clint Eastwood is the man to set things right. The thing about aesthetics is that they can get you to set aside your politics momentarily in a theoretical way. But I also think that good movies can get you access to spaces and mindsets that you might not have access to otherwise.When you asked that question, the movie that I immediately thought of, not necessarily of challenging my politics, but like bringing me a place I can't go, is Alex Garland's Warfare from earlier this year. It is one of the best movies I've seen this year. And also a movie about (both as a social and cultural environment) an all-male combat unit in the US military and a situation (the war in Iraq) that I have no access to. I cannot go there. My being in the space would fundamentally transform the space. And that opening sequence with this platoon watching this music video in a weird, sexualized group bonding ritual, I just found fascinating and oddly touching in a way that I think is interesting to watch, especially if you're steeped in left-leaning critiques of traditional masculinity in all-male spaces.And I found that movie, despite how harrowing it was, kind of beautiful and tender to watch in a way. And I just felt very grateful for it.Awesome. Yeah, again, I really appreciate how much thought goes into viewing not only movies as cultural entities, but also their space in politics, but also how the culture can overwhelm that. I really think that you guys have such fun takes on this. I wanna back out a little bit and talk a little bit about this year and this moment. I think one thing I really enjoy about your show is that it's obvious how much you guys really enjoy going to the movies, enjoy consuming this stuff. I know that there's a lot of fairly understandable doom and gloom sometimes around the movie industry, around the exhibition industry. A lot of that, I think, comes from some of the more industry side of things and infects the viewing public's view.I'll just throw it to you. What is a trend or something going on these days within movies or Hollywood that you actually think is a good thing, that you're actually enjoying? Or a transitional moment that you think could be fun? I guess, Sunny, I'll start off with you. I don't know.Sonny: That's a hard question to answer because everything is bad right now.Alyssa: To be clear, this is Sonny's default position about all eras and all things. All things.Peter: He's a cheerful man.Sonny: All things, really. No, everything is bad. But if I were looking at a few green shoots, I like the rise of the draft house style theater, a combination of dining, bar, movie space. I know some people have issues with the waiters scurrying back and forth. And it's not my real cup of tea either, but that's all right. You mentioned this question right before we started taping. I was trying to sketch something out, so I didn't have nothing.But I do think the rise of the boutique Blu-ray and 4K UHD retailers has been a good thing. I don't know that it's enough to save physical media in the film context, but the rise of your Vinegar Syndromes. Criterion, of course, is the longest player in this space, and they've been doing it since the days of Laserdisc. They're very good at what they do, and they have a great catalog.But even smaller places, like your Vinegar Syndromes or your Shout Factory and your Scream Factory. The studios themselves are getting into it. Lionsgate has their Lionsgate limited thing that they do, which is just sucking money out of my pockets. A24 has also been good in this space. I like the idea that there is a small but committed cadre of collectors out there. And it's not just ownership for the sake of ownership. It's not the high fidelity, “the things you own matter. So you should show them off so everybody can see them and see how cool you are” kind of thing. There are actual quality differences to having a disc as opposed to a streaming service, which always come in at lower bit rates, and they look and sound worse.But this is so niche. Very few people who collect this stuff (Blu-rays, 4Ks, et cetera) really understand how niche they are.If you look at the monthly pie chart of sales of discs every month, it's still 50 percent DVD, 20 percent to 25 percent Blu-ray, and then 25 percent to 30 percent 4K, depending on what's out at any given time. But 50 percent of discs are still being bought by people browsing Walmart shelves, like “Ooh, I'll watch this new movie for $5. Sure, why not?”Yeah, having something for the sickos is always something viable, right? Peter, I'll throw it to you.Peter: So, on this podcast, I have probably been the biggest MCU, Marvel Movie Universe booster. What I think is a good thing that is happening right now is that the MCU is in a decline, or at least a reset period. It's not overwhelming Hollywood in the way that it was throughout the 2010s. It's hurting theaters and exhibition because those movies are not performing the way they used to, and that's a downside for real.But what it is doing is creating a space for young filmmakers and for young acting talent to rise up without having to immediately be sucked into the MCU or something comparable, like the DC movies that were trying to start up and never really got going. Now they've rebooted the DC universe with the James Gunn Superman film. But, it really felt like in the 2010s, anyone who was in their 20s or 30s and was a really promising actor or a really promising director was gonna make one or two movies. And then they were gonna get sucked into the Marvel or maybe the Star Wars machine, one of these big franchise things.It wasn't like even 25 years ago when Sam Raimi was making Spider-Man films, and they were very distinctly Sam Raimi films. I mean, you watch the Dr. Octopus POV sequence in Spider-Man 2, and it's the same thing he was doing in Evil Dead, except he had $150 million to make that movie, right?These weren't even altruistic superhero films. They were just being brought in to lend their names a small amount of flavor to whatever it was they were doing. And now, in an era in which the MCU is not gone, but is diminished, a lot of acting talent and a lot of directing talent are going to be free to spend that formative period of third, fourth, fifth, sixth movies to make the things that they wanna make and to experiment.Like I said, this does have downsides. This is not great for theatrical exhibitors who are suffering right now because there are fewer movies and because the big movies are not as big. But in that space, you get the opportunity to try new things. And I love seeing new things, and I love watching new talent develop.That is cool. I like that. Alyssa?Alyssa: I'm glad you said that, Peter, because what I was gonna say is I am delighted to see some of the directors who did time in the MCU or other franchises coming back and making original movies. Obviously, Sinners is one of the big success stories of the year. It's also a success story because Ryan Coogler is not only making franchise movies.I saw Seeing Fruitvale, which turned Fruitvale Station, at the Sundance Film Festival. It was like a seminal moment for me early in my career as a critic. I was like, “Holy God, this guy is great.” Even though I like what he did with the Rocky movies and I like the first Black Panther, I just felt this sense of profound regret for him getting diverted from telling these original stories. I'm really excited for Chloe Zhao's Hamnet. I expect to be emotionally incapacitated by that movie. Honestly, it is great for people who love movies that Immortals was just such a disaster.Peter: Eternals.Sonny: Eternals, that's how good it is we can't even remember the title.Alyssa: Yes, Destin Daniel Cretton is working on a Shang-Chi sequel, but he is also collaborating with Ryan Coogler on a project that I think is drawn from their childhoods.Sonny: He's directing a new Spider-Man movie right now.Alyssa: But there's other stuff coming. There's the possibility of life outside franchises. And, I'm excited to see what some of these folks do when they're not in front of a green screen and when they're telling stories about actual human beings. I am excited to just see more movies like Weapons, like Materialists, coming from younger directors who are still figuring things out, but have interesting things to say. And this year, at least, appears to be able to do okay at the box office.I love that. People are recovering from their exile in Atlanta and have a chance to make some cool movies. You guys have been so generous with your time. I do want to just finish on one last note: where do you assess Hollywood's position within the world to be?Obviously, in the States, they've had a lot of pressure from things like TikTok coming from below, things like the federal government coming from above. But even internationally and geopolitically, you've seen international players start to compete with Hollywood at the Oscars. For instance, in Best Animated Film last year, as well as some big markets shutting down for them, like China is not really doing anything. From a political perspective, where do you assess the state of Hollywood right now?Peter: From a political perspective, I think Hollywood is going to start producing movies that read less overtly liberal, less conventionally left-leaning. I think we're already seeing some of that. I don't mean that Hollywood is suddenly going to be MAGA, that it's suddenly gonna be like reading Buckley's National Review or anything like that. I just mean that at the margins, you're gonna see more movies that don't toe the line in the way that you saw movies before. There was a moment, especially right before and right after the pandemic, where it really felt like too many movies were towing a very predictable left-of-center political line. And it was obvious and there was no nuance to it.Again, I do not oppose movies that may have a different worldview than mine, but it felt like they were running scared in a lot of cases. I mean, in sports, if your team is behind, that's the time when you try new stuff. You don't use the same strategy if you are losing. Hollywood's losing right now. They're losing economically and they're losing as a cultural force. While that's in some ways not great for the art form, that is going to be good for experimentation. And that's gonna be formal and craft experimentation. That's going to be talent. We're going to see new and interesting people. And that's also going to be ideas both for stories and for politics and ideology.Sonny: A big question is what happens with the retrenchment of the global box office? Because I do think, for a long time, you could count on basically two-thirds of the box office of a major Hollywood release coming overseas and one-third coming domestically. And those numbers have, in some cases, inverted. It's closer to 50/50 for more of them. It's not universally true. F1 did more business overseas than domestically, which you might expect for something that's based on F1 racing. But the big question is what happens if the rest of the world is like, “We're not that interested in the big Hollywood blockbuster stuff that we have been eating up for the last 15 or 20 years”?This goes hand in hand with Alyssa's point about originals. That's probably a good thing, honestly. It's probably a good thing to get away from the theory of the movie industry being like, “We need to make things that appeal despite language barriers.” Language matters; words matter. And tailoring your words to the correct audience matters. American movie studio should tailor their stuff to American audiences.Alyssa: And also getting away from the idea of appealing to the Chinese censors who controlled which American movies got access to Chinese markets, which was not the same thing as appealing to Chinese audiences. But yeah, I totally agree.My father-in-law works in the foreign exchange industry, and he said something that I've been thinking about a lot. They're just seeing real declines in people who want to come here or feel comfortable coming here. Until July, I was the letters editor at The Washington Post, and it was astonishing to me just how much rage Canadians were feeling towards the United States. I don't know that these will translate into a rejection of American movies. American culture exports have been unbelievably strong for a long time.But I do see an opening for Korean pop culture, which has already been very popular abroad. I think there's a real chance that we will see a rejection of American culture in some ways. And, it will take Hollywood a while to respond to that. It always lags a little bit. But I do think it would be very interesting to see what more aggressively American movies look like. And I think that could take many forms.But scale is in many ways the enemy of interestingness. If there is not and opportunity to turn everything into a two billion dollar movie because you sell it overseas, what stories do you tell? What actors do you put on screen? What voices do you elevate? And I think the answers to those questions could be really interesting.Peter: I agree with all of this in the sense that I think it will be good for the art form, like I have been saying. But there's a cost to this that all of us should recognize. When budgets get smaller and the market shrinks, that is going to be bad for people who work in the industry. And in particular, it's going to be rough for the below-the-line talent, the people whose names you see at the end credits — when these credits now scroll for 10 minutes after a Marvel movie because they have employed hundreds, maybe even a thousand people.And there was a story in The Wall Street Journal just this summer. You mentioned the time in Atlanta about how Marvel has moved most of its production out of Atlanta. There are people there who had built lives, bought houses, had earned pretty good middle-class incomes, but weren't superstars by any means. Now they don't know what to do because they thought they were living in Hollywood East, and suddenly, Hollywood East doesn't exist anymore.We may be in a position where Hollywood West, as we have long know it, L.A., the film center, also doesn't exist anymore, at least or at least as much smaller, much less important and much less central to filmmaking than it has been for the last nearly 100 years. And again, as a critic, I like the new stuff. I often like the smaller stuff. I'm an American; I want movies made for me. But also, these are people with jobs and livelihoods, and it is going to be hard for them in many cases.Sonny: Oh, I'm glad to see the A.I. King over here take the side of the little guy who's losing out on his on his livelihood.Peter: I think A.I. is going to help the little guy. Small creators are going to have a leg up because of it.Sonny: Sure.All right. Well, I love some of those thoughts, love some of those lessons. Publicly traded companies are famously risk-taking, so we're going to be fine, definitely. Either way, I really do love the show. I really, really enjoy it. I think it's one of the best discussion shows, chat shows about any movie podcast out there. It is really, really fun. It is very cool to see you guys go independent.I just want to throw it to you a little bit. What is your pitch? What is the show? Where can they find it? What's the best way to support it? And where can they find you all?Sonny: The show's a lot like this, like what you just listened to.Alyssa: Peter has developed this catchphrase when Sonny asked him how he's doing to kick off the show, and he always says that he's excited to be talking about movies with friends. We want to be your movie friends. You should come hang out with us. Hopefully, we will be going live a little bit more, maybe meeting up in person some. I will hopefully be doing some writing for our sub stack, if you have missed my blatherings about movies and movie trends.But yeah, come hang out with us every week. We're fun.Sonny: Movieaisle.substack.com. That's where you should go. You should I'm I'm I'm sure I'm sure there will be a link to it or something. Movieaisle.substack.com is where it lives now. We'll have a proper URL at some point.Terrific. And wherever you get your podcasts?Sonny: And wherever you get your podcasts!That's great. Peter, Alyssa, Sonny, thank you so much. This is really, really fun. Again, I really dig the show so much. I'm very, very happy for you guys being able to spring out independent. So really, thanks for coming on.Edited by Crystal WangIf you have anything you'd like to see in this Sunday special, shoot me an email. Comment below! Thanks for reading, and thanks so much for supporting Numlock.Thank you so much for becoming a paid subscriber! Send links to me on Twitter at @WaltHickey or email me with numbers, tips or feedback at walt@numlock.news. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.numlock.com/subscribe

