Podcasts about entertainment editor

Andrew Dansby is a writer who has worked at Rolling Stone, American Songwriter, Texas Music, and Playboy to name a few. He began writing for the Houston Chronicle in 2004 and was the Entertainment Editor until his retirement in January 2025 (This career move left legions of heartbroken readers including one podcast host!). Following his departure, he released a brilliant six part series on the life of Velvet Underground guitarist Sterling Morrison. Andrew presently lives in Houston, Texas.

In part 2 of our conversation with Diana Nollen, outgoing Arts & Entertainment Editor at the Cedar Rapids Gazette, she talks about the joys and challenges of covering the local arts scene, particularly in the wake of disasters like the 2008 flood, 2020 derecho, and a global pandemic. Subscribe to The Culture Crawl at kcck.org/culture … Continue reading

Media, communications and content specialist, Barbara Weller is with us to talk about her client, Grace O and FoodTrients, a unique program for optimizing wellness and longevity. Grace is a fusion chef with a mission to deliver delicious recipes built on a foundation of anti-aging science and on her 30 years in the healthcare industry.   Barbara's experience includes launching the Affinity Development Group, Broadthink, and BroadLit, Inc. Her career began as a journalist and editor where she worked as the Features Editor for the Chicago Daily News, and as the Special Sections Editor, Entertainment Editor and Sunday Magazine Editor of the Chicago Sun-Times. At Broadthink, Barbara's branding, business development, and content management skills provide new directions for interactive, entertainment, and publishing clients. Barbara has developed and launched websites, social media, email programs, brand content, marketing material, cookbooks and investment books. Broadthink works with Fortune 500 companies as well as start-ups to develop and expand their brands, build online communities, translate content into new media, and to connect “all the dots” between a brand and its market. Barbara has also developed television and video programming for ABC, HGTV, Price Waterhouse, and others.   Give Your Turkey Some Super Side Dishes! https://foodtrients.com/aging-gracefully/give-turkey-super-sidekicks-dishes/ Spice Up Your Holiday Table with Unique Recipes https://foodtrients.com/aging-gracefully/holiday-dishes-turkey-tips/   BARBARA'S LINKS: Website: http://www.broad-think.com/ LinkedIn: https://www.linkedin.com/in/barbara-weller-66120717/   GRACE O's LINKS: Visit FoodTrients: https://foodtrients.com/ Sign up for the newsletter: https://foodtrients.com/media/newsletter/   Buy Grace's books: https://www.amazon.com/stores/author/B006LOQMGA Instagram: https://www.instagram.com/foodtrients_/ Facebook: http://www.facebook.com/pages/FoodTrients/137772449656774 YouTube: https://www.youtube.com/user/FoodTrients   Women Beyond a Certain Age is an award-winning weekly podcast with Denise Vivaldo. She brings her own lively, humorous, and experienced viewpoint to the topics she discusses with her guests. The podcast covers wide-ranging subjects of importance to older women.   SHOW LINKS: Website Join our Facebook group Follow our Facebook page Instagram Episode archive Email us: WomenBeyond@icloud.com Denise Vivaldo is the host of WBACA. Her info lives here More of Denise's info is here Cindie Flannigan is the producer WBACA. Her info lives here Denise and Cindie's books

It's the BBC's flagship Saturday night entertainment show and is a cash cow for the corporation but in recent weeks allegations of physical and verbal abuse have emerged. Yesterday, the head of the BBC apologised to celebrity contestants but ruled out a wider review into the culture of the show. So what now for Strictly Come Dancing? This podcast was brought to you thanks to the support of readers of The Times and The Sunday Times. Subscribe today: http://thetimes.com/thestoryFurther reading: Tim Davie apologises over Strictly Come Dancing bullying scandalStrictly ‘needs intimacy coaches to stop dancers crossing boundaries'Video shows Strictly dancer slapping partner's bottomGuests: Laura Pullman, Arts and Entertainment Editor, The Sunday Times.Richard Coles, broadcaster and former Strictly Come Dancing contestant. Host: Luke Jones. Clips: BBC, Sky News, GB News.Get in touch: thestory@thetimes.comFind out more about our bonus series for Times subscribers: 'Inside the newsroom' Hosted on Acast. See acast.com/privacy for more information.

This week on the blog, a podcast interview with Ari Kahan, who assembled and oversees the most complete compendium of on-line information on Brian DePalma's classic rock music horror classic, Phantom of the Paradise. LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/The Swan Archives: https://www.swanarchives.org/Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastINTERVIEW TRANSCRIPTDo you remember when you first saw it? What were the circumstances? How old are you? What was your reaction? ARI KAHAN: Sure. I first saw it when I was 12. It was double billed with Young Frankenstein. This would have been in early 1975, and my mom took me to see Young Frankenstein, which was okay. It was pretty good, but I was really enamored with the second feature on the bill, which was Phantom. And I've been in love with it ever since.Did you know anything about it before you went in? ARI KAHAN: Nothing. Nothing at all. So, what has been the attraction for you for that film, low those many, many years ago?ARI KAHAN: It may have just hit me at an impressionable time. But I think that, you know, being 12 and being kind of a nerd, I probably identified with Winslow and his fervent belief that if the world could only hear from his heart, and especially if all the girls in school could only hear from his heart, then they would love him and not the jerk that they always went out with.So, there's probably some of that. There was certainly, I do remember very, very clearly that the direction in some respect stood out to me. I had seen a lot of movies when I was 12, and I remember even today, thinking when I was 12, that there was a moment where the Phantom is rising up into the rafters in the foreground as Beef is descending in the background. And I looked at that and I thought, boy, that's complex. Anybody else would have done a shot of the Phantom starting to climb a rope, and then cut away, and then come back to him up in the rafters. This guy is trying to do things that are more interesting than he needs to and I thought that was really fun.After seeing Phantom I went back and saw Sisters.Which was no mean feat back then. ARI KAHAN: Yeah, I know and in fact, I had to see Sisters by buying a 16-millimeter print of it. That was the only way I could. I had fixed up a couple of—this is probably a year or two later—I had fixed up a couple of 16-millimeter projectors that my school was discarding, so I could even do changeovers in my bedroom. And I got a copy of Sisters just so I could see it because it was unseeable otherwise. Well, kudos to you for finding Sisters, because it took me a long time. I imagine it showed up at the Film society at the university or something finally. So getting to see William Findlay in a markedly different role and also seeing, oh, okay, this is a director who likes split screen. Although I probably would have gotten that from Carrie, because I'm sure I saw Carrie first. He's accused of doing stuff like that just for showing off. In fact, I think it's always for a cinematic or emotional reason. And Sisters is the best example of that. The suspense of getting rid of that dead body before they get to the door is enhanced by the fact that you're watching two things happen at the same time. ARI KAHAN: Yeah, I think in Sisters and Phantom both, it works really well. And I think, and I think even DePalma would agree that it didn't work as well in Carrie. Because the split screen calls for intellectualizing on the part of the audience. And it takes you out emotionally and wasn't really working that well. I understand why he did it, because it'd be boring to like, cut to Carrie's face, cut the things happening, cut back to Carrie's face, blah, blah, blah, blah. But I think both he and Paul Hirsch, the editor, feel it would have been better off to do something else.But anyway, after Phantom, you know, every new De Palma film to come out—all the way through Domino—has been a much anticipated event for me, you know, and I'm in the theater on the first day. And there have been a couple of disappointments along the way, but by and large, it's been awesome. Since you've seen Phantom so many times, were there any surprises that popped up over the years as you've watched again and again and things that you hadn't seen or hadn't realized?ARI KAHAN: It took me a really long time to notice that there was a frame or two of Jessica Harper being one of the backup singers on stage when Beef's performing life at last and only because I think it was unavoidable to use those frames. I think somebody figured out in editing that it didn't make any sense for her to be one of those backup singers and then in a white dress. So that took a while. It also was only within the past couple of years that I realized that a lot of the sort of classical, but silent movie sounding music that I had always thought was composed by the guy who did the incidental music was actually Beethoven. Oh, really?ARI KAHAN: Because Beethoven's not credited. So that little like a little violin thing that happens …ARI KAHAN: Or when Swan is going into phoenix's dressing room. When Winslow is escaping from prison. Well, it's Beethoven piano trios for the most part. So, you don't need to get permission from the Beethoven estate on that…ARI KAHAN: Well, I think that they would have had to pay the orchestra involved and I can easily imagine them omitting credit to avoid doing that. Hoping nobody would notice. And nobody did, obviously.Until you've just brought it up. ARI KAHAN: Yeah, sorry. That's okay. It's not, it's not our problem. One of the things that, that I found the Swan Archives to be so helpful on—well, lots of things, uh, when I discovered it years ago and I've returned to it as new things have popped up or I've dug a little deeper—was your explanation of the Swan Song debacle. As a frequent viewer of the movie. I wasn't noticing truncated shots. That I didn't notice until you showed us those shots. But obviously the mattes, particularly at the press conference, are really, really terrible. If I'm noticing them, they're bad. Can you just give us a brief history of why they had to do that? ARI KAHAN: Sure. So, it goes to Beef electrocution. In the early seventies, there was a band called Stone the Crows, whose guitarist was a guy named Les Harvey and Peter Grant, who would later manage Led Zeppelin, managed Stone The Crows. And Les Harvey was—in a freak accident—electrocuted on stage. I think his guitar was badly grounded or something along those lines, in 1971 or 72.And when Peter Grant learned that there was a film coming out in which a rock guitarist is electrocuted on stage, he assumed, that it was making fun of what had happened to his friend, Les Harvey. And by that time he was managing Led Zeppelin. I should say in De Palma's defense that Beef's electrocution shows up in early drafts of the script that were written before Les Harvey suffered his accident. So, this was life imitating art, imitating life, you know, rather than the other way around. De Palma clearly did not take that plot and probably didn't even know about what had happened to Les Harvey. But anyway, by the time Peter Grant got wind of this, Phantom had already been shot, but not yet released. This was in the summer of 1974. And by sheer absolute sheer coincidence, Peter Grant and Led Zeppelin had just gotten a trademark on Swan Song for their record label. And the first record to come out on the Swan Song label was Bad Company's first record, and that was in somewhere around June of 1974. So that's when their trademark was perfected, and Phantom was scheduled to be released a few months later at the end of October.And Peter Grant went to 20th Century Fox, which had just purchased Phantom from Ed Pressman and DePalma. You know, it's important for the story to know that Phantom was independently produced. It wasn't financed by Fox. Pressman and DePalma raised money to make this movie in the hopes that they would then sell it to some distributor for more than they had paid to make it.And it turned out that there was a, quite a bidding war among several studios, which Fox won. And Fox paid more for Phantom than anyone had ever paid for an independent film to that point in history. They had very high expectations for it. So that sale had just closed, but Pressman and De Palma and everyone else hadn't been paid yet by Fox.And of course, they had run out of money and owed everybody money, everyone who had worked on the film. So, they were in kind of a desperate situation. And Peter Grant went to Fox and said, “I'll sue you and prevent release of this film.” And the only thing that Fox could do was to tell Pressman and De Palma, you need to fix this.And the only way they could fix it was by removing all of the references to Swan Song, so that Peter Grant wouldn't have grounds for his claim, because he obviously can't claim you can't have a film with an electrocution of a rock star. Really, all he had was the Swan Song thing. And so that was done very, very hastily. They were still working on it in early October, even though the film was scheduled for release at the end of October. And so, basically, Fox signed a deal with Led Zeppelin saying we won't release the film with any of this Swan Song prominently shown. Which is a very stupid resolution really because Peter Grant in the end did not prevent distribution of a film with an electrocution of a rock star, which was his original concern.All he really managed to do was mangle somebody else's. And so the end result is that the film that we've all been watching for the last 50 years, there's a little bit cut out of it. There's some lovely crane shots that you missed because what the DePalma had done through the film was start on this Swan Song logo or the Swan name and then move away from it to whatever was going on. So that you have the impression that Swan was everywhere. And so that whole thing was lost and, you know, as you and everybody else noticed, some of it's very noticeable, particularly the bird at the airport. Which is too bad.I understand that you have a secret print of the film in which all those logos had been restored. In addition to fixing the crane shots and having shots that no longer have the terrible matte on them, is there anything else in that version that we wouldn't have seen before? ARI KAHAN: It's not a secret print, really. It was just reconstructing the film the way that it was intended to be, using footage that had been assumed to have been destroyed decades ago, but which I eventually found and digitized. And then with the help of a couple of other folks, put the movie back together. The most challenging part: there's a couple of challenging parts to that.You know, it's not just a matter of sticking things in. The footage was without sound. And so, if you're making a scene a few seconds longer, for example, and there's music underlying that scene, what are you going to do? Are you going to start the music a little bit later? Are you going to end it a little bit earlier?Are you going to play it a little bit slower so that it fills up these extra seconds? Are you going to loop it? Are you going to find some other piece of music that was probably intended to go there in the first place? So there's that problem. And then the podium scene, which is the worst offender—at the airport—the original, they actually worked on the negative to put the dead bird on. And so, the original footage for that podium didn't exist. But we knew what the podium was supposed to look like, because there's a photo that was used for the German promotional campaign—created obviously months before the film is released—and that still shows the podium the way that it's supposed to look. So, I got my friend, Steve Rosenbaum, who is a special effects supervisor. He won Oscars for Forrest Gump and Avatar, I think. And he's about to win an Emmy—I will bet you a box of donuts—he's about to win an Emmy for his work on Masters of the Air. I gave him this image and the footage that's shown, you know, in the theater normally, and he reconstructed the podium for me. So that's how we did the podium. But the other thing that was that if you go see the film now in the theater projected from DCP, the DCP master—which is the same master that we've used for the current blu rays—it was done by a company called Reliance Media Works in Burbank. And, I don't know what 17 year olds they had working on it, but they did the coloring and grading the way it's fashionable to do when they did it, you know, 10 years ago, which was a lot of orange, teal and the blacks are crushed so that anything that's really dark gray or dark brown, just black, so that the colors pop more, but you lose a lot of the detail, and to my eye it looks terrible.And so, I used an earlier master of the film that looks more like it looked in the 70s as the base for the reconstruction. And then color matched the replacement footage to that. It sounds beautiful. ARI KAHAN: It's gorgeous. The only other thing that I suppose we could have done, but didn't, is there's originally footage of Winslow's face coming out of the record press looking all mangled. And I have that footage, but I didn't put it back in because that footage that DePalma deemed not appropriate to the tone of the film that he was making. And so, since the object of this game was to restore the film to the way that he would have wanted it, I let that out. I think that was a wise choice. You know, I talked to Pete Gelderblom, who did the Raising Cainreconstruction. And it's a beautiful piece of work that he did. He was more constrained than you, because he was only allowed to use the footage which was there, and he just had to rearrange it. He repeats one shot, but he got it as close to the original shooting script as he could. I don't think Paul Hirsch was particularly thrilled with it, but De Palma was and has referred it as his director's cut. Did De Palma see your version and did he like it? ARI KAHAN: Yeah. I did a cast and crew sort of screening in Los Angeles and Paul Williams came to that and Archie Hahn and so on. Ed Pressman, the producer. And there was tremendous enthusiasm, because none of them had ever seen the film that they made the way that it was supposed to be.And I sent a copy to Paul Hirsch and I'm not sure whether DePalma heard about it from Pressman or from Paul Hirsch, but he asked to see it. And I sent it to him and I got a nice note from him saying, you know, that it was great, good job, la la la, it's great to see the film the way that it was, you know, the original cut.So. Yes, he is. Definitely. He's seen it. He's happy with it. And Ed Pressman, in particular, wanted to have that version released on home video or in some other way. And we went to Fox. This is before Disney. It was still Fox. And Fox said, well, you know, we could consider doing that under two conditions. First, Mr.DePalma approves. Well, yes, check box checked there. He does. And second, we made this deal with Led Zeppelin back in 1974, where we agreed not to do this. And if you can get them to waive their rights under that agreement, then yeah, sure. So, I worked with Ed Pressman and we put together a bunch of testimonials from people that we thought Led Zeppelin might respect, like Brett Easton Ellis and I think Guillermo del Toro and others, and sent a package off to Led Zeppelin through their lawyers. And God bless them, they got back to us in less than a week and said no. At least they didn't leave you hanging. ARI KAHAN: At least they didn't leave us hanging. That's right. So, your archive is amazing and is hour's worth of fun to go through it. ARI KAHAN: It's a rabbit warren. Yeah, I wish it were a little better organized.How did it get started? Well first, when did you start collecting memorabilia and then how did that grow into the archive? ARI KAHAN: I started collecting memorabilia right after I saw the film when I was 12. And that was obviously pre internet and pre-eBay. And it was a lot harder to get stuff. Bt I would frequent science fiction conventions and horror conventions and comic book shops.And there were a whole bunch of people who knew me as that kid who's always looking for Phantomstuff. And I was the kind of nerd who kept a log with the what everybody else was also looking for. And so, if I were at some convention and the guy who was collecting Olivia Newton, John's stuff, if I saw something interesting—not that there is anything interesting about it, but anyway—if I saw something interesting about Olivia Newton, John, I would run to the pay phone and call him and say, Hey, you want this? And I would pick it up for him. And so, there was a lot of returning of favorites where there would be people who were going to cons that I wasn't going to. And if they saw Phantom stuff, they would pick it up for me and that kind of thing. And so, you know, that became the way to get the posters from every country in the world that it was released in and the lobby cards and everything else and it started filling up, taking up more and more space over time and grew into, you know, trailers and magazines and everything else.And then when the site came out in around 2006, I put up the first version of the site. People who either had worked on the film or had something interesting would get in touch with me and say, “You know, I have this. I see you have a good home for it. Do you want it?” And of course, you know, eBay was a way to fill in some gap.Is there, within what your current collection holds, is there a prized possession that, you know, if there was a fire and you only grabbed one of those pieces, what would you take with you? ARI KAHAN: Yeah, absolutely. You know, in every dorm room and every apartment and every house I've ever lived in has hung John Alvin's art from the one sheet, and it's the same art that's on the cover of the soundtrack album. I just thought that was beautiful piece of art. And I think it was his second movie poster he painted. The first one would be for Blazing Saddles. And then he did Young Frankenstein, and if you look at the Young Frankenstein poster and the Phantom poster, you can see that there's a lot of stylistic similarities there.But he went on to do, you know, E. T. and, you know, 130 odd other posters. And at some point, he and I started corresponding and he finally said, “You know, I have something that I think you should have. Give me your mailing address.” And a few days later what showed up was his original painting, the comp painting for that poster, which he had had all this time. And so that would be the prize possession for sure. Well, that qualifies, I think. Is there a Holy Grail out there that you're still looking for? ARI KAHAN: The original art for the Corbin poster. Which is the “he's been maimed and framed, beaten, robbed, and mutilated.” That artwork would be a Holy Grail. As well as, well, the Phantom's original helmet. Now, it turns out there's a couple of them, at least. And one of them Guillermo del Toro now has. He just bought the Phantom's costume after it failed to sell at auction at Bonham's. And the other helmet the Pressmanfamily has, so those would be a grail. There's a lot of things that I'm sure no longer exist that would be the grail, like, you know, the Phantom's contract.Any number of props would be fun, but there's not very many known to still exist. I think Peter Elbling still has—or I think his son has it right now—the microphone that he used with a knife on it. And Garrett Graham still has his guitar strap, Beef's guitar strap. And I think he may still have the plunger.But not the antler belt? ARI KAHAN: No, not as far as I know. That'd be tough to ship. It would be. Yes. Dangerous to keep around the house. You could bump into it. On the site you kindly show all kinds of different memorabilia that you have or that exists around the world. And you also have a section called Inexplicable Crap. Is there one piece in there that just stands out for you as what in the world were they thinking? ARI KAHAN: Maybe the Death Records pillow. Like I can understand why they did. They made prototypes that never went out for sale. Why anybody would want it, you know, a dead bird, probably somebody wants a dead bird pillow, but the market would be limited.When the DVD for Phantom Palooza 2 came out, I bought that and then heard you talking somewhere about getting Jessica Harper to sing Old Souls, which is on the DVD. We just see the very end of her singing it. I'm guessing there were some technical problems or something with that. ARI KAHAN: It wasn't technical problems. It was the Paul Williams rider, which required that the show not be recorded. And I think that midway through Jessica singing, somebody might have said, or actually I think that's an audience--t might be an audience shot thing that we have. There's probably lots and lots of cell phone video out there of the show, but nobody related to who worked on Phantom Palooza—and I was one of the people who worked on Phantom Palooza—is going to be out there distributing anything that we agreed with Paul we would not even shoot. But, but yes, Jessica was absolutely a highlight of the show there. I was surprised that she went full force on the end of that song. ARI KAHAN: Well, there were no plans for her to perform. And the morning of the rehearsal, I said, “Hey, Jessica, you want to go down and watch Paul rehearse?” And I took her over to the auditorium and I was hoping that, you know, seeing that and being a performer at heart, she might be inspired to maybe, you know, participate. And she decided she would do Old Souls with Paul's band. And then she went back to the hotel and practiced the song, I think, all day in her hotel room and then, you know, knocked it out of the park that night. That's how I remember it. And then she came off stage and said, you know, now I know how Mick Jagger feels. It's a pretty stunning debut for her in that movie, to come from essentially nowhere—although she'd done things before that. And then the run that she had in the seventies, pretty unequaled when it comes to being the, um…ARI KAHAN: The queen of cult. Yeah. The queen of cult. And just the range, from Suspiria to My Favorite Year. You don't get a much broader range than that. ARI KAHAN: Pennies From Heaven. Yes, just phenomenal. Even just the wheat speech in Love and Death is worth the price of admission alone. ARI KAHAN: She played, uh, Gary Shandling's wife on The Gary Shandling show in the last season, named Phoebe, of all things. And in, I'm pretty sure it was the last episode of that show, she's held hostage by a phantom who lives under the set, who threatens to sabotage Gary's show, unless she will sing his song. And she ends up singing his song, which turns out to be YMCA. Wearing a dress that is very, very reminiscent of the one she wore to sing Old Souls in. And they even make a Pennies From Heaven joke. So, it's very inside baseball, I should say. Speaking of actors from that, I've always been blown away by William Finley's performance in the movie. I think it was Paul Williams who said something like, you know, he spends three quarters of the movie acting with one eye and metal teeth, and that's all he's got. And it's just flawless and so heartbreaking.And I'm just sorry we didn't get to see him in more movies. He's delightful in The Fury in a very small part. He's all over the early films. And I got the sense since I read somewhere that you did a eulogy for him, that you must have developed a friendship over the years. ARI KAHAN: Yeah. And, before we get to that, you say heartbreaking, right?And I think that that's one of the things about Phantom that was so ballsy. It's obviously a spoof of many things, but while being a spoof, it tries to get you to care about the characters. If, if you were not, you know, devastated at the end when Winslow dies just before Phoenix recognizes that it was him all along, you know, the film has failed.Whereas in other spoofs, you know, Rocky Horror doesn't ask you to care whether Brad and Janet will get back together after their experience or anything like that. Nobody asked you to care about the characters at all. And I think it's a huge risk that DePalma took in making a film like this: while simultaneously being a parody and a satire and a spoof and everything else, he wants you to care about the outcome. As far as Finley, I got to know Bill a little bit towards the end of his life after meeting him at Phantom Palooza. I went to New York and spent a little time with him and now I know his wife Susan pretty well and his son Dash a little bit. And when he died, Susan asked If I would put together some kind of a video montage for the funeral, which wasn't that—it's a celebration of life was what she was calling it. And I did that. And every time I had it finished—and, you know, I had like a day and a half to do this. And then I had to take the red eye to New York from California for this, for this event—every time I had it finished, she would send me a few more pictures and I'd have to, you know, redo it.And then she asked, could you set it to music? Could it be set to Faust? You know, okay. You know, you don't say no to a widow, right? And I was working at the time too. So, when I finally flew to New York, I was completely exhausted. And I got to the chapel I guess a couple of hours before the ceremony was supposed to start, so that we could make sure that this thing would play on their equipment and so on.And I'm taking a nap on one of the pews and Susan showed up with, you know, programs under her arm. And I picked up a program and saw that, right after Garrett Graham and Jessica Harper was supposed to speak, I'm supposed to speak. But I this was the first I was hearing about it. And so, I spent the first, unfortunately, the first part of the ceremony—where I really wanted to be paying full attention—kind of scrambling together what I was going to say.I have no idea what I said at this point. I hope it did Bill justice and didn't offend anybody, but I couldn't tell you now a single word of what I ended up saying there. And it's in front of, you know, various of the icons of my childhood, right, are in that chapel. So it's kind of like all of the nightmares of going to school and realizing that there's a test in the subject that you never took, and that you're not wearing pants, and all your ex-girlfriends are there laughing at you. Because I have my own podcast that has to do with my series of books, and like your site, I want to make it perpetual. But there's really no way to do that unless I set up a fund so that after I die they keep paying the site to keep running it. Because as soon as that site shuts down, the podcast goes away. And the same thing will happen to the archive. Whoever is hosting it, unless they're paid, it's gonna go away. I'm wondering, do you have a plan in place for all that information? ARI KAHAN: When I go, it goes.Oh, I feel like I set you up for that. Okay. Can I propose an alternate ending to that? ARI KAHAN: Sure. You essentially have a book there. You just have it in web form. You should put that together so that when it is done, when you are done, it can just be put into a book because it already reads like a book.ARI KAHAN: People have suggested that, and I've resisted doing a book because every now and then, some new fact comes to light that shows that something I had in there was wrong. And everything in there—virtually everything—is based on conversations that I've had with participants or material that came out at the time. None of it is taken from someone else's book or anything. So it's all fairly firsthand, but people have fallible memory. So, for example, the guy who made the phantom's helmet assured me that he had made only one. And it's crazy, because every production wants to have multiple copies of any key prop, because if something happens to the prop during shooting, shooting would have to, you know, it's an incredibly expensive problem to stop shooting waiting for another one.But as it turns out, he's, he's wrong. He made more than one. There is more than one. And so, every now and then, I have to correct something on the site. And if I put it out in book form, these books would be wrong. Potentially, something could come out in the future that that would make something with my name on it. Wrong. Imagine a book with a mistake. I can't imagine. ARI KAHAN: Exactly. And I can't abide that. So, it exists in electronic form so that I can edit it and improve it. Well, I would argue that you can do the ebooks, but that's, you know, that's your circus. It's not my circus. But you do raise an interesting question about misconceptions. I know that one of the biggest misconceptions is that it ran in Winnipeg forever and it didn't. I can—as someone who lived here in Minneapolis when Harold and Maude ran at the Westgate Theater for two and a half years—I can assure you it ran there for two and a half years, because I was there those two and a half years. So that was real. Is there another misconception out there about the movie that you just can't—like a whack a mole—get rid of? ARI KAHAN: So many. In fact, um, I think on my FAQ page, I list some of them. Is there an egregious one that just gets under your skin? ARI KAHAN: Yeah. The idea that it was only popular in Winnipeg and a couple other places is just completely wrong. It was big in Japan. It eventually became a big in Los Angeles. It never did anything in New York. Where it was actually biggest was not Winnipeg, it was El Salvador, where the songs hit number one on the radio. More than once. And it was brought back and revived many times. I get more mail from El Salvador than from anybody else.As we wrap up here, my favorite scene in the movie is the closing credits. I just love the music. I love what Paul Hirsch did with the assembly of that. And for years, I was living under the mistaken impression that in the credits, when it said Montage by Paul Hirsch, that that's what I was looking at was that montage. That's a montage. Then I was disabused of that in an interview with him—which I clarified with him. It was very nice to get back to me on Facebook when I said, “Am I correct in my understanding that the montage in the middle of the movie, the writing montage, you never saw that until the film was done? You had to put all the timing of that together, the animation of the writing, the placement of Phoenix's face on this part of the screen, and the Phantom and that, all the dissolves, all that timing?” And he said, “Yes it was a one-shot thing.” And I think for that he does deserve a special “Montage by Paul Hirsch,” because even today, with all the stuff we have, that would still be a challenging thing to do. And then not to be able to see the end result.But even with that, I just still love the closing credits. It's a combination of music, it allows me to revisit all my favorite scenes in the movie and a lot of my favorite shots. Do you have a favorite scene? ARI KAHAN: Well, I actually like those closing credits too, because most of the shots in those closing credits aren't actually in the film. Most of them are outtakes. And so, for example, in those closing credits, you have Swan splashing in the tub. There's Archie Han twirling around like this. And most of them, alternate takes. And they're clearly things that Paul Hirsch thought were charming and wanted to include that he couldn't put in the film.I suspect that you've held 35-millimeter film in your hands and cut shot A to shot B. I've only done that in 16mm. To keep a piece of film that short, hanging on a hook somewhere going, “I know I'm going to want to use that later.” Then finding that. I don't think people today understand what skill level was involved in, you know, that sort of thing, or the TIE Fighters in Star Wars that he did, or all that connection of little pieces, and tracking that and knowing that that's going to go there and that's going to go. It's so much easier today. And you had to make firmer decisions then earlier in the process than you do now, right? And fixing things was much more arduous. ARI KAHAN: You know, I think if they had to fix the Swan Song stuff out of Phantom and they were doing it using digital technology today, obviously, it'd be much faster and so on, but, uh, doing it on film. And having to send each change into the processing house, and then getting it back a few days later, and, uh, you know, it's a lot of work. It'd be horrible.But favorite scenes: The Goodbye Eddie number just remains a favorite. Do you know why? It's not fancy DePalma. It's a wide shot, two shot, a single. ARI KAHAN: That's right. It's the most conventionally shot thing in the film, but Archie Han is just so great in it. His delivery boy in My Favorite Year—when he does the punching—he just does the exact right thing at the right time. And I wish there'd been bigger movies with more Archie Han in them than what we got. ARI KAHAN: So does Archie. Okay, last question. If you take Phantom of the Paradise out of the mix, what would you say is your favorite De Palma movie?ARI KAHAN: Well, I'm not sure that Phantom of the Paradise is my favorite De Palma movie. It is a sentimental childhood favorite. But I go back and forth between Carlito's Way, Casualties of War, Femme Fatale, Carrie. And Raising Cain.I think that Femme Fatale is probably the one that came closest to his intention.It's the one that I think of as being, like, the most successfully realized, and I love it for that reason. Carlito's Way is just, by, I think, any objective standard, probably his best work. Then I love Blow Out. I'm not on the Blow Out train as much as everybody else. Maybe because it just, it goes so dark.ARI KAHAN: That's what I love about it is the devastating ending. I really love Peet Gelderboom's version of Raising Cain. Given all that, and given that you're 12 years old in 1974, 75, somewhere in there, and you're you're a movie freak at this point, which is a really good time in film history from that era. Is there a favorite? ARI KAHAN: So, I was really lucky that I was when I was 15 or 16, I was working at a theater called the UC theater in Berkeley, which was a repertory house that showed a different double bill every night. And any night that I wasn't working, I was there seeing movies.So, I saw lots and lots and lots of movies. And despite all that and all the weird stuff I saw, my favorites are probably the same things that every 70s kid's favorites were: Star Wars, Harold and Maude, The Godfather. I loved Harold and Maude so much that I bought an old hearse at one point.Okay, you win. ARI KAHAN: And I didn't keep it for long. It got like, I don't know how many gallons per mile. It was just not economical to have as a car, but it was fun for a while. I was very lucky when they hit the two-year mark here in Minneapolis, and I was a junior in high school, maybe. I happen to know the son of the local movie critic for the paper, and the critic knew that I was a big fan of Harold and Maude. And so he took me along on his press junkets. So, I had dinner with Bud Cort, got to chat with him. I got to hang out with Ruth Gordon for the day. ARI KAHAN: The only one I can propose to top that would be when I was in high school, I was writing for the school paper. Actually, I had stopped going to high school. I was the entertainment editor for the school paper, and I had stopped going to high school. I dropped out, but I kept submitting articles to the paper. And at some point, the newspaper staff changed my title from Entertainment Editor to Foreign Correspondent. And on the strength of that—when Tim Curry's first record, Read My Lips, came out, and he was coming to town to sign autographs at Tower Records—myself and a writer from the Berkeley Bar, which was a newspaper back then, had lunch with him around the corner from Tower Records just before he went off to do his autographing. And I was a huge Tim Curry fan. And I had to try to keep that under wraps and, you know, not ask any Rocky Horror related questions. And that was my claim to fame until all of the Phantom nonsense started.

Jerome joins the show to talk about dropping box office sales and the current state of Hollywood. See omnystudio.com/listener for privacy information.

This annual May Day celebration features princesses Myrtle Guarisco and Chiara Arendt, seniors, who joined hosts Finn Howell, Coverage Editor, and Preston Weller, Arts and Entertainment Editor, to share some exciting behind-the-scenes details about the event.

From Eurovision in Liverpool to horse racing in Cheltenham... it's all things live, as we look at the the biggest events and sporting-fixtures of the last year. Alex Zane is joined by Entertainment Editor at Heat Magazine Boyd Hilton and CEO and Exec Producer at television company Nine Lives, Cat Lewis.Find out how ending a live sports broadcast is even more important as the result, why actress Hannah Waddingham turned into a sought-after live host... and plenty of backstage gossip behind your favourite TV moments of the past year.The transcription of this episode will be available on the BAFTA website. Nominees discussed today include:LIVE EVENT COVERAGETHE CORONATION CONCERT Production Team – BBC Studios / BBC OneEUROVISION SONG CONTEST 2023 Production Team – BBC Studios / BBC OneROYAL BRITISH LEGION FESTIVAL OF REMEMBRANCE Production Team – BBC Studios / BBC OneSPORTS COVERAGECHELTENHAM FESTIVAL DAY ONE Richard Willoughby, Paul McNamara, Mark Demuth, Bridget Toomey, Rob Oldham, Dionne Robinson-Smith - ITV Sport / ITV1MOTD LIVE: FIFA WOMEN'S WORLD CUP 2023 Production Team – IMG / BBC OneWIMBLEDON 2023 MEN'S FINAL Production Team – BBC Sport, Wimbledon Broadcast Services / BBC One Hosted on Acast. See acast.com/privacy for more information.

Hosts Preston Weller, Arts and Entertainment Editor, and Finn Howell, Coverage Editor, invite friend Kellan Schleef, senior, to discuss recent and upcoming band competitions that both Howell and Schleef participated in.

Winners of the 2024 Amazing Race Janina Kraetschmer and Ryan Vandenbrink, seniors, discuss the highs and lows of the challenges with hosts Preston Weller, Art and Entertainment Editor, and Finn Howell, Coverage Editor.

Host Preston Weller, Arts and Entertainment Editor, explains the lore of internet phenomenon Ice Spice to co-host Garrett Arendt, Student Life Editor, who knows next to nothing about her career and rise to fame.

Lina Corona, junior, joins our hosts Preston Weller, Arts & Entertainment Editor, and Finn Howell, Coverage Editor, to share her experience with the Ethnic Studies class at the school, which is new this year. Tune in to hear about how students were able to connect with and share about their cultures and learn about others' in the semester-long class.

This is the full episode of The Morning Show with Preston Scott for Tues. Jan. 30, 2024. Our guest today includes Jerome Hudson from, Entertainment Editor at Breitbart. Follow the show on Twitter @TMSPrestonScott.Check out Preston's latest blog by going to wflafm.com/preston. Check out Grant Allen's blog by going to wflafm.com/grantallen.Listen live to Preston from 6 – 9 a.m. ET and 5 – 8 a.m. CT!WFLA Tallahassee Live stream: https://ihr.fm/3huZWYeWFLA Panama City Live stream: https://ihr.fm/34oufeRFollow WFLA Tallahassee on Twitter @WFLAFM and WFLA Panama City @wflapanamacity and like us on Facebook at @wflafm and @WFLAPanamaCity.

This is the full episode of The Morning Show with Preston Scott for Wed. Dec. 13, 2023. Our guests today include: Martin Baker, Project 21 Ambassador; Jerome Hudson, Entertainment Editor at Breitbart. Follow the show on Twitter @TMSPrestonScott.Check out Preston's latest blog by going to wflafm.com/preston. Check out Grant Allen's blog by going to wflafm.com/grantallen.Listen live to Preston from 6 – 9 a.m. ET and 5 – 8 a.m. CT!WFLA Tallahassee Live stream: https://ihr.fm/3huZWYeWFLA Panama City Live stream: https://ihr.fm/34oufeRFollow WFLA Tallahassee on Twitter @WFLAFM and WFLA Panama City @wflapanamacity and like us on Facebook at @wflafm and @WFLAPanamaCity.

Rory Cashin, Entertainment Editor at Joe.ie and Zara Hedderman, Freelance Culture Journalist talk us through the latest and greatest on our big and small screens in the coming week.

Our hosts Preston Weller, Arts and Entertainment Editor, and Garrett Arendt, Student Life Editor, discuss Club's Got Talent 2023, an event the school puts on to award one club with a prize of $500. Tune in to hear their recap and opinions about the clubs' performances.

Today's guest is a very familiar face on our TV screens, the wonderful Entertainment Editor and Film Reviewer for Newshub - Kate Rodger. She has been all over the world, interviewed the biggest actors in the world, and knows everything there is to know about the film industry. Kate has this divine voice and delivery style that lures you in - even if you didn't like the movie she's talking about, you're entranced! Kate also took a massive one for the team recently, and talked publicly about dealing with menopause. This is such a fantastic conversation, thank you Kate xSee omnystudio.com/listener for privacy information.

This is the full episode of The Morning Show with Preston Scott for Fri. Nov. 3, 2023. Our guest today includes Jerome Hudson, Entertainment Editor for Breitbart News, who joined us for a full two hours in-studio. Follow the show on Twitter @TMSPrestonScott.Check out Preston's latest blog by going to wflafm.com/preston. Check out Grant Allen's blog by going to wflafm.com/grantallen.Listen live to Preston from 6 – 9 a.m. ET and 5 – 8 a.m. CT!WFLA Tallahassee Live stream: https://ihr.fm/3huZWYeWFLA Panama City Live stream: https://ihr.fm/34oufeRFollow WFLA Tallahassee on Twitter @WFLAFM and WFLA Panama City @wflapanamacity and like us on Facebook at @wflafm and @WFLAPanamaCity.

Finn Howell, Coverage Editor, Preston Weller, Arts & Entertainment Editor, and Garrett Arendt, Student Life Editor, sit down for a discussion about changes that have been made for the new school year. They cover the phone policy, the orange hall passes, summer school options, and more.

Michael Doherty, Entertainment Editor, RTE Guide remembers Michael Gambon in his varied roles

Singer, composer, front man and euphonium player Don McGlashan will be inducted into the New Zealand Music Hall of Fame.  Russell Baillie, the Entertainment Editor for the NZ Listener speaks to Jesse.

Yes, a fourth Trump indictment seems to have many feeling weighed down. While Stigall goes through some of the specifics of the latest legal hassle - the thing is, we all know what we're really living as a country even if news media largely won't tell the story. So, Stigall goes through his reasons for feeling hopeful. Jerome Hudson is the Entertainment Editor of Breitbart News and discusses the phenomenon of Oliver Anthony's organic, viral hit Rich Men North of Richmond and movies like the Sound of Freedom. Plus, did you see the movie "The Blind Side?" Could it be all be a fraud? -For more info visit the official website: https://chrisstigall.comInstagram: https://www.instagram.com/chrisstigallshow/Twitter: https://twitter.com/ChrisStigallFacebook: https://www.facebook.com/chris.stigall/Listen on Spotify: https://tinyurl.com/StigallPodListen on Apple Podcasts: https://bit.ly/StigallShowSee omnystudio.com/listener for privacy information.

See omnystudio.com/listener for privacy information.

Entertainment Editor at Joe.ie Rory Cashin and RTÉ Producer Kay Sheehy take us through the releases of the week

I'm excited to welcome acclaimed musician Jessamyn Violet to the podcast to talk about her novel, ‘Secret Rules to Being a Rockstar', a gritty, glittery, queer YA debut about a teenage musician who jumps at a chance to play in her favorite rock band on their upcoming world tour, only to realize her heroes have their own agenda and might be leading her down a dark path.  If you're into the 1990s Los Angeles music scene, in all its glory and decay, you're gonna love this novel and episode.  Speaking of the 1990s LA music scene, in the last segment of the episode, ‘LA Weekly' Culture & Entertainment Editor, Lina Lecaro, joins me to talk about that very thing as well as some of the women who were rockin' the town and the world at that time. MUSIC IN THE EPISODE IN ORDER OF APPEARANCE:  “Surf Basement” by Movie Club “Doll Parts” by Hole “Venice Bitch” by Lana Del Rey “Moonbow” by Movie Club “Who Will Save Your Soul” by Jewel “Sullen Girl” by Fiona Apple “Applause” by Lady Gaga “Trap Door” by Movie Club “Black Flamingo” by Movie Club “Crucify” by Tori Amos Clip from ET about Christina Applegate performing with the Pussycat Dolls “Shitlist” by L7    LINKS: Leave a rating and comment for Rock is Lit on Goodpods: https://goodpods.com/podcasts/rock-is-lit-212451 Leave a rating and comment for Rock is Lit on Apple Podcasts: https://podcasts.apple.com/us/podcast/rock-is-lit/id1642987350   Jessamyn Violet's website, where you can find Reading, Rocking, Rainbow Tour dates and info on tickets, and info on her band Movie Club: https://jessamynviolet.com/bio Jessamyn Violet on Twitter and Instagram: @jessamynviolet   Read Lina Lecaro's work in ‘LA Weekly': https://www.laweekly.com/guest-author/lina_lecaro/ Read Lina's piece in ‘Vice' “This is My Reality as a Woman Music Journalist”: https://www.vice.com/en/article/695zx3/being-a-female-music-journalist Listen to Lina's archived ‘Hot Licks with Lina' radio show on https://luxuriamusic.com/shows/hot-licks/ Lina Lecaro on Twitter and Instagram: @LinaLecaro   Christy Alexander Hallberg's website: https://www.christyalexanderhallberg.com/ Christy Alexander Hallberg on Twitter, Instagram, YouTube: @ChristyHallberg Learn more about your ad choices. Visit megaphone.fm/adchoices

I'm excited to welcome acclaimed musician Jessamyn Violet to the podcast to talk about her novel, ‘Secret Rules to Being a Rockstar', a gritty, glittery, queer YA debut about a teenage musician who jumps at a chance to play in her favorite rock band on their upcoming world tour, only to realize her heroes have their own agenda and might be leading her down a dark path.  If you're into the 1990s Los Angeles music scene, in all its glory and decay, you're gonna love this novel and episode.  Speaking of the 1990s LA music scene, in the last segment of the episode, ‘LA Weekly' Culture & Entertainment Editor, Lina Lecaro, joins me to talk about that very thing as well as some of the women who were rockin' the town and the world at that time. MUSIC IN THE EPISODE IN ORDER OF APPEARANCE:  “Surf Basement” by Movie Club “Doll Parts” by Hole “Venice Bitch” by Lana Del Rey “Moonbow” by Movie Club “Who Will Save Your Soul” by Jewel “Sullen Girl” by Fiona Apple “Applause” by Lady Gaga “Trap Door” by Movie Club “Black Flamingo” by Movie Club “Crucify” by Tori Amos Clip from ET about Christina Applegate performing with the Pussycat Dolls “Shitlist” by L7    LINKS: Leave a rating and comment for Rock is Lit on Goodpods: https://goodpods.com/podcasts/rock-is-lit-212451 Leave a rating and comment for Rock is Lit on Apple Podcasts: https://podcasts.apple.com/us/podcast/rock-is-lit/id1642987350   Jessamyn Violet's website, where you can find Reading, Rocking, Rainbow Tour dates and info on tickets, and info on her band Movie Club: https://jessamynviolet.com/bio Jessamyn Violet on Twitter and Instagram: @jessamynviolet   Read Lina Lecaro's work in ‘LA Weekly': https://www.laweekly.com/guest-author/lina_lecaro/ Read Lina's piece in ‘Vice' “This is My Reality as a Woman Music Journalist”: https://www.vice.com/en/article/695zx3/being-a-female-music-journalist Listen to Lina's archived ‘Hot Licks with Lina' radio show on https://luxuriamusic.com/shows/hot-licks/ Lina Lecaro on Twitter and Instagram: @LinaLecaro   Christy Alexander Hallberg's website: https://www.christyalexanderhallberg.com/ Christy Alexander Hallberg on Twitter, Instagram, YouTube: @ChristyHallberg Learn more about your ad choices. Visit megaphone.fm/adchoices

This is the full episode of The Morning Show with Preston Scott for Wed. Apr. 12, 2023. Our guests today include:Melissa Ortiz from Project 21, and Jerome Hudson, Entertainment Editor at Breitbart.com. Follow the show on Twitter @TMSPrestonScott.Check out Preston's latest blog by going to wflafm.com/preston. Check out Grant Allen's blog by going to wflafm.com/grantallen.Listen live to Preston from 6 – 9 a.m. ET and 5 – 8 a.m. CT!WFLA Tallahassee Live stream: https://ihr.fm/3huZWYeWFLA Panama City Live stream: https://ihr.fm/34oufeRFollow WFLA Tallahassee on Twitter @WFLAFM and WFLA Panama City @wflapanamacity and like us on Facebook at @wflafm and @WFLAPanamaCity.

The fourth and final season of the hit HBO series Succession returns to screens tonight and Kieran was joined by Rory Cashin, Entertainment Editor at JOE.ie to discuss what audiences can expect... Image: Sky

Series Producer with RTÉ Arena Kay Sheehy and Entertainment Editor for JOE.ie Rory Cashin give their tips on what to watch this week.

Reality TV has given us some pretty iconic moments over the years. It was often the topic of conversation in workplaces, schools & dinner tables. Nollsie or Guy Sebastian? Sarah Marie's antics on Big Brother. The Next Top Model Finale stuff up. We've really seen it all.  But in more recent times the number of people watching these shows has been dropping.  What's to blame? Is it that we have more options with streaming services? Is it that we no longer wish to see people put through the ringer in front of our eyes?  In this episode of The Quicky, we speak to former Bachelor and reality TV alumni Matty J and Mamamia entertainment guru Laura Brodnik to find out if reality TV is dead, or if we've just lost our appetite for it.  Subscribe to Mamamia GET IN TOUCH Feedback? We're listening! Call the pod phone on 02 8999 9386 or email us at podcast@mamamia.com.au CONTACT US Got a topic you'd like us to cover? Send us an email at thequicky@mamamia.com.au CREDITS  Host: Claire Murphy With thanks to:  Matty J - Former Bachelor, Co-Host of Bach Uncut Podcast Laura Brodnik - Mamamia's Entertainment Editor and co-host of The Spill podcast  Producer: Claire Murphy Executive Producer: Kally Borg Audio Producer: Thom LionBecome a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

Happy New Year! I am thrilled to announce that with the New Year, we also have something NEW of our own! That's right, season 4 of TheWakeUpConservative podcast launched with this being our first episode of the new season!! With great honor, I introduce the lovely Kylie Montigney on for an episode that breaks all the barriers you thought you knew for this podcast. We discuss never heard topics such as women empowerment, how to define truth, and the reality of the writing industry. Kylie is an Entertainment Editor for the New Scene Magazine and is Founder of Empower Girls which is a nonprofit dedicated to ending Gender Bias and inclusion throughout the media. She is also the host of a podcast called “Talk Of Fame” which you can find on any platform you listen to podcasts on! Keep up with Kylie and follow her by clicking this link: https://drum.io/. I hope you enjoyed listening to this episode as much as I enjoyed recording it, and as always, I will catch back up with you next week! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Of course, Die Hard is a Christmas movie! Alongside guest Kim Taylor-Foster, Entertainment Editor at Fandom, Brian unpacks why the 1988 action film is such a landmark of American cinema, and why we circle back around to it every holiday season. With behind-the-scenes trivia and commentary, this is a fascinating deep dive into the world of John McClane's Christmas-party-gone-awry. Yippee-ki-yay, Merry Christmas! 

Welcome to Saturday Morning Coffee for Saturday, December 17, 2022!  This week's topics include the recent "un-revalations" regarding the JFK Assassination Records Archive, problems with a Deep State and Intelligence agencies that appear to be out of control, and the need for the GOP Congress to hold meaningful hearings on these issues in January.  Special Guests for the show include Oran Smith with the Palmetto Promise Institute, and Jonathan Butcher with the Heritage Foundation, who join us to discuss "Indoctrination vs Education" in the classroom.  Jonathan Butcher has recently written on CRT in our school and is an expert on the current state of education in the classroom, both in South Carolina and across the nation.  We're also joined on the show by Jerome Hudson, Entertainment Editor for Breitbart.com, and author of "50 Things They Don't Want you to Know" and "50 Things They Don't Want you to Know About Trump".  There is a ton of wisdom and insight crammed into both of these books, and they are well worth your time to check out!Thanks for joining us for Saturday Morning Coffee, and Merry Christmas and Happy New Year to all our listeners!Proverbs 3:5-6

Carol Marino Community Editor/Entertainment Editor for the Daily Interlake, joined the KGEZ Good Morning Show with John Hendricks and Robin Mitchell on Friday , December 2nd 2022 to talk about  her 20 year career with The Daily Interlake.

Zara Hedderman, Freelance Music Journalist and Rory Cashin, Entertainment Editor, Joe.ie, discuss this weeks new releases.

The streets of Denver are already awash in crisp American lagers, hazy New England IPAs, ultra-tart fruited sours, and the darkest porters, because thousands of brewers and beer lovers are descending on Mile High for the Great American Beer Festival this weekend! After a two-year absence, the country's biggest celebration of all things beer returns to downtown Denver, but this year it brings an uncomfortable question: Do craft brewers still want a massive fest like this? Host Bree Davies sits down with the Colorado Beer Man himself, Jonathan Shikes, to get some answers.  Jonathan is also Entertainment Editor at the Denver Post, where this week he and his colleagues published a few great stories on the return of GABF: GABF turns 40: How Colorado's biggest beer festival shaped the American craft industry Big beer competitions like GABF could see a major shakeup this year What will fill Falling Rock Tap House's void during the Great American Beer Festival? For even more from Jonathan on beer, check out his book: “Denver Beer: A History of Mile High Brewing.” We've got plenty of non-beer news you can use in today's CCD newsletter: https://denver.citycast.fm/newsletter/ What's your current favorite local brewery? Give em a shout out on Twitter and remember to tag us! @citycastdenver Leave us a voicemail with your name and neighborhood, and you might hear it on the show: (720) 500-5418‬ Learn more about the sponsors of this episode: How to Buy a Home Podcast Looking to advertise on City Cast Denver? Check out our options for podcast and newsletter ads at citycast.fm/advertise Learn more about your ad choices. Visit megaphone.fm/adchoices

Rory Cashin , Entertainment Editor of Joe.ie and Zara Hedderman , Free Lance Music Journalist bring Brendan through this week's must and must not see's of music, movies, TV and streaming releases.

Jennifer Lopez and Ben Affleck are the latest couple to have a double wedding. One ceremony in Vegas the other weeks later at Ben's estate in Georgia. And they aren't alone! Plenty of other celebs are also having more than one ceremony. So are multiple weddings the new norm? Today on The Quicky, we look at the entree wedding, and whether it's something us non-celebrity folk are getting into as well! Subscribe to Mamamia GET IN TOUCH Feedback? We're listening! Call the pod phone on 02 8999 9386 or email us at podcast@mamamia.com.au CONTACT US Got a topic you'd like us to cover? Send us an email at thequicky@mamamia.com.au CREDITS  Host: Claire Murphy With thanks to: Laura Brodnik - Mamamia's Entertainment Editor and co-host of The Spill Darcy Allen -  Venue and Planning Manager at Easy Weddings based in Melbourne Producer: Claire Murphy Executive Producer: Kally Borg Audio Producer: Thom Lion Mamamia acknowledges the Traditional Owners of the Land we have recorded this podcast on, the Gadigal people of the Eora Nation. We pay our respects to their Elders past and present, and extend that respect to all Aboriginal and Torres Strait Islander cultures. Just by reading our articles or listening to our podcasts, you're helping to fund girls in schools in some of the most disadvantaged countries in the world - through our partnership with Room to Read. We're currently funding 300 girls in school every day and our aim is to get to 1,000. Find out more about Mamamia at mamamia.com.auBecome a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

On July 17 Jennifer Lopez and Ben Affleck finally got married, two decades after they first became engaged, but their incredible reunion has been somewhat overshadowed by JLo's decision to change her name to Mrs Jennifer Lynne Affleck. Despite the happy occasion, the internet exploded with people complaining about her 'giving in to the patriarchy' and expressing disappointment at the very personal decision of a woman that most of us will never meet, but why do we care? The Quicky speaks to an entertainment expert and a relationships guru to find out why the decision whether or not to change our name after marriage is still so contentious for women in 2022, and whether doing it really does mean you're not a feminist.  Subscribe to Mamamia GET IN TOUCH Feedback? We're listening! Call the pod phone on 02 8999 9386 or email us at podcast@mamamia.com.au CONTACT US Got a topic you'd like us to cover? Send us an email at thequicky@mamamia.com.au CREDITS  Host: Claire Murphy With thanks to: Laura Brodnik - Mamamia's Entertainment Editor and Co-Host of The Spill Elisabeth Shaw - CEO of Relationships Australia NSW and has worked for over 25 years as a clinical and counselling psychologist with extensive experience in relationships services Producer: Claire Murphy Executive Producer: Siobhán Moran-McFarlane Audio Producer: Thom Lion Subscribe to The Quicky at... https://mamamia.com.au/the-quicky/ Mamamia acknowledges the Traditional Owners of the Land we have recorded this podcast on, the Gadigal people of the Eora Nation. We pay our respects to their Elders past and present, and extend that respect to all Aboriginal and Torres Strait Islander cultures. Just by reading our articles or listening to our podcasts, you're helping to fund girls in schools in some of the most disadvantaged countries in the world - through our partnership with Room to Read. We're currently funding 300 girls in school every day and our aim is to get to 1,000. Find out more about Mamamia at mamamia.com.auBecome a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

Rory Cashin, Entertainment Editor, Joe.ie and Esther O'Moore Donohoe joins Derbhail to discuss what to watch and the big screen and small screens.

Rory Cashin, Entertainment Editor at Joe.ie, Deirdre Molumby, independent.ie

Kate Rodger is Newshub Entertainment Editor and Film Reviewer across TV, digital and radio. Her job takes her all over the world covering film premieres and awards ceremonies, visiting movie sets, shooting interviews and filing stories.

Rory Cashin, Entertainment Editor at Joe.ie

Rory Cashin, Entertainment Editor, Joe.ie and Zara Hedderman, Music Journalist join Brendan to discuss new things to watch on the small and the large screen.

This episode's guest critic is WTOP Radio's Entertainment Editor & Reporter Jason Fraley. We discuss the latest including the return of Ozark, Better Call Saul, season 3 of Barry, Winning Time, and more. Plus, we remember actor Robert Morse and longtime local D.C. TV news anchor Wendy Rieger. LISTEN TO HEAR HOW YOU CAN WIN TICKETS TO SEE A GREAT BILLY JOEL TRIBUTE SHOW COURTSEY OF HOUND RADIO! www.houndradio.com

The Batman has surpassed $500 million dollars in the box office since its release, causing theatres in the US to up their ticket prices - the first time since The Godfather! Rory Cashin, Entertainment Editor for Joe.ie, has been exploring inflation at the movies.

Welcome to Candid with Carrie! RANTS1:42 - Carrie gives some content updates, including her convoluted thoughts about Emily in Paris season two (Netflix), how she feels now that she's watched the entire Matrix trilogy and the new Matrix Resurrections movie (HBO Max), thoughts on Will Smith's memoir, Will, and initial thoughts about Clayton as the new Bachelor. TRENDING TOPICS10:01 - Bob Saget dead at age 6512:14 - Kate Middleton celebrates her 40th birthday with stunning portraits13:57 - HBO Max pulls Chris Noth from And Just Like That... Finale17:21 - The BlackBerry has officially died. INTERVIEW20:44 - Carrie welcomes Bustle Deputy Entertainment Editor, Samantha Rollins, to the show! Samantha tells us about growing up on Long Island, her early interest in writing, and her first internship in high school at a small publication called The Long Islander. Carrie is curious about Samantha's time in college at Northwestern and her experience at the very prestigious Medill School of Journalism. Samantha tells us about getting a gig at the New York Times in the clerical department before taking a job doing hard news with The Week, and how she leveraged her experience in news to transition to a job in entertainment news at Bustle. Carrie is curious about how Samantha shifted her factual news writing to more voice and personality focused writing in the entertainment space. C and S discuss how journalism has changed and how they think it will continue to change. Samantha tells us what her dream job is, what she's looking forward to watching this winter, and her advice for others wanting to get into writing for digital publications and online magazines. Carrie's YouTube ChannelCarrie's InstagramCandid on InstagramSamantha on Twitter

It's a bird, it's a plane, it's... an Eternal? Dave and Jonah are celebrating the long awaited Marvel epic, the Eternals, with a high flying hypothesis- is this film Marvel's Superman movie? Giving them an education on Marvel history, Superman, and all things Jack Kirby is Polygon's Entertainment Editor and comic book expert, Susana Polo. Want to hear your Galaxy Brain take on our show? Leave a voicemail at (213) 570-8069 Follow us on Twitter @galaxybrains Reach out to us galaxybrains@polygon.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode,  we compare and discuss Kevin Smith's Masters of the Universe: Revelation and the impacts of toxic fandom with special guest David Reddish, author, journalist, and Entertainment Editor at Queerty. 

UNEQUAL SEQUEL - S01 EP06 - CAMERON FREW Joining Dave and Rich on this episode to discuss his best ever sequel, worst ever sequel and his dream sequel is journalist and film writer Cameron Frew Cameron is the Entertainment Editor at UniLad writing about movies, TV gaming and all things entertainment. This was a really fun podcast to do. Cameron is really passionate about movies and really knows his stuff. It's safe to say that we really enjoyed this one. We'd love it if you could share our little pod with your friends and family. All you need to do is send them a link like one of these... Spotify - https://open.spotify.com/show/5BRZK1OAklN8AAF0zpAO9L Apple Podcasts - https://podcasts.apple.com/gb/podcast/unequal-sequel/id1569119013 Google Podcasts - https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy81YzdhMTczMC9wb2RjYXN0L3Jzcw== If you want to get in touch with the show here's how: EMAIL: unequalsequel@hotmail.com TWITTER: @UnequalSequel INSTAGRAM: @unequalsequel We hope you enjoy the pod and don't forget please give us a rate and review (5 stars would be great!) and if you want to hear what other great guests are coming up on the pod then click the subscribe button to always know when the next episode drops. Thanks, we love you