Podcasts about doug kenney

'Caddyshack', it turns out, is kind of a miracle of last-minute producer-led stitching together and salvaging, resulting in one of the more quotable films in comedy history.   Hard to believe that at the time, Chevy Chase, Bill Murray, and Rodney Dangerfield were not yet the massive film stars they'd become as a result of this movie.   This episode delves into the coke-fueled nonstop party that was this film's production, a production that would contribute to the untimely death of co-writer Doug Kenney on a cliff in Hawaii where he'd gone to dry out.  Doug's death was one of the first casualties of this scene due to drugs, soon followed by John Belushi's.

SITC is back with a new installment of Uncut and Unrated - extended "director's cuts" of some of our favorite episodes. FRATBOY F**KERY, our episode discussing a trio of "boys will be boys" blockbusters, returns to manspread its dick tentacles all over the airwaves. The original cut of this episode was released in April 2024 but the collective ethos of these misogynistic trash fires is now distinctly timely.  Tune in for previously unreleased deep cuts about Doug Kenney and the birth of The National Lampoon, another cringeworthy tale about Torie's adolescent pervy playacting, and much more.  Keep your eyes peeled and your ears open for all-new episodes including the first installment of our Director Retrospective series and our upcumming holiday special! --- Trigger warning: this episode discusses themes of sexual and verbal assault, rape, and body shaming. Welcome to the black hole of misogyny where "boys will be boys" and fratboy mentality reigned supreme to brainwash multiple generations.   Torie struggles to kill her darlings in the National Lampoon classic ANIMAL HOUSE (1978). Kim Cattrall is the only saving grace in the postulating butt boil that is PORKY'S (1981). Witness the birth of virtual assault and revenge porn in the generation-defining Y2K flick, AMERICAN PIE (1999).

Welcome to the Instant Trivia podcast episode 1213, where we ask the best trivia on the Internet. Round 1. Category: It Happened In The 20Th Century 1: On May 18, 1954 The New York Times headlined, "High Court Bans School" this divisive practice. segregation. 2: In 1981 Ananda Chakrabarty received a patent for a life form made of just 1 this. a cell. 3: In May 1940 he became prime minister and began inspiring the British people. Churchill. 4: John, Paul, George and Ringo arrived in the U.S., bringing this 11-letter contagion. Beatlemania. 5: In 1949 mainland China became a Communist state with this man as its leader. Mao Zedong. Round 2. Category: He'S The Coach 1: UCLA Men's Basketball, 1949-1975. John Wooden. 2: Indiana Pacers, 1997-2000. Larry Bird. 3: Green Bay Packers, 1959-1967. Vince Lombardi. 4: University of Nebraska Football, 1973-1997. Tom Osborne. 5: Chicago Bears, 1920-1967 (with a few breaks). George Halas. Round 3. Category: Playing Card Rhyme Time 1: A cruel royal female. Mean queen. 2: A fire iron used to prod a jester. Joker poker. 3: Building extension for a monarch. King wing. 4: Tautless knave. Slack jack. 5: Dental appliances for a pair of bullets. Aces' braces. Round 4. Category: The Harvard Lampoon 1: Now a fixture as a late-night TV talk show host, in the 1980s, this very tall redhead was a two-year president of the "Harvard Lampoon". Conan O'Brien. 2: The style and irreverence of "Harvard Lampoon" had a huge impact in the '70s when alums Doug Kenney and Henry Beard found "National Lampoon" and Doug co-wrote this very popular college comedy film. Animal House. 3: Lisa Henson was the "Lampoons's" first female president, and she helped her dad Jim write the speech that was given by this Muppet during the Harvard commencement season in 1982. Kermit. 4: Ex-Lampooner Jim Downey not only wrote for "Saturday Night Live" longer than anybody else, he also created this perennial list read by David Letterman. the Top 10 List. 5: Writers and performers who've gone from the "Lampoon" to "Saturday Night Live" include this young fellow who co-hosts "Weekend Update" with Michael Che. Colin Jost. Round 5. Category: The Deans List 1: Dean Moriarty is a memorable character in this Beat Generation novel. On the Road. 2: Much of this Rat Pack crooner's hard-drinking persona may have been just for the cameras. Dean Martin. 3: 1955's "East of Eden" launched the iconic status of this actor. James Dean. 4: Your parents might know Dean Cain as Superman, but you probably know him as Jeremiah Danvers, father of this other DC hero. Supergirl. 5: In the 1930s this "lightheaded" pitcher led the National League in strikeouts 4 times. Dizzy Dean. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

In this special episode of WN MOVIE TALK PODCAST Trev had decided to kick off a journey of rediscovery of the comedy movies of the 80s, and as he was about to begin this journey the Universe threw a coincidence of massive magnitude into his path, namely the movie A Futile and Stupid Gesture (2018) through which Trev discovered the life and times of Doug Kenney, co-founder of the National Lampoon Magazine and creator of such groundbreaking movies such as Animal House and Caddyshack. With comedy performers and collaborators in tow such as Harold Ramis, Bill Murray, John Belushi and Chevy Chase, Kenney and the National Lampoon set the stage for the comedy revolution that would shape the coming decade of cinema.If that wasn't enough of a coincidence, Trev also stumbled across the following books too, Wild and Crazy Guys – How the Comedy Mavericks of the 80s Changed Hollywood Forever and Caddyshack – The Making of A Hollywood Cinderella Story, again completely by chance, and which helped him to fill in the gaps, and so he thought that he would share what he had learnt about the origins of this era in cinema history.Read or Listen to the following books / audio books for a deeper dive into the 80's movies - Wild and Crazy Guys – How the Comedy Mavericks of the 80s Changed Hollywood Forever- https://amzn.to/3UPE63NCaddyshack – The Making of A Hollywood Cinderella Story - https://amzn.to/4bowPPKA Futile and Stupid Gesture - https://amzn.to/3UFl4xa Hosted on Acast. See acast.com/privacy for more information.

For parents of children with autism, the daily routine can often feel like a complex puzzle. From managing schedules to creating supportive environments, the need for effective organizational skills is paramount. In this episode, Naeemah chats with Amelia Dorsey-Crawford, author, educator, and mom of an autistic child. She talks about how she and her husband are able to manage their household and busy schedules. Amelia Dorsey-Crawford was born in Omaha, NE. She attended the University of Nebraska at Omaha where she majored in Journalism. During her undergraduate studies, she was initiated into the Gamma Xi Chapter of Delta Sigma Theta Sorority, Inc. in the spring of 2003. Due to her desire to serve, she decided to switch careers and became involved in social services specifically serving those with disabilities. Crawford went on to receive her Master's in Special Education at Grand Canyon University in Phoenix, AZ, and teaches children with disabilities. Amelia is the author of Awesome Spectacular Daughter - That's Me. It is a children's book about a young girl diagnosed with Autism who faces many challenges throughout her day, but she gets through it all with encouragement and words of affirmation from her therapists, teachers, and most importantly- family! Amelia currently resides in Gilbert, AZ with her husband and her own Awesome Spectacular Daughter, who inspired her book. Crawford has won awards with her daughter's PTA, and has been invited on book tours and podcasts, such as Relentless and Unstoppable with Autistic Social Media Influencer and advocate Doug Kenney. She hopes to continue to write in the future. Her next book will be about movement and body positivity. You can learn more information about Amelia at meawrites4u.com/ You can purchase her book on Amazon Follow us on Social Media! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.instagram.com/organizemeradio⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.facebook.com/OrganizeMeRadio⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ For more information about Naeemah, visit her ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠naeemahfordgoldson.com⁠⁠⁠⁠⁠⁠⁠⁠⁠ --- Send in a voice message: https://podcasters.spotify.com/pod/show/naeemah-ford-goldson/message

Happy New Year! In today's episode, we will rewind the story of Doug Kenney, the screenwriter and co-founder of National Lampoon, who was behind popular movies like Animal House and Caddyshack. Despite being remembered as a 'genius' by his friends and colleagues, Kenney tragically passed away at the age of 33 after falling off a cliff in Hawaii.If you enjoyed the show, please leave us a review.  

Peter Ivers, the murder of Peter Ivers, New Wave Theatre, David McGowan, Laurel Canyon, Harvard, Signet Society, Douglas Kenney, Lucy Fisher, Tim Hunter, David Lynch, Eraserhead, American Film Institute, National Lampoon's, Caddyshack, Animal House, Terminal Love, Francis Ford Coppola, Zoetrope, Cotton Club murders, Stanley Kubrick, Wonderland gang, Ron Launius, David Lind, Manson family, Aryan Brotherhood, Wonderland murders, John Holmes, Eddie Nash, Ivers' possible involvement in drug trafficking, Peter Rafelson, Bob Rafelson, Bert Schneider, Esalen, Yippies, John Belushi, John Belushi's overdose, Doug Kenney's suicide, Harold Ramis, David Jove, occult, Scientology, Aleister Crowley, Process Church, Ufology, William Milton Cooper, Rolling Stones, Redlands drug bust, Jove as the Acid King, Jove as spy/police informant, Lotus Weinstock, Paul Krassner, "The Cave," MTV, MTV as derivative/watered down version of New Wave Theatre, "The Top," Michael Dare, Ivers/Jove/New Wave Theatre as influence on Ghostbusters/Repo Man, LA punk scene as opMusic by: Keith Allen Dennishttps://keithallendennis.bandcamp.com/ Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

This week we are joined by our special guest Chris Sorrentino to discuss the Netflix film about the National Lampoon franchise, the life of its key founder Doug Kenney, and all the history that goes along with it! Sign up for @Riversidefm : www.riverside.fm/?via=reviewinghistory Sign up for @BetterHelp : betterhelp.com/reviewinghistory Please give us a rating and a review on ApplePodcasts. It helps potential sponsors find the show! You can also watch the show on Youtube: www.youtube.com/@reviewinghistory6455 Buy Some Merch: www.reviewinghistorypod.com/merch Email Us: Reviewinghistorypod@gmail.com Follow Us: www.facebook.com/reviewinghistory twitter.com/rviewhistorypod letterboxd.com/antg4836/ letterboxd.com/spfats/ letterboxd.com/BrianRuppert/ letterboxd.com/brianruppert/list…eviewing-history/ twitter.com/Brianruppert

Comedy writer and humorist Doug Kenney completely changed the American comedic landscape.  After co-founding Harvard and National Lampoon-- he brought a specific dark and twisted satire that gave comedy, and brought himself to,  a dangerous edge. Today on Death in Entertainment.Support the showDeath in Entertainment is hosted by Kyle Ploof, Mark Mulkerron and Alejandro DowlingNew episodes every Wednesday!https://linktr.ee/deathinentertainment

Obscene Plate, Sour Candy, Doing Motorcycles, Dog Adoption, Dr Rug, Bathroom Cleaners, Extension Cord, Poppin Fuses, Bring my WiFi, Sleep Watcher, Saying the B Word, Car Auditor, Cheddar Cats, Arbys Lettuce, Bring my WiFi II, Cronkleberries holy shit I mostly automated this description. this is going to save me dozens of minutes. dozens.

This week on Bottom of the Stream, things take a comedic turn as we are focusing on 2018 Netflix original movie, A Futile and Stupid Gesture. Directed by David Wain; starring Will Forte; Domnhall Gleason and Martin Mull, this is a biopic of Doug Kenney, the man behind National Lampoon, Animal House and Caddyshack. Listen on to hear what we made of this one, was it a laugh riot or did it die on stage?!   Bottom of the stream is a weekly podcast, hosted by film lovers Adam and Nick, exploring the parts of Netflix that most people don't go to in a bid to find out what hidden gems are lurking down there Every week we rank the films we watch against each other and place them in what we like to call THE STREAM TABLE which can be found on our website  www.bottomofthestream.com Follow us on Twitter, instagram and letterboxed at @bots_podcast  Please consider supporting the show on Patreon, If you do we will give you lots of bonus content including early access to the episodes. Check it out over at www.patreon.com/bottomofthestream   We also now have a discord so join us to hang out https://discord.gg/wJ3Bfqt

