Podcasts about don't they

The ghouls watch a box office smash with the Nicole Kidman hit, The Others (2001). From wiki: “The Others (Spanish: Los otros) is a 2001 gothic supernatural psychological horror film written, directed and scored by Alejandro Amenábar, starring Nicole Kidman, Fionnula Flanagan, Christopher Eccleston, Elaine Cassidy, Eric Sykes, Alakina Mann and James Bentley. Set in 1945 Jersey, it focuses on a woman and her two young photosensitive children who experience supernatural phenomena in their large manor after the arrival of three new servants.”But also! I Think You Should Leave on VHS, Shock Treatment, Twins of Evil, The Milky Way, Josh is a playwright again, Rogue Machine, Pennies from Heaven, Day of the Locust, They Shoot Horses, Don't They?, Dangerous Liasons, Bram Stoker's Dracula, Mildred Pierce, Mike Flanagan, Clown House, Don't Look Now, and more!NEXT WEEK: Taxidermia (2006)Website: http://www.bloodhauspod.comTwitter: https://twitter.com/BloodhausPodInstagram: https://www.instagram.com/bloodhauspod/Email: bloodhauspod@gmail.comDrusilla's art: https://www.sisterhydedesign.com/Drusilla's Instagram: https://www.instagram.com/hydesister/Drusilla's Letterboxd: https://letterboxd.com/drew_phillips/Joshua's website: https://www.joshuaconkel.com/Joshua's Bluesky: https://bsky.app/profile/joshuaconkel.bsky.socialInstagram: https://www.instagram.com/joshua_conkel/Joshua's Letterboxd: https://letterboxd.com/joshuaconkel 

Amanda is doing her best to be supportive while Kyle goes through his rehab program, but she still feels guilty about pushing him to do things she doesn't think he ever wanted to do, while he feels ashamed to have fallen short of his own standards. She definitely needs a friend to lean on, and since she and Eve are still fighting about Amanda having fired Sharp Objects, Amanda seeks support from Peter, fueling rumors: Lexi tells Ryan about seeing Amanda and Peter getting a hotel room key after the foundation fundraiser, Eve remembers how Amanda clung to Peter after he got Ricky G away from her, and the one and only other patient Kyle's talked to in his program is perfectly cheerful about his own wife cheating on him while he's away, leading Kyle to jump to wild conclusions. Lexi and Ryan aren't ONLY talking about Kyle: when they simultaneously land on a great slogan for the Passion Island campaign, they throw themselves a drinking contest to decide which of them will get to present it -- a contest that has consequences that were only unintended to one of them. And while Michael continues carrying out his extortion plan against the hospital, Audrey continues to be an unpredictable force. We'll shoot you straight in our podcast on "They Shoot Blanks, Don't They?." JOIN THE AWT CLUB

Comedian Mae Martin (Feel Good, Baroness von Sketch Show) talks about their latest Netflix special, “SAP,” dropping out of high school to pursue comedy, and the significance behind their oatmeal tattoo. Plus, Bruce Dern (Coming Home, Once Upon a Time in Hollywood, They Shoot Horses, Don't They?) tells Tom about being trained in the esteemed Actors Studio in New York, his method of acting called a Dernise, and the time he pulled a Dernise in a scene with Brad Pitt.

Is “Reservations for Eight” your favorite or LEAST favorite episode of “Designing Women”? How can a simple television comedy cause us to dive into a deep discussion of First Wave Feminism? Yes, it's time for the 90's TV Babies to weigh in on Linda Bloodworth-Thomason's Designing Women.Serita Fontanesi, Sergio Perez and Megan Ruble were given the assignment: Watch nine seminal episodes of the series, from the first season to the last, that feature all seven main cast members -- and be prepared to discuss. Find out who loved it, who hated it – and who wants a reboot!Here are the episodes they watched – in case you want to check them out, too:S1, EP1: “The Pilot”S1, EP2: “The Beauty Contest”S2, EP22: “Reservations For Eight”S4, EP11: “They Shoot Fat Woman, Don't They?”S6, EP8: “The Strange Case of Clarence and Anita”S7, EP1: “Of Human Bondage”S7, EP7: “Fools Rush In”S7, EP 18: “It's Not So Easy Being Green”S7, EP 20: “A Difficult Cross To Bear” (a.k.a. “The Lying Game)THE CONVERSATIONCan Serita, Sergio and Megan agree what makes the best Thanksgiving sides?Did Designing Women help invent First Wave Feminism?Was Anthony straight? Gay? Gay coded? Or just Southern?A 90's TV Babies drinking game?? It's on. Let's go!Shipping Anthony and… Julia? Okaaaaaaaay…Did Sheryl Lee Ralph confront Harry Thomason at a political event for the Clintons – and end up with a role on the show?Cos-playing Mary Jo? Megan's considering it…SERITA ON DELTA: How discussions of body image issues have – and haven't -- changed over the past 30 years.Sharon and Megan could NOT be further apart when it comes to their feelings for “Reservations for Eight” (S2, EP22)THE LEVEL OF DISCOURSE: What the show got right in its political discussions and comedy – and what hasn't aged as well.So join Susan and Sharon – and Megan and Sergio and Serita – as they talk sweet potato mash, big Texas hair, RuPaul's Drag Race, Beyoncé – and “the 11:00 o'clock rant”!AUDIOGRAPHYWatch Designing Women on Hulu, Amazon Prime, Pluto!Read the 2016 MTV News article on "Confirmation" and The Strange Case of Clarence and Anita.Watch Ladies of the 80's: A Divas Christmas on Lifetime. THE 90s TV BABIESListen to Serita Fontanesi's podcast: Not Ugly Pod. Also on Apple Podcasts and Goodpods. A weekly podcast challenging traditional colonial beauty standards one conversation at a time. CONNECTFor transcripts, contact info and more, visit 80sTVLadies.com.Sign up for the 80s TV Ladies mailing list.Follow 8TL on Facebook.Check out Instagram/80sTVLadies.Get ad-free episodes and exclusive videos on PATREON.Find more cool pods on WeirdingWayMedia.LISTENER FEEDBACKSend us a message on our 8TL website:What modern day show talks to current events in ways similar to Designing Women? When the Brett Kavanaugh confirmation hearings were taking place, did any scripted show – comedy or drama – do an episode highlighting their characters' reactions?And let us know: Do you watch holiday movies? Where do you watch them? What are your favorites?What are your favorite episodes of Designing Women? And what do you prefer: mashed potatoes or rice pilaf?Have a beautiful Holiday season!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5585115/advertisement

Fill up your coffee and break out your cozy sweater! In this episode, Jillian and Claire discuss why fall and Gilmore Girls go together like Luke and his backwards hat. They break down the perfect episodes that will get you in the mood for Fall. Don't worry there's also trivia, quick questions, and rants. Grab the Sookie to your Lorelai, we're heading to Stars Hollow! Gilmore Girls Episodes discussed: S1E1 - Pilot S1E7  - Kiss & Tell S3E7 - They Shoot Gilmores, Don't They? S3E8 - Let the Games Begin S3E9 - A Deep Fried Korean Thanksgiving S4E7 - The Festival of Living Art S4E10 - Ted Koppel's Big Night Out S5E10 But Not As Cute As Pushkin A Year in the Life - Fall Follow Previously On Teen TV on Instagram: https://www.instagram.com/previouslyon_teentv/?hl=en  Follow Previously On Teen TV on TikTok: https://www.tiktok.com/@previouslyon_teentv 

Data and Fletcher review Star Trek Deep Space Nine Season 4 Episode 24 "The Quickening" Bashir tries to fight the blight... Stuff you may be interested in: They Shoot Horses, Don't They? https://www.youtube.com/watch?v=qsKQiVJkEvI Restoration https://www.youtube.com/watch?v=hcs69r_KRCU And the Band Played On https://www.youtube.com/watch?v=O38zYpzqdZg The Sanderlanche, Data's podcast where he and other people talk about Brandon Sanderson books: https://www.thesanderlanche.com/ Music: "Captain Scurvy" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/

James, Brandon, and Hanna discuss four horror movies about werewolves, starting with Universal's genre-defining classic The Wolf Man (1941) https://swampflix.com/2023/09/28/halloween-streaming-recommendations-2023/ 00:00 Welcome 04:29 Nightmare on Elm Street 3: Dream Warriors (1987) 09:50 Saw X (2023) 11:52 They Shoot Horses, Don't They? (1969) 18:02 The Royal Hotel (2023) 20:07 Hotel Coolgardie (2016) 22:06 The Wolf Man (1941) 40:05 An American Werewolf in London (1981) 56:03 Dog Soldiers (2002) 1:10:06 Wolf Guy: Enraged Lycanthrope (1975)

Trust no bitches Installment #1 of The Dolls 2023 Wes Craven Month brings you the 2002 VH1 original directed by The Maestros son: They Shoot Divas, Don't They? . . www.thedollsofhorror.com . . Producer: Nina Yarrington Logo & Art by: Clark Felix --- Support this podcast: https://podcasters.spotify.com/pod/show/thedollsofhorror/support

Sarah Hepola is the author of the 2015 bestselling memoir, Blackout: Remembering the Things I Drank to Forget. She's the host and creator of "America's Girls," a podcast about the history of the Dallas Cowboys Cheerleaders, and the co-conspirator of Smoke 'Em If You Got 'Em, a weekly podcast about what's burning through the culture right now. She's a writer-at-large for Texas Monthly, and she lives in Dallas.sarahhepola.comBlackout: Remembering the Things I Drank to Forget, by Sarah HepolaWhy I'm Doing a Podcast on the Dallas Cowboys Cheerleaders, by Sarah HepolaCheerleaders, Cheerleaders Everywhere, by Sarah HepolaSmoke 'Em If You Got "Em PodcastLush for Life, by Sarah Hepola - Salon23: Children Need Freedom to Grow Independent, with Lenore Skenazy - Where We Go Next"Twitter: where personality disorders become careers." - Meghan DaumCommon Cognitive Distortions - WikipediaThose College Students Might Surprise You: Sarah Hepola's Report From the Classroom - The Unspeakable PodcastHow to watch TÁR - JustWatchI Could Get Married Here (But Didn't), by Sarah Hepola - The New York TimesMy Drinking Years: ‘Everyone Has Blackouts, Don't They?', by Sarah Hepola - The GuardianSarah's Twitter: @sarahhepolaSarah's Instagram: @thesarahhepolaexperience----------Are you a fan of Where We Go Next? Listen to the very end of this episode for details.Email: wherewegopod@gmail.comInstagram: @wwgnpodcast

Jane Fonda embodied the girl next store in the early 1960s and a sex kitten in the latter half of the decade. By the time the 1970s rolled around she became the "real woman" type that embodied the realism and political uncertainty of the new decade. In this episode I talk about two of her transitional films- They Shoot Horses, Don't They? and Klute. The latter marks the beginning of the neo-noir era. Fonda's character Bree Daniels wardrobe marked a tide change in American Fashion. Costumed by Ann Roth, Klute is as important visually as it was culturally. This week's resources are Jane Fonda's biography " My Life So Far". and the HBO doc "Jane Fonda In Five Acts." In addition to a lifetime of collected imagery, articles and common knowledge about the American Royalty that is Jane Fonda.

This week on Divorce and Beyond, as we celebrate America's Independence, Susan has created a week-long series of mini-episodes where she will be busting the Top 5 Divorce Myths for you so that you can celebrate your freedom from their misleading and harmful assumptions! Myth #3: Women Always Get Alimony, Don't They?  In this third installment of our Myth Busting Mini-Episodes series, Susan tackles the myth surrounding alimony that assumes it is awarded to women only. Susan delves into the reality that alimony, also known as spousal support, can be awarded to either spouse based on a variety of factors. These factors include the length of the marriage, each spouse's income and earning potential, and the standard of living established during the marriage. Join Suan as she debunks this gender bias myth and shed light on the truth behind alimony in divorce cases. Tune in to today's third bonus mini-episode and find out - this episode can change your divorce for the better from day one! Mentioned in this episode: Everything You Need to Know About Support with Susan Guthrie on The Divorce Survival Guide Podcast from Kate Anthony (Part One of the Cross-Over Episode) Alimony, Why You Want it and Why It's Not All That with Kate Anthony on Divorce & Beyond (Part Two of the Cross-Over Episode) What Impact Does Your Standard of Living REALLY Have on Your Divorce with Olivia Summerhill on Divorce & Beyond ***************************************** We'd really appreciate it if you would give us a 5 Star Rating and tell us what you like about the show in a review - your feedback really matters to us!  ************************************** SPONSORSHIP OPPORTUNITIES ARE AVAILABLE!  https://divorcebeyond.com/Sponsorship-Info ******************************************************************* MEET OUR CREATOR AND HOST: SUSAN GUTHRIE®, ESQ., the creator and host of The Divorce and Beyond® Podcast, is nationally recognized as one of the top family law and divorce mediation attorneys in the country.  Susan is the Vice Chair of the American Bar Association Section of Dispute Resolution and is a sought-after keynote speaker, business and practice consultant, coach and trainer. You can find out more about Susan and her services here:  https://neon.page/susanguthrie Internationally renowned as one of the leading experts in online mediation, Susan created her Learn to Mediate Online® program and has trained more than 25,000 professionals in how to transition their practice online.  Susan recently partnered with legal and mediation legend, Forrest "Woody" Mosten to create the Mosten Guthrie Academy which provides gold-standard, fully online training for mediation and collaborative professionals at all stages of their careers.   Follow Susan Guthrie and THE DIVORCE AND BEYOND PODCAST on social media for updates and inside tips and information: Susan on LinkedIn: https://www.linkedin.com/in/susaneguthrie/ Susan on Instagram @susanguthrieesq ********************************************************************* You can get in touch with Susan at divorceandbeyondpod@gmail.com.  Don't forget to visit the webpage www.divorceandbeyondpod.com and sign up for the free NEWSLETTER to receive a special welcome video from Susan and more!! ********************************************************************* DISCLAIMER:  THE COMMENTARY AND OPINIONS AVAILABLE ON THIS PODCAST ARE FOR INFORMATIONAL AND ENTERTAINMENT PURPOSES ONLY AND NOT FOR THE PURPOSE OF PROVIDING LEGAL ADVICE.  YOU SHOULD CONTACT AN ATTORNEY IN YOUR STATE TO OBTAIN LEGAL ADVICE WITH RESPECT TO ANY PARTICULAR ISSUE OR PROBLEM.

In honor of Season 2 of And Just Like That... Lara and Elizabeth haul their favorite episodes of Sex and the City and celebrate the lasting cultural impact of one of the greatest shows of all time.  Take our survey here :) Thank you to Juna ! - use code: NICHE at juna-world.com for 15% off your first order Let us be your SATC DJs. Here's a list of all the episodes in our haul: S1 E5 - The Power of Female Sex S1 E10 - The Baby Shower S2 E1 - Take me out to the ballgame S2 E4 - They Shoot Single People, Don't They? S2 E10 - The Caste System S2 E17 - 20-Something Girls vs. 30-Something Women S3 E3 - Attack of the 5'10" Women S3 E11 - Running with Scissors S3 E13 - Escape From NY S3 E14 - Sex and Another City S3 E15  - Hot Child in the City S3 E16 - Frenemies S4 E2 - The Real Me S4 E8 - My Motherboard Myself S4 E17 - A Vogue Idea S5 E1 - Anchors Away S5 E3 - Luck Be an Old Lady S5 E6 - Critical Condition S5 E7 - The Big Journey S6 E7 - The Post-It Always Sticks Twice S6 E18 - Splat! S6 E20 - An American in Paris Part Deux

With a new month comes another punny way to celebrate one of our favorite Best Actress winners, Jane Fonda! In They Shoot Horses, Don't They?, her first Oscar nomination and a film that still holds a Best Picture record today, she competes in a timeless, yet horrific Depression-era dance marathon. Then, in Coming Home, she befriends an old high school colleague, Luke, while volunteering at a veterans' hospital and her husband is off serving in Vietnam (28:22). Listen to Nick and Sophia dive into these critical hits, sharing favorite moments and performances while highlighting the importance these roles had for Fonda's career. What's your favorite Jane Fonda performance?Follow us on Twitter and Instagram @oscarwildpod Follow Nick @sauerkraut27Follow Sophia @sophia_cimMusic: “The Greatest Adventure” by Jonathan Adamich

Who do you like least: Big, Berger, or Aidan? Was Bradley Cooper or Lucy Liu the better cameo? And why is Miranda always suffering? Vanity Fair dissects the most memorable moments from three iconic Sex and the City episodes; "The Shoot Single People, Don't They?" along with "Hot Child In The City" and "Coulda, Woulda, Shoulda." Still Watching host Chris Murphy joins Hollywood editor Hilary Busis and executive editor Claire Howorth (resident SATC analysts). Next week we'll return to recap two more episodes and definitively rank our top five. Learn more about your ad choices. Visit podcastchoices.com/adchoices

GGACP celebrates the birthday (May 28) of Oscar-winning producer Irwin Winkler ("Rocky," "Goodfellas," "Raging Bull," "The Right Stuff") with this ENCORE of a fascinating interview from 2019. In this episode, Irwin looks back on a half-century of movie-making and shares behind-the-scenes stories about working with Robert De Niro, Jane Fonda, Sydney Pollack, Martin Scorsese, Jessica Lange and Kevin Kline (to name a few). Also, Al Pacino walks off the set, Sly Stallone sticks to his guns, Jerry Orbach befriends a mobster and Irwin tackles the Hollywood blacklist. PLUS: "They Shoot Horses, Don't They?" Remembering Burgess Meredith! Peter Bogdanovich rides again! Elvis replaces Julie Christie! And Irwin reveals the movies he never made! Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to 80's TV Ladies: Season Two!Susan and Sharon kick-off the new season with Cynthia Bemis-Abrams, the host of sister podcast “Advanced TV Herstory” -- a fascinating deep dive into the backstory of women in television, that connects the dots between TV, feminism, American culture and politics.In Part One of a two-part conversation, we'll talk about the shows, actresses and characters that stood out as landmarks for women over the past five decades. We also tease what's coming up as Susan and Sharon turn their attention from one-hour mysteries to half-hour comedies including “Designing Women”, “227”, “A Different World” and “It's A Living”!THE CONVERSATIONWhat does one do when the kids have gone off to college and “some old people have died”? If you're Cynthia Bemis-Abrams YOU START A PODCAST!How Charlie's Angels (and women's tennis?!) helped Cynthia find her way toward what she wanted to be.80's MONIED MATRIARCHS: Jane Wyman of Falcon Crest, Barbara Bel Geddes of Dallas and the importance of BIG power, BIG hair – and BIG SHOULDER PADS!SAVING FAMILY DINNERS: When you're struggling to find common ground with older relatives at family functions, ask them what their favorite shows from the 60's and 70's were…. And WHY.From James L. Brooks to Barney Rosenzweig: how feminist men helped women writers and directors advance in Television.The importance of staking out time and space to recognize and elevate women's achievements – and why it's so hard for women to do…Some favorite episodes of “Advanced TV Herstory”: Robin Means Coleman on “A Different World”; Margaret Cho on “American Girl” and Linda Bloodworth-Thomason's game-changing “Designing Women” episode “They Shoot Fat Women, Don't They?”The Legend of the “Difficult Woman” – how do powerful, creative women navigate a career through the maze of male Hollywood?Betty Thomas, we want to interview you!What is it like living a mile from Mary Tyler Moore's apartment?!So join Susan, Sharon – and Cynthia – as they talk what to do about "problematic men", “WKRP in Cincinnati” turkeys – and the importance of a good VHS cassette.Thank you all so much for joining us as we begin our journey into Season Two of 80's TV Ladies! Tell us what shows you love -- Go to 80sTVLadies.com and give us feedback.AUDIOGRAPHYCynthia Bemis-Abrams podcast “Advanced TV Herstory”Find Advanced TV Herstory on Twitter.Find Kenya Rothstein's podcast, “Thank You For Saying NO”Check out Totally 80s 90s Recall podcast.Don't miss out on everything 80s TV Ladies. Sign up for our mailing list!Help us make more episodes and get ad-free episodes and exclusive content on PATREON.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5585115/advertisement

That's right, y'all! Our episode on Dean & Rory's rollercoaster of a relationship is finally here. We couldn't think of a better way to kick off season 2 than with a *super* deep dive into one of the more fanbase polarizing relationships on the show. Admittedly, we aren't Dean's biggest fans, however, we can humbly and honestly say that we gave him a pretty fair analysis in this one. We're so excited to be back for another season and can't wait to hear your thoughts about these two! Follow ⁠@woqmpod⁠ on Instagram, Facebook, and Twitter Follow Sariah Emmanuel ⁠@bookedsolidpocast⁠ Follow Élaina Gauthier-Mamaril ⁠@bookshelfremix Core Episodes: S1E1: Pilot S1E7: “Kiss & Tell” S1E9: “Rory's Dance” S1E16: “Star-Crossed Lovers and Other Strangers” S1E21: “Love, Daisies and Troubadours” S3E7: “They Shoot Gilmores, Don't They?” S3E19: “Keg! Max!” S4E14: “The Incredible Sinking Lorelais” S4E22: “Raincoats & Recipes” S5E1: “Say Goodbye to Daisy Miller” S5E8: “The Party's Over” Context Episodes: S1E6: “Rory's Birthday Parties” S1E17: “The Breakup, Part II” S2E2: “Hammers and Veils” S2E9: “Run Away Little Boy” S2E16: “There's the Rub” S4E4: “Chicken or Beef?”

Just for fun, we're taking a look at some iconic Star Wars characters and guessing: Do They, or Don't They? Which of the actors from the original movie were down with the good stuff?  What's the real history of who partook?  We've got info on Harrison Ford and Carrie Fisher Drug References in the Star Wars movies, including a possible Bong in Obi-Won's abode, and reference to "Spice" in other franchise films    

“They Shoot Fat Women, Don't They” was a seminal moment in Designing Women's history and simultaneously a denouement to the media and public's relentless obsession with Delta Burke's weight.  In this week's “Extra Sugar”, we'll talk about what was happening behind-the-scenes, and then we'll pivot to talk about concepts like fat shaming and body shaming. Why do they matter? And what can we do to take care of ourselves and each other?

This week on And the Runner-Up Is, Kevin welcomes back 'Keep It' cohost and 'Jimmy Kimmel Live!' writer Louis Virtel to discuss the 1969 Oscar race for Best Actress, where Maggie Smith won for her performance in "The Prime of Miss Jean Brodie," beating Geneviève Bujold in "Anne of the Thousand Days," Jane Fonda in "They Shoot Horses, Don't They," Liza Minnelli in "The Sterile Cuckoo," and Jean Simmons in "The Happy Ending." We discuss all of these nominated performances and determine who we think was the runner-up to Smith.  0:00 - 12:24 - Introduction 12:25 - 32:28 - Geneviève Bujold 32:29 - 1:01:30 - Jane Fonda 1:01:31 - 1:21:06 - Liza Minnelli 1:21:07 - 1:41:44 - Jean Simmons 1:41:45 - 2:04:31 - Maggie Smith 2:04:32 - 2:40:42 - Why Maggie Smith won / Twitter questions 2:40:43 - 2:45:17 - Who was the runner-up? Buy And the Runner-Up Is merch at https://www.teepublic.com/stores/and-the-runner-up-is?ref_id=24261! Support And the Runner-Up Is on Patreon at patreon.com/andtherunnerupis! Follow Kevin Jacobsen on Twitter Follow Louis Virtel on Twitter Follow And the Runner-Up Is on Twitter and Instagram Theme/End Music: "Diamonds" by Iouri Sazonov Additional Music: "Storming Cinema Ident" by Edward Blakeley Artwork: Brian O'Meara

0:00 - New endorsements for Paul Vallas   13:51 - The Osendario Brothers speak!!!    27:43 - What should Pres Biden do after a Russian shot down an American Drone?   34:34 - Where is the Hindu Island of K-ey-lasa?   41:55 - Jim Iuorio, analyst for FOX Business and the host of “The Futures Edge Podcast”, with his take on the failures of SVB and Signature Bank NY. Jim is also a great follow on twitter @jimiuorio   58:04 - Leonard Munson, Katey Baldassano & Matt Sherriff, conservative candidates for Barrington district 220 school board, address the issues affecting D220 including obscene and pornographic content made available to students. Early voting for school boards starts Monday!   01:19:01 - Gabrielle Bauer, award winning health & medical writer:  Normal People Say ‘No Másk' Gabreille is also author of  Blindsight is 2020: Reflections on Covid Policies from Dissident Scientists, Philosophers, Artists, and More   01:32:54 - Scott McKay, publisher of the Hayride and contributor editor at the American Spectator:  Things Just Keep Getting Dumber, Don't They? For more from Scott, check out his book  The Revivalist Manifesto   01:49:24 - Editor-in-Chief at OUT Spoken and contributing editor at Spectator World, Chadwick Moore, doesn't buy into Joe Biden's gay warrior schtick. For more from Chadwick, check out his book  So You've Been Sent to Diversity Training: Smiling Through the DEI ApocalypseSee omnystudio.com/listener for privacy information.

Sydney Pollack's They Shoot Horses, Don't They? is our film of the week. We dive into Pollack as a filmmaker, how the film was a turning point for Jane Fonda, the ending of the film, the symbolism of the story being told, and much more. Put your film nerd hat on and join us! WEBSITE: https://linktr.ee/BrokenVCR

In this episode we cover the 42nd Academy Awards, which honored the films of 1969. The nominees were: Anne of the Thousand Days; Butch Cassidy and the Sundance Kid; Hello, Dolly!; Midnight Cowboy; and Z. We also discuss The Prime of Miss Jean Brodie; They Shoot Horses, Don't They?; Easy Rider; and Midnight Cowboy.Notes: SPOILERS - we talk through the full plots of all the movies we cover.Timestamps are approximate: 10:10 - Anne of the Thousand Days17:11 - Hello, Dolly!22:30 - Midnight Cowboy32:00 - Butch Cassidy and the Sundance Kid42:55 - Z55:40 - Should something else have been nominated? 56:45 - The Prime of Miss Jean Brodie1:03:15 - They Shoot Horses, Don't They?1:11:50 - Easy Rider1:21:00 - The Wild Bunch1:32:20 - Did the Oscars get it wrong?1:34:10 - Jake Gyllenhaal Corner1:35:35 - Conclusions1:39:10 - Next Time

[ For full episode catalogue please subscribe to our Patreon at Patreon.com/BestActress ] The year is 1970 and the nominees are: 1. Maggie Smith - The Prime of Miss Jean Brodie 2. Genevieve Bujold - Anne of the Thousand Days 3. Jane Fonda - They Shoot Horses, Don't They? 4. Liza Minnelli - The Sterile Cuckoo 5. Jean Simmons - The Happy Ending - In 1970 Maggie Smith won her first of two Oscars for The Prime of Miss Jean Brodie. Smith plays an eccentric schoolteacher in a conservative school during the 1930's in Edinburgh, Scotland. She had won the BAFTA for Best Lead Actress but odds on favourite at the Oscars was Jane Fonda in They Shoot Horses, Don't They. Many speculated she (Fonda) lost this Oscar due to an arrest on Fort Hood military reservation as well as rumours of drug use and adultery had cost her the award. Remember! It was the late 1960's/70's. However Smith delivers an amazing performance in TPOMJB. Liza Minnelli became a first time nominee in The Sterile Cuckoo. A role Judy Garland urged her not to play worried it would make her seem unattractive. I don't agree! Pookie (the character Minnelli plays) is obnoxiously charming! Genevieve Bujold plays Anne Boleyn in Anne of the Thousand Days. A fantastic performance and I would recommend if you enjoy period pieces. Finally, Jean Simmons was nominated for The Happy Ending - a hilarious camp film about a woman who walks out on her family (inexplicably) and struggles with drug and alcohol addiction. Join host Kyle Brownrigg with guest host Luke McFarlane as they discuss.

