Podcasts about Driving Miss Daisy

The Oscars have come and gone, but TV Movie Night is celebrating the toast of Tinsel Town in the month of March as we discuss made-for-TV movies featuring Best Actor or Best Actress winners! First up, from 1991, it's "Driving Miss Daisy's" Jessica Tandy in "The Story Lady." Tandy stars as Grace, a retiree who becomes an overnight sensation for her incredible talent: reading public domain children's stories with minimal issue! This movie combines Mark and Andrew's love of public access television with the backroom dealings of corporate America. It's "UHF" with an Academy Award winner! Listen in, how about?

This week the Time Pals are going to the movies, only thistime they're playing their version of “Eff, Marry, Kill” with some the most questionable Best Picture winners from the 1990's. From bloated epics to forgettable dramas, join your pals as they break down which films didn't deserve their golden statues and, more importantly, find the films that truly needed some Oscar glory. Would you replace American Beauty with Man on theMoon? Are you the kind of person to dropkick Driving Miss Daisy for Batman? Are you a Thin Red Line apologist or are you wrong? Join us as we re-write Oscar history and do what our parents'generation didn't have the guts to do: Nominate Natural Born Killers. Got a movie you think deserved the gold? Let us know! And don't forget to subscribe, rate, and time pal responsibly. Find all our links and episodes at:⁠⁠⁠⁠https://beacons.ai/timepalspodcast⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/timepalspodcast/⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/@TimePalsPodcast/videos⁠⁠⁠⁠Contact Us at:⁠⁠⁠⁠Timepalspodcast@gmail.comJoin us at our new home on the ⁠⁠Mayday Media Network⁠⁠ (⁠https://maydaymedianetwork.com/⁠)  and be sure to check out all our new Pals everywhere you get your podcastsShadoSpartan's newest retro deep dives can be found here:⁠⁠⁠⁠⁠https://www.youtube.com/@ShadoSpartan44#podcasts #nerdculture #timepals #timepalspodcast #maydaymedianetwork #legendarysupplements #gamers #nostalgia #throwback #podcast  #Academy Awards #Oscars #Best Picture #1990s films #film analysis #cinematic debatesChapters00:00 Late Nights and Cheap Wine02:52 Revisiting the 1990 Best Picture Nominees06:12 Controversial Choices: What Should Have Been Nominated?08:49 The 1991 Academy Awards: A Battle of Classics11:45 1992: Animated vs. Live Action in Best Picture14:58 1993: Unforgiven and Its Competition17:56 1994: Jon Tries to Beat Schindler's List 33:49 Exploring Iconic Films: Kingdom Hearts and Tombstone34:18 Best Picture Nominees of 1995: A Deep Dive35:45 Pulp Fiction vs. Shawshank Redemption: A Cinematic Debate37:38 1995: Jon Defends Clerks39:31 1996: Babe to Slaughter 41:28 1997: Replacing The English Patient43:20 1998: Nickell Sinks the Titanic45:13 The Birdcage or Trainspotting?48:24 1999: The Battle of Saving Private Ryan vs The Thin Red Line58:10 2000 Academy Awards: American Beauty and The Green Mile

Trey and Blaine discuss Morgan Freeman and Jessica Tandy in a movie that is just barely a period piece.Support this show http://supporter.acast.com/99-years-100-films. Hosted on Acast. See acast.com/privacy for more information.

Jessica Tandy won the Best Actress Oscar for her role as an elderly Jewish widow in 1989's Driving Miss Daisy. Tandy and Morgan Freeman gave us a complicated decades-long friendship; a friendship challenged by bigotry, illiteracy, and Patti LuPone. The film would go on to win Best Picture of the year. But now, decades later, did this sorta-simple story deserve all its accolades? Is the character of Hoke, by its sheer existence, offensive? And what does it say about a late-80's America when this flick is showered with awards and Spike Lee's racially charged Do the Right Thing is ignored? The Old Roommates hit the Piggly Wiggly and revisit it all through their middle-aged lens. Listen to this.Old Roommates can be reached via email at oldroommatespod@gmail.com. Follow Old Roommates on social media @OldRoommates for bonus content and please give us a rating or review!#DrivingMissDaisy #BruceBeresford #AlfredUhry #JessicaTandy #MorganFreeman #DanAykroyd #EstherRolle

SCOTT LOGSDON has written the book/lyrics for STICKS & STONES (with composer John McDaniel) which had a premiere concert starred Audra McDonald, Javier Muñoz, and George Salazar for Lady Gaga's Born This Way Foundation/BC/EFA; 12 DAYS TILL CHRISTMAS (with composer Dana P. Rowe, currently in development as a film with Jerry Mitchell attached); JOYCE JACKSON'S GUIDE TO DATING, (with composer Steve Marzullo) which premiered in Orlando and was seen in concert at 54 Below; AN AMERICAN COUNTRY CHRISTMAS CAROL (with various CMA winning and nominated composers) THE CRINOLYNNS and LOVE (r)EVOLUTION, a song cycle covering 120 years of LGBTQIA+ history, both written with Aaron Gandy. Both STICKS & STONES and JOYCE JACKSON won the Florida Theatrical Association's New Musical Discovery Competition. JOYCE was featured in the NAMT Composer's Concert Series and was a finalist for Richard Rodgers/ Jonathan Larson Awards. Scott has written Broadway specialty lyrics for Roundabout Theater Company's Tribute to Alec Baldwin (directed by Scott Ellis) and the GYPSY OF THE YEAR Competition for the LES MISERABLES company, as well as for notable performers including Jason Alexander. Logsdon was vetted by the Cole Porter estate to rewrite lyrics for the documentary, Fabulously Fake: The Real Life of Kenneth Jay Lane. With Dana P. Rowe, he wrote the theme song for the series Stars In the House. His non-musical plays include THE BOIS (an all-male, contemporary take on the classic play THE WOMEN), which received a staged reading at the Abbey in Orlando, and THE MOURNING AFTER (a dark comedy.) As an actor, he was an originating cast member in the LES MISÉRABLES national company. He's been seen in such roles as Thenardier, Sweeney Todd, Billy Bigelow, Che, El Gallo, and King Herod. He has performed across North America as a soloist with symphonies and as a guest star in the award-winning Sondheim Unplugged at 54 Below in New York City. His many directing credits include CHESS, THE FANTASTICKS, DRIVING MISS DAISY, THE GLASS MENAGERIE, and the southeastern premiere of SECRETS EVERY SMART TRAVELER SHOULD KNOW. He holds a degree in musical theatre from Shenandoah Conservatory and received a Distinguished Alumni Award for work in the field of musical theatre.   Aaron Gandy A specialist in American musical theater and American popular song, Aaron Gandy's concerts and recordings embrace the best of Broadway from Kern to Lloyd-Webber, while encompassing Swing, Jazz and the golden age of Hollywood. Recent recordings include the all-star Jule Styne In Hollywood (PS Classics) and the upcoming Busker Alley (Jay Records). In 2004 he conducted the premiere recording of Kay Swift's Fine & Dandy on PS Classics featuring Broadway's Carolee Carmello and HBO's Mario Cantone. Upcoming recordings include Alec Wilder's Miss Chicken Little (originally broadcast on CBS television in 1953) and a restoration of Walter Donaldson's jazz-age romp Whoopee! Regarded as a leading authority on composer Vincent Youmans, Mr. Gandy restored and conducted the premiere recording of Youmans' final Broadway score Through the Years starring Metropolitan Opera Soprano Heidi Grant Murphy. Mr. Gandy restored the original film orchestrations for Rodgers & Hammerstein's The King and I, and Irving Berlin's White Christmas. His restoration of the original film orchestrations for Rodgers & Hammerstein's Oklahoma! was performed by the Hollywood Bowl Orchestra in 1997. Mr. Gandy's Broadway credits include Disney's The Lion King, Urinetown, and Dora the Explorer Live! at Radio City Music Hall. He has concertized with The Chamber Music Society of Lincoln Center, The Chicago Humanities Festival, 42nd Street Moon, Cami Hall, San Francisco's 42nd Street Moon, The Museum of Television and Radio, Symphony Space, Tribeca Performing Arts Center and solo appearances with Davis Gaines, Leslie Uggams, Christianne Noll, Jerry Hadley, Jim Dale, Dick Hyman, Lainie Kazan and Glenn Close.

At the end of the 80s, the Oscars found themselves short on meaningful, artful, epics, tried to find some heartwarming story about ending racism, and settled for Driving Miss Daisy. Meanwhile, Hollywood began to pay attention to the worldwide box office instead of just the US, and we have our first split between domestic and international box office champions. Batman and Indiana Jones battled for box office supremacy, and who are we to pick a favourite? Munsi Parker-Munroe returns to help Claire, Erin, and Dan dissect whether Driving Miss Daisy is actually a bad movie or just disliked as an Oscar winner, how Burton's Batman holds up, and whether Last Crusade is the best of the Indys (which Dan's Extra Credit Corner is here to rank). Crank the Batdance and come join us!Find all of our episodes and the rest of Writing Therapy Productions' various entertainments at www.writingtherapyproductions.com

Helen and Gavin chat about Agatha All Along, Megalopolis, and My Old Ass, and it's Week 31 of the list of Oscar Best Picture Winners from 1989 and 1990; Rain Man, and Driving Miss Daisy.

At one point in the 70's everyone was wearing clogs and in the 80's, we were handing out Best Picture awards to movies like, Driving Miss Daisy and calling it a sign of progress.  So it's a good idea to check in with your once loved cultural artifacts to make sure you aren't still listening to Jesus Jones or defending Dan Brown books . In that vein, Tom and Azed discuss two movies they both used to really like and now feel a bit less enthusiastic about. Oddly, and completely randomly, both of us chose movies by Kubrick: Lolita (1962) and The Shining (1980).  We discuss the difficulty in translating good books to film, the limits of interpretation, and Kubrick's pattern of focusing on what has been called "the banality of evil".  Tom also gives us an update on some of his favourite screenings at this years TIFF. 

SEASON 2 - EPISODE 107 - PETER JAMES - CINEMATOGRAPHER On this episode of the Team Deakins Podcast, cinematographer Peter James (MAO'S LAST DANCER, BLACK ROBE, DRIVING MISS DAISY) joins us to talk about his career. Growing up in Sydney, Australia, Peter spent five years in his youth working at a small studio working on commercials and local television programs before finding his to working on features. Peter shares his process for overcoming his dyslexia to break down scripts, and at one point in the conversation, he even teaches us a new lighting trick. Peter later discusses how he and the crew battled the elements to shoot the colonial-era set BLACK ROBE on location in the Canadian wilderness. Towards the end, we conduct some forensics on Peter's IMDb page, and we reflect on the power of the inverse-square law. - Recommended Viewing: BLACK ROBE - This episode is sponsored by Aputure

Originally aired as episode 200 on April 5, 2022. With a remarkable 14 nominations and six wins across the Emmys, Grammys, Olivier, and Tony Awards, Patti LuPone is a force in the entertainment industry. Her illustrious career includes 27 Broadway credits, most notably her Tony Award-winning roles as Eva Perón in Evita and Rose in the 2008 revival of Gypsy. Other significant Broadway appearances include Anything Goes, Sweeney Todd, Noises Off, Women on the Verge of a Nervous Breakdown, War Paint, Working, Oliver!, The Robber Bridegroom, and The Beggar's Opera. LuPone has also made her mark on the London stage, originating roles in Les Misérables, The Cradle Will Rock, Sunset Boulevard, and starring in the West End revival of Company. Beyond the stage, her extensive career in television and film includes performances in Driving Miss Daisy, Frasier, Will & Grace, Ugly Betty, 30 Rock, Glee, American Horror Story, Girls, Penny Dreadful, and Life Goes On. A versatile performer, LuPone has also lent her talents to voiceover work, cabaret performances, and regular appearances with the New York Philharmonic, contributing to 22 albums. She is the first American to win an Olivier Award and has been inducted into the American Theater Hall of Fame. Currently, she stars in the Broadway revival of Company. In this episode, LuPone reflects on her introduction to Gypsy, recalling her role as Louise in high school, and shares the story of how she was once banned from working on any of Arthur Laurents' projects before ultimately winning a Tony Award for her portrayal of Rose. She opens up about the challenges she faced during the COVID-19 shutdown, discussing how the lack of purpose impacted her deeply. She also highlights the strong sense of camaraderie and support among the cast and crew of Company, forged through their shared experiences during the pandemic. LuPone delves into her rehearsal process, explaining why she completes all her preparation in the rehearsal room so that she and the audience can enjoy the spontaneity and energy of live performance. Additionally, she reveals why she makes it a point to look at the audience every night. In this episode, we discuss: Being one of the first students in Juilliard's School of Drama in the 1970s Her Marilyn Monroe impression at three years old The joy she finds in eliciting laughter from an audience The “Italian blast” and her unapologetic lack of a filter The infamous “Andrew Lloyd Webber memorial pool” Her frustration with producers who underestimate the intelligence of their audience Connect with Patti: Twitter: @pattilupone IG: @pattilupone Web: pattilupone.com Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Learn more about your ad choices. Visit megaphone.fm/adchoices

pWotD Episode 2687: James Earl Jones Welcome to Popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 1,070,030 views on Monday, 9 September 2024 our article of the day is James Earl Jones.James Earl Jones (January 17, 1931 – September 9, 2024) was an American actor known for his film roles and for his work in theatre. Jones has been described as "one of America's most distinguished and versatile" actors for his performances on stage and screen. He has also been called "one of the greatest actors in American history". He was inducted into the American Theater Hall of Fame in 1985. He was honoured with the National Medal of Arts in 1992, the Kennedy Center Honor in 2002, the Screen Actors Guild Life Achievement Award in 2009, and the Honorary Academy Award in 2011.Born in Arkabutla, Mississippi in 1931, he had a stutter since childhood. Jones said that poetry and acting helped him overcome the challenges of his disability. A pre-med major in college, he served in the United States Army during the Korean War before pursuing a career in acting. His deep voice was praised as a "stirring basso profondo that has lent gravel and gravitas" to his projects. Jones made his Broadway debut in 1957 in Sunrise at Campobello (1957). He gained prominence for acting in numerous productions with Shakespeare in the Park including Othello, Hamlet, Coriolanus, and King Lear. Jones worked steadily in theatre, winning the Tony Award for Best Actor in a Play for his role as a boxer in The Great White Hope (1968), which he reprised in the 1970 film adaptation, earning him Academy Award and Golden Globe nominations.Jones won his second Tony Award for Best Actor in a Play for his role as a working class father in August Wilson's Fences (1987). He was a Tony award nominee for his roles as the husband in Ernest Thompson's On Golden Pond (2005) about an ageing couple, and as a former president in the Gore Vidal play The Best Man (2012). His other Broadway performances included Cat on a Hot Tin Roof (2008), Driving Miss Daisy (2010–2011), You Can't Take It with You (2014), and The Gin Game (2015–2016). He received a Special Tony Award for Lifetime Achievement in 2017.Jones made his film debut in Stanley Kubrick's Dr. Strangelove (1964). He received a Golden Globe Award nomination for Claudine (1974). Jones gained international fame for his voice role as Darth Vader in the Star Wars franchise, beginning with the original 1977 film. Jones' other notable roles include parts in Conan the Barbarian (1982), Matewan (1987), Coming to America (1988), Field of Dreams (1989), The Hunt for Red October (1990), The Sandlot (1993), and The Lion King (1994). Jones reprised his roles in Star Wars media, The Lion King (2019), and Coming 2 America (2021). On television, Jones won two Primetime Emmy Awards for his roles in TNT thriller film Heat Wave (1990) and the crime series Gabriel's Fire (1991). He was Emmy-nominated for East Side West Side (1963), By Dawn's Early Light (1990), Picket Fences (1994), Under One Roof (1995), Frasier (1997), and Everwood (2004). He also acted in Roots (1977), Jesus of Nazareth (1977), and Homicide: Life on the Street (1997).This recording reflects the Wikipedia text as of 08:28 UTC on Tuesday, 10 September 2024.For the full current version of the article, see James Earl Jones on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Gregory.