On this episode, we talk about the great American filmmaker Robert Altman, and what is arguably the worst movie of his six decade, thirty-five film career: his 1987 atrocity O.C. and Stiggs. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we're going to talk about one of the strangest movies to come out of the decade, not only for its material, but for who directed it.   Robert Altman's O.C. and Stiggs.   As always, before we get to the O.C. and Stiggs, we will be going a little further back in time.   Although he is not every cineaste's cup of tea, it is generally acknowledged that Robert Altman was one of the best filmmakers to ever work in cinema. But he wasn't an immediate success when he broke into the industry.   Born in Kansas City in February 1925, Robert Altman would join the US Army Air Force after graduating high school, as many a young man would do in the days of World War II. He would train to be a pilot, and he would fly more than 50 missions during the war as part of the 307th Bomb Group, operating in the Pacific Theatre. They would help liberate prisoners of war held in Japanese POW Camps from Okinawa to Manila after the victory over Japan lead to the end of World War II in that part of the world.   After the war, Altman would move to Los Angeles to break into the movies, and he would even succeed in selling a screenplay to RKO Pictures called Bodyguard, a film noir story shot in 1948 starring Lawrence Tierney and Priscilla Lane, but on the final film, he would only share a “Story by” credit with his then-writing partner, George W. George. But by 1950, he'd be back in Kansas City, where he would direct more than 65 industrial films over the course of three years, before heading back to Los Angeles with the experience he would need to take another shot.   Altman would spend a few years directing episodes of a drama series called Pulse of the City on the DuMont television network and a syndicated police drama called The Sheriff of Cochise, but he wouldn't get his first feature directing gig until 1957, when a businessman in Kansas City would hire the thirty-two year old to write and direct a movie locally. That film, The Delinquents, cost only $60k to make, and would be purchased for release by United Artists for $150k. The first film to star future Billy Jack writer/director/star Tom Laughlin, The Delinquents would gross more than a million dollars in theatres, a very good sum back in those days, but despite the success of the film, the only work Altman could get outside of television was co-directing The James Dean Story, a documentary set up at Warner Brothers to capitalize on the interest in the actor after dying in a car accident two years earlier.   Throughout the 1960s, Altman would continue to work in television, until he was finally given another chance to direct a feature film. 1967's Countdown was a lower budgeted feature at Warner Brothers featuring James Caan in an early leading role, about the space race between the Americans and Soviets, a good two years before Neil Armstrong and Buzz Aldrin landed on the moon. The shoot itself was easy, but Altman would be fired from the film shortly after filming was completed, as Jack Warner, the 75 year old head of the studio, was not very happy about the overlapping dialogue, a motif that would become a part of Altman's way of making movies. Although his name appears in the credits as the director of the film, he had no input in its assembly. His ambiguous ending was changed, and the film would be edited to be more family friendly than the director intended.   Altman would follow Countdown with 1969's That Cold Day in the Park, a psychological drama that would be both a critical and financial disappointment.   But his next film would change everything.   Before Altman was hired by Twentieth-Century Fox to direct MASH, more than a dozen major filmmakers would pass on the project. An adaptation of a little known novel by a Korean War veteran who worked as a surgeon at one of the Mobile Auxiliary Surgical Hospitals that give the story its acronymic title, MASH would literally fly under the radar from the executives at the studio, as most of the $3m film would be shot at the studio's ranch lot in Malibu, while the executives were more concerned about their bigger movies of the year in production, like their $12.5m biographical film on World War II general George S. Patton and their $25m World War II drama Tora! Tora! Tora!, one of the first movies to be a Japanese and American co-production since the end of the war.    Altman was going to make MASH his way, no matter what. When the studio refused to allow him to hire a fair amount of extras to populate the MASH camp, Altman would steal individual lines from other characters to give to background actors, in order to get the bustling atmosphere he wanted. In order to give the camp a properly dirty look, he would shoot most of the outdoor scenes with a zoom lens and a fog filter with the camera a reasonably far distance from the actors, so they could act to one another instead of the camera, giving the film a sort of documentary feel. And he would find flexibility when the moment called for it. Sally Kellerman, who was hired to play Margaret “Hot Lips” Houlihan, would work with Altman to expand and improve her character to be more than just eye candy, in large part because Altman liked what she was doing in her scenes.   This kind of flexibility infuriated the two major stars of the film, Elliott Gould and Donald Sutherland, who at one point during the shoot tried to get Altman fired for treating everyone in the cast and crew with the same level of respect and decorum regardless of their position. But unlike at Warners a couple years earlier, the success of movies like Bonnie and Clyde and Easy Rider bamboozled Hollywood studio executives, who did not understand exactly what the new generation of filmgoers wanted, and would often give filmmakers more leeway than before, in the hopes that lightning could be captured once again.   And Altman would give them exactly that.   MASH, which would also be the first major studio film to be released with The F Word spoken on screen, would not only become a critical hit, but become the third highest grossing movie released in 1970, grossing more than $80m. The movie would win the Palme D'Or at that year's Cannes Film Festival, and it would be nominated for five Academy Awards, including Best Picture, Best Director and Best Supporting Actress for Ms. Kellerman, winning only for Best Adapted Screenplay. An ironic win, since most of the dialogue was improvised on set, but the victory for screenwriter Ring Lardner Jr. would effectively destroy the once powerful Hollywood Blacklist that had been in place since the Red Scare of the 1950s.   After MASH, Altman went on one of the greatest runs any filmmaker would ever enjoy.   MASH would be released in January 1970, and Altman's follow up, Brewster McCloud, would be released in December 1970. Bud Cort, the future star of Harold and Maude, plays a recluse who lives in the fallout shelter of the Houston Astrodome, who is building a pair of wings in order to achieve his dream of flying. The film would feature a number of actors who already were featured in MASH and would continue to be featured in a number of future Altman movies, including Sally Kellerman, Michael Murphy, John Schuck and Bert Remson, but another reason to watch Brewster McCloud if you've never seen it is because it is the film debut of Shelley Duvall, one of our greatest and least appreciated actresses, who would go on to appear in six other Altman movies over the ensuing decade.   1971's McCabe and Mrs. Miller, for me, is his second best film. A Western starring Warren Beatty and Julie Christie, was a minor hit when it was first released but has seen a reevaluation over the years that found it to be named the 8th Best Western of all time by the American Film Institute, which frankly is too low for me. The film would also bring a little-known Canadian poet and musician to the world, Leonard Cohen, who wrote and performed three songs for the soundtrack. Yeah, you have Robert Altman to thank for Leonard Cohen.   1972's Images was another psychological horror film, this time co-written with English actress Susannah York, who also stars in the film as an author of children's books who starts to have wild hallucinations at her remote vacation home, after learning her husband might be cheating on her. The $800k film was one of the first to be produced by Hemdale Films, a British production company co-founded by Blow Up actor David Hemmings, but the film would be a critical and financial disappointment when it was released Christmas week. But it would get nominated for an Academy Award for Best Original Dramatic Score. It would be one of two nominations in the category for John Williams, the other being The Poseidon Adventure.   Whatever resentment Elliott Gould may have had with Altman during the shooting of MASH was gone by late 1972, when the actor agreed to star in the director's new movie, a modern adaptation of Raymond Chandler's 1953 novel The Long Goodbye. Gould would be the eighth actor to play the lead character, Phillip Marlowe, in a movie. The screenplay would be written by Leigh Brackett, who Star Wars nerds know as the first writer on The Empire Strikes Back but had also adapted Chandler's novel The Big Sleep, another Phillip Marlowe story, to the big screen back in 1946.   Howard Hawks and Peter Bogdanovich had both been approached to make the film, and it would be Bogdanovich who would recommend Altman to the President of United Artists. The final film would anger Chandler fans, who did not like Altman's approach to the material, and the $1.7m film would gross less than $1m when it was released in March 1973. But like many of Altman's movies, it was a big hit with critics, and would find favor with film fans in the years to come.   1974 would be another year where Altman would make and release two movies in the same calendar year. The first, Thieves Like Us, was a crime drama most noted as one of the few movies to not have any kind of traditional musical score. What music there is in the film is usually heard off radios seen in individual scenes. Once again, we have a number of Altman regulars in the film, including Shelley Duvall, Bert Remsen, John Schuck and Tom Skerritt, and would feature Keith Carradine, who had a small co-starring role in McCabe and Mrs. Miller, in his first major leading role. And, once again, the film would be a hit with critics but a dud with audiences. Unlike most of Altman's movies of the 1970s, Thieves Like Us has not enjoyed the same kind of reappraisal.   The second film, California Split, was released in August, just six months after Thieves Like Us. Elliott Gould once again stars in a Robert Altman movie, this time alongside George Segal. They play a pair of gamblers who ride what they think is a lucky streak from Los Angeles to Reno, Nevada, would be the only time Gould and Segal would work closely together in a movie, and watching California Split, one wishes there could have been more. The movie would be an innovator seemingly purpose-build for a Robert Altman movie, for it would be the first non-Cinerama movie to be recorded using an eight track stereo sound system. More than any movie before, Altman could control how his overlapping dialogue was placed in a theatre. But while most theatres that played the movie would only play it in mono sound, the film would still be a minor success, bringing in more than $5m in ticket sales.   1975 would bring what many consider to be the quintessential Robert Altman movie to screens.   The two hour and forty minute Nashville would feature no less than 24 different major characters, as a group of people come to Music City to be involved in a gala concert for a political outsider who is running for President on the Replacement Party ticket. The cast is one of the best ever assembled for a movie ever, including Ned Beatty, Karen Black, Ronee Blakely, Keith Carradine, Geraldine Chaplin, Robert DoQui, Shelley Duvall, Allen Garfield, Henry Gibson, Scott Glenn, Jeff Goldblum, Barbara Harris, Cristina Raines, Lily Tomlin and Keenan Wynn.   Altman would be nominated for two Academy Awards for the film, Best Picture, as its producer, and Best Director, while both Ronee Blakely and Lily Tomlin would be nominated for Best Supporting Actress. Keith Carradine would also be nominated for an Oscar, but not as an actor. He would, at the urging of Altman during the production of the film, write and perform a song called I'm Easy, which would win for Best Original Song. The $2.2m film would earn $10m in ticket sales, and would eventually become part of the fourth class of movies to be selected for preservation by the National Film Registry in 1991, the first of four Robert Altman films to be given that honor. MASH, McCabe and Mrs. Miller, and The Long Goodbye would also be selected for preservation over the years.   And we're going to stop here for a second and take a look at that list of films again.   MASH Brewster McCloud McCabe and Mrs. Miller Images The Long Goodbye Thieves Like Us California Split Nashville   Eight movies, made over a five year period, that between them earned twelve Academy Award nominations, four of which would be deemed so culturally important that they should be preserved for future generations.   And we're still only in the middle of the 1970s.   But the problem with a director like Robert Altman, like many of our greatest directors, their next film after one of their greatest successes feels like a major disappointment. And his 1976 film Buffalo Bill and the Indians, or Sitting Bull's History Lesson, and that is the complete title of the film by the way, did not meet the lofty expectations of film fans not only its director, but of its main stars. Altman would cast two legendary actors he had not yet worked with, Paul Newman and Burt Lancaster, and the combination of those two actors with this director should have been fantastic, but the results were merely okay. In fact,  Altman would, for the first time in his career, re-edit a film after its theatrical release, removing some of the Wild West show acts that he felt were maybe redundant.   His 1977 film 3 Women would bring Altman back to the limelight. The film was based on a dream he had one night while his wife was in the hospital. In the dream, he was directing his regular co-star Shelley Duvall alongside Sissy Spacek, who he had never worked with before, in a story about identity theft that took place in the deserts outside Los Angeles. He woke up in the middle of the dream, jotted down what he could remember, and went back to sleep. In the morning, he didn't have a full movie planned out, but enough of one to get Alan Ladd, Jr., the President of Twentieth-Century Fox, to put up $1.7m for a not fully formed idea. That's how much Robert Altman was trusted at the time. That, and Altman was known for never going over budget. As long as he stayed within his budget, Ladd would let Altman make whatever movie he wanted to make. That, plus Ladd was more concerned about a $10m movie he approved that was going over budget over in England, a science fiction movie directed by the guy who did American Graffiti that had no stars outside of Sir Alec Guinness.   That movie, of course, was Star Wars, which would be released four weeks after 3 Women had its premiere in New York City. While the film didn't make 1/100th the money Star Wars made, it was one of the best reviewed movies of the year. But, strangely, the film would not be seen again outside of sporadic screenings on cable until it was released on DVD by the Criterion Collection 27 years later.   I'm not going to try and explain the movie to you. Just trust me that 3 Women is from a master craftsman at the top of his game.   While on the press tour to publicize 3 Women, a reporter asked Altman what was going to be next for him. He jokingly said he was going to shoot a wedding. But then he went home, thought about it some more, and in a few weeks, had a basic idea sketched out for a movie titled A Wedding that would take place over the course of one day, as the daughter of a Southern nouveau riche family marries the son of a wealthy Chicago businessman who may or may not a major figure in The Outfit.   And while the film is quite entertaining, what's most interesting about watching this 1978 movie in 2023 is not only how many great established actors Altman got for the film, including Carol Burnett, Paul Dooley, Howard Duff, Mia Farrow, Vittorio Gassman, Lauren Hutton, and, in her 100th movie, Lillian Gish, but the number of notable actors he was able to get because he shot the film just outside Chicago. Not only will you see Dennis Christopher just before his breakthrough in Breaking Away, and not only will you see Pam Dawber just before she was cast alongside Robin Williams in Mark and Mindy, but you'll also see Dennis Franz, Laurie Metcalfe, Gary Sinese, Tim Thomerson, and George Wendt.   And because Altman was able to keep the budget at a reasonable level, less than $1.75m, the film would be slightly profitable for Twentieth Century-Fox after grossing $3.6m at the box office.   Altman's next film for Fox, 1979's Quintet, would not be as fortunate.   Altman had come up with the story for this post-apocalyptic drama as a vehicle for Walter Hill to write and direct. But Hill would instead make The Warriors, and Altman decided to make the film himself. While developing the screenplay with his co-writers Frank Barhydt and Patricia Resnick, Altman would create a board game, complete with token pieces and a full set of rules, to flesh out the storyline.   Altman would once again work with Paul Newman, who stars as a seal hunter in the early days of a new ice age who finds himself in elaborate game with a group of gamblers where losing in the game means losing your life in the process. Altman would deliberately hire an international cast to star alongside Newman, not only to help improve the film's ability to do well in foreign territories but to not have the storyline tied to any specific country. So we would have Italian actor Vittorio Gassman, Spaniard Fernando Rey, Swedish actress Bibi Andersson, French actress Brigitte Fossey, and Danish actress Nina van Pallandt.    In order to maintain the mystery of the movie, Altman would ask Fox to withhold all pre-release publicity for the film, in order to avoid any conditioning of the audience. Imagine trying to put together a compelling trailer for a movie featuring one of the most beloved actors of all time, but you're not allowed to show potential audiences what they're getting themselves into? Altman would let the studio use five shots from the film, totaling about seven seconds, for the trailer, which mostly comprised of slo-mo shots of a pair of dice bouncing around, while the names of the stars pop up from moment to moment and a narrator tries to create some sense of mystery on the soundtrack.   But audiences would not be intrigued by the mystery, and critics would tear the $6.4m budget film apart. To be fair, the shoot for the film, in the winter of 1977 outside Montreal was a tough time for all, and Altman would lose final cut on the film for going severely over-budget during production, although there seems to be very little documentation about how much the final film might have differed from what Altman would have been working on had he been able to complete the film his way.   But despite all the problems with Quintet, Fox would still back Altman's next movie, A Perfect Couple, which would be shot after Fox pulled Altman off Quintet. Can you imagine that happening today? A director working with the studio that just pulled them off their project. But that's how little ego Altman had. He just wanted to make movies. Tell stories. This simple romantic comedy starred his regular collaborator Paul Dooley as  Alex, a man who follows a band of traveling bohemian musicians because he's falling for one of the singers in the band.   Altman kept the film on its $1.9m budget, but the response from critics was mostly concern that Altman had lost his touch. Maybe it was because this was his 13th film of the decade, but there was a serious concern about the director's ability to tell a story had evaporated.   That worry would continue with his next film, Health.   A satire of the political scene in the United States at the end of the 1970s, Health would follow a health food organization holding a convention at a luxury hotel in St. Petersburg FL. As one would expect from a Robert Altman movie, there's one hell of a cast. Along with Henry Gibson, and Paul Dooley, who co-write the script with Altman and Frank Barhydt, the cast would include Lauren Bacall, Carol Burnett, James Garner and, in one of her earliest screen appearances, Alfre Woodard, as well as Dick Cavett and Dinah Shore as themselves.   But between the shooting of the film in the late winter and early spring of 1979 and the planned Christmas 1979 release, there was a change of management at Fox. Alan Ladd Jr. was out, and after Altman turned in his final cut, new studio head Norman Levy decided to pull the film off the 1979 release calendar. Altman fought to get the film released sometime during the 1980 Presidential Campaign, and was able to get Levy to give the film a platform release starting in Los Angeles and New York City in March 1980, but that date would get cancelled as well. Levy then suggested an April 1980 test run in St. Louis, which Altman was not happy with. Altman countered with test runs in Boston, Houston, Sacramento and San Francisco. The best Altman, who was in Malta shooting his next movie, could get were sneak previews of the film in those four markets, and the response cards from the audience were so bad, the studio decided to effectively put the film on the proverbial shelf.   