Podcasts about Frank Gorshin

Runaway Daughters (1956) Jeff and Cheryl flee to L.A. to escape their problems only to find bigger problems in Runaway Daughters. Directed by Edward L. Cahn Written by Lou Rusoff Produced by Alex Gordon for Golden State Productions Cast Marla English as Audrey Barton Anna Sten as Ruth Barton John Litel as George Barton Lance Fuller as Tony Forrest Adele Jergens as Dixie Jackson Gloria Castillo as Angie Forrest Steve Terrell as Bobby Harris Mary Ellen Kay as Mary Rubeck Frank J. Gorshin as Tommy Burns Jay Adler as Mr. Rubeck Nicky Blair as Joe Maureen Cassidy as Maureen Reed Howes as Henry Stevenson Anne O'Neal as Miss Petrie Edmund Cobb as Private Detective A Golden State Production An American International Picture You can stream Runaway Daughters on Pluto TV, Tubi, the Roku Channel, or rent on Prime Video. Visit our website - https://aippod.com/ and follow the American International Podcast on Letterboxd, Instagram and Threads @aip_pod and on Facebook at facebook.com/AmericanInternationalPodcast  Our open and close includes clips from the following films/trailers: How to Make a Monster (1958), The Brain That Wouldn't Die (1962), I Was a Teenage Werewolf (1957), High School Hellcats (1958), Beach Blanket Bingo (1965), The Wild Angels (1966), It Conquered the World (1956), The Abominable Dr. Phibes (1971), and Female Jungle (1955)

GGACP celebrates the birthday of musician, author, playwright and pop culture expert Rupert Holmes (born February 24) with this ENCORE of the first-ever “Amazing Colossal Trivia Call-in Show," as Rupert and the boys attempt to answer tough trivia questions offered up by GGACP listeners. Also in this episode: Cesar Romero meets Sid Melton, Kirk Douglas inspires “Barney Miller,” Jay Leno teams up with Pat Morita and Frank Gorshin passes the torch to Jamie Farr. PLUS: “The Phantom of the Paradise”! “The Return of Doctor X”! James Bond's greatest nemesis! Rupert hangs with Charles Bronson! The curse of the Spinal Tap drummers! And the secret origin of “Escape (The Pina Colada Song”)! Learn more about your ad choices. Visit megaphone.fm/adchoices

GGACP recognizes February's International Friendship Month with a Gilbert and Frank solo outing as the boys celebrate their 100th podcast episode with a LIVE recording at SiriusXM. In this episode, G & F field questions (from callers and an in-studio audience) on an assortment of vital topics, including Frank Gorshin, Pigmeat Markham, Shecky Greene's tantrums, the search for Papillon Soo Soo, “Celebrity Wife Swap” and the Church of Satan. Also, Grandpa Munster brunches, Paul Lynde hops a flight, Herve Villechaize covers Paul Williams and Gilbert makes his peace with Japan! PLUS: Electronic Vincent Price! Steve Lawrence passes (again)! Kwai Chang Caine hosts “SNL”! Groucho meets Alan Thicke! And the return of (old) Jack Frost! Learn more about your ad choices. Visit megaphone.fm/adchoices

“His Joker has haunted me more than Heath Ledger or Jack Nicholson or Mark Hamill!” - Andrew on Cesar Romero On this week's episode, we're kicking off We ❤️ Movies month with a fun-AF conversation about the super-silly, action-packed, superhero camp classic, Batman: The Movie! How incredible are all of these performances? Between this movie and filming the TV show, was the studio working these actors like dogs or what? Why is Batman stashing all his vehicles (land, sea and air) right out in broad daylight? Why are so many marine animals being obliterated throughout the film? And who were they kidding with that anti-alcohol line, everyone on this set was drinking before noon every day! PLUS: Does Bruce Wayne have the Memento memory disease and that's why he has to label so many things in the Batcave? Batman: The Movie stars Adam West, Burt Ward, Lee Meriwether, Cesar Romero, Burgess Meredith, Frank Gorshin, Alan Napier, Neil Hamilton, Stafford Repp, Madge Blake, and Reginald Denny as Commodore Schmidlapp; directed by Leslie H. Martinson. This episode is brought to you in part by Uncommon Goods! To get 15% off your next gift, go to UNCOMMON GOODS dot com slash WHM. That's UNCOMMON GOODS dot com slash WHM, for 15% off! And this episode is also sponsored in part by Rocket Money! Stop wasting money on things you don't use. Cancel your unwanted subscriptions by going to RocketMoney dot com slash WHM. That's RocketMoney dot com slash WHM. RocketMoney dot com slash WHM. Be sure to head to our website for all ticketing information on our final shows of the year in Seattle, Portland (Oregon)—both happening next week!— & Boston (in December)! And it's your last chance to snag your 

GGACP celebrates National Piano Month (yes, National Piano Month) by revisiting this 2017 interview with songwriter/composer-turned-dramatist (and lifelong pianist!) Rupert Holmes. In this episode, Rupert discusses (among other essential topics) the brilliance of Bernard Herrmann, the lesser-known films of Boris Karloff and the fine art of “cracking” celebrity impressions. Also, Frank Gorshin channels George Burns, Gilbert mimics Sydney Greenstreet, Bob Hope goes psychedelic and Rupert remembers his childhood hero, Jerry Lewis. PLUS: “House of Wax”! The Great Gildersleeve! Grandpa Munster rocks out! Rupert” collaborates” with Mickey Rooney! And the boys pay tribute to “Old Dark House” movies! Learn more about your ad choices. Visit megaphone.fm/adchoices

​​Italian gold medal-winning swimmer Thomas Ceccon sleeping next to park bench. He complained about the lack of A/C and noise inside the athletes village. McDonald's employee sentenced to prison for setting fire in a dumpster because restaurant was too crowded. California fast-food workers want to go from $20 to $20.70… meanwhile a bunch of restaurants around the state have closed due to the increased labor costs. Adam West and Frank Gorshin were once both kicked out of an orgy because they refused to stop acting like Batman and the Riddler during it. Dildo racing us a thing in Dallas. Why Bo Nix needs to be the guy for the Denver.