(Originally published on August 25, 2002) On this encore presentation of Oscars Playback editors and experts Joyce Eng and Christopher Rosen close out the 1980s with the 1990 Oscars ceremony -- an infamous event where "Driving Miss Daisy" won Best Picture and "Do the Right Thing" wasn't even nominated. It's also the first time Billy Crystal hosted the Academy Awards -- and things didn't start off as smoothly as one might expect. Email us at slugfests@goldderby.com. Like what you hear? Leave a review whenever you listen to podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to the Instant Trivia podcast episode 1233, where we ask the best trivia on the Internet. Round 1. Category: Siegfrieds And Roys 1: In an 1870s ballet, Prince Siegfried falls in love with one of these graceful birds. Swan. 2: This singer took "Oh, Pretty Woman" to No. 1 in 1964. Roy Orbison. 3: This composer of the opera "Siegfried" also named his son Siegfried. Richard Wagner. 4: Before he became the "King of the Cowboys" on film, he formed the Sons of the Pioneers singing group. Roy Rogers. 5: In a Sir Walter Scott novel, this title character is an outlaw of the MacGregor clan. Rob Roy. Round 2. Category: A Triangle Scheme 1: After 1918, no one had an eye on the USS Cyclops, one of the first U.S. ships recorded missing in this mysterious region. the Bermuda Triangle. 2: 2 interlaced triangles make up this symbol of Judaism, which dates back more than 2,500 years. the Star of David. 3: The reciprocal of cosine, it's the ratio of line AC to line AB in the triangle here. secant. 4: Longfellow detailed a love triangle between Priscilla Mullins, John Alden and this guy in "The Courtship of" him. Miles Standish. 5: The regulation of sweatshops got heavier after the 1911 fire at this factory named for the blouses it made. the Triangle Shirtwaist Factory. Round 3. Category: The Civil War Years 1: War was raging when this holiday was 1st observed nationally, on the last Thursday in November 1863. Thanksgiving. 2: During his 1864 re-election bid, Lincoln said "It was not best to swap" these "while crossing the stream". horses. 3: This 4-word motto was first stamped on U.S. coins during the war, in 1864. In God We Trust. 4: U.S. diplomat Charles Francis Adams. this president's son, sought to keep the British neutral. John Quincy Adams. 5: "Little Women" author who became famous when letters she wrote as a Civil War nurse were published in 1863. Alcott. Round 4. Category: The Roles Of Morgan Freeman 1: 1989:Hoke Colburn, a chauffeur. Driving Miss Daisy. 2: 1994:Red Redding, a lifer at a Maine prison. The Shawshank Redemption. 3: 2014:Vitruvius (voice only). The Lego Movie. 4: 2013:Archie, visiting Sin City with 3 old, old pals. Last Vegas. 5: 2009:Nelson Mandela. Invictus. Round 5. Category: Nmoɋ-Ǝɋisԁ∩ 1: According to the proverb, 1 of these is "just a frown turned upside-down". smile. 2: In "Royal Wedding" we saw him dancing on the ceiling. Fred Astaire. 3: A 1918 24¢ U.S. stamp for this type of letter is valuable if the picture is upside-down. air mail. 4: Uncommon condition in which the temperature rises as you get higher in the atmosphere. inversion. 5: In 1980 this singer had a No. 1 hit with the following:"Upside down / Boy, you turn me / Inside out / And round and round / Upside down / Boy, you turn me / Inside out / And round and round...". Diana Ross. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

Ever wondered what it takes to reinvent yourself in the world of professional wrestling? Join us for a laugh-filled journey as Mac Davis and WWE Hall of Famer Teddy Long recount their own "Driving Miss Daisy" style 400-mile road trip. Our special guest, the ever-charismatic Matt Cardona, formerly known as Zack Ryder, joins the conversation to share his inspiring journey of rebranding and thriving in the independent wrestling scene. With heartfelt reflections on his WWE days, Matt underscores his determination to succeed on his own terms, drawing admiration from Teddy and Mac for his tenacity and creativity.In this captivating episode, we don't just stick to the stories; we dive into the nitty-gritty of managing an independent wrestling career. Matt opens up about the significance of self-promotion, the relentless hustle of overbooking, and his emotional journey from WWE superstar to indie sensation. We also explore a tantalizing hypothetical: what if Teddy Long joined GCW and faced off against Matt Cardona in an epic GM versus GM showdown? Full of laughter, insights, and a sprinkle of dream scenarios, this episode promises to be an inspiration for wrestling fans and aspiring talents alike.

Filmmaker, critic, video essayist and author Scout Tafoya joins the show to discuss the work of undersung journeyman Bruce Beresford and his brilliant 1991 film 'Black Robe', a story of faith, the frontier, and the church as a pernicious vestige of the European colonial project. Set amidst the 17th Century French conquests of North America in modern-day Quebec, the film follows the titular Black Robe, Father Laforgue, a Jesuit Missionary tasked with bringing Christianity to the indigenous populations of the region. As he ventures deep into Huron territory with his company of Algonquin guides, the limits of his faith and reason are tested, as it becomes clear that his beliefs and the promises they supposedly carry can find no purchase with a people who have no need for them. Greenlit in the wake of the success of 'Dances With Wolves' and cashing in on an exceptional amount of goodwill Beresford had accrued after directing the Academy Award-winning 'Driving Miss Daisy', the film is a brilliant study of self-deception, and the profoundly human impulses of one's perceptions of the divine. We discuss Beresford as filmmaker, his history as a contemporary of Australian greats Peter Weir and George Miller, and why his work deserves an immediate and vast reappraisal. Then, we discuss 'Black Robe', its exacting observations of faith and imperialism, and its unusually sensitive and well-researched portrayals of indigenous American tribes. Finally, we talk about other films in the canon of great portrayals of faith and the frontier, including Michael Mann's gorgeous 'The Last of the Mohicans' and Martin Scorsese's late-period masterpiece 'Silence'. Follow Scout Tafoya on Twitter. Support Scout's video essay work and criticism on Patreon.Buy Scout's book 'But God Made Him a Poet: Watching John Ford in the 21st Century".Get access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish. 

Sit down with Alex Morris and Miranda, as they have a conversation about what it means to be a performer. Alex Morris is a long time television and stage performer, currently playing Hoke in Driving Miss Daisy at the George Theater. They take an honest look at the highs and lows that come with every show and performance. The responsibility we carry as storytellers and why we're truly blessed to do what we do!

In this episode we discuss the sixty-second Best Picture winner, Driving Miss Daisy, how it was the safest choice for race-related films from 1989, Morgan Freeman's breakout, Jessica Tandy's first Oscar Award, and Billy Crystal's exciting debut as host of the ceremony! -- Instagram: https://www.instagram.com/thanktheacademypodcast X: https://www.twitter.com/thankacademypod Email us your thoughts: thanktheacademypod@gmail.com --- Support this podcast: https://podcasters.spotify.com/pod/show/thank-the-academy/support

Take a trip with us through the Costume Shop, as we sit down with the lovely Samantha Patterson, Costume Shop Manager and the Costume Designer for Driving Miss Daisy at The George Theater! How does one get into costuming? What counts as historical wear? What is a dreamy dream world?  In OUR dreamy dream world, you like, share, and subscribe to the By George! Podcast. Please make our dreams come true! Driving Miss Daisy runs from April 17th - May 12th  DON'T MISS OUT! Get your tickets today! https://www.adplayers.org/driving-miss-daisy

Welcome to the Instant Trivia podcast episode 1165, where we ask the best trivia on the Internet. Round 1. Category: What Does It Prevent? 1: Higher-octane gasoline: this "kn"oise, partner of the dreaded pinging. knocking. 2: Bounce dryer sheets, symbolized by a tee shirt and a lightning bolt. static cling. 3: The compound levonorgestrel, in products like Mirena. pregnancy. 4: A living trust: this court procedure to carry out the terms of a will. probate. 5: Ladybugs and lacewings: these garden menaces also known as plant lice. aphids. Round 2. Category: Right Here In River City 1: 38 years before she lost her head, Marie Antoinette was born in this capital on the Danube River. Vienna. 2: Its 3,400-square-mile metropolitan area extends over 8 administrative units known as parishes. New Orleans. 3: Amsterdam is at the junction of the IJ and this river where you can enjoy the same-named beer. Amstel. 4: The area between this city's Allegheny and Monongahela Rivers is called the Golden Triangle. Pittsburgh. 5: 2 steamboats race annually on the Mississippi between St. Louis and this city about 700 miles away. New Orleans. Round 3. Category: So, What Have You Been Up To? 1: A picture of your new dog? Uh, that's this type of canine that's big in LA canyons. Is it in your house?. a coyote. 2: On coach Lionel Scaloni's staff for this team at the 2022 World Cup? I thought I saw you celebrating after the final. Argentina. 3: Wait, you became the leader of this Cabinet department that oversees the Transportation Security Admin.? When was that?!. the Department of Homeland Security. 4: In 2022 you were on the U.S. team that made the first nuclear this reaction resulting in a net energy gain... congrats!. fusion. 5: Becoming fluent in this artificial language constructed by a Polish oculist? Fabela! (Fabulous!). Esperanto. Round 4. Category: The Astronaut Hall Of Fame 1: State in which the Hall of Fame is located. Florida. 2: His historic 1962 orbital flight was marked by drama over a possibly loose heat shield. John Glenn. 3: While others moonwalked, this vehicle was piloted by Michael Collins on Apollo 11 and Ronald Evans on Apollo 17. the command module. 4: The other Mercury astronauts knew him as "Wally". Wally Schirra. 5: This astronaut's sunken Mercury capsule was recovered in 1999. Gus Grissom. Round 5. Category: Oscar Best Picture Partial Marquees 1: The thirdBest-Picture winner. All Quiet on the Western Front. 2: From 1993. Schindler's List. 3: Set in Atlanta. Driving Miss Daisy. 4: Directed by Ron Howard. A Beautiful Mind. 5: A 1971 thriller. The French Connection. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

It's Hollywood's biggest night and Saturday Night Jive is celebrating.  In honor of Robert Downey Jr. becoming the first SNL alum to win an Oscar we're talking about all the Saturday Night Live cast members who have ever been nominated for acting awards.  This gives us an opportunity to talk about some actually good movies that we would otherwise never cover on this show dedicated to the absolute worst of an actor's career.  We talk Oppenheimer, Chaplin, and Tropic Thunder for RDJ, Joan Cusack's two Oscar nominations with Working Girl and In & Out, Randy Quaid's early nomination for The Last Detail, Bill Murray in Lost In Translation, Dan Aykroyd bizarrely getting an Oscar nod for Driving Miss Daisy, Eddie Murphy losing for Dreamgirls to Alan Arkin, and SNL cast member for one episode only Laurie Metcalf in Lady Bird.  We also discuss the actual Oscar winners, the nominees, and who we would have voted for in each category.  Enjoy!Full archive of all podcast episodes available at saturdaynightjive.blogspot.comEmail us anything at saturdaynightjivepodcast@gmail.comDownload Here

This week Trae gets a crash course from Cho on all the wild drama surrounding the British royal family (with one minor divergence into weiner talk, natch), and in particular the AWOL Kate Middleton. Then, in light of last Sunday, they talk about the Oscars and some wild snubs/moments over the years..... Chapters and Takeaways below! Go to BlueChew.com and use the promo code POA to Get some FREE Blue Chew! Go to TraeCrowder.com to see Trae on the road, and BonusCorey.com to support Corey's dumbass financially for his contributions to humor and entertainment! Chapters 00:00 Introduction and Question about the Royal Family 01:07 The Mystery Surrounding Kate Middleton 03:05 Discussion about Circumcision 04:02 Circumcision in Jewish Culture 05:07 Personal Experiences with Circumcision 06:05 Controversy and Changing Attitudes towards Circumcision 07:30 Circumcision Rates in Different Countries 08:21 Similarities between Abrahamic Religions 09:19 Humor and Circumcision 10:43 Discussion about Corey's Baby's Circumcision 12:03 Different Terms for Uncircumcised Penises 13:31 Middle School Friends and Humor 15:14 Takeaway from the Conversation 16:29 Kate Middleton's Unlikely Involvement in Plastic Surgery 18:18 Kate Middleton's Family and Social Status 19:43 Photoshop Controversy and Conspiracy Theories 30:18 Photoshopped Picture of Kate Middleton 36:10 Discussion about the Oscars 43:08 Blockbusters and Best Picture 50:38 Leonardo DiCaprio and Martin Scorsese 55:16 Martin Scorsese's Oscar Snubs 58:05 The Departed and Rewatchable Movies 59:01 Legacy of Movies That Didn't Win Best Picture 01:00:48 Orson Welles and the Hollywood Elite 01:02:11 Controversial Best Picture Winners 01:03:03 The Worst Best Picture Winner 01:03:28 Spike Lee's Oscar Losses 01:04:23 Driving Miss Daisy and Green Book 01:05:21 John Cena's Oscar Appearance 01:06:14 The Oscars and Illuminati Conspiracy Theories 01:08:00 Al Pacino's Flub 01:09:25 Tarantino's Oscar Nominations 01:10:44 Tarantino's Loss to Argo 01:13:35 Once Upon a Time in Hollywood 01:14:32 The Irishman and Joker 01:15:26 The Stacked Year of the Oscars 01:20:27 Rewatchability and Comedy in Movies 01:22:41 The Russian Repair Ship Calm Chatka 01:24:58 Puritanical Buckle Blood with a Side of Meatballs Takeaways The mystery surrounding Kate Middleton's absence from public events has led to various theories and speculations. Circumcision is a controversial topic, with attitudes and practices varying across different cultures and countries. There are similarities between Abrahamic religions, and circumcision is often seen as a cultural and religious practice. Humor plays a role in discussing sensitive topics like circumcision, and middle school friends often engage in humorous banter. Photoshopped pictures of Kate Middleton have sparked controversy and conspiracy theories. Photoshopped pictures can cause controversy and speculation. The Oscars have changed over the years, with blockbusters less likely to win Best Picture. Leonardo DiCaprio and Martin Scorsese have consistently delivered great performances and films, but have faced snubs at the Oscars. The rewatchability of movies can vary, with some films being more enjoyable to watch multiple times. The legacy of movies that didn't win Best Picture can be affected by the films that beat them. The Oscars have a long history of controversial winners and snubs. Directors like Orson Welles and Spike Lee have faced challenges and losses at the Oscars. Some Best Picture winners have been criticized for their sentimentality and condescension. The Oscars can be influenced by politics, industry dynamics, and personal biases. Comedy and rewatchability are important factors in the success of movies. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week Trae gets a crash course from Cho on all the wild drama surrounding the British royal family (with one minor divergence into weiner talk, natch), and in particular the AWOL Kate Middleton. Then, in light of last Sunday, they talk about the Oscars and some wild snubs/moments over the years..... Chapters and Takeaways below! Go to BlueChew.com and use the promo code POA to Get some FREE Blue Chew! Go to TraeCrowder.com to see Trae on the road, and BonusCorey.com to support Corey's dumbass financially for his contributions to humor and entertainment! Chapters 00:00 Introduction and Question about the Royal Family 01:07 The Mystery Surrounding Kate Middleton 03:05 Discussion about Circumcision 04:02 Circumcision in Jewish Culture 05:07 Personal Experiences with Circumcision 06:05 Controversy and Changing Attitudes towards Circumcision 07:30 Circumcision Rates in Different Countries 08:21 Similarities between Abrahamic Religions 09:19 Humor and Circumcision 10:43 Discussion about Corey's Baby's Circumcision 12:03 Different Terms for Uncircumcised Penises 13:31 Middle School Friends and Humor 15:14 Takeaway from the Conversation 16:29 Kate Middleton's Unlikely Involvement in Plastic Surgery 18:18 Kate Middleton's Family and Social Status 19:43 Photoshop Controversy and Conspiracy Theories 30:18 Photoshopped Picture of Kate Middleton 36:10 Discussion about the Oscars 43:08 Blockbusters and Best Picture 50:38 Leonardo DiCaprio and Martin Scorsese 55:16 Martin Scorsese's Oscar Snubs 58:05 The Departed and Rewatchable Movies 59:01 Legacy of Movies That Didn't Win Best Picture 01:00:48 Orson Welles and the Hollywood Elite 01:02:11 Controversial Best Picture Winners 01:03:03 The Worst Best Picture Winner 01:03:28 Spike Lee's Oscar Losses 01:04:23 Driving Miss Daisy and Green Book 01:05:21 John Cena's Oscar Appearance 01:06:14 The Oscars and Illuminati Conspiracy Theories 01:08:00 Al Pacino's Flub 01:09:25 Tarantino's Oscar Nominations 01:10:44 Tarantino's Loss to Argo 01:13:35 Once Upon a Time in Hollywood 01:14:32 The Irishman and Joker 01:15:26 The Stacked Year of the Oscars 01:20:27 Rewatchability and Comedy in Movies 01:22:41 The Russian Repair Ship Calm Chatka 01:24:58 Puritanical Buckle Blood with a Side of Meatballs Takeaways The mystery surrounding Kate Middleton's absence from public events has led to various theories and speculations. Circumcision is a controversial topic, with attitudes and practices varying across different cultures and countries. There are similarities between Abrahamic religions, and circumcision is often seen as a cultural and religious practice. Humor plays a role in discussing sensitive topics like circumcision, and middle school friends often engage in humorous banter. Photoshopped pictures of Kate Middleton have sparked controversy and conspiracy theories. Photoshopped pictures can cause controversy and speculation. The Oscars have changed over the years, with blockbusters less likely to win Best Picture. Leonardo DiCaprio and Martin Scorsese have consistently delivered great performances and films, but have faced snubs at the Oscars. The rewatchability of movies can vary, with some films being more enjoyable to watch multiple times. The legacy of movies that didn't win Best Picture can be affected by the films that beat them. The Oscars have a long history of controversial winners and snubs. Directors like Orson Welles and Spike Lee have faced challenges and losses at the Oscars. Some Best Picture winners have been criticized for their sentimentality and condescension. The Oscars can be influenced by politics, industry dynamics, and personal biases. Comedy and rewatchability are important factors in the success of movies. Learn more about your ad choices. Visit podcastchoices.com/adchoices