Back from the Mediterranean Sea, Altman would get permission to take the film to the Montreal World Film Festival in August, and the Telluride and Venice Film Festivals in September. After good responses from film goers at those festivals, Fox would relent, and give the film a “preview” screening at the United Artists Theatre in Westwood, starting on September 12th, 1980. But the studio would give the film the most boring ad campaign possible, a very crude line drawing of an older woman's pearl bracelet-covered arm thrusted upward while holding a carrot. With no trailers in circulation at any theatre, and no television commercials on air, it would be little surprise the film didn't do a whole lot of business. You really had to know the film had been released. But its $14k opening weekend gross wasn't really all that bad. And it's second week gross of $10,500 with even less ad support was decent if unspectacular. But it would be good enough to get the film a four week playdate at the UA Westwood.   And then, nothing, until early March 1981, when a film society at Northwestern University in Evanston IL was able to screen a 16mm print for one show, while a theatre in Baltimore was able to show the film one time at the end of March. But then, nothing again for more than another year, when the film would finally get a belated official release at the Film Forum in New York City on April 7th, 1982. It would only play for a week, and as a non-profit, the Film Forum does not report film grosses, so we have no idea how well the film actually did. Since then, the movie showed once on CBS in August 1983, and has occasionally played on the Fox Movie Channel, but has never been released on VHS or DVD or Blu-Ray.   I mentioned a few moments ago that while he was dealing with all this drama concerning Health, Altman was in the Mediterranean filming a movie. I'm not going to go too much into that movie here, since I already have an episode for the future planned for it, suffice to say that a Robert Altman-directed live-action musical version of the Popeye the Sailor Man cartoon featuring songs by the incomparable Harry Nilsson should have been a smash hit, but it wasn't. It was profitable, to be certain, but not the hit everyone was expecting. We'll talk about the film in much more detail soon.   After the disappointing results for Popeye, Altman decided to stop working in Hollywood for a while and hit the Broadway stages, to direct a show called Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. While the show's run was not very long and the reviews not very good, Altman would fund a movie version himself, thanks in part to the sale of his production company, Lion's Gate, not to be confused with the current studio called Lionsgate, and would cast Karen Black, Cher and Sandy Dennis alongside newcomers Sudie Bond and Kathy Bates, as five female members of The Disciples of James Dean come together on the 20th anniversary of the actor's death to honor his life and times. As the first film released by a new independent distributor called Cinecom, I'll spend more time talking about this movie on our show about that distributor, also coming soon, suffice it to say that Altman was back. Critics were behind the film, and arthouse audiences loved it. This would be the first time Altman adapted a stage play to the screen, and it would set the tone for a number of his works throughout the rest of the decade.   Streamers was Altman's 17th film in thirteen years, and another adaptation of a stage play. One of several works by noted Broadway playwright David Rabe's time in the Army during the Vietnam War, the film followed four young soldiers waiting to be shipped to Vietnam who deal with racial tensions and their own intolerances when one soldier reveals he is gay. The film featured Matthew Modine as the Rabe stand-in, and features a rare dramatic role for comedy legend David Alan Grier. Many critics would note how much more intense the film version was compared to the stage version, as Altman's camera was able to effortlessly breeze around the set, and get up close and personal with the performers in ways that simply cannot happen on the stage. But in 1983, audiences were still not quite ready to deal with the trauma of Vietnam on film, and the film would be fairly ignored by audiences, grossing just $378k.   Which, finally, after half an hour, brings us to our featured movie.   O.C. and Stiggs.   Now, you might be asking yourself why I went into such detail about Robert Altman's career, most of it during the 1970s. Well, I wanted to establish what types of material Altman would chose for his projects, and just how different O.C. and Stiggs  was from any other project he had made to date.   O.C. and Stiggs began their lives in the July 1981 issue of National Lampoon, as written by two of the editors of the magazine, Ted Mann and Tod Carroll. The characters were fun-loving and occasionally destructive teenage pranksters, and their first appearance in the magazine would prove to be so popular with readers, the pair would appear a few more times until Matty Simmons, the publisher and owner of National Lampoon, gave over the entire October 1982 issue to Mann and Carroll for a story called “The Utterly Monstrous Mind-Roasting Summer of O.C. and Stiggs.” It's easy to find PDFs of the issues online if you look for it.   So the issue becomes one of the biggest selling issues in the history of National Lampoon, and Matty Simmons has been building the National Lampoon brand name by sponsoring a series of movies, including Animal House, co-written by Lampoon writers Doug Kenney and Chris Miller, and the soon to be released movies Class Reunion, written by Lampoon writer John Hughes… yes, that John Hughes… and Movie Madness, written by five Lampoon writers including Tod Carroll. But for some reason, Simmons was not behind the idea of turning the utterly monstrous mind-roasting adventures of O.C. and Stiggs into a movie. He would, however, allow Mann and Carroll to shop the idea around Hollywood, and wished them the best of luck.   As luck would have it, Mann and Carroll would meet Peter Newman, who had worked as Altman's production executive on Jimmy Dean, and was looking to set up his first film as a producer. And while Newman might not have had the credits, he had the connections. The first person he would take the script to his Oscar-winning director Mike Nichols, whose credits by this time included Who's Afraid of Virginia Wolff?, The Graduate, Catch-22, and Carnal Knowledge. Surprisingly, Nichols was not just interested in making the movie, but really wanted to have Eddie Murphy, who was a breakout star on Saturday Night Live but was still a month away from becoming a movie star when 48 Hours was released, play one of the leading characters. But Murphy couldn't get out of his SNL commitments, and Nichols had too many other projects, both on Broadway and in movies, to be able to commit to the film.    A few weeks later, Newman and Altman both attended a party where they would catch up after several months. Newman started to tell Altman about this new project he was setting up, and to Newman's surprise, Altman, drawn to the characters' anti-establishment outlook, expressed interest in making it. And because Altman's name still commanded respect in Hollywood, several studios would start to show their interest in making the movie with them. MGM, who was enjoying a number of successes in 1982 thanks to movies like Shoot the Moon, Diner, Victor/Victoria, Rocky III, Poltergeist, Pink Floyd - The Wall, and My Favorite Year, made a preemptive bid on the film, hoping to beat Paramount Pictures to the deal. Unknown to Altman, what interested MGM was that Sylvester Stallone of all people went nuts for the script when he read it, and mentioned to his buddies at the studio that he might be interested in making it himself.   Despite hating studio executives for doing stuff like buying a script he's attached to  then kicking him off so some Italian Stallion not known for comedy could make it himself, Altman agree to make the movie with MGM once Stallone lost interest, as the studio promised there would be no further notes about the script, that Altman could have final cut on the film, that he could shoot the film in Phoenix without studio interference, and that he could have a budget of $7m.   Since this was a Robert Altman film, the cast would be big and eclectic, filled with a number of his regular cast members, known actors who he had never worked with before, and newcomers who would go on to have success a few years down the road. Because, seriously, outside of a Robert Altman movie, where are you going to find a cast that included Jon Cryer, Jane Curtin, Paul Dooley, Dennis Hopper, Tina Louise, Martin Mull, Cynthia Nixon, Bob Uecker, Melvin van Peebles, and King Sunny Adé and His African Beats? And then imagine that movie also featuring Matthew Broderick, Jim Carrey, Robert Downey, Jr. and Laura Dern?   The story for the film would both follow the stories that appeared in the pages of National Lampoon fairly closely while also making some major changes. In the film, Oliver Cromwell “O.C.” Oglivie and Mark Stiggs are two ne'er-do-well, middle-class Phoenix, Arizona high school students who are disgusted with what they see as an omnipresent culture of vulgar and vapid suburban consumerism. They spend their days slacking off and committing pranks or outright crimes against their sworn enemies, the Schwab family, especially family head Randall Schwab, a wealthy insurance salesman who was responsible for the involuntary commitment of O.C.'s grandfather into a group home. During the film, O.C. and Stiggs will ruin the wedding of Randall Schwab's daughter Lenore, raft their way down to a Mexican fiesta, ruin a horrible dinner theatre performance directed by their high school's drama teacher being attended by the Schwabs, and turn the Schwab mansion into a homeless shelter while the family is on vacation. The film ends with O.C. and Stiggs getting into a gun fight with Randall Schwab before being rescued by Dennis Hopper and a helicopter, before discovering one of their adventures that summer has made them very wealthy themselves.   The film would begin production in Phoenix on August 22nd, 1983, with two newcomers, Daniel H. Jenkins and Neill Barry, as the titular stars of the film. And almost immediately, Altman's chaotic ways of making a movie would become a problem. Altman would make sure the entire cast and crew were all staying at the same hotel in town, across the street from a greyhound racetrack, so Altman could take off to bet on a few of the races during production downtime, and made sure the bar at the hotel was an open bar for his team while they were shooting. When shooting was done every day, the director and his cast would head to a makeshift screening room at the hotel, where they'd watch the previous day's footage, a process called “dailies” in production parlance. On most films, dailies are only attended by the director and his immediate production crew, but in Phoenix, everyone was encouraged to attend. And according to producer Peter Newman and Dan Jenkins, everyone loved the footage, although both would note that it might have been a combination of the alcohol, the pot, the cocaine and the dehydration caused by shooting all day in the excessive Arizona heat during the middle of summer that helped people enjoy the footage.    But here's the funny thing about dailies.   Unless a film is being shot in sequence, you're only seeing small fragments of scenes, often the same actors doing the same things over and over again, before the camera switches places to catch reactions or have other characters continue the scene. Sometimes, they're long takes of scenes that might be interrupted by an actor flubbing a line or an unexpected camera jitter or some other interruption that requires a restart. But everyone seemed to be having fun, especially when dailies ended and Altman would show one of his other movies like MASH or The Long Goodbye or 3 Women.   After two months of shooting, the film would wrap production, and Altman would get to work on his edit of the film. He would have it done before the end of 1983, and he would turn it in to the studio. Shortly after the new year, there would be a private screening of the film in New York City at the offices of the talent agency William Morris, one of the larger private screening rooms in the city. Altman was there, the New York-based executives at MGM were there, Peter Newman was there, several of the actors were there. And within five minutes of the start of the film, Altman realized what he was watching was not his cut of the film. As he was about to lose his stuff and start yelling at the studio executives, the projector broke. The lights would go up, and Altman would dig into the the executives. “This is your effing cut of the film and not mine!” Altman stormed out of the screening and into the cold New York winter night.   A few weeks later, that same print from New York would be screened for the big executives at the MGM lot in Los Angeles. Newman was there, and, surprisingly, Altman was there too. The film would screen for the entire running length, and Altman would sit there, watching someone else's version of the footage he had shot, scenes put in different places than they were supposed to be, music cues not of his design or consent.   At the end of the screening, the room was silent. Not one person in the room had laughed once during the entire screening. Newman and Altman left after the screening, and hit one of Altman's favorite local watering holes. As they said their goodbyes the next morning, Altman apologized to Newman. “I hope I didn't eff up your movie.”   Maybe the movie wasn't completely effed up, but MGM certainly neither knew what to do with the film or how to sell it, so it would just sit there, just like Health a few years earlier, on that proverbial shelf.   More than a year later, in an issue of Spin Magazine, a review of the latest album by King Sunny Adé would mention the film he performed in, O.C. and Stiggs, would, quote unquote, “finally” be released into theatres later that year.   That didn't happen, in large part because after WarGames in the early summer of 1983, almost every MGM release had been  either an outright bomb or an unexpected financial disappointment. The cash flow problem was so bad that the studio effectively had to sell itself to Atlanta cable mogul Ted Turner in order to save itself. Turner didn't actually want all of MGM. He only wanted the valuable MGM film library, but the owner of MGM at the time was either going to sell it all or nothing at all.   Barely two months after Ted Turner bought MGM, he had sold the famed studio lot in Culver City to Lorimar, a television production company that was looking to become a producer and distributor of motion pictures, and sold rest of the company he never wanted in the first place to the guy he bought it all from, who had a kind of seller's remorse. But that repurchase would saddle the company with massive bills, and movies like O.C. and Stiggs would have to sit and collect dust while everything was sorted out.   How long would O.C. and Stiggs be left in a void?   It would be so long that Robert Altman would have time to make not one, not two, but three other movies that would all be released before O.C. and Stiggs ever saw the light of day.   The first, Secret Honor, released in 1984, featured the great Philip Baker Hall as former President Richard Nixon. It's probably Hall's single best work as an actor, and the film would be amongst the best reviewed films of Altman's career.   In 1985, Altman would film Fool For Love, an adaptation of a play by Sam Shepard. This would be the only time in Shepard's film career where he would star as one of the characters himself had written. The film would also prove once and for all that Kim Basinger was more than just a pretty face but a real actor.   And in February 1987, Altman's film version of Beyond Therapy, a play by absurdist playwright Christopher Durant, would open in theatres. The all-star cast would include Tom Conti, Jeff Goldblum, Christopher Guest, Julie Hagerty and Glenda Jackson.   On March 5th, 1987, an article in Daily Variety would note that the “long shelved” film would have a limited theatrical release in May, despite the fact that Frank Yablans, the vice chairman of MGM, being quoted in the article that the film was unreleasable. It would further be noted that despite the film being available to international distributors for three years, not one company was willing to acquire the film for any market. The plan was to release the movie for one or two weeks in three major US markets, depending on its popularity, and then decide a future course of action from there.   But May would come and go, without a hint of the film.   Finally, on Friday, July 10th, the film would open on 18 screens, but none in any major market like Chicago, Los Angeles or New York City. I can't find a single theatre the film played in that weekend, but that week's box office figures would show an abysmal $6,273 worth of tickets were sold during that first weekend.   There would not be a second weekend of reported grosses.   But to MGM's credit, they didn't totally give up on the film.   On Thursday, August 27th, O.C. and Stiggs would open in at least one theatre. And, lucky for me, that theatre happened to be the Nickelodeon Theatre in Santa Cruz. But despite the fact that the new Robert Altman was opening in town, I could not get a single friend to see it with me. So on a Tuesday night at 8:40pm, I was the only person in all of the region to watch what I would soon discover was the worst Robert Altman movie of all time. Now, I should note that even a bad Robert Altman movie is better than many filmmakers' best movies, but O.C. and Stiggs would have ignobility of feeling very much like a Robert Altman movie, with its wandering camera and overlapping dialogue that weaves in and out of conversations while in progress and not quite over yet, yet not feeling anything like a Robert Altman movie at the same time. It didn't have that magical whimsy-ness that was the hallmark of his movies. The satire didn't have its normal bite. It had a number of Altman's regular troop of actors, but in smaller roles than they'd usually occupy, and not giving the performances one would expect of them in an Altman movie.   I don't know how well the film did at the Nick, suffice it to say the film was gone after a week.   But to MGM's credit, they still didn't give up on the film.   On October 9th, the film would open at the AMC Century City 14, one of a handful of movies that would open the newest multiplex in Los Angeles.   MGM did not report grosses, and the film was gone from the new multiplex after a week.   But to MGM's credit, they still didn't give up on the film.   The studio would give the film one more chance, opening it at the Film Forum in New York City on March 18th, 1988.   MGM did not report grosses, and the film was gone after a week. But whether that was because MGM didn't support the film with any kind of newspaper advertising in the largest market in America, or because the movie had been released on home video back in November, remains to be seen.   O.C. and Stiggs would never become anything resembling a cult film. It's been released on DVD, and if one was programming a Robert Altman retrospect at a local arthouse movie theatre, one could actually book a 35mm print of the film from the repertory cinema company Park Circus.   But don't feel bad for Altman, as he would return to cinemas with a vengeance in the 1990s, first with the 1990 biographical drama Vincent and Theo, featuring Tim Roth as the tortured genius 19th century painter that would put the actor on the map for good. Then, in 1992, he became a sensation again with his Hollywood satire The Player, featuring Tim Robbins as a murderous studio executive trying to keep the police off his trail while he navigates the pitfalls of the industry. Altman would receive his first Oscar nomination for Best Director since 1975 with The Player, his third overall, a feat he would repeat the following year with Short Cuts, based on a series of short stories by Raymond Carver. In fact, Altman would be nominated for an Academy Award seven times during his career, five times as a director and twice as a producer, although he would never win a competitive Oscar.   In March 2006, while editing his 35th film, a screen adaptation of the then-popular NPR series A Prairie Home Companion, the Academy would bestow an Honorary Oscar upon Altman. During his acceptance speech, Altman would wonder if perhaps the Academy acted prematurely in honoring him in this fashion. He revealed he had received a heart transplant in the mid-1990s, and felt that, even though he had turned 81 the month before, he could continue for another forty years.   Robert Altman would pass away from leukemia on November 20th, 2006, only eight months after receiving the biggest prize of his career.   Robert Altman had a style so unique onto himself, there's an adjective that exists to describe it. Altmanesque. Displaying traits typical of a film made by Robert Altman, typically highly naturalistic, but with a stylized perspective and often a subversive twist.   He truly was a one of a kind filmmaker, and there will likely never be anyone like him, no matter how hard Paul Thomas Anderson tries.     Thank you for joining us. We'll talk again in two weeks, when Episode 106, Mad Magazine Presents Up the Academy, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.  

