Podcast appearances and mentions of Emily Gilmore

It's the moment you've all been dreading--I mean, waiting for...Persuasion (2022)! We're joined by Sequoia Simone (@sequoiasimone) to discuss this most beloved film and at which point it lost each of us. Today's episode covers the movie through Anne and Mary's Italian chat. Topics discussed include: modernizing Austen's language, flashbacks, thick teardrops, multiracial casting in period pieces, the Fleabag-ification of Anne Elliot, the breakup box, gay Lady Russell (happy Pride!), Mary as Emily Gilmore, Regency Era therapy, and the Anne/Wentworth friendship.Cast and Crew of Persuasion (2022)Glossary of People, Places, and Things: Sarah Snook, Joel Grey, Joel Fry, Ella Enchanted, Fleabag, Arrested Development, Schitt's Creek, Galavant, Emma (2020), Pride and Prejudice (2005), Sister Wives, Emily Gilmore, RobespierreFor more from Sequoia, you can listen to her other podcasts, But Make It Scary and Fanatical Fics and Where to Find Them, plus her NEW podcasts, Professional Talkers and You Pod It, Dude! For updates on her work, follow her on Instagram at @sequoiasimone.Next Episode: Persuasion (2022)Teepublic is now Dashery! Check out our new merch store at https://podandprejudice.dashery.com.Our show art was created by Torrence Browne, and our audio is produced by Graham Cook. For bios and transcripts, check out our website at podandprejudice.com. Pod and Prejudice is transcribed by speechdocs.com. To support the show, check out our Patreon!Instagram: @podandprejudiceTwitter: @podandprejudiceFacebook: Pod and PrejudiceYoutube: Pod and PrejudiceMerch store: https://podandprejudice.dashery.com/

If you ask Lorelai Gilmore, she'll say she couldn't be more different from her mother! But… do these two women have more similarities than we think?In this episode, sisters Jackie and Catherine dive into the traits that Lorelai and Emily Gilmore have in common. Do they have similar entertaining styles? How about shopping? We'll talk about their capacity for storytelling, the way they dress, and more! Come join us to chat about this famous mother-daughter duo.✨ If you want more chats about Gilmore Girls, join our Patreon, where we put out extra bonus episodes every month. 

Join us for the Best of Gabbing Gilmore!  Emily Gilmore is a complicated, often controlling woman who doesn't usually show a warm-and-fuzzy side. (Especially with her daughter.)But throughout the Gilmore Girls series, we get glimpses of her softer vulnerability. Remember when she tried to buy a plane? How about that road trip to Mia's wedding?Here are 10 times Emily broke us. Get out your tissues, townies! Jackie and Catherine dig up some of the most poignant moments today.

Send us a textcontinuing our Queen of Shadows deep dive with chapters 17-24. fantasy ball: 00:00:00deep dive: 00:08:04Summon us @DTFaePodcast We like our coffee icy and our books spicy! Oh, and we're totally Down To Fae. A podcast for fantasy romance readers and fans of authors like Sarah J. Maas, Jennifer L. Armentrout, Rebecca Yarros and Carissa Broadbent. Follow along as your delulu hosts discuss your favorite romantasy books in a chapter-by-chapter read, re-read or refresher.

Kelly Bishop, legend of stage, screen, chorus lines and iconic television joins us to talk about her magnificent book, The Third Gilmore Girl! Kelly's media path took her from Broadway dancer to a Tony winning performance in A Chorus Line to her partial culpability for putting Baby in a corner in Dirty Dancing to Friday night dinners with Lorelei and Rory as Emily Gilmore. And the journey continues… As Kelly's book and this conversation reveal, she did it all with grace, charm, dedication, diligence and humility.First, we speak with singer/actor Sam Harris, whose rocket ride aboard starship Star Search launched him into millions of living rooms with his celestial rendering of Over the Rainbow. After battling Covid related vocal issues, Sam is readying his  triumphant return in a stage show he calls, Beyond The Rainbow.  Sam and Fritz discuss their shared history at a little Santa Monica nightclub called The Horn where they honed their crafts and were both discovered! Then Kelly Bishop tells us how her work ethic and confidence were shaped by a nurturing mother, who ran interference against her neglectful father, teaching her ballet and carving a path for her to reach for her dreams.Kelly shares how inspired she has been by show runners Amy Sherman and Dan Palladino and how taking on the role of Emily Gilmore allowed her to explore the relationship she witnessed between her mother and her grandmother. She also talks tenderly about her love story with her husband, Journalist Lee Leonard, her surprisingly primal response to the death of her father and her treasured friendships with Amy Sherman-Palladino and Lauren Graham. Kelly also gives us some hints about the newest Palladino project, Etoile, which is coming soon to Prime. All this plus  rounds of IMDB Roulette and Gilmore Girls Trivia!And in recommendations -Weezy: The Echo of Old Books by Barbara DavisFritz: Netflix Movie 'The Teacher's Lounge'Path Points of Interest:The Third Gilmore Girl by Kelly BishopKelly Bishop WikipediaKelly Bishop IMDBA Chorus Line on BroadwayKelly Bishop - At The BalletDirty Dancing The Gilmore GirlsGilmore Girls IMDBGilmore Girls Opening SongMedia Path Podcast"Emily Gilmore" Youtube PageSam Harrishttps://www.samharris.com/Sam Harris at the El Portal Theatrehttps://elportaltheatre.com/beyondtherainbow.htmlThe Teachers' Loungehttps://www.netflix.com/title/81725559The Echo of Old Books by Barbara Davishttps://www.amazon.com/Echo-Old-Books-Novel/dp/1542038162/

Gilmore Girls was one of the first true binge worthy series that you could watch again and again. On this week's episodes, we are talking to the amazing Kelly Bishop (a/k/a Emily Gilmore).  Kelly shares stories from her new Memoir: The Third Gilmore Girl. From her Tony Award winning time in the original A Chorus Line to Gilmore Girls and her personal journey, Kelly has so many stories to tell in her new book and she shares many of them with us.   Show Notes/Links: www.hotflashescooltopics.com The Third Gilmore Girl: https://amzn.to/40eiBMU FOLLOW US ON: Instagram: https://www.instagram.com/hotflashesandcooltopics/ Youtube: https://www.youtube.com/channel/UC6ssWfO0qeZYEIs6TzrKBHQ Facebook: https://www.facebook.com/groups/657557054765087   Want to Leave a Review for Hot Flashes and Cool Topics? Here's How: For Apple Podcasts on an iPhone or iOS device: Open the Apple Podcast App on your device. Click on the “search” icon Type into the search bar “Hot Flashes and Cool Topics” and click on the show Towards the bottom, look for “Ratings and Reviews” Click on “Write a Review” and leave us your thoughts and comments! For Apple Podcasts on a computer: On the Apple Podcasts website, go to the search bar and type “Hot Flashes and Cool Topics” After clicking on the show, find the “Listen on Apple Podcasts” button and click on it The “Hot Flashes and Cool Topics” podcast should open on the Apple Podcasts application Keep scrolling on the page until you see “Ratings and Reviews” Click on “See All” If you want to give us a five-star rating, hover over the empty stars! If you want to leave your thoughts and comments, click on “Write a Review”!  

The Third Gilmore Girl is the New York Times bestselling memoir from the award-winning actress, spanning her six decades in show business from originating the role of Sheila Bryant in A Chorus Line and her memorable performance as Jennifer Grey's mother in Dirty Dancing to her iconic turn as Emily Gilmore in “Gilmore Girls.” In conversation with Dana Bash, CNN's chief political correspondent, anchor of “Inside Politics with Dana Bash,” and co-anchor of “State of the Union.” This program was held on December 4, 2024. 

Before Kelly Bishop found her way into our hearts as Emily Gilmore, she danced her way into history in Broadway's "A Chorus Line" and the movie "Dirty Dancing." Most recently, you might have seen her as Mrs. Ivey in Hulu's "The Watchful Eye."But chances are you probably recognize the Tony-Award winner from her role as the matriarch of Stars Hollow. She joins us to talk about her new memoir, "The Third Gilmore Girl."Want to support 1A? Give to your local public radio station and subscribe to this podcast. Have questions? Connect with us. Listen to 1A sponsor-free by signing up for 1A+ at plus.npr.org/the1a.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Go to http://ro.co/take to get a membership starting at just $99 for your first month. Gilmore Girls is of course the story of Lorelai and Rory Gilmore both figuring out how to grow up into the people they want to be – but there's a third Gilmore woman who provides a very different perspective to the show with her own biting wit: matriarch Emily Gilmore. Emily was constantly at war with daughter Lorelai, over everything from major life decisions to the minutiae of her outfits. She is uptight and close-minded, the total antithesis of the fun and free Lorelai, and she can often come across as suffocating and even straight up mean. But, if we take a closer look, we can begin to better understand why Emily behaved the way she did, and why her evolution was actually just as important as Lorelai and Rory's. Learn more about your ad choices. Visit megaphone.fm/adchoices

Before Kelly Bishop danced onto our screens as Emily Gilmore she was one of New York City's top chorus girls, inspiring and originating a whole ass character in A Chorus Line. Between winning a Tony and having some husbands she writes one of our favorite kinds of just keep doing shit you like memoirs.  NEW MERCH!!!!!! https://shop.celebritymemoirbookclub.biz/ If you want to host a CMBC meetup here's a meetup 101 packet to help you plan! We're hosting a Book Swap Oct 17! WE'RE STILL IN AUSTRALIA 9/25 - Brisbane, Australia  9/27 - Melbourne, Australia  9/29 - Perth, Australia  Keep up with all the latest:  https://celebritymemoirbookclub.biz/ Join our Geneva Community to chat with the other worms!!!!  Join the Patreon for new episodes every Thursday! https://www.patreon.com/celebritymemoirbookclub  Follow us on Twitter @cmbc_podcast and Instagram @celebritymemoirbookclub  Art by @adrianne_manpearl and theme song by @ashleesimpsonross Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this special episode, we sit down with the legendary Kelly Bishop, known to many as the sharp-witted and glamorous matriarch, Emily Gilmore, from The Gilmore Girls. Kelly takes us on an intimate journey through her life, as we dive into her new memoir, The Third Gilmore Girl. From her early days on Broadway—winning a Tony Award for A Chorus Line—to Dirty Dancing—to her iconic television roles (Bunheads, The Marvelous Mrs. Maisel…), we discuss the stories behind the scenes with Lauren Graham and Alexis Bledel, the brilliance of Amy Sherman-Palladino's writing, and the reason she's Team Logan. Learn more about your ad choices. Visit megaphone.fm/adchoices