Invasion of the Saucer Men (1957)Jeff and Cheryl watch the skies for big-headed bug-eyed aliens with an aversion to teenagers in Invasion of the Saucer Men. Directed by Edward L. Cahn Written by Robert J. Gurney Jr. & Al Martin Based on short story "The Cosmic Frame" by Paul W. Fairman Produced by James H. Nicholson Starring: Steve Terrell as Johnny Carter Gloria Castillo as Joan Hayden Frank Gorshin as Joe Gruen Raymond Hatton as Farmer Larkin   Lyn Osbornas Art Burns Russ Bender as Doctor Douglas Henderson as Lt. Wilkins Sam Buffington as Colonel Ambrose Jason Johnson as Detective Don Shelton as City Attorney Hayden Kelly Thordsen as Sgt. Bruce Paul Blaisdell as alien Bob Burns as alien Angelo Rossito as alien Eddie Gibbons as alien Dean Neville as alien and Lloyd Dixon as alien A Malibu Production released by American International Pictures Find Invasion of the Saucer Men on the streaming sites Raygun and Fawesome.Visit our website - https://aippod.com/ and follow the American International Podcast on Letterboxd, Instagram and Threads @aip_pod and on Facebook at facebook.com/AmericanInternationalPodcast.View Invasion of the Saucer Men trailer here.Our open and close includes clips from the following films/trailers: How to Make a Monster (1958), The Brain That Wouldn't Die (1962), I Was a Teenage Werewolf (1957), High School Hellcats (1958), Beach Blanket Bingo (1965), The Wild Angels (1966), It Conquered the World (1956), The Abominable Dr. Phibes (1971), and Female Jungle (1955).

MOST FAMOUS EPISODE? Last week was the 55th anniversary of perhaps the most famous episode of Star Trek, which is really saying something. It's a middle of season three episode wherein the Enterprise takes on two passengers -- one half black on the left side of their face and half white on the white; the other half white on the left and half black on the right -- that leads to an allegory or parable about Civil Rights era America. Is it overwrought or filled with thought? The grades begin at (32:18). Our Two Hander theme month continues with an episode that features guest star Frank Gorshin (aka TV's The RIddler from the 1966 Batman TV series), which allows our hosts to wonder about a famous story from Adam West's memoir in which he and Gorshin attend an orgy in the Hollywood Hills. Were you or someone you know there? We want to hear about it!But also, we want to hear your thoughts about the show. Email address dropped at episode's end. If you're enjoying the show, consider rating and reviewing us on your podcast platform of choice.

On the 23rd day of Pitts-mas, Christopher Plummer gave birth to the army of the... 12 Monkeys Bruce Willis. Madeline Stowe. Jon Seda. David Morse. Frank Gorshin. And? BRAD PITT. DUH. COME ON! YOU KNOW WHAT WE'RE DOING HERE! Does this movie hold up? Does Willis come swinging? Do you buy ol Pittie as mentally unstable? Do you continue to kinda be in love with Madeline Stowe? Would you switchblade your teeth out to stay with her? You know what, those are some good questions. Why don't you take off those boots and stay a while, listen to us discuss 12 Monkeys. Rate, review, subscribe, call, email and get on that back catalog where we go through Billy Crudup, Ray Liotta, Keith Gordon, Robert Longstreet, John Cazale and Radha Mitchell. If you review us on Apple or whatever, let us know and you can pick a movie for us to cover. Click the link in the bio or copy/paste/memorize http://linktr.ee/wedoingfilmographies

Dragstrip Girl (1957) Jeff and Cheryl soup up their jalopies and race at dangerous speeds to see Dragstrip Girl. Directed by Edward L. Cahn Written by Lou Rusoff Based on story by Lou Rusoff Produced by Alex Gordon and Executive Produced by Samuel Z. Arkoff Starring:Fay Spain as Louise Blake John Ashley as Fred Armstrong Steve Terrell as Jim Donaldson Frank Gorshin as Tommy Burns Tommy Ivo as Rick Camden Dorothy Bruce as Anna Blake Don Shelton and Sam Blake Russ Bender as the Police Lieutenant Gracia Narciso as Mama Tito Vuolo as Papa Produced by Golden State Productions and distributed by American International Pictures. Find this movie available to stream on Tubi or rent on Prime Video. View the Dragstrip Girl trailer here. Follow the American International Podcast on Letterboxd and Instagram @aip_pod and on Facebook at facebook.com/AmericanInternationalPodcast. Our open and close includes clips from the following films/trailers: How to Make a Monster (1958), The Brain That Wouldn't Die (1962), I Was a Teenage Werewolf (1957), High School Hellcats (1958), Beach Blanket Bingo (1965), The Wild Angels (1966), It Conquered the World (1956), The Abominable Dr. Phibes (1971), and Female Jungle (1955)

Sammy Warm Hands is addicted to Batman! This week, the gang dives into 1966 with BATMAN: THE MOVIE! Stick around for a very ADULT bonus review at the end...

Record City (1977) AIP Production #7714 Jeff and Cheryl track a day in the life of the weirdest and wackiest purveyors of popular music in the Greater Los Angeles area in Record City.Directed by Dennis Steinmetz Written by Ron Friedman Produced by James T. Aubrey and Joe Byrne for The Aubrey Company Music by Freddie Perren Starring Jeff Altman as Engineer Leonard Barr as Sickly Man Ed Begley Jr. as Pokey Sorrell Booke as Coznowski Dennis Bowen as Danny Ruth Buzzi as Olga Michael Callan as Eddie Jack Carter as Manny Rick Dees as Gordon Kinky Friedman as Himself Stuart Getz as Rupert Alice Ghostley as Worried Wife Tony Giorgio as Mr. F Frank Gorshin as Chameleon Maria Grimm as Rita John Halsey as Priest In The Fetus Brothers Joe Higgins as Doyle Ted Lange as The Wiz Alan Oppenheimer as Blind Man Isaac Ruiz as MachoHarold Sakata as GucciWendy Schaal as LorraineLarry Storch as Deaf ManElliott Street as HitchTimothy Thomerson as MartySusan Tolsky as GoldieDeborah White as VivianHart Wiliams as Razzie Pee WilliePamela Zinszer as Surfer GirlJoe Abdullah as Arab Sheik Produced by The Aubrey Company and released under American International Pictures. Find this movie streaming on MGM+ or on Prime Video.Follow the American International Podcast on Letterboxd, Twitter and Instagram @aip_pod and on Facebook at facebook.com/AmericanInternationalPodcast.View the Record City trailer here.Our open and close includes clips from the following films/trailers: How to Make a Monster (1958), The Brain That Wouldn't Die (1962), I Was a Teenage Werewolf (1957), High School Hellcats (1958), Beach Blanket Bingo (1965), The Wild Angels (1966), It Conquered the World (1956), The Abominable Dr. Phibes (1971), and Female Jungle (1955)

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   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.