On this episode, we talk about the great American filmmaker Robert Altman, and what is arguably the worst movie of his six decade, thirty-five film career: his 1987 atrocity O.C. and Stiggs. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we're going to talk about one of the strangest movies to come out of the decade, not only for its material, but for who directed it.   Robert Altman's O.C. and Stiggs.   As always, before we get to the O.C. and Stiggs, we will be going a little further back in time.   Although he is not every cineaste's cup of tea, it is generally acknowledged that Robert Altman was one of the best filmmakers to ever work in cinema. But he wasn't an immediate success when he broke into the industry.   Born in Kansas City in February 1925, Robert Altman would join the US Army Air Force after graduating high school, as many a young man would do in the days of World War II. He would train to be a pilot, and he would fly more than 50 missions during the war as part of the 307th Bomb Group, operating in the Pacific Theatre. They would help liberate prisoners of war held in Japanese POW Camps from Okinawa to Manila after the victory over Japan lead to the end of World War II in that part of the world.   After the war, Altman would move to Los Angeles to break into the movies, and he would even succeed in selling a screenplay to RKO Pictures called Bodyguard, a film noir story shot in 1948 starring Lawrence Tierney and Priscilla Lane, but on the final film, he would only share a “Story by” credit with his then-writing partner, George W. George. But by 1950, he'd be back in Kansas City, where he would direct more than 65 industrial films over the course of three years, before heading back to Los Angeles with the experience he would need to take another shot.   Altman would spend a few years directing episodes of a drama series called Pulse of the City on the DuMont television network and a syndicated police drama called The Sheriff of Cochise, but he wouldn't get his first feature directing gig until 1957, when a businessman in Kansas City would hire the thirty-two year old to write and direct a movie locally. That film, The Delinquents, cost only $60k to make, and would be purchased for release by United Artists for $150k. The first film to star future Billy Jack writer/director/star Tom Laughlin, The Delinquents would gross more than a million dollars in theatres, a very good sum back in those days, but despite the success of the film, the only work Altman could get outside of television was co-directing The James Dean Story, a documentary set up at Warner Brothers to capitalize on the interest in the actor after dying in a car accident two years earlier.   Throughout the 1960s, Altman would continue to work in television, until he was finally given another chance to direct a feature film. 1967's Countdown was a lower budgeted feature at Warner Brothers featuring James Caan in an early leading role, about the space race between the Americans and Soviets, a good two years before Neil Armstrong and Buzz Aldrin landed on the moon. The shoot itself was easy, but Altman would be fired from the film shortly after filming was completed, as Jack Warner, the 75 year old head of the studio, was not very happy about the overlapping dialogue, a motif that would become a part of Altman's way of making movies. Although his name appears in the credits as the director of the film, he had no input in its assembly. His ambiguous ending was changed, and the film would be edited to be more family friendly than the director intended.   Altman would follow Countdown with 1969's That Cold Day in the Park, a psychological drama that would be both a critical and financial disappointment.   But his next film would change everything.   Before Altman was hired by Twentieth-Century Fox to direct MASH, more than a dozen major filmmakers would pass on the project. An adaptation of a little known novel by a Korean War veteran who worked as a surgeon at one of the Mobile Auxiliary Surgical Hospitals that give the story its acronymic title, MASH would literally fly under the radar from the executives at the studio, as most of the $3m film would be shot at the studio's ranch lot in Malibu, while the executives were more concerned about their bigger movies of the year in production, like their $12.5m biographical film on World War II general George S. Patton and their $25m World War II drama Tora! Tora! Tora!, one of the first movies to be a Japanese and American co-production since the end of the war.    Altman was going to make MASH his way, no matter what. When the studio refused to allow him to hire a fair amount of extras to populate the MASH camp, Altman would steal individual lines from other characters to give to background actors, in order to get the bustling atmosphere he wanted. In order to give the camp a properly dirty look, he would shoot most of the outdoor scenes with a zoom lens and a fog filter with the camera a reasonably far distance from the actors, so they could act to one another instead of the camera, giving the film a sort of documentary feel. And he would find flexibility when the moment called for it. Sally Kellerman, who was hired to play Margaret “Hot Lips” Houlihan, would work with Altman to expand and improve her character to be more than just eye candy, in large part because Altman liked what she was doing in her scenes.   This kind of flexibility infuriated the two major stars of the film, Elliott Gould and Donald Sutherland, who at one point during the shoot tried to get Altman fired for treating everyone in the cast and crew with the same level of respect and decorum regardless of their position. But unlike at Warners a couple years earlier, the success of movies like Bonnie and Clyde and Easy Rider bamboozled Hollywood studio executives, who did not understand exactly what the new generation of filmgoers wanted, and would often give filmmakers more leeway than before, in the hopes that lightning could be captured once again.   And Altman would give them exactly that.   MASH, which would also be the first major studio film to be released with The F Word spoken on screen, would not only become a critical hit, but become the third highest grossing movie released in 1970, grossing more than $80m. The movie would win the Palme D'Or at that year's Cannes Film Festival, and it would be nominated for five Academy Awards, including Best Picture, Best Director and Best Supporting Actress for Ms. Kellerman, winning only for Best Adapted Screenplay. An ironic win, since most of the dialogue was improvised on set, but the victory for screenwriter Ring Lardner Jr. would effectively destroy the once powerful Hollywood Blacklist that had been in place since the Red Scare of the 1950s.   After MASH, Altman went on one of the greatest runs any filmmaker would ever enjoy.   MASH would be released in January 1970, and Altman's follow up, Brewster McCloud, would be released in December 1970. Bud Cort, the future star of Harold and Maude, plays a recluse who lives in the fallout shelter of the Houston Astrodome, who is building a pair of wings in order to achieve his dream of flying. The film would feature a number of actors who already were featured in MASH and would continue to be featured in a number of future Altman movies, including Sally Kellerman, Michael Murphy, John Schuck and Bert Remson, but another reason to watch Brewster McCloud if you've never seen it is because it is the film debut of Shelley Duvall, one of our greatest and least appreciated actresses, who would go on to appear in six other Altman movies over the ensuing decade.   1971's McCabe and Mrs. Miller, for me, is his second best film. A Western starring Warren Beatty and Julie Christie, was a minor hit when it was first released but has seen a reevaluation over the years that found it to be named the 8th Best Western of all time by the American Film Institute, which frankly is too low for me. The film would also bring a little-known Canadian poet and musician to the world, Leonard Cohen, who wrote and performed three songs for the soundtrack. Yeah, you have Robert Altman to thank for Leonard Cohen.   1972's Images was another psychological horror film, this time co-written with English actress Susannah York, who also stars in the film as an author of children's books who starts to have wild hallucinations at her remote vacation home, after learning her husband might be cheating on her. The $800k film was one of the first to be produced by Hemdale Films, a British production company co-founded by Blow Up actor David Hemmings, but the film would be a critical and financial disappointment when it was released Christmas week. But it would get nominated for an Academy Award for Best Original Dramatic Score. It would be one of two nominations in the category for John Williams, the other being The Poseidon Adventure.   Whatever resentment Elliott Gould may have had with Altman during the shooting of MASH was gone by late 1972, when the actor agreed to star in the director's new movie, a modern adaptation of Raymond Chandler's 1953 novel The Long Goodbye. Gould would be the eighth actor to play the lead character, Phillip Marlowe, in a movie. The screenplay would be written by Leigh Brackett, who Star Wars nerds know as the first writer on The Empire Strikes Back but had also adapted Chandler's novel The Big Sleep, another Phillip Marlowe story, to the big screen back in 1946.   Howard Hawks and Peter Bogdanovich had both been approached to make the film, and it would be Bogdanovich who would recommend Altman to the President of United Artists. The final film would anger Chandler fans, who did not like Altman's approach to the material, and the $1.7m film would gross less than $1m when it was released in March 1973. But like many of Altman's movies, it was a big hit with critics, and would find favor with film fans in the years to come.   1974 would be another year where Altman would make and release two movies in the same calendar year. The first, Thieves Like Us, was a crime drama most noted as one of the few movies to not have any kind of traditional musical score. What music there is in the film is usually heard off radios seen in individual scenes. Once again, we have a number of Altman regulars in the film, including Shelley Duvall, Bert Remsen, John Schuck and Tom Skerritt, and would feature Keith Carradine, who had a small co-starring role in McCabe and Mrs. Miller, in his first major leading role. And, once again, the film would be a hit with critics but a dud with audiences. Unlike most of Altman's movies of the 1970s, Thieves Like Us has not enjoyed the same kind of reappraisal.   The second film, California Split, was released in August, just six months after Thieves Like Us. Elliott Gould once again stars in a Robert Altman movie, this time alongside George Segal. They play a pair of gamblers who ride what they think is a lucky streak from Los Angeles to Reno, Nevada, would be the only time Gould and Segal would work closely together in a movie, and watching California Split, one wishes there could have been more. The movie would be an innovator seemingly purpose-build for a Robert Altman movie, for it would be the first non-Cinerama movie to be recorded using an eight track stereo sound system. More than any movie before, Altman could control how his overlapping dialogue was placed in a theatre. But while most theatres that played the movie would only play it in mono sound, the film would still be a minor success, bringing in more than $5m in ticket sales.   1975 would bring what many consider to be the quintessential Robert Altman movie to screens.   The two hour and forty minute Nashville would feature no less than 24 different major characters, as a group of people come to Music City to be involved in a gala concert for a political outsider who is running for President on the Replacement Party ticket. The cast is one of the best ever assembled for a movie ever, including Ned Beatty, Karen Black, Ronee Blakely, Keith Carradine, Geraldine Chaplin, Robert DoQui, Shelley Duvall, Allen Garfield, Henry Gibson, Scott Glenn, Jeff Goldblum, Barbara Harris, Cristina Raines, Lily Tomlin and Keenan Wynn.   Altman would be nominated for two Academy Awards for the film, Best Picture, as its producer, and Best Director, while both Ronee Blakely and Lily Tomlin would be nominated for Best Supporting Actress. Keith Carradine would also be nominated for an Oscar, but not as an actor. He would, at the urging of Altman during the production of the film, write and perform a song called I'm Easy, which would win for Best Original Song. The $2.2m film would earn $10m in ticket sales, and would eventually become part of the fourth class of movies to be selected for preservation by the National Film Registry in 1991, the first of four Robert Altman films to be given that honor. MASH, McCabe and Mrs. Miller, and The Long Goodbye would also be selected for preservation over the years.   And we're going to stop here for a second and take a look at that list of films again.   MASH Brewster McCloud McCabe and Mrs. Miller Images The Long Goodbye Thieves Like Us California Split Nashville   Eight movies, made over a five year period, that between them earned twelve Academy Award nominations, four of which would be deemed so culturally important that they should be preserved for future generations.   And we're still only in the middle of the 1970s.   But the problem with a director like Robert Altman, like many of our greatest directors, their next film after one of their greatest successes feels like a major disappointment. And his 1976 film Buffalo Bill and the Indians, or Sitting Bull's History Lesson, and that is the complete title of the film by the way, did not meet the lofty expectations of film fans not only its director, but of its main stars. Altman would cast two legendary actors he had not yet worked with, Paul Newman and Burt Lancaster, and the combination of those two actors with this director should have been fantastic, but the results were merely okay. In fact,  Altman would, for the first time in his career, re-edit a film after its theatrical release, removing some of the Wild West show acts that he felt were maybe redundant.   His 1977 film 3 Women would bring Altman back to the limelight. The film was based on a dream he had one night while his wife was in the hospital. In the dream, he was directing his regular co-star Shelley Duvall alongside Sissy Spacek, who he had never worked with before, in a story about identity theft that took place in the deserts outside Los Angeles. He woke up in the middle of the dream, jotted down what he could remember, and went back to sleep. In the morning, he didn't have a full movie planned out, but enough of one to get Alan Ladd, Jr., the President of Twentieth-Century Fox, to put up $1.7m for a not fully formed idea. That's how much Robert Altman was trusted at the time. That, and Altman was known for never going over budget. As long as he stayed within his budget, Ladd would let Altman make whatever movie he wanted to make. That, plus Ladd was more concerned about a $10m movie he approved that was going over budget over in England, a science fiction movie directed by the guy who did American Graffiti that had no stars outside of Sir Alec Guinness.   That movie, of course, was Star Wars, which would be released four weeks after 3 Women had its premiere in New York City. While the film didn't make 1/100th the money Star Wars made, it was one of the best reviewed movies of the year. But, strangely, the film would not be seen again outside of sporadic screenings on cable until it was released on DVD by the Criterion Collection 27 years later.   I'm not going to try and explain the movie to you. Just trust me that 3 Women is from a master craftsman at the top of his game.   While on the press tour to publicize 3 Women, a reporter asked Altman what was going to be next for him. He jokingly said he was going to shoot a wedding. But then he went home, thought about it some more, and in a few weeks, had a basic idea sketched out for a movie titled A Wedding that would take place over the course of one day, as the daughter of a Southern nouveau riche family marries the son of a wealthy Chicago businessman who may or may not a major figure in The Outfit.   And while the film is quite entertaining, what's most interesting about watching this 1978 movie in 2023 is not only how many great established actors Altman got for the film, including Carol Burnett, Paul Dooley, Howard Duff, Mia Farrow, Vittorio Gassman, Lauren Hutton, and, in her 100th movie, Lillian Gish, but the number of notable actors he was able to get because he shot the film just outside Chicago. Not only will you see Dennis Christopher just before his breakthrough in Breaking Away, and not only will you see Pam Dawber just before she was cast alongside Robin Williams in Mark and Mindy, but you'll also see Dennis Franz, Laurie Metcalfe, Gary Sinese, Tim Thomerson, and George Wendt.   And because Altman was able to keep the budget at a reasonable level, less than $1.75m, the film would be slightly profitable for Twentieth Century-Fox after grossing $3.6m at the box office.   Altman's next film for Fox, 1979's Quintet, would not be as fortunate.   Altman had come up with the story for this post-apocalyptic drama as a vehicle for Walter Hill to write and direct. But Hill would instead make The Warriors, and Altman decided to make the film himself. While developing the screenplay with his co-writers Frank Barhydt and Patricia Resnick, Altman would create a board game, complete with token pieces and a full set of rules, to flesh out the storyline.   Altman would once again work with Paul Newman, who stars as a seal hunter in the early days of a new ice age who finds himself in elaborate game with a group of gamblers where losing in the game means losing your life in the process. Altman would deliberately hire an international cast to star alongside Newman, not only to help improve the film's ability to do well in foreign territories but to not have the storyline tied to any specific country. So we would have Italian actor Vittorio Gassman, Spaniard Fernando Rey, Swedish actress Bibi Andersson, French actress Brigitte Fossey, and Danish actress Nina van Pallandt.    In order to maintain the mystery of the movie, Altman would ask Fox to withhold all pre-release publicity for the film, in order to avoid any conditioning of the audience. Imagine trying to put together a compelling trailer for a movie featuring one of the most beloved actors of all time, but you're not allowed to show potential audiences what they're getting themselves into? Altman would let the studio use five shots from the film, totaling about seven seconds, for the trailer, which mostly comprised of slo-mo shots of a pair of dice bouncing around, while the names of the stars pop up from moment to moment and a narrator tries to create some sense of mystery on the soundtrack.   But audiences would not be intrigued by the mystery, and critics would tear the $6.4m budget film apart. To be fair, the shoot for the film, in the winter of 1977 outside Montreal was a tough time for all, and Altman would lose final cut on the film for going severely over-budget during production, although there seems to be very little documentation about how much the final film might have differed from what Altman would have been working on had he been able to complete the film his way.   But despite all the problems with Quintet, Fox would still back Altman's next movie, A Perfect Couple, which would be shot after Fox pulled Altman off Quintet. Can you imagine that happening today? A director working with the studio that just pulled them off their project. But that's how little ego Altman had. He just wanted to make movies. Tell stories. This simple romantic comedy starred his regular collaborator Paul Dooley as  Alex, a man who follows a band of traveling bohemian musicians because he's falling for one of the singers in the band.   Altman kept the film on its $1.9m budget, but the response from critics was mostly concern that Altman had lost his touch. Maybe it was because this was his 13th film of the decade, but there was a serious concern about the director's ability to tell a story had evaporated.   That worry would continue with his next film, Health.   A satire of the political scene in the United States at the end of the 1970s, Health would follow a health food organization holding a convention at a luxury hotel in St. Petersburg FL. As one would expect from a Robert Altman movie, there's one hell of a cast. Along with Henry Gibson, and Paul Dooley, who co-write the script with Altman and Frank Barhydt, the cast would include Lauren Bacall, Carol Burnett, James Garner and, in one of her earliest screen appearances, Alfre Woodard, as well as Dick Cavett and Dinah Shore as themselves.   But between the shooting of the film in the late winter and early spring of 1979 and the planned Christmas 1979 release, there was a change of management at Fox. Alan Ladd Jr. was out, and after Altman turned in his final cut, new studio head Norman Levy decided to pull the film off the 1979 release calendar. Altman fought to get the film released sometime during the 1980 Presidential Campaign, and was able to get Levy to give the film a platform release starting in Los Angeles and New York City in March 1980, but that date would get cancelled as well. Levy then suggested an April 1980 test run in St. Louis, which Altman was not happy with. Altman countered with test runs in Boston, Houston, Sacramento and San Francisco. The best Altman, who was in Malta shooting his next movie, could get were sneak previews of the film in those four markets, and the response cards from the audience were so bad, the studio decided to effectively put the film on the proverbial shelf.   