They were in the Amazon with my mom when she was researching spiders right before she died... of cringe. This week we talk about where we've visited, living in Tacoma that one time, going to Arcola Illinois, Madame Web, the new poster for Bordelands, playing Call of Duty Modern Warfare 3, the new weird changes in Overwatch 2, the Superbowl with Spongebob, the new Deadpool and Wolverine trailer, the Quiet Place Day One trailer, Jon Stewart back for a day in The Daily Show, the X-Men 97 trailer, rewatching The Marvels, The General, Hercules, rewatching Looper, Driving Miss Daisy, Unforgiven, and The Sound of Freedom. JDON my SOUL! Site: https://podcasters.spotify.com/pod/show/deadpixelsoftheinternet Youtube: https://www.youtube.com/channel/UC6DRMrv0PIxafjvjWH9rT8g Spotify: https://open.spotify.com/show/6ROO69EAySRoc7Ag7SEtq7 Joe's Twitter: https://twitter.com/joerckpeko Lorne's Twitter: https://twitter.com/BrokenHexagram

Is there anyone who doesn't love actor Morgan Freeman? Star of iconic films like Driving Miss Daisy and The Shawshank Redemption, he's an Academy Award winner and the possessor of one the most recognizable voices in entertainment. As a celebrity with two divorces under his belt, he's definitely in our wheelhouse, but allegations - denied by all parties - that surfaced after his second divorce, and again during the trial of his granddaughter's murderer, leave a distinctly disturbing aftertaste to this one. Want early, ad-free episodes, bonus divorces, limited series, Zoom hangouts, and more? Join us at patreon.com/trashydivorces! Want a personalized message for someone in your life? Check us out on Cameo! Sponsors This episode is sponsored by BetterHelp. Visit BetterHelp.com/trashy today to get 10% off your first month. To advertise on our podcast, please reach out to sales@advertisecast.com or visit https://www.advertisecast.com/TrashyDivorces. Learn more about your ad choices. Visit podcastchoices.com/adchoices

While Something To Talk About takes a break, we are revisiting some of the most candid and revealing moments from the almost 50 guests who have joined us in conversation on this podcast over the past year.  If ever anyone needed proof that women are increasingly refusing to disappear from public life once they reach an age that would once have seen them supposedly past their “expiry date”, then they would find it in this sixth episode of the Something To Talk About summer series, And it's not just career success that so many Australian women are finding in their late forties, fifties, sixties and seventies - they are also discovering that with age comes, yes, wisdom, but also happiness, self-confidence and a sense of calm. Today's episode features four such women at the top of their game both professionally and personally, including Nicole Kidman, who says that at 56, she is revelling in making what she calls “teenage choices” when it comes to everything from the roles she chooses to the clothes that she wears.  Rebecca Gibney - who turns 60 at the end of this year but often still thinks she's 35 years old, declares that she is still acting by the age of 90, she plans to be less Driving Miss Daisy and more Betty White. Ahead of turning 50 later this year, Asher Keddie reflects on the hard won joys of working and living in a time when women's voices, and stories, are being listened to and celebrated more than ever -  while Liz Hayes, another fixture of Australian TV, reveals how she stared down sexism throughout her career to remain on screen much longer than she would have ever thought possible when starting out as a young reporter.  Hear the full conversation with each of the four guests featured in this episode here: Listen to Nicole Kidman here.  Listen to Liz Hayes here.  Listen to Asher Keddie here.  Listen to Rebecca Gibney here. Something To Talk About will return with brand new episodes very soon Find more from Stellar via Instagram @stellarmag See omnystudio.com/listener for privacy information.

This week on the season finale of And the Runner-Up Is, Kevin welcomes back Fritz, of Fritz and the Oscars, to discuss the 1989 Oscar race for Best Actress, where Jessica Tandy won for her performance in "Driving Miss Daisy," beating Isabelle Adjani in "Camille Claudel," Pauline Collins in "Shirley Valentine," Jessica Lange in "Music Box," and Michelle Pfeiffer in "The Fabulous Baker Boys." We discuss all of these nominated performances and determine who we think was the runner-up to Tandy.  0:00 - 9:56 - Introduction 9:57 - 32:56 - Isabelle Adjani 32:57 - 52:48 - Pauline Collins 52:49 - 1:11:06 - Jessica Lange 1:11:07 - 1:35:30 - Michelle Pfeiffer 1:35:31 - 1:58:20 - Jessica Tandy 1:58:21 - 2:58:31 - Why Jessica Tandy won / Twitter questions 2:58:32 - 3:03:51 - Who was the runner-up? Buy And the Runner-Up Is merch at https://www.teepublic.com/stores/and-the-runner-up-is?ref_id=24261! Support And the Runner-Up Is on Patreon at patreon.com/andtherunnerupis! Follow Kevin Jacobsen on Twitter Follow Fritz on Twitter and YouTube Follow And the Runner-Up Is on Twitter and Instagram Theme/End Music: "Diamonds" by Iouri Sazonov Additional Music: "Storming Cinema Ident" by Edward Blakeley Artwork: Brian O'Meara

She has starred in not just one, but several of Australia's most iconic and beloved TV shows of all time – with a cabinet full of Logie Awards to prove it. So what is the secret to Rebecca Gibney's success? According to the woman herself, the answer is kindness. She recalls being told as a young actor by a co-star that the best advice he could give her to build a long term career was to treat everyone with respect. “Sometimes I'm not the best actor for the job,” Rebecca insists in this interview with Something To Talk About, “but I know people will employ me because they'll go: she's going to show up on time, she's going to know her lines and she's going to be kind.”It's an attitude that has not only helped the Packed to the Rafters star become one of the most popular and acclaimed actors in the country, but has served her well offscreen, too. As she explains in this episode, kindness and a lack of ego has played a key role in her marriage, helped her navigate the trauma of a childhood shaped by domestic violence, kept her grounded in her faith and taught her the value of being a little kinder to herself.As someone who has been open about mental health struggles and family violence long before such issues became part of the national conversation, her honesty has had a profound impact on many – a candour she now extends to sharing make-up free selfies on social media to help make other women feel better about themselves. And as she looks ahead to celebrating her 60th birthday next year, she gets frank about what she calls the “privilege” of growing older. So what does she think of the famous joke that there are only three ages for women to play onscreen: babe, district attorney and Driving Miss Daisy? You can see Rebecca in the Stan Original Series, Prosper premiering January 2024 on Stan.  Find more from Stellar via Instagram @stellarmag or pick up a copy inside The Sunday Telegraph (NSW), Sunday Herald Sun (VIC), The Sunday Mail (QLD) and Sunday Mail (SA).See omnystudio.com/listener for privacy information.