Az elfogás: Izgalmas az utolsó percekig Mafab     2024-09-24 04:50:02     Film USA Pataky Attila Elsa Pataky számára kijárt már egy jó kis akciófilm, ahol megmutathatta sokoldalúságát, és végre 2022-ben meg is kapta a lehetőséget, Az elfogás (Interceptor) főszerepét Luke Bracey oldalán. A film nekem inkább témája miatt érdekes: adott egy szervezet, mely úgy akar pénzt kizsarolni az amerikai kormányzatból, hogy elfoglal nukleáris atomrakéta-tám A Szívek szálloda-rajongók kifakadtak Lauren Graham új posztján in.hu     2024-09-23 20:25:03     Könyv New York Szálloda R. Kelly A Szívek szállodája-rajongók nem panaszkodhattak a múlt héten: nagy szereplői újraegyesülés történt.Ahogy már írtunk róla, Kelly Bishop, aki a sorozatban az ikonikus Emily Gilmore-t alakítja, szeptember 17-én kiadta memoárját, és megünneplésére könyvbemutatót tartott New Yorkban. A jelenlévők természetesen arra számítottak, hogy a legendás színészn 6 színész, aki tökéletes lenne ma a Harry Potter sorozat egyik szerepére Joy     2024-09-24 04:46:00     Könyv Harry Potter J. K. Rowling Mi már elkezdtük képzeletben a castingot a J. K. Rowling világhírű regényéből készülő sorozatban. Mit gondolsz a választásainkról? "A való életben biztos, hogy nem ölnék meg senkit. De itt most szabad" – Izgalmasnak ígérkezik az Árulók második évada Player     2024-09-24 04:21:33     Film Valóságshow Megvannak a gyilkosok, a hangadók, a megfigyelők és az ártatlanul gyanúsítottak. Megint az Rtl nyomozós realityje lehet az idény egyik legjobb tévéműsora. A Magyar Zene Háza összművészeti produkciókkal bővíti programját kultura.hu     2024-09-23 17:45:01     Zene Magyar Zene Háza A Magyar Zene Háza összművészeti felhívást hirdet, amelynek célja az intézmény küldetéséhez kapcsolódó, művészeti ágakat átfogó előadó-művészeti produkciók bemutatása. Felbecsülhetetlen értékek - A brit királyi család legértékesebb ékszerei, és lebilincselő történeteik InStyle     2024-09-23 19:25:00     Film Brit királyi család A brit királyi család női tagjainak megjelenése mindig kiváló. Nem csoda, hiszen különleges ékszereikkel még jobban felhívják magukra a figyelmet. Érdemes gyönyörködni bennük, igazán különleges darabok. Megérkezett a Mennydörgők első előzetese Igényesférfi.hu     2024-09-24 06:04:32     Film Marvel A Marvel legújabb filmje, a Thunderbolts* végre bemutatkozott az első előzetesével, amelyet már most izgatottan várnak a rajongók. Kovács Patrícia: Az iskolai bántalmazás mindkét oldalán álltam már Librarius     2024-09-24 07:59:32     Film Kovács Patrícia Kovács Patrícia nemcsak saját élményei miatt, de kislánya kapcsán is fontosnak érezte, hogy részt vegyen a programban.   Lecserélték Kabir Bedit! Jön az új Sandokan-sorozat: ő lett az új maláj tigris Blikk     2024-09-24 08:52:21     Film Tigris Malajzia Megérkeztek az első fotók a jövő évben megjelenő Sandokanról: kiderült, mennyire hasonlít Kabir Bedire az új maláj tigris. Lehetsz az Usa alapítója, ha a párbaj árnya már kiskorodtól elkísér – Mutatunk egy részletet a Hamilton-sztoriból! Könyves Magazin     2024-09-24 10:06:19     Könyv USA Lewis Hamilton Dánia Hogyan vált a St. Croix-i dán rabszolgakolónián született, félárva, de tehetséges szegény fiú az Usa létrejöttének egyik kulcsfigurájává? Olvas bele a történetébe! Andrei Mangra Szabó Zsófiról: "Egy igazi csoda, bomba csaj, és jó a ritmusérzéke" Story     2024-09-24 09:00:40     Bulvár Bomba Szabó Zsófi Egyelőre élvezi, hogy újra Magyarországon lehet, a táncpartnerével, Szabó Zsófival pedig hamar egy hullámhosszra kerültek. A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

Az elfogás: Izgalmas az utolsó percekig Mafab     2024-09-24 04:50:02     Film USA Pataky Attila Elsa Pataky számára kijárt már egy jó kis akciófilm, ahol megmutathatta sokoldalúságát, és végre 2022-ben meg is kapta a lehetőséget, Az elfogás (Interceptor) főszerepét Luke Bracey oldalán. A film nekem inkább témája miatt érdekes: adott egy szervezet, mely úgy akar pénzt kizsarolni az amerikai kormányzatból, hogy elfoglal nukleáris atomrakéta-tám A Szívek szálloda-rajongók kifakadtak Lauren Graham új posztján in.hu     2024-09-23 20:25:03     Könyv New York Szálloda R. Kelly A Szívek szállodája-rajongók nem panaszkodhattak a múlt héten: nagy szereplői újraegyesülés történt.Ahogy már írtunk róla, Kelly Bishop, aki a sorozatban az ikonikus Emily Gilmore-t alakítja, szeptember 17-én kiadta memoárját, és megünneplésére könyvbemutatót tartott New Yorkban. A jelenlévők természetesen arra számítottak, hogy a legendás színészn 6 színész, aki tökéletes lenne ma a Harry Potter sorozat egyik szerepére Joy     2024-09-24 04:46:00     Könyv Harry Potter J. K. Rowling Mi már elkezdtük képzeletben a castingot a J. K. Rowling világhírű regényéből készülő sorozatban. Mit gondolsz a választásainkról? "A való életben biztos, hogy nem ölnék meg senkit. De itt most szabad" – Izgalmasnak ígérkezik az Árulók második évada Player     2024-09-24 04:21:33     Film Valóságshow Megvannak a gyilkosok, a hangadók, a megfigyelők és az ártatlanul gyanúsítottak. Megint az Rtl nyomozós realityje lehet az idény egyik legjobb tévéműsora. A Magyar Zene Háza összművészeti produkciókkal bővíti programját kultura.hu     2024-09-23 17:45:01     Zene Magyar Zene Háza A Magyar Zene Háza összművészeti felhívást hirdet, amelynek célja az intézmény küldetéséhez kapcsolódó, művészeti ágakat átfogó előadó-művészeti produkciók bemutatása. Felbecsülhetetlen értékek - A brit királyi család legértékesebb ékszerei, és lebilincselő történeteik InStyle     2024-09-23 19:25:00     Film Brit királyi család A brit királyi család női tagjainak megjelenése mindig kiváló. Nem csoda, hiszen különleges ékszereikkel még jobban felhívják magukra a figyelmet. Érdemes gyönyörködni bennük, igazán különleges darabok. Megérkezett a Mennydörgők első előzetese Igényesférfi.hu     2024-09-24 06:04:32     Film Marvel A Marvel legújabb filmje, a Thunderbolts* végre bemutatkozott az első előzetesével, amelyet már most izgatottan várnak a rajongók. Kovács Patrícia: Az iskolai bántalmazás mindkét oldalán álltam már Librarius     2024-09-24 07:59:32     Film Kovács Patrícia Kovács Patrícia nemcsak saját élményei miatt, de kislánya kapcsán is fontosnak érezte, hogy részt vegyen a programban.   Lecserélték Kabir Bedit! Jön az új Sandokan-sorozat: ő lett az új maláj tigris Blikk     2024-09-24 08:52:21     Film Tigris Malajzia Megérkeztek az első fotók a jövő évben megjelenő Sandokanról: kiderült, mennyire hasonlít Kabir Bedire az új maláj tigris. Lehetsz az Usa alapítója, ha a párbaj árnya már kiskorodtól elkísér – Mutatunk egy részletet a Hamilton-sztoriból! Könyves Magazin     2024-09-24 10:06:19     Könyv USA Lewis Hamilton Dánia Hogyan vált a St. Croix-i dán rabszolgakolónián született, félárva, de tehetséges szegény fiú az Usa létrejöttének egyik kulcsfigurájává? Olvas bele a történetébe! Andrei Mangra Szabó Zsófiról: "Egy igazi csoda, bomba csaj, és jó a ritmusérzéke" Story     2024-09-24 09:00:40     Bulvár Bomba Szabó Zsófi Egyelőre élvezi, hogy újra Magyarországon lehet, a táncpartnerével, Szabó Zsófival pedig hamar egy hullámhosszra kerültek. A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

Chelsea and Donny are trying to be grown ups this week, including not soiling themselves, doing some banking, contemplating getting a kitten, and having A-Ha moments. This week also brought us the Presidential debate, the VMAs, Rachel Zoe's divorce, and Kendrick Lamar being announced as the Super Bowl halftime performer, but the duo won't be talking about that - instead, Donny finds an excuse to discuss JonBenet Ramsey and the new Brandy movie, and Chelsea has been binge watching “The Secret Lives of Mormon Wives,” and she can't stop talking about it. If today's episode makes you laugh or scream, please do us a favor and rate our show 5 STARS on Apple or Spotify This is the easiest way for us to grow our community! We're on YOUTUBE! Be sure to subscribe so you don't miss a second of our hijinx - now on video! Follow Us on Social Media! TikTok: @cuteonepodcast Chelsea: @ohnochels Donny: @realdonnywood Support the show Learn more about your ad choices. Visit megaphone.fm/adchoices

Emily Gilmore is one of the most complicated women in television history. And we just loooooove to analyze her! This week's episode explores all the times that Emily shows up in Stars Hollow - including all her surprise visits.When was she the most Emily-ish? When did she actually let down her guard? What do these visits say about her mothering, and her identity? Join sisters & Gilmore Girls experts Jackie and Catherine to dive in.

Summary   "The rain on my car is a baptism." This week we revisit one of the greatest teenage rom-com dramas ever made on its 35th anniversary: Say Anything. Also discussed: Emily Gilmore, Creed, and other pop culture reckonings.     Show notes:   Nobody Thinks It Will Work, Do They? ‘Say Anything…' Turns 30 (The Ringer)     Recommendations:   Lisa:   Deaner '89 (film)   Andrea G.:  If Cats Disappeared From The World by Genki Kawamura (book)    Andrea W.:  The Bed I Made by The Softies (music)    Music credits  "Electrodoodle" by Kevin MacLeod From: incompetech.com Licensed under Creative Commons: By Attribution 3.0 License   Theme song "Pyro Flow" by Kevin Macleod From: incompetech.com Licensed under Creative Commons: By Attribution 3.0 License   "Good Times" by Podington Bear From:  Free Music Archive Licensed under Creative Commons: By Attribution 3.0 License     Pop This! Links: Pop This! on TumblrPop This! on iTunes (please consider reviewing and rating us!) Pop This! on Stitcher (please consider reviewing and rating us!) Pop This! on Google PlayPop This! on TuneIn radioPop This! on TwitterPop This! on Instagram Logo design by Samantha Smith Intro voiced by Morgan Brayton Pop This! is a podcast featuring three women talking about pop culture. Lisa Christiansen is a broadcaster, journalist and longtime metal head. Andrea Warner is a music critic, author and former horoscopes columnist. Andrea Gin is a producer and an avid figure skating fan. Press play and come hang out with your new best friends. Pop This! podcast is produced by Andrea Gin.  