You can now text us anonymously to leave feedback, suggest future content or simply hurl abuse at us. We'll read out any texts we receive on the show. Click here to try it out!This week, the dads head into the mosh pit with Jeremy Saulnier's brutal, claustrophobic thriller Green Room — where a struggling punk band finds themselves trapped in a neo-Nazi club after witnessing a murder. It's one part siege movie, one part social horror, and all parts grim.When the Ain't Rights take a last-minute gig deep in Oregon's backwoods, they expect low pay and bad beer — not blood, dogs, machetes and Patrick Stewart as a terrifying skinhead ringleader. What follows is a night of panic, violence and duct-tape surgery, as the band fights to survive against an organised fascist militia who'd rather clean up witnesses than pay for another gig.We dig into:Punk authenticity — the grime, the DIY spirit, and how Saulnier nails the small-venue chaos.Patrick Stewart's casting — calm, chilling, and galaxies away from Captain Picard.Anton Yelchin's tragic final performance — and what a loss he was.Violence that hurts — no jump scares, just sudden, stomach-turning realism.The Nazi problem — why these villains feel horrifyingly believable in 2025.The A24 factor — another lean, mean indie proving the studio's knack for smart brutality.Elsewhere in the episode: ☕ The Top 5 Hot Drinks delivers peppermint tea, Dirty Harry's coffee, and more filth than a builder's thermos.

We're joined by Jason Farrell, Matt's former co-host of THE BOOKHOUSE BOYS podcast, to talk about TARGITT, written by RIC MEYERS with art by HOWARD NOSTRAND. John Targitt is a defective clone made from DNA of Frank Bullitt, Harry Callahan, and Paul Kersey (Bronson's character from Death Wish). He's an FBI agent who wages an all-out war on crime after his wife & daughter are caught in the crossfire of syndicate violence. Watch it on YouTube: https://youtu.be/lKK7ibNbK6w You can read all 3 issues here: https://archive.org/details/targitt-complete SUPPORT THE SHOW: https://www.patreon.com/BronzeAgeMonsters THREADLESS SHOP: https://bronzeagemonsters.threadless.com/ JOIN US ON OUR DISCORD SERVER: https://discord.gg/wdXKUzpEh7

Gerechtigkeit mit der besonders langen Magnum-Pistole. Erlösendes Unterhaltungskino als Balsam für ohnmächtige Großstadtseelen. Regisseur Don Siegel und seine DrehbuchautorInnen schmuggeln moralische Falltüren hinein. Clint Eastwood erschafft scheinbar mühelos eine Ikone des lakonisch gewalttätigen Hollywood-Polizisten. Dank Filmvorführer Max in Rostock erstmals auf einer Kinoleinwand. Filmverkäufer Christian löste ein Ticket und sortierte mit Max im Anschluss an die Vorführung ein paar Eindrücke.