Christ died to fulfill the Second Great Commandment — love your neighbor as yourself, and to enable us at last to fulfill it ourselves for all eternity! - SERMON TRANSCRIPT - I want to begin this sermon by speaking directly to all of you, who are my brothers and sisters in Christ. I feel a privilege this morning as a messenger of God to tell you that you are infinitely rich, and not only are you infinitely rich, you're getting richer by the day, and someday you're going to come into an infinite inheritance, the scope and magnitude of which I guarantee you underestimate. My task this morning as I begin this sermon is to give you a sense of that richness, the sense of that wealth, that inheritance. Imagine that I were a lawyer entrusted with the opening up of a sealed will, and you've been invited to come and hear as an heir what you're going to get. Imagine a fabulously wealthy business magnate has died, and you're part of the family, and I am going to read the will. I read your name, and I tell you that you stand to inherit millions of shares of blue-chip stock in a Fortune 500 company, thousands of bonds, shares in some oil fields in the Persian Gulf. The list goes on, and on and your mind starts to spin with the realization that all your financial problems are solved forever. That's not what's happening today. I'm not doing any of that, but I am telling you that if you're a Christian, you are an heir to a vast fortune of immeasurably, even infinitely, greater value than any of those things I just listed. Ephesians chapter 1 mentions the word “inheritance” three times. I was pondering that this morning. Ephesians 1:11 says, "In Christ, we have obtained an inheritance having been predestined according to the purpose of Him who works all things according to the counsel of His will, so that we who are the first to hope in Christ might be for the praise of His glory." The first mention of the word “inheritance" in Ephesians 1:11and then Ephesians 1:13, "In Him also, you also, when you heard the word of truth, the gospel of your salvation, having believed you are sealed in Him with the promised Holy Spirit who is a deposit guaranteeing your full inheritance until we acquire possession of it.” That's the second mention of inheritance and the gift of the Holy Spirit as a down payment, a payment or a foretaste of that full inheritance. But the one that really captivated me this morning, the reason I'm mentioning it to you now, is the third mention of the word “inheritance” in Ephesians chapter 1. Paul prays for the Ephesian Christians and, through Him, for all of us, that the eyes of our heart would be enlightened in order that we would know the hope to which He has called us, the riches of His glorious inheritance in the saints, and His incomparably great power for us who believe. That phrase captivates me this morning. That's why I'm even mentioning this whole concept to you today, the vast inheritance you have in the saints. Sometimes, when we're listing the various forms of wealth held by fabulously wealthy people, we talk about how they made their wealth and what their wealth was in. We use that kind of language, like we would say that Rockefeller made his money in oil. Carnegie made all his money in steel. Vanderbilt made his money in railroads, that kind of thing. Warren Buffett made his money in stocks. So what's our inheritance? According to Ephesians 1:18, our wealth is in saints. Your wealth is in the saints. I'm not going to have you do it, but look around, look left and right. That's your wealth, right there. Your brothers and sisters in Christ are part of your inheritance. You might say that's a little bit of a letdown. I was hoping for something better in heaven. You know that again and again, from this pulpit, I've preached that your genuine wealth is God. What you get when you go to heaven is, you get God. There are so many statements of this, so many pictures of this— the Levites didn't get an inheritance, but God was their inheritance. They represent all of us, I think. A beautiful statement in Genesis 15:1, "Fear not Abram, I am your shield. I am your very great reward." God is your reward. God is what you get. Heaven is all about God. Heaven is all about the glory of God. That's what you get. However, there are other verses that expand our sense of the inheritance. A simple one in the Sermon in the Mount is “blessed are the meek, for they will inherit the earth.” We don't just say, "God, we get the earth. We inherit the earth." There are many other such statements and Ephesians 1:18 is one of those. If you look at the earth, we, the redeemed, are going to get the earth. We're going to get not this cursed earth, but we get this earth, I believe, resurrected in a new form called the new heaven and new earth. You're going to get it. You're going to be an heir with Abraham of the earth, and that new heaven, new earth is going to shine with the glory of God. They're not separate. You get God in the form of the new heaven, the new earth, as He has made it beautiful, and His radiance and His glory will shine, for the earth is full of His glory, and it'll be even more evident in the new heaven, the new earth. So with that idea, go back to Ephesians 1:18, our inheritance is in the saints. We are rich in the saints. Our wealth will be in some part each other, and that is in a multitude greater than anyone could count from every tribe, language, people, and nation. That's why I say you are immeasurably wealthy, and you get wealthier every day because every day more people cross over from death to life, and they become part of your inheritance, and you get them just like they get you. I understand why you would feel a little bit disappointed in this because you know you're no great shakes. I'm not trying to insult you, but it's only recently that these words would be overtly true of you. Romans chapter 3, "There was no one righteous, not even one. No one who understands, no one who seeks God. All have turned away. They've together become worthless." Think about that word. Imagine a worthless inheritance, but that's what we were, but it is not what we are. We were at one time worthless, "There is no one who does good, not even one. Their throats are open graves, their tongues practice deceit. The poison of vipers is on their lips. Their mouths are full of cursing and bitterness. Their feet are swift to shed blood. Ruin in misery mark their ways, and the way of peace they do not know. There is no fear of God before their eyes." That's what you were. That's what I was, but it is not what I am, and it is not what I will be for all eternity. However, because of how terrible we are in our sin, it's not surprising, a little bit shocking, that one of the foremost philosophers of the 20th century in 1944, John-Paul Sartre, said famously, "Hell is other people." Hell is other people. Imagine being his friend and reading that. “Tell me, Jean-Paul, how you really feel about our friendship?” Hell is other people. What I'm saying today, based on Ephesians 1:18, is, heaven is other people. Think about that. Heaven is other people, in part, not in any way minimizing that God is our reward. Actually, it's because the glory of God is going to be shining in unique and beautiful ways through each of the redeemed that each one of them is part of your inheritance because each one of them will shine with the glory of God and of the Father in ways that will be special, unique, and beautiful, and I argue because I believe in a dynamic heaven in which you'll never be omniscient. You'll have a lot to learn. You haven't met most of your inheritance yet. You don't know them yet. You won't know them when you die. You'll meet them in heaven, and it's going to take a long, long, long, long time to meet them, as God in some sense says, "Have you considered My servant Job? Have you considered My servant so-and-so?" You will have the opportunity to consider each of your brothers and sisters and the glories of each one. At that time, the righteous will shine like the sun in the kingdom of their Father, and you are going to see how beautiful they are, how radiant they are, and how glorious they are. As it says in John chapter 3, "Everyone who lives by the lie does not come to the light for fear that his deeds will be exposed. But everyone who lives by the truth comes into the light so that it may be seen plainly that what he has done has been done through God." So each of their good works, which will have been perfected by the fire of Judgment Day and come through shining, each one of them will be a display of the glory of God in their lives. Their glories will be your glories, their honors will be your honors, their privileges will be your privileges because we're all part of one body, and when one part of the body is honored, the whole body is honored with it. You have a glorious inheritance in the saints, and it's getting richer every day, not just in the redemption of people crossing over from death to life but in the good works they're doing. They're enriching the kingdom of God every day, and so are you, by your good works. I believe that it's relevant to today's text because it is the perfect fulfillment of the second great commandment when we get to heaven. Our sin has made us constricted. We pull into ourselves. All we really care about is us. We pull in, and we become like a medieval castle with a moat and a drawbridge. The drawbridge is pulled up, and we're all about me, intensely committed to selfish me. That's what sin does to us. Redemption does the opposite. It makes us open and expansive to include others more and more and more so that others’ delights are our delights, others' blessedness becomes ours, and we get to live that out now by the power of the Spirit. The more we do, the more the glorious gospel of Jesus will be put on display. The more our church is characterized by that kind of heavenly openness and love in which we really genuinely delight in the blessedness of others, we're willing to sacrifice to make somebody else blessed, and we find delight, personal delight in somebody else's happiness, the more the gospel's going to shine in this church. I tell you, this region, this country needs it. This is a dark place, and we are put like a light up on a pedestal to shine in this dark place. We're a city on a hill. We're called to do this. “Behold how they love one another,” one of the ancient observers of Christians said. Or as Jesus said, "By this will all men know that you are my disciples, if you love one another." It's this open expansiveness that gets up out of self and includes another in our own happiness so that their blessedness is ours, their delight is ours. Years ago, I saw a movie that pictured this for me, and it depicted a love scene in the movie. It wasn't actually romantic at all, but it was between a man and a woman. It comes from the movie Driving Miss Daisy. Morgan Freeman plays an African-American man hired to drive around an older Jewish woman in the South a number of decades ago, and it depicts their budding relationship. It moves from employer-employee, eventually, at the end of the movie, to friends, just genuinely friends. Morgan Freeman is very elderly at this point, as is the woman Jessica Tandy plays. The woman is very old, she's in a nursing home, and maybe some mild dementia, et cetera. He goes to visit her at the nursing home, and she's sitting there. It's Thanksgiving time, and they have a conversation. They haven't seen each other in a number of years, they get reconnected, and she's not all there, but she definitely knows that he's with her, and she has a piece of pie in front of her that she hasn't started yet, and at some point he says, "Now you haven't eaten your pie." He starts to feed it to her, and as he feeds her each piece, the acting is just really excellent in this. As he feeds her each piece, it's like you can see him enjoying it as though he's enjoying it through her. The enjoyment of that pie is his. It's a beautiful scene, and I think it captures a little bit of what I think it means to love your neighbor as yourself, that you are expanded, your heart is expanded into the joy of someone else's joy. Or we could say negatively, "If someone else is suffering, you're suffering with them, and then to alleviate that suffering brings you delight." You're free now from that pain because you are so joined in your heart. That's what I think it means to love your neighbors yourself. Let's talk about the context. It's the last week of Jesus' life. He's already made the triumphal entry to the cries of “Hosanna.” He's cleared the Temple of its filthy money changers, and He continues his ministry of teaching and of healing there in the temple area. He's in the final stage of His life because His enemies are overtly, clearly plotting His death. They want to kill Him. The chief priest, the Scribes, the Pharisees, the Sadducees, the Herodians, they want to kill Him. They set up one trap after another. First, the Pharisees and Herodians, with their question on taxation, designed to get him in trouble with the Romans and get Him killed. Then the Sadducees, with their ridiculous question about resurrection, that case study with the man that had seven brothers and married to the one woman. Remember that? Then, along in Mark's Gospel, comes this expert in the law who seems different than them. He's a different spirit. I think he really genuinely wanted to know the answer that of all the commandments, which is the greatest, and Jesus's commendation of him is unusual. Jesus answers, "The most important one is this, 'Hear, O Israel, the Lord our God, the Lord is one. Love the Lord your God with all your heart, with all your soul, with all your mind, with all your strength.' The second is this, 'Love your neighbors yourself.' There is no commandment greater than these." In the last few sermons, we've looked at the first and Greatest Commandment, the vertical one, love God with all your heart, soul, mind, and strength. Now we're going to look at the second one. This commandment is an old commandment that's made new. It's an ancient commandment. Jesus is quoting the law of Moses, as He did with the first and greatest commandment. He's quoting again with the second commandment. It's Leviticus 19:18, "Do not seek revenge or bear a grudge against anyone among your people, but love your neighbor as yourself. I am the Lord." Love your neighbor as yourself. What does that mean? It's not, you have to first love yourself, and then you'll be able to love your neighbor. It's not that. In the sense of this verse, you already fanatically do love yourself. From infancy, you have been fanatically committed to yourself. The infant howling at 3:00 AM is loving him or herself. They can't articulate it, but that is what is going on. They have a need, they want it met. They're increasingly aware of a particular person who keeps meeting the need, and they want that person. They can't even say mama yet, but they are, from infancy, committed to self. This is innate. The command tells us to do for others what we've been doing all our lives for ourselves. One of the articulations of this is in marriage, and I think it makes it a little clearer exactly what this commandment entails in marriage. It says, "Husbands ought to love their wives as their own bodies. He who loves his wife, loves himself. After all, no one ever hated his own body, but he feeds and cares for it." That's a very practical explication of the Second Great Commandment in the context of marriage. It's very easy to see a very clear connection between the Second Great Commandment and the one Paul gives in marriage, but he specifically is very physical with it. The way the husband feeds and cares for his own body is the way he should look after his wife. I think we could say the same thing in general for our neighbor. Look how you care for yourself. When your stomach is growling and empty, you feed it. When your tongue is dry, you drink. When you have an itch, you scratch it, even if it's right between your shoulder blades and very difficult to reach. You do what you need to do to alleviate the pain. If you are in pain in any way, you alleviate it, you shift how you're sitting in your pew. If one part of your body is falling asleep or whatever, you're going to adjust to alleviate the pain. If your body is cold, you're going to put on a sweater. If it's hot, you're going to get into some AC and alleviate it. If it's raining, you seek shelter. You do this constantly. You've been doing this every day of your life, pretty much every moment of your life, from infancy. The way you've been doing that for yourself, do it for your neighbor, do it for everyone else. I. An Old Commandment Made New This is an ancient command—love your neighbor as you already do love yourself. But . . . we’re told a new commandment, a new command. Jesus said in John 13:34-35, after the foot washing, He said, "A new command I give you, love one another. As I have loved you, so you must love one another. By this will everyone know that you're My disciples if you love one another." It is effectively an old commandment made new, as John writes in 1 John 2:7-8, "Dear friends, I'm not writing you a new command but an old one which you've had from the beginning. This old command is the message you have heard. Yet I am writing you a new command. Its truth is seen in Him and in you because the darkness is passing and the true light is already shining." How is this old command, or ancient command, made new? Jesus is the answer. It's because of Jesus that this old command is now incarnated and it is made new. How is that? First, by Jesus's example; Jesus showed us how to love our neighbor as ourselves. He gave us a role model that we should imitate. He's the only one in history that has ever perfectly fulfilled this horizontal commandment. As we read Matthew, Mark, Luke, and John, we see all of His encounters with men and women and children and with everyone. We just have much information education now in what it looks like to love our neighbor as own self. Then we see it definitely in the atoning work of Jesus and the atonement of Jesus. Jesus said in general universal principle, John 15:13, "Greater love has no one than this, that he laid down his life for his friends. You are My friends if you do what I command you." The principle is laying down your life. Jesus's teaching tells us what it means to love our neighbor. Jesus's death on the cross is the perfect pinnacle of a human being loving his neighbors. It is a perfect pinnacle example of the Second Great Commandment being fulfilled. As it says in Romans 5:8, "God demonstrates His own love for us in this. While we're still sinners, Christ died for us." Jesus loved His enemies. He gave the infinite gift of Himself under the wrath of God so that we would not suffer eternity in hell. He cared about where we were heading. He cared about alleviating eternal suffering, and He was willing to take it into Himself so that we would be set free, and by gazing therefore at the example of Jesus and at the cross of Jesus. This is a new command. It's an ancient command made new now, and it's made new because the Spirit of Christ is in us working it. If you're a Christian, the Spirit of Jesus is in you, working this horizontal command so that you'll love your neighbor as yourself, and by the Spirit alone can we do it. We've seen this again and again in Ezekiel 36:26-27, "I'll give you a new heart and put a new spirit in you. I'll remove from you your heart of stone, and I'll give you a heart of flesh and I will put My Spirit in you and move you to follow My decrees and be careful to keep my laws." Consummated in the two Great Commandments., the Spirit of Christ is in us, moving us to love God with all of our heart, soul, mind, and strength and to love our neighbor as ourselves. That's what the Spirit is moving you to do if you're a Christian. Therefore, in Galatians 5:22, the first thing it says, "The fruit of the Spirit is love." That's what the Spirit does in you. When He's working in you, He makes you love. Only by the spirit of the indwelling Spirit of Christ can we truly love our neighbors. God is the source of that love, and He gives us that love that flows out vertically through us, then horizontally out by Christ's mediatorial work and by the linking, connecting work of the Holy Spirit of God. That's how it happens. 1 John 4:7-8, "Dear friends, let us love one another. For love comes from God. Everyone who loves has been born of God and knows God. Whoever does not love does not know God, because God is love.” There is a beautiful picture in Revelation 22 of the throne of God in the center of the new Jerusalem and the river of the water of life flowing eternally and endlessly generated from the throne, and out it flows. This river of the water of life is crystal clear. I don't think it's very difficult to say, it's also a river of love. So love just flows from God, for from Him, through Him, and to Him are all things. He is the source of love, and you cannot love, not like this, apart from Christ. "Love just flows from God, for from Him, through Him, and to Him are all things. He is the source of love, and you cannot love, not like this, apart from Christ." Let me stop and say to all of you, are you in Christ or are you apart from Christ? Have you received from Jesus Christ the forgiveness of your sins? Have you realized that you are that sinner described in Romans 3, that you are worthless and a viper, and on your way to hell? Jesus came to intervene, to save you, and to die into the wrath of God for your violation of God's laws. Have you come to that place and asked Him? Have you called in the name of the Lord for the forgiveness of your sins? If so, that the moment that happened, you received the gift of the indwelling Spirit of Christ. You began a career of love vertically, and horizontally. II. Love Defined Let's try to understand it. What is love? How will we understand love? We're going to go again to Jonathan Edwards, and Edwards taught us that the soul has two faculties. First, the ability to comprehend or understand things in the universe, including our neighbor, that we're able to understand. It has that capacity to study and know. Then secondly, to be inclined or disinclined to that thing that it studies and knows to a greater less degree, such as liking or loving or disliking and hating. The soul does this. This is what is designed to do by God. I pictured it in terms of a magnetic attraction like a bar magnet north-south attracted, and then, to a greater less degree is, that number line of affection, positive being liking on up to loving and the negative numbers being disliking onto hating. Therefore, I give this definition of love. Love is a heart attraction that results in cheerful, sacrificial action. Love is a heart attraction that results in cheerful, sacrificial action. First, it's heart attraction. Your heart is attracted to your neighbor. Your heart goes out to your neighbor and includes your neighbor within yourself. Therefore, it is not enough just to act. Many people say love is an action, and they're quoting a verse I'm about to quote. It's important that love is action, I get that, but first there has to be the heart attraction. If there's no heart in it, there's no love. You can give the utmost gift, the costliest gift, but if your heart isn't attracted, if it doesn't go out to your neighbor and yearn to bless that, and you don't find personal delight in it, it's nothing. 1 Corinthians 13:3, maybe, in some sense, one of the harshest verses in the Bible, "If I give all I possess to the poor and surrender my body to the flames but have not love, I gain nothing." Wow. I can't imagine a more amazing gift. The individual gave all of their worldly possessions to the poor and died, and they get nothing. Why? Because they didn't do it in love. It's incredible. What that means is, behind that is, there must be a heart attraction. There has to be a yearning to bless the person. My heart is linked to yours. Jonathan Edwards put it this way, "In some sense, the most benevolent, generous person in the world seeks his own happiness in doing good to others because he places his happiness in their good. His mind is so enlarged as to take them as it were into himself. Thus, when they're happy, he feels it. He partakes with them and is happy in their happiness." Isn't that beautiful? That's Morgan Freeman enjoying the pie through Jessica Tandy. That's what it is. My heart is going out. It's expanded and includes you. If you personally get no delight out of your service to your neighbor, you get nothing on Judgment Day. You have to enjoy doing it, delight in doing it. But there has to be an action. Now we get to that other verse I was mentioning. You can't just have really sweet feelings for everybody, and it never amounts to anything. 1 John 3:16-18, "This is how we know what love is. Jesus Christ laid down His life for us, and we ought to lay down our lives for our brothers. If anyone has material possessions and sees his brother in need but has no pity on them, how can the love of God be in that person? Dear children, let us not love with words or speech, but with actions and in truth." So you've got to have both sides of that equation. You got to put it together. You can't just have the sweet feelings and do nothing. You can't just do things and not have the feelings. It's together. But it has to be sacrificial actions, it’s got to cost you something. Isn't that what sacrifice is? David said, "I will not offer the Lord a sacrifice that costs me nothing." It's got to cost you. You can measure love by sacrifice. “Greater love has no one than this, that he laid down his life for his friends.” You see, it's a measurement, greater love. So the more the sacrifice, the more love has been revealed. Obviously, literally, to die for someone else is the greatest sacrifice anyone... It's the greatest thing you could ever do. But lesser gifts are sacrifices as well. You're giving of your time, of your energy, of your money. You're giving something that costs you something. You are in some way depleted because you gave to your neighbor, you made a sacrifice for them. But it has to be cheerful. So it's like, "Pastor, you put too much in the definition." But there are Bible verses behind each of these. What kind of giver does God love? God doesn't just love a giver, God loves a cheerful giver. 2 Corinthians 9:7, "Each of you should give..." He's talking about finances, "Each of you should give what he has determined in his heart to give, not reluctantly or under compulsion because God loves a cheerful giver." Therefore, Jesus was a cheerful giver on the cross. This is infinitely mysterious, but it's true. In Hebrews 12:2 it says, "We should fix our eyes on Jesus, the author and perfecter of our faith, who, for the joy that was set before Him, endured the cross scorning in shame and sat down at the right hand of God." He looked beyond the misery and the horror of the cross to the good thing that would come from it, the joy. What is that joy? His joy in saving a multitude from every tribe, language, people, and nation, so that they would be with Him and see His glory and spend eternity in heaven. This is my composite definition of love. Love is a heart attraction to another person that results in cheerful, sacrificial action on behalf of that person. "Love is a heart attraction to another person that results in cheerful, sacrificial action on behalf of that person." IV. What Love Is and Is Not Let's describe it a little more— what love is and what love is not. 1 Corinthians 13:4-8 describes negatively and positively what it is and is not, "Love is patient. Love is kind. It doesn't envy. It doesn't boast. It's not easily angered. It's not proud, it's not rude. It's not self-seeking. It keeps no record of wrongs. Love does not delight in evil, but rejoices with the truth. It always protects, always trust, always hopes, always perseveres. Love never fails." So love is patient, it puts up with a lot. It's long-suffering. It's kind. It freely does good things for people. There's a kindness to love. There's a gladness, a gentleness, a giving nature to love that is wrapped up in the word “kind”. There's a kindness to it. It doesn't envy. It's not jealous over the benefits given to others. There's no envy or jealousy. It is glad to see other people blessed and benefit. You're not in competition with them in that regard. It doesn't boast. It's not proud. This love that we're talking about here is actually a very humble thing. It's humble. It's not rude. Let's put it this way, it's well-mannered. There's just good manners to love. I think all that system of manners that parents teach their children, it's basically Second Commandment stuff. When you're at the table, you don't talk with your mouthful. All of those rules are preciousness of others, you’re caring about others. So it's not rude. It's not self-seeking. It doesn't constantly say, "What's in it for me?" We shouldn't misunderstand that. There should be heart desire. So there is something in it for me. I should desire it. But it's not that selfish, independent, "I want to get something whether you get anything or not." That's what self-seeking means. It's not easily angered. It has a short fuse, it doesn't fly off the handle quickly, and it keeps no record of wrongs. How difficult is that? I'm not remembering what you did to me last week. I'm ready to forgive because I've been forgiven much. It doesn't delight in evil. There's no schadenfreude. It seems like so much of the internet, so much of the digital media is delighting in other people's misfortune, finding humor in some bad thing that happens to another person. Love doesn't do that. That’s not loving. If we see somebody dragged down, we don't delight in it. We rejoice in the truth. What does that mean? Jesus is the truth. I rejoice to see Jesus come into somebody's life. I rejoice to see the Bible's truth flourishing. It delights in Christ and the Bible succeeding in the world and people living according to it. We love that. Then it always protects, always trust, always hopes, always perseveres. It never fails. It just stands with individuals, and it's there permanently. If you ask, what is love like and what is it not like? I would commend 1 Corinthians 13:4-8. How does it act? I can tell you how it does not act. It doesn't do any harm to the neighbor. Romans 13:9-10, "The commandments, 'You shall not commit adultery, you shall not murder, you shall not steal, you shall not covet.' And whatever other commandment there may be, are summed up in this one command, 'Love your neighbor as yourself.' Love does no harm to his neighbor. Therefore, love is the fulfillment of the law.” Remember, I talked a few weeks ago about there have to be negatives after prohibition? You can't just tell our corrupt generation, love is love. Just love how you feel. No, there's a bunch of prohibitions in the Bible, but what Paul says in Romans 13 is that all of those prohibitions are summed up in the positive command to love. Because love doesn't do any harm to the neighbor. So you shall not commit adultery. It is not loving to break up someone's marriage to be a homewrecker. That's not love. Paul talks about that in another place. Don't take advantage of your brother by winning over his wife. That's not love. That's damaging to him, stealing, damaging, taking his things. Those prohibitions are summed up in the statement “love”, because love doesn't do any harm. So that's what love does not do. We don't damage each other, hurt each other. That's where gossip and slander comes in. If I'm gossiping and slandering, I'm destroying somebody's reputation. What does love do? It acts in such a way that the individual is, in some way, blessed. You could do it negatively by alleviating suffering, positively by helping them grow and grace in the knowledge of Christ, bringing blessings into their lives materially, physically. A great statement is Jesus' depiction of Judgment Day in Matthew 25, "All the nations will be gathered before Him and He's going to separate the people one from another as the shepherd separates the sheep from the goats. He'll say to the sheep, the righteous on His right. He'll say, 'I was hungry, you gave Me something to eat. I was thirsty. You gave Me something to drink. I was a stranger, you invited Me in. I needed clothes, and you clothed Me. I was sick, and you looked after Me. I was in prison, and you came to visit Me.'" That's a whole list of actions that you can do out of love. Those are all Second Great Commandment actions, especially on the issue of alleviation of suffering. We Christians should care about suffering. We should care about all suffering, and we should desire to alleviate it. Next week, I'm going to preach on mercy ministry, on the Good Samaritan, and the alleviation of temporal suffering. I heard a long time ago, and I like this, we Christians care about the alleviation of all suffering, but especially eternal suffering. What is eternal suffering? It is the torment of hell. How could that torment be alleviated? There's only one way, by repentance and faith in Jesus Christ. How should we care about that? We should care whether people are going to hell or not. It should matter to us, and this is what I taught this past week, Romans 9:1-3. The apostle Paul said this, "I speak the truth in Christ. I'm not lying. My conscience confirms it in the Holy Spirit, that I have great sorrow and unceasing anguish. For I could wish that I myself were cursed and cut off from Christ for the sake of my own people, the nation of Israel." What is he saying? Saying, "I would be willing to give up my own salvation if they could be saved. I could wish that, but I can't because I'm not their mediator. I'm not their savior. That was already done by Jesus. But I'm telling you that's the level of my concern for them.” I believe that we don't witness, we don't share our faith like we should, because we don't grieve over lostness and over its ultimate destination like we should. We should ask God to give us a heart of grief and brokenness over lost people, the alleviation of eternal suffering. That's what it is. V. Heaven: Love Perfected As I close today, I just want to expand your mind and bring you into that heavenly realm that we're going to go to, that new heaven, new earth, that eternal state. When both of these commandments, the First and Second Commandment, will be consummated in each of us, how much are you looking forward to that? How beautiful is that world of love going to be when, at last, you'll finally love God with all of your heart, with all of your soul, with all of your mind, and with all of your strength, and you'll at last love all of your neighbors as yourself? And you're going to have a lot of neighbors. Revelation 7:9-10, "After this I looked, and there before me, it was a great multitude that no one could count, from every tribe and language and people in nation standing before the throne and the front of the lamb. They were wearing white robes and they were holding palm branches in their hands. They cried out in a loud voice, 'Salvation belongs to our God, who sits on the throne, and to the Lamb.'" Let's imagine that the thesis of my Heaven book is true. That you'll have a perfect mind and a perfect heart, but you'll never be omniscient. What that means is, you'll be able to learn things in heaven, and the central topic of heaven is the glory of God. The central and the greatest display ever there has ever been of the glory of God is in the redemption of His people by the blood of Jesus Christ. It's the greatest display of glory there ever has been, ever will be. How much of it did you know here on earth? A very, very tiny percent, 0.0001%. How much will you learn in heaven? Much. All of it. How long will it take? Forever. Imagine meeting a new brother or sister, one that lived 263 years before you. They'll be in heaven. He's not the God of the dead but of the living, and you'll meet them. How could you know them? You couldn't. But you'll meet them in heaven and imagine two things. You want to know two things. How were they saved, and how were they used? Imagine being so expansive in your love that you'll actually care about the answers. “Tell me your testimony. How long do we have? Okay, I'll give you two minutes.” It's not going to take two minutes to find out how God sovereignly saved each of your brothers and sisters in Christ, what He orchestrated providentially to bring messengers and evangelists into their lives, either through their family, through missionaries, or through an evangelists, and you're going to be enthralled because it is to the glory of God how they got saved. As the elder asked a couple verses later in Revelation, these in the white robes, "Who are they and where did they come from? You've got forever to answer that question. How awesome will that be? "So please tell me, how did God save you?" Imagine Jesus himself saying, "Let me tell you what I did in his life or her life." Then the second question, "How did God use them? What are their good works? What are their rewards?" Again, you're not in competition because if one part of the body is honored, the whole body will be honored with it. You're going to be delighting in their honors, performance, and privileges as though they were your own because we're part of one body. How awesome will that be? That is where we're heading, brothers and sisters. The more we can live it now, the better for the gospel here in the Raleigh-Durham-Chapel Hill area. Close with me in prayer. Father, thank You for the time we've had to just immerse ourselves in the Second Commandment. We know that it's for the failure of the Second Commandment that all the wars, dissensions, factions, divorces, fighting, and crimes have ever been committed. We thank You that You, Lord Jesus, by Your blood and by Your spirit, are the only remedy, and You are a perfect remedy. We thank You that You have made us rich now in each other, and You're making us richer by the day. Enable us, oh Lord, to love one another by the power of the Spirit to live out the gospel and put the gospel on display here in this region. In Jesus' name, amen.