Back from the Mediterranean Sea, Altman would get permission to take the film to the Montreal World Film Festival in August, and the Telluride and Venice Film Festivals in September. After good responses from film goers at those festivals, Fox would relent, and give the film a “preview” screening at the United Artists Theatre in Westwood, starting on September 12th, 1980. But the studio would give the film the most boring ad campaign possible, a very crude line drawing of an older woman's pearl bracelet-covered arm thrusted upward while holding a carrot. With no trailers in circulation at any theatre, and no television commercials on air, it would be little surprise the film didn't do a whole lot of business. You really had to know the film had been released. But its $14k opening weekend gross wasn't really all that bad. And it's second week gross of $10,500 with even less ad support was decent if unspectacular. But it would be good enough to get the film a four week playdate at the UA Westwood.   And then, nothing, until early March 1981, when a film society at Northwestern University in Evanston IL was able to screen a 16mm print for one show, while a theatre in Baltimore was able to show the film one time at the end of March. But then, nothing again for more than another year, when the film would finally get a belated official release at the Film Forum in New York City on April 7th, 1982. It would only play for a week, and as a non-profit, the Film Forum does not report film grosses, so we have no idea how well the film actually did. Since then, the movie showed once on CBS in August 1983, and has occasionally played on the Fox Movie Channel, but has never been released on VHS or DVD or Blu-Ray.   I mentioned a few moments ago that while he was dealing with all this drama concerning Health, Altman was in the Mediterranean filming a movie. I'm not going to go too much into that movie here, since I already have an episode for the future planned for it, suffice to say that a Robert Altman-directed live-action musical version of the Popeye the Sailor Man cartoon featuring songs by the incomparable Harry Nilsson should have been a smash hit, but it wasn't. It was profitable, to be certain, but not the hit everyone was expecting. We'll talk about the film in much more detail soon.   After the disappointing results for Popeye, Altman decided to stop working in Hollywood for a while and hit the Broadway stages, to direct a show called Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. While the show's run was not very long and the reviews not very good, Altman would fund a movie version himself, thanks in part to the sale of his production company, Lion's Gate, not to be confused with the current studio called Lionsgate, and would cast Karen Black, Cher and Sandy Dennis alongside newcomers Sudie Bond and Kathy Bates, as five female members of The Disciples of James Dean come together on the 20th anniversary of the actor's death to honor his life and times. As the first film released by a new independent distributor called Cinecom, I'll spend more time talking about this movie on our show about that distributor, also coming soon, suffice it to say that Altman was back. Critics were behind the film, and arthouse audiences loved it. This would be the first time Altman adapted a stage play to the screen, and it would set the tone for a number of his works throughout the rest of the decade.   Streamers was Altman's 17th film in thirteen years, and another adaptation of a stage play. One of several works by noted Broadway playwright David Rabe's time in the Army during the Vietnam War, the film followed four young soldiers waiting to be shipped to Vietnam who deal with racial tensions and their own intolerances when one soldier reveals he is gay. The film featured Matthew Modine as the Rabe stand-in, and features a rare dramatic role for comedy legend David Alan Grier. Many critics would note how much more intense the film version was compared to the stage version, as Altman's camera was able to effortlessly breeze around the set, and get up close and personal with the performers in ways that simply cannot happen on the stage. But in 1983, audiences were still not quite ready to deal with the trauma of Vietnam on film, and the film would be fairly ignored by audiences, grossing just $378k.   Which, finally, after half an hour, brings us to our featured movie.   O.C. and Stiggs.   Now, you might be asking yourself why I went into such detail about Robert Altman's career, most of it during the 1970s. Well, I wanted to establish what types of material Altman would chose for his projects, and just how different O.C. and Stiggs  was from any other project he had made to date.   O.C. and Stiggs began their lives in the July 1981 issue of National Lampoon, as written by two of the editors of the magazine, Ted Mann and Tod Carroll. The characters were fun-loving and occasionally destructive teenage pranksters, and their first appearance in the magazine would prove to be so popular with readers, the pair would appear a few more times until Matty Simmons, the publisher and owner of National Lampoon, gave over the entire October 1982 issue to Mann and Carroll for a story called “The Utterly Monstrous Mind-Roasting Summer of O.C. and Stiggs.” It's easy to find PDFs of the issues online if you look for it.   So the issue becomes one of the biggest selling issues in the history of National Lampoon, and Matty Simmons has been building the National Lampoon brand name by sponsoring a series of movies, including Animal House, co-written by Lampoon writers Doug Kenney and Chris Miller, and the soon to be released movies Class Reunion, written by Lampoon writer John Hughes… yes, that John Hughes… and Movie Madness, written by five Lampoon writers including Tod Carroll. But for some reason, Simmons was not behind the idea of turning the utterly monstrous mind-roasting adventures of O.C. and Stiggs into a movie. He would, however, allow Mann and Carroll to shop the idea around Hollywood, and wished them the best of luck.   As luck would have it, Mann and Carroll would meet Peter Newman, who had worked as Altman's production executive on Jimmy Dean, and was looking to set up his first film as a producer. And while Newman might not have had the credits, he had the connections. The first person he would take the script to his Oscar-winning director Mike Nichols, whose credits by this time included Who's Afraid of Virginia Wolff?, The Graduate, Catch-22, and Carnal Knowledge. Surprisingly, Nichols was not just interested in making the movie, but really wanted to have Eddie Murphy, who was a breakout star on Saturday Night Live but was still a month away from becoming a movie star when 48 Hours was released, play one of the leading characters. But Murphy couldn't get out of his SNL commitments, and Nichols had too many other projects, both on Broadway and in movies, to be able to commit to the film.    A few weeks later, Newman and Altman both attended a party where they would catch up after several months. Newman started to tell Altman about this new project he was setting up, and to Newman's surprise, Altman, drawn to the characters' anti-establishment outlook, expressed interest in making it. And because Altman's name still commanded respect in Hollywood, several studios would start to show their interest in making the movie with them. MGM, who was enjoying a number of successes in 1982 thanks to movies like Shoot the Moon, Diner, Victor/Victoria, Rocky III, Poltergeist, Pink Floyd - The Wall, and My Favorite Year, made a preemptive bid on the film, hoping to beat Paramount Pictures to the deal. Unknown to Altman, what interested MGM was that Sylvester Stallone of all people went nuts for the script when he read it, and mentioned to his buddies at the studio that he might be interested in making it himself.   Despite hating studio executives for doing stuff like buying a script he's attached to  then kicking him off so some Italian Stallion not known for comedy could make it himself, Altman agree to make the movie with MGM once Stallone lost interest, as the studio promised there would be no further notes about the script, that Altman could have final cut on the film, that he could shoot the film in Phoenix without studio interference, and that he could have a budget of $7m.   Since this was a Robert Altman film, the cast would be big and eclectic, filled with a number of his regular cast members, known actors who he had never worked with before, and newcomers who would go on to have success a few years down the road. Because, seriously, outside of a Robert Altman movie, where are you going to find a cast that included Jon Cryer, Jane Curtin, Paul Dooley, Dennis Hopper, Tina Louise, Martin Mull, Cynthia Nixon, Bob Uecker, Melvin van Peebles, and King Sunny Adé and His African Beats? And then imagine that movie also featuring Matthew Broderick, Jim Carrey, Robert Downey, Jr. and Laura Dern?   The story for the film would both follow the stories that appeared in the pages of National Lampoon fairly closely while also making some major changes. In the film, Oliver Cromwell “O.C.” Oglivie and Mark Stiggs are two ne'er-do-well, middle-class Phoenix, Arizona high school students who are disgusted with what they see as an omnipresent culture of vulgar and vapid suburban consumerism. They spend their days slacking off and committing pranks or outright crimes against their sworn enemies, the Schwab family, especially family head Randall Schwab, a wealthy insurance salesman who was responsible for the involuntary commitment of O.C.'s grandfather into a group home. During the film, O.C. and Stiggs will ruin the wedding of Randall Schwab's daughter Lenore, raft their way down to a Mexican fiesta, ruin a horrible dinner theatre performance directed by their high school's drama teacher being attended by the Schwabs, and turn the Schwab mansion into a homeless shelter while the family is on vacation. The film ends with O.C. and Stiggs getting into a gun fight with Randall Schwab before being rescued by Dennis Hopper and a helicopter, before discovering one of their adventures that summer has made them very wealthy themselves.   The film would begin production in Phoenix on August 22nd, 1983, with two newcomers, Daniel H. Jenkins and Neill Barry, as the titular stars of the film. And almost immediately, Altman's chaotic ways of making a movie would become a problem. Altman would make sure the entire cast and crew were all staying at the same hotel in town, across the street from a greyhound racetrack, so Altman could take off to bet on a few of the races during production downtime, and made sure the bar at the hotel was an open bar for his team while they were shooting. When shooting was done every day, the director and his cast would head to a makeshift screening room at the hotel, where they'd watch the previous day's footage, a process called “dailies” in production parlance. On most films, dailies are only attended by the director and his immediate production crew, but in Phoenix, everyone was encouraged to attend. And according to producer Peter Newman and Dan Jenkins, everyone loved the footage, although both would note that it might have been a combination of the alcohol, the pot, the cocaine and the dehydration caused by shooting all day in the excessive Arizona heat during the middle of summer that helped people enjoy the footage.    But here's the funny thing about dailies.   Unless a film is being shot in sequence, you're only seeing small fragments of scenes, often the same actors doing the same things over and over again, before the camera switches places to catch reactions or have other characters continue the scene. Sometimes, they're long takes of scenes that might be interrupted by an actor flubbing a line or an unexpected camera jitter or some other interruption that requires a restart. But everyone seemed to be having fun, especially when dailies ended and Altman would show one of his other movies like MASH or The Long Goodbye or 3 Women.   After two months of shooting, the film would wrap production, and Altman would get to work on his edit of the film. He would have it done before the end of 1983, and he would turn it in to the studio. Shortly after the new year, there would be a private screening of the film in New York City at the offices of the talent agency William Morris, one of the larger private screening rooms in the city. Altman was there, the New York-based executives at MGM were there, Peter Newman was there, several of the actors were there. And within five minutes of the start of the film, Altman realized what he was watching was not his cut of the film. As he was about to lose his stuff and start yelling at the studio executives, the projector broke. The lights would go up, and Altman would dig into the the executives. “This is your effing cut of the film and not mine!” Altman stormed out of the screening and into the cold New York winter night.   A few weeks later, that same print from New York would be screened for the big executives at the MGM lot in Los Angeles. Newman was there, and, surprisingly, Altman was there too. The film would screen for the entire running length, and Altman would sit there, watching someone else's version of the footage he had shot, scenes put in different places than they were supposed to be, music cues not of his design or consent.   At the end of the screening, the room was silent. Not one person in the room had laughed once during the entire screening. Newman and Altman left after the screening, and hit one of Altman's favorite local watering holes. As they said their goodbyes the next morning, Altman apologized to Newman. “I hope I didn't eff up your movie.”   Maybe the movie wasn't completely effed up, but MGM certainly neither knew what to do with the film or how to sell it, so it would just sit there, just like Health a few years earlier, on that proverbial shelf.   More than a year later, in an issue of Spin Magazine, a review of the latest album by King Sunny Adé would mention the film he performed in, O.C. and Stiggs, would, quote unquote, “finally” be released into theatres later that year.   That didn't happen, in large part because after WarGames in the early summer of 1983, almost every MGM release had been  either an outright bomb or an unexpected financial disappointment. The cash flow problem was so bad that the studio effectively had to sell itself to Atlanta cable mogul Ted Turner in order to save itself. Turner didn't actually want all of MGM. He only wanted the valuable MGM film library, but the owner of MGM at the time was either going to sell it all or nothing at all.   Barely two months after Ted Turner bought MGM, he had sold the famed studio lot in Culver City to Lorimar, a television production company that was looking to become a producer and distributor of motion pictures, and sold rest of the company he never wanted in the first place to the guy he bought it all from, who had a kind of seller's remorse. But that repurchase would saddle the company with massive bills, and movies like O.C. and Stiggs would have to sit and collect dust while everything was sorted out.   How long would O.C. and Stiggs be left in a void?   It would be so long that Robert Altman would have time to make not one, not two, but three other movies that would all be released before O.C. and Stiggs ever saw the light of day.   The first, Secret Honor, released in 1984, featured the great Philip Baker Hall as former President Richard Nixon. It's probably Hall's single best work as an actor, and the film would be amongst the best reviewed films of Altman's career.   In 1985, Altman would film Fool For Love, an adaptation of a play by Sam Shepard. This would be the only time in Shepard's film career where he would star as one of the characters himself had written. The film would also prove once and for all that Kim Basinger was more than just a pretty face but a real actor.   And in February 1987, Altman's film version of Beyond Therapy, a play by absurdist playwright Christopher Durant, would open in theatres. The all-star cast would include Tom Conti, Jeff Goldblum, Christopher Guest, Julie Hagerty and Glenda Jackson.   On March 5th, 1987, an article in Daily Variety would note that the “long shelved” film would have a limited theatrical release in May, despite the fact that Frank Yablans, the vice chairman of MGM, being quoted in the article that the film was unreleasable. It would further be noted that despite the film being available to international distributors for three years, not one company was willing to acquire the film for any market. The plan was to release the movie for one or two weeks in three major US markets, depending on its popularity, and then decide a future course of action from there.   But May would come and go, without a hint of the film.   Finally, on Friday, July 10th, the film would open on 18 screens, but none in any major market like Chicago, Los Angeles or New York City. I can't find a single theatre the film played in that weekend, but that week's box office figures would show an abysmal $6,273 worth of tickets were sold during that first weekend.   There would not be a second weekend of reported grosses.   But to MGM's credit, they didn't totally give up on the film.   On Thursday, August 27th, O.C. and Stiggs would open in at least one theatre. And, lucky for me, that theatre happened to be the Nickelodeon Theatre in Santa Cruz. But despite the fact that the new Robert Altman was opening in town, I could not get a single friend to see it with me. So on a Tuesday night at 8:40pm, I was the only person in all of the region to watch what I would soon discover was the worst Robert Altman movie of all time. Now, I should note that even a bad Robert Altman movie is better than many filmmakers' best movies, but O.C. and Stiggs would have ignobility of feeling very much like a Robert Altman movie, with its wandering camera and overlapping dialogue that weaves in and out of conversations while in progress and not quite over yet, yet not feeling anything like a Robert Altman movie at the same time. It didn't have that magical whimsy-ness that was the hallmark of his movies. The satire didn't have its normal bite. It had a number of Altman's regular troop of actors, but in smaller roles than they'd usually occupy, and not giving the performances one would expect of them in an Altman movie.   I don't know how well the film did at the Nick, suffice it to say the film was gone after a week.   But to MGM's credit, they still didn't give up on the film.   On October 9th, the film would open at the AMC Century City 14, one of a handful of movies that would open the newest multiplex in Los Angeles.   MGM did not report grosses, and the film was gone from the new multiplex after a week.   But to MGM's credit, they still didn't give up on the film.   The studio would give the film one more chance, opening it at the Film Forum in New York City on March 18th, 1988.   MGM did not report grosses, and the film was gone after a week. But whether that was because MGM didn't support the film with any kind of newspaper advertising in the largest market in America, or because the movie had been released on home video back in November, remains to be seen.   O.C. and Stiggs would never become anything resembling a cult film. It's been released on DVD, and if one was programming a Robert Altman retrospect at a local arthouse movie theatre, one could actually book a 35mm print of the film from the repertory cinema company Park Circus.   But don't feel bad for Altman, as he would return to cinemas with a vengeance in the 1990s, first with the 1990 biographical drama Vincent and Theo, featuring Tim Roth as the tortured genius 19th century painter that would put the actor on the map for good. Then, in 1992, he became a sensation again with his Hollywood satire The Player, featuring Tim Robbins as a murderous studio executive trying to keep the police off his trail while he navigates the pitfalls of the industry. Altman would receive his first Oscar nomination for Best Director since 1975 with The Player, his third overall, a feat he would repeat the following year with Short Cuts, based on a series of short stories by Raymond Carver. In fact, Altman would be nominated for an Academy Award seven times during his career, five times as a director and twice as a producer, although he would never win a competitive Oscar.   In March 2006, while editing his 35th film, a screen adaptation of the then-popular NPR series A Prairie Home Companion, the Academy would bestow an Honorary Oscar upon Altman. During his acceptance speech, Altman would wonder if perhaps the Academy acted prematurely in honoring him in this fashion. He revealed he had received a heart transplant in the mid-1990s, and felt that, even though he had turned 81 the month before, he could continue for another forty years.   Robert Altman would pass away from leukemia on November 20th, 2006, only eight months after receiving the biggest prize of his career.   Robert Altman had a style so unique onto himself, there's an adjective that exists to describe it. Altmanesque. Displaying traits typical of a film made by Robert Altman, typically highly naturalistic, but with a stylized perspective and often a subversive twist.   He truly was a one of a kind filmmaker, and there will likely never be anyone like him, no matter how hard Paul Thomas Anderson tries.     Thank you for joining us. We'll talk again in two weeks, when Episode 106, Mad Magazine Presents Up the Academy, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.  