In questo nuovo episodio del podcast vi porterò in un viaggio fantastico attraverso gli scenari che avrebbero potuto essere nella magica cittadina di Stars Hollow. Sì, avete capito bene, parleremo di "Una Mamma per Amica" e di cosa sarebbe successo se… fossero accaduti dei fatti diversi!    Vi sono piaciuti questi scenari alternativi? Lorelai avrebbe aperto lo stesso la locanda senza Sookie? Come sarebbe stata la serie senza Emily Gilmore? Jess ha davvero influito così tanto nella serie tv?   Fatemi sapere che cosa ne pensate nell'ultimo post o nei DMs su Instagram. Account ufficiale del podcast: ⁠@unamammaperamicapodcast ⁠  Non perderti l'appuntamento settimanale della newsletter ⁠La posta delle Gilmore⁠. 

A solo recap of Real Housewives of Dubai and Real Housewives of Orange County.

Welcome to Episode 3! This week, we're talking about accidental physical contact, facial expressions, Emily Gilmore, and how much cream should be in your coffee.

Ok pledges, this opportunity for hazing before you rush Delta Boob Tube takes place in Emily Gilmore's BBQ pit ‘n' Smokery, where we shall discuss how we're going to get Fully Puffed This Year Even If It KILLS us. There's a little strife but Rory finds her Introvert Pal in the end (Gracie from The Nanny??) and no chapters go unread. Huzzah! Now, raise your right hands, and join us in reciting The Puff Pledge: I pledge myself to the Puffs, loyal I'll always be, a P to start, 2 F's at the end, and a U sitting in between. Support the show Want to double up on your enjoyment of this weird little dog and pony show of a podcast? Join our patreon!

Chi è Emily Gilmore? Perché non ha mai legato con Lorelai? Ma soprattutto: quante cameriere ha avuto Emily Gilmore? Questa è la domanda che mi sono fatta qualche mese fa e beh, so anche la risposta! Tra una cena del venerdì sera all'altra, ho rivisto tutte le stagioni di Una mamma per amica e ho contato tutte le cameriere che Emily ha avuto dalla S1 alla S7.    Cosa ne pensate di Emily? Anche voi siete d'accordo con il nome “terza Gilmore”? Emily e Lorelai avrebbero dovuto riappacificarsi alla fine della serie tv?   Fatemi sapere che cosa ne pensate nell'ultimo post o nei DMs su Instagram. Account ufficiale del podcast: ⁠@unamammaperamicapodcast ⁠  Non perderti l'appuntamento settimanale della newsletter ⁠La posta delle Gilmore⁠.

In our nineteenth episode as a Gilmore Girls podcast for superfans by superfans, we tackle the references in Rory's Birthday Parties including:  The embarrasing birhtday party stories, Emily Gilmore eating humble pie, and so much more! If you love fall, Gilmore Girls, fast talking and coffee please make sure to leave us a review and reach out to us on instagram to share all your thoughts with us! We hope to share what we learn from you in future episodes as well so please do message us we cannot wait to talk to you! We cover: Rory repping Yale colors early Deleted Scene Mayflower decendants Proof that Rory is finally 16 Sixteen Candles Lorelai's gift sabotage  Seasons quiz and results Fairy Rings 2 Priests, a Rabbi, and a Duck The Bracelet's first apperance  A Future Celebrity Gueststar  And so much more! Find us on instagram here: Tyler & Shae - Hosts of a Gilmore Girls podcast (@oywiththepodalready) • Instagram photos and videos

Emily Gilmore is a complicated, often controlling woman who doesn't usually show a warm-and-fuzzy side. (Especially with her daughter.)But throughout the Gilmore Girls series, we get glimpses of her softer vulnerability. Here are 10 times Emily made us cry. Get out your tissues, townies! Jackie and Catherine dig up some of the most poignant moments today.

In our Fourteenth episode as a Gilmore Girls podcast for superfans by superfans, we tackle the references in Cinnamon's Wake including:  The origin of Lorelai's quick wit, the return of the infamous elbow touch, and so much more! If you love fall, Gilmore Girls, fast talking and coffee please make sure to leave us a review and reach out to us on instagram to share all your thoughts with us! We hope to share what we learn from you in future episodes as well so please do message us we cannot wait to talk to you! We cover: Nazis The Moonlanding Philco TV Time Bomb - Rancid Reunification of the Koreas Dolly Madison Henry VIII Gargoyles vs. grotesques  M. Night Shyamalan And so much more! Find us on instagram here: Tyler & Shae - Hosts of a Gilmore Girls podcast (@oywiththepodalready) • Instagram photos and videos

In our seventh episode as a Gilmore Girls podcast for superfans by superfans, we tackle the references in The Lorelai's first day at Chilton including:  The Harry Potter reference that we almost missed, the spooky ways The Shining and Gilmore Girls are connected and so much more! If you love fall, Gilmore Girls, fast talking and coffee please make sure to leave us a review and reach out to us on instagram to share all your thoughts with us! We hope to share what we learn from you in future episodes as well so please do message us we cannot wait to talk to you! We cover: Harry Potter 1st time meeting Babette and Morey Shakespeare Why do men think about Rome Matin Luther The Shining Moose/Archie The Goonies???? Dating a teacher vs. Dating a dad debate And so much more! Find us on instagram here: Tyler & Shae - Hosts of a Gilmore Girls podcast (@oywiththepodalready) • Instagram photos and videos

There are things we love in this episode...and a few things we don't! A few critiques...First and foremost, why are they yelling at poor Davey?! There is a storyline within this episode that we could have probably done without. Kirk's performance... ew? or yes! But, things get really heated between us as we discuss Emily Gilmore vs. Shira Huntzberger.See omnystudio.com/listener for privacy information.

We are back this week with our special guest, Bryn, to help us discuss Season 3: Episode 2: Haunted Leg Part 1. We weren't anticipating two parts for this episode, but our discussions got the better of us! In Part 1, we break down the level of maturity in our characters, how Lorelai is handling Kirk asking her out, and discussing the psychology behind what Emily Gilmore always has up her sleeves. Please take a moment to follow/subscribe to our podcast! Leave us a review - we love to hear from you! Follow on Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠_growingupgilmore_⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow us on TikTok: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠_growingupgilmore_⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Find our season lists on Pinterest: ⁠⁠⁠⁠⁠Growing Up Gilmore⁠⁠⁠⁠⁠ Cover art and Town Meeting Clip by: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Albino Squirrel Productions⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Music by: Aimee Tanner E-mail us at: growingupgilmoregirl@gmail.com 

In our fourth and final pilot episode as a Gilmore Girls podcast for superfans by superfans, we tackle the last references in the pilot including:  The worst food combination referenced in the entire show! How they almost ruined the show with implied puppy murder in the pilot, and so much more! If you love fall, Gilmore Girls, fast talking and coffee please make sure to leave us a review and reach out to us on instagram to share all your thoughts with us! We hope to share what we learn from you in future episodes as well so please do message us we cannot wait to talk to you! We cover: Viking appliances Doc Marten's Mommy Dearest Little Matchgirl  The Menendez Brothers Citizens Kane Flagelattion vs Flatulation Coffee and Chili Cheese Fries Nick at Night And so much more! Find us on instagram here: Tyler & Shae - Hosts of a Gilmore Girls podcast (@oywiththepodalready) • Instagram photos and videos  

Is there any show more important for millennial women than Gilmore Girls? Rory, Lorelai, & Emily Gilmore have something to teach us if we are paying attention: What does it take to be a good mother? A good daughter? Does privilege ruin us? Is feminism all it's cracked up to be? What should a woman look for in a man? Allison Sullivan, creator of the “Sinner Saint Sister” podcast and SullivanFamilyTikTok (1.2 Million followers) joins us to dive into why this show has touched so many young women.Episode 75 Show Host: Mike Tenney Show Page: https://www.awakencatholic.org/pop-culture-catechism/gilmore-girls-w-allison-sullivan Catholic Merch - https://catholicmerch.store Join my Patron Community www.PopCultureCatechism.com Listen wherever you find podcasts including: Apple Podcasts https://podcasts.apple.com/us/podcast/pop-culture-catechism/id1530141366 Spotify Podcasts https://open.spotify.com/show/4hlSitS9FLX3sYqwr0RsFK?si=IObbssJPTWSwq9Qjn7VFaQ&fbclid=IwAR0aKkevoBgwo2CeJIpdeSnOHrE_h9vuHtKwffmOGHnYYl26XICYjllAzrU Bring the AWAKEN MISSION to your parish! https://www.awakencatholic.church/mission

Join Jackie and Catherine as they explore the sexuality of women over 50 on Gilmore Girls. Especially Miss Patty and Emily Gilmore - two polar opposites! It's not just about sex, though; race, socioeconomic class, and body size factor into the conversation, too.How are Lorelai and Rory impacted by this? Why did Trix and Emily adhere to “prudish” standards, aside from just their conservative upbringing? We have theories. Join us for this deep dive into our favorite Stars Hollow show. References: Witch Please: Monstrous Women with Jess ZimmermanMonster Theory, Jeffrey Jerome CohenJim Crow Museum: Jezebel TheoryAs always, we discuss the series as a whole, so there are spoilers a'plenty! 

Carrie and Sarah need your voice notes! DM us on instagram at whatiloveaboutmyselfpodcast. Sarah looks like Egon and weaponizes tears at the gynecologist. Carrie gets a yeast infection on her skin. Sarah and Carrie are both chaotic air signs who love data and experiments and a tweet-tivity. More information gives Sarah confidence. Carrie says anxiety is when even the facts don't help. Sarah gives Carrie advice on how to be safe in the city when hypothetically meeting a kinky fella for the first time. Carrie thinks he should be afraid of her and the heist she's planning. Rule 1: Ask the stranger to handcuff themselves before you enter. Add a blindfold for good measure. Rule 2: Look for a sexy sex idiot to heist. Rule 3: Drive a truck, bring a getaway driver, or at least have a friend nearby who can show up for backup. Rule 4: Bring your parachute suit, rock climbing equipment, and your own knife. And dildos. And bugs for surveillance. Rule 5: Be gay, do crime, and don't get caught. Sarah loves karaoke. Duh. She's promoting the podcast there. Hi, Megan! It was the tequila, AND the nudity. Everybody gets naked at karaoke. Carrie loves The Marvelous Mrs. Maisel. Carrie says it's a masterclass in how to do a last season. Great ass show. 10/10. Amy Sherman-Palladino is a goddess. Carrie's mom thinks Emily Gilmore makes some good points. Carrie loves her gotdam hair, AGAIN. As her rainbow hair fades into pastel, it gets even cooler, matching the colors of the Lover album cover. Sarah coins the term #bowllet: half bowl, half mullet. Tell everyone: hashtag bowllet forever. Carrie loves the attention she's getting while eating hotdogs at Costco. Dogs fulfill Carrie's emotional needs better than most people. Sarah theorizes that while Carrie's dogs suffer under her care, they give her a lot of love. On the other hand, Sarah suffers as a pet owner, but her dog benefits greatly. The girls agree: Fuck around and find out but also bring a knife. Sarah says that her entire upbringing was a traumatic experience. She loves that she's doing the work to move through this. Sarah loves being in touch with her emotions. Sarah loves opening brain doors to look at the stuff that's back there. Carrie is not interested in this full range of emotions. Carrie loves that Sarah is deep in the work and that Sarah brings Carrie into the work, too. Carrie is enjoying the splash off from Sarah's therapist. Sarah loves that Carrie is also brave and doing the work in a transitional period. Sarah and Carrie are best friends. Sarah's low-stakes advice is to prioritize the friendships that matter and to treat them like a relationship. Do the work to make friendships meet your needs. Carrie's low-stakes advice is to keep dildos in your rock climbing bag. And carry a carabiner with a knife. Sounds gay. I like it. Follow Sarah's karaoke team on Instagram at basicinstinctdck.