Brian throws the open mic to Jeff, and he doesn't know how to behave, so Lemon takes over. Also this week: Jeff had an ear surgery | Brian explains how the bottom quintile dominates human life | the old guy arrested at the Charlie Kirk shooting likes kid porn | Jeff says don't go to Utah | soaking | the Osmonds | an update on the guy who was sniffing female asses in public | someone thought a goat was a woman in distress | there's a Greenville Spider-Man | Blink 182 | a "behavior interventionist" bit a kid | Wal Mart bans an emotional support alligator | Brian had some of the best pancakes of his life | don't let Jeff fool you, he hates going out in public | the problem with public transportation | Dirty Harry and Gran Torino | Thoreau and Robert Redford | young Mary Tyler Moore | and finally, Scorched Earth Pussy.

Ever wondered what a pumpkin pounder is? Neither did we, until Rizz brought it up and suddenly the whole crew had to rethink their life choices. Spoiler: it's less about carving pumpkins and more about being into redheads—and Rizz admits he may have been one… It's ok he's “reformed” now. From there, things spiral the way only The Riz Show can. We argue about whether the world needs a Dirty Harry reboot, debate if Free Willy could be scarier as a trash island monster, and confess our undying loyalty to butterscotch milkshakes after the Hi Pointe cruelly ripped them from the menu. Moon tries to sell us on a band called Viagra Boys (yes, that's real), Rizz relives an awkward run-in with a cop in front of his neighbors, and we even melt down over Simpsons trivia. Show Notes: The New York Secrets That Inspired Pumpkin Pounder National Toy Hall of Fame Reveals 12 Finalists Teen nearly dies after social meida 'Benadryl' challenge St. Louis-based Katie's Pizza heads to Target stores First Taco Bell in Ireland opens with close to 100 jobs created Follow The Rizzuto Show @rizzshow on all your favorite social media, including YouTube, Facebook, Twitter, Instagram, TikTok, and more. Connect with The Rizzuto Show online at 1057thepoint.com/rizz See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

“Do you feel lucky, punk?” Join Ian, Megs & Liam for our 296th episode as we prowl the streets of San Francisco, badge in one hand and .44 Magnum in the other, for a look at Clint Eastwood's career-defining role in Dirty Harry (1971). A killer on the loose, a cop who won't play by the rules, and a city hanging in the balance—this episode asks all the right questions, even if Harry never bothers to. It's cops, criminals, and constitutional crises in our 296th episode as we ask: Yes, Dirty Harry is cool—but do women actually like this film? What's with all the nudity, and how much of it serves the story? Why does Scorpio do anything he does—and why does his logic (or lack thereof) drive us mad? How has Harry never learned what actually invalidates evidence or a confession? Law 101, Callahan! Why does the mayor keep calling him like he's on speed dial for bad PR? How deaf is the kid doing the fishing? And how long would it take for him to notice what's going on behind him? Why is Scorpio so disparate in his understanding of the value of hostages—demanding one thing one moment, then undercutting himself the next? Why doesn't the SFPD sit Harry home when he's framed on regional television? What exactly does the ending mean—resignation, rebellion, or just Eastwood being Eastwood? Which line from the film is one of the most misquoted in television history? We share some thoughts on the Charlie Kirk shooting and the public's reaction to it - are we losing our humanity? And finally: when exactly does DNA evidence become a thing—and how would it have changed the whole movie? Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE. We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor. Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/.

Hello and welcome to Handgun Radio! I'm your host Ryan Michad, Weerd Beard & Co from the wild woods of Central Maine and this is your home for all the news, information and discussion in the handgunning world!   This week, we talk rebuilding your collection with a certain budget!   Please check out the Patriot Patch Company for their awesome patches and other high quality  items! Visit www.patriotpatch.co for more information! Cool artist “proof” rendition come along with the latest patch of the month patches!    We are proudly sponsored by VZ Grips! Please go check out all their fantastic products at their website! VZ Grips!  -KFrame Magna Grips   Thank you to all our patreons! Visit us at https://www.patreon.com/handgunradio    Week In Review:    Ryan: -Rewatched “The Rookie” (1990)...such a good movie, and many shots were pulled from the Dirty Harry movies. -Also rewatched “Spy Game” with Redford & Brad Pitt…One of my all time favorites! -Visit from friend Myles! -Shot the Walther PPK/s .22 LR….SO SMOOTH!!   Weerd:   Oddball:   Drink Segment:  Cathedral Ledge distillery   Main Topic: Rebuilding Your Collection!   I saw a comment on my YouTube video with the family range trip from listener Rick, which said “For the podcast, how about a topic of “If I had to rebuild my HANDGUN collection and only had $2k or $4k to spend, what would I buy knowing what I know now?”   Sounds like a good topic!   Lets say $5k budget   Ryan: -Pre Owned S&W Model 19-4 .357 Mag ($600-700) -Glock 19 Gen4 9MM ($450-550) -Some sort of S&W Top Break Replica, Short Barrel ($700-800) -Ruger Mark IV .22 LR 22/45 version, threaded ($400) -Ruger LCP II .22 LR ($300) -S&W UC J-Frame in .38 Special ($650) -TISAS 1911 in .45 ACP ($450) -Ruger Redhawk .44 Magnum ($950)   TOTAL: $4,800….Ill save the last $200 for ammo…which wont go far.   Weerd: 25 SIG P320s ($200 each) LOL -Smith & Wesson 617 ($850) -SIG P365 ($500) -S&W 1911PD,  or SIG 365 FUSE $1000-$1200 (optional) -Radom P64: $350 - Beretta 21A $400 - S&W 686+  $1000 - Ruger Super Redhawk Alaskan 454 $1400 $5700  (maybe used guns will save me)   Oddball: -Sig 365 Fuse with red dot ($1000) -Browning Buckmark ($500) -Ruger LCP Max ($300) -HiPoint JXP 10 ($200) -15 Altor ($100) -RIA 1911 ($600) -Beretta Px4 ($600) -Beretta 92G LTT ($1000 used) -7 trash panda guns ($700) $5k     Send us your entries to handgunradio@gmail.com! We will read them on a future show!   Wrap Up: Don't forget to shop Brownells using our affiliate link! Head to firearmsradio.net and click the affiliate link in the upper right hand corner! Be sure to go like Handgun Radio on facebook and share it with your friends! Leave us a review on iTunes! Check out VZ Grips!  Listen to all the great shows on the Firearms Radio Network! Check out the Patriot Patch Company!! www.patriotpatch.co   Weerd where can people find you? Assorted Calibers Podcast,  Weer'd World   Oddball gunscarstech.com Assorted Calibers Podcast ACP and HGR Facebook   David Blue Collar Prepping Brena Bock Author Page David Bock Author Page Team And More Xander: Assorted Calibers Podcast Here so Ryan doesn't do a bad impression of me   Until next week, have fun & safe shooting!  

After an update from Derek, Dean Karayanis of the New York Sun and Rush Limbaugh Show updates you on the weekend's news. A case of mistaken identity for Phillies Karen reminds us of a lesson in “The Dead Poets Society.” The Democrats' religions test as Senator Tim Kaine declares thinking inalienable rights come from God is an “extremely troubling” idea. The shadowy Professor Mifsud, a key player in the Russia probe who disappeared seven years ago. JB Pritzker says he has moles inside the White House and Chris Christie savages RFK Jr. Senator Rand Paul takes on J.D. Vance in defense of the Venezuelan drug runners blown up by the U.S. Navy. Finally, a word on “The Savant,” the hilarious “Karen power fantasy” from Apple TV that's launched a thousand memes before it even airs.

This is a preview of a premium episode from our Patreon feed, Paid Costly For Me! Head over to Patreon.com/PodCastyForMe to hear more for just $5 a month. This week we're looking at another one of Dirty Harry's spiritual children, Paul Verhoeven's 1987 ROBOCOP. Violence, corporate greed, police stuff - much to talk about here. But we're also talking about it because Verhoeven is a Dutch guy and Jake just got back from a trip to Amsterdam, which we gotta talk about too! OCEAN'S TWELVE locations, European public infrastructure, visiting the Anne Frank House during Israel's genocide of Palestinians - big ep. Plus: a message from Hotel Detective Maxwell Pierson. Thanks as always to Jetski for our theme music and to Jeremy Allison for our artwork. Check out Jetski's new album, The Radiant Radish!