Its not October 3rd, but thats ok. Got a bit of a doozy this week, Sony scrubs all mention of the KotoR Remake from their socails, and acts like its perfectly normal, several Ubisoft execs were arrested by French Police, and the French Govt. raids Nvidia, its a bad day to be in the French gaming industry. As the writers get back to work, SAG meets with the studios to try and negotiate their deal, as streamers seek to increase their rates yet again. Also we have a review of the Ahsoka season finale, as well as Gareth Edward's The Creator. We wrap up the show with our last list of 80s movies, this week, Drama.

Welcome nightshifters! Thanks for all the support! On this weeks episode of Last Nights Coffee with Chuck and Jon, Chuck adds to his pizza list with Poppin Pizza and Fireworks… Jon takes on a classic project in a Fury 3… they run through the Football Wrap Up with High School, SEC and the Falcons… they discuss the new documentary Kelce… #carterwatch2023 hits a milestone!.. the French can't even defeat bed bugs… then the guys review “Driving Miss Daisy” and what a classic it is… This Week in History followed by Meme of the week! It's another awesome episode!

I'm still up in Canada with the Candian Movie Crew guys Derek and Mark and we talk about an episode of a long lost, hard to find sitcom It's Garry Shandling's Show. Dan Aykroyd guest stars, along with Paul Winfield, in the last episode of the series which was a parody of Driving Miss Daisy. (I also, did that movie, check out that podcast after you listen to this one.) Derek and mark where thoroughly confused but gave us their opinions anyway!! Please support this podcast here, or with my Patreon page with the link below. This podcast can be found on Cross The Streams Media platform. www.patreon.com/scottwhite www.scottyblanco.com www.instagram.com/the_dan_aykroyd_podcast www.crossthestreamsmedia.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/scott-white/message Support this podcast: https://podcasters.spotify.com/pod/show/scott-white/support

This week, two old friends discuss this charming movie about two old friends.  Buckle up for Driving Miss Daisy.*Spoilers Ahead* Driving Miss Daisy (1989) - IMDb Jessica Tandy - Turner Classic Movies (tcm.com) Morgan Freeman - Turner Classic Movies (tcm.com) Driving Miss Daisy (5/9) Movie CLIP - Learning to Read (1989) HD - YouTube  Theme Music:  Happy Way to Start the Day By Pressmaster – license purchased on AudioJungle  