Doug Kenney is on the autism spectrum, has type 2 bipolar, and talks about being 310 pounds and being bullied. Doug's journey/story with his “different” ability and bullying turned into a self-discovery and successful YouTube channel RURentlessAndUnstoppable? Doug's love for the race car circuit has given him some amazing experiences and interviews with some of the most well-known race car drivers. Check out his YouTube channel to see what amazing things he is doing to inspire and be inspired by his guests. Thank you to my studio sponsor The Motivated Mind Group, A global creative agency, located in downtown Chandler, AZ. https://themotivatedmindgroup.com/Doug --- Send in a voice message: https://podcasters.spotify.com/pod/show/storiesofhope/message Support this podcast: https://podcasters.spotify.com/pod/show/storiesofhope/support

In the final installment, Johnboy talks about Doug Kenney building The National Lampoon print empire and expanding into huge Hollywood movie hits, dying mysteriously and doing so much cocaine! Plus bawdy pahts! Learn more about your ad choices. Visit megaphone.fm/adchoices

This week Johnboy takes on the endlessly partying National Lampoon's Doug Kenney in his childhood through his college years and time at Harvard, but before that a mini-profile of the bizarre life of his friend Peter Ivers. Learn more about your ad choices. Visit megaphone.fm/adchoices

Steve and I talk about his early influences (classic comedians and cartoons); meeting his partner, Karl Tiedermann in Horace Mann High School; his college radio show; sending his best bits to the National Lampoon Radio Hour; working with Doug Kenney and Sean Kelly; his first piece Silly Puddy Destroys the World; kids newspaper parody; MOMA Fun Book; King of the Z's a documentary about a cheap 40's film studio; discovering Calvert DeForest (Larry "Bud" Melman)"; film wins at Telluride Film Festival; aired on Showtime; getting a call form Letterman's management two months before Late Night premieres and asking for a job interview; bombing the interview out of excitement but getting the job anyway; Larry "Bud" Melman introduces the first episode ala Frankenstein; pre-production; test shows; being a guest the first week; getting a lot of stuff early; 40th anniversary of inventing the glass breaking sound when Dave throws a blue card; Jim Downey joins as head writer; Gammill & Pross; Andy Kaufman & Jerry Lawlor; Larry "Bud" Melman's Christmas Carol; Bob Hope talks to Larry; Larry had to choose between his job as a receptionist at a methadone clinic and Late Night; Don Giller; Was Jerry Seinfeld bumped by Dick Cavett?; how most Letterman writers stop watching after they leave; Gerry Mulligan; his contract not being renewed; Jim Downey brings SNL hours to Letterman; writing for Robert Klein' segments of TV's Bloopers and Practical Jokes; Robert Klein's talk show producer Joe Cates; Robert Klein documentary; King of the Z's on Youtube; being offered to be headwriters of the New Mickey Mouse Club because they were thought of as hip by Disney; how not caring about the job got him the job; writers and crew all became friends; Left after 4 seasons; Keri Russell and JC Chasez; his kids were just as talented as the more famous ones; Annette Funicello; Tiffany Hale; Party Kids; My Little Pony ad; still has a big following; Disney told him not to be too much like the 70's New MMC; too many music rights to get on Disney +; the Don Giller interview that will never be; Steve & Hillary Rollins write an episode of Doug that was considered too funny and he thought was never made; working with his idol Dick Van Dyke; Nastassja Kinski; Bill Murray shows up two weeks before the first show to get writers drunk to get good material; Bill performs 'Let's Get Physical' on first shoiw and almost injures a staff member; Alan Alda: A Man and His Chinese Food; the Criterion Collection --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Doug started Relentless and Unstoppable with Andy McPhee. He talks about his struggle with autism but is still extremely optimistic about his future. Doug had serious problems with dealing with Asperger's syndrome that he overcame. His struggles in both his academics and in his personal life nearly destroyed his future. Connecting with Andy McPhee transformed him. Doug began a YouTube channel with race driver interviews and Andy started R&U with Doug as his co-host and inspiration.He has a lot of amazing quest on his show (which I'm part of https://youtu.be/X1nI5JOijCo) check out his instagram @doug_im_possiblebybeing_randu and @andy_mcphee_official --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Wayne Kline talks about growing up with a Methodist minister as a father; Max Schulman; reading because his family couldn't afford a TV; Woody Allen; John Oliver; Alfred Hitchcock; Get Smart; Gilligan's Island; Ginger v. Mary Anne; Dobie Gillis; becoming an Army reserve; selling jokes to George Kirby; never being able to imitate Ed Sullivan; writing The Ed Sullivan Show to sell jokes; reading about the Improv in a newspaper; going on vacation to New York to sell jokes to comedians; Walter Alston; selling a routine to Freddie Prinze; leaving NY for LA; joke structure; winning enough to live off for two years on a gamed show; Ed Bluestone introduces him to Henry Bear & Doug Kenney; writing for the National Lampoon Radio Hour; losing on getting SNL to Alan Zweibel; writing for Jimmy Walker; Rodney Dangerfield; punching up a Doc script leads to his first sitcom; Byron Allen; Helen Kushnick; David Letterman's writing ability; how Wayne saw the talent of Robin Williams on Laugh In; Lenny Schultz; Fernwood Tonight; Fred Willard; One in a Million; Norman Paul; room written shows; Jay Leno's Tonight Show was a feed the hopper show; how Bill Scheft and the Underwear Bomber got Wayne a job with Letterman; being advised by Ross Abrash; trying to beat Mulholland and Barrie for jokes in the monologue; head writer Steve Young; submitting for Bill maher; Curb Your Enthusiasm; Larry David getting him a job copying documents; writing a spec scene for Seinfeld and being told it was too sitcommy; Larry Charles; the horror that was Thicke of the Night and Late Show with Joan Rivers; Joan is replaced by Arsenio Hall; Wayne gets fired then hired by Jay Leno with jokes from a monologue he was going to use; being hired as a full time Tonight Show writer working when Jay Leno guest hosts; Joe Toplyn; how to get into show business; Christopher and David Lloyd; loses jobs to Twitter users; Alan Thicke stories; Jay v. Dave: personalities --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Today we tell the story of the screenwriter and mastermind behind ANIMAL HOUSE, CADDYSHACK, and co-founder of NATIONAL LAMPOON, Doug Kenney. Friends and co-workers remember him as a “genius,” Kenney, who died at 33 when he fell off a cliff in Hawaii.If you enjoy the show please leave us a review.  

While an especially bad year for celebrity deaths, 1994 was particularly devastating on the field of comedy, taking a big group of super talented folks from us, and many at far too young an age. Sarah & Joe, in typical fashion befitting longtime death pool participants, focus on the positives, and try to celebrate the joy brought to us all from these major figures in the field. Batman TV actor Cesar Romero, stand-up legend Bill Hicks, beloved star John Candy, SNL trailblazer Danitra Vance, and National Lampoon/SNL writer/performer Michael O'Donoghue all get a piece of the spotlight in this week's forty-fourth side-splitting episode! The lengthy, goofball discussion covers topics such as whether Romero was the most committed or least committed actor on Batman, if Hicks is actually still alive and performing long-form political improv, if Candy's film career ever eclipsed the work he did on SCTV, whether Vance's season of SNL was the worst in the show's history, or if that was reserved for one of O'Donoghue's returns in '80s. Along the way, cameos abound from Shirley Temple, Denis Leary, the JFK Assassination, Phoebe Zeit-Geist, Edith Prickley, Robert Downey Jr., Doug Kenney, Fatty Arbuckle, and many more!

Beave and Len discuss the impact of the seminal 1980 comedy "Caddyshack", which has assumed epic proportions 41 years later. Where does it rank on the list of all-time great comedy films? What was the best scene? Which performance was in fact the best? And which secondary character is the best. The guys discuss this plus, plus MLB, NFL, and Rolling Stone Top 500. Tune in for movie expertise!

Sean Kelly talked with me about Between the Lions; comic books; radio comedy; being on early TV in Canada and making him jaded to TV; being on Saturday Night Live for two weeks; Jean Doumanian; Michel Choquette getting him on the Lampoon; Bruce McCall; Canada: The Re&$2!&! Neighbor on Your Doorstep; Beaverton: Canada's humor magazine; Canadian jokes; Son O'God Comix; Zimmerman; his son, writer Chris Kelly; Matty Simmons believing tits sell magazines; National Lampoon Radio Hour; John Belushi, Brian McConnachie, George Trow, and Christopher Guest join the Radio Hour; Well Intentioned Blues; writing Lemmings with Tony Hendra; hiring Chevy Chase; Zal Yanovsky tries to kill Chevy; Chevy permanently disfigures Alice Playten; Doug Kenney; Henry Bear; Michael O'Donoghue; Tony Hendra; Brian McConnachie; at a certain age everyone's Jewish; Paul Jacobs; growing old; seeing Christopher Plummer at 17 and working with him 30 years later; Harvey Weinstein; Robert Downey Sr; Jim Downey; Sam Gross; Al Jean & Mike Reiss; Fred Graver & Kevin Curran; Ted Mann & Tod Carroll; Disco Beaver from Outer Space; Steve Martin: All Commercials; Paul Reubens & Gilbert Gottfried's SNL auditions; Ferris Butler, and some anecdotes of the problems of Saturday Night Live '80. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

We talk about the comedic force behind National Lampoon, Caddyshack and Animal House! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Welcome to the But What Does The Bible Say Podcast!  We're glad you joined us!  This week, we're talking Actor, and Voice Actor Andy McPhee, and the YouTuber, Autism Activist and Spokesperson that he's mentoring, Douglas Nelson Kenney!  We are saved by grace through faith, but as James 2:18 tells us, "But someone will say, 'You have faith; I have deeds.' Show me your faith without deeds, and I will show you my faith by my deeds."  This tells us that there are two sides to the same coin.  The work that Andy and Doug are putting forth, is a wonderful example to us all.Want to email us?  Click Here!Or if you're on a platform that doesn't allow hyperlinks:rebuse@butwhatdoesthebiblesay.comWatch this episode on YouTube:  Click Here!Previous Episode with Doug Kenney:  Click Here!Andy McPhee: Click Here!Moviemakerdoug55 (Doug Kenney):  Click Here!R U OK? Australia (Talked about in the episode):  Click Here!Showcasing People's Abilities and Recognizing their Knowledge (S.P.A.R.K.): Click Here!Water's Edge Church Links:Water's Wedge Church (WEC)WEC CommunityWEC GivingWEC SwagCoffee Time Q&A At The Water's Edge

At just 4 years old, Doug Kenney was diagnosed with Asperger's Syndrome, a condition which doctors call a "high-functioning" type of ASD. This is less severe than other kinds of autism spectrum disorders. Determined to not allow Autism to define him, Doug sought out a mentor and found one in actor, Andy McPhee (Pacific Rim: The Black - 2021, High Ground -2020, Saving Mr. Banks - 2013, and Sons of Anarchy - 2010). As a result of their unique partnership, Doug now hosts his own weekly YouTube channel MovieMakerDoug55 Relentless and Unstoppable and has written 8 books. Find out how Doug has managed his mental health as he goes through his amazing journey... This is Doug Kenney's Story of Hope! *********** If you would like to share your Story Of Hope or become a sponsor of a future episode, email me today at: stories@christinehotchkiss.com *********** Stories Of Hope is available Tuesday and Thursday at 6:00am PST / 9:00am EST on Apple Podcasts, AnchorFM and Spotify https://podcasts.apple.com/us/podcast/stories-of-hope/id1543428813 https://open.spotify.com/show/6R6cLqq35XIbhpkPnjLof2 *********** --- Send in a voice message: https://anchor.fm/storiesofhope/message Support this podcast: https://anchor.fm/storiesofhope/support

Kent Kruse and Dr. Doug Kenney discuss the main limiting factor preventing the pet insurance industry from reaching a much higher percentage of pet owners and their pets.

Today, the guys talk about a bird with a very unique feature - The Red Crossbill. But... "What are they drinking?" you ask. Steve heads back to a Miller Lite, as Greg steps out and has a Scotch Ale from Wisconsin. And Stuff... is about one of Greg's all-time fav movies - Caddyshack and some stories about the making of and infamous writer - Doug Kenney.

Chevy Chase, John Davidson. Chevy Chase looks back at “Christmas Vacation”, “Caddyshack”, “Fletch”, and more, and discusses his friendship with the late Doug Kenney. John Davidson shares a little holiday music and some tales of Christmases past.            

Join Stephen and his guest Mark Groubert as they take a deep dive into his book "Rehab Nation". Exploring and exposing the real American history of addiction and the rehab industry that has spawned from it. There are some truly fascinating revelations that take place inside of this nearly two hour episode. Toxic celebrity culture be damned ! So strap in my friends. This is quite the ride. Thanks for checking us out. We hope you enjoy it. -Stephen After attending Bard College, The New School for Social Research and New York University Film School Mark Groubert decided it was time to get a serious job. He became a staff writer for National Lampoon Magazine. Following in the tradition of his mentors: Doug Kenney, Tony Hendra, John Hughes, and Michael O’Donoghue, Groubert created such iconic features as Mass Murderer Trading Cards, The Klaus Barbie Doll, Capitalist Hall of Fame Plaques, and Sexual Jeopardy: The Home Game. Groubert, also co-wrote the immensely popular National Lampoon Dirty Joke Book. He then created, published and edited MTV Magazine; the first nationally distributed desktop publication in America. Magazine Week nominated the monthly publication for its Publishing Excellence Award. Groubert entered live theatre production in New York. Along with the legendary comedian Alan King, he co-produced the original Toyota Comedy Festival. He then produced the hit show Mambo Mouth, which won an Off-Broadway Obie Award for star John Leguizamo. Groubert followed by producing the filmed version for HBO and Island Pictures. For the HBO Network Groubert then co-produced On The Ledge, an avant-garde variety show, as well as, talent producing the award-winning documentary: Mo’ Funny: Black Comedy in America. Groubert has written over fifteen screenplays including The Recruit, starring Colin Farrell and Al Pacino, as well as, serving as a script doctor on dozens of others. He did a stint as editor of The Weekly World News. He has written for High Times, Penthouse, LA City Beat and numerous other national publications. Groubert serves as the Senior Film and Book Reviewer for the popular political website Crooks and Liars.Com. Currently he is a feature writer/investigative reporter for the LA Weekly (Village Voice Media). His most recent work includes Rehab City – a three-part investigative series looking into the Los Angeles drug rehab scene, as well as, Box of Dreams: In Search of a Soul Lost and Found in L.A. Groubert is a regular guest on Dr. Drew Live, the national radio show of Dr. Drew Pinsky, the addiction specialist as well as, The Dr. Drew Podcast and Dr. Drew On Call on the CNN HLN Network. He is also the author of the recent book Rehab Nation: Inside The Secret World of Celebrity Rehabs. A native New Yorker, Mark Groubert currently resides in Los Feliz, California. You can follow Mark at: Twitter - @4rehabjustice Facebook - @centerforrehabjustice Instagram - @4rehabjustice Subscribe to us on youtube at https://www.youtube.com/c/AddictionWalksandTalks and hit the bell icon for more great stuff coming soon... LISTEN/SUBSCRIBE TO THE PODCAST Apple Podcasts: https://podcasts.apple.com/us/podcast/addiction-talks-with-stephen-gibb/id1517521216 Spotify: https://open.spotify.com/show/2RHCSQwSa4LFW2ddhDJWaV?si=G6dQMaihS_uv-zf7mdPdpA Stitcher: https://www.stitcher.com/s?fid=541261 Android: https://podcasts.google.com/feed/aHR0cHM6Ly93d3cuc3ByZWFrZXIuY29tL3Nob3cvNDQ0NTUzNy9lcGlzb2Rlcy9mZWVk SOCIALS *Instagram - https://instagram.com/addictionwalks?igshid=19e8i4thasr6b https://instagram.com/addictiontalkspodcast?igshid=u0msthlgghs5 https://instagram.com/stephengibb?igshid=jym6cnmt1ktq *Twitter - https://twitter.com/TalksAddiction https://twitter.com/AddictionWalks https://twitter.com/StephenGibb *FaceBook - https://www.facebook.com/addictiontalkspodcast https://www.facebook.com/addictionwalks https://www.facebook.com/StephenGibbMusic

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

This week, Twitty and the Bran are tackling films about tortured geniuses.First up we have "The End of the Tour". Chronicling the meeting of famed writer David Foster Wallace and Rolling Stone reporter David Lipsky; this flick is a gripping character study that effects us on a deeply personal level. Sure to balance it out with some laughs, we move on to discus "A Futile and Stupid Gesture." Detailing the rise of Comic writer Doug Kenney, and the massively successful National Lampoon brand, this one gives us some comedy to work with, while still diving into nuanced character study of a brilliant, tortured mind. 

Welcome back to The ManNic Film Club. the show where we watch a load of films and then review them! Episode five see's Liam & Tobias stepping into the hectic world of National Lampoons as they watch "A Futile & Stupid Gesture" The story of writer Doug Kenney, who co-founded National Lampoon magazine in 1970 along with Henry Beard! Will "A Futile & Stupid Gesture" tickle the lads funny bone or will it fall flat? To have your say head over to @Themannic on Twitter and let us know if the film was a Hit or a Miss for you! The ManNic Film Clubs next film will be "Velvet Buzzsaw" the Netflix original. So if you want to watch along you now have two weeks as episode six will go live on Wednesday 24th June 2020! Thank you for listening, don't forget to Like, Comment & Subscribe! Stay Safe & Stay ManNic!