Dirty Harry. Philip Rock. A guest that knows his novelizations. Why are you reading this instead of pressing play?The Pink Smoke: https://thepinksmoke.com/The Pink Smoke Podcast: https://podcasts.apple.com/us/podcast/the-pink-smoke-podcast/id1529803112Subscribe to our Patreon!: patreon.com/authorizedpod Follow us on letterboxd:  letterboxd.com/AOverbye/  letterboxd.com/hsblechman/  letterboxd.com/johnnypomattoBluesky: ⁠⁠https://bsky.app/profile/authorizedpod.bsky.social⁠

Dirty Harry. Philip Rock. A guest that knows his novelizations. Why are you reading this instead of pressing play?The Pink Smoke: https://thepinksmoke.com/The Pink Smoke Podcast: https://podcasts.apple.com/us/podcast/the-pink-smoke-podcast/id1529803112Subscribe to our Patreon!: patreon.com/authorizedpod Follow us on letterboxd:  letterboxd.com/AOverbye/  letterboxd.com/hsblechman/  letterboxd.com/johnnypomattoBluesky: ⁠⁠https://bsky.app/profile/authorizedpod.bsky.social⁠

We chat with actor/teacher Richard Lawson about: his service in Vietnam, his journey into acting, encountering an appreciative Quentin Tarantino and – most importantly – his uncredited role as a queer man surviving Scorpio’s rifle in the original DIRTY HARRY (1971). https://studio.richardlawson.net

This week The Lonely Island and Seth Meyers start off with a shocking update for one of their members. Don't worry he's okay...more or less. But despite the jokes…it is very serious and we all wish him well. IN ADDITION they talk about the 2009 Twilight-inspired digital short starring a young up-and-coming musician named Taylor Swift. Taylor has been in the news lately for her engagement to the Kansas City Chiefs' Travis Kelce. And yes we put that in this description for dem clicks! They also talk about Taylor's episode that started off with her own host-written monologue song and Seth apologizes for not understanding her songwriting skills. And then Andy gets to talk about the first part of one of his favorite recurring sketches Bunny Business. And Akiva shows some clips from Raw Deal with Arnold Schwarzenegger and Dirty Harry with a farting dog. All that and more this week! We love you Jorm!! Firelight (Taylor Swift) | https://www.youtube.com/watch?v=uDmNUY2TKuM&t=1s The Lonely Island falls off a horse | https://www.youtube.com/watch?v=TWRlVrcz1OI The Roses Trailer | https://www.youtube.com/watch?v=XkgMaS5gbaA&t=4s Digman! Season 2 Trailer | https://www.youtube.com/watch?v=knZyc7cVyhI The Best of Stath | Stath Lets Flats | https://www.youtube.com/watch?v=KBefactaTzg&t=2s A Whole Lifetime with Jamie Demetriou | https://www.netflix.com/title/81326176 Sudden Impact Dog Fart | https://www.youtube.com/watch?v=-XEjC8IDmKs The 14 Best Tennis Scenes in Movies | https://www.vulture.com/article/best-tennis-movies-scenes-ranked.html Seven Days in Hell Official Trailer | https://www.youtube.com/watch?v=rpsMi3Q2fok Peyton Manning United Way | https://www.youtube.com/watch?v=uEEYbXVCoT0&t=1s Frankenstein on Congressional Budget Cuts | https://www.youtube.com/watch?v=Mawve_3NSj4 Taylor Swift Monologue Song | https://www.youtube.com/watch?v=W2twcSFYlt0 Bunny Business | https://www.youtube.com/watch?v=B6CTD0L154s Horse Play Soundtrack | https://www.youtube.com/watch?v=3VqqYj7UW3U F1 The Album | https://open.spotify.com/album/2HwRKkEp7jXbxXwcGyZYHK?si=zIvpofUbTPGtaHyJ-nphAA Special ""Andy's Corner"" piano composition and arrangement by Derek Porter Not all the clips we mention are available online; some never even aired. Photos and anything else mentioned in the episode can be found by following us on Instagram @thelonelyislandpod Please support our sponsors: QuinceLevel up your bedding this fall with Quince. Go to Quince dot com slash ISLAND for free shipping on your order and 365-day returns. Wonderful PistachiosGrab a bag today. www.wonderfulpistachios.comVuoriGet 20% off your FIRST purchase. Get yourself some of the most comfortable and versatile clothing on the planet at vuori.com/ISLANDNord NPNGet exclusive NordVPN deal here ➵ https://NordVPN.com/lonelyisland It's risk free with Nord's 30 day money-back guarantee! You can get a huge discount on a 2 year plan plus 4 additional bonus months Learn more about your ad choices. Visit megaphone.fm/adchoices

Before Call of Duty, before The Hunger Games, and long before kids with rifles were standard streaming fare, there was Red Dawn, a film where teenagers in Colorado picked up hunting rifles, hid in the woods, and waged war on the Soviet-Cuban invasion of suburban America. In 1984, World War III didn't start with a bang. It began with a history teacher getting machine-gunned through a classroom window. Wolverines, assemble. This Red Dawn 1984 Review is gunna be epic!This week on Born to Watch, the team revisits John Milius' unlikely cult classic, the first PG-13 movie ever released, and still one of the most bizarrely patriotic action flicks of its time. Whitey sets the scene: Cold War hysteria at its cinematic peak, where the solution to global conflict is apparently a football quarterback, a couple of dirt bikes, and a stash of grenades. Gow marvels at how dark and unexpectedly bleak the movie is upon rewatch. And special guest Chris, who watched this on loop in a Canadian compound in Saudi Arabia (seriously), adds depth, nostalgia, and just the right amount of North American sincerity.The pod kicks off with a bang (and a few technical apologies), diving straight into awkward romances, surprisingly competent teens, and Patrick Swayze's transition from ballet shoes to combat boots. There's plenty of love for the Outsiders alums in the cast, from Swayze to C. Thomas Howell to Charlie Sheen in his screen debut, "He looks like he's been acting for 20 years," Whitey insists. Jennifer Grey and Lea Thompson round out the '80s dream team, while Powers Boothe arrives halfway through the movie like a red-blooded Deus Ex America, delivering monologues about freedom, death, and being "super Catholic unless he needs to be super Anglican."And yes, the Wolverines' origin story is still insane. A bunch of high schoolers flee to the hills, build underground bunkers with trap doors, and become insurgents overnight. The pod breaks down every logical inconsistency and still comes away loving it: why did the Russian soldiers...take the picnic basket? Why did Darryl betray them? And how the hell did they learn to use claymores?As always, The Good, The Bad, and The Ugly delivers the heat. The good? A refreshingly sincere slice of 80s teenage warfare, where death has weight and characters grow (or die trying). The bad? Avenge me! Avenge meee! Screams Harry Dean Stanton in a moment so melodramatic it becomes unintentionally iconic. And the ugly? Powers Boothe, nearly getting frisky with Lea Thompson, cut in post, thank God, but still creepy on rewatch.The conversation also swerves into great side quests. Gow takes us through Ordinary People, tying every cast member back to The Outsiders or Back to the Future in six degrees or less. Whitey flexes his film nerd muscles with a deep dive into director John Milius, writer of Apocalypse Now, Dirty Harry, and the infamous USS Indianapolis speech from Jaws. There's also the obligatory "One Degree of Kurt," tying the film back to Russell via Tombstone and Powers Boothe. Born to Watch bingo, complete.Set pieces get their due: the shock of the paratroopers in the opening scene, the forest ambush montages, the tragic final shootout between brothers. There's genuine reverence for how gritty and grim the film gets, even with its wild premise. "This movie's better than it has any right to be," is the consensus.Legacy-wise, Red Dawn didn't just launch a thousand VHS replays; it set the template for teen action cinema, and even inspired a less-than-stellar 2012 remake (which the boys pretend doesn't exist). No Oscars here, but in the Book of Born to Watch, it gets a solid star on the Walk of Cult Classics.JOIN THE CONVERSATIONShould Jed have let Darryl live?Is Red Dawn better than it should be—or just a patriotic fever dream gone rogue?Would YOU survive a Soviet invasion with nothing but camping gear and high school trauma?Please leave us a voicemail at https://www.borntowatch.com.au and join the rebellion.Listen now on Spotify, Apple Podcasts, or wherever you get your pods. Don't forget to LIKE, SUBSCRIBE, and yell "WOLVERINES!" at strangers to promote the show.#RedDawn #Wolverines #borntowatchpodcast #80sAction #CultClassic #PatrickSwayze #ColdWarCinema #MoviePodcast #FilmReview