We finally complete our mini-series on the 1980s movies released by Miramax Films in 1989, a year that included sex, lies, and videotape, and My Left Foot. ----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 complete our look back at the 1980s theatrical releases for Miramax Films. And, for the final time, a reminder that we are not celebrating Bob and Harvey Weinstein, but reminiscing about the movies they had no involvement in making. We cannot talk about cinema in the 1980s without talking about Miramax, and I really wanted to get it out of the way, once and for all.   As we left Part 4, Miramax was on its way to winning its first Academy Award, Billie August's Pelle the Conquerer, the Scandinavian film that would be second film in a row from Denmark that would win for Best Foreign Language Film.   In fact, the first two films Miramax would release in 1989, the Australian film Warm Night on a Slow Moving Train and the Anthony Perkins slasher film Edge of Sanity, would not arrive in theatres until the Friday after the Academy Awards ceremony that year, which was being held on the last Wednesday in March.   Warm Nights on a Slow Moving Train stars Wendy Hughes, the talented Australian actress who, sadly, is best remembered today as Lt. Commander Nella Daren, one of Captain Jean-Luc Picard's few love interests, on a 1993 episode of Star Trek: The Next Generation, as Jenny, a prostitute working a weekend train to Sydney, who is seduced by a man on the train, unaware that he plans on tricking her to kill someone for him. Colin Friels, another great Aussie actor who unfortunately is best known for playing the corrupt head of Strack Industries in Sam Raimi's Darkman, plays the unnamed man who will do anything to get what he wants.   Director Bob Ellis and his co-screenwriter Denny Lawrence came up with the idea for the film while they themselves were traveling on a weekend train to Sydney, with the idea that each client the call girl met on the train would represent some part of the Australian male.   Funding the $2.5m film was really simple… provided they cast Hughes in the lead role. Ellis and Lawrence weren't against Hughes as an actress. Any film would be lucky to have her in the lead. They just felt she she didn't have the right kind of sex appeal for this specific character.   Miramax would open the film in six theatres, including the Cineplex Beverly Center in Los Angeles and the Fashion Village 8 in Orlando, on March 31st. There were two versions of the movie prepared, one that ran 130 minutes and the other just 91. Miramax would go with the 91 minute version of the film for the American release, and most of the critics would note how clunky and confusing the film felt, although one critic for the Village Voice would have some kind words for Ms. Hughes' performance.   Whether it was because moviegoers were too busy seeing the winners of the just announced Academy Awards, including Best Picture winner Rain Man, or because this weekend was also the opening weekend of the new Major League Baseball season, or just turned off by the reviews, attendance at the theatres playing Warm Nights on a Slow Moving Train was as empty as a train dining car at three in the morning. The Beverly Center alone would account for a third of the movie's opening weekend gross of $19,268. After a second weekend at the same six theatres pocketing just $14,382, this train stalled out, never to arrive at another station.   Their other March 31st release, Edge of Sanity, is notable for two things and only two things: it would be the first film Miramax would release under their genre specialty label, Millimeter Films, which would eventually evolve into Dimension Films in the next decade, and it would be the final feature film to star Anthony Perkins before his passing in 1992.   The film is yet another retelling of the classic 1886 Robert Louis Stevenson story The Strange Case of Doctor Jekyll and Mister Hyde, with the bonus story twist that Hyde was actually Jack the Ripper. As Jekyll, Perkins looks exactly as you'd expect a mid-fifties Norman Bates to look. As Hyde, Perkins is made to look like he's a backup keyboardist for the first Nine Inch Nails tour. Head Like a Hole would have been an appropriate song for the end credits, had the song or Pretty Hate Machine been released by that time, with its lyrics about bowing down before the one you serve and getting what you deserve.   Edge of Sanity would open in Atlanta and Indianapolis on March 31st. And like so many other Miramax releases in the 1980s, they did not initially announce any grosses for the film. That is, until its fourth weekend of release, when the film's theatre count had fallen to just six, down from the previous week's previously unannounced 35, grossing just $9,832. Miramax would not release grosses for the film again, with a final total of just $102,219.   Now when I started this series, I said that none of the films Miramax released in the 1980s were made by Miramax, but this next film would become the closest they would get during the decade.   In July 1961, John Profumo was the Secretary of State for War in the conservative government of British Prime Minister Harold Macmillan, when the married Profumo began a sexual relationship with a nineteen-year-old model named Christine Keeler. The affair was very short-lived, either ending, depending on the source, in August 1961 or December 1961. Unbeknownst to Profumo, Keeler was also having an affair with Yevgeny Ivanov, a senior naval attache at the Soviet Embassy at the same time.   No one was the wiser on any of this until December 1962, when a shooting incident involving two other men Keeler had been involved with led the press to start looking into Keeler's life. While it was never proven that his affair with Keeler was responsible for any breaches of national security, John Profumo was forced to resign from his position in June 1963, and the scandal would take down most of the Torie government with him. Prime Minister Macmillan would resign due to “health reasons” in October 1963, and the Labour Party would take control of the British government when the next elections were held in October 1964.   Scandal was originally planned in the mid-1980s as a three-part, five-hour miniseries by Australian screenwriter Michael Thomas and American music producer turned movie producer Joe Boyd. The BBC would commit to finance a two-part, three-hour miniseries,  until someone at the network found an old memo from the time of the Profumo scandal that forbade them from making any productions about it. Channel 4, which had been producing quality shows and movies for several years since their start in 1982, was approached, but rejected the series on the grounds of taste.   Palace Pictures, a British production company who had already produced three films for Neil Jordan including Mona Lisa, was willing to finance the script, provided it could be whittled down to a two hour movie. Originally budgeted at 3.2m British pounds, the costs would rise as they started the casting process.  John Hurt, twice Oscar-nominated for his roles in Midnight Express and The Elephant Man, would sign on to play Stephen Ward, a British osteopath who acted as Christine Keeler's… well… pimp, for lack of a better word. Ian McKellen, a respected actor on British stages and screens but still years away from finding mainstream global success in the X-Men movies, would sign on to play John Profumo. Joanne Whaley, who had filmed the yet to be released at that time Willow with her soon to be husband Val Kilmer, would get her first starring role as Keeler, and Bridget Fonda, who was quickly making a name for herself in the film world after being featured in Aria, would play Mandy Rice-Davies, the best friend and co-worker of Keeler's.   To save money, Palace Pictures would sign thirty-year-old Scottish filmmaker Michael Caton-Jones to direct, after seeing a short film he had made called The Riveter. But even with the neophyte feature filmmaker, Palace still needed about $2.35m to be able to fully finance the film. And they knew exactly who to go to.   Stephen Woolley, the co-founder of Palace Pictures and the main producer on the film, would fly from London to New York City to personally pitch Harvey and Bob Weinstein. Woolley felt that of all the independent distributors in America, they would be the ones most attracted to the sexual and controversial nature of the story. A day later, Woolley was back on a plane to London. The Weinsteins had agreed to purchase the American distribution rights to Scandal for $2.35m.   The film would spend two months shooting in the London area through the summer of 1988. Christine Keeler had no interest in the film, and refused to meet the now Joanne Whaley-Kilmer to talk about the affair, but Mandy Rice-Davies was more than happy to Bridget Fonda about her life, although the meetings between the two women were so secret, they would not come out until Woolley eulogized Rice-Davies after her 2014 death.   Although Harvey and Bob would be given co-executive producers on the film, Miramax was not a production company on the film. This, however, did not stop Harvey from flying to London multiple times, usually when he was made aware of some sexy scene that was going to shoot the following day, and try to insinuate himself into the film's making. At one point, Woolley decided to take a weekend off from the production, and actually did put Harvey in charge. That weekend's shoot would include a skinny-dipping scene featuring the Christine Keeler character, but when Whaley-Kilmer learned Harvey was going to be there, she told the director that she could not do the nudity in the scene. Her new husband was objecting to it, she told them. Harvey, not skipping a beat, found a lookalike for the actress who would be willing to bare all as a body double, and the scene would begin shooting a few hours later. Whaley-Kilmer watched the shoot from just behind the camera, and stopped the shoot a few minutes later. She was not happy that the body double's posterior was notably larger than her own, and didn't want audiences to think she had that much junk in her trunk. The body double was paid for her day, and Whaley-Kilmer finished the rest of the scene herself.   Caton-Jones and his editing team worked on shaping the film through the fall, and would screen his first edit of the film for Palace Pictures and the Weinsteins in November 1988. And while Harvey was very happy with the cut, he still asked the production team for a different edit for American audiences, noting that most Americans had no idea who Profumo or Keeler or Rice-Davies were, and that Americans would need to understand the story more right out of the first frame. Caton-Jones didn't want to cut a single frame, but he would work with Harvey to build an American-friendly cut.   While he was in London in November 1988, he would meet with the producers of another British film that was in pre-production at the time that would become another important film to the growth of the company, but we're not quite at that part of the story yet. We'll circle around to that film soon.   One of the things Harvey was most looking forward to going in to 1989 was the expected battle with the MPAA ratings board over Scandal. Ever since he had seen the brouhaha over Angel Heart's X rating two years earlier, he had been looking for a similar battle. He thought he had it with Aria in 1988, but he knew he definitely had it now.   And he'd be right.   In early March, just a few weeks before the film's planned April 21st opening day, the MPAA slapped an X rating on Scandal. The MPAA usually does not tell filmmakers or distributors what needs to be cut, in order to avoid accusations of actual censorship, but according to Harvey, they told him exactly what needed to be cut to get an R: a two second shot during an orgy scene, where it appears two background characters are having unsimulated sex.   So what did Harvey do?   He spent weeks complaining to the press about MPAA censorship, generating millions in free publicity for the film, all the while already having a close-up shot of Joanne Whaley-Kilmer's Christine Keeler watching the orgy but not participating in it, ready to replace the objectionable shot.   A few weeks later, Miramax screened the “edited” film to the MPAA and secured the R rating, and the film would open on 94 screens, including 28 each in the New York City and Los Angeles metro regions, on April 28th.   And while the reviews for the film were mostly great, audiences were drawn to the film for the Miramax-manufactured controversy as well as the key art for the film, a picture of a potentially naked Joanne Whaley-Kilmer sitting backwards in a chair, a mimic of a very famous photo Christine Keeler herself took to promote a movie about the Profumo affair she appeared in a few years after the events. I'll have a picture of both the Scandal poster and the Christine Keeler photo on this episode's page at The80sMoviePodcast.com   Five other movies would open that weekend, including the James Belushi comedy K-9 and the Kevin Bacon drama Criminal Law, and Scandal, with $658k worth of ticket sales, would have the second best per screen average of the five new openers, just a few hundred dollars below the new Holly Hunter movie Miss Firecracker, which only opened on six screens.   In its second weekend, Scandal would expand its run to 214 playdates, and make its debut in the national top ten, coming in tenth place with $981k. That would be more than the second week of the Patrick Dempsey rom-com Loverboy, even though Loverboy was playing on 5x as many screens.   In weekend number three, Scandal would have its best overall gross and top ten placement, coming in seventh with $1.22m from 346 screens. Scandal would start to slowly fade after that, falling back out of the top ten in its sixth week, but Miramax would wisely keep the screen count under 375, because Scandal wasn't going to play well in all areas of the country. After nearly five months in theatres, Miramax would have its biggest film to date. Scandal would gross $8.8m.   The second release from Millimeter Films was The Return of the Swamp Thing. And if you needed a reason why the 1980s was not a good time for comic book movies, here you are. The Return of the Swamp Thing took most of what made the character interesting in his comic series, and most of what was good from the 1982 Wes Craven adaptation, and decided “Hey, you know what would bring the kids in? Camp! Camp unseen in a comic book adaptation since the 1960s Batman series. They loved it then, they'll love it now!”   They did not love it now.   Heather Locklear, between her stints on T.J. Hooker and Melrose Place, plays the step-daughter of Louis Jourdan's evil Dr. Arcane from the first film, who heads down to the Florida swaps to confront dear old once presumed dead stepdad. He in turns kidnaps his stepdaughter and decides to do some of his genetic experiments on her, until she is rescued by Swamp Thing, one of Dr. Arcane's former co-workers who got turned into the gooey anti-hero in the first movie.   The film co-stars Sarah Douglas from Superman 1 and 2 as Dr. Arcane's assistant, Dick Durock reprising his role as Swamp Thing from the first film, and 1980s B-movie goddess Monique Gabrielle as Miss Poinsettia.   For director Jim Wynorski, this was his sixth movie as a director, and at $3m, one of the highest budgeted movies he would ever make. He's directed 107 movies since 1984, most of them low budget direct to video movies with titles like The Bare Wench Project and Alabama Jones and the Busty Crusade, although he does have one genuine horror classic under his belt, the 1986 sci-fi tinged Chopping Maul with Kelli Maroney and Barbara Crampton.   Wynorski suggested in a late 1990s DVD commentary for the film that he didn't particularly enjoy making the film, and had a difficult time directing Louis Jourdan, to the point that outside of calling “action” and “cut,” the two didn't speak to each other by the end of the shoot.   The Return of Swamp Thing would open in 123 theatres in the United States on May 12th, including 28 in the New York City metro region, 26 in the Los Angeles area, 15 in Detroit, and a handful of theatres in Phoenix, San Francisco. And, strangely, the newspaper ads would include an actual positive quote from none other than Roger Ebert, who said on Siskel & Ebert that he enjoyed himself, and that it was good to have Swamp Thing back. Siskel would not reciprocate his balcony partner's thumb up. But Siskel was about the only person who was positive on the return of Swamp Thing, and that box office would suffer. In its first three days, the film would gross just $119,200. After a couple more dismal weeks in theatres, The Return of Swamp Thing would be pulled from distribution, with a final gross of just $275k.   Fun fact: The Return of Swamp Thing was produced by Michael E. Uslan, whose next production, another adaptation of a DC Comics character, would arrive in theatres not six weeks later and become the biggest film of the summer. In fact, Uslan has been a producer or executive producer on every Batman-related movie and television show since 1989, from Tim Burton to Christopher Nolan to Zack Snyder to Matt Reeves, and from LEGO movies to Joker. He also, because of his ownership of the movie rights to Swamp Thing, got the movie screen rights, but not the television screen rights, to John Constantine.   Miramax didn't have too much time to worry about The Return of Swamp Thing's release, as it was happening while the Brothers Weinstein were at the 1989 Cannes Film Festival. They had two primary goals at Cannes that year:   To buy American distribution rights to any movie that would increase their standing in the cinematic worldview, which they would achieve by picking up an Italian dramedy called, at the time, New Paradise Cinema, which was competing for the Palme D'Or with a Miramax pickup from Sundance back in January. Promote that very film, which did end up winning the Palme D'Or.   Ever since he was a kid, Steven Soderbergh wanted to be a filmmaker. Growing up in Baton Rouge, LA in the late 1970s, he would enroll in the LSU film animation class, even though he was only 15 and not yet a high school graduate. After graduating high school, he decided to move to Hollywood to break into the film industry, renting an above-garage room from Stephen Gyllenhaal, the filmmaker best known as the father of Jake and Maggie, but after a few freelance editing jobs, Soderbergh packed up his things and headed home to Baton Rouge.   Someone at Atco Records saw one of Soderbergh's short films, and hired him to direct a concert movie for one of their biggest bands at the time, Yes, who was enjoying a major comeback thanks to their 1983 triple platinum selling album, 90125. The concert film, called 9012Live, would premiere on MTV in late 1985, and it would be nominated for a Grammy Award for Best Long Form Music Video.   Soderbergh would use the money he earned from that project, $7,500, to make Winston, a 12 minute black and white short about sexual deception that he would, over the course of an eight day driving trip from Baton Rouge to Los Angeles, expand to a full length screen that he would call sex, lies and videotape. In later years, Soderbergh would admit that part of the story is autobiographical, but not the part you might think. Instead of the lead, Graham, an impotent but still sexually perverse late twentysomething who likes to tape women talking about their sexual fantasies for his own pleasure later, Soderbergh based the husband John, the unsophisticated lawyer who cheats on his wife with her sister, on himself, although there would be a bit of Graham that borrows from the filmmaker. Like his lead character, Soderbergh did sell off most of his possessions and hit the road to live a different life.   When he finished the script, he sent it out into the wilds of Hollywood. Morgan Mason, the son of actor James Mason and husband of Go-Go's lead singer Belinda Carlisle, would read it and sign on as an executive producer. Soderbergh had wanted to shoot the film in black and white, like he had with the Winston short that lead to the creation of this screenplay, but he and Mason had trouble getting anyone to commit to the project, even with only a projected budget of $200,000. For a hot moment, it looked like Universal might sign on to make the film, but they would eventually pass.   Robert Newmyer, who had left his job as a vice president of production and acquisitions at Columbia Pictures to start his own production company, signed on as a producer, and helped to convince Soderbergh to shoot the film in color, and cast some name actors in the leading roles. Once he acquiesced, Richard Branson's Virgin Vision agreed to put up $540k of the newly budgeted $1.2m film, while RCA/Columbia Home Video would put up the remaining $660k.   Soderbergh and his casting director, Deborah Aquila, would begin their casting search in New York, where they would meet with, amongst others, Andie MacDowell, who had already starred in two major Hollywood pictures, 1984's Greystoke: The Legend of Tarzan, Lord of the Apes, and 1985's St. Elmo's Fire, but was still considered more of a top model than an actress, and Laura San Giacomo, who had recently graduated from the Carnegie Mellon School of Drama in Pittsburgh and would be making her feature debut. Moving on to Los Angeles, Soderbergh and Aquila would cast James Spader, who had made a name for himself as a mostly bad guy in 80s teen movies like Pretty in Pink and Less Than Zero, but had never been the lead in a drama like this. At Spader's suggestion, the pair met with Peter Gallagher, who was supposed to become a star nearly a decade earlier from his starring role in Taylor Hackford's The Idolmaker, but had mostly been playing supporting roles in television shows and movies for most of the decade.   In order to keep the budget down, Soderbergh, the producers, cinematographer Walt Lloyd and the four main cast members agreed to get paid their guild minimums in exchange for a 50/50 profit participation split with RCA/Columbia once the film recouped its costs.   The production would spend a week in rehearsals in Baton Rouge, before the thirty day shoot began on August 1st, 1988. On most days, the shoot was unbearable for many, as temperatures would reach as high as 110 degrees outside, but there were a couple days lost to what cinematographer Lloyd said was “biblical rains.” But the shoot completed as scheduled, and Soderbergh got to the task of editing right away. He knew he only had about eight weeks to get a cut ready if the film was going to be submitted to the 1989 U.S. Film Festival, now better known as Sundance. He did get a temporary cut of the film ready for submission, with a not quite final sound mix, and the film was accepted to the festival. It would make its world premiere on January 25th, 1989, in Park City UT, and as soon as the first screening was completed, the bids from distributors came rolling in. Larry Estes, the head of RCA/Columbia Home Video, would field more than a dozen submissions before the end of the night, but only one distributor was ready to make a deal right then and there.   Bob Weinstein wasn't totally sold on the film, but he loved the ending, and he loved that the word “sex” not only was in the title but lead the title. He knew that title alone would sell the movie. Harvey, who was still in New York the next morning, called Estes to make an appointment to meet in 24 hours. When he and Estes met, he brought with him three poster mockups the marketing department had prepared, and told Estes he wasn't going to go back to New York until he had a contract signed, and vowed to beat any other deal offered by $100,000. Island Pictures, who had made their name releasing movies like Stop Making Sense, Kiss of the Spider-Woman, The Trip to Bountiful and She's Gotta Have It, offered $1m for the distribution rights, plus a 30% distribution fee and a guaranteed $1m prints and advertising budget. Estes called Harvey up and told him what it would take to make the deal. $1.1m for the distribution rights, which needed to paid up front, a $1m P&A budget, to be put in escrow upon the signing of the contract until the film was released, a 30% distribution fee, no cutting of the film whatsoever once Soderbergh turns in his final cut, they would need to provide financial information for the films costs and returns once a month because of the profit participation contracts, and the Weinsteins would have to hire Ira Deutchman, who had spent nearly 15 years in the independent film world, doing marketing for Cinema 5, co-founding United Artists Classics, and co-founding Cinecom Pictures before opening his own company to act as a producers rep and marketer. And the Weinsteins would not only have to do exactly what Deutchman wanted, they'd have to pay for his services too.   