Holy way back machine! The boys go truly batty as they take a look at the caped crusaders first ever full length feature film.  Links You can rate and review us in these places (and more, probably) Does This Still Work? - TV Podcast https://www.podchaser.com/podcasts/does-this-still-work-1088105 ‎Does This Still Work? on Apple Podcasts https://podcasts.apple.com/us/podcast/does-this-still-work/id1492570867 Batcopter | Batman 60's TV Wiki https://batman60stv.fandom.com/wiki/Batcopter  

GGACP celebrates the birthday of TV's original Boy Wonder, Burt Ward (b. July 6) by revisiting this 2016 interview to mark the 50th anniversary of ABC's "Batman" series. In this episode, Burt shares fond memories of co-star/mentor Adam West, Frank Gorshin, Vincent Price (and yes, Cesar Romero). Also, Burt spars with Bruce Lee, Adam makes like Moses, Shelley Winters plies her charms and Ol' Blue Eyes lobbies for the role of The Joker. PLUS: Remembering Lesley Gore! The genius of Lorenzo Semple Jr! Hanna-Barbera's "Legends of the Superheroes"! Batman meets "The Ghost of Frankenstein"! And Burt and Adam go to a nudist colony!  Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 700 Part 2: Batman 66 Movie Watch Along!: Sean and Jim wrap up a two part anniversary with this special watch along of the Adam West and Burt Ward classic, Batman the Movie. Speeding Bullets : returns with episode 701 Eli Ganias (Special thank you for the amazing new theme) and Life with Althaar Gemini Collision Works with links to all platforms that have LWA includes a link to RB interview on episode 612https://www.geminicollisionworks.com/life-with-althaar Podbean linkhttps://geminicollisionworks.podbean.com/ Sean is a regular cohost on “Is it Jaws?” Check it out here : https://twotruefreaks.com/podcast/qt-series/is-it-jaws-movie-reviews/ Upcoming: Wonder Woman 800, Flash 800, Unstoppable Doom Patrol, more Dawn of DC coverage, Knight Terrors. Contact Info (Social Media and Gaming) Updated 4/16/23: https://ragingbullets.com/about/ Facebook Group: https://www.facebook.com/groups/401332833597062/ Show Notes: 0:00 Show opening, http://www.heroinitiative.org, http://cbldf.org/,http://www.DCBService.com, http://www.Instocktrades.com, show voicemail line 1-440-388-4434 or drnorge on Skype, and more.   4:01 Casual discussion 12:10 Batman The Movie Watch Along with directions to sync 2:05:42 Closing We'll be back in a week with more content.  Check our website, Twitter and our Facebook group for regular updates.

We're joined again by our childhood friend Kyle for the second installment of our comparison of actors who appeared on both Batman and Star Trek. On which show did Grace Lee Whitney (King Tut moll Neila vs. Yeoman Janice Rand), Lee Meriwether (Tut kidnapee Lisa Carson vs. planetary security system Losira), Frank Gorshin (the Riddler vs. traitor-tracker Bele), and Sherry Jackson (Riddler moll Pauline vs. improbably sexy android Andrea) turn in the better performance? Then, having pitted two of the same actor's roles against each other, we compare that actor's better performance to that of one of the other actors. Just call us “The Gamesters of Gotham”! Plus, Adam West answers questions from YouTube channel Cinefix in 2014, Bryan Daste's banjo/upright bass/theramin version of the Batman theme, and your mail on the 1966 snarky Saturday Evening Post bat-article! Our complete (?) list of every actor who appeared on both Batman and Star Trek TOS

Melanie and Ed love watching old movies and dishing on them. This week's movie: WHERE THE BOYS ARE (1960), starring Connie Francis, Dolores Hart, Paula Prentiss, George Hamilton, Yvette Mimieux, Jim Hutton, and Frank Gorshin. Mel and Ed make book recommendations with similar themes. Send podcast comments and suggestions to Melanded@whothehellarewe.com Don't forget to subscribe to the show!

Jamie deRoy discsses her father backing "The Pajama Game" and "Damn Yankees"; her dad being a big fan of Broadway; getting advice from Harold Prince her senior year of high school to stay in Pittsburgh; her leaving for NY fter one year in college; working with Larry Keith and Margot Moser; Sidney Simon; Margot Moser wants her to stay in NY and take voice lessons with her teacher; getting cast in The Drunkard; becoming friends with its musical coordinator, Barry Manilow; getting hired in the mountains and having Barry write the charts; not writing patter; opening for Irving C. Watson; being a popular opening act with comedic songs; opening for Joan Rivers; performing in the Monkey Bar with Crandall & Charles and Mel Martin; Norman Steinberg; Jeffrey Richards has Jamie watch The Complete Works of William Shakespeare Abridged; she becomes co-producer; revival of show is paused by 9/11; producing Mr. Saturday Night; it was supposed to follow The Lehman Trilogy but COVID hit; Jamie performs a duet with Tyne Daly at a benefit for Primary Stages; COVID closed Broadway; many people quit acting; a British cast gets stranded in NY; Jamie gets COVID in October 2022; producing Beetlejuice, Tina, Fiddler on the Roof, Angels in America and The Inheritance; two most emotional theatre events - the end of The Inheritance and the first "Jamie deRoy and Friends" which paid tribute to cabaret critic Bob Harrington in 1992; producing The Lion, The Two of Us (with Jay Johnson) and Say Goodnight Gracie (with Frank Gorshin); seeing understudies; co-starring with Rene Auberjonois in Threepenny Opera; how sitting next to Martin Scorcese got her cast in Goodfellas and how leaving to go to Cannes got her a bigger part that wasn't cut; appearing in See No Evil, Here No Evil; recording nine albums; her TV show of over thirty years, Jamie deRoy and Friends; what shows she has currently out and about to come out; working with Judy Gold; and making sure to tape everything.

Vinyl curios of: Frank Gorshin,Lexington Avenue Local, The Delmonas,The Recurring Love Habit,Palace Guard, Eddie Bo,Charlie GracieTender Joe Richardson,Bell and Arc, Free,The Crimson Bridge, and more!As broadcast via 6160kc sw 4-1-23

Lock(e) and load, it's time to run...THE GAUNTLET (1977)! Jake and Ian get to the bottom of Clint Eastwood's shockingly pro-sex-work, anti-cop action comedy road movie and dig deep on Sondra Locke. There's also lots of praise for MIDNIGHT RUN, obviously. Give it a listen! Topics include: SHAFT IN AFRICA, cop corruption scandals, Vinnie Jones, "vital statistics," pig iron, new misogynist phrases, Josh Brolin's stepmother Barbra Streisand, and Frank Gorshin's impressions. Follow Pod Casty For Me: https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart  

GGACP commemorates the 30th Anniversary of the classic comedy “Groundhog Day” (released February 12, 1993) with an ENCORE presentation of a 2017 interview with comedian, actor and Emmy-winning writer Rick Overton. In this episode, Rick talks about everything from incidental sitcom music to the Beatles' animated series to the underrated mimicry of Frank Gorshin. Also, Barney Fife screws up his courage, Ian McKellen prank calls Patrick Stewart, Rick hangs with Kurt Vonnegut and Captain Nemo meets the Prince of *$#@* Darkness! PLUS: Burns & Carlin! “Million Dollar Mystery”! Otis the Drunk cleans up! The return of the Lee Marvin story! And Rick remembers his friend Jonathan Winters! Learn more about your ad choices. Visit megaphone.fm/adchoices

Based on the cast/characters from the hit TV show, follow The Caped Crusader and The Boy Wonder as they fight against Joker, Penguin, Catwoman, and Riddler to save the world!  POW!  ZWACK!!  Starring Adam West, Burt Ward, Lee Meriwether, Cesar Romero, Burgess Meredith, Frank Gorshin, and Alan Napier.