Created by Sandra, Emily and Jess. Here comes the son! Oy with the pickles already! The backdoor pilot for a show that never was, the burning question here is can you get a good bagel in California? We have the beginning of our FASFA vs Gilmore Girl going to an Ivy League school debate, Luke is a scaredy cat, Emily (Gilmore) apparently can't dress herself all of a sudden and we get our first appearance of Miss Celine! Emily (cohost) has strong opinions about Jimmy, we meet Sherilyn Fenn (Sasha) for the first time, and we discuss our prom experiences! Join us this week for Here Comes the Son! Email us at TownMeetingPod@gmail.com to be featured in future episodes, or leave us a message on Anchor.fm/townmeetingpod! Special thanks to ack106 for the jingles! Some license stuff: Intro: Chord Guitar 002 by Sascha Ende® Link: https://filmmusic.io/song/557-chord-guitar-002 License: https://filmmusic.io/standard-license Outro: Chord Guitar 001 by Sascha Ende® Link: https://filmmusic.io/song/556-chord-guitar-001 License: https://filmmusic.io/standard-license --- Send in a voice message: https://podcasters.spotify.com/pod/show/townmeetingpod/message Support this podcast: https://podcasters.spotify.com/pod/show/townmeetingpod/support

This week, the girlies are continuing with part two of the iconic Emily Gilmore as seen in season four through to the revival. We're breaking down how she really started to come into her own storyline in season four before she started breaking down everyone else's storylines (drama!!!!!) How do you feel about her full story arc? She's a favorite of ours, but we want to hear from you. Call our voicemail (860-578-4653) with your thoughts and we might play it on our next episode! Where you lead I will follow... us @gilmoretosaypodcast If you want more Gilmore To Say, join our Patreon for our spoilerFULL recap podcast Gilmore Revisited. Thank you to today's sponsor, ZocDoc! Go to zocdoc.com/gts where millions of users are finding the care they need.

The pod has a new look this week! We had to look our best as the girlies put the spotlight on the iconic Mrs. Emily Gilmore. There isn't a lot that we know about the third Gilmore Girl before she became a Gilmore girl, but she had one of the best arcs of the series in our opinion. We start from the beginning and see what milestones and turning points her character had from the pilot until the season 3 finale. Stay tuned for part 2 of Emily Gilmore next week! Where you lead, I will follow... us @gilmoretosaypodcast If you want more Gilmore To Say, join our Patreon for our spoilerFULL rewatch podcast Gilmore Revisited and get access to our discord page, live watches, & merch discounts! Thank you to our sponsor Hello Fresh! Use code GTS60 for 60% off plus free shipping. 

Gilmore Girls S7 E4 "'S Wonderful, 'S Marvelous"/Buffy S7 E4 "Help"The AUDACITY of that police officer, suggesting Emily Gilmore take a breathalyzer! Seriously though, Buffy, how dare you show up in the middle of the night accusing that man. While Lorelai and Christopher go on a series of bad dates, Buffy "speed dates" a bunch of troubled teens. We learn Buffy and Rory like to borrow clothes without asking, and we learn April and Cassie like reading for fun! (Coincidentally have also both built their own websites and spend occasional weekends with Dad.) Plus both shows feature guests stars, famous for other shows, donning red garments! Don't forget to check out our music video for "Getaway (Stars Hollow)" from super talented musical artist, The Other Realm. Check out his other music and follow him on social media @theotherrealmmusic.Want more content? Sing up for our Patreon! We've got 3 tiers of bonus content, including early extended episode teasers, outtakes, watch parties, and of course, our weekly Angel video reviews! patreon.com/bryanandstaceyIntroduction - 0:00Gilmore Girls S7 E4: 'S Wonderful, 'S Marvelous - 5:40Meanwhile on Charmed - 36:43Buffy S7 E4: Help - 40:44The Winner - 1:08:26Follow us on social media for more Buffy/Gilmore content, and to see what other projects we're up to!YouTube:Bryan & StaceyInstagram:@gilmoreslayer/@bryanandstaceyTikTok:@gilmoreslayer/@bryan.and.staceyTwitter:@gilmoreslayer/@bryanandstaceyFacebook:Buffy the Gilmore Slayer/Bryan & StaceyEmail us at: bryanandstaceyreviews@gmail.comWebsite: bryanandstacey.comTheme song written and performed by @louiearonowitzSupport the show

We are winding down season one, but not before tackling another Emily Gilmore episode. This week we are looking at two big triangles: Emily, Lorelai, and Rory and Luke, Lorelai, and Rachel. We have a theory about Rachel that we would love to hear your thoughts on - we haven't heard it anywhere else. This is an episode that deals with the past and present of our Stars Hollow characters, and we dive deep on what these relationships mean for everyone involved. This week, we were not able to do a food review, so we will tack it on to next week! We hope you're gearing up for the finale! Happy listening! Please take a moment to subscribe and leave a review! We'd love to see you every week! Follow on Instagram: _growingupgilmore_ Follow us on TikTok: _growingupgilmore_ Season 1 Playlist: Apple Spotify Season 1 Booklist: Pinterest Season 1 Movie List: Pinterest Cover art and Town Meeting Clip by: Albino Squirrel Productions Music by: Aimee Tanner

The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro)   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.   Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago?   For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt.   That was the logo of the disc's distributor.   Vestron Video.   A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it.   But before we get there, we, as always, must go back a little further back in time.   The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company.   But what to call the company?   It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point.   At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future.   Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling.   The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet.   Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great.   Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night.    For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron.   They were doing pretty good.   And in 1984, Vestron ended up changing the home video industry forever.   When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video.   It would become the second home videotape to sell a million copies, after Star Wars.   Suddenly, Vestron was flush with more cash than it knew what to do with.   In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made.   Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies.   Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build.   But it costs money to build a movie production and theatrical distribution company.   Lots of money.   Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day.   It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution.   Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure.   Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000.   Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside.   And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year.   Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2.   The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner.   The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again.   In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco.   Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross.   Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week.   It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for.   Dirty Dancing.   Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname.   Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle.   But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it.   They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise.   To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special.   Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget.   For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials.   Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny.   Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role.   Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming.   Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released.   After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th.   Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance.   But, to be fair, one important element of the film was still not set.   The music.   Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film.   Vestron would spend another half a million dollars licensing the original recording.    The writer nailed all ten.   But even then, there was still one missing piece of the puzzle.   The closing song.   While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.”   Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version.   The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there.   While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals.   With all the songs added to the movie, audience test scores improved considerably.   RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts.   When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts.   The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds.   But then a funny thing happened…   Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack.   Its second week in theatre would only see the gross drop 6%, and the film would finish in third place.   In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales.   Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better.   When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago.   On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong.   The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988.   Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets.   Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then.   Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola.   The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role.   New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.”   Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck.   But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales.   Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves.   Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo.   The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales.   And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting.   Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot.   One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either.   John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6.   The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres.   Vestron would also release two movies in 1987 through their genre Lightning Pictures label.   The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film.   The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them.   After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run.   While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school.   People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years.   Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was.   Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right?   We'll find out next episode, when we continue the Vestron Pictures story.   Thank you for joining us. We'll talk again next week.   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.

The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro)   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.   Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago?   For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt.   That was the logo of the disc's distributor.   Vestron Video.   A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it.   But before we get there, we, as always, must go back a little further back in time.   The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company.   But what to call the company?   It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point.   At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future.   Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling.   The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet.   Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great.   Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night.    For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron.   They were doing pretty good.   And in 1984, Vestron ended up changing the home video industry forever.   When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video.   It would become the second home videotape to sell a million copies, after Star Wars.   Suddenly, Vestron was flush with more cash than it knew what to do with.   In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made.   Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies.   Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build.   But it costs money to build a movie production and theatrical distribution company.   Lots of money.   Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day.   It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution.   Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure.   Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000.   Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside.   And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year.   Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2.   The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner.   The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again.   In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco.   Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross.   Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week.   It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for.   Dirty Dancing.   Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname.   Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle.   But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it.   They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise.   To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special.   Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget.   For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials.   Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny.   Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role.   Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming.   Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released.   After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th.   Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance.   But, to be fair, one important element of the film was still not set.   The music.   Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film.   Vestron would spend another half a million dollars licensing the original recording.    The writer nailed all ten.   But even then, there was still one missing piece of the puzzle.   The closing song.   While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.”   Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version.   The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there.   While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals.   With all the songs added to the movie, audience test scores improved considerably.   RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts.   When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts.   The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds.   But then a funny thing happened…   Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack.   Its second week in theatre would only see the gross drop 6%, and the film would finish in third place.   In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales.   Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better.   When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago.   On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong.   The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988.   Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets.   Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then.   Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola.   The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role.   New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.”   Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck.   But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales.   Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves.   Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo.   The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales.   And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting.   Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot.   One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either.   John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6.   The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres.   Vestron would also release two movies in 1987 through their genre Lightning Pictures label.   The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film.   The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them.   After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run.   While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school.   People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years.   Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was.   Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right?   We'll find out next episode, when we continue the Vestron Pictures story.   Thank you for joining us. We'll talk again next week.   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.