The contract was signed a few weeks later.   The first move Miramax would make was to get Soderbergh's final cut of the film entered into the Cannes Film Festival, where it would be accepted to compete in the main competition. Which you kind of already know what happened, because that's what I lead with. The film would win the Palme D'Or, and Spader would be awarded the festival's award for Best Actor. It was very rare at the time, and really still is, for any film to be awarded more than one prize, so winning two was really a coup for the film and for Miramax, especially when many critics attending the festival felt Spike Lee's Do the Right Thing was the better film.   In March, Miramax expected the film to make around $5-10m, which would net the company a small profit on the film. After Cannes, they were hopeful for a $15m gross.   They never expected what would happen next.   On August 4th, sex, lies, and videotape would open on four screens, at the Cinema Studio in New York City, and at the AMC Century 14, the Cineplex Beverly Center 13 and the Mann Westwood 4 in Los Angeles. Three prime theatres and the best they could do in one of the then most competitive zones in all America. Remember, it's still the Summer 1989 movie season, filled with hits like Batman, Dead Poets Society, Ghostbusters 2, Indiana Jones and the Last Crusade, Honey I Shrunk the Kids, Lethal Weapon 2, Parenthood, Turner & Hooch, and When Harry Met Sally. An independent distributor even getting one screen at the least attractive theatre in Westwood was a major get. And despite the fact that this movie wasn't really a summertime movie per se, the film would gross an incredible $156k in its first weekend from just these four theatres. Its nearly $40k per screen average would be 5x higher than the next closest film, Parenthood.   In its second weekend, the film would expand to 28 theatres, and would bring in over $600k in ticket sales, its per screen average of $21,527 nearly triple its closest competitor, Parenthood again. The company would keep spending small, as it slowly expanded the film each successive week. Forty theatres in its third week, and 101 in its fourth. The numbers held strong, and in its fifth week, Labor Day weekend, the film would have its first big expansion, playing in 347 theatres. The film would enter the top ten for the first time, despite playing in 500 to 1500 fewer theatres than the other films in the top ten. In its ninth weekend, the film would expand to its biggest screen count, 534, before slowly drawing down as the other major Oscar contenders started their theatrical runs. The film would continue to play through the Oscar season of 1989, and when it finally left theatres in May 1989, its final gross would be an astounding $24.7m.   Now, remember a few moments ago when I said that Miramax needed to provide financial statements every month for the profit participation contracts of Soderbergh, the producers, the cinematographer and the four lead actors? The film was so profitable for everyone so quickly that RCA/Columbia made its first profit participation payouts on October 17th, barely ten weeks after the film's opening.   That same week, Soderbergh also made what was at the time the largest deal with a book publisher for the writer/director's annotated version of the screenplay, which would also include his notes created during the creation of the film. That $75,000 deal would be more than he got paid to make the movie as the writer and the director and the editor, not counting the profit participation checks.   During the awards season, sex, lies, and videotape was considered to be one of the Oscars front runners for Best Picture, Best Director, Best Screenplay and at least two acting nominations. The film would be nominated for Best Picture, Best Actress and Best Supporting Actress by the Golden Globes, and it would win the Spirit Awards for Best Picture, Soderbergh for Best Director, McDowell for Best Actress, and San Giacomo for Best Supporting Actress. But when the Academy Award nominations were announced, the film would only receive one nomination, for Best Original Screenplay. The same total and category as Spike Lee's Do the Right Thing, which many people also felt had a chance for a Best Picture and Best Director nomination. Both films would lose out to Tom Shulman's screenplay for Dead Poet's Society.   The success of sex, lies, and videotape would launch Steven Soderbergh into one of the quirkiest Hollywood careers ever seen, including becoming the first and only director ever to be nominated twice for Best Director in the same year by the Motion Picture Academy, the Golden Globes and the Directors Guild of America, in 2001 for directing Erin Brockovich and Traffic. He would win the Oscar for directing Traffic.   Lost in the excitement of sex, lies, and videotape was The Little Thief, a French movie that had an unfortunate start as the screenplay François Truffaut was working on when he passed away in 1984 at the age of just 52.   Directed by Claude Miller, whose principal mentor was Truffaut, The Little Thief starred seventeen year old Charlotte Gainsbourg as Janine, a young woman in post-World War II France who commits a series of larcenies to support her dreams of becoming wealthy.   The film was a modest success in France when it opened in December 1988, but its American release date of August 25th, 1989, was set months in advance. So when it was obvious sex, lies, and videotape was going to be a bigger hit than they originally anticipated, it was too late for Miramax to pause the release of The Little Thief.   Opening at the Lincoln Plaza Cinemas in New York City, and buoyed by favorable reviews from every major critic in town, The Little Thief would see $39,931 worth of ticket sales in its first seven days, setting a new house record at the theatre for the year. In its second week, the gross would only drop $47. For the entire week. And when it opened at the Royal Theatre in West Los Angeles, its opening week gross of $30,654 would also set a new house record for the year.   The film would expand slowly but surely over the next several weeks, often in single screen playdates in major markets, but it would never play on more than twenty-four screens in any given week. And after four months in theatres, The Little Thief, the last movie created one of the greatest film writers the world had ever seen, would only gross $1.056m in the United States.   The next three releases from Miramax were all sent out under the Millimeter Films banner.   The first, a supernatural erotic drama called The Girl in a Swing, was about an English antiques dealer who travels to Copenhagen where he meets and falls in love with a mysterious German-born secretary, whom he marries, only to discover a darker side to his new bride. Rupert Frazer, who played Christian Bale's dad in Steven Spielberg's Empire of the Sun, plays the antique dealer, while Meg Tilly the mysterious new bride.   Filmed over a five week schedule in London and Copenhagen during May and June 1988, some online sources say the film first opened somewhere in California in December 1988, but I cannot find a single theatre not only in California but anywhere in the United States that played the film before its September 29th, 1989 opening date.   Roger Ebert didn't like the film, and wished Meg Tilly's “genuinely original performance” was in a better movie. Opening in 26 theatres, including six theatres each in New York City and Los Angeles, and spurred on by an intriguing key art for the film that featured a presumed naked Tilly on a swing looking seductively at the camera while a notice underneath her warns that No One Under 18 Will Be Admitted To The Theatre, The Girl in a Swing would gross $102k, good enough for 35th place nationally that week. And that's about the best it would do. The film would limp along, moving from market to market over the course of the next three months, and when its theatrical run was complete, it could only manage about $747k in ticket sales.   We'll quickly burn through the next two Millimeter Films releases, which came out a week apart from each other and didn't amount to much.   Animal Behavior was a rather unfunny comedy featuring some very good actors who probably signed on for a very different movie than the one that came to be. Karen Allen, Miss Marion Ravenwood herself, stars as Alex, a biologist who, like Dr. Jane Goodall, develops a “new” way to communicate with chimpanzees via sign language. Armand Assante plays a cellist who pursues the good doctor, and Holly Hunter plays the cellist's neighbor, who Alex mistakes for his wife.   Animal Behavior was filmed in 1984, and 1985, and 1987, and 1988. The initial production was directed by Jenny Bowen with the assistance of Robert Redford and The Sundance Institute, thanks to her debut film, 1981's Street Music featuring Elizabeth Daily. It's unknown why Bowen and her cinematographer husband Richard Bowen left the project, but when filming resumed again and again and again, those scenes were directed by the film's producer, Kjehl Rasmussen.   Because Bowen was not a member of the DGA at the time, she was not able to petition the guild for the use of the Alan Smithee pseudonym, a process that is automatically triggered whenever a director is let go of a project and filming continues with its producer taking the reigns as director. But she was able to get the production to use a pseudonym anyway for the director's credit, H. Anne Riley, while also giving Richard Bowen a pseudonym of his own for his work on the film, David Spellvin.   Opening on 24 screens on October 27th, Animal Behavior would come in 50th place in its opening weekend, grossing just $20,361. The New York film critics ripped the film apart, and there wouldn't be a second weekend for the film.   The following Friday, November 3rd, saw the release of The Stepfather II, a rushed together sequel to 1987's The Stepfather, which itself wasn't a big hit in theatres but found a very quick and receptive audience on cable.   Despite dying at the end of the first film, Terry O'Quinn's Jerry is somehow still alive, and institutionalized in Northern Washington state. He escapes and heads down to Los Angeles, where he assumes the identity of a recently deceased publisher, Gene Clifford, but instead passes himself off as a psychiatrist. Jerry, now Gene, begins to court his neighbor Carol, and the whole crazy story plays out again. Meg Foster plays the neighbor Carol, and Jonathan Brandis is her son.    Director Jeff Burr had made a name for himself with his 1987 horror anthology film From a Whisper to a Scream, featuring Vincent Price, Clu Gulager and Terry Kiser, and from all accounts, had a very smooth shooting process with this film. The trouble began when he turned in his cut to the producers. The producers were happy with the film, but when they sent it to Miramax, the American distributors, they were rather unhappy with the almost bloodless slasher film. They demanded reshoots, which Burr and O'Quinn refused to participate in. They brought in a new director, Doug Campbell, to handle the reshoots, which are easy to spot in the final film because they look and feel completely different from the scenes they're spliced into.   When it opened, The Stepfather II actually grossed slightly more than the first film did, earning $279k from 100 screens, compared to $260k for The Stepfather from 105 screens. But unlike the first film, which had some decent reviews when it opened, the sequel was a complete mess. To this day, it's still one of the few films to have a 0% approval rating on Rotten Tomatoes, and The Stepfather II would limp its way through theatres during the Christmas holiday season, ending its run with a $1.5m gross.   But it would be their final film of the decade that would dictate their course for at least the first part of the 1990s.   Remember when I said earlier in the episode that Harvey Weinstein meant with the producers of another British film while in London for Scandal? We're at that film now, a film you probably know.   My Left Foot.   By November 1988, actor Daniel Day-Lewis had starred in several movies including James Ivory's A Room With a View and Philip Kaufman's The Unbearable Lightness of Being. He had even been the lead in a major Hollywood studio film, Pat O'Connor's Stars and Bars, a very good film that unfortunately got caught up in the brouhaha over the exit of the studio head who greenlit the film, David Puttnam.   The film's director, Jim Sheridan, had never directed a movie before. He had become involved in stage production during his time at the University College in Dublin in the late 1960s, where he worked with future filmmaker Neil Jordan, and had spent nearly a decade after graduation doing stage work in Ireland and Canada, before settling in New York City in the early 1980s. Sheridan would go to New York University's Tisch School of the Arts, where one of his classmates was Spike Lee, and return to Ireland after graduating. He was nearly forty, married with two pre-teen daughters, and he needed to make a statement with his first film.   He would find that story in the autobiography of Irish writer and painter Christy Brown, whose spirit and creativity could not be contained by his severe cerebral palsy. Along with Irish actor and writer Shane Connaughton, Sheridan wrote a screenplay that could be a powerhouse film made on a very tight budget of less than a million dollars.   Daniel Day-Lewis was sent a copy of the script, in the hopes he would be intrigued enough to take almost no money to play a physically demanding role. He read the opening pages, which had the adult Christy Brown putting a record on a record player and dropping the needle on to the record with his left foot, and thought to himself it would be impossible to film. That intrigued him, and he signed on. But during filming in January and February of 1989, most of the scenes were shot using mirrors, as Day-Lewis couldn't do the scenes with his left foot. He could do them with his right foot, hence the mirrors.   As a method actor, Day-Lewis remained in character as Christy Brown for the entire two month shoot. From costume fittings and makeup in the morning, to getting the actor on set, to moving him around between shots, there were crew members assigned to assist the actor as if they were Christy Brown's caretakers themselves, including feeding him during breaks in shooting. A rumor debunked by the actor years later said Day-Lewis had broken two ribs during production because of how hunched down he needed to be in his crude prop wheelchair to properly play the character.   The actor had done a lot of prep work to play the role, including spending time at the Sandymount School Clinic where the young Christy Brown got his education, and much of his performance was molded on those young people.   While Miramax had acquired the American distribution rights to the film before it went into production, and those funds went into the production of the film, the film was not produced by Miramax, nor were the Weinsteins given any kind of executive producer credit, as they were able to get themselves on Scandal.   My Left Foot would make its world premiere at the Montreal World Film Festival on September 4th, 1989, followed soon thereafter by screening at the Toronto International Film Festival on September 13th and the New York Film Festival on September 23rd. Across the board, critics and audiences were in love with the movie, and with Daniel Day-Lewis's performance. Jim Sheridan would receive a special prize at the Montreal World Film Festival for his direction, and Day-Lewis would win the festival's award for Best Actor. However, as the film played the festival circuit, another name would start to pop up. Brenda Fricker, a little known Irish actress who played Christy Brown's supportive but long-suffering mother Bridget, would pile up as many positive notices and awards as Day-Lewis. Although there was no Best Supporting Actress Award at the Montreal Film Festival, the judges felt her performance was deserving of some kind of attention, so they would create a Special Mention of the Jury Award to honor her.   Now, some sources online will tell you the film made its world premiere in Dublin on February 24th, 1989, based on a passage in a biography about Daniel Day-Lewis, but that would be impossible as the film would still be in production for two more days, and wasn't fully edited or scored by then.   I'm not sure when it first opened in the United Kingdom other than sometime in early 1990, but My Left Foot would have its commercial theatre debut in America on November 10th, when opened at the Lincoln Plaza Cinemas in New York City and the Century City 14 in Los Angeles. Sheila Benson of the Los Angeles Times would, in the very opening paragraph of her review, note that one shouldn't see My Left Foot for some kind of moral uplift or spiritual merit badge, but because of your pure love of great moviemaking. Vincent Canby's review in the New York Times spends most of his words praising Day-Lewis and Sheridan for making a film that is polite and non-judgmental.    Interestingly, Miramax went with an ad campaign that completely excluded any explanation of who Christy Brown was or why the film is titled the way it is. 70% of the ad space is taken from pull quotes from many of the top critics of the day, 20% with the title of the film, and 10% with a picture of Daniel Day-Lewis, clean shaven and full tooth smile, which I don't recall happening once in the movie, next to an obviously added-in picture of one of his co-stars that is more camera-friendly than Brenda Fricker or Fiona Shaw.   Whatever reasons people went to see the film, they flocked to the two theatres playing the film that weekend. It's $20,582 per screen average would be second only to Kenneth Branagh's Henry V, which had opened two days earlier, earning slightly more than $1,000 per screen than My Left Foot.   In week two, My Left Foot would gross another $35,133 from those two theatres, and it would overtake Henry V for the highest per screen average. In week three, Thanksgiving weekend, both Henry V and My Left Foot saw a a double digit increase in grosses despite not adding any theatres, and the latter film would hold on to the highest per screen average again, although the difference would only be $302. And this would continue for weeks. In the film's sixth week of release, it would get a boost in attention by being awarded Best Film of the Year by the New York Film Critics Circle. Daniel Day-Lewis would be named Best Actor that week by both the New York critics and the Los Angeles Film Critics Association, while Fricker would win the Best Supporting Actress award from the latter group.   But even then, Miramax refused to budge on expanding the film until its seventh week of release, Christmas weekend, when My Left Foot finally moved into cities like Chicago and San Francisco. Its $135k gross that weekend was good, but it was starting to lose ground to other Oscar hopefuls like Born on the Fourth of July, Driving Miss Daisy, Enemies: A Love Story, and Glory.   And even though the film continued to rack up award win after award win, nomination after nomination, from the Golden Globes and the Writers Guild and the National Society of Film Critics and the National Board of Review, Miramax still held firm on not expanding the film into more than 100 theatres nationwide until its 16th week in theatres, February 16th, 1990, two days after the announcement of the nominees for the 62nd Annual Academy Awards. While Daniel Day-Lewis's nomination for Best Actor was virtually assured and Brenda Fricker was practically a given, the film would pick up three other nominations, including surprise nominations for Best Picture and Best Director. Jim Sheridan and co-writer Shane Connaughton would also get picked for Best Adapted Screenplay.   Miramax also picked up a nomination for Best Original Screenplay for sex, lies, and videotape, and a Best Foreign Language Film nod for the Italian movie Cinema Paradiso, which, thanks to the specific rules for that category, a film could get a nomination before actually opening in theatres in America, which Miramax would rush to do with Paradiso the week after its nomination was announced.   The 62nd Academy Awards ceremony would be best remembered today as being the first Oscar show to be hosted by Billy Crystal, and for being considerably better than the previous year's ceremony, a mess of a show best remembered as being the one with a 12 minute opening musical segment that included Rob Lowe singing Proud Mary to an actress playing Snow White and another nine minute musical segment featuring a slew of expected future Oscar winners that, to date, feature exact zero Oscar nominees, both which rank as amongst the worst things to ever happen to the Oscars awards show.   The ceremony, held on March 26th, would see My Left Foot win two awards, Best Actor and Best Supporting Actress, as well as Cinema Paradiso for Best Foreign Film. The following weekend, March 30th, would see Miramax expand My Left Foot to 510 theatres, its widest point of release, and see the film made the national top ten and earn more than a million dollars for its one and only time during its eight month run.   The film would lose steam pretty quickly after its post-win bump, but it would eek out a modest run that ended with $14.75m in ticket sales just in the United States. Not bad for a little Irish movie with no major stars that cost less than a million dollars to make.   Of course, the early 90s would see Miramax fly to unimagined heights. In all of the 80s, Miramax would release 39 movies. They would release 30 films alone in 1991. They would release the first movies from Jean-Pierre Jeunet, Quentin Tarantino and Kevin Smith. They'd release some of the best films from some of the best filmmakers in the world, including Woody Allen, Pedro Almadovar, Robert Altman, Bernardo Bertolucci, Atom Egoyan, Steven Frears, Peter Greenaway, Peter Jackson, Neil Jordan, Chen Kaige, Krzysztof Kieślowski, Lars von Trier, and Zhang Yimou. In 1993, the Mexican dramedy Like Water for Chocolate would become the highest grossing foreign language film ever released in America, and it would play in some theatres, including my theatre, the NuWilshire in Santa Monica, continuously for more than a year.   If you've listened to the whole series on the 1980s movies of Miramax Films, there are two things I hope you take away. First, I hope you discovered at least one film you hadn't heard of before and you might be interested in searching out. The second is the reminder that neither Bob nor Harvey Weinstein will profit in any way if you give any of the movies talked about in this series a chance. They sold Miramax to Disney in June 1993. They left Miramax in September 2005. Many of the contracts for the movies the company released in the 80s and 90s expired decades ago, with the rights reverting back to their original producers, none of whom made any deals with the Weinsteins once they got their rights back.   Harvey Weinstein is currently serving a 23 year prison sentence in upstate New York after being found guilty in 2020 of two sexual assaults. Once he completes that sentence, he'll be spending another 16 years in prison in California, after he was convicted of three sexual assaults that happened in Los Angeles between 2004 and 2013. And if the 71 year old makes it to 107 years old, he may have to serve time in England for two sexual assaults that happened in August 1996. That case is still working its way through the British legal system.   Bob Weinstein has kept a low profile since his brother's proclivities first became public knowledge in October 2017, although he would also be accused of sexual harassment by a show runner for the brothers' Spike TV-aired adaptation of the Stephen King novel The Mist, several days after the bombshell articles came out about his brother. However, Bob's lawyer, the powerful attorney to the stars Bert Fields, deny the allegations, and it appears nothing has occurred legally since the accusations were made.   A few weeks after the start of the MeToo movement that sparked up in the aftermath of the accusations of his brother's actions, Bob Weinstein denied having any knowledge of the nearly thirty years of documented sexual abuse at the hands of his brother, but did allow to an interviewer for The Hollywood Reporter that he had barely spoken to Harvey over the previous five years, saying he could no longer take Harvey's cheating, lying and general attitude towards everyone.   And with that, we conclude our journey with Miramax Films. While I am sure Bob and Harvey will likely pop up again in future episodes, they'll be minor characters at best, and we'll never have to focus on anything they did ever again.   Thank you for joining us. We'll talk again soon, when Episode 119 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.