A group of super villains have set a doomsday device to go off in one hour and the superheroes must find it before it's too late.   ​John and writer Jim Beard and filmmaker Robert Long are in the Batcave this Christmas Day and discussing the two episode series of specials featuring Adam West, Burt Ward and Frank Gorshin reprising their classic Batman 66 roles.  The first episode is an actual story, of sorts.  The second episode is a roast.  Seriously, it's a roast of the heroes by the villains.  In this episode, we look at the casting of heroes for this team, the lack of real action, and the range of Frank Gorshin. ​It's all here and we want to hear what you think.  Comment here or write us at thebatcavepodcast@gmail.com.

For those of us of a certain age (ok, our age), Adam West was our first Batman and the legendary Frank Gorshin was our first Riddler. A gifted comic impressionist, Gorshin built a long career as a standup comic and character actor. And while his maniacal Riddler is best known, you couldn't have watched television in the 1960s and 70s without catching Frank in a sitcom, on a talk show, or logging time on The Dean Martin Celebrity Roasts. As always, find longer clips below and thanks for sharing our shows. To find an easy to search archive of our past shows find us on YouTube at "Laugh Tracks Legends of Comedy." And thanks for sharing our shows! Want more Gorshin? While Frank is best remembered for his Batman work, he was first a fine comic impressionist with a long list of credits. Here is a bit of Frank's act from 1964 on Ed Sullivan -- the time he "opened" for the Beatles. https://dai.ly/x4wd08m Frank Gorshin's Riddler was the breakout villain of the Adam West version of Batman. Frank played the role 10 times, plus he took the character to other shows and even issued a single in character that scraped the Billboard Top 40. Here is a nice fan-made supercut of some of the Riddler's best bits from 1966.https://youtu.be/C9aCdP83eAw   Frank Gorshin did an uncanny Burt Lancaster and an even better Dean Martin -- so what better time to deploy them both than on a Dean Martin Celebrity Roast!https://youtu.be/mJzcU8z2U14      

In early 1966, Batmania was everywhere. This caused a certain (convicted tax evader) concert promoter to ask the question: Can Batman fill Shea Stadium? Adam West and Frank Gorshin were recruited to play their characters as part of a show that also included such musical luminaries as the Young Rascals and the Temptations. However, on June 25, 1966, the answer to the concert promoter's question turned out to be a resounding "No!" The Shea Stadium show has lingered as an oddity on the edges of our podcast's consciousness for some time, and now it's time to do a deep dive on it. Armed with the script for West and Gorshin's borscht-belt skit, and accounts of the show from several different sources, we look at what the show was meant to be, what it ended up being, and whether anyone who attended would have been particularly pleased with the result. Theme version from KLABEC Drummer Read the Script The New York Times looks back on the show Holy Shea Stadium! The Batman, Beatles, and Bob Dylan Connection, by Frank Bals (Medium.com) Batman 66 Shea Stadium, NYC Concert Poster auction (66batman.com message board) Batmania issue 12 (review of the show starts on page 2) Adam West sings "Orange Colored Sky" on Hollywood Palace Mrs. Miller on The Merv Griffin Show Adam West & Frank Gorshin - Interview with the Vampire

Following our deep dive discussion of "Let That Be Your Last Battlefield," we're excited to be joined for a special interview by LOU ANTONIO ("Lokai"). A 50,000-year chase through the galaxy comes to a head on the Enterprise, when Commissioner Bele of the planet Cheron finally catches up with his rebellious opponent, Lokai. That puts Captain Kirk in the middle of a heated battle between two warring factions, the outcome of which could lead to the destruction of the Enterprise by Kirk's own hand. Whenever "Star Trek" has been praised for exploring social issues, "Let That Be Your Last Battlefield" is usually the first episode that's referred to. Whether or not that makes it a great episode has been open to debate for decades. On one hand, "Battlefield" has often been criticized for being too heavy-handed in its approach, but a closer look actually reveals a variety of subtleties and more layers than it is often given credit for. It also features a superb performance from guest star Frank Gorshin as Bele, not to mention the standout scene where Kirk threatens to destroy the Enterprise. But without question, the most important aspect of "Battlefield" is its message about the absurdity of racism, which is just as timely and relevant now as it was in the late-1960s. To that extent, "Let That Be Your Last Battlefield" actually does represent "Star Trek" at its very best. You can support Enterprise Incidents right here: https://anchor.fm/enterpriseincidents (Just think of it as a “Tip Jar”) You can follow Enterprise Incidents at: Facebook https://www.facebook.com/EnterpriseIncidents Twitter @enterincidents Instagram @enterpriseincidents Follow Scott Mantz @moviemantz on Twitter and Instagram Follow Steve Morris @srmorris on Twitter and srmorris1 on Instagram --- Support this podcast: https://anchor.fm/enterpriseincidents/support

Django Nudo and Smut Peddler welcome Kitty Lash back for a nostalgia-filled look back at some lesser known films that only ever made it out on VHS. Django challenges his fellow presenters with "VHS was a SHIT format - fight me!" It sees them give a spirited defence of the mini-monolith like home entertainment format. And what's with the @kadivideo IG account of new films released on VHS. Are they real? Is it all fuelled by anemoia - n. 'nostalgia for a time you've never known'?Doctor Yes: The Hyannis Affair (1983) - Film roles dried up Brit Ekland when she hit 40 and so she had to do erotic thrillers, including this one that looks like a day-time soap opera, but with nudity. We play the weird intro, that pretty much gives away the whole plot. (No #SPOILER warnings in the 80s?) Heavenly Bodies (1984) - Dance-offs and aerobics were clearly big in the 80s. This one is more blue collar gritty than flashy Flashdance. But there is no denying the pulsating energy of the synth-heavy score.Hollywood Hot Tubs (1984) - B-movie queen Jewel Shepard DOESN'T get naked in this low budget comedy, but there is Russ Meyer's missus Edy Williams putting her charms on full display. Adult director Chuck Vincent also did non-XXX films in many different genres, three of which are included here. Definitely one for the late night cable channels like USA and Cinemax (aka Skinmax). How to Get Revenge (1984) - Linda Blair clearly didn't have a good agent in the 80s. After a series of women-in-prison films, she did this spoof instructional video on how to get revenge. The suggestions might land you in trouble with the law, so don't take this oddity too seriously. Underground Aces (1981) - Some VHS can't even be sold, and Smut Peddler found this for free in a flea market bin. It has an impressive cast, including  Dirk Benedict (The A-Team) Melanie Griffith, Frank Gorshin (the Riddler) and Michael Winslow (Police Academy's sound machine), in what is basically a Car Wash-knock off about parking valets, with very 80s humour. Cleo/Leo (1989) - A surprisingly good gender-switch comedy in which adult star Veronica Hart is the gorgeous female body a chauvinist male pig finds himself trapped in. Director Chuck Vincent would often use actors from the adult entertainment industry in more conventional films, albeit still with lots of nudity. Kitty Lash loved it, except the music which she hated.  Bad Blood (1989) - Misery-style horror of mother who thinks her recently returned biological son is a reincarnation of her late husband. Georgina Spelvin (Devil in Miss Jones) and Randy Spears prove that XXX-stars can have acting chops in this Chuck Vincent R-rated horror. 

“Beeee-dee beedee – what a fox!” In this memorial episode, the Distinguished Professors pay homage to TV bombshell Markie Post, another of the honored fallen of 2021, by watching a two-part episode of the disco sci-fi epic Buck Rogers in the 25th Century, “The Plot to Kill a City”! Topics covered include a lot of initial free product placement, a justification of Buck Rogers as a time travel story, the hot spandex-clad ladies of the 25th century, a rundown of the special guest stars, a brief review of the career of Markie Post, yet another appearance of the lovely Robert Tessier, Frank Gorshin's role as Grandma Moff Tarkin, the weird case of Dr. Theopolis, Buck Rogers as a precursor to Steve Rogers, multiple future discos, some notes on Tessier's physical performance, gender stereotypes of the 25th century, the murkiness of the League of Death's motivations and their city-killing plot, a parallel with A Connecticut Yankee in King Arthur's Court, Buck's terrible future toilet wine, Joella's weirdly indeterminate role as an implied space hooker, the pointlessness of the villainous empath, a comparison with classic Battlestar Galactica and the lack of desire to take science fiction seriously on TV in the 1980s. Follow us on Facebook! Because You Watched Starcrash Music credits: "Laser Groove" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/because-you-watched/support

Hollywood Vice Squad (1986). Directed by Penelop Spheeris. Starring Ronny Cox, Carrie Fisher, Frank Gorshin, Julius Harris, Evan C. Kim, Joey Travolta, Robin Wright and Trish Van Devere. The Monster Squad (1987). Directed by Fred Dekker. Starring Andre Gower, Robby Kiger, Stephen Macht, Mary Ellen Trainor, Jonathan Gries, Leonardo Cimino, Stan Shaw, and Tom Noonan. Naked Gun: From the Files of Police Squad! (1988). Directed by David Zucker. Starring Leslie Neilsen, Priscilla Presely, Ricardo Montalban, George Kennedy and Jeanette Charles. Please review us over on Apple Podcasts. Got comments or suggestions for new episodes? Email: sddpod@gmail.com. Seek us out via Twitter and Instagram @ sddfilmpodcast Support our Patreon for $3 a month and get access to our exclusive show, Sudden Double Deep Cuts where we talk about our favourite movie soundtracks, scores and theme songs. We also have t-shirts available via our TeePublic store!

Four generations collide when Bart and Jenna sit down for a conversation with budding film scholar and popular Letterboxd personality, Zoë Rogan, about Boomer movies. Using the final Arthur Freed-produced MGM musical, Bells Are Ringing, as a taking off point, the three classic Hollywood fanatics get to the bottom of what it is about older movies that makes them so much more appealing than current cinema. In this episode, Bart and Jenna grill Zoë on her method for getting contemporary film fans interested in 20th-century movies. Then, while Zoë and Jenna bond over their shared Dean Martin obsession, Bart does his best to politely nod and smile.The following film is discussed:• Bells Are Ringing (1960) Directed by Vincente Minnelli Starring Judy Holliday, Dean Martin, Fred Clark, Eddie Foy Jr., Jean Stapleton, Ruth Storey, Dort Clark, Frank Gorshin, Ralph Roberts, Valerie Allen, Bernard West, Steve Peck, Gerry Mulligan

Welcome to the Instant Trivia podcast episode 519, where we ask the best trivia on the Internet. Round 1. Category: Around The Bible 1: The first word in I Chronicles is this man first mentioned in Genesis 2:19. Adam. 2: The first word in I Chronicles is this man first mentioned in Genesis 2:19. Adam. 3: Upright man who moaned, "Naked came I out of my mother's womb and naked shall I return thither". Job. 4: Upright man who moaned, "Naked came I out of my mother's womb, and naked shall I return thither". Job. 5: I Kings uses "slept with his fathers" as a euphemism for this. death (or died). Round 2. Category: "Two""Thousand" And "Eight" 1: Be grateful for what you have, because "a bird in the hand is worth" this. two in the bush. 2: This book by Eliot Asinof is subtitled "The Black Sox and the 1919 World Series". Eight Men Out. 3: In effect from 1922 to 1944, it was the part of the army code that allowed them to kick you out for undesirable traits. Section 8. 4: Completes the 1940 song title "Beat Me Daddy...". 8 To The Bar. 5: This Jane Smiley farmland novel was adapted into a movie starring Jessica Lange and Michelle Pfeiffer. A Thousand Acres. Round 3. Category: Name That Autocrat 1: Spain1939-1975. Franco. 2: Argentina1946-1955. (Juan) Perón. 3: Norway1942-1945. Vidkun Quisling. 4: Nicaragua1967-1972 and 1974-1979. Somoza. 5: The Soviet Union1964-1982. Brezhnev. Round 4. Category: A Rose Is A Rose Is A Rose 1: This World War II radio propagandist was born on the Fourth of July, 1916. Tokyo Rose. 2: Alliterative woman described in song here by Nat King Cole"Wild and wind-blown /That's how you've grown". "Ramblin' Rose". 3: In 1956 Aussie Murray Rose became the 1st male swimmer to win 2 solo Olympic golds since this man in 1924. (Johnny) Weissmuller. 4: In this Umberto Eco novel, William of Baskerville solves a murder like a medieval Sherlock Holmes. The Name of the Rose. 5: The 2 British royal houses of the Wars of the Roses. York and Lancaster. Round 5. Category: Says You 1: He told Frank Gorshin, "I never said...'mmm you dirty rat!'". James Cagney. 2: Bartlett's list "Stop da music!" and "Dese are de conditions dat prevail" under this man's name. Jimmy Durante. 3: Abraham Lincoln said, "The ballot is stronger than" this. The bullet. 4: The most famous line from this author's "Sacred Emily" is "Rose is a rose is a rose is a rose". Gertrude Stein. 5: Heraclitus noticed, "You cannot step twice into the same" one of these. River. Thanks for listening! Come back tomorrow for more exciting trivia!

Welcome to the Instant Trivia podcast episode 519, where we ask the best trivia on the Internet. Round 1. Category: Around The Bible 1: The first word in I Chronicles is this man first mentioned in Genesis 2:19. Adam. 2: The first word in I Chronicles is this man first mentioned in Genesis 2:19. Adam. 3: Upright man who moaned, "Naked came I out of my mother's womb and naked shall I return thither". Job. 4: Upright man who moaned, "Naked came I out of my mother's womb, and naked shall I return thither". Job. 5: I Kings uses "slept with his fathers" as a euphemism for this. death (or died). Round 2. Category: "Two""Thousand" And "Eight" 1: Be grateful for what you have, because "a bird in the hand is worth" this. two in the bush. 2: This book by Eliot Asinof is subtitled "The Black Sox and the 1919 World Series". Eight Men Out. 3: In effect from 1922 to 1944, it was the part of the army code that allowed them to kick you out for undesirable traits. Section 8. 4: Completes the 1940 song title "Beat Me Daddy...". 8 To The Bar. 5: This Jane Smiley farmland novel was adapted into a movie starring Jessica Lange and Michelle Pfeiffer. A Thousand Acres. Round 3. Category: Name That Autocrat 1: Spain1939-1975. Franco. 2: Argentina1946-1955. (Juan) Perón. 3: Norway1942-1945. Vidkun Quisling. 4: Nicaragua1967-1972 and 1974-1979. Somoza. 5: The Soviet Union1964-1982. Brezhnev. Round 4. Category: A Rose Is A Rose Is A Rose 1: This World War II radio propagandist was born on the Fourth of July, 1916. Tokyo Rose. 2: Alliterative woman described in song here by Nat King Cole"Wild and wind-blown /That's how you've grown". "Ramblin' Rose". 3: In 1956 Aussie Murray Rose became the 1st male swimmer to win 2 solo Olympic golds since this man in 1924. (Johnny) Weissmuller. 4: In this Umberto Eco novel, William of Baskerville solves a murder like a medieval Sherlock Holmes. The Name of the Rose. 5: The 2 British royal houses of the Wars of the Roses. York and Lancaster. Round 5. Category: Says You 1: He told Frank Gorshin, "I never said...'mmm you dirty rat!'". James Cagney. 2: Bartlett's list "Stop da music!" and "Dese are de conditions dat prevail" under this man's name. Jimmy Durante. 3: Abraham Lincoln said, "The ballot is stronger than" this. The bullet. 4: The most famous line from this author's "Sacred Emily" is "Rose is a rose is a rose is a rose". Gertrude Stein. 5: Heraclitus noticed, "You cannot step twice into the same" one of these. River. Thanks for listening! Come back tomorrow for more exciting trivia!

Back to the HOSTS picking the movies, damn it! This week, we start off a very special Super Summer Flopbuster season by talking all about the Robert Townsend superhero flick The Meteor Man. Is this silly superhero movie based in Republican logic? Why does this children's movie have so many drive-by shootings? Are satin baseball jackets and bleach-blonde hair really that scary for a gang? And how does this comedy manage to last 105 minutes with almost no jokes? Plus: it was very hard to find this movie and the guys talk about the shifty "real network" that seems to be the only place in the world that houses the film. Check our social media on Sunday for the Sunday Screencrap and take a guess at our next movie! What We've Been Watching: Repo Man Questions? Comments? Suggestions? You can always shoot us an e-mail at wwttpodcast@gmail.com  Patreon: www.patreon.com/wwttpodcast Facebook: www.facebook.com/wwttpodcast Twitter: www.twitter.com/wwttpodcast Instagram: www.instagram.com/wwttpodcast Theme Song recorded by Taylor Sheasgreen: www.facebook.com/themotorleague Logo designed by Mariah Lirette: www.instagram.com/its.mariah.xo Montrose Monkington III: www.twitter.com/montrosethe3rd The Meteor Man stars Robert Townsend, Eddie Griffin, Marla Gibbs, Robert Guillaume, James Earl Jones, Frank Gorshin, Luther Vandross, Sinbad, Naughty By Nature, Cypress Hill, Don Cheadle, Tommy 'Tiny' Lister, Jenifer Lewis, Wallace Shawn, John Witherspoon and Voldemort; directed by Robert Townsend. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's finally here! Season 2 of I Have A Good Feeling About This: I Have A Good Feeling A-BAT This! Holy new segments, Batman! Outsider interviews, LEGO Time, a dope updated theme song, and more! This week our crime-fighting duo Craig and Tyler slip back into their tight spandex suits and slide down the bat-pole into the bat-cave to bat-talk abat 1966's Batman (AKA Batman: The Movie). Hear what our duo has to say about Adam West, Burt Ward, and all those other old people! Find out what Adam West and Frank Gorshin have in common when it comes to parties! Relive the stand-out moments of the movie such as "the bomb scene" and "that other part!" Discover why Craig hates shapes so much! You won't want to miss it, folks! Tune in here: same bat-time, same bat-channel! Holy almost forgot something, Batman! Be sure to LIKE, RATE, SUBSCRIBE, and SHARE so that other Enemies of Crime and Funlovers Everywhere can get in on the Justice! You should also follow us on Instagram @ihaveagoodfeelingaboutthis and #IHAGFAT If you'd like to hear more from guest panelist Brian, you should definitely check out his show The Electric Monster Podcast at bit.ly/electricmonster

With no new Marvel shows this week we have pivoted to covering other live action superhero stuff, and for some ungodly reason we chose Legends of the Superheroes, two live action DC Comics specials from network TV in 1979. Featuring the return of Adam West, Burt Ward and Frank Gorshin to their Batman roles, this first special, The Challenge, is a stunningly inane and unfunny hour that also happens to have some of the most comic-accurate versions of the DC characters ever put on film. Therein lies the fascinating dichotomy. When the Legion of Doom decides to end the world in one hour the Superfriends have to go out and bumble their way through unbearable sketches, and then Mordru the Merciless rides a Ski-Doo. It's the worst of Old Hollywood meets a whole bunch of absolute nobody actors with a script by people who could have definitely done better. And it's just the first one - we're doing the second special next week!Both are available free on Tubi, but be aware they have the episodes flipped, so The Challenge is presented as the second episode, when it's actually the first. As if there was going to be continuity to worry about. If you're wondering what we thought of Doctor Strange in the Multiverse of Madness the one place to find out is Watch Men, our monthly superhero deep dive podcast, available to $5 and above subscribers at www.patreon.com/cinemasangha. Check it out - the episodes are loooong. Speaking of long, this lengthy ep has an intro/news that runs to 30:23, in case you feel like skipping all that. 

HI to my Friends, Fans and Followers.I'm thinking about all of you with lots of Excitement, Humor, Drama, and how we will soon be traveling across the globe to foreign lands.. I'll be sharing my real life adventures that will surprise and possibly frighten some of you, as it did me, but know this ... I Am, without question, Very Much Alive! No doubt you definitely will get to know me in many ways during my life adventures that I haven't disclosed to anyone other than very close family members due to the dangerous encounters that came my way because of my naivety and lack of experience. So stay with me on Linda's Bumpy Ride.Although before we go there, let's dip into some wildly crazy and fun experiences while visiting one of yours and my favorite shows "BATMAN" ... !!!I know so, so many of us recall the excitement we felt in looking forward to the amazing BATMAN TV Series bi-weekly in 1966. Therefore Riddler & Moth will be featured in this week's 5th Episode "Ring of Wax" Part 1 and Give Em The Axe" Part 2 ... Whoa, Here We Go !!!Closing my eyes, I have vivid memories of being introduced to many on the set of BATMAN and how thrilled I was to be cast in that show. After all, it was one of the highest rated and most watched shows on television.I'll begin by saying the Director, James Clark, was wonderful and extremely respected by everyone. On the first day I was introduced to Adam West, aka BATMAN who was filled with warm smiles and glittering eyes as if he'd known me for ages. He was also helpful as he would ask if I had any questions and if there was anything in particular that I needed. Although it was only my first time on Batman, I remember that he seemed to go out of his way to want to accommodate and help me and thinking to myself what a delightful experience it was indeed.... Hummmm !!!I want to say that many years later I would jog all around Santa Monica, up and down San Vicente and see fellow joggers there like Arnold Schwarzenegger and Maria Shriver (one of the Kennedy family) and also, surprisingly Adam West who had become Honorary Mayor of Pacific Palisades. Those who jogged in that area knew the stairs 180 and then after exercise, many of us would go to Patricks cafe in the canyon but right on PCH Pacific Coast Hwy and have coffee, breakfast or lunch, etc. , Just an amazing time!Next, Burt Ward as the smiley faced Robin could not have been nicer and loved to joke with everyone. A genuinely fun and good guy.A little while later I met Frank Gorshin who seemed as if he'd already slipped into and become his extraordinary character. So, let me start by saying the Riddler was without doubt an amazing and exciting trip for me and I want to say a wildly and different experience for sure. Please keep in mind that although young, I was quite at home with my fellow actors and soon felt the unusual MOTH character taking over and somehow discarding the Linda I normally knew in day to day life.Sounds weird I know but when you're an actor unusual moods come about and BOOM, you're transformed into the character you've been hired to play and to be. Let me give you an example of what I mean; Toward the end of Part II, did I "accidentally" Fall into the coffin OR did I fall in "ON PURPOSE"? So my friends, Ponder that question.Frank Gorshin was a very different person, far different than anyone I had ever met in my life. During the time we spent working together, he was fully and completely in character, meaning "HE WAS THE RIDDLER"!Frankly & kind of Sadly, I, myself, Never REALLY Knew or was able to meet the Real Frank Gorshin although after seeing him as a guest on late night TV shows. I actually did see a part of Frank Gorshin that would briefly reveal itself, I mean the real deep down Frank Gorshin who was wonderful would almost immediately Snap into being Jerry Lewis, or begin to talk and sing like Frank Sinatra.

Born and raised in the Bronx, Tom Avitabile was intrigued by the power of computers at a young age. One day, while skipping school at the ripe age of 14, Tom visited a Manhattan office high rise in search of customers for a computer program he had designed. As he exited the elevator on the 5th floor of the building, Tom saw famed crooner Dean Martin, hunched over a monitor, editing a video with the actor Frank Gorshin. Before being asked to leave, Tom stumbled into the NBC news studio where he was inadvertently put to work running ticker tape news copy to the radio and tv anchors. What followed was a career in news, advertising, writing, and directing that has spanned five decades.TOM AVITABILE, former Senior V.P./Creative Director at a New York advertising firm, is a writer, director, and producer with numerous film and television credits. He has an extensive background in engineering and computers, including work on projects for the House Committee on Science and Technology, which helped lay the foundation for “The Eighth Day,” his first novel. The subsequent series had two #1 best sellers including his latest number one, “Give Us This Day” which hit #1 twice, is being released in audio by Podium. And the 5th installment featuring his kick ass, female agent, Brooke Burrell, “Forgive Us Our Trespasses” is ready for fall 2021 release by The Story Plant. His dark psycho-sexual thriller, “The Devil's Quota,” also achieved # 1. His current 2022 release, “Forgive Us Our Trespasses” has already garnered critical acclaim and many 5-star ratings Tom recently became 2021 SOVAS finalist best “Voice Over – Thriller” as the narrator and producer of the audio book, “Ultimate Betrayal” by Joe Badal, released through Blackstone Audio. Tom is the Founder of the Academy of Creative Skills • Instructor of the on-line course: From Writer to Author. In his spare time, Tom is a professional musician and an amateur woodworker.

EJ misremembers the saddest thing he's ever heard and also talks about Frank Gorshin. Streaming services cause problems. Also - who is the most attractive person who also has a weird face? Find out here! Check out our sponsor teesbysummer.com

Find Seanbaby:1900hotdog.comseanbaby.comhttps://twitter.com/Seanbabydotcomhttps://www.patreon.com/1900HOTDOGAs always please reach out and let Dirk know your experiences or thoughts on any and all of the movies or guests. Want to be a guest or just share a story? Please do!https://twitter.com/VHUS_Podcasthttps://www.instagram.com/dirkzaster/?hl=enhttps://www.instagram.com/vhus_podcast/https://www.facebook.com/vhuspodcast

Holy New Season of RetroTube! And it looks like The Caped Crusader and The Boy Wonder will be up against their most fearsome foes yet. In her vivid blue cape and spangly blue mask, Everton Girl will confound the Dynamic Duo by being all Scouse and that, and having a working knowledge of the off-side rule, flanked as always by eleven henchmen with inexplicable hairstyles and even more inexplicable blue shorts. Meanwhile, The Fop is wearing his most fey floral shirt, and is holding Gotham City to ransom by threatening to play In Search of the Lost Chord by The Moody Blues on a dastardly loop, the scoundrel. Be it sight, sound, smell or touch, there is somethink inside we need so much...It's Heather's turn to inflict her glossy 60s shows onto Adam, but will he have any tolerance at all for Batman's bright colours and frivolous plots, or will the whole thing leave him with a sugar rush and toothache? Find out in this week's exciting instalment of -RetroTube!Please like, rate, review and share the podcast, otherwise Frank Gorshin will come and be all wriggly near you. Unless that seems like a good thing, in which case he won't.https://twitter.com/retro_tubehttps://shows.acast.com/retrotubeemail: retrotubepodcast@gmail.comTheme Music by Adam S. Leslie, what is also called Berlin Horse. See acast.com/privacy for privacy and opt-out information.

"Question: Who's going to make the feathers fly and knock Batman and Robin out of the sky?" - The Riddler On the latest episode of PODCASTERS DISASSEMBLED, our brave and valiant podcasters join forces once more to talk about 1966's camp classic, "Batman: The Movie" (starring Adam West as Bruce Wayne/Batman, Burt Ward as Dick Grayson/Robin, Lee Meriwether as Catwoman, Frank Gorshin as The Riddler, Burgess Meredith as The Penguin, and Cesar Romero as The Joker!) to kick off Season 8 of Podcasters Assemble - where we're covering every live-action Batman movie leading up to this year's "THE BATMAN"! (Note: Entries for "Batman" (1989) are due by Monday, February 21st) Podcasters Featured: Erik Slader from Epik Fails of History, Comic Zombie, and 2 Young 4 This Trek Zack Derby from Effin' Cultured and The NeatCast! Troy from Troytle Power Presents the Power Playthroughs Podcast And Chris Carroll from Comic Zombie! Episode edited by Zack Derby, logo designed by Justin Ache - intro and outro performed by Dave Steele! Gotham Needs You: If you would like to be featured on an upcoming episode head over to: https://probablywork.com/podcasters-assemble/ You can also join the discussion in our Discord server Support us on Patreon! And check out our newest podcast: The Super Switch Club! Network Info This podcast is a production of the We Can Make This Work (Probably) Network. Follow us below to keep up with this show and discover our many other podcasts! The place for those with questionable taste! Twitter | Facebook| Instagram: @probablyworkwww.probablywork.com Email: ProbablyWorkPod@gmail.com Help us keep this show going by supporting us on Patreon and unlock early access / exclusive / ad free / bonus content! (Patreon.com/PodcastersAssemble)

In preparation for The Batman, Andy and Brendan explore the many iterations of The Riddler in media including movies, TV, comics, animation, video games, and more! Join our Mailing List: https://goo.gl/FKUBA2    Find more Holy BatCast on the internet: Web | Twitter | Facebook | Instagram | YouTube | Patreon   Rate, review, & subscribe to Holy BatCast on: Apple Podcasts | Spotify | Google Play | iHeartRadio | Stitcher | TuneIn   Your feedback is appreciated. Send emails to holybatcast@rf4rm.com   Check out our sponsor at manscaped.com and use the promo code “Batscaped” for 20% off.

Continuing the lead-up to The Batman, we're covering the unmade versions of The Riddler. Learn about which 1966 Batman episodes were originally meant for Frank Gorshin's Riddler, dive into the original version of the Batman Forever Riddler- Lyle Heckendorf- that was written for Robin Williams, and peek at Jim Lee's redesign for the Riddler for Zack Snyder's unmade Justice League 2. Featuring an introduction by voice actor Wally Wingert, who voiced The Riddler in the Arkhamverse video games. Become a part of the Shasta Army on our Patreon page: https://www.patreon.com/superhousepodcast SuperheroStuffPod on iTunes: https://apple.co/3ctz4lN SuperheroStuffPod on Spotify: https://spoti.fi/2yq3Kpo INSTAGRAM: @superherostuffpod TWITTER: Twitter.com/SuperhousePod FACEBOOK: Facebook.com/SuperHousePod YOUTUBE: YouTube.com/c/SuperHousePodcast Please email us at: SuperHousePodcast@gmail.com ANDREW'S CHANNEL/WEBSITE: IG: ThunderWolfDrew Twitter: ThunderWolfDrew YouTube: https://www.youtube.com/user/thunderwolflives Website: www.thunderwolfdrew.com/ BEN'S CHANNEL/WEBSITE: http://www.benwanwriter.com https://www.youtube.com/channel/UC6nG7A354pour2CUw0co3Ug http://earl-e-bird.com ZACHARY BROWN'S WEBSITE: IG: @zacharyjacksonbrownart https://www.zacharyjacksonbrownart.com/ Home Page with Show Notes and more!: www.SuperheroStuffPod.com SUPERHOUSE MERCH: http://superhousepod.redbubble.com/ https://www.superherostuffpod.com/shop (affiliates)

Welcome to It's A Wonderful Podcast!! Excitement is brewing for the upcoming new Batman movie and Morgan is joined by Nolan on this week's main show to talk the very first big screen outing for the caped crusader; complete with impressively tight outfits, extraordinary levels of moral righteousness and sadly only one strikingly long scene of Batman galloping around holding a comically large bomb above his head trying to avoid throwing it at some ducks...it could only be BATMAN (1966) starring Adam West as Batman, Burt Ward as Robin, Burgess Meredith as The Penguin, Cesar Romero as The Joker, Lee Meriwether as Catwoman & Frank Gorshin as The Riddler!! IT'S A WONDERFUL PODCAST SHIRTS: https://www.teepublic.com/user/g9design Sub to the feed and download now on Anchor, Apple Podcasts, Spotify, Stitcher & more and be sure to rate, review and SHARE AROUND!! Keep up with us on Twitter: Podcast: https://twitter.com/ItsAWonderful1 Morgan: https://twitter.com/Th3PurpleDon Nolan: https://twitter.com/nolandean27 Keep being wonderful!! --- Send in a voice message: https://anchor.fm/itsawonderfulpodcast/message Support this podcast: https://anchor.fm/itsawonderfulpodcast/support

On the 3rd Episode of the Cemetery Podcast, we visit Indiana, Pennsylvania, Kentucky and Michigan. We stop in Pittsburgh, Lexington, Indianapolis, Shelbyville, Battle Creek and more. We visit the graves of TV legend Frank Gorshin, Hall of Famers, World Champions, and an Indian Chief. We learn more Cemetery Symbology. We discuss a Medal of Honor recipient. Plus we tell the tale of Necro Tourist Travelog: "To Indy and Back". Still there's more Thanks to Charlotte Graves, Senor Bull, Respect Our Cemeteries Ozric Tentacles --- Support this podcast: https://podcasters.spotify.com/pod/show/cemetery-podcast/support

The fun continues when Eric, Albin and Chris dive deep into their own personal bunkers and emerge with whatever fits loosely into the Fun Facts Friday cookie cutter, including the connection between the Joker, Frank Gorshin, and Rush Limbaugh's early days in radio!See omnystudio.com/listener for privacy information.

"HOLY PODCASTS, BATMAN!" This week, Peter Alden and Pete Gould take trip back to the Fall of 1966 when "Batmania" first swept the nation! Adam West and Burt Ward created an indelible mark on the world with their iconic portrayals of Bruce Wayne/ Batman & Dick Grayson/Robin. As we dig deeper into the bat computer, we will discover how the series got started, who almost filled Batman's cowl before Adam West, and a series of "Artistic" vocal recordings featuring the golden throats and silky smooth tones of Adam West, Burt Ward, Frank Gorshin, and yes, even Burgess Meredith as they all sing IN CHARACTER for your listening enjoyment! All that and more are waiting for you, so stop reading and start listening! "Hurry old chum! There isn't a single moment to loose! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/the-adventures-of/message Support this podcast: https://anchor.fm/the-adventures-of/support

Dennis Hopper! Ice-T! William Forsythe! Michael Madsen! And ERIC ROBERTS! We have a star-studded caper at the center of episode 91 of ERITFM, where we're joined by President of the American Vaping Association (and ERITFM superfan) Gregory Conley to talk about 2000's LUCK OF THE DRAW! We also chat about foreheads, horses, Frank Gorshin, and all the latest Eric Roberts news. Join us, won't you? The post Episode 91: Luck of the Draw (2000) appeared first on Eric Roberts is the Man.