Hey friends! I am in such a good mood today, maybe because I get to talk about an episode that centers around Emily Gilmore! Stick around until the end because I have some fun facts about Kelly Bishop and what inspired her portrayal of the iconic Emily. I hope you enjoy this unedited/informal chat:) Love! My delicious oatmeal recipe: Boil 1 cup of water in a pot. Add 1/2 cup oats to the pot once it's boiling. After 4 minutes on medium heat, continue cooking, but add a little bit of almond milk, a dash of cinnamon, 2 tbsp of chia seeds (this will thicken the oatmeal!), and 1 tbsp of almond butter. Keep stirring until the oatmeal is at your desired thickness. Pour into a bowl and add a few chocolate chips on top. They will melt into the oatmeal and make it taste extra delicious:)! Links: Kelly Bishop interview: https://www.youtube.com/watch?v=wewiV-WI9-8 Email: mycomfortshow@gmail.com Follow me on Instagram! @mycomfortshow If you're enjoying my podcast, please rate me on Apple Podcasts! It helps the show and makes me really happy :) --- Send in a voice message: https://podcasters.spotify.com/pod/show/my-comfort-show/message

This week we have more to consider because some more besties had some more hot takes!  -Season four is the best season! -A little shout out from someone who is Team Marty!  -and one bestie called in because she absolutely adores Emily Gilmore  do you have more to say? Call our voicemail! 860-578-4653

Created by Sandra, Emily and Jess. It's time for the bits! Jess curses Emily. As in, host Jess curses host Emily, not Jess Mariano cursing Emily Gilmore. Everyone should absolutely drop what they are doing and go watch Moulin Rouge if you haven't seen it (starring Nicole Kidman and Ewan McGregor), there are some coats to die for (you know which ones), and a bit of Town Meeting Pod Gossip at the end. Join us this week for Part 2 of a Deep Fried Korean Thanksgiving! Email us at TownMeetingPod@gmail.com to be featured in future episodes, or leave us a message on Anchor.fm/townmeetingpod! Special thanks to ack106 for the jingles! Some license stuff: Intro: Chord Guitar 002 by Sascha Ende® Link: https://filmmusic.io/song/557-chord-guitar-002 License: https://filmmusic.io/standard-license Outro: Chord Guitar 001 by Sascha Ende® Link: https://filmmusic.io/song/556-chord-guitar-001 License: https://filmmusic.io/standard-license --- Send in a voice message: https://anchor.fm/townmeetingpod/message Support this podcast: https://anchor.fm/townmeetingpod/support

Today, Sarah and Whitney bring back fan-favorite Emily Gilmore from Thrive PT! The ladies hit all the real topics of postpartum that no one wants to say…yep, they are going to go there.  Emily educates us on common issues such as painful intercourse, urination when sneezing, and the mama pooch. No matter if you had a baby last week or 20 years ago, this is a episode you do not want to miss.Follow Previa Alliance!Previa Alliance (@previa.alliance) • Instagram photos and videosPrevia Alliance Podcast (@previapodcast) • Instagram photos and videosFollow Emily!https://www.instagram.com/mothersonthemend/Wellness | Thrive Physical Therapy and Wellness | United States (thriveptal.com)https://www.instagram.com/thriveptal/

In today's episode, Sarah and Whitney talk with Emily Gilmore from Thrive Physical Therapy. She is a pelvic floor guru and a passionate advocate for prenatal and postpartum physical therapy. Emily describes what the pelvic floor is, discusses how we can prepare our bodies for birth, and provides some amazing tips and resources. If you are expecting , you WILL NOT want to miss this talk! Mentions: Spinning Babies - Comfort in Pregnancy and Easier BirthMore about Emily!Emily Gilmore, PT, DPT, received her doctorate of physical therapy degree from UAB in 2012. Her career has been spent in outpatient orthopedics and women's health. She has received advanced training in dry needling, instrument-assisted soft tissue mobility, and pelvic rehabilitation. It was her struggles after having children that sparked a passion for prenatal and postpartum rehabilitation. In August of 2020, she opened Thrive Physical Therapy and Wellness in Cahaba Heights, which offers specialized physical therapy for prenatal and postpartum women. She enjoys participating in community education to promote better prenatal and postpartum care. She is married to Matt Gilmore, and has a 6 year old daughter and 4 year old son.Follow Previa Alliance!Previa Alliance (@previa.alliance) • Instagram photos and videosPrevia Alliance Podcast (@previapodcast) • Instagram photos and videosFollow Emily https://www.instagram.com/mothersonthemend/Wellness | Thrive Physical Therapy and Wellness | United States (thriveptal.com)https://www.instagram.com/thriveptal/

Created by Sandra, Emily and Jess. Lorelai is graduating from business school and Rory decides to celebrate with CRIME (specifically truancy). In this episode: learn all about Washington SQUARE Park (even though we call it Washington State Park about a dozen times, west coast best coast! - xo Jess), continue our study of Jess Mariano's eclectic literature preferences, and even learn a surprising character detail from his shirt! Seth MacFarlane wants to eat the rich (specifically Emily Gilmore), Jess (cohost) manages to squeeze the words "boss baby" into the episode, and Sandra schools us all on what is and is not "the big apple." Spoiler alert: Burbank, California is not New York City. Join us for what is both the penultimate episode of season 2, and potentially the best Dean/best Chris episode of the entire series??? Email us at TownMeetingPod@gmail.com to be featured in future episodes! Special thanks to ack106 for the jingles! Some license stuff: Intro: Chord Guitar 002 by Sascha Ende® Link: https://filmmusic.io/song/557-chord-guitar-002 License: https://filmmusic.io/standard-license Outro: Chord Guitar 001 by Sascha Ende® Link: https://filmmusic.io/song/556-chord-guitar-001 License: https://filmmusic.io/standard-license --- Send in a voice message: https://anchor.fm/townmeetingpod/message Support this podcast: https://anchor.fm/townmeetingpod/support

You know we had to do it: it's time for Marxist Paris Geller! In this season 6 episode of GILMORE GIRLS (2000-2007), rich girl Paris Geller is forced to work a catering job and finally connects with Marxist theory. Hilarity ensues. Maria is joined by her childhood friends and fellow GILMORE GIRLS superfans Laura Marino and Jessica Hajdukiewicz to discuss this iconic moment. But before we get to the main event of Paris discovering Marx, we touch on Rory and Paris's short-lived activism to free the Burmese prisoners, Rory's political journalism in the Yale Daily News through the years, and the time that actual Yale labor history was depicted in the background of the show. We also dissect the weird and complicated class dynamics present in GILMORE GIRLS as a whole, from Lorelai's background as a working class maid to Emily Gilmore being one of the worst bosses on television. (Of course we also talk some shit about the revival and ASP's blatant anti-fat nonsense.) For this episode, we recommend you first watch or have familiarity with GILMORE GIRLS Seasons 1-6 but especially GILMORE GIRLS 6x05, “We've Got Magic to Do,” streaming on Netflix. Bonus points/god bless you if you've seen season 7 and GILMORE GIRLS: A YEAR IN THE LIFE, also streaming on Netflix.  FOLLOW US ON SOCIAL | instagram, tumblr, tiktok: @leftistteendrama | twitter: @leftyteendrama | website: leftistteendrama.com _ ABOUT US: MARIA DIPASQUALE (she/her; host/editor) is a Brooklyn-based union communicator and writer who watches too much TV. Follow Maria on Twitter @Maria_DiP26, IG @mdzip, and tiktok @marialovesunions. In addition to Leftist Teen Drama, Maria hosts Bodysuits For Bughead: A Riverdale Podcast | tumblr: @bodysuitsforbughead twitter: @B4B_Podcast instagram: @bodysuits4bughead JESSICA HAJDUKIEWICZ (she/her; guest) is a law student in New Jersey pursuing labor and employment law. She doesn't watch (tooooo) much tv, but when she does she almost always gravitates to her comfort shows including Gilmore Girls!  LAURA MARINO (she/her; guest) works in advertising by day and watches, reads, and talks too much about television by night. She has enjoyed yelling about television with Maria for well over a decade, and credits Television Without Pity (RIP) as the first forum to shape her love of deep character and plot analysis. CHARLES O'LEARY (they/them; art) is, of course, a Brooklyn-based designer, artist, and dilettante. A survivor of the 2012-2016 Tumblr wars, media criticism is all they know. You can find their work at charles-oleary.com, and their silly little life on Instagram at @c.s.0.l. JEFF MCHALE (he/him; producer) is an extremely online guy who plays games, streams sometimes, and loves talking old TV. Maria and Jeff's good union cats CLARENCE and VINNY may make an appearance and/or be mentioned.  intro song: Stomping the Room by Delicate Beats All opinions shared on this show are that of individuals and do not represent the views of any organization we may be affiliated with. _ SOURCES DISCUSSED IN THE EPISODE:  Photo of Rory and Logan crossing the GESO picket line at Yale in 2005 Yale Daily News, April 18, 2005, GESO strike reflects years of TA tension by Julie Post Maria's OG blog post about Marxist Paris Geller on "MDip Rewatch" _ SUGGESTED FURTHER READING/LISTENING: All the Marx your heart desires! Shop at your local bookstore. Also, if you want to learn more about Rana Plaza, here's an article to start with: The New Yorker, May 1, 2013, Death Traps: The Bangladesh Garment-Factory Disaster by Sarah Stillman. As promised, places to plug into anti-capitalist organizing: Democratic Socialists of America Sunrise Movement Emergency Workplace Organizing Committee AFL-CIO Contact a Union Organizer form

Created by Sandra, Emily and Jess. Emily just might be the fastest talker in the midwest with the summary this week. Lorelai goes full diner girl persona, we might have the best B plot ever with the battle of the vegetables between Taylor and the 2nd Town Troubador, and Emily Gilmore continues to be the original Luke and Lorelai shipper. Join us this week as we discuss the seriousness of setting up a voicemail message, rate floral arrangements, try to decipher Rory's motivation for bossing Jess around, and see Lorelai be possibly the best friend ever. Let us know what you think! Email us at TownMeetingPod@gmail.com to be featured in future episodes! Special thanks to ack106 for the NEW jingles! Some license stuff: Intro: Chord Guitar 002 by Sascha Ende® Link: https://filmmusic.io/song/557-chord-guitar-002 License: https://filmmusic.io/standard-license Outro: Chord Guitar 001 by Sascha Ende® Link: https://filmmusic.io/song/556-chord-guitar-001 License: https://filmmusic.io/standard-license --- Send in a voice message: https://anchor.fm/townmeetingpod/message Support this podcast: https://anchor.fm/townmeetingpod/support

Listen to Laura and Paisley discuss S1:E16 of Gilmore Girls, titled Star-Crossed Lovers and Other Strangers. What new things will they decide to track? Will the fruit bowl make an appearance? And what connection can they make between Miss Patty's Story Hour and Rachel's arrival?It's finally time for the Firelight Festival in Stars Hollow! It's also Rory Gilmore and Dean Forester's three month anniversary. Luke Danes gets a visitor in town and is not too thrilled about it. While Lorelai Gilmore helps prepare Rory for the big date, we learn that she is sad and missing Max Medina.  At Friday Night Dinner, Emily Gilmore has set up a blind date for Lorelai and she is not very happy about it.  After a beautiful night on the town, Dean confesses his love for Rory and she stays silent. Lorelai gives Max a call and we learn that Dean broke up with Rory. GG Inspired: https://gginspiredlifestyle.com/https://gginspiredlifestyle.com/gilmore-girls-pop-culture-references-explained/https://www.instagram.com/gg.inspired.lifestyle/Tito Puente: https://en.wikipedia.org/wiki/Tito_PuenteTotally Rad Dances With Dancing Kim: How to Do the Cabbage Patch:https://www.youtube.com/watch?v=u2S7auiJFJsNew shirts:Lots of Coffee https://www.teepublic.com/t-shirt/28850940-lots-of-coffee?store_id=380244Sipping on Coffee Bowls at The Mudhousehttps://www.teepublic.com/t-shirt/29253531-coffee-bowls-at-the-mudhouse?store_id=380244Right at the Roosterhttps://www.teepublic.com/t-shirt/28850151-right-at-the-rooster?store_id=380244Monty the Roosterhttps://www.teepublic.com/t-shirt/28850153-monty-the-rooster?store_id=380244Founders Day Punch Junkiehttps://www.teepublic.com/t-shirt/28850152-founders-day-punch?store_id=380244

Sara Schaefer discusses the timeline and process of promotion and how to build your promotional packet in academics with Emily Gilmore, Associate Professor of Neurology, and Serena Spudich, Gilbert H. Glaser Professor of Neurology and Neuroinfectious Disease and Global Neurology Division Chief, both at Yale School of Medicine. Both of these neurologists are directly involved in mentorship for promotion and sit on promotional committees at department and/or medical school levels.