Lee built a playlist of some of his favourite stuff from the recently departed Boris Claudio "Lalo" Schifrin. Rest in Peace. --Gone With the Wave from "Gone With the Wave" (1964) --Dark Intruder from "Dark Intruder" (1965) --Main Titles from "The Liquidator" (1965) -- with Dame Shirley Bassey --The Cincinnati Kid from "The Cincinnati Kid" (1965) -- with Ray Charles --Main Title & Iron Head from "Murderer's Row" (1966) --Suite from "Way... Way Out" (1966) --Theme from Mission: Impossible from "Mission: Impossible" (1966) --Them (Main Title) & Dripping Icicles from "The Fox" (1967) --Main Title from "Cool Hand Luke" (1967) --Main Title, A Song for Cathy & Music to Interrogate By from "Bullitt" (1968) --Main Title from "Coogan's Bluff" (1968) --Che! from "Che!" (1969) --Kelly's Heroes Theme from "Kelly's Heroes" (1970) --Main Title & Scorpio's View from "Dirty Harry" (1971) --Main Title from "Joe Kidd" (1972) --Main Title & The Big Battle from "Enter the Dragon" (1973) --Last of the Independents from "Charley Varrick" (1973) --Confrontation from "Magnum Force" (1973) --Main Title & The Eagle's Enemy from "The Eagle Has Landed" (1976) --Main Theme from "St. Ives" (1976) --Calliope of Death, Magic Carousel & Tension Rock from "Rollercoaster" (1977) --Opening Titles from "The Manitou" (1978) --Fast Moves & Training Montage 2 from "Battle Creek Brawl" (1980) --Main Title, Frisco Night & Cocktails of Fire from "Sudden Impact" (1983) --Osterman Weekend Theme from "The Osterman Weekend" (1983) --Main Title & Harpoon from "The Dead Pool" (1988) --The Real Rado/Rado Attacks/Rado Chase Rollie from "FX2" (1991) --Main Title from "Rush Hour" (1998) Opening and closing music: Notre côté B from "Gina" by Michel Pagliaro, and Bubble Gum Girl from "Gas-s-s-s" by Johnny & The Tornados.

The Searchers close out this arc on Jean-Paul Belmondo actioners with The Outsider from 1983, not to be confused with the Francis Ford Coppola film. Is this the famous Frenchman's Dirty Harry clone? Was he too old to do all his own stunts? Come listen to the latest episode and find out! On the next episode, Chris and Ben cover another film from the great Obayashi.  Please rate us a 5/5 on Apple, Spotify, or Podbean, and review us on Apple. Submit your mailbags to us at thesearcherspodcast@gmail.com.  Our episode catalogue: https://searchersfilmpodcast.podbean.com/

-The Geekery 99?Mojo World: Clint Eastwood Movies!ParkerUnforgiven, Trouble with the Curve, The Good the bad and the uglyBrandonThe Mule, Gran Torino, Space CowboysAaronJose Whales, Dirty Harry, Million Dollar Baby

What's the most effective way to communicate an ecological message in a monster movie? Does it involve an unwashed hillbilly in overalls? What do you call a swamp-dwelling Bigfoot, anyhow? Join Tom and Ryan as they discuss these questions as well as other pieces of pertinent information, such as condescending professors, blurry flashbacks, and a connection to Dirty Harry. It's our review of Boggy Creek II: And the Legend Continues! Time stamps: 0:05:10 - Background 0:14:35 - Summary 0:26:30 - Notable Scenes 0:31:45 - The Good 0:34:30 - The Bad 0:47:20 - The Ugly 0:49:40 - Final Thoughts

With seven decades in film and television, Clint Eastwood is undeniably a Hollywood institution. Emerging first as a star in Westerns, then as the embattled cop in the Dirty Harry films, the ninety-five-year-old filmmaker has directed forty features and appeared in more than sixty. The film critic Richard Brody just reviewed a new biography of Eastwood. “What fascinated me above all are the origins of Clint Eastwood-ness—the way he had an aura that preceded him before his career in movies.”  Brody joins David Remnick to pick three of the films that set Eastwood apart as an artist: “Play Misty for Me,” his 1971 directorial début; “Bird,” his bio-pic about Charlie Parker; and “Sully,” starring Tom Hanks as the heroic pilot Chesley Sullenberger.

Do you feel lucky, mate? Listen and subscribe to Cinema Swirl on your favourite podcast platform here: https://linktr.ee/cinemaswirl Hosted and Produced by: Kefin Mahon and Sam Chaplin Edited by: Sam Chaplin Music: Sam Chaplin

Send us a textClint Eastwood's scowl. A .44 Magnum. And one of the most controversial cops in movie history. In this episode, we revisit Dirty Harry (1971), the film that redefined law enforcement on screen and sparked decades of debate. We break down its impact, its politics, and whether Harry Callahan still holds up in today's cultural climate. Spoiler: we've got thoughts—and they're locked and loaded.Actress Karissa Lee Staples Oh Brother Podcast: Support the Show! (get early access) Listen on all podcast platforms Subscribe on YouTube Follow us on Instagram

This week on Born to Watch, the boys dive sunglasses-first into their Cobra (1986) Review, Sylvester Stallone's 80s fever dream of fascist fashion, cult chaos, and cheeseball one-liners. In a time when Sly was king of the box office, rocking Rambo and Rocky, he went rogue and gave us… Marion Cobretti. Part cop, part Terminator, all denim.Whitey, G-Man, and Morgz try to unpack this absurd Dirty Harry knockoff that's equal parts vanity project and testosterone overdose. From the opening monologue's completely made-up crime stats to the gratuitous axe-wielding cult, nothing about Cobra makes sense, and that's half the fun.But it's not all bullets and bravado. The team takes a hard look at Stallone's creative control (spoiler: he shouldn't have had any), the film's bizarre product placement (Pepsi, anyone?), and a montage that includes Brigitte Nielsen posing with robots to a Robert Tepper deep cut. Seriously.Gow marvels at the buckle boots and slasher absurdities, Dan questions why Cobra opens a warm beer just to throw it, and Whitey can't believe this was supposed to be the start of a franchise. There's praise for the poster, grief for the editing, and unfiltered confusion about the serial killer cult that clinks axes in an abandoned pool.Also in this episode:An explosive “Good, Bad, and Ugly” segment where “ugly” takes on new meaningA wild tangent into Canadian trailer parks and Gow's legendary exploits as the “Ten Slayer”A bonus voicemail from our mate XR8 Chupperz, who wants answers about Canadian bar fights and Gow's taste in trailer park womenAs the crew reflects on Cobra's place in 1986 cinema, surrounded by giants like Top Gun, Aliens, and Platoon, they ask the big questions: Could this have been good with a different cut? Did anyone actually direct this thing? And is “You're a disease, and I'm the cure” the greatest dumb action line ever written?Spoiler alert: Cobra ends with 41 confirmed kills. Stallone doesn't just clean up crime; he clears the census.So if you love muscle-bound madness, slashers in stocking masks, or just want to laugh at a movie that takes itself way too seriously, this episode is for you.JOIN THE CONVERSATIONIs Cobra a misunderstood action gem or just a flaming dumpster fire of denim and ego?Would you ride shotgun with Cobretti or run from his gun with the custom Cobra logo? Who's scarier—the Night Slasher or that robot photo shoot montage?Drop us a voicemail at https://www.borntowatch.com.au and be part of the show!Listen to the full episode now on Spotify, Apple Podcasts, or wherever you get your pods.#Cobra #SylvesterStallone #BornToWatch #MoviePodcast #80sAction #CultClassic #BadMoviesWeLove #BrigitteNielsen #PepsiPlacement #GunWithALogo

Well you can't do a month of movies about serial killers made by actors or directors at the height of their power without talking about this film. That's right we watched Dirty Harry a thinly disguised zodiac killer movie made during the height of the zodiac killings in the bay area. Did we love it? Was Cyndi surprised at how good Andrew Robinson's Scorpio Killer was? Did it scare her to death? Join us this week to find out and make our day. 

CLINT is the first major biography of Eastwood in over twenty years. Two of the most prominent earlier biographies were both comprehensive in covering the work and the life, but approached Eastwood with wildly different perspectives. One was fawning and overly respectful, ignoring any of Eastwood's faults, while the other one came at Eastwood harshly and didn't reckon with Eastwood as an actor and director as much as it focused on his personal missteps and failings. These books were also, obviously, unable to cover the substantial and award-winning work that Eastwood has produced in the 21st century. In covering the life and work of Eastwood, Levy's CLINT takes the middle ground, "where Clint and his work could be described and evaluated from a position of neither acquiescence nor denigration. It was possible for a book to celebrate the man and his work and deeds while acknowledging the flaws-and worse-in him, his choices, and, yes, his films."In a career spanning more than six decades, Clint Eastwood has captured the rugged essence of American manhood and morality, both on and off the screen. We picture him most immediately as he has appeared to us on screen: squinting through cigarillo smoke in A Fistful of Dollars or The Good, the Bad, and the Ugly imposing rough justice at the point of a .44 Magnum in Dirty Harry; sowing moral vengeance in The Outlaw Josey Wales or Pale Rider; abandoning farming for murder-for-hire in Unforgiven; grudgingly training a woman boxer in Million Dollar Baby; standing up for his neighbors despite his racism toward them in Gran Torino. But those are roles, however well-cast and convincing, and they are two-dimensional in comparison to the whole life. The reality of Clint Eastwood is far more rich, knotty, and absorbing-a saga of cunning, determination, and conquest, a great American story about a man ascending to the Hollywood pantheon while keeping a gimlet eye on its ways and habits and one foot firmly planted outside its door.Yet, the story of Clint Eastwood is far more than his cinematic characters. As a director, he has crafted masterful narratives, winning thirteen Oscars, including two for Best Picture. His films explore American cultural and political climates with depth and understanding, embodying the contradictions and triumphs of contemporary America.But beyond the screen, who is Clint Eastwood?Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

TVC 699.2: From May 2015: Blues artist, radio host, and film historian Mick Martin and Ed discuss why John Mitchum, the younger brother of Robert Mitchum, was something of a “Hard Luck Harry” until his memorable role opposite Clint Eastwood in the original Dirty Harry. Other topics this segment include a look at such other notable character actors as Andrew Robinson, Richard Farnsworth, and Wilford Brimley; why Robert Duvall and Tommy Lee Jones are really “character actors” at heart; and why Lonesome Dove remains one of Mick's favorite movies. Mick Martin passed away on Sunday, July 13 at age seventy-six.

From Dirt Harry, to every which way but loose to Unforgiven, Clint Eastwood has played some of the most memorable characters in movie history.Shawn Levy is the author of Clint, the first major biography of Clint Eastwood in over twenty years...-Clint Eastwood is 95 and still working-The HUGE movies he's directed-Actors loved working with him because he would only shoot 1 or 2 takes "People worked with him again and again because it's such a joy to work on a set where you're not being tortured with retakes all day"-Mayor of Carmel, also the 'empty chair' bit at the RNC-Is Clint Eastwood a tough guy in real life-Sandra Locke's palimony suit against Clint To subscribe to The Pete McMurray Show Podcast just click here

Writer/director James DeMonaco discusses his top ten films that evoke the surreal, hallucinatory feel of dreams/nightmares, while not actually depicting dream/or nightmares with Josh Olson and Joe Dante. Show Notes: Movies Referenced In This Episode A History Of Violence (2005) The Home (2025) 52 Pick-Up (1986) The Purge (2013) The Purge: Anarchy (2014) The Purge: Election Year (2016) Staten Island (2009) This Is The Night (2021) Glengarry Glen Ross (1992) 3 Women (1977) Apocalypse Now (1979) Apocalypse Now Redux (2001) Jack (1996) The Godfather (1972) The Godfather Part II (1974) The Godfather Part III (1990) Dementia 13 (1963) Star Wars (1977) THX 1138 (1972) Blood Simple (1984) Megalopolis (2024) Mandy (2018) Beyond The Black Rainbow (2010) Nightmare Alley (2021) Blue Velvet (1986) Mulholland Drive (2001) The Accused (1988) The Swimmer (1968) Dune (1984) Dune (2021) Jodorowsky's Dune (2014) Crash (2005) *Ghost Dog: Way of the Samurai (2000) Paterson (2016) Fellini's Roma (1972) Amarcord (1973) La Strada (1954) Nights of Cabiria (1957) 8 ½ (1963) Dirty Harry (1971) Gremlins (1984) Irreversible (2002) Antichrist (2009) Play It As It Lays (1972) Nashville (1975) Boom! (1968) Mr. Blandings Builds His Dream House (1948) Punch Drunk Love (2002) The Long Goodbye (1973) Phantom Thread (2017) One Battle After Another (2025) Happy Gilmore (1995) Happy Gilmore 2 (2025) March of the Wooden Soldiers a.k.a. Babes in Toyland (1934) Beetlejuice (1988) Monkey Trouble (1994) Prizzi's Honor (1985) Vertigo (1958) Invaders From Mars (1953) The Woman in the Window (1944)  Inception (2010) Eternal Sunshine of the Spotless Mind (2004) Dreamscape (1984) What Dreams May Come (1998) The Truman Show (1998) Minority Report (2002) Other Notable Items Our ⁠Patreon⁠! Our pals at ⁠Movies Unlimited⁠ ⁠The Hollywood Food Coalition⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

CLINT is the first major biography of Eastwood in over twenty years. Two of the most prominent earlier biographies were both comprehensive in covering the work and the life, but approached Eastwood with wildly different perspectives. One was fawning and overly respectful, ignoring any of Eastwood's faults, while the other one came at Eastwood harshly and didn't reckon with Eastwood as an actor and director as much as it focused on his personal missteps and failings. These books were also, obviously, unable to cover the substantial and award-winning work that Eastwood has produced in the 21st century. In covering the life and work of Eastwood, Levy's CLINT takes the middle ground, "where Clint and his work could be described and evaluated from a position of neither acquiescence nor denigration. It was possible for a book to celebrate the man and his work and deeds while acknowledging the flaws-and worse-in him, his choices, and, yes, his films."In a career spanning more than six decades, Clint Eastwood has captured the rugged essence of American manhood and morality, both on and off the screen. We picture him most immediately as he has appeared to us on screen: squinting through cigarillo smoke in A Fistful of Dollars or The Good, the Bad, and the Ugly imposing rough justice at the point of a .44 Magnum in Dirty Harry; sowing moral vengeance in The Outlaw Josey Wales or Pale Rider; abandoning farming for murder-for-hire in Unforgiven; grudgingly training a woman boxer in Million Dollar Baby; standing up for his neighbors despite his racism toward them in Gran Torino. But those are roles, however well-cast and convincing, and they are two-dimensional in comparison to the whole life. The reality of Clint Eastwood is far more rich, knotty, and absorbing-a saga of cunning, determination, and conquest, a great American story about a man ascending to the Hollywood pantheon while keeping a gimlet eye on its ways and habits and one foot firmly planted outside its door.Yet, the story of Clint Eastwood is far more than his cinematic characters. As a director, he has crafted masterful narratives, winning thirteen Oscars, including two for Best Picture. His films explore American cultural and political climates with depth and understanding, embodying the contradictions and triumphs of contemporary America.But beyond the screen, who is Clint Eastwood?Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

Jen's juicy fat tits...Can you say Eskimo anymore...Rim jobs, you aren't the first...Matt objectifies women...Doug doesn't know Metallica...Matt changes his porn provider of choice...Racism still exists...The boys beat (up on) the Beautiful Penis...A breach turd...Doug is mean to Matt...Eating pussy while high...Matt tries to say flatso in an inoffensive way...Doug can't stop fucking with his mic arm...All this and more...

“Kojak. Columbo. Dirty Harry. Wimps.”   “The Adventures of Ford Fairlane is a 1990 American action comedy film noir mystery film directed by Renny Harlin and written by David Arnott, James Cappe, and Daniel Waters based on a story by Arnott and Cappe.”   Show Links Trailer: https://www.youtube.com/watch?v=3KzDof_9Au4   Wikipedia: https://en.wikipedia.org/wiki/The_Adventures_of_Ford_Fairlane   Just Watch: https://www.justwatch.com/us/movie/the-adventures-of-ford-fairlane   Socials Bluesky: https://bsky.app/profile/moviewavepod.bsky.social   Buy Me A Coffee: https://www.buymeacoffee.com/moviewavepod   Letterboxd: https://letterboxd.com/moviewavepod/   Mastodon: https://mastodon.social/@moviewavepod   Intro/Outro Sample Credits “Aiwa CX-930 VHS VCR Video Cassette Recorder.wav” by Pixabay “Underwater Ambience” by Pixabay “waves crashing into shore parkdale beach” by Pixabay   Movie Wave is a part of Pie Hat Productions.

British director Gareth Edwards talks to Samira Ahmed about how his love of the films of Steven Spielberg inspired his new film Jurassic Park Rebirth, the latest chapter in the blockbuster dinosaur film franchise. He also talks about the making of his film Rogue One: A Star Wars Story, which is gaining even more acclaim after the huge success of the hit prequel series Andor.The EU has brought in new anti-terror laws aimed at stopping groups like so-called Islamic State from profiting from the trade of antiquities. But art dealers are worried the new red tape will hit their legitimate trade too. Art world analyst Ivan Macquisten and investigative journalist Riah Pryor discuss the situation. Lena Dunham's latest series Too Much is a Rom-Com, inspired by her own life, moving to London and unexpectedly finding love with an indie musician, Luis Felber. The Oscar-winning film and TV composer Lalo Schifrin died recently. He wrote hundreds of theme tunes and scores including Bullit, Enter The Dragon, THX 1138 and Dirty Harry. Also on TV: Starsky and Hutch, Planet of the Apes. His most famous work came in 1966 with the theme tune for Mission: Impossible. Neil Brand pays tributePresenter Samira Ahmed Producer Harry Graham

Former Israeli Ambassador Michael Oren reveals the “original sin” and decades-long miscalculation that led to this moment — and what comes next. Read More: www.WhoWhatWhy.org

This is a preview of a premium episode from our Patreon feed, Paid Costly For Me! Head over to Patreon.com/PodCastyForMe to hear more for just $5 a month. In the aftermath of DIRTY HARRY, there were plenty of films looking to get in on the semi-legal vigilante craze. One of the most successful of these was Phil Karlson's WALKING TALL, starring the great, recently departed Joe Don Baker as real-life Tennessee lawman Buford Pusser, who was all too willing to tell the world how he beat the corruption out of McNairy County with a fencepost. Except that he was kind of full of hot air, and the whole thing is - at least for Ian - one of the most nakedly fascist films we've ever watched for the show! This episode was a long time coming, so we hope you enjoy. Thanks as always to Jetski for our theme music and Jeremy Allison for our artwork. Community Justice Exchange's Directory of Immigration System Bail Funds Follow Pod Casty For Me: https://www.podcastyforme.com/ https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Support us on Patreon: https://www.patreon.com/PodCastyForMe Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart  

This week, join us for our episode of "Carrey'd Away" to talk about the first (but not last) time Jim Carrey would play a small role in a Clint Eastwood Vehicle. This episode dives into Eastwood's role in Boomer iconography, Dirty Harry as a character, and just all the strange things within the final Dirty Harry film "The Dead Pool" Learn more about your ad choices. Visit megaphone.fm/adchoices

Clint Eastwood is more than a movie star—he's a myth, a mayor, a meme, and maybe the last great American icon. In this cinematic biography told one film at a time, we break down the legend behind the lens.From spaghetti Westerns to Oscar-winning dramas, from Dirty Harry to political oddities like debating an empty chair, Eastwood Reloaded explores how one man reshaped the silver screen—and what it cost him to become the myth.Each 10-minute episode dives into a single chapter of Eastwood's life or filmography, told by a single narrator and designed for easy bingeing.  Because legends don't just ride off into the sunset—they get deconstructed.

Clint Eastwood is more than a movie star—he's a myth, a mayor, a meme, and maybe the last great American icon. In this cinematic biography told one film at a time, we break down the legend behind the lens.From spaghetti Westerns to Oscar-winning dramas, from Dirty Harry to political oddities like debating an empty chair, Eastwood Reloaded explores how one man reshaped the silver screen—and what it cost him to become the myth.Each 10-minute episode dives into a single chapter of Eastwood's life or filmography, told by a single narrator and designed for easy bingeing.  Because legends don't just ride off into the sunset—they get deconstructed.

Clint Eastwood (am 31.5.1930 geboren) ist eine US-Filmikone: als Schauspieler verehrt, als Regisseur gefeiert – und ein Mann voller Widersprüche. Von Christian Kosfeld.

Clint Eastwood is more than a movie star—he's a myth, a mayor, a meme, and maybe the last great American icon. In this cinematic biography told one film at a time, we break down the legend behind the lens.From spaghetti Westerns to Oscar-winning dramas, from Dirty Harry to political oddities like debating an empty chair, Eastwood Reloaded explores how one man reshaped the silver screen—and what it cost him to become the myth.Each 10-minute episode dives into a single chapter of Eastwood's life or filmography, told by a single narrator and designed for easy bingeing. This is not a puff piece. This is a legacy under the microscope.Because legends don't just ride off into the sunset—they get deconstructed.Become a supporter of this podcast: https://www.spreaker.com/podcast/daily-comedy-news--4522158/support.

Clint Eastwood is more than a movie star—he's a myth, a mayor, a meme, and maybe the last great American icon. In this cinematic biography told one film at a time, we break down the legend behind the lens.From spaghetti Westerns to Oscar-winning dramas, from Dirty Harry to political oddities like debating an empty chair, Eastwood Reloaded explores how one man reshaped the silver screen—and what it cost him to become the myth.Each 10-minute episode dives into a single chapter of Eastwood's life or filmography, told by a single narrator and designed for easy bingeing. This is not a puff piece. This is a legacy under the microscope.Because legends don't just ride off into the sunset—they get deconstructed.

Clint Eastwood is more than a movie star—he's a myth, a mayor, a meme, and maybe the last great American icon. In this cinematic biography told one film at a time, we break down the legend behind the lens.From spaghetti Westerns to Oscar-winning dramas, from Dirty Harry to political oddities like debating an empty chair, Eastwood Reloaded explores how one man reshaped the silver screen—and what it cost him to become the myth.Each 10-minute episode dives into a single chapter of Eastwood's life or filmography, told by a single narrator and designed for easy bingeing. This is not a puff piece. This is a legacy under the microscope.Because legends don't just ride off into the sunset—they get deconstructed.

If the Western is the godfather of American cinema, then the crime film is its son. With tough guys, shootouts, and explorations of morality, these movies capture the seedy underbelly of a post-war urban world. So, for today's video, I'll be ranking a list of crime films chosen by my producer. Hot takes are bound to happen. - - - Today's Sponsor: Helix Sleep - Go to https://helixsleep.com/klavan to get 27% Off Sitewide + Free Bedding Bundle (Sheet Set and Mattress Protector) with any Luxe or Elite Mattress Order.

On this episode of Drive-In Double Feature, Nathan and Ryan take aim at The Dead Pool (1988), the final entry in the Dirty Harry series. Clint Eastwood returns as the grizzled Inspector Callahan, facing off against a killer who's targeting celebrities from a macabre “dead pool” betting game. With a young Jim Carrey, an early role for Liam Neeson, and even a wild remote-controlled car chase, this film is a strange blend of gritty crime thriller and late-80s weirdness. The hosts explore how it stacks up against the earlier Dirty Harry films and whether Harry's last shot hits its mark.

TurdOrTreasure is ThisWeekInGeek's dedicated review show covering everything from games to movies to tv to electronics and everything between.This Episode:What's New?Fujifilm Printlife Personalized NHL: https://fujifilmprintlife.ca/collections/nhlGames First Impressions Reviews -The Midnight Walk - https://themidnightwalk.net/Scar-Lead Salvation - https://store.steampowered.com/app/3226460/ScarLead_Salvation/Dirty Harry (Warner 4k UHD Review) - https://www.blu-ray.com/movies/Dirty-Harry-4K-Blu-ray/382391/Blades Of Fire (505 Games PS5 Review) - https://store.playstation.com/en-ca/concept/10011854Pathfinder 2nd Edition Book Reviews (RPG Book Reviews) -https://paizo.com/products/btq02eoj?Pathfinder-Player-Corehttps://paizo.com/products/btq02elp?Pathfinder-GM-Core-Pocket-EditionTurtle Beach Airlite Fit Wired Gaming Headset (Game Accessory Review) - https://ca.turtlebeach.com/products/airlite-fit-wired-gaming-headset?Color=Ghost+PurpleYour Geekmaster:Alex "The Producer" - https://bsky.app/profile/dethphasetwig.bsky.socialFeedback for the show?:Email: feedback@thisweekingeek.netTwitter: https://twitter.com/thisweekingeekBluesky: https://bsky.app/profile/thisweekingeek.bsky.socialYouTube: https://www.youtube.com/channel/UCc1BfUrFWqEYha8IYiluMyAiTunes: https://podcasts.apple.com/us/podcast/this-week-in-geek/id215643675Spotify: spotify:show:0BHP4gkzubuCsJBhU3oNWXCastbox: https://castbox.fm/channel/id2162049Website: https://www.thisweekingeek.netMay 26, 2025

Clint Eastwood might be known for playing grizzled, hard-as-nails lawmen, but in our In the Line of Fire (1993) Review, he takes things in a different direction, just slightly. This week, the Born to Watch crew dives into this overlooked 90s political thriller that pits Eastwood's aging Secret Service agent Frank Horrigan against one of cinema's most memorable villains: John Malkovich as the terrifying Mitch Leary.Whitey, G-Man, and Will “The Worky” are in studio to unpack the deadly game of cat and mouse that unfolds in Wolfgang Petersen's taut, tense, and occasionally trope-heavy flick. What follows is a mix of movie breakdowns, personal throwbacks, accidental roastings, and a bold declaration that Malkovich might just rival Hannibal Lecter as one of the great screen psychopaths.Eastwood: Still Got It (But Also, He's 63) Gow calls Eastwood's performance “Dirty Harry with a blue pill next to the bed.” Whitey thinks it's flirty, even charming, a rare side of Clint. Will just seems shocked that he's now the Born to Watch Eastwood expert. The team debates whether Frank Horrigan is one of Clint's best post-Unforgiven roles or just another iteration of his go-to tough guy with a badge and a haunted past.Malkovich: BAFTA Noms, Creepy Vibes, and a Murderous Basement John Malkovich steals the show as Mitch Leary, a former CIA assassin with a grudge, a creepy lair that looks suspiciously like Buffalo Bill's basement, and a habit of tormenting Clint over the phone. His calm delivery, terrifying intensity, and sheer unpredictability earned him an Academy Award nomination and earned our crew's unanimous praise. The guys marvel at his screen presence, his range, and yes, his mysterious career choices.'90s Tropes and Why We Love Them The gang agrees: In the Line of Fire is soaked in ‘90s action movie tropes, and that's not a complaint. From overbearing chiefs of staff and cheesy one-liners to conveniently timed sniper reveals and romantic subplots with massive age gaps, the movie wears its era on its sleeve. Renee Russo's chemistry with Clint is questionable at best, and her role sparks a deep (and hilarious) debate about whether she's “a good sort” or a “right-light good sort.”Clint's Dating Age Gap: A Cinematic Tradition With Eastwood at 63 and Russo at 39, the romantic tension raises eyebrows. “She's two years younger than his daughter,” Whitey points out. “It could've been a father-daughter thing.” The conversation doesn't stop there; it spirals into references to Seinfeld, Once Upon a Time in Hollywood, and Monty Burns.Cat, Mouse, and Jazz Piano This movie isn't just about bullets and bravado — it's got emotional weight too. Frank's regret over JFK's assassination adds gravitas to the plot, and the constant tension between him and Leary plays out over landlines and cassette recorders. The team loves the phone calls, the psychological warfare, and yes, Clint's real-life jazz piano skills.IN THIS EPISODE:Eastwood's “grizzled flirt” energy gets ratedMalkovich's villain performance gets compared to movie greatsThe trailer's original JFK-themed edit sparks a nostalgic digression‘90s newsagents, porno mags, and the glory days of inside sport magazinesDamo cops heat in the Snobs Report beef from a random footy guyIt's a movie about obsession, redemption, and running beside the presidential limo at 60+. It's also a conversation packed with pop culture tangents, Eastwood trivia, and plenty of digs at Morgs (who's nowhere to defend himself).LISTEN NOW on Spotify, Apple Podcasts, or wherever you get your pods.Join the conversation:Is In the Line of Fire Clint's last great performance?Did Malkovich deserve the Oscar?Is 63 too old to be jogging beside the president's car?Drop us a voicemail at BornToWatch.com.au and let us know.#InTheLineOfFire #ClintEastwood #JohnMalkovich #BornToWatchPodcast #90sThriller #MoviePodcast #ReneeRusso #SecretServiceMovie

I vår tid med sociala medier, videosamtal, surfhistorik, drönare, ansiktsigenkänning, smarta lås, air-tags och hitta-appar är vi som medborgare (potentiellt) alltid övervakade – eller kan i alla fall inte vara helt säkra på att det vi säger och gör stannar i den privata sfären. Vad gör den här osäkerheten med oss? Rätt mycket, enligt ny psykologisk forskning. Björn berättar om ett misstag som ledde till fruktansvärd oversharing på nätet och Lina har fått en uppenbarelse med sina sociala medier.Klipp:10:15 Dirty Harry16:15 The Green Hornet (1966)22:48 Curb Your Enthusiasm - Anonymous Donor30:33 Lilo&StitchRedigering: Peter Malmqvist. Vill du slippa reklamen? Prenumerera på Dumma Människor för 19 kr/månaden (ink moms). https://plus.acast.com/s/dummamanniskor. Hosted on Acast. See acast.com/privacy for more information.

5/1/25 - Hour 3 Rams GM Les Snead and Rich discuss L.A. trading out of the first round and their overall draft strategy this year, the team's desire to get back to the Super Bowl before Matthew Stafford retires, the rash of prank calls during the NFL Draft, and reveals that his team has had to share a Seattle hotel with a furry convention when playing the Seahawks.    Oscar-nominated actress Patricia Clarkson joins Rich in-studio to discuss her new ‘Elly' film and talks ‘The Untouchables,' George Clooney, Clint Eastwood's Dirty Harry, ‘Jumanji,' and seeing Justin Timberlake in the buff while filming ‘Friends with Benefits' in a round of ‘Celebrity True or False.' Please check out other RES productions: Overreaction Monday: http://apple.co/overreactionmonday  What the Football with Suzy Shuster and Amy Trask: http://apple.co/whatthefootball The Jim Jackson Show: https://podcasts.apple.com/us/podcast/the-jim-jackson-show/id1770609432 No-Contest Wrestling with O'Shea Jackson Jr. and TJ Jefferson: https://podcasts.apple.com/us/podcast/no-contest-wrestling/id1771450708 Learn more about your ad choices. Visit podcastchoices.com/adchoices

Star Trek veteran Andrew Robinson talks about his signature role on ST Deep Space Nine as everyone's favorite Cardassian Tailor Spy Garak. We also discuss his work on films like Dirty Harry, Charlie Varrick and playing Liberace