Film director, writer and producer Ryan Cudahy virtually dropped in to see what condition his condition was in  LGD Podcast, Richmond, Virginia comedy podcast Hosted by Charlottesville, Virginia & New Orleans, Louisiana comics Steven Harrison and Luca Jones & Charlottesville, VA Musician Ryan Goodrich  1:09 - First time meeting Ryan 5:45 - Stanley Kubrick  8:28 - The Marvelous Mrs. Maisel & Netflix changing streaming as we know it 12:20 - Mount Skylight & the bigger picture  18:00 - Late producer Kestrel Vandermark's impact on Mount Skylight 24:37 - Doug Kenney 29:26 - Ryan's roles in creating Mount Skylight 31:52 - Virginia film making  39:07 - Unofficial Virginia tour guide tutorial   New York Comedy Podcast  New York Music Podcast  NYC Podcast NYC Comedy Podcast  NYC Music Podcast  LA Comedy Podcast  LA Podcast LA Music Podcast  DMV Podcast  DMV Comedy Podcast  DMV Music Podcast  DC Podcast DC Comedy Podcast  DC Music Podcast Northern VA Podcast MD Podcast Maryland Podcast  Richmond Podcast Richmond Comedy Podcast  Richmond Music Podcast Rva Comedy Podcast  Rva Music Podcast  Charlottesville Podcast Charlottesville Comedy Podcast Charlottesville Music Podcast New Orleans Podcast  New Orleans Comedy Podcast New Orleans Music Podcast Virginia Comedy Podcast  Virginia Music Podcast  North Carolina Comedy North Carolina Comedy Interview North Carolina Comedy Podcast  North Carolina Music  North Carolina Music Interview North Carolina Music Podcast Comedy Podcast Charlottesville Comedy Washington DC Comedy Rva Comedy Wildcard Comedy Wildcard Entertainment  Life of the Party Pod Gold  Steven Harrison comedy, Steven Harrison, Steven Harrison comic, Steven Harrison comedian, Steven Harrison stand up comedy, Steven Harrison live, Steven Harrison podcast, Steven Harrison podcasts, Steven Harrison wildcard, Steven Harrison wildcard comedy   Sponsored by Wildcard Entertainment & No More Thinking Time to Start Drinking   Instagram/Twitter - @filmguyry @thewildcardcomedy @storytellerluca @ryangoodrichmusic @lgdpodcast  Episode Date: April 12, 2020

In their follow up to Animal House, Harold Ramis and Doug Kenney toned down the misogyny and upped the Slobs vs Slobs comedy. Tara McNamara, Gen X, and Riley Roberts, Gen Z, look at Caddyshack with the modern lens, identifying how it used comedy to chip away at authority and the pompousness of the rich, but also perpetuated stereotypes about women that took a couple of decades to shake.   

John & Darin really enjoyed the Doug Kenney biopic A Futile and Stupid Gesture, so in this special BONUS episode of the #SNLNerds, we’re talking [...]

John & Darin really enjoyed the Doug Kenney biopic A Futile and Stupid Gesture, so in this special BONUS episode of the #SNLNerds, we’re talking [...]

John & Darin really enjoyed the Doug Kenney biopic A Futile and Stupid Gesture, so in this special BONUS episode of the #SNLNerds, we’re talking [...]

John & Darin really enjoyed the Doug Kenney biopic A Futile and Stupid Gesture, so in this special BONUS episode of the #SNLNerds, we’re talking [...]

This week, Darin and John watch #SNL alum Will Forte play comedy legend Doug Kenney in the 2018 Netflix film A Futile and Stupid Gesture, [...]

This week, Darin and John watch #SNL alum Will Forte play comedy legend Doug Kenney in the 2018 Netflix film A Futile and Stupid Gesture, [...]

This week, Darin and John watch #SNL alum Will Forte play comedy legend Doug Kenney in the 2018 Netflix film A Futile and Stupid Gesture, [...]

This week, Darin and John watch #SNL alum Will Forte play comedy legend Doug Kenney in the 2018 Netflix film A Futile and Stupid Gesture, [...]

Joel and Ken sit down to answer your questions about COMMUNITY. Joel and Ken ponder the structure of their podcast and look to outside sources for help. Joel tells Ken a few of his stories concerning the Hearst Castle, Character Actor Richard Erdman and what it was like to portray Chevy Chase. Ken explains elements of Coronavirus to Joel including the pros and cons of Hydroxychloroquine as a means of therapy for Covid-19. Ken also recalls a chance encounter on the Sony Lot with Tim Tebow. For more on legendary hollywood character actor Richard Erdman. See below for his iMDB page.  https://www.imdb.com/name/nm0258757/?ref_=fn_al_nm_1 Joel stars in A FUTILE AND STUPID GESTURE as Chevy Chase. The film is about comedy legend Doug Kenney. A FUTILE AND STUPID GESTURE is now streaming on NETFLIX along with every season of COMMUNITY. 

In this, “Best of Podcast” pillar episode replay show, we’ll first start with what you should do if you think your pet may have been poisoned… besides panic.  I’ll tell you a story about when I accidently fed a toxic drug to my dog and a phone number you’ll want to call right away if you suspect poisoning. Next, do you wonder if you need to have pet health insurance for your cat or dog? Dr. Doug Kenney, DVM, author of the book, Pet Health Insurance, A Veterinarians Perspective, poses two simple questions to ask yourself in order to decide and then explains how to select a good company that meets your needs. You’ll hear about an online resource, his pet insurance tool kit, which helps you work through this step-by step. Then, your dog may be communicating with you and other dogs, through doing this particular behavior. Find out what it is and increase your skills in reading your dog’s body language. And, finally, why pouring your dry pet food from the bag it came in, into another can or bucket is not the best way to store the food.   Additional Resources for this show:   ASPCA Poison Control Hotline Phone number – 888-426-4435. Amazon link for ordering the book, Pet Health Insurance, A Veterinarians Perspective. Dr. Kenney’s Website. Pet Health Insurance Tool Kit. Dr. Kenny’s Podcast Please see our blogs and leave your comments at www.raisingyourpaws.com.

Gregg and Josh are back this week discussing comedy, and 3 things they discuss in particular are Bill Burr's Paper Tiger, Dave Chappelle's Sticks & Stones, and the David Wain directed comedy biopic film A Futile And Stupid Gesture, which follows the life and career of National Lampoon co-founder Doug Kenney and the breakout of irreverent comedy in the early 70's. Both standup specials and the film are all exclusive to Netflix, so go enjoy some laughs. Then listen to what WE thought of them all. All Queued Up Discord All Queued Up Merchandise All Queued Up Facebook Page All Queued Up Discussions

Welcome everybody today we are talking about the classic golf comedy Caddyshack. Jimmy and Forrest were both nervous about this episode for different reasons. We talk about the Dancing Gopher, Doug Kenney's death, and Chevy Chase being a dick. Forrest talks about seeing Rodney Dangerfield do stand up and being too chickenshit to say anything to him. We discuss the sequel and the actor equivalents they put in to it. Jimmy talks about his actual time at a caddyshack. --- Send in a voice message: https://anchor.fm/blanked-that/message

Josh Karp & Barry Pearl. Writer Josh Karp discusses his recent interview with the legendary Bob Rafelson, and shares his thoughts on Orson Welles & National Lampoon founder Doug Kenney. Actor & Director Barry Pearl looks back at his time on Broadway, working with Don Rickles, and the making of  “Grease”.

In this episode we look at A Futile and Stupid Gesture (2018), The true story of writer Doug Kenney, who co-founded National Lampoon magazine and the ups and downs of his life and the comedic geniuses who surrounded him. Join Matt and Mike and special guest Herschel Powers to find out the real story behind this reel story. Listen, rate and share. Want to help support the show? Check us out at https://www.patreon.com/CullenPark Check out cool merchandise related to our show at http://tee.pub/lic/CullenPark --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

We talk about Doug Kenney, one of the founders of The National Lampoon which you may know from Stifler or that pie that made Eugene Levy cry. It’s another action packed, suicide is wack, episode. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to The Wild Card Podcast!  This is episode 76 of our attempt at this whole podcasting thing!! Today's episode features: Jared Eaton still looking like Vincent Van Gogh (it's probably just the bleeding wound from his missing ear), Jeff Curtis selling you the whole seat (but you'll only need the edge!), and Ron Blair's favorite name of all time?!? Throughout the episode, you'll hear the three of us discussing such varied topics as: The way this podcast is about Ron still forgetting that he had to come up with what this podcast is all about, our favorite fears (touching yogurt?), jobs we wouldn't be able to do, and popular musical artists that make us change the channel, the quality (or lack thereof) of art created under the influence of Lysergic Acid Diethylamide, how Ron Blair doesn't even remember his own episode details, and occasionally we part from our tangents to talk about the life and works of Doug Kenney.  Ron did an impressive amount of research this week: following up last week's report and facilitated a discussion of Doug's career, Animal House, Caddyshack, and his struggles later in life. Join us on this journey to wherever and we're sure that you'll enjoy another nice Vacation while listening to our Double Secret Podcast!Please like/subscribe/review and leave comments below! Let us know your thoughts on Doug Kenney, National Lampoon's legacy, your favorite fears, jobs you couldn't do, artists that make you change the channel, and if you are interested in being an official Deckhead! P.S. “Not at all, Rhonda!” ~Jeff CurtisP.P.S. Bite the Edge!

Welcome to The Wild Card Podcast!  This is episode 75 of our attempt at this whole podcasting thing!! Today's episode features: Jared Eaton being a bland, boring Every-man, Jeff Curtis joining an alley cat Jazz band, and Ron Blair waking up after the Podcast had started recording somehow?! Throughout the episode, you'll hear the three of us discussing such varied topics as: The way this podcast is about forgetting to remember what this podcast is all about (well played, Ron), our favorite Disney moments, movies, songs, and characters, those times when you are disappointed by not getting pounded by 8-10 inches (of snow), Moira Taylor still being on hold, and occasionally we part from our tangents to talk about the life and works of Doug Kenney.  Ron did an impressive amount of research this week and facilitated a discussion of Doug's early life and the formation of National Lampoon. Join us on this journey to wherever and we're sure that you'll enjoy a nice Vacation while listening to our Double Secret Podcast!Please like/subscribe/review and leave comments below! Let us know your thoughts on Doug Kenney, National Lampoon's legacy, your favorite Disney memories, movies, songs, characters, which characters you think that the Wild Cards would be, and if you are interested in being an official Deckhead! P.S. “A Cinderella story outta nowhere.” ~Carl Spackler (Bill Murray)P.P.S. Bite the Edge!

The DUAT gang talks about the co-founder of The National Lampoon, Doug Kenney.

Got red on you, Grandiddy’s Gun, Ghost jawa

Celebrating 40th Anniversary of “Animal House” Greater Cleveland Film Commission President Ivan Schwarz talked to Bill about Get your togas ready; it’s time to relive your college memories. To celebrate 20 years of the Greater Cleveland Film Commission (GCFC) and the 40th anniversary of the greatest toga party ever, the organization is hosting a special “Animal House” themed fundraiser on Saturday, July 14th. “Animal House” was co-written by Cleveland native and National Lampoon co-founder Doug Kenney. The event will be held at The Mather Mansion, located at 2605 Euclid Ave., Cleveland, Ohio

On The Gist, we here at Slate take GDPR compliance very seriously … just not in this monologue. Before SNL, David Wain says, the countercultural comedy torch belonged to National Lampoon. The laugh magazine was created by Harvard graduates and became a creative laboratory for movies like Animal House and Caddyshack. Chief among them was Doug Kenney, the subject of Netflix biopic A Futile and Stupid Gesture, which Wain directs. In the Spiel, the nostalgia we feel around meals and dishes is overrated. It’s not about the food; it’s about the feels. Learn more about your ad choices. Visit megaphone.fm/adchoices

On The Gist, we here at Slate take GDPR compliance very seriously … just not in this monologue. Before SNL, David Wain says, the countercultural comedy torch belonged to National Lampoon. The laugh magazine was created by Harvard graduates and became a creative laboratory for movies like Animal House and Caddyshack. Chief among them was Doug Kenney, the subject of Netflix biopic A Futile and Stupid Gesture, which Wain directs. In the Spiel, the nostalgia we feel around meals and dishes is overrated. It’s not about the food; it’s about the feels. Learn more about your ad choices. Visit megaphone.fm/adchoices

The guys welcome EW's main movie scribe to the pod to discuss his excellent new book on the funniest sports flick ever. And they hit on everything: Rodney Dangerfield's coke habit, Bill Murray's 1-800 number, Chevy Chase's rough rep, Ted Knight's method madness, Kenny Loggins' omelet-making skills and what really happened to legendary writer/producer Doug Kenney. Plus: Did the gopher save the movie??

This week: The life and death of Doug Kenney! "Planet of the Cheap Special Effects"! Randy Quaid subs for Sam Kinison! And Gilbert stars in Foto Funnies! Learn more about your ad choices. Visit megaphone.fm/adchoices

Não achamos o Black Panther tudo isso aí.Falamos da obra do seminal Doug Kenney, cujo trabalho na National Lampoon influenciou todo mundo, do SNL às maiores comédias de todos os tempos.[0:05:05] Black PantherCreedFruitvale StationUOL: Lançamento Black Panther no QuêniaBlack Panther is Not the Movie We Deserve[0:21:03] A Futile and Stupid Gesture [Netflix]National LampoonDrunk, Stoned, Brilliant, Dead [inteiro no YouTube]National Lampoon Radio HourThe History of ComedySaturday Night LiveThe Second CityAnimal HouseCaddyshackThe Kids in the HallThe GroundlingsDon’t Think TwiceThe StateWet Hot American Summer [Netflix]Childrens HospitalWet Hot American Summer: First Day of Camp [Netflix]Wet Hot American Summer: Ten Years Later [Netflix]Wanderlust They Came Together [Netflix]Pra falar com a gente: facebook.com/podcastcatchingup podcastcatchingup@gmail.com twitter.com/ddonato twitter.com/odesinformante See acast.com/privacy for privacy and opt-out information.

Harmon and Scott discuss the biopic: A Futile and Stupid Gesture which chronicles comedy writer Doug Kenney, during the rise and fall of National Lampoon. They compare it to the 2015 documentary: Drunk Stoned Brilliant Dead: The Story of the National Lampoon, which chronicles comedy writer Doug Kenney, during the rise and fall of National Lampoon Learn more about your ad choices. Visit megaphone.fm/adchoices Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we're on double secret probation with comedian Alex Fossella stopping by to talk about watching Animal House for the first time.  Join us as we discuss the film's influence on modern comedy, viewing the problematic bits through modern eyes, the brilliance of John Belushi and much more.  Follow Alex on Twitter and listen to the podcast Modern Day Philosophers he does with comedian Danny Lobell. And check out his web series My Racist Toaster.  Check out the Netflix movie about Doug Kenney and the making of Animal House and Caddyshack, A Stupid and Futile Gesture, written by friends of the podcast Michael Colton and John Aboud. Also check out Drunk Stoned Brilliant Dead, the excellent documentary on the National Lampoon.  Here's a clip from Harold Ramis' group TVTV featuring Bill Murray.  Like Movies My Friends Have Never Seen on Facebook and follow us on Twitter. You can also get the show on iTunes and Stitcher. Or paste the RSS feed into the preferred podcast player of your choice to get new episodes when they're released.

First up, a favorite here around the Bullseye office: David Wain! He's a comedy legend, an actor, too. And he just directed the new Netflix film "A Futile and Stupid Gesture." He and Jesse talk about Doug Kenney, the movie's subject, whose work changed the trajectory of American comedy. Then: break out the 8mm cameras and the oversized sunglasses! It's time for Belle & Sebastian. Jesse talks with frontman Stuart Murdoch about their latest series of EPs - a trilogy called "How to Solve our Human Problems." Also: Baseball. Turns out Stuart is Glasgow's biggest Mets fan! Finally, on this week's outshot, Jesse walks us through the career of rapper Scarface whose lyrics, more than most rappers, mulls over the fear, rage, and consequences of gang violence.