You asked and here it is. In this special bonus episode, Sam and Chris take on their favorite show, Gilmore girls. Which love interest is our favorite, who's the Stars Hollow resident we can't live without, and why Emily Gilmore is our queen. We barely scratch the surface really! Take a listen.

You asked and here it is. In this special bonus episode, Sam and Chris take on their favorite show, Gilmore girls. Which love interest is our favorite, who's the Stars Hollow resident we can't live without, and why Emily Gilmore is our queen. We barely scratch the surface really! Take a listen.

Created by Sandra, Emily and Jess. This episode got unexpectedly dark, with Emily (Gilmore) starting off the episode with who should we kick out of the family mausoleum. Don't worry though, they'll just throw Rory in with Lorelai. Rory somehow becomes the face of censorship in Stars Hollow (and gives us a dark reference out of it), Jess (Mariano) continues to impress us by running with the bits, we get Richard vs Dean round 2, and Taylor is redeemed with a new cardigan! But also is trying to own the entire town of Stars Hollow and create his own seedy underbelly, with Kirk as manager at all of these businesses. Join us to discuss Richard's adventures in Stars Hollow! TW: there is some mention of sexual violence/rape in the references section. Email us at TownMeetingPod@gmail.com to be featured in future episodes! Special thanks to ack106 for the NEW jingles! Some license stuff: Intro: Chord Guitar 002 by Sascha Ende® Link: https://filmmusic.io/song/557-chord-guitar-002 License: https://filmmusic.io/standard-license Outro: Chord Guitar 001 by Sascha Ende® Link: https://filmmusic.io/song/556-chord-guitar-001 License: https://filmmusic.io/standard-license --- Send in a voice message: https://anchor.fm/townmeetingpod/message Support this podcast: https://anchor.fm/townmeetingpod/support

It's another secret mission, and this time Emily Gilmore is giving us our assignment. As she and Rory investigate DAR drama, we investigate the Valerie Plame Affair. Who was Valerie Plame? If she was undercover in the CIA, why do we know who she is? And should Rory use her as an inspiration for her snooping? Listen to our coded message to find out!Other pop culture we ref: The Bourne Identity, The Graduate, All the President's Men, Iran-Contra Affair, Mr. and Mrs. Smith, The Secret Life of Walter Mitty, Mean Girls, Harriet the Spy, Mata HariWe Wholeheartedly Recommend: American Made, The Woman in the House Across the Street From the Girl in the WindowCheck us out on Instagram!Subscribe to our new email list!So it's a show? TwitterSo it's a show? Tumblr

Emily Gilmore, PT, DPT, received her doctorate of physical therapy degree from UAB in 2012. It was her struggles after having children that sparked a passion for prenatal and postpartum rehabilitation. We learn so much In this episode! We asked "What actually is the pelvic floor?!" She gives us incredible tips to keep the pelvic floor strong during pregnancy, postpartum, and beyond. We discuss all the listener questions like what to do when sex is painful, how sex & the pelvic floor are related, how to help lighting crotch, challenges associated with bladder post-baby, how to know when you need a PF therapist, reoccurring UTI's, exercises to strengthen the pelvic floor, and more! Connect with Emily @mothersonthemend @thriveptal www.thriveptal.com Mentioned in the episode https://pelvicguru.com /https://amzn.to/3DyMNEZ Connect with us on Instagram @talk2mesister_podcast or email us at talk2mesister@gmail.com. Check out our Amazon Store! www.amazon.com/shop/talk2mesister_podcast Talk to me Sister Sponsors: Seeking Health Vitamins/Supplements Affiliate Link: https://bit.ly/3crc0aF. Use Code TALK2MESISTER or SISTERS2 for 10% off your first order. Your Super Foods. www.yoursuper.com. Use code Sister15 for 15% off every order. Gut Garden, 15% off your order with code BABYANDME

Created by Sandra, Emily and Jess. This week, Lorelai and Rory both get major shade for not being involved enough in the Chilton world, leading to Rory partaking in illegal activity and Lorelai becoming a booster mom. Apparently almost marrying a teacher doesn't count? And neither does having the frenemyship of the century? Also in this episode: the first Twilight reference of the season, American Cheesegate, the magic of Walkmans, friendly childhood kidnappings, an inconceivably brief fashion show fundraiser, and the mother/daughter outfits to rule them all! Get your Emily Gilmore shimmy shoulders ready and join us as we break down Like Mother, Like Daughter!  Email us at TownMeetingPod@gmail.com to be featured in future episodes! Special thanks to ack106 for the NEW jingles! Some license stuff: Intro: Chord Guitar 002 by Sascha Ende® Link: https://filmmusic.io/song/557-chord-guitar-002 License: https://filmmusic.io/standard-license Outro: Chord Guitar 001 by Sascha Ende® Link: https://filmmusic.io/song/556-chord-guitar-001 License: https://filmmusic.io/standard-license --- Send in a voice message: https://anchor.fm/townmeetingpod/message Support this podcast: https://anchor.fm/townmeetingpod/support

In this episode we discuss the tumultuous relationship between Lorelai and her mother Emily. We look at how they would benefit from family therapy and how they could heal from the wounds of their relationship history. Hosted by Tyler Olsen and April Evans.

Created by Sandra, Emily and Jess. Welcome to Mini Ep #4 where we discuss just how many maids did Emily Gilmore employ this season, if Kirk/Mick will ever land a permanent job, and who appeared more throughout season 1: Luke or Max? Spoiler alert: Luke will always be there for Lorelai - always. We also go over all the Town Persons of the Week we had and decide on our Town Person of the Season. Tune in to see if it's your fave! Email us at TownMeetingPod@gmail.com to be featured in future episodes! Some license stuff: Intro: Chord Guitar 002 by Sascha Ende® Link: https://filmmusic.io/song/557-chord-guitar-002 License: https://filmmusic.io/standard-license Outro: Chord Guitar 001 by Sascha Ende® Link: https://filmmusic.io/song/556-chord-guitar-001 License: https://filmmusic.io/standard-license --- Send in a voice message: https://anchor.fm/townmeetingpod/message Support this podcast: https://anchor.fm/townmeetingpod/support

Emily Gilmore Funeral Mass 17th September 2021

After the Golden Girls and before Gossip Girl, there were the Gilmore Girls. Un dramedy/sitcom que nos introdujo a uno de los más trillados pero enternecedores mother/daughter duos: Lorelai and Rory Gilmore. En este episodio, haremos unos quizzes respecto a esta serie tan querida (let's face it, Lorelai and Rory give us so much comfort; and Emily Gilmore is the Queen of Intensity). Los quizzes que estaremos haciendo son de BuzzFeed, y mientras vamos llenando, compartiremos nuestras opiniones y anécdotas sobre esta serie.

Heute geht es ausnahmsweise mal nicht um Dean. Auch nicht um Luke. Dafür geht es um Trustfonds, weiße Spitzenhaarbänder und andere Mode aus den 2000ern, um Muttersöhnchen und Lippenstift mit Glitzer. Es geht darum, wie viel Ocker bei einem Date okay ist und ob die spanische Inquisition auf Gesprächskarten gehört. Im Prinzip also eine klassische Bingemore Girls-Folge!

***What's up, new witches?! We continue to improve our sound quality as we grow. We're pretty sure we accidentally cast the Muffliato Charm so skip ahead to chapter 14 in The Sorcerer's Stone for better sound conditions. As always, thank you for supporting us!***It's Chapter 12 time and Sarah covers the Mirror of Erised. Listen to us talk about how amazing the Weasley Twins are for throwing snowballs at a certain dark wizard, how Harry's first thought with getting the Cloak of Invisibility makes him a total nerd, and what we see in the Mirror of Erised. And get off topic with us with Emily Gilmore's panic room,  dinosaurs, the Queen of England, My Girl 2 and so much more. Stay with us...

The Original Lorelai Gilmore dies leaving behind her a path of destruction that has only been matched by a category 5 hurricane. How much does Emily Gilmore have to take!?

The brilliance of season 4 strikes again! This week's episode is all about Emily Gilmore and her obvious (to us) depression and feelings of inadequacy. That final scene in the episode is *chef's kiss!*. We're also taking a closer look at Dean, since the writers insist on shoving him down our throats, and Jeffrey makes a somewhat accurate analogy. Were you afforded sick days as a child? No? Neither were we! We're also sharing childhood stories that involve surgery.

So it's a...rebroadcast? That's right! We're bringing a favorite episode back to the top of your podcast feed because who doesn't need more Norma Desmond in their life? We are big—it’s the podcasts that got small! We’re cruising down Sunset Blvd. to figure out what kind of breakfasts Emily Gilmore likes to serve on Saturday mornings. Were the people who made this 1950s movie even more high maintenance than Emily? Was the actress Gloria Swanson just as scary as her character Norma Desmond? And how does this film noir classic tie in with film history and film future? And while we spend awhile on those questions, don’t worry—we get to the most important one of all: Does Norma Desmond even eat breakfast? Check us out on Instagram!Subscribe to our new email list!So it's a show? TwitterSo it's a show? Tumblr

El episodio de hoy está dedicado a uno de los personajes más polémicos de Gilmore Girls: Emily Gilmore

What you Watching This Week?! Suzanne and I are watching Bridgerton S1 E1 0:00 - 1:01:25 We have left the Ginny & Georgia train and we are ready to talk about the HIT of 2020 on Netflix and that is Bridgerton, the newest in the Shondaland franchise. Did Suzanne and I like it? Tune in! STARSHOLLOW GAYZETTE 1:02:40 - End - SEASON 6 : We're talking the Season where Rory and Lorelai aren't talking for half of the season, where Luke has a kid, where Jess Returns, where Emily Gilmore has the best scenes of the entire series, AND THAT FRIDAY NIGHT DINNER FIGHT! It's a whirl wind of episodes in a season that felt slightly off for some and TOP KNOTCH for others!  Follow Benny Higgins Tik Tok : @gilmoregay https://vm.tiktok.com/ZMeL1D9rf Tik Tok : @TVGAYD https://vm.tiktok.com/ZMeL1Aj1A/ Instagram : @thegilmoregay https://www.instagram.com/thegilmoregay Follow Suzanne Hansch Instagram : @mcbanner http://www.instagram.com/mcbanner Follow Karen Meyer Tik Tok : @kemeyer https://vm.tiktok.com/ZMeDMdn65/ Special Thanks for our theme song music! "Music: Funny Quirky Comedy by Redafs.com, Licensed under Creative Commons: By Attribution 3.0 License" https://www.redafs.com/2018/08/funny-quirky-comedy.html --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/benny-higgins6/support

Today, we’re covering and analyzing Emily Gilmore over the entire series of Gilmore Girls! Note: We're experiencing audio issues in the background of this episode, so we apologize! Support our Podcast at: https://anchor.fm/gilmore-gals/support   Instagram: instagram.com/gilmoregalspod --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/gilmore-gals/support

We love you, you idiots. Jacqueline and Meghan are ending their Gilmore Girl's week with a discussion of the Gilmore Guys. Follow I Think You're Gonna Like This Podcast on social media:InstagramFacebookTwitterWebsiteJacqueline InstagramMeghan Instagram If you like the podcast and want to support us, click here.