It's a bonus clips episode!We're at the 2022 Miami Book Fair, talking to the most interesting authors, poets, writers with new works published this year. In celebration of our partnership with the Miami Book Fair, we grabbed some clips from last year's Miami Book Fair episodes. MIAMI BOOK FAIRhttps://miamibookfair.com/https://www.miamibookfaironline.com/Joshua Jay - Episodes 25 and 26SpotifyApple PodcastsHow Magicians Think by Joshua Jayhttps://www.amazon.com/Misdirection-Magicians-Think-Joshua-Jay/dp/1523507438/ref=sr_1_1?keywords=how+magicians+think&qid=1634843723&sr=8-1How Music Works by David Byrne:https://www.amazon.com/How-Music-Works-David-Byrne/dp/0804188939/ref=asc_df_0804188939/?tag=hyprod-20&linkCode=df0&hvadid=312057344057&hvpos=&hvnetw=g&hvrand=13081381195153154006&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9031148&hvtargid=pla-354840765753&psc=1Maggie Smith - Episodes 28 and 29SpotifyApple PodcastsThe Life, By Carrie Fountain:https://www.amazon.com/Life-Penguin-Poets-Carrie-Fountain/dp/0143136011Goldenrod, by Maggie Smith:https://www.amazon.com/Goldenrod-Poems-Maggie-Smith/dp/1982185066/ref=sr_1_1?keywords=Goldenrod&qid=1636694888&s=books&sr=1-1 Kathie Klarreich - Episode 30SpotifyApple PodcastsHear Us:https://www.amazon.com/dp/B09FS825T9 Jane Smiley - Episodes 31 and 32SpotifyApple PodcastsJane's Latest Book, Perestroika in Paris:https://www.amazon.com/Perestroika-Paris-novel-Jane-Smiley/dp/052543609X/ref=sr_1_1?crid=3LBNAJWTCPCRU&keywords=perestroika+in+paris+by+jane+smileyJane's Book About Dickens:https://www.amazon.com/Charles-Dickens-Life-Penguin-Lives-ebook/dp/B000OCXGBY/ref=tmm_kin_swatch_0?_encoding=UTF8&qid=1638297220&sr=1-3Our Mutual Friend by Charles Dickens:https://www.amazon.com/Mutual-Friend-Introduction-Edwin-Whipple-ebook/dp/B07HQY57RH/ref=sr_1_1_sspa?keywords=Our+mutual+friendDenise Hamilton - Episodes 33 and 34SpotifyApple PodcastsThey Shoot Horses, Don't They by Horace McCoyhttps://www.amazon.com/They-Shoot-Horses-Serpents-Classics/dp/184668739X/ref=sr_1_1?keywords=They+Shoot+Horses+Dont%27+they&qid=1639687721&s=books&sr=1-1Denise's Book, Speculative Los Angeles:https://www.amazon.com/Speculative-Los-Angeles-Denise-Hamilton/dp/1617758566Edwidge Danticat - Episode 53SpotifyApple PodcastsA Small Place by Jamaica Kincaid:https://www.amazon.com/Small-Place-Jamaica-Kincaid/dp/0374527075/ref=sr_1_1?crid=3GERRCMMYZ7YJ&keywords=a+small+place&qid=1651179527&sprefix=a+small+place%2Caps%2C283&sr=8-1Learn More About Edwidge Danticat:https://edwidgedanticat.com 

On this episode, we travel back to 1984, and the days when a "young adult" novel included lots of drugs and partying and absolutely no sparkly vampires or dystopian warrior girls. We're talking about Jay McInerney's groundbreaking novel, Bright Lights, Big City, and its 1988 film version starring Michael J. Fox and Keifer Sutherland. ----more---- Hello, and welcome to The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. The original 1984 front cover for Jay McInerney's Bright Lights, Big City If you were a young adult in the late 1980s, there's a very good chance that you started reading more adult-y books thanks to an imprint called Vintage Contemporaries. Quality books at an affordable paperback price point, with their uniform and intrinsically 80s designed covers, bold cover and spine fonts, and mix of first-time writers and cult authors who never quite broke through to the mainstream, the Vintage Contemporary series would be an immediate hit when it was first launched in September 1984. The first set of releases would include such novels as Raymond Carver's Cathedral and Thomas McGuane's The Bushwhacked Piano, but the one that would set the bar for the entire series was the first novel by a twenty-nine year old former fact checker at the New Yorker magazine. The writer was Jay McInerney, and his novel was Bright Lights, Big City. The original 1984 front cover for Raymond Carver's Cathedral Bright Lights, Big City would set a template for twenty something writers in the 1980s. A protagonist not unlike the writer themselves, with a not-so-secret drug addiction, and often written in the second person, You, which was not a usual literary choice at the time. The nameless protagonist, You, is a divorced twenty-four year old wannabe writer who works as fact-checker at a major upscale magazine in New York City, for which he once dreamed of writing for. You is recently divorced from Amanda, an aspiring model he had met while going to school in Kansas City. You would move to New York City earlier in the year with her when her modeling career was starting to talk off. While in Paris for Fashion Week, Amanda called You to inform him their marriage was over, and that she was leaving him for another man. You continues to hope Amanda will return to him, and when it's clear she won't, he not only becomes obsessed with everything about her that left in their apartment, he begins to slide into reckless abandon at the clubs they used to frequent, and becoming heavily addicted to cocaine, which then affects his performance at work. A chance encounter with Amanda at an event in the city leads You to a public humiliation, which makes him starts to realize that his behavior is not because his wife left him, but a manifestation of the grief he still feels over his mother's passing the previous year. You had gotten married to a woman he hardly knew because he wanted to make his mother happy before she died, and he was still unconsciously grieving when his wife's leaving him triggered his downward spiral. Bright Lights, Big City was an immediate hit, one of the few paperback-only books to ever hit the New York Times best-seller chart. Within two years, the novel had sold more than 300,000 copies, and spawned a tidal wave of like-minded twentysomething writers becoming published. Bret Easton Ellis might have been able to get his first novel Less Than Zero published somewhere down the line, but it was McInerney's success that would cause Simon and Schuster to try and duplicate Vintage's success, which they would. Same with Tana Janowitz, whose 1986 novel Slaves of New York was picked up by Crown Publishers looking to replicate the success of McInerney and Ellis, despite her previous novel, 1981's American Dad, being completely ignored by the book buying public at that time. While the book took moments from his life, it wasn't necessarily autobiographical. For example, McInerney had been married to a fashion model in the early 1980s, but they would meet while he attended Syracuse University in the late 1970s. And yes, McInerney would do a lot of blow during his divorce from his wife, and yes, he would get fired from The New Yorker because of the effects of his drug addiction. Yes, he was partying pretty hard during the times that preceded the writing of his first novel. And yes, he would meet a young woman who would kinda rescue him and get him on the right path.  But there were a number of details about McInerney's life that were not used for the book. Like how the author studied writing with none other than Raymond Carver while studying creative writing at Syracuse, or how his family connections would allow him to submit blind stories to someone like George Plimpton at the Paris Review, and not only get the story read but published. And, naturally, any literary success was going to become a movie at some point. For Bright Lights, it would happen almost as soon as the novel was published. Robert Lawrence, a vice president at Columbia Pictures in his early thirties, had read the book nearly cover to cover in a single sitting, and envisioned a film that could be “The Graduate” of his generation, with maybe a bit of “Lost Weekend” thrown in. But the older executives at the studio balked at the idea, which they felt would be subversive and unconventional. They would, however, buy in when Lawrence was able to get mega-producer Jerry Weintraub to be a producer on the film, who in turn was able to get Joel Schumacher, who had just finished filming St. Elmo's Fire for the studio, to direct, and get Tom Cruise, who was still two years away from Top Gun and megastardom, to play the main character. McInerney was hired to write the script, and he and Schumacher and Cruise would even go on club crawls in New York City to help inform all of the atmosphere they were trying to capture with the film. In 1985, Weintraub would be hired by United Artists to become their new chief executive, and Bright Lights would be one of the properties he would be allowed to take with him to his new home. But since he was now an executive, Weintraub would need to hire a new producer to take the reigns on the picture. Enter Sydney Pollack. By 1985, Sydney Pollack was one of the biggest directors in Hollywood. With films like They Shoot Horses, Don't They?, Jeremiah Johnson, Three Days of the Condor, The Electric Horseman and Tootsie under his belt, Pollock could get a film made, and get it seen by audiences. At least, as a director. At this point in his career, he had only ever produced one movie, Alan Rudolph's 1984 musical drama Songwriter, which despite being based on the life of Willie Nelson, and starring Nelson, Kris Kristofferson and Rip Torn, barely grossed a tenth of its $8m budget. And Pollock at that moment was busy putting the finishing touches on his newest film, an African-based drama featuring Meryl Streep and longtime Pollock collaborator Robert Redford. That film, Out of Africa, would win seven Academy Awards including Best Picture and Best Director, in March 1986, which would keep Pollock and his producing partner Mark Rosenberg's attention away from Bright Lights for several months. Once the hype on Out of Africa died down, Pollock and Rosenberg got to work getting Bright Lights, Big City made. Starting with hiring a new screenwriter, a new director, and a new leading actor. McInerney, Schumacher and Cruise had gotten tired of waiting. Ironically, Cruise would call on Pollock to direct another movie he was waiting to make, also based at United Artists, that he was going to star in alongside Dustin Hoffman. That movie, of course, is Rain Man, and we'll dive into that movie another time. Also ironically, Weintraub would not last long as the CEO of United Artists. Just five months after becoming the head of the studio, Weintraub would tire of the antics of Kirk Kerkorian, the owner of United Artists and its sister company, MGM, and step down. Kerkorian would not let Weintraub take any of the properties he brought from Columbia to his new home, the eponymously named mini-major he'd form with backing from Columbia. With a new studio head in place, Pollock started to look for a new director. He would discover that director in Joyce Chopra, who, after twenty years of making documentaries, made her first dramatic narrative in 1985. Smooth Talk was an incredible coming of age drama, based on a story by Joyce Carol Oates, that would make a star out of then seventeen-year-old Laura Dern. UA would not only hire her to direct the film but hire her husband, Tom Cole, who brilliantly adapted the Oates story that was the basis for Smooth Talk, to co-write the screenplay with his wife. While Cole was working on the script, Chopra would have her agent send a copy of McInerney's book to Michael J. Fox. This wasn't just some random decision. Chopra knew she needed a star for this movie, and Fox's agent just happened to be Chopra's agent. That'd be two commissions for the agent if it came together, and a copy of the book was delivered to Fox's dressing room on the Family Ties soundstage that very day. Fox loved the book, and agreed to do the film. After Alex P. Keaton and Marty McFly and other characters he had played that highlighted his good looks and pleasant demeanor, he was ready to play a darker, more morally ambiguous character. Since the production was scheduled around Fox's summer hiatus from the hit TV show, he was in. For Pollock and United Artists, this was a major coup, landing one of the biggest stars in Hollywood. But the project was originally going to be Toronto standing in for New York City for less than $7m with a lesser known cast. Now, it was going to be a $15m with not only Michael J. Fox but also Keifer Sutherland, who was cast as Tad, the best friend of the formerly named You, who would now known as Jamie Conway, and would be shot on location in New York City. The film would also feature Phoebe Cates as Jamie's model ex-wife, William Hickey, Kelly Lynch. But there was a major catch. The production would only have ten weeks to shoot with Fox, as he was due back in Los Angeles to begin production on the sixth season of Family Ties.  He wasn't going to do that thing he did making a movie and a television show at the same time like he did with Back to the Future and Family Ties in 1984 and 1985. Ten weeks and not a day more. Production on the film would begin on April 13th, 1987, to get as much of the film shot while Fox was still finishing Family Ties in Los Angeles. He would be joining the production at the end of the month. But Fox never get the chance to shoot with Chopra. After three weeks of production, Chopra, her husband, and her cinematographer James Glennon, who had also shot Smooth Talk, were dismissed from the film. The suits at United Artists were not happy with the Fox-less footage that was coming out of New York, and were not happy with the direction of the film. Cole and Chopra had removed much of the nightlife and drug life storyline, and focused more on the development of Jamie as a writer. Apparently, no one at the studio had read the final draft of the script before shooting began. Cole, the screenwriter, says it was Pollock, the producer, who requested the changes, but in the end, it would be not the Oscar-winning filmmaker producing the movie that would be released but the trio of newer creatives. Second unit footage would continue to shoot around New York City while the studio looked for a new director. Ironically, days after Chopra was fired, the Directors Guild of America had announced that if they were not able to sign a new agreement with the Producers Guild before the end of the current contract on June 30th, the directors were going on strike. So now United Artists were really under the gun. After considering such filmmakers as Belgian director Ulu Grosbard, who had directed Meryl Streep and Robert De Niro in Falling in Love, and Australian director Bruce Beresford, whose films had included Breaker Morant and Tender Mercies, they would find their new director in James Bridges, whose filmography included such critical and financial success as The Paper Chase, The China Syndrome and Urban Cowboy, but had two bombs in a row in 1984's Mike's Murder and 1985's Perfect. He needed a hit, and this was the first solid directing offer in three years. He'd spend the weekend after his hiring doing some minor recasting, including bringing in John Houseman, who won a Best Supporting Actor Oscar for his role in The Paper Chase, as well as Swoosie Kurtz, Oscar-winning actors Jason Robards and Dianne Weist, and Tracy Pollan, Fox's co-star on Family Ties, who would shortly after the filming of Bright Lights become Mrs. Michael J. Fox, although in the film, she would be cast not as a love interest to her real-life boyfriend's character but as the wife of Keifer Sutherland's character. After a week of rewriting McInerney's original draft of the screenplay from the Schumacher days, principal photography re-commenced on the film. And since Bridges would be working with famed cinematographer Gordon Willis, who had shot three previous movies with Bridges as well as the first two Godfather movies and every Woody Allen movie from Annie Hall to The Purple Rose of Cairo, it was also decided that none of Chopra's footage would be used. Everything would start back on square one. And because of the impending Directors Guild strike, he'd have only thirty-six days, a tad over five weeks, to film everything. One of the lobby cards from the movie version of Bright Lights, Big City And they were able to get it all done, thanks to some ingenious measures. One location, the Palladium concert hall on the Lower East Side of Manhattan, would double as three different nightclubs, two discotheques and a dinner club. Instead of finding six different locations, which would loading cameras and lights from one location to another, moving hundreds of people as well, and then setting the lights and props again, over and over, all they would have to do is re-decorate the area to become the next thing they needed. Bridges would complete the film that day before the Directors Guild strike deadline, but the strike would never happen. But there would be some issue with the final writing credits. While Bridges had used McInerney's original screenplay as a jumping off point, the writer/director had really latched on to the mother's death as the emotional center of the movie. Bridges' own grandmother had passed away in 1986, and he found writing those scenes to be cathartic for his own unresolved issues. But despite the changes Bridges would make to the script, including adding such filmmaking tropes as flashbacks and voiceovers, and having the movie broken up into sections by the use of chapter titles being typed out on screen, the Writers Guild would give sole screenwriting credit to Jay McInerney. As post-production continued throughout the fall, the one topic no one involved in the production wanted to talk about or even acknowledge was the movie version of Bret Easton Ellis's Less Than Zero that rival studio 20th Century Fox had been making in Los Angeles. It had a smaller budget, a lesser known filmmaker, a lesser known cast lead by Andrew McCarthy and Jami Gertz, and a budget half the size. If their film was a hit, that could be good for this one. And if their film wasn't a hit? Well, Bright Lights was the trendsetter. It was the one that sold more copies. The one that saw its author featured in more magazines and television news shows. How well did Less Than Zero do when it was released into theatres on November 6th, 1987? Well, you're just going to have to wait until next week's episode. Unless you're listening months or years after they were published, and are listening to episodes in reverse order. Then you already know how it did, but let's just say it wasn't a hit but it wasn't really a dud either. Bridges would spend nearly six months putting his film together, most of which he would find enjoyable, but he would have trouble deciding which of two endings he shot would be used. His preferred ending saw Jamie wandering through the streets of New York City early one morning, after a long night of partying that included a confrontation with his ex-wife, where he decides that was the day he was going to get his life back on track but not knowing what he was going to do, but the studio asked for an alternative ending, one that features Jamie one year in the future, putting the finishing touches on his first novel, which we see is titled… wait for it… Bright Lights, Big City, while his new girlfriend stands behind him giving her approval. After several audience test screenings, the studio would decide to let Bridges have his ending. United Artists would an April 1st, 1988 release date, and would spend months gearing up the publicity machine. Fox and Pollan were busy finishing the final episodes of that season's Family Ties, and weren't as widely available for the publicity circuit outside of those based in Los Angeles. The studio wasn't too worried, though. Michael J. Fox's last movie, The Secret of My Success, had been released in April 1987, and had grossed $67m without his doing a lot of publicity for that one, either. Opening on 1196 screens, the film would only manage to gross $5.13m, putting it in third place behind the previous week's #1 film, Biloxi Blues with Matthew Broderick, and the Tim Burton comedy Beetlejuice, which despite opening on nearly 200 fewer screens would gross nearly $3m more. But the reviews were not great. Decent. Respectful. But not great. The New York-based critics, like David Ansen of Newsweek and Janet Maslin of the Times, would be kinder than most other critics, maybe because they didn't want to be seen knocking a film shot in their backyard. But one person would actually would praise the film and Michael J. Fox as an actor was Roger Ebert. But it wouldn't save the film. In its second week, the film would fall to fifth place, with $3.09m worth of tickets sold, and it would drop all the way to tenth place in its third week with just under $1.9m in ticket sales. Week four would see it fall to 16th place with only $862k worth of ticket sales. After that, United Artists would stop reporting grosses. The $17m film had grossed just $16.1m. Bright Lights, Big City was a milestone book for me, in large part because it made me a reader. Before Bright Lights, I read occasionally, mainly John Irving, preferring to spend most of my free time voraciously consuming every movie I could. After Bright Lights, I picked up every Vintage Contemporary book I could get my hands on. One of the checklists of Vintage Contemporary books listed in the back of a Vintage Contemporary book. And one thing that really helped out was the literal checklist of other books available from that imprint in the back of each book. Without those distinct covers, I don't know if I would have discovered some of my favorite authors like Raymond Carver and Don DeLillo and Richard Ford and Richard Russo. Even after the Vintage Contemporary line shut down years later, I continued to read. I still read today, although not as much as I would prefer. I have a podcast to work on. I remember when the movie came out that I wasn't all that thrilled with it, and it would be nearly 35 years before I revisited it again, for this episode. I can't say it's the 80s as I remember it, because I had never been to New York City by that point in my life, I had never, and still never have, done anything like cocaine. And I had only ever had like two relationships that could be considered anything of substance, let alone marriage and a divorce. But I am certain it's an 80s that I'm glad I didn't know. Mainly because Jamie's 80s seemed rather boring and inconsequential. Fox does the best he can with the material, but he is not the right person for the role. As I watched it again, I couldn't help but wonder what if the roles were reversed. What if Keifer Sutherland played Jamie and Michael J. Fox played the friend? That might have been a more interesting movie, but Sutherland was not yet at that level of stardom. Thank you for joining us. We'll talk again next week, when Episode 95, on the novel and movie version of Less Than Zero is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Bright Lights, Big City, both the book and the movie, as well as other titles in the Vintage Contemporary book series. The full cover, back and front, of Richard Ford's 1986 The Sportswriter, which would be the first of four novels about Frank Bascombe, a failed novelist who becomes a sportswriter. The second book in the series, 1995's Independence Day, would win the Pulitzer Prize for Fiction, as well as the PEN/Faulkner Award for Fiction, the first of only two times the same book would win both awards the same year. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.  

On this episode, we travel back to 1984, and the days when a "young adult" novel included lots of drugs and partying and absolutely no sparkly vampires or dystopian warrior girls. We're talking about Jay McInerney's groundbreaking novel, Bright Lights, Big City, and its 1988 film version starring Michael J. Fox and Keifer Sutherland. ----more---- Hello, and welcome to The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. The original 1984 front cover for Jay McInerney's Bright Lights, Big City If you were a young adult in the late 1980s, there's a very good chance that you started reading more adult-y books thanks to an imprint called Vintage Contemporaries. Quality books at an affordable paperback price point, with their uniform and intrinsically 80s designed covers, bold cover and spine fonts, and mix of first-time writers and cult authors who never quite broke through to the mainstream, the Vintage Contemporary series would be an immediate hit when it was first launched in September 1984. The first set of releases would include such novels as Raymond Carver's Cathedral and Thomas McGuane's The Bushwhacked Piano, but the one that would set the bar for the entire series was the first novel by a twenty-nine year old former fact checker at the New Yorker magazine. The writer was Jay McInerney, and his novel was Bright Lights, Big City. The original 1984 front cover for Raymond Carver's Cathedral Bright Lights, Big City would set a template for twenty something writers in the 1980s. A protagonist not unlike the writer themselves, with a not-so-secret drug addiction, and often written in the second person, You, which was not a usual literary choice at the time. The nameless protagonist, You, is a divorced twenty-four year old wannabe writer who works as fact-checker at a major upscale magazine in New York City, for which he once dreamed of writing for. You is recently divorced from Amanda, an aspiring model he had met while going to school in Kansas City. You would move to New York City earlier in the year with her when her modeling career was starting to talk off. While in Paris for Fashion Week, Amanda called You to inform him their marriage was over, and that she was leaving him for another man. You continues to hope Amanda will return to him, and when it's clear she won't, he not only becomes obsessed with everything about her that left in their apartment, he begins to slide into reckless abandon at the clubs they used to frequent, and becoming heavily addicted to cocaine, which then affects his performance at work. A chance encounter with Amanda at an event in the city leads You to a public humiliation, which makes him starts to realize that his behavior is not because his wife left him, but a manifestation of the grief he still feels over his mother's passing the previous year. You had gotten married to a woman he hardly knew because he wanted to make his mother happy before she died, and he was still unconsciously grieving when his wife's leaving him triggered his downward spiral. Bright Lights, Big City was an immediate hit, one of the few paperback-only books to ever hit the New York Times best-seller chart. Within two years, the novel had sold more than 300,000 copies, and spawned a tidal wave of like-minded twentysomething writers becoming published. Bret Easton Ellis might have been able to get his first novel Less Than Zero published somewhere down the line, but it was McInerney's success that would cause Simon and Schuster to try and duplicate Vintage's success, which they would. Same with Tana Janowitz, whose 1986 novel Slaves of New York was picked up by Crown Publishers looking to replicate the success of McInerney and Ellis, despite her previous novel, 1981's American Dad, being completely ignored by the book buying public at that time. While the book took moments from his life, it wasn't necessarily autobiographical. For example, McInerney had been married to a fashion model in the early 1980s, but they would meet while he attended Syracuse University in the late 1970s. And yes, McInerney would do a lot of blow during his divorce from his wife, and yes, he would get fired from The New Yorker because of the effects of his drug addiction. Yes, he was partying pretty hard during the times that preceded the writing of his first novel. And yes, he would meet a young woman who would kinda rescue him and get him on the right path.  But there were a number of details about McInerney's life that were not used for the book. Like how the author studied writing with none other than Raymond Carver while studying creative writing at Syracuse, or how his family connections would allow him to submit blind stories to someone like George Plimpton at the Paris Review, and not only get the story read but published. And, naturally, any literary success was going to become a movie at some point. For Bright Lights, it would happen almost as soon as the novel was published. Robert Lawrence, a vice president at Columbia Pictures in his early thirties, had read the book nearly cover to cover in a single sitting, and envisioned a film that could be “The Graduate” of his generation, with maybe a bit of “Lost Weekend” thrown in. But the older executives at the studio balked at the idea, which they felt would be subversive and unconventional. They would, however, buy in when Lawrence was able to get mega-producer Jerry Weintraub to be a producer on the film, who in turn was able to get Joel Schumacher, who had just finished filming St. Elmo's Fire for the studio, to direct, and get Tom Cruise, who was still two years away from Top Gun and megastardom, to play the main character. McInerney was hired to write the script, and he and Schumacher and Cruise would even go on club crawls in New York City to help inform all of the atmosphere they were trying to capture with the film. In 1985, Weintraub would be hired by United Artists to become their new chief executive, and Bright Lights would be one of the properties he would be allowed to take with him to his new home. But since he was now an executive, Weintraub would need to hire a new producer to take the reigns on the picture. Enter Sydney Pollack. By 1985, Sydney Pollack was one of the biggest directors in Hollywood. With films like They Shoot Horses, Don't They?, Jeremiah Johnson, Three Days of the Condor, The Electric Horseman and Tootsie under his belt, Pollock could get a film made, and get it seen by audiences. At least, as a director. At this point in his career, he had only ever produced one movie, Alan Rudolph's 1984 musical drama Songwriter, which despite being based on the life of Willie Nelson, and starring Nelson, Kris Kristofferson and Rip Torn, barely grossed a tenth of its $8m budget. And Pollock at that moment was busy putting the finishing touches on his newest film, an African-based drama featuring Meryl Streep and longtime Pollock collaborator Robert Redford. That film, Out of Africa, would win seven Academy Awards including Best Picture and Best Director, in March 1986, which would keep Pollock and his producing partner Mark Rosenberg's attention away from Bright Lights for several months. Once the hype on Out of Africa died down, Pollock and Rosenberg got to work getting Bright Lights, Big City made. Starting with hiring a new screenwriter, a new director, and a new leading actor. McInerney, Schumacher and Cruise had gotten tired of waiting. Ironically, Cruise would call on Pollock to direct another movie he was waiting to make, also based at United Artists, that he was going to star in alongside Dustin Hoffman. That movie, of course, is Rain Man, and we'll dive into that movie another time. Also ironically, Weintraub would not last long as the CEO of United Artists. Just five months after becoming the head of the studio, Weintraub would tire of the antics of Kirk Kerkorian, the owner of United Artists and its sister company, MGM, and step down. Kerkorian would not let Weintraub take any of the properties he brought from Columbia to his new home, the eponymously named mini-major he'd form with backing from Columbia. With a new studio head in place, Pollock started to look for a new director. He would discover that director in Joyce Chopra, who, after twenty years of making documentaries, made her first dramatic narrative in 1985. Smooth Talk was an incredible coming of age drama, based on a story by Joyce Carol Oates, that would make a star out of then seventeen-year-old Laura Dern. UA would not only hire her to direct the film but hire her husband, Tom Cole, who brilliantly adapted the Oates story that was the basis for Smooth Talk, to co-write the screenplay with his wife. While Cole was working on the script, Chopra would have her agent send a copy of McInerney's book to Michael J. Fox. This wasn't just some random decision. Chopra knew she needed a star for this movie, and Fox's agent just happened to be Chopra's agent. That'd be two commissions for the agent if it came together, and a copy of the book was delivered to Fox's dressing room on the Family Ties soundstage that very day. Fox loved the book, and agreed to do the film. After Alex P. Keaton and Marty McFly and other characters he had played that highlighted his good looks and pleasant demeanor, he was ready to play a darker, more morally ambiguous character. Since the production was scheduled around Fox's summer hiatus from the hit TV show, he was in. For Pollock and United Artists, this was a major coup, landing one of the biggest stars in Hollywood. But the project was originally going to be Toronto standing in for New York City for less than $7m with a lesser known cast. Now, it was going to be a $15m with not only Michael J. Fox but also Keifer Sutherland, who was cast as Tad, the best friend of the formerly named You, who would now known as Jamie Conway, and would be shot on location in New York City. The film would also feature Phoebe Cates as Jamie's model ex-wife, William Hickey, Kelly Lynch. But there was a major catch. The production would only have ten weeks to shoot with Fox, as he was due back in Los Angeles to begin production on the sixth season of Family Ties.  He wasn't going to do that thing he did making a movie and a television show at the same time like he did with Back to the Future and Family Ties in 1984 and 1985. Ten weeks and not a day more. Production on the film would begin on April 13th, 1987, to get as much of the film shot while Fox was still finishing Family Ties in Los Angeles. He would be joining the production at the end of the month. But Fox never get the chance to shoot with Chopra. After three weeks of production, Chopra, her husband, and her cinematographer James Glennon, who had also shot Smooth Talk, were dismissed from the film. The suits at United Artists were not happy with the Fox-less footage that was coming out of New York, and were not happy with the direction of the film. Cole and Chopra had removed much of the nightlife and drug life storyline, and focused more on the development of Jamie as a writer. Apparently, no one at the studio had read the final draft of the script before shooting began. Cole, the screenwriter, says it was Pollock, the producer, who requested the changes, but in the end, it would be not the Oscar-winning filmmaker producing the movie that would be released but the trio of newer creatives. Second unit footage would continue to shoot around New York City while the studio looked for a new director. Ironically, days after Chopra was fired, the Directors Guild of America had announced that if they were not able to sign a new agreement with the Producers Guild before the end of the current contract on June 30th, the directors were going on strike. So now United Artists were really under the gun. After considering such filmmakers as Belgian director Ulu Grosbard, who had directed Meryl Streep and Robert De Niro in Falling in Love, and Australian director Bruce Beresford, whose films had included Breaker Morant and Tender Mercies, they would find their new director in James Bridges, whose filmography included such critical and financial success as The Paper Chase, The China Syndrome and Urban Cowboy, but had two bombs in a row in 1984's Mike's Murder and 1985's Perfect. He needed a hit, and this was the first solid directing offer in three years. He'd spend the weekend after his hiring doing some minor recasting, including bringing in John Houseman, who won a Best Supporting Actor Oscar for his role in The Paper Chase, as well as Swoosie Kurtz, Oscar-winning actors Jason Robards and Dianne Weist, and Tracy Pollan, Fox's co-star on Family Ties, who would shortly after the filming of Bright Lights become Mrs. Michael J. Fox, although in the film, she would be cast not as a love interest to her real-life boyfriend's character but as the wife of Keifer Sutherland's character. After a week of rewriting McInerney's original draft of the screenplay from the Schumacher days, principal photography re-commenced on the film. And since Bridges would be working with famed cinematographer Gordon Willis, who had shot three previous movies with Bridges as well as the first two Godfather movies and every Woody Allen movie from Annie Hall to The Purple Rose of Cairo, it was also decided that none of Chopra's footage would be used. Everything would start back on square one. And because of the impending Directors Guild strike, he'd have only thirty-six days, a tad over five weeks, to film everything. One of the lobby cards from the movie version of Bright Lights, Big City And they were able to get it all done, thanks to some ingenious measures. One location, the Palladium concert hall on the Lower East Side of Manhattan, would double as three different nightclubs, two discotheques and a dinner club. Instead of finding six different locations, which would loading cameras and lights from one location to another, moving hundreds of people as well, and then setting the lights and props again, over and over, all they would have to do is re-decorate the area to become the next thing they needed. Bridges would complete the film that day before the Directors Guild strike deadline, but the strike would never happen. But there would be some issue with the final writing credits. While Bridges had used McInerney's original screenplay as a jumping off point, the writer/director had really latched on to the mother's death as the emotional center of the movie. Bridges' own grandmother had passed away in 1986, and he found writing those scenes to be cathartic for his own unresolved issues. But despite the changes Bridges would make to the script, including adding such filmmaking tropes as flashbacks and voiceovers, and having the movie broken up into sections by the use of chapter titles being typed out on screen, the Writers Guild would give sole screenwriting credit to Jay McInerney. As post-production continued throughout the fall, the one topic no one involved in the production wanted to talk about or even acknowledge was the movie version of Bret Easton Ellis's Less Than Zero that rival studio 20th Century Fox had been making in Los Angeles. It had a smaller budget, a lesser known filmmaker, a lesser known cast lead by Andrew McCarthy and Jami Gertz, and a budget half the size. If their film was a hit, that could be good for this one. And if their film wasn't a hit? Well, Bright Lights was the trendsetter. It was the one that sold more copies. The one that saw its author featured in more magazines and television news shows. How well did Less Than Zero do when it was released into theatres on November 6th, 1987? Well, you're just going to have to wait until next week's episode. Unless you're listening months or years after they were published, and are listening to episodes in reverse order. Then you already know how it did, but let's just say it wasn't a hit but it wasn't really a dud either. Bridges would spend nearly six months putting his film together, most of which he would find enjoyable, but he would have trouble deciding which of two endings he shot would be used. His preferred ending saw Jamie wandering through the streets of New York City early one morning, after a long night of partying that included a confrontation with his ex-wife, where he decides that was the day he was going to get his life back on track but not knowing what he was going to do, but the studio asked for an alternative ending, one that features Jamie one year in the future, putting the finishing touches on his first novel, which we see is titled… wait for it… Bright Lights, Big City, while his new girlfriend stands behind him giving her approval. After several audience test screenings, the studio would decide to let Bridges have his ending. United Artists would an April 1st, 1988 release date, and would spend months gearing up the publicity machine. Fox and Pollan were busy finishing the final episodes of that season's Family Ties, and weren't as widely available for the publicity circuit outside of those based in Los Angeles. The studio wasn't too worried, though. Michael J. Fox's last movie, The Secret of My Success, had been released in April 1987, and had grossed $67m without his doing a lot of publicity for that one, either. Opening on 1196 screens, the film would only manage to gross $5.13m, putting it in third place behind the previous week's #1 film, Biloxi Blues with Matthew Broderick, and the Tim Burton comedy Beetlejuice, which despite opening on nearly 200 fewer screens would gross nearly $3m more. But the reviews were not great. Decent. Respectful. But not great. The New York-based critics, like David Ansen of Newsweek and Janet Maslin of the Times, would be kinder than most other critics, maybe because they didn't want to be seen knocking a film shot in their backyard. But one person would actually would praise the film and Michael J. Fox as an actor was Roger Ebert. But it wouldn't save the film. In its second week, the film would fall to fifth place, with $3.09m worth of tickets sold, and it would drop all the way to tenth place in its third week with just under $1.9m in ticket sales. Week four would see it fall to 16th place with only $862k worth of ticket sales. After that, United Artists would stop reporting grosses. The $17m film had grossed just $16.1m. Bright Lights, Big City was a milestone book for me, in large part because it made me a reader. Before Bright Lights, I read occasionally, mainly John Irving, preferring to spend most of my free time voraciously consuming every movie I could. After Bright Lights, I picked up every Vintage Contemporary book I could get my hands on. One of the checklists of Vintage Contemporary books listed in the back of a Vintage Contemporary book. And one thing that really helped out was the literal checklist of other books available from that imprint in the back of each book. Without those distinct covers, I don't know if I would have discovered some of my favorite authors like Raymond Carver and Don DeLillo and Richard Ford and Richard Russo. Even after the Vintage Contemporary line shut down years later, I continued to read. I still read today, although not as much as I would prefer. I have a podcast to work on. I remember when the movie came out that I wasn't all that thrilled with it, and it would be nearly 35 years before I revisited it again, for this episode. I can't say it's the 80s as I remember it, because I had never been to New York City by that point in my life, I had never, and still never have, done anything like cocaine. And I had only ever had like two relationships that could be considered anything of substance, let alone marriage and a divorce. But I am certain it's an 80s that I'm glad I didn't know. Mainly because Jamie's 80s seemed rather boring and inconsequential. Fox does the best he can with the material, but he is not the right person for the role. As I watched it again, I couldn't help but wonder what if the roles were reversed. What if Keifer Sutherland played Jamie and Michael J. Fox played the friend? That might have been a more interesting movie, but Sutherland was not yet at that level of stardom. Thank you for joining us. We'll talk again next week, when Episode 95, on the novel and movie version of Less Than Zero is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Bright Lights, Big City, both the book and the movie, as well as other titles in the Vintage Contemporary book series. The full cover, back and front, of Richard Ford's 1986 The Sportswriter, which would be the first of four novels about Frank Bascombe, a failed novelist who becomes a sportswriter. The second book in the series, 1995's Independence Day, would win the Pulitzer Prize for Fiction, as well as the PEN/Faulkner Award for Fiction, the first of only two times the same book would win both awards the same year. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.  

Gossip Royalty! Sorry we are tardy this week, Richelle was on a field trip this week, but that's less interesting than Lil J setting her sights on landing the hottest escort for Cotillion and Hillary Duff might be leaving us??? Join us for Season 3, Episode 9: They Shoot Humphreys, Don't They? You know you love us...XOXO, Gossip Kings Watch the video version of the episode Like the show? Rate XOXO Gossip Kings 5-Stars on Apple Podcasts Follow XOXO Gossip Kings: Instagram: @xoxogossipkings_podcast Follow Carl Tart: Instagram: @dammitcarl  Follow Lamar Woods:  Instagram: @prophmaticSee omnystudio.com/listener for privacy information.

It's Jane Fonda y'all!  Jane stopped by Manny's right before the midterms to talk about this critical election. She knows, as we all know, that we are on the precipice of climate disaster. We are no longer just imagining how the world will look in a disrupted climate; we're seeing and feeling the reality of the climate crisis every single day as we witness and experience wildfires, heat waves, and floods destroying communities. In 2020, the fossil fuel industry poured $139 million into our elections – to politicians of both parties. This money has real consequences. Major solutions are stopped cold, like the Green New Deal, Build Back Better, clean energy investments, and initiatives to end billions in tax subsidies to the fossil fuel industry — all because of politicians backed by Big Oil. It's not too late to change our course. But it won't happen as long as oil, gas, and coal companies maintain their stranglehold on American politics. Earlier this year, she started the Jane Fonda Climate PAC to elect local, state, and federal leaders who will rise to the urgency of this moment and stand up to the fossil fuel industry. The PAC leverages the donations of those who are climate concerned to counter the outsized influence the fossil fuel industry has on our government. Jane wants politicians who support oil and gas to be as afraid for their jobs as we are about the impending climate disaster.About Jane FondaJane Seymour Fonda is a film and television icon, entrepreneur, and activist. Jane has earned two Academy Awards, two British Academy Film Awards, seven Golden Globe Awards, a Primetime Emmy Award, the AFI Life Achievement Award, the Golden Lion Honorary Award, the Honorary Palme d'Or, and the Cecil B. DeMille Award. She has starred in dozens of films over 60 years including Barbarella; Klute; The Shoot Horses, Don't They; Coming Home; On Golden Pond; The China Syndrome; 9 to 5; Monster-In-Law; and The Morning After to name only a few. She has been a political activist her entire adult life, involved in multiple anti-war movements, the civil rights movement, in support of the Black Panthers, in the fight for LBGTQ rights, in feminist struggles, and now, in the fight of her life to mitigate the worst impacts of climate change. Jane has been targeted and arrested for her activities throughout her life but remains committed to doing everything she can to fight for justice for all and to live joyfully while doing it.

Head to a French school and suggest a game of chess, and you may have a bunch of nervous kids before you! Echecs is indeed the word used for chess, but it's also a word linked to failure – and one that's bandied about far more in the French school system than elsewhere. Here to discuss the dogmatic rigidity of the system that has unfortunately led to widespread failure among French students is Peter Gumbel, journalist and author of They Shoot School Kids, Don't They?http://www.petergumbel.com/fr/biohttps://www.amazon.fr/Shoot-School-Essai-blanche-English-ebook/dp/B005P8GOVQhttps://www.amazon.fr/French-School-Without-Tears-English-ebook/dp/B012UGYBTCJoin us on Patreon: patreon.com/parisundergroundradioFind Us OnlineWebsite: https://www.parisundergroundradio.com/navigatingthefrenchFacebook: https://www.facebook.com/parisundergroundradioInstagram: https://www.instagram.com/parisundergroundradio/Credits- Host: Emily Monaco. @Emily_in_France; Website: http://www.tomatokumato.com and http://www.emilymmonaco.comProducer: Jennifer Geraghty. @jennyphoria; Website: http://jennyphoria.comMusic CreditsÉdith Piaf - La Vie en Rose (DeliFB Lofi Remix)

MAN! THE ELITE MOVE QUICKLY NOWADAYS, DON'T THEY? JUST A WEEK AFTER THE BILLION-DOLLAR ALEX JONES DEFAMATION SUIT, KANYE IS BEING SUED BY GEORGE FLOYDS FAMILY FOR 250 MILLION DOLLARSTHEY'RE MAKING IT IMPOSSIBLE FOR PEOPLE TO SPEAK FREELY ANYMORE. IF RICH PEOPLE CAN'T, YOU BETTER BELIEVE WE CAN'T ANYMORE, EITHERWANT TO SEE THE MOST RACIST CITY IN AMERICA?VIRAL THREAD BY FEMALE ABOUT WHY MARRIAGE IS BAD+ MORESONG: CRUMB - LOCKETINTRO/OUTTRO CLIP: THE UNDERSEA WORLD OF JACQUES COUSTEAU - THE SLEEPING SHARKS OF YUCATANSUBSCRIBE TO THE WRONG OPINION GUMROAD - HTTPS://WRONGOP.GUMROAD.COM IF YOU WANT TO BOOK A CALL WITH ME - HTTPS://SUPERPEER.COM/JOSHLEKACH YOU CAN DONATE CRYPTO HERE - https://commerce.coinbase.com/checkout/5e4a3fc5-309c-4bce-a81d-5b2fbed63b62 MERCH HERE - https://teespring.com/stores/wrongopWRONG OPINION PLAYLIST - https://music.apple.com/us/playlist/the-official-wrong-opinion-playlist/pl.u-KVXBqm6sAYr18  FOR FULL EPISODES SUBSCRIBE TO THE WRONG OPINION GUMROAD - HTTPS://WRONGOP.GUMROAD.COM https://plus.acast.com/s/sad-water-sadcast. Hosted on Acast. See acast.com/privacy for more information.

It's an all-Ska, all the time Slip 'N Slide party with a side of horse meat hot dogs (allegedly) for the Belchers as we continue to make our way through the seventh season of "Bob's Burgers" with the end credits sequence to: Season 7, Episode 4: "They Serve Horses, Don't They?" ----Check Out The Bob's Credits Merch Shop Right Here! - *Including Limited Time Only Halloween Designs*----Follow And Support Us On:PatreonTikTokInstagram Twitter--Also, if you enjoyed the episode, please subscribe and leave a review wherever you can. And more importantly, spread the word. The more action the show gets, the better. We want to continue to make these episodes, and building an audience is the best way to make sure we'll be able to. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

What on earth was with this title choice? I mean seriously, at least title it: "SPOILER ALERT: They Shoot Mothers, Don't They?" Is this a reference that we don't get? What is happening? Have they run out of ideas? Join us this week as we dissect a DOUBLE episode that has QUADRUPLE the Matt that you're used to and only a QUARTER of the Jane! Win/win/win. Amanda survives a drugging and another drugging and attempted murder before reclaiming her job from Whitley, Michael grows a conscience and Matt shows a devious side. Sydney takes on a roommate after being forced to CONGRATULATE AMANDA on winning her battle with the rent control board allowing for a 33% increase on Sydney's rent. Yikes. Sydney's new roommate is, of course, her new spiritual spouse. RED FLAG RED FLAG RED FLAG all three are ignored. Alison gets engaged again only to undo it when she sees her fiance sleeping with another woman. "But babe, she's just some bimbo!" doesn't win over Midwestern Alison and she throws the ring back and tells him to GIVE IT TO THE BIMBO. Now that she doesn't have another boyfriend, that means she can't possibly be dating Billy. And the main event. Jo goes to the lake to retrieve baby Austin/Michael Jr, only to be SHOT IN THE BACK WITH A SHOTGUN by the baby's grandpa/daddy and then decides to give Austin up for adoption so that the writers can get back to what they do best - which is not figuring out how to script a baby. This week y'all - it was a week. --- Send in a voice message: https://anchor.fm/melroseplacecast/message

TW: child sexual abuse by a parent In "The Witch Who Came from the Sea" (1976), written by Robert Thom and directed by Matt Cimber, Molly (Millie Perkins) confronts her childhood trauma in unsettling and destructive ways. Through flashbacks and conversations with her sister, Cathy (Vanessa Brown), we learn that the sea captain father Molly idolizes was actually an abusive piece of shit. Unable to acknowledge the reality of her childhood, Molly creates a fictional world in her head that begins to splinter when her own violent impulses take form. Based on the poster and the film's video nasty status, I expected something titillating that favors style over substance. Instead, I got a character-driven meditation on the downsides of trying to compartmentalize abuse. Here are some things we mentioned during the episode and/or that we think you should check out: April Wolfe's article in Film Comment Louis Black's overview on writer Robert Thom in The Austin Chronicle Stories about the Boathouse restaurant on the Santa Monica Pier. Sadly, the spot is now a Bubba Gump Shrimp Co. Overview on Peggy Fleury AKA Doris on Corey Parker's blog. It includes several PDFs from print publications that can't be easily found elsewhere. Kim Newman's history of video nasties article in BFI Assorted fun facts that we didn't get to mention: Matt Cimber is the co-creator and director of the Gorgeous Ladies of Wrestling (GLOW) professional wrestling promotion and syndicated television series (the OG, not the Netflix show). Robert Thom wrote the scripts for four of the most significant and best of the drive-in exploitation movies: 1968's “Wild in the Streets” (Barry Shear), 1970's “Bloody Mama” (Roger Corman), 1975's “Death Race 2000” (Paul Bartel), and 1975's “Crazy Mama” (Jonathan Demme). Young Molly (Verkina Flower) and Molly's dad (George 'Buck' Flower) were played by real life father and daughter. George ‘Buck' Flower was also the casting director and known for playing a lot of drunk/homeless roles. He previously worked with Matt Cimber on “The Candy Tangerine Man” (1975) and had a cameo in almost every ‘80s John Carpenter movie. Verkina Flower went on to act in other drive-in exploitation films but then started working more steadily as a costume designer. Notably, she was a wardrobe supervisor for a few episodes of Nickelodeon's “All That” in the early aughts. The Boathouse restaurant was also featured in “Funny Girl” (1968), “They Shoot Horses, Don't They?” (1969), “The Sting” (1973), “Forrest Gump” (1994) and “The Majestic” (2001).

In this week's episode, Laura and Kay Rae discuss, Psychology Today's viral article, Rise of Lonely, Single Men written by Greg Matos PsyD. Are dating opportunities diminishing for single men or have women found less value in dating apps? Is the internet changing the landscape of what women expect in committed relationships? Laura resolves a Facebook beef, and Kay Rae recalls her BlackPlanet dating escapades! All of this and more! Follow us on social media: Instagram: @demwizegirls Laura: @ohwizeone Kay Rae@ms_wizeone We would love to hear from you! Email us at demwizegirls@gmail.com Keep up with Laura's upcoming book release at: bougiebitchpoerty.com Our podcast theme song was written and created by Vibe-One. Dem Wize Girl References from this episode: This episode references the article: The Rise of Lonely, Single Men https://www.psychologytoday.com/us/blog/the-state-our-unions/202208/the-rise-lonely-single-men Something New- Fim Think Like A Man, Act Like A Lady by Steve Harvey He's Just Not That Into You: The No-Excuses Truth to Understanding Guys- by Greg Behrendt (Author), Liz Tuccillo Sex In The City: They Shoot Single People, Don't They? Tiktok (Why don't women cook & clean) https://www.tiktok.com/@konsciouskirk/video/7131690144435916074?is_from_webapp=v1&item_id=7131690144435916074

Fred e Alexandre recebem neste episódio o músico Willian de Andrade (Banda “Strato Machine” e Instagram “Oitavo Dia”) para um ótimo bate-papo com dicas de filmes que talvez você não conheça. Começamos cronologicamente com o ótimo drama de Mauro Bolgnini, “A Corrupção” (La corruzione, 1963 – Acesse no marco 00:03:07), seguimos com um dos grandes filmes da Nova Hollywood, “A Noite dos Desesperados”(They Shoot Horses, Don't They?, 1969 – Acesse no marco 00:23:00), dirigido por Sidney Pollack e terminamos o áudio na Hungria, sob a direção de Zoltán Fábri e seu “O Quinto Selo” (Az ötödik pecsét, 1976 – Acesse no marco 00:43:12). Como de praxe, os spoilers destes filmes ficam para o final do episódio: os de “A Corrupção” começam no marco 00:55:32, “A Noite dos Desesperados” em 01:00:15 e por fim os de “O Quinto Selo” em 01:06:19. ---------------------- Acesse nosso site: http://www.filmesclassicos.com.br Acesse nossa página no Facebook : https://www.facebook.com/podcastfilmesclassicos/ Nos procure no seu aplicativo de podcast do celular, no Spotify, YouTube, Anchor ou iTunes.

If I had to dance with either of these jackasses for 60 days straight, I'd ask to have my brains blown out, too! Join Robert and Ira as they discuss THEY SHOOT HORSES, DON'T THEY? and share their top 5 dance movies.  Listen for free through iTunes, Stitcher, Spotify, iHeartRadio, or Google Podcast Music.  So, if you've ever wondered what it would be like to be a nice enough guy who's kind of a nebbish who is in a dance marathon during the Depression in hopes of winning the $1500 cash prize, and you're paired off with a free-thinking pistol of a gal, and some exhausted dancers are eliminated, and you sleep and shower in the back rooms of the dance hall, and you do the nasty with a blonde floozy and then your dance partner fools around with some dude and she doesn't want to be partners with you anymore, but she can't dance alone, so she dances with you anyway, and when the tired as fuck dancers must walk rapidly around the dance floor because the last three couples will be eliminated, one of the dancers has a heart attack and dies, and the slimy promoter who is also the emcee urges your dance partner to marry you for the publicity because even if she wins the marathon, he tells her she'll have to pay a bunch of expenses, and she's despondent as fuck and begs you to shoot her in the head, then this podcast is for you!

If I had to dance with either of these jackasses for 60 days straight, I'd ask to have my brains blown out, too! Join Robert and Ira as they discuss THEY SHOOT HORSES, DON'T THEY? and share their top 5 dance movies.  Listen for free through iTunes, Stitcher, Spotify, iHeartRadio, or Google Podcast Music.  So, if you've ever wondered what it would be like to be a nice enough guy who's kind of a nebbish who is in a dance marathon during the Depression in hopes of winning the $1500 cash prize, and you're paired off with a free-thinking pistol of a gal, and some exhausted dancers are eliminated, and you sleep and shower in the back rooms of the dance hall, and you do the nasty with a blonde floozy and then your dance partner fools around with some dude and she doesn't want to be partners with you anymore, but she can't dance alone, so she dances with you anyway, and when the tired as fuck dancers must walk rapidly around the dance floor because the last three couples will be eliminated, one of the dancers has a heart attack and dies, and the slimy promoter who is also the emcee urges your dance partner to marry you for the publicity because even if she wins the marathon, he tells her she'll have to pay a bunch of expenses, and she's despondent as fuck and begs you to shoot her in the head, then this podcast is for you!

Elana Levin is the host of the outstanding Graphic Policy Radio podcast, which talks about comics, genre movies and television all through the lens of politics and social change. Bryan recently guested on a roundtable tribute to the great Neal Adams and didn't mention Expanding Earth Theory even once.For an additional 40 minutes of this episode, including Doctor Doom's invasion of Wakanda in Astonishing Tales #7 and rapid-fire summaries of eight more stories from May 1971, support us at patreon.com/marvelbythemonth. Subscribers at the $4/month level get instant access to our bonus feed of content that contains over 40 extended and exclusive episodes — with more being added every week! Stories Covered In Detail This Episode:"A Day In the Life of --" - Amazing Spider-Man #99, written by Stan Lee, art by Gil Kane and Frank Giacoia, ©1971 Marvel Comics"They Shoot Hulks, Don't They?" - Incredible Hulk #142, written by Roy Thomas, art by Herb Trimpe and John Severin, ©1971 Marvel Comics "Marvel by the Month" theme v. 3.0 by Robb Milne, sung by Barb Allen. All incidental music by Robb Milne.Visit us on internet at marvelbythemonth.com, follow us on Instagram at @marvelbythemonthand Twitter at @MarvelBTM, and support us on Patreon at patreon.com/marvelbythemonth.Much of our historical context information comes from Wikipedia. Please join us in supporting them at wikimediafoundation.org. And many thanks to Mike's Amazing World of Comics, an invaluable resource for release dates and issue information.

This is your pop culture for S3 E7 "They Shoot Gilmores, Don't They”.  See omnystudio.com/listener for privacy information.

Corwin and Josh talk about the 1969 Depression-era drama "They Shoot Horses, Don't They?" and the 1998 WWII classic "Saving Private Ryan" They Shoot Horses, Don't They?: https://www.imdb.com/title/tt0065088/ Saving Private Ryan: https://www.imdb.com/title/tt0120815/?ref_=ttfc_fc_tt Twitter: https://twitter.com/BigScreenJuice Email: juicingthebigscreen@gmail.com

Sydney Pollack's They Shoot Horses, Don't They? is our film of the week. We dive into Pollack as a filmmaker, how the film was a turning point for Jane Fonda, the ending of the film, the symbolism of the story being told, and much more. Put your film nerd hat on and join us! Find us here: theturnbuckletavern.com

Imprint Companion is the only podcast on the Australian Internet about "DVD Culture."Hang onto your slipcases because Alexei Toliopoulos (Finding Drago, Total Reboot) and Blake Howard (One Heat Minute) team up to unbox, unpack and unveil upcoming releases from Australia's brand new boutique Blu-Ray label Imprint Films. Our February Batch episode features in-depth reviews of The Return of the Pink Panther, The Bad News Bears in Breaking Training, The Out of Towners and The Odd Couple Collection.The Return of The Pink Panther (Imprint Collection #106)After he lets a robbery transpire right under his nose, the ever-bumbling Inspector Clouseau (Peter Sellers) is suspended by Chief Inspector Dreyfus (Herbert Lom). But, when the famed Pink Panther diamond is stolen from the National Museum in Lugash, the Shah requests Clouseau's assistance, and he's reinstated. Clouseau quickly concludes that the thief must be the infamous Phantom, against whom he has a grudge, but the inspector's instincts are, as usual, wrong.Special Features and Technical Specs:1080p high-definition presentationAudio Commentary with Jason Simos of The Peter Sellers Appreciation SocietyThe Return of Laughter – featuretteIsolated music and effects audio track featuring score by Henry ManciniTV SpotsTheatrical TrailersThe Bad News Bears in Breaking Training (Imprint Collection #107)THE BAD NEWS BEARS ARE ONE YEAR OLDER AND ONE YEAR WILDER.The Bad News Bears In Breaking Training is the comic and poignant second-in-the-series of adventures with the pint-sized sandlot ballplayers initiated with the smash success, The Bad News Bears. The picture picks up the Bears' career a year after their infamous second-place finish in the North Valley League. Faced with a chance to play the Houston Toros for a shot at the Japanese champs, they devise a way to get Texas to play at the famed Astrodome. On their pilgrimage to Houston, the Bears gain a new coach; dump that coach; add a new pitcher who can't get his fastball over the plate; find another coach who shows him how it's done, and go on to a come-back victory with all eyes on Japan.Special Features and Technical Specs:1080p high-definition presentation by Paramount PicturesAudio commentary by director Michael Pressman, moderated by Gillian Wallace Horvat (2022)Audio commentary by film historian Scott Harrison (2022)Theatrical TrailerThe Out Of Towners (1970) (Imprint Collection #108) George (Jack Lemmon) has been offered a promotion that would relocate him to New York City. He flies in with his wife, Gwen (Sandy Dennis), to the city for the job interview. After their flight is redirected to Boston due to heavy fog, the couple meets with disaster. Their luggage is missing, leaving them without money, and the entire city seems to be striking. George and Gwen struggle to survive the night before George's interview, questioning whether they want to move from their small town.Special Features and Technical Specs:1080p high-definition presentation by Paramount PicturesAudio commentary by film historian Lee Gambin (2022)Theatrical TrailerThe Odd Couple Collection (Imprint Collection #104 & #105)CAN TWO DIVORCED MEN SHARE AN APARTMENT WITHOUT DRIVING EACH OTHER CRAZY?A 3-disc celebration of Neil Simon's legendary play ‘The Odd Couple'.THE ODD COUPLEIn the original 1968 film starring Jack Lemmon and Walter Mathau, two divorced men decide to share an apartment. Felix Ungar is fussy and fastidious. Oscar Maddision is slovenly and sloppy. Sure, they can live together… but can they live together without killing each other?Special Features and Technical Specs:1080p high-definition transfer by Paramount PicturesAudio commentary by Charlie Matthau and Chris LemmonAudio commentary by film historians Nathaniel Thompson and Howard S. Berger (2021)In the Beginning – featuretteMatthau & Lemmon / Lemmon & Matthau – featuretteMemories from the Set – featuretteInside The Odd Couple – featuretteThe Odd Couple: A Classic – featuretteIsolated audio track featuring Neal Hefti's scoreTheatrical TrailerFilm and Production Photo GalleriesTHE ODD COUPLE IIIn the 1998 reunion film, its twenty years later, and having gone their separate ways, the two are now together again en route to the wedding of their children. They've got the map, the rental car… and a tankful of arguments.Special Features and Technical Specs:1080p high-definition transfer by Paramount PicturesAudio commentary by film historian Scott Harrison (2021)Two Grumpy Men: Directing The Odd Couple II – interview with director Howard Deutch (2021)Promotional interviews with actors Jack Lemmon, Walter Matthau, Jean Smart, writer Neil Simon and director Howard DeutchJack Lemmon, America's Everyman – 1996 documentaryWalter Matthau, Diamond in the Rough – 1997 documentaryTheatrical TrailerPhoto GalleryTHE ODD COUPLE ON TELEVISIONIn the 1970s television series, can two divorced men share an apartment without driving each other crazy? Ten episodes covering all five seasons explore this retorical quesiton. Tony Randall and Jack Klugman make the characters their own in the award-winning television version.Special Features and Technical Specs:1080p high-definition transfersAudio commentary by series executive producer Garry Marshall on “They Use Horseradish, Don't They?”Two Original Series PromosGag reel with audio introduction by producer Garry MarshallOpening titles without narrationIsolated music and effects audio track on every episodeSeries Photo GalleryBlake Howard - Twitter & One Heat Minute Website Alexei Toliopoulos - Twitter & Total RebootVisit imprintfilms.com.au Support this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Imprint Companion is the only podcast on the Australian Internet about "DVD Culture."Hang onto your slipcases because Alexei Toliopoulos (Finding Drago, Total Reboot) and Blake Howard (One Heat Minute) team up to unbox, unpack and unveil upcoming releases from Australia's brand new boutique Blu-Ray label Imprint Films. Our February Batch episode features in-depth reviews of The Return of the Pink Panther, The Bad News Bears in Breaking Training, The Out of Towners and The Odd Couple Collection.The Return of The Pink Panther (Imprint Collection #106)After he lets a robbery transpire right under his nose, the ever-bumbling Inspector Clouseau (Peter Sellers) is suspended by Chief Inspector Dreyfus (Herbert Lom). But, when the famed Pink Panther diamond is stolen from the National Museum in Lugash, the Shah requests Clouseau's assistance, and he's reinstated. Clouseau quickly concludes that the thief must be the infamous Phantom, against whom he has a grudge, but the inspector's instincts are, as usual, wrong.Special Features and Technical Specs:1080p high-definition presentationAudio Commentary with Jason Simos of The Peter Sellers Appreciation SocietyThe Return of Laughter – featuretteIsolated music and effects audio track featuring score by Henry ManciniTV SpotsTheatrical TrailersThe Bad News Bears in Breaking Training (Imprint Collection #107)THE BAD NEWS BEARS ARE ONE YEAR OLDER AND ONE YEAR WILDER.The Bad News Bears In Breaking Training is the comic and poignant second-in-the-series of adventures with the pint-sized sandlot ballplayers initiated with the smash success, The Bad News Bears. The picture picks up the Bears' career a year after their infamous second-place finish in the North Valley League. Faced with a chance to play the Houston Toros for a shot at the Japanese champs, they devise a way to get Texas to play at the famed Astrodome. On their pilgrimage to Houston, the Bears gain a new coach; dump that coach; add a new pitcher who can't get his fastball over the plate; find another coach who shows him how it's done, and go on to a come-back victory with all eyes on Japan.Special Features and Technical Specs:1080p high-definition presentation by Paramount PicturesAudio commentary by director Michael Pressman, moderated by Gillian Wallace Horvat (2022)Audio commentary by film historian Scott Harrison (2022)Theatrical TrailerThe Out Of Towners (1970) (Imprint Collection #108) George (Jack Lemmon) has been offered a promotion that would relocate him to New York City. He flies in with his wife, Gwen (Sandy Dennis), to the city for the job interview. After their flight is redirected to Boston due to heavy fog, the couple meets with disaster. Their luggage is missing, leaving them without money, and the entire city seems to be striking. George and Gwen struggle to survive the night before George's interview, questioning whether they want to move from their small town.Special Features and Technical Specs:1080p high-definition presentation by Paramount PicturesAudio commentary by film historian Lee Gambin (2022)Theatrical TrailerThe Odd Couple Collection (Imprint Collection #104 & #105)CAN TWO DIVORCED MEN SHARE AN APARTMENT WITHOUT DRIVING EACH OTHER CRAZY?A 3-disc celebration of Neil Simon's legendary play ‘The Odd Couple'.THE ODD COUPLEIn the original 1968 film starring Jack Lemmon and Walter Mathau, two divorced men decide to share an apartment. Felix Ungar is fussy and fastidious. Oscar Maddision is slovenly and sloppy. Sure, they can live together… but can they live together without killing each other?Special Features and Technical Specs:1080p high-definition transfer by Paramount PicturesAudio commentary by Charlie Matthau and Chris LemmonAudio commentary by film historians Nathaniel Thompson and Howard S. Berger (2021)In the Beginning – featuretteMatthau & Lemmon / Lemmon & Matthau – featuretteMemories from the Set – featuretteInside The Odd Couple – featuretteThe Odd Couple: A Classic – featuretteIsolated audio track featuring Neal Hefti's scoreTheatrical TrailerFilm and Production Photo GalleriesTHE ODD COUPLE IIIn the 1998 reunion film, its twenty years later, and having gone their separate ways, the two are now together again en route to the wedding of their children. They've got the map, the rental car… and a tankful of arguments.Special Features and Technical Specs:1080p high-definition transfer by Paramount PicturesAudio commentary by film historian Scott Harrison (2021)Two Grumpy Men: Directing The Odd Couple II – interview with director Howard Deutch (2021)Promotional interviews with actors Jack Lemmon, Walter Matthau, Jean Smart, writer Neil Simon and director Howard DeutchJack Lemmon, America's Everyman – 1996 documentaryWalter Matthau, Diamond in the Rough – 1997 documentaryTheatrical TrailerPhoto GalleryTHE ODD COUPLE ON TELEVISIONIn the 1970s television series, can two divorced men share an apartment without driving each other crazy? Ten episodes covering all five seasons explore this retorical quesiton. Tony Randall and Jack Klugman make the characters their own in the award-winning television version.Special Features and Technical Specs:1080p high-definition transfersAudio commentary by series executive producer Garry Marshall on “They Use Horseradish, Don't They?”Two Original Series PromosGag reel with audio introduction by producer Garry MarshallOpening titles without narrationIsolated music and effects audio track on every episodeSeries Photo GalleryBlake Howard - Twitter & One Heat Minute Website Alexei Toliopoulos - Twitter & Total RebootVisit imprintfilms.com.au Support this podcast at — https://redcircle.com/imprint-companion/donations

Mo and Christina kick off 2022 with a very special Gilmore Girls episode! Joined again by special guest Jacques from Seeking Derangements, they cover one of their favorite episodes: Season 3 Episode 7 "They Shoot Gilmores, Don't They?". Sit back as they discuss the Rory/Dean/Jess love triangle, kooky Stars Hollow town events, and the two genders: Gilmore Girls and The Sopranos.   Shop our merch storefront on TeePublic! We are so excited to be bringing our Raymond the Lifeguard design back in stock, as well as some amazing new ones! https://tinyurl.com/vxpbczup   Shop Little Lady Baby Follow us on instagram @moviesthatraisedus   Follow us on tiktok @moviesthatraiseduspod  Follow us on twitter @mtru_pod     Do you have a movie you want us to cover next? Fill out our form!  https://forms.gle/fU5vRfTk8K5Gb7cD8   Thank you to our wonderful listeners for your wonderful reviews! If you want us to pick a song to play in the 2000's movie montage of your life in the next episode, be sure to leave a review on Apple Podcasts!

Patrick und sein geliebt-geschätzter Stammgast André Wentzel etablieren in dieser Woche ein neues Weihnachtsritual im Bahnhofskino: Männer mittleren Alters podcasten kurz vor den Feiertagen über zutiefst melancholisches Gefühlskino™. Aber egal zu welcher Jahreszeit, Sidney Pollacks Klassiker Nur Pferden gibt man den Gnadenschuss (They Shoot Horses, Don't They?, 1969) ist zu jeder Jahreszeit eine Wiederentdeckung wert, nicht zuletzt wegen Jane Fonda in der - vielleicht - besten Rolle ihrer illustren Karriere. Die beiden Herren sind jedenfalls hin und weg. Und wenn man/frau genau hinhört, sind sogar ein paar leise Schluchzer auf der Tonspur zu vernehmen.

Denise Hamilton and I talk about They Shoot Horses Don't They?  No horses were injured in the making of this episode. Another one from the Miami Book Fair:https://www.miamibookfair.comBuy They Shoot Horses, Don't They by Horace McCoyhttps://www.amazon.com/They-Shoot-Horses-Serpents-Classics/dp/184668739X/ref=sr_1_1?keywords=They+Shoot+Horses+Dont%27+they&qid=1639687721&s=books&sr=1-1Buy Denise's Book, Speculative Los Angeles:https://www.amazon.com/Speculative-Los-Angeles-Denise-Hamilton/dp/1617758566

#THEFNBSPODCAST #TRUESTORY R.I.P VIRGIL ABLOH KEVIN HART JUST DROPPED A BANGER OF ALL BANGERS AND WE GON TALK ABOUT IT!! BIG SPOILER ALERT!! ANYWHO....THIS WEEKS TALK IS ALL OVER THE PLACE. FROM BRAD PITT'S POTENTIAL TO BE LEONARDO DICAPRIO TO RHIANNA'S BOOTY OUT PAJAMAS ALL THE WAY TO PEOPLE PAYIN THEY LIFE SAVING FOR F'N SPIDERMAN TICKETS, SMH. DON'T NOBODY GIVE A DAM ABOUT MAGIC MIKE 3.....EW. AND ME AND THE HOMIE SHANE TALKS ABOUT THE MOVIES THAT MAKE US CRY.....REAL MEN CRY YAW!!! DON'T THEY???? MUCH LOVEW AND ENJOY THE SHOW!!

Het beton van het Goffertstadion in Nijmegen bezweek onder het gewicht van de springende fans van Vitesse. Er zijn geen gewonden gevallen. Zijn de stadions wel stevig genoeg voor Snollebolleke? De gasprijzen gaan omhoog, Rusland krijgt de schuld maar hoe verdelen we de compensatie? De Sydney Pollack-film They Shoot Horses, Don't They speelt tijdens de Grote Depressie in de Verenigde Staten, een periode die door de mensen van toen niet als de gemakkelijkste werd ervaren. Er wordt in die film een dansmarathon georganiseerd, de langst dansenden krijgen een enorm geldbedrag. SBS zendt nu een Marathon uit, 1 mio kijkers op de slotdag. Wat denk je dan van de Squid Game met 111 miljoen kijkers de beste serielancering op Netflix ooit. Veel leuker en origineler!

It's salsa dancing and early morning photo shoots this week as we can't help but wonder: why the hell did the writers call this episode “They Shoot Single People, Don't They?”Becky is coaching the characters this week as we explore what makes each of us good company to ourselves, the joy and vulnerability of being by ourselves, and the need for detail-oriented prop wranglers when you need a business card for Samantha's latest beau. Look out for Deep Fake NY Magazines with Ed Koch's face on the cover and join us this week on Coaching Carrie!Follow the podcast on Instagram and Facebook: @coaching.carrie.podcast Find Kerry at www.theatalantagroup.com for more information about leadership coaching for lawyers and her coaching programs specifically designed to help attorneys make the transition to in-house positions. IG:    @theatalantagroupCatch up with Becky at www.untanglehappiness.com where you can learn more about her book, The Happiness Recipe: A Powerful Guide to Living What Matters. IG:      @the.butterfly.society

This episode finds Sarah returning to talk to Shaun about the 1969 Sydney Pollack film (based on a novel by Horace McCoy of the same name), They Shoot Horses, Don't They?. They get into the details of the basis for the film, depression-era dance marathons, the film's production history, the performances, and the subtext. As always, a good time! Sarah Didn't Listen (Sarah's blog): https://sarahmdillon.wixsite.com/sarahdidntlisten ► Facebook: https://www.facebook.com/zooboxpodcast ► Odysee: https://odysee.com/@ZooBox:7 ► YouTube: https://www.youtube.com/c/ZooBox1 ► DLive: https://dlive.tv/Shaun-Zoo-Box ► Alt YouTube: https://www.youtube.com/user/thenaturalgamers1 ► iTunes: https://podcasts.apple.com/us/podcast/zoo-box/id1481669986 ► Spotify: https://open.spotify.com/show/55VagZqO5PyBvJSpzBuEIY ► Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly96b29ib3hwb2RjYXN0LnBvZG9tYXRpYy5jb20vcnNzMi54bWw&hl=en ► Anchor: https://anchor.fm/zoo-box ► Twitch: https://www.twitch.tv/shaunzoobox ► Twitter: https://twitter.com/ShaunZooBox ► Twitter: https://twitter.com/DanZooBox ► Instagram: https://www.instagram.com/zooboxpodcast CONTACT US DIRECTLY: zooboxpodcast@gmail.com

On this episode, Duran is joined by special guest Boris in discussing Hirokazu Kore-eda's 1998 film After Life. They also go over their 25 film submissions for the They Shoot Pictures, Don't They? top 1000 films.

You thought a standard Season 3 episode of Melrose Place crammed in a lot of drama? STRAP IN, because here comes a for-no-reason midseason double episode, and it is a doozy. Amanda and Peter are still pretending to be a couple while secretly plotting against each other. Peter and Caitlin's plan to pry Amanda out of her contract is to arrange for everyone at the agency to take a drug test for insurance purposes, and for Amanda to fail it because the "antibiotics" Peter's prescribed her are actually THC...and since the only drug study at the hospital involving THC is the one Peter's just put Michael in charge of, Peter's hands will be clean. But Amanda finds one pill, gets Matt to have it analyzed, and confronts Peter with the evidence in order to keep her job. So then Peter has to escalate by arranging to "catch" Amanda and Michael in his office after hours, injecting her with a drug that will imitate the appendicitis cramps, and wheeling her into surgery she will not survive. Will Michael have the stomach to go along with it?! Jake insists on accompanying Jo to the Carters' to get Austin back, even though she is completely unable to be cool and reveals herself to Mrs. Carter while she's supposed to be waiting for the cops to come charge the Carters with kidnapping. Mr. Carter then shoots Jo in the back, which kind of complicates the emergency custody hearing set to take place when Jo still has an arm in a sling and Mr. Carter is still out on bail. Billy gets increasingly bitter and suspicious about what's actually going on between Alison and Terry, until he finally confirms it by spying on her at an AA meeting and seeing them mildly PDA-ing. Little does he know how quickly Terry wants things to progress, even after he almost falls back off the wagon after a disastrous performance in his first game back after rehab. After Amanda informs Sydney she's raising her rent by kind of a lot, Jane tells her to find a roommate, and Rikki -- a fellow waitress -- seems perfect! She's full of opinions about all Sydney's neighbors, and also about ways Sydney could improve her life if she just started attending the same self-help meetings Rikki does with her "guru," Martin! And hey, if Sydney can't afford his courses, maybe she could just work it off in his offices! Take aim at our latest podcast on "They Shoot Mothers, Don't They?"! JOIN THE AWT CLUB

Comedian Ellis Hoffmeister and Writer Ali Keller discuss the fourteenth episode of the television show Pretty Little Liars where everything goes all They Shoot Horses, Don't They?

In this episode, acclaimed modern crime writer Sara Paretsky and political satirist and novelist Christopher Buckley join Fiction/Non/Fiction co-hosts V.V. Ganeshananthan and Whitney Terrell to talk about pushing against the boundaries of genre writing. Buckley discusses how political satire has been redefined in the era of reality-television-star-turned-president Trump, and why his new novel Make Russia Great Again is a faux memoir. Then, Paretsky speaks about making the male-dominated detective fiction genre her own with the best-selling V.I. Warshawski series, and reflects on her recent collection Love & Other Crimes, which also features the iconic character. To hear the full episode, subscribe to the Fiction/Non/Fiction podcast through iTunes, Google Play, Stitcher, Spotify, or your favorite podcast app (include the forward slashes when searching). You can also listen by streaming from the player below. And check out video excerpts from our interviews at LitHub's Virtual Book Channel and Fiction/Non/Fiction's YouTube Channel. This podcast is produced by Andrea Tudhope.  Guests: Christopher Buckley Sara Paretsky Selected readings for the episode: Christopher Buckley Make Russia Great Again But Enough About You They Eat Puppies, Don't They? Losing Mum and Pup Supreme Courtship Boomsday No Way to Treat a First Lady Florence of Arabia Little Green Men Wry Martinis Sara Paretsky V.I. Warshawski novels Indemnity only Fallout Fire Sale Hardball Love & Other Crimes “Acid Test” “Miss Bianca” “Flash Point” Anatomy of Innocence Others:  “Christopher Buckley's ‘Make Russia Great Again' is the Trump satire we've been waiting for” by Ron Charles  “Sarah Cooper Doesn't Mimic Trump. She Exposes Him.” by ZZ Packer Julius Caesar by William Shakespeare “Fawlty Towers” - Television series “‘Art of the Deal' co-author: Trump ‘couldn't care less tens of thousands are people are dying'” - MSNBC interview with Donald Trump's ghostwriter Tony Schwartz “This Be The Verse” by Philip Larkin  Hilary Mantel Too Much and Never Enough by Mary L. Trump Fiction/Non/Fiction interview with Curtis Sittenfeld Fiction/Non/Fiction interview with Jabari Asim Rodham by Curtis Sittenfeld Anna Katherine Green S.J. Rozan Raymond Chandler The Maltese Falcon by Dashiell Hammett Dorothy L. Sayers Raymond Chandler John D. MacDonald Rex Stout Jabari Asim John Conroy Lee Child Learn more about your ad choices. Visit megaphone.fm/adchoices

Our examination of 1969 continues with our first American film we've discussed this year, They Shoot Horses, Don't They? Directed by Sydney Pollack and based on a novel by Horace McCoy, the film stars Michael Sarrazin as Robert and Jane Fonda as Gloria, a pair who get thrown together in a marathon dance contest during the Great Depression.Learn more about your ad choices. Visit megaphone.fm/adchoices

These are crazy times, and hopefully they'll be times when more people than ever are not only reading more but talking more. In this episode, Erin reviews the book They Eat Puppies, Don't They? by author Christopher Buckley. A wonderful satire about our relations with China. A book filled with humor, a wonderful array of vocabulary, and characters so hyperbolic you'll buy it.

We open up a fresh bottle of rum, braid our hair & talk about the Due South episode 'They Eat Horses, Don't They?' Email: DueSouthBSE@gmail.com Twitter: @DueSouthBSE Facebook group: Due South by South East Network: www.WonkySpanner.com Theme Tune: Performed & Arranged by Matt Lees Music / Lyrics by Squee

Long Day's Journey Into Quark. For a fun Ferengi episode of Star Trek Deep Space Nine we talk an awful lot about idiosyncracies within American capitalism. We finally meet Wade's crush Andrea Martin, and it's totally not a physical thing. Not with that prosthetic makeup. Quark's mom Ishka is up to some funny business- and we're NOT talking about walking around naked in front of her sons... James is skeeved and doesn't agree with off notes in Ferengi culture; Wade thinks the “off notes” are what make Ferengi good aliens instead of just bad allegory; and Hugh thinks the “off notes” are just dumb comedy played for yuk yuks. Sisko goes on what threatens to be a mediocre tinder coffee date, and James has … divisive opinions on Kasidy Yates. Not the actor, but the character's place in the story. Plus in voicemails: "They Shoot Bashirs, Don't They?" Plutoburns gets us going on a familiar topic again, plus other nostalgia from our youth.

Sex and the City 2x04: They Shoot Single People, Don't They? In this episode, Paige and JD discuss faking who you are, the mystery surrounding the clitoris, and our new challenge for our listeners! Talk to us on Twitter @WeSwearOnChanel or at icouldnthelpbutpodcast@gmail.com Paige Clarno: @paigeclarno Joe Daniel Montelongo: @joedanielbb Thanks for listening! --- Send in a voice message: https://anchor.fm/icouldnthelpbutpodcast/message

The fourth episode of Sledge Hammer was titled They Shoot Hammers, Don't They? and was the fourth episode of the show's first season. Sledge's former partner escapes from prison and begins a violent rampage, demanding a showdown with Hammer. In this podcast Gerry and Iain look at some character development for Sledge.     Much of the drama returns to the police precinct […] The post They Shoot Hammers, Don't They? | Episode 4 appeared first on Sledge Hammer! Podcast.

Az elefántember (The Elephant Man | 1980) Rendező: David Lynch Veszett a világ (Wild at Heart | 1990) Rendező: David Lynch A félelem bére (Le salaire de la peur | 1952) Rendező: Henri-Georges Clouzot A lovakat lelövik, ugye? (They Shoot Horses, Don't They? | 1969) Rendező: Sydney Pollack | Puzsér Róbert, Magyar Dávid

Welcome to a special cross promotion with the Feminine Critique podcast!!! This week we joined forces to bring you coverage on two different feeds. On this feed you get coverage of They Shoot Horses...Don't They? (1969) directed by Sydney Pollack and starring Jane Fonda, Michael Sarrazin and Gig Young.  On the Feminine Critique feed you get coverage of the second part. or first part depending on who you listen to first, of our coverage of Dark of the Sun (1968) directed by Jack Cardiff and starring Rod Taylor and Jim Brown. We hope you enjoy this little venture and get out and support great podcasts like The Feminine Critique!!! Emails to midnitecinema@gmail.com Vociemails to 206-666-5207 Adios!!! --- Send in a voice message: https://anchor.fm/ggtmc/message

This week, we look into a scandal involving Scott Thompson, Yahoo's CEO,  wherein he allegedly lied on his resume about having a CS degree. Later, we'll poke into a couple of exciting rumors of Apple lowering the price of their Macbook Air to $799, plus their upcoming HDTV offering. But first, the headlines...Facebook sets its IPO price, Discovery buys Revision3, Draw Something loses 5M users/Mo. after Zynga purchase, AT&T CEO regrets offering unlimited data, Google loses copyright infringement case to Oracle over Java, Google's Hangouts on Air rolls out to everyone, & Google's Autonomous cars get an official nod from Nevada. Headlines Facebook Sets $28-$35 IPO Range Discovery Buys Revision3 for $30 Million Draw Something Loses 5M Users a Month After Zynga Purchase AT&T Chief Regrets Offering Unlimited Data for iPhone Google liable for copyright infringement, jury finds Google makes Hangouts On Air available to everyone Google gets license to test drive autonomous cars on Nevada roads Audible Book of the Week I Am a Pole (And So Can You!) by  Stephen Colbert Musical Interlude #1 Hot Topic: Résumé-Gate Yahoo CEO Scott Thompson Resume Scandal They Shoot Yahoo CEOs, Don't They? CEO Says Sorry to Yahoos for Borked Bio "Distraction" Yahoo Director in Charge of Botched CEO Vetting to Step Down Musical Interlude #2 Final Word: Apple Rumors Apple reportedly to release US$799 MacBook Air in 3Q12 Our Source Has Seen The Apple HDTV, Here's What It Looks Like The Drill Down on iTunes (Subscribe now!) Sign up here to be alerted by SMS when the podcast is live! Geeks Of Doom's The Drill Down is a roundtable-style audio podcast where we discuss the most important issues of the week, in tech and on the web and how they affect us all. Hosts are Geeks of Doom contributor Andrew Sorcini (Mr. BabyMan), VentureBeat editor Devindra Hardawar, marketing research analyst Dwayne De Freitas, and Startup Digest CTO Christopher Burnor. Occasionally joining them is Techmeme editor Lidija Davis.  

Thanks so much to all of you who donated and support CiTR. You're the BEST!!OK Vancouver OK, Pink and BlueDestroyer, Streethawk IDestroyer, An Actor's RevengeP:ano, Light of LoveP:ano, T. Hatch says "round ev'ry corner"The Defektors, Doomsday GirlThe Evaporators, Honk The HornThey Shoot Horses, Don't They? One Last Final PushFanshaw, O SailorThe Cinch, Talk & TalkThe Riff Randells, Somebody's MomThe New Pornographers, Letter From An OccupantThe Awkward Stage, The Morons Are WinningThe Organ, We've Got To MeetThe Collapsing Opposites, The Cost of Music

Jay-U Experience, Some MoreCeline Ukwu & The Philosophers National, Okwukwe Na NchekwubeM83, CouleursFeist & Constantines, Islands in the StreamHank, All The GreensStephen Malkmus & The Jicks, Hopscotch WillieFlight of the Conchords, BowieThe Superfantastics, Rite of SpringGhost House, Tuesday 2amCut Copy, We Fight For DiamondsThey Shoot Horses, Don't They, The Bugs

Magnetic Fields, Three-WayCat Power, Song to BobbyDeradoorian, Grey TeethSonic Youth, I'm Not ThereNifty, Fill the Arena with SandThe Evaporators, Sasquatch and Me Ate Berries For FreeThey Shoot Horses, Don't They, A Place Called LaJPNDRDS, Avant SleepwalkHealth, CrimewaveJens Lekman, The Opposite of HallelujahPelle Carlberg, I Love You, You ImbecileBullion, I Just Wasn't Made For These TimesDaft Punk, Harder, Faster, Better, Stronger (Live)