Why Is Dave Playing Driving Miss Daisy?

Max Chernin Broadway: Parade, Bright Star, Sunday In The Park with George. NYC: Brooklynite (Vineyard), Golden Apple (Encores!) Regional: Passing Through (Goodspeed), Daddy Long Legs (Theatre Raleigh), Elf (Pioneer). Television: “Dickinson,” “Blacklist.” CCM Alum. @maxcherns. Alfred Uhry (Book) is distinguished as the only American playwrights to have won a Pulitzer Prize, an Academy Award, and two Tony Awards. A 1958 graduate of Brown University, he began his professional career as a lyric writer under contract to the late Frank Loesser. He made his Broadway debut in 1968 with Here's Where I Belong, which ran for one night. He had better luck with The Robber Bridegroom in 1976, which won him his first Tony nomination. He followed that with five recreated musicals at the Goodspeed Opera House in East Haddam, Connecticut. His first play was Driving Miss Daisy, which began life at the 74-seat upstairs theatre at Playwrights Horizons in 1987 and went on to run for three years and won the Pulitzer Prize in 1988. The film version, starring Morgan Freeman and Jessica Tandy, won the Academy Award for Best Picture of 1989 and gained Uhry his own Oscar for Best Screenplay. His next two Broadway outings won him Tony Awards: The Last Night of Ballyhoo (Best Play of 1997) and Parade (Best Book of a Musical 1999). In 2014, he was inducted into both the Theatre Hall of Fame and the Georgia Writers Hall of Fame. Learn more about your ad choices. Visit podcastchoices.com/adchoices

It's post "Rocky Aur Rani Kii Prem Kahaani" weekend. So, Mita and Nadeem breakdown their thoughts, feelings and emotions about the Bollywood blockbuster. Oh yes, they also do a movie review for the best picture winner from 1989, "Driving Miss Daisy"

We wrap up Season 4 with a movie that you the people selected as the 15th Best Picture winner of the season, IN THE HEAT OF THE NIGHT. Kieran B is joined by Artie B, Jay Dowse and a special guest making his debut on Best Picture Cast. We breakdown the notable lead acting performances, the task the director was faced with while making the film, the social impact at the time and how it relates to today, and everything that this film has to offer. As we wrap up season 4, up next will be our Rankings episode here we stack up each season movie 1 to 15. Where will In the Heat of the Night end up vs films like Parasite, The Deer Hunter, Spotlight, Driving Miss Daisy, All the Kings Men and more? Tune in to find out! Adam does his best to provide justice for a much malignied film in the annals of Best Picture Winners. Check out our Best Picture Merch: https://best-picture-cast.creator-spring.com/ Follow us on Social Media, Twitter, Facebook, Instagram, Letterboxd: @bestpicturecast Email us bestpicturepodcast@yahoo.com Follow The Co Hosts on Twitter: Artie B: @heyyyitssme Jay Dowski: @JayDowski Grant's Art on Instagram: @exit28studios Chris G's Art on Instagram: @popvultureart

We talked hoarding gasoline, driveway/golf tournament scams, the Walmart ZP Challenge, cops referencing Driving Miss Daisy and spitting dip into a condom

Today David Esbjornson and I will be discussing the life and work of three time Pulitzer prize winning playwright Edward Albee. Acclaimed stage director David Esbjornson is the former artistic director of New York City's Classic Stage Company and Seattle Repertory Theatre. Broadway premieres include Driving Miss Daisy, starring Tony Award-winning actors Angela Lansbury and James Earl Jones, Edward Albee's The Goat, or Who is Sylvia with Mercedes Ruehl and Bill Pullman, and Arthur Miller's The Ride Down Mount Morgan, starring Mr. Patrick Stewart.    

After 6 previous live-action Transformers films of wildly varying quality, we will see if the follow-up to the soft-reboot of Bumblebee stays on course, or if it veers back off the rails into the “Bayhem” murder-verse territory. This is the Beast Wars G1 crossover event that pits Optimus Prime vs Optimus Primal vs the might of Unicron The Planet Devourer himself! It's Trukk Vs Munkey Vs Planet! Its Transformers: Rise of the Beasts! Dion and Quinny are our G1 'bots, But Jill is repping both female Transformers and Beast Wars all the way! Returning to the action and spectacle that have captured moviegoers around the world, Transformers: Rise of the Beasts will take audiences on a '90s globetrotting adventure as Optimus Prime and the Autobots take on their biggest challenge yet. When a new threat capable of destroying the entire planet emerges, they must team up with a powerful faction of Transformers known as the Maximals to save Earth. https://youtu.be/CA5itPTC0CU As always, a space-bridge sized thank-you to the plucky band of heroic Autobots and who join in with the conversation on the Twitch stream, live each Tuesday night at 7:30pm AEST  And an especially huge thanks to any of the Pretenders, Headmasters and Micromasters who are kind enough to support us by dropping a tip in our jar via Ko-Fi, or subscribing on Twitch... every bit helps us to keep the shark-ticons from the door! If you feel so inclined drop us a sub we really love them, The more subby mc-sub-faces we get, the more Emotes you get! TELL US WHAT EMOTES YOU WANT! Every bit of your support helps us to keep our transformation cogs spinning smoothly.... Or pay for some hosting. Don't fret if you can't be there for the recording though as you can catch them on Youtube usually later that very night. Make sure to subscribe so you don't miss them! What changes would you like to see us make moving forward? WE WANT YOUR FEEDBACK! Send in voicemails or emails to info@theperiodictableofawesome.com Please make sure to join our social networks too!  We're on: Youtube: https://www.youtube.com/user/TPToA/ Twitter: www.twitter.com/TPToA Facebook: www.facebook.com/PeriodicTableOfAwesome Instagram: www.instagram.com/theperiodictableofawesome/ https://youtu.be/ZtuFgnxQMrA   Here are the ticker jokes that WOULD have been in the episode... “Transformers appeared in numerous films in previously unrevealed roles, including Driving Miss Daisy, Little Miss Sunshine and Chitty-Chitty-Bang-Bang, Bumblebee also appeared in all the Herbie films from the 70s onwards, even the crap ones” “Original War for Cybertron started over heated argument if Michael Bay was a creative genius or a complete asshole. You can decide which faction was which” “Obscure collector convention exclusive toy Ape-linq voted officially deepest cut ever for a major motion picture” “In effort to revitalise the brand new transformers crossovers will include, Fast and the Furious, The Transporter and horrifically Disney's CARS” “Peter Dinklage's voice work as Scourge proves he can play a robot convincingly… Destiny fans set to riot.” “Lawyers for Autobot Jazz continue to assert that the distinctive likeness and personality was used unlawfully by Autobot Mirage in this film”  

She's the ultimate backseat driver!  Join me as I discuss the 1989 Oscar winning best picture: Driving Miss Daisy

Your girls are back at it again and have a question... what kind of driver are you? Pedal to the metal or slow and steady? Tune in to see which one of us is zooming and which one is cruising as we discuss road rage encounters, random person attempting to enter our vehicle and so much more. You don't want to miss it!

In this episode, we delve into the minds of some of Hollywood's most talented actors. We'll be focusing on four actors who have made a significant impact on the film industry with their talent, perseverance, and hard work & absorb some of their most impactful quotes on life, success & personal growth. The actors featured in this episode are Leonardo DiCaprio, Idris Elba, Morgan Freeman, and Michael B. Jordan. Leonardo DiCaprio has been one of Hollywood's leading actors for over two decades, winning critical acclaim and numerous awards for his roles in films such as "The Revenant," "The Wolf of Wall Street," and "The Aviator." He is known for his dedication to his craft and his ability to bring complex characters to life on screen. One of his most inspiring quotes is, "Every next level of your life will demand a different you," which reminds us that growth and evolution are essential to success. Idris Elba is a versatile actor who has appeared in a wide range of films, including "Thor," "Beasts of No Nation," and "Mandela: Long Walk to Freedom." He is also a talented musician and DJ, and he has won several awards for his work in television. Elba is known for his hard work and perseverance, and one of his most inspiring quotes is, "The only way to achieve your dreams is to work hard, stay focused, and never give up." This quote emphasizes the importance of persistence and dedication, no matter what obstacles we may face. Morgan Freeman is an iconic actor who has starred in many beloved films, including "The Shawshank Redemption," "Million Dollar Baby," and "Driving Miss Daisy." He has won numerous awards throughout his career, including an Academy Award for Best Supporting Actor. Freeman is known for his gravitas and wisdom, and one of his most inspiring quotes is, "Challenge yourself; it's the only path which leads to growth." This quote reminds us that we should never stop challenging ourselves, as growth and progress are essential for a fulfilling life. Michael B. Jordan is a rising star in Hollywood, known for his dynamic performances in films such as "Creed," "Black Panther," and "Fruitvale Station." He is also a producer and has been actively working to increase diversity and representation in the film industry. Jordan is known for his passion and drive, and one of his most inspiring quotes is, "I want to leave a mark in the world. And I want to do it through my art." This quote highlights the importance of pursuing our passions and making a difference in the world through our work. This video is intended help you explore the wisdom and insights of four talented actors who have achieved great success in their careers. From Leonardo DiCaprio's reminder to embrace change and growth, to Idris Elba's emphasis on hard work and perseverance, to Morgan Freeman's call to challenge ourselves and continue growing, to Michael B. Jordan's passion for making a difference through his art, these actors have shared valuable lessons and inspiring quotes that we can all learn from. By taking these lessons to heart and applying them to our own lives, we can work towards achieving our own goals and making a positive impact in the world. Timestamps: Lessons from Idris Elba 0:00 Lessons from Leonardo DiCaprio 5:00 Lessons from Morgan Freeman 10:35 More Lessons from Leonardo DiCaprio 15:38 Lessons from Michael B. Jordan 21:22 More Lessons from Idris Elba 27:17 --- Send in a voice message: https://podcasters.spotify.com/pod/show/karatjuicepod/message Support this podcast: https://podcasters.spotify.com/pod/show/karatjuicepod/support

For years, pop culture critics Len Webb and Vincent Williams have hosted the podcast The Micheaux Mission, which aims to watch and review every Black film ever released. In this episode, Jacke talks to Len and Vincent about their new limited-run series The Class of 1989, which focuses on six films (Harlem Nights, Lean on Me, Glory, A Dry White Season, Do the Right Thing, and Driving Miss Daisy) that helped spark a Black film renaissance. Additional listening suggestions: 358 The Profound Wisdom of Black Life and Literature (with Farah Jasmine Griffin) 94 Smoke, Dusk, and Fire - The Jean Toomer Story 485 Reading Pleasures - Everyday Black Living in Early America (with Dr Tara Bynum) 103 Literature Goes to the Movies Part 1 - Great Adaptations (with Mike Palindrome) Help support the show at patreon.com/literature or historyofliterature.com/donate. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at www.thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Oscar race for 1989 is still remarked upon for Spike Lee's and Do The Right Thing's disregard for best director or best picture consideration, Driving Miss Daisy's equally baffling win and Denzel Washington's second nomination and first win for being beaten like a slave. We explore what was at stake with these films, Hollywood's choice, and how Spike's omission becomes permission for the black filmmakers that follow. Produced by the Podglomerate. For transcripts, please visit the website here. Learn more about your ad choices. Visit megaphone.fm/adchoices

In our class, the big studio movies of 1989 are Glory and Driving Miss Daisy, which look at Black history, but very much from a white lens. This episode explores how Hollywood's ‘business-as-usual' standards pale in comparison to Eddie Murphy's and Spike Lee's visions and how Black director Euzhan Palcy gets caught up in the mix. Produced by the Podglomerate. For transcripts, please visit the website here. Learn more about your ad choices. Visit megaphone.fm/adchoices

Marge and Jen have gone nuclear. This war is about to get uglier than ever. SPONSOR: Prose Go to prose.com/shespeaks for your FREE in-depth hair consultation and 15% off SPONSOR: Just Thrive Get 15% OFF a bottle of Just Thrive probiotic and Just Calm at https://justthrivehealth.com/discount/shespeaks SPONSOR: Hello Fresh Go to HelloFresh.com/shespeaks60 and use code SHESPEAKS60 for 60% off plus free shipping! SPONSOR: Kitsch Indulge your hair and skin while you sleep with satin pillowcases, caps, and eye masks from Kitsch! Get 30% off your ENTIRE order when you go to mykitsch.com/shespeaks 30% OFF ANY AND EVERYTHING SHOUTOUT to The Moment Queens!! Thank you so much for your support! Susan S, Kerry W, Emmaline, Iris B, Mark D, Kazzy, Reida W, Samantha, Shelli, Erica M, Abigail A, Lulwa, Larissa, Courtney F, Sara C, Scherne Dedra, Matthew N, Acacia, Denise O, Megan S, Ayanna, Kelly M, Olivia, Kim D, Frigg, Paula B, Lindsay D, Andrea, Ashley S, Lissy K, Sarah W, Alison C, Erin, Aleks, Ashley C, Ashanti, Rania, Ashley L, Samantha S, June T, Kristen M, Caitlin-Mae, Stacy H, Laura F, Tanya G, Alexandra A, Renee W, Ky B, Elizabeth L, Amanda “bitches”, Susan K, Helen, Chantel, Christina M, Brittni, Krystal R, Amanda R, Cassie M, Kelly W, Kelly M, Sarah T, Bianca, Madison C, Julie W JOIN THE PATREON! https://www.patreon.com/shespeaksbravo Classic Bravo Episodes (bra party, table flip, cancer-gate, it's not about the pasta) Early Release of Every Episode No Ads! Community Interaction! SUBSCRIBE TO MY YOUTUBE CHANNEL - https://www.youtube.com/channel/UCxspMsBruMQjN265ZGNoV1A BUY ME A COFFEE - https://www.buymeacoffee.com/shespeaksbravo FOLLOW ME ON SOCIAL: @shespeaksbravo Instagram - https://www.instagram.com/shespeaksbravo/ TikTok - https://www.tiktok.com/@shespeaksbravo Facebook - https://www.facebook.com/shespeaksbravo Learn more about your ad choices. Visit megaphone.fm/adchoices

James, Jerah, and Jonathan are joined by special guests, Vince and Len from The Michaeux Mission, to review the 1989 winner for Best Film at the Academy Awards “Driving Miss Daisy”. It's the story of a wildly rude and racist rich white woman that forms a superficial bond with her Black driver, Hoke Culburn. The film stars Morgan Freeman.  Produced by Melisa D. Monts Edited by Diane Kang Executive produced by Brett Boham, Joe Cilio, Alex Ramsey Listen to Black Men Can't Jump [In Hollywood] Ad-Free on Forever Dog Plus: https://foreverdogpodcasts.com/plus FOLLOW BLACK MEN CAN'T JUMP [IN HOLLYWOOD]: https://twitter.com/blackmenpodcast https://www.instagram.com/blackmenpodcast BUY BLACK MEN CAN'T JUMP [IN HOLLYWOOD] MERCH: https://www.teepublic.com/stores/black-men-can-t-jump-in-hollywood SUPPORT BLACK MEN CAN'T JUMP [IN HOLLYWOOD] ON PATREON: https://www.patreon.com/BMCJ BLACK MEN CAN'T JUMP [IN HOLLYWOOD] IS A FOREVER DOG PODCAST: https://foreverdogpodcasts.com/podcasts/black-men-cant-jump-in-hollywood Learn more about your ad choices. Visit megaphone.fm/adchoices

Buckle up folks, the fifty-fifth installment of Best Picture Cast is here and tonight the Gang Can't Driver 55 as we discuss the often maligned Best Picture winner of 1989 DRIVING MISS DAISY. Kieran B is joined by Artie B, Oz, and The Bobcat as we spend sometime in the late 80s trying to figure out exactly what was going on. Love or hate the film, we have a hilarious conversation about all things Daisy and cover every mile mark on this road that is often less travelled. At the end of the episode The Bobcat finally gives his “Any Given Sunday Defense” to Artie B. Check out our Best Picture Merch: https://best-picture-cast.creator-spring.com/ Follow us on Social Media, Twitter, Facebook, Instagram, Letterboxd: @bestpicturecast Email us bestpicturepodcast@yahoo.com Follow The Co Hosts on Twitter: Artie B: @heyyyitssme oz: @Gosborn31 Bobcat: @legrandeBobcat

Mark talks to writer Michael Twitty about the origins of a cuisine, Twitty's days as a Hebrew school teacher, and the significance of Driving Miss Daisy.View this episode's recipe and show notes here: https://www.bittmanproject.com/p/twittySubscribe to Food with Mark Bittman on Apple Podcasts, Spotify, or wherever you like to listen, and please help us grow by leaving us a 5 star review on Apple Podcasts.Follow Mark on Twitter at @bittman, and on Facebook and Instagram at @markbittman. Subscribe to Mark's newsletter The Bittman Project at www.bittmanproject.com.Questions or comments about the show? Email food@markbittman.com. See acast.com/privacy for privacy and opt-out information.