Jacqueline and Meghan are prepared to talk about Gilmore Girls: A Day in the Life for winter, spring, summer and fall. Follow I Think You're Gonna Like This Podcast on social media:InstagramFacebookTwitterWebsiteJacqueline InstagramMeghan Instagram If you like the podcast and want to support us, click here.

Oy with the multiple episodes already! Jacqueline and Meghan think you guys will like Gilmore Girls so much much it’s a three-parter this week! Follow I Think You're Gonna Like This Podcast on social media:InstagramFacebookTwitterWebsiteJacqueline InstagramMeghan Instagram If you like the podcast and want to support us, click here.

Buffy the Vampire Slayer - The Unaired Pilot/Gilmore Girls S1 E19: "Emily in Wonderland" & E20 "P.S. I Lo..." Stacey's pretty sure Buffy is gonna go through principals the way Emily Gilmore goes through maids. It's good to know, even in this alternate Buffy universe, Sunnydale High shuts down for NO reason. Buffy weirdly and sadly stares out a window, and Rory stares right back at her from Chilton, because people are trying to protect her, and she is pissed! Bryan and Stacey almost break up over the Black-White-Read movie night, and realize they should really come up with a better end of life plan. Plus, Bryan learns what pumps are!Don't forget to check out Gilmore Ball Z!Follow them on Twitter, Facebook, and Twitch @gilmoreballzAlso follow us!Instagram:@gilmoreslayer@bryanandstacey@BMofunny@staceykulowTwitter:@gilmoreslayer@bryanandstacey@BMofunny@staceykulowFacebook:Bryan & StaceyBuffy the Gilmore SlayerYouTube:Bryan & StaceyCheck out bryanandstacey.com to find out what else we've been up to, or email us at:bryanandstaceyreviews@gmail.comTheme song written and performed by Louie Aronowitz @louiearonowitz

Get out your giant mug of coffee and put on some Carol King because we're TALKIN' GILMORE GIRLS, that crown jewel of 2000s-era WB programming. Joining your hosts this week is Shaina Wagner, Gilmore Girls expert. Together, we try to figure out 1) if Gilmore Girls is good and 2) how pinball is it all? In this episode, we discuss Emily Gilmore, Dean Forester: pile of rocks, the forbidden 7th season, everything about Connecticut from two Connecticutians, and Googling "Amy Sherman-Palladino without hat?"

Good news! Rex is only 27. Lizzie now works with Richard and Emily Gilmore. “Let’s Register some Phoenixes!” Thank you for your support for our Trans Rights Fundraiser! We raised over $6,000. Your merch should be arriving very soon, if it hasn’t already. Owl Post: Who does Tycho Dodonus’s prophecy refer to? And why do wizards love roofs so much? “You tryin’ to make a Bran joke right now?” “If you have the three D’s, what else do you need?” “A boat.” “This episode’s got everything! It’s got Disney conspiracies. It’s got Rugrats. It’s got Renesmee.” “Wizard iTunes is a real thing, just like Wizard Starbucks.” “That’s smart thinking, if you ever do a baby swap.” Credence is Peter Parker. *Attraction to Theseus intensifies* Who would win? Wizards or guns? Podcast Question: Do we think Nagini is a pureblood, and if so, would that have impacted Voldemort’s relationship with her? What do you think of her implying that she and Credence would be hunted for sport?

Welcome back to part 2 of our gabfest of mom types. This week we break down the "Workout Mom", "Career Mom", "Phone Mom", "Whiny Mom" (NOT the wine mom), "Zen Mom", and the "Free-range Mom". We sample the easy drinking Lola wine from Pelee Winery, make our own granola, and give a shout out to EMILY GILMORE! Find us on the socials at @dontmakemeusemymomvoice on Instagram and Facebook, @momvoicepod on Twitter, or email us at momvoicepod@gmail.com. We hope you enjoy the sound of our voices!

We've taken the past two weeks off releasing episodes to stand in solidarity with the Black Lives Matter movement. We're back to releasing episodes this week, but our work is not over. Stay involved in this fight, we will be doing so now and forever. This is lifelong work.  https://blacklivesmatter.com/It happens to even the best of couples, both fictional and non: breakups. This episode we’re covering BOTH of Luke and Lorelai’s big splits and what we learn from each of them.We’re here to DISSECT. What caused these breakups? Were they avoidable? First we’ll chat about BREAKUP #1, which we affectionately call the “Princess and the Pauper” breakup. Christopher Hayden played a big part of this breakup. Do you have to tell your partner every time you see an ex? Is that unnecessary drama?Speaking of unnecessary drama, Emily Gilmore essentially orchestrated this first breakup. Is someone’s crazy or meddling family a good enough reason to end a relationship? We get into some real talk about their engagement, what it means for their relationship, and why we feel so weird about it. Then we talk some 'SHIP about a one miss APRIL NARDINI and how she waltzes into Stars Hollow and ruins everything (just kidding...kind of). Then regarding BREAKUP #2....can you recover from keeping a secret as large as a ~surprise daughter~? Was Luke justified in wanting to take some time to get to know April on his own? Was Lorelai justified in giving him an ultimatum? Ultimately, Lorelai does some sabotaging at the end of this relationship. Why does she do this? Why do we do this as human beings?We’re gonna talk ‘ship about it all… tune in!You can find Megan on Instagram and Twitter  @onlymegan815 and Katie on Instagram @katie_bud and Twitter/Tik Tok @katiebuderwitz Cover art by Emily Rowan www.emily-rowan.com (@emrowan)Theme music by Chris Meissner (@chris_meissner)

Listen to Laura and Paisley's caffeinated whims about furry clocks, Lorelai's rodeo getup and that infamous pink tie-dye t-shirt. This episode covers Season 1 Episode 2 of Gilmore girls. Synopsis:On the Lorelais’ first day at Chilton, Lorelai Victoria Gilmore oversleeps, due to her fuzzy clock not purring. A hardcore punctual person, Rory (Lorelai Leigh Gilmore) is upset and yelling the time every minute. Without her dry cleaning being picked up, Lorelai throws together cutoff shorts, a pink tie-dye tee and cowgirl boots to take Rory to Chilton. Upon arriving at the daunting building that is Chilton Preparatory Academy, Lorelai learns that she must go in with Rory to meet the Headmaster. Her ensemble turns heads in the wrong way among other parents, the Headmaster and Emily Gilmore, who took it upon herself to join the meeting. One head she turns the other way was Ian Jack, a divorced Chilton dad. Before finding the Headmaster’s office, they exchange small talk and Lorelai tells him where she works. After the rough start, Rory’s day doesn’t improve. She’s explained the harsh reality that she’s already behind and might not be cut out for Chilton after all. She encounters the Chilton version of mean girls, led by super smart and competitive Paris Gellar. Paris makes it clear that Rory will never beat her academically. Things worsen after Rory accidentally wrecks her project. Tristan, spends his day hitting on Rory and calling her Mary. Lorelai has an equally hard day, dealing with the whole town lecturing her about not dressing appropriately for Rory’s first day. After finally picking up her dry cleaning and making it to work, Ian arrives to ask her out. She has to contend with more issues with Emily. To end the terrible day, Lorelai arrives with coffee in hand to pick up Rory. I’m the Man Who Murdered Love by XTC: https://www.youtube.com/watch?v=jdqk6AD69tgGreystone Mansion: https://www.greystonemansion.org/Salon which is really an Italian restaurant:https://www.itsfilmedthere.com/2011/09/gilmore-girls-season-1-episode-2.htmlRestaurant's website: https://www.ilcielo.com/Google Maps street view: https://www.google.com/maps/@34.0720906,-118.3884189,3a,75y,177.18h,89.24t/data=!3m6!1e1!3m4!1ssSHftrOoX_A1NQov2PS7jA!2e0!7i16384!8i8192

Episode #1: The Chorus Line Reunion! What a way to launch a podcast. Donna is joined by “Chorus Line” cast mates Priscilla Lopez, Baayork Lee and Kelly Bishop for an hour of magical storytelling about Bob Fosse, Michael Bennett and their own extraordinary lives and careers. These dear friends reunite to dish at Sardis for the first time in a very long time. Triple threat, Tony winner Priscilla Lopez brought her own story at the High School of Performing Arts to life as Diana Morales. She also originated roles in “Anna in the Tropics”, “A Day in Hollywood/Night in the Ukraine” and “In The Heights” and is active in film and television. “Chorus Line” star Baayork Lee, an actor, singer, dancer, choreographer, director and author received a special Tony Award in 2017 for her work with the National Asian Artists Project. Baayork made her Broadway debut at age 5 as Princess Yink Yawolak in the original “King and I”. Tony-winning actor/singer/dancer Kelly Bishop is known for enumerable iconic roles including Shelia in “A Chorus Line”, as Baby Houseman's mother in “Dirty Dancing” and as matriarch Emily Gilmore in “The Gilmore Girls”. Produced by Dori Berinstein and Alan Seales, music composed by Matthew Sklar. Part of the Broadway Podcast Network. Every episode is recorded live at the legendary Sardi's restaurant, 234 W 44th St, New York, NY 10036. Thank you so very much to Max Klimavicius, Sean Ricketts, Beth Shafeman and the entire Sardi's family for your tremendous kindness and delicious cuisine! Learn more about your ad choices. Visit megaphone.fm/adchoices

Today on the show, we’re going to talk about The End of Average: How to Succeed in a World That Values Sameness, by Todd Rose. We’ll be joined by Emily Gilmore, who teaches world history at South Burlington High School, in South Burlington Vermont. But first, a few words of background for today’s show. In … Continue reading #vted Reads: The End of Average → The post #vted Reads: The End of Average appeared first on Innovative Education in VT.

We're talking about the show itself!Welcome to a journey that will go for about 153 weeks (if we stay on schedule)!Dan gets obsessed with sound issues in the show (and the podcast has a few of its own - we're sorry for the random hammer sound: that's our sump pump that keeps going off), Tara explains characters' development now versus several years away, and we both love Emily Gilmore.Also: Lorelei excels in spite of herself.Please rate the show 5 stars!Follow us on Twitter @StarsWeeklyPod and on Facebook

We are big—it’s the podcasts that got small! We’re cruising down Sunset Blvd. to figure out what kind of breakfasts Emily Gilmore likes to serve on Saturday mornings. Were the people who made this 1950s movie even more high maintenance than Emily? Was the actress Gloria Swanson just as scary as her character Norma Desmond? And how does this film noir classic tie in with film history and film future? And while we spend awhile on those questions, don’t worry—we get to the most important one of all: Does Norma Desmond even eat breakfast? So it's a show? TumblrSign up for our TinyLetter!