David Wain’s new A FUTILE AND STUPID GESTURE brings the deconstructive spirit of his cult comedy classic WET HOT AMERICAN SUMMER to the biopic formula, putting a meta, self-aware spin on the story of Doug Kenney, co-founder of The National Lampoon. After digging into the benefits and limitations of Wain’s approach as applied to a sprawling biopic-slash-portrait of a scene, we talk over how the two films work together, as points of comparison as well as contrast. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar. Please share your comments, thoughts, and questions about WET HOT AMERICAN SUMMER, A FUTILE AND STUPID GESTURE, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.  Your Next Picture Show:  • Keith: Elaine May’s A NEW LEAF • Genevieve: Michael Almeryeda’s MARJORIE PRIME • Scott: Abbas Kiarostami’s 24 FRAMES Outro Music: Martin Mull, “The Time Of My Life” Learn more about your ad choices. Visit megaphone.fm/adchoices

As a flimsy tie-in to the Netflix movie “A Futile and Stupid Gesture” about Doug Kenney, co-founder of National Lampoon, Jacques and Joe seize the opportunity to butcher their favorite skits from the National Lampoon Radio Hour, which aired in the years just before the debut of Saturday Night Live and served as a launching pad for many of its writers and performers. (How’s THAT for a run-on sentence?) Chevy Chase, John Belushi, Bill Murray, Gilda Radner, Christopher Guest: all are shamefully impersonated and misquoted in this giddy, self-indulgent, unfunny look back on a cult comedy-nerd classic! Facebook: https://www.facebook.com/carnivalpodcast/ Twitter: https://twitter.com/carnivalpodcast

Sure, the creator of Caddyshack and Animal House lived an interesting life, but we still can't get over Doug Kenney having two first names.

David Wain is back and tackling National Lampoon with his latest film centered around the life of Doug Kenney and the rise of the popular comedy behemoth. Christopher Cross and Dylan Schwan review A Futile and Stupid Gesture, the latest Netflix original movie, and come away talking about the huge ensemble cast. Also what a good Bill Murray and Rodney Dangerfield impression. We also have a bunch of television to talk about as Dylan discusses both the fourth season of Black Mirror and the first season of The End of the Fucking World. Chris also saw Before We Vanish, which he talks about briefly. There's also the usual bevy of news including Sundance winners and the potential Crank universe (!!), and a slew of blu-rays. Next week, we'll be back with a review of The Polka King because Dylan really doesn't want to watch Winchester. Film Fallout is a weekly podcast about film and television, hosted on BagoGames.com. Every week, Christopher Cross and Dylan Schwan discuss news happening in the industry, blu-ray releases coming out this week, what they’ve been watching, and then a review of one movie. You can listen to it on SoundCloud, iTunes, or on BagoGames. Also follow us on Instagram for some behind-the-scenes magic. We are both on Twitter, if you’d like to follow us there. Chris is @HammerkopCross, Dylan is @DreaminDylanS, and you can follow the podcast @Filmfalloutcast. And finally, there is a Facebook page for the podcast if you’d like to ‘like’ us on that.

Netflix's original film A Futile and Stupid Gesture premieres today with one of the best comedic casts since Animal House and Caddyshack. (Also, it’s about the making of Animal House and Caddyshack.) Actor Matt Walsh and producer Jonathan Stern talk about the Doug Kenney biopic. --- Support this podcast: https://anchor.fm/consumed/support

Netflix NEWSUpdates on Netflix original content releasing this week and the announcements from last week.Netflix Originals Releasing This WeekTodd Glass: Act Happy (January 23)Netflix Comedy Special An American stand-up comedian originally from Philadelphia, widely known for his appearances as a contestant on the second and third seasons of NBC's Last Comic Standing. He's appeared on various talk shows. He has a podcast, The Todd Glass show.Watch the trailer Blockbuster (January 24)Netflix Distributed French Language MovieJeremy and Lola decide to film their everyday life in the style of a diary because Jeremy's father is bed ridden with cancer. When Lola discovers that it was a stunt Jeremy initiated, Jeremy will do anything to get her back.Ricardo Quevedo: Hay gente así [There Are People Like That] (January 24)Netflix Spanish Language Comedy SpecialA Colombian comedian and actor, recognized for starring in the movie Do You Know Who I am? and for the television program The Comedians of the Night.A Futile and Stupid Gesture (January 26)Netflix Original Movie Will Forte stars as Doug Kenney and Domhnall Gleason stars as Henry Beard during the rise of National Lampoon magazine. Focusing on the troubled life and career of Kenney, the National Lampoon influenced comedy in America in the ’70s and ’80s.  Based on Josh Karp's book A Futile and Stupid Gesture: How Doug Kenney and National Lampoon Changed Comedy Forever, the movie was adapted by Michael Colton and John Aboud.Watch the trailer Dirty Money Season 1 (January 26)Netflix Distributed Documentary SeriesAn investigative series from Oscar award-winning director Alex Gibney, providing an up-close and personal view of a storytelling, scandal, and corruption in the world of business. The first-hand accounts from perpetrators and their victims a recombined with rarely-seen video footage.Watch the trailer Kavin Jay: Everybody Calm Down! (January 26)Netflix Comedy SpecialA stand-up comedian and co-host of The REDjam on Red FM. Llama Llama Season 1 (January 26)Netflix Kids SeriesBased on the award winning children's book, this animated series depicts the adventures of Llama and his family. Mama Llama is voiced by Jennifer Garner.One Day at a Time Season 2 (January 26)Netflix Original SeriesSeason 2 - 13 episodesA re-imagined version of the '70s series by the same name with a Cuban-American family, in this sit-com a divorced mother raises a teenage daughter and son with the help of her mother.Season 2 ConfirmedSeason 2 Date Announcement Watch the trailer Sebastián Marcelo Wainraich (January 26)Netflix Comedy SpecialA stand-up comedian and actor.The Adventures of Puss in Boots Season 6 (January 26)Netflix Kids SeriesThe swaggering swashbuckler defends the distressed and is always ready for adventure. Puss in Boots originally appeared in the Shrek films. Mau Nieto: Viviendo sobrio… desde el bar [Living Sober from the Bar] (January 26)Netflix Spanish Language Comedy SpecialA stand-up comedian.Netflix Trailers Queer Eye Season 1 trailer - February 7The Mechanism trailer - March 23Coach Snoop trailer - February 2The Alienist trailer - (Video not available in U.S.) Netflix Previews & VideosBlack Mirror Featurette - Arkangel Black Mirror Featurette - MetalheadBlack Mirror Featurette - CrocodileBlack Mirror Featurette - USS CallisterEverything Sucks! Date Announcement video - February 16 My Next Guest Needs No Introduction - Obama On Taking 30 Minutes to Put Together a LampMy Next Guest Needs No Introduction - Watch David Letterman Call President ObamaMy Next Guest Needs No Introduction - David Letterman Has Questions For President Obama She's Gotta Have It - The Art Behind the Artist The Crown - Prince Philip's World Tour Bright - World FeaturetteUgly Delicious - Ali Wong and David Chang video - February 23Step Sisters - Cultural Appropriation 101 Come Sunday video clip - April 13A Futile and Stupid Gesture - Performers videoNetflix News & AnnouncementsNetflix Acquires Sierra Burgess Is a Loser Starring Stranger Things Actress Shannon Purser Joel McHale to Host Weekly Netflix Unscripted Series Paul Bettany in Talks to Play Prince Philip in The Crown Season 3The Kominsky Method Casting NewsThe Kominsky Method More Casting News Mute Debuts February 23Castlevania Season 2 Coming Summer 2018Pokot Season 1 Polish Series Begins Filming in FebruaryComedian Mo'nique Unhappy with Netflix's Comedy Special OfferHype ListAltered Carbon Season 1 (February 2)Black Mirror Season 5 (2019, projected) Disenchantment Season 1 (2018)Dark Season 2 (2018, projected) Stranger Things Season 3 (2018, projected) The Witcher Season 1 (TBA) Ratched Season 1 (2019)Mindhunter Season 2 (2018) Arrested Development Season 5 (2018)The Umbrella Academy Season 1 (2018)

What should you do first, if you think your pet may have been poisoned… besides panic?  We’ll start today’s episode with a story about when I accidentally fed a toxic drug to my dog and a phone number you’ll want to post on your refrigerator. ASPCA Poison Control Hotline Phone number – 888-426-4435. Then, do you wonder if you need to have pet health insurance for your cat or dog? Dr. Doug Kenney, DVM, author of the book, Pet Health Insurance, A Veterinarians Perspective, poses two simple questions to ask yourself and then explains how to select a good company that meets your needs. There is also an online resource that helps you work through this step-by step, his Pet Insurance Tool kit.  Link: How to order his book. Link: Dr. Kenney’s Website. Link: Pet Health Insurance Tool Kit. Link: Podcast: Pet Insurance Guide.Plus, your dog may be communicating with you and other dogs, through doing a particular behavior. Find out what it is and increase your skills in reading your dog’s body language. And, why pouring your dry pet food from the bag it came in, into another can or bucket is not the best way to store the food. You could win 6-months of free NutriSource pet food by subscribing, rating and reviewing the podcast during our launch celebration. Find out how to enter the drawing. Here's where to enter: Raising Your Paws Website

Tripawds Podcast Episode #54: Please join us for another informative talk with special guest Dr. Doug Kenney, author of the Pet Insurance Toolkit - new and revised for 2016! See our previous Tripawd Tolk Radio podcast with Dr. Kenney: How to Choose the Best Pet Insurance Policy Dr. Doug Kenney is a practicing veterinarian in the Memphis, Tennessee area who is dedicated to helping pet parents choose the best health insurance policy for their companion animals. He is the author of the Pet Insurance Toolkit, a downloadable e-book that helps pet parents understand the ins and outs of pet insurance policies and choose the best policy for them. He also hosts a podcast show, The Pet Insurance Guide Podcast. Dr. Kenney's goal is to share a veterinarian’s perspective on pet insurance by highlighting things he feels are essential in a pet insurance policy, based on common conditions seen at the typical veterinarian’s office. He also provides a free, regular podcast that gets into the details of how pet insurance works. Join us in the Tripawds Chat Room during the show or post your questions in the discussion forums. Support the show (https://tripawds.com/support)

Looking at "The Big Short" and "Drunk Brilliant Stoned Dead" the story of the National Lampoon, and Doug Kenney

Looking at "The Big Short" and "Drunk Brilliant Stoned Dead" the story of the National Lampoon, and Doug Kenney

Douglas Tirola's outrageous documentary DRUNK STONED BRILLIANT DEAD: THE STORY OF THE NATIONAL LAMPOON, is an inside look at the rise and fall of the legendary humor magazine that launched dozens of careers and broke thousands of taboos. From the 1970s thru the 1990s, there was no hipper, no more outrageous comedy in print than The National Lampoon, the groundbreaking humor magazine that pushed the limits of taste and acceptability - and then pushed them even harder. Parodying everything from politics, religion, entertainment and the whole of American lifestyle, the Lampoon eventually went on to branch into successful radio shows, record albums, live stage revues and movies, including ANIMAL HOUSE and NATIONAL LAMPOON'S VACATION, launching dozens of huge careers on the way, including John Belushi, Chevy Chase, Christopher Guest, Richard Belzer, Gilda Radner, Brian Doyle-Murray, Bill Murray, Joe Flaherty, Harold Ramis, Michael O'Donoghue, Doug Kenney, Henry Beard, George W. S. Trow, Chris Miller, P. J. O'Rourke, Michael O'Donoghue, Chris Rush, Sean Kelly, Tony Hendra, Brian McConnachie, Gerald Sussman, Ellis Weiner, Danny Abelson, Ted Mann, Chris Cluess, Al Jean, Mike Reiss, Jeff Greenfield, and John Hughes. As well as cartoonists, photographers and illustrators appeared in the magazine's pages, including Neal Adams, Gahan Wilson, Michael Sullivan, Ron Barrett, Peter Bramley, Vaughn Bode, Bruce McCall, Rick Meyerowitz, M. K. Brown, Shary Flenniken, Bobby London, Edward Gorey, Jeff Jones, Joe Orlando, Arnold Roth, Rich Grote, Ed Subitzky, Mara McAfee, Sam Gross, Charles Rodrigues, Buddy Hickerson, B. K. Taylor, Birney Lettick, Frank Frazetta, Boris Vallejo, Marvin Mattelson, Stan Mack, Chris Callis, John E. Barrett, Raymond Kursar and Andy Lackow. Director Tirola tells the story of its rise and fall through fresh, candid interviews with its key staff, and illustrated with hundreds of outrageous images from the magazine itself (along with never-seen interview footage from the magazine's prime). Director Tirola stops by to talk about the supernova of comedic satire that was The Lampoon and its influential legacy. For news and updates go to: magpictures.com/nationallampoon

1075' – Shortage on the Colorado River is a CLIMAS podcast series that explores what the first ever shortage declaration on the Colorado River would mean to those living in the Southwest. In this episode, we take a broad view of the Colorado River Basin, exploring how the river is managed, who uses the water, and what a potential shortage could mean for the system. Our guest will be Doug Kenney, Director of the Western Water Policy Program at the University of Colorado School of Law. CLIMAS Member(s):   Ryan Thomas Zack Guido

In this episode, we take a broad view of the Colorado River Basin, exploring how the river is managed, who uses the water, and what a potential shortage could mean for the system. Our guest is Doug Kenney, Director of the Western Water Policy Program, a division of the Getches-Wilkinson Center for Natural Resources, Energy and the Environment, at the University of Colorado School of Law.

1075’ – Shortage on the Colorado River is a CLIMAS podcast series that explores what the first ever shortage declaration on the Colorado River would mean to those living in the Southwest. In this episode, we take a broad view of the Colorado River Basin, exploring how the river is managed, who uses the water, and what a potential shortage could mean for the system. Our guest will be Doug Kenney, Director of the Western Water Policy Program at the University of Colorado School of Law. CLIMAS Member(s):   Ryan Thomas Zack Guido

Is pet insurance important? Is your pet insured? Do you even know that there are insurance policies for pets? Pet insurance has been available for us for quite a while now. However, many of us don’t really understand how it works. Many don’t see the importance of getting one for their pets and most people probably see it as an extra expense. Is it worth it to get an insurance for your pet? I personally, am no expert in this area. So to help us understand more about this, I’ve invited Dr. Doug Kenney, a veterinarian from Tennessee, who has done a lot of research about pet insurance and has also created a guide in understanding and choosing a pet insurance. In this episode 1:29  Should you get pet insurance for your dog? 8:19  Percentage of the population with pet insurance 10:07  Pet insurance policies 13:35  Cat and dog policy differences 14:59  Factors that impact pet insurance premium 18:58  Differences in companies that offer pet insurance policies 24:50  Why get pet insurance? 26:08  First pet ever insured 27:24  Know what you’re buying 29:47  Best time to get pet insurance 33:26  Understand pet insurance 34:10  Plan in paying for your pet’s health care 39:48  Pet insurance tool kit 50:40  Training Tip: Poop Eaters Links Dr. Kenney’s website – http://www.petinsuranceguideus.com Pet Insurance Toolkit – http://www.petinsuranceguideus.com/pet-insurance-toolkit.html Free Office Suite – Open Office

Tripawds Podcast Episode #22: Please join us for an informative talk with special guest Dr. Doug Kenney, author of the Pet Insurance Toolkit. Dr. Doug Kenney is a practicing veterinarian in the Memphis, Tennessee area who is dedicated to helping pet parents choose the best health insurance policy for their companion animals. He is the author of the Pet Insurance Toolkit, a free downloadable book that helps pet parents understand the ins and outs of pet insurance policies. Dr. Kenney's goal is to share a veterinarian’s perspective on pet insurance by highlighting things he feels are essential in a pet insurance policy, based on common conditions seen at the typical veterinarian’s office. He also provides a free, regular podcast that gets into the details of how pet insurance works. For tips on choosing the best policy fo your pup, don't miss Dr Kenney's Pet Insurance Guide Podcast in the Tripawds Downloads blog! Join us in the Tripawds Chat Room during the show or post your questions in the discussion forums. Learn How to Choose a Pet Insurance Plan Support the show (https://tripawds.com/support)

This week co-host Susan Moran speaks with Dr. Doug Kenney, director of the Western Water Policy Program at the Natural Resources Law Center at the University of Colorado,  Boulder’s law school. Kenney sheds light on the Colorado River Compact and how population growth, climate change, and water politics, are expected to further threaten our future water supply. And Ted Burnham interviews skeptic and science writer Michael Shermer. His new book, “The Believing Brain,” presents a counter-intuitive explanation for how we form and reinforce our beliefs. Shermer draws on evidence from neuroscience, psychology and sociology to show that we often form beliefs first, and only then look for reasons to believe. Hosts: Susan Moran, Joel Parker Producer: Susan Moran Engineer: Joel Parker Listen to the show: