Podcasts about Goodfellas

“Sound is a really important part of how I make movies because I always tell people that if the sound is good and the picture is bad, then you'll stick around to see what happens. However, if the sound is terrible and the picture is great, you're out of there in like ten minutes. So sound is something that I always cherish. And I think that the right filmmaker who appreciates sound can really take advantage of what we think about and use, you know, the viewer's imagination. A lot of film pictures start off in black and, you know, they just have the sound, so they really grab the audience's attention right from the beginning. So sound is just such a powerful medium.” – Jayson JohnsonThis week's guest is a filmmaker and the founder of Strike Five Films, an independent production company dedicated to authentic, character-driven storytelling. A graduate of Eastern Illinois University, he began his career under the mentorship of Francis Ford Coppola, working on the Wine, Daydreams & Memories tour before producing over 1,400 hours of broadcast television for Discovery ID. Since founding Strike Five Films in 2017, he's written, directed, and produced nine short films that have screened at more than ninety festivals worldwide, earning six awards. His work has been featured in numerous media outlets and is defined by themes of perseverance, community, and creativity.He's currently in pre-production on his debut feature, R.O.G.E.R & Me, an offbeat, heartfelt film rooted in Richmond, CA, while continuing to mentor emerging filmmakers and expand his mission of fusing storytelling, social impact, and independent artistry. His name is Jayson Johnson, and if you've ever wondered how intentional sound can elevate storytelling and make a lasting impact on audiences, you won't want to miss Jayson's behind-the-scenes insights and practical tips.As always, if you have questions for my guest, you're welcome to reach out through the links in the show notes. If you have questions for me, visit audiobrandingpodcast.com, where you'll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available, along with other interesting bits of audio-related news. And if you're getting some value from listening, the best ways to show your support are to share this podcast with a friend and leave an honest review. Both those things really help, and I'd love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast's main page. I would so appreciate that.(00:00) – How Sound Captivates AudiencesWe start things off with the vivid impression sound made on Jayson as a child, and how it led him to a career in filmmaking. “One of the memories I have as a child,” he recalls, “is, you know, you're sound asleep, and then all of a sudden, the vacuum cleaner goes on… that was kind of like an alarm clock for us, you know, because we always had chores.” He tells us more about his influences growing up and how a lifelong love of movies became a calling. “When I went to college,” he explains, “I had no idea what I wanted to do, so I signed up with Speech Communication, and they had a discipline of Radio, TV, and Film. And I just tried out everything.”(11:27) – Sound Techniques in FilmmakingJayson tells us more about his early years in the industry and how a chance job opening led to an encounter with Sofia and Francis Ford Coppola. “I put out all these resumes, I don't even know how many I put out,” he tells us. “Probably a hundred or so. No one called me except for this one place, and I said, ‘Oh, it's a winery. I'll go there.' And it happened to be Francis Coppola Winery.” He recalls his work on Sofia Coppola's Marie Antoinette, and the lessons about sound that Marin Scorsese's classic Goodfellas taught him to apply to his own films. “We see the cars explode,” he explains, “and Scorsese wants the audience to feel the emotion of that scene by not saying anything and just adding that little pause in there and, you know, letting the audience feel the gravity of the moment.”Episode SummaryExploring how silence enhances emotional depth in storytelling.Jayson discusses the sound techniques he's used in his films.Tune in for next week's episode as we talk about how music can transform a film, both for better and for worse, his thoughts about the emergence of AI videos and virtual celebrities like