CONTENT NOTE: This episode includes brief references to sexual trauma. If you wish to avoid this subject matter, discussion begins around 16:00 and ends around 18:30. Pour the coffee and turn up the Carole King, it's time for our Gilmore Girls episode! Chicago comedian and storyteller Jaclyn Barker recounts returning to the comfort of Stars Hollow after the 2016 election, and how the revival impacted her. Topics include: Dames, Amy Sherman-Palladino, the comfort of Stars Hollow, mother-daughter dynamics, post-election fallout, why Emily Gilmore deserves the world, Paris Geller's righteous anger, fanservice vs. wish fulfillment, the Gilmore Guys podcast, link-sharing as love language and more Some great further reading on the revival, courtesy of Jaclyn: https://www.cbsnews.com/news/gilmore-girls-netflix-revival-offered-us-marines-in-iraq-war-ecapism/ https://www.washingtonpost.com/news/arts-and-entertainment/wp/2016/11/28/what-the-gilmore-guys-thought-of-the-gilmore-girls-revival/?utm_term=.4983bf0172c1&noredirect=on https://news.avclub.com/the-gilmore-guys-finally-meet-the-gilmore-girls-1798254598 http://time.com/4578044/gilmore-guys-podcast-gilmore-girls/ You can follow Jaclyn on Twitter at @KangarooJaclyn. WE WANT YOU: IBTFY is currently taking messages for our first all-crowdsourced PRIDE episode! Find out how to leave a message and share the LGBTQ+ media that had an impact on you here: https://www.speakpipe.com/IBTFYPod You can find I'll Be There For You on Apple Podcasts, Stitcher, Spotify or wherever you like to listen to podcasts. We release new episodes every other Sunday to help you beat those Sunday scaries. Please tell your friends, subscribe, give us those sweet reviews! If you have questions, feedback or want to be a guest, you can reach us on most social platforms at @IBTFYPod or illbethereforyoupod@gmail.com. Thanks for listening, you fabulous dames.

Happy Mother’s Day. We discuss Emily Gilmore from Gilmore Girls this holiday. fictionalfemales.com

R U TEAM DEAN, JESS, OR LOGAN?! GUESS WHAT WE DONT CARE LOL WE DONT WANT TO TALK ABOUT MEN (jk again, we do, secretly, care.. and the only reasonable answer is team jess) We have two INCREDIBLE GUESTS this week from THE BECHDEL CAST!!! Jamie Loftus and Caitlin Durante take their expertise and let us know about all things Gilmore Girls! Kellen hangs in a dark bathroom in Emily Gilmore's house, I attempt to pick a fight with Caitlin (she wins... of course), and Zoe let's us know about her TWO sets of DVDs. You don't know anything about the Gilmore Girls? TOO BAD you should still listen bc we ALSO talk about representation and why it MATTERS. FOLLOW AND LISTEN TO THE BECHDEL CAST: https://www.bechdelcast.com/ https://twitter.com/bechdelcast?lang=en Follow Jamie: https://twitter.com/jamieloftusHELP?lang=en Follow Caitlin: https://twitter.com/caitlindurante?lang=en Theme music as always by Brandon Payton- Carrillo

Today's episode is more of a topical discussion on Narcissism; personality traits of the disorder as well as references found in the character of Emily Gilmore from the TV show Gilmore Girls. I think we just wanted an excuse to binge-watch the show for research. ;) Disclaimer: we are NOT psychologists nor any other type of doctor who would make such a diagnosis. We just simply share what's on our hearts, but as the old anonymous quote goes, "Enough about me, let's talk about you. What do you think about me?" Visit our website at teaoflifepodcast.com for show notes and links.

Today's episode is more of a topical discussion on Narcissism; personality traits of the disorder as well as references found in the character of Emily Gilmore from the TV show Gilmore Girls. I think we just wanted an excuse to binge-watch the show for research. ;) Disclaimer: we are NOT psychologists nor any other type of doctor who would make such a diagnosis. We just simply share what's on our hearts, but as the old anonymous quote goes, "Enough about me, let's talk about you. What do you think about me?" Visit our website at teaoflifepodcast.com for show notes and links.

Our tennis season is over, but we're leaving you with one final episode of The Body Serve in 2016. We talk about the much hyped Netflix revival of Gilmore Girls: what worked and what didn't, why Rory is such a problem, which of Rory's exes is the hottest, and how Kelly Bishop and Lauren Graham slayed every scene they were in. We also add to our TV episode and recommend a few gems for you to check out over the holidays. 2:30 What worked about the Gilmore Girls revival? #1 Lauren Graham 9:00 Lorelai and Emily: the central relationship of Gilmore Girls? 16:00 Paris Geller, hilarious and terrifying 20:00 Cameos by Parenthood cast, Sutton Foster, and Stars Hollow: The Musical 22:15 An Emily Gilmore meltdown for the ages 24:30 Rory’s exes are all hot now 28:00 What didn’t work? The last four words 29:30 How do you solve a problem like Rory? 33:45 A small diatribe on stereotyping millennials: we didn’t invent participation trophies 37:30 Things that didn’t work in 2016 but might have in 2000  41:20 Sudden diversity in Stars Hollow and Hartford 50:00 Who’d you rather: Dean, Jess, or Logan? 54:15 Revisiting our TV episode – talking about Transparent’s representation problems 60:00 Atlanta, Stranger Things, High Maintenance 63:45 In praise of season 7 of Shameless, and especially Emmy Rossum 67:00 Check out Club de Cuervos, Mozart in the Jungle, Chewing Gum, and Fleabag

All The Best Stuff is on TV This week Johnny and Brian break down their 6 favorite TV shows of 2016! They also take a look at the new trailers for Guardians of the Galaxy, Vol. 2, The Mummy, and Transformers: The Last Knight. News Bites IDW Opens Portland Office For New Imprint & Entertainment Magazine Guardians of the Galaxy, Vol. 2 Trailer Transformers: The Last Knight Trailer Tom Cruise’s The Mummy First Looks Top 6 Shows of 2016 Johnny Person of Interest (CBS) An ex-assassin and a wealthy programmer save lives via a surveillance AI that sends them the identities of civilians involved in impending crimes. However, the details of the crimes– including the civilians roles– are left a mystery. Red Oaks (Amazon) A coming-of-age comedy set in the “go-go” 80s about a college student enjoying a last hurrah before summer comes to an end– and the future begins. Gilmore Girls: A Year in the Life (Netflix) Set nearly a decade after the finale of the original series, this revival follows Lorelai, Rory and Emily Gilmore through four seasons of change. Westworld (HBO) A series inspired by the 1973 film of the same title written by Michael Crichton about...

After the overwhelming success of the last (and first) Extra Dark episode, Caroline Weaver, Caitlin Elgin and the guys get together after recording Episode 65 to talk about the recently released Gilmore Girls: A Year in the Life special season on Netflix. Spoiler: Nope, they didn't much care for it, and yep, Johnny still has the hots for Emily Gilmore. Warning: Lots of Naughty Words.

Set nearly a decade after the finale of the original series, this revival follows Lorelai, Rory and Emily Gilmore through four seasons of change.

AFTERBUZZ TV -- Gilmore Girls: A Year In The Life edition, is a weekly "after show" for fans of Netflix's Gilmore Girls: A Year In The Life. In this episode hosts Marisa Serafini, Zach Wilson, and Hayley O'Connor discuss season 1 episodes 3 & 4. ABOUT GILMORE GIRLS: Set in a storybook Connecticut town populated by an eclectic mix of dreamers, artists and everyday folk, this multigenerational drama about family and friendship centers around Lorelai Gilmore and her daughter, Rory. Lorelai owns the town's bed-and-breakfast, the Dragonfly Inn, with best friend/chef Sookie, and contends with weekly dinners with eccentric, well-off parents Richard and Emily Gilmore (who always have something to say about their daughter's life). After high school, Rory attends Yale University but frequently returns to Stars Hollow to visit her mom. Gilmore Girls: A Year in the Life is an upcoming American web television series on the streaming service Netflix. Foll

AFTERBUZZ TV -- Gilmore Girls: A Year In The Life edition, is a weekly "after show" for fans of Netflix's Gilmore Girls: A Year In The Life. In this episode hosts Marisa Serafini, Zach Wilson, and Hayley O'Connor discuss season 1 episodes 1 & 2.. ABOUT GILMORE GIRLS: Set in a storybook Connecticut town populated by an eclectic mix of dreamers, artists and everyday folk, this multigenerational drama about family and friendship centers around Lorelai Gilmore and her daughter, Rory. Lorelai owns the town's bed-and-breakfast, the Dragonfly Inn, with best friend/chef Sookie, and contends with weekly dinners with eccentric, well-off parents Richard and Emily Gilmore (who always have something to say about their daughter's life). After high school, Rory attends Yale University but frequently returns to Stars Hollow to visit her mom. Gilmore Girls: A Year in the Life is an upcoming American web television series on the streaming service Netflix. Fol

Take a delightful trip with us to Star's Hollow, Connecticut as we peak in on the charmingly lovely lives of Lorelei and Rory Gilmore and their doins about town. Meet all the who's who of Chilton Academy and hear all about local rich lady Emily Gilmore's gripes with the most recently released Gerta, the cleaning lady. Why is it so hard to find good help without making veiled, or maybe not even veiled, references to Nazi Germany's invading of France? We learn all about the School Council's politics, enjoy Melissa McCarthy in a much more innocent role, and talk about our mutual love of Lauren Graham. Don't worry Alexis Bledel, we love you too. I'd love to write more about what happens in our episode, but the truth is they're all kind of running together for me now since I've been binging this show for the last week.  Tune in each Monday as we choose a new show and make more wildly inaccurate assumptions. Okay byeeeeee.

Y'all called in with more thoughts on Emily Gilmore! A few besties wanted to consider what type of mother she wanted, what type of mother she was taught to be, and whether or not Lorelai was the kind of daughter Emily knew how to parent. Plus, a dramatic reading of a season 2 scene from our gal Tara! Ooooh! If you have more for us to consider, call our voicemail at 860-578-4653 (don't be scared of the message, it's us!) Where you lead, I will follow... us @gilmoretosaypodcast If you want more Gilmore To Say, join our Patreon for our spoilerFULL recap podcast Gilmore Revisited. 

In honor of Mother's Day, Tara and Haley share their favorite mother/daughter Gilmore episodes while our listeners had more to say about the parenting on this show from our favorite fictional mothers. Was Emily Gilmore a good mom or just a good character? What's up with Lorelai's selective respect for Mrs. Kim's parenting tactics? And how much influence does Lorelai have over Rory's choices?Let us know what you think besties 860-578-4653Where you lead, I will follow...us @gilmoretosaypodcastIf you want more Gilmore to Say, join us on patreon for our spoilerFULL rewatch podcast, Gilmore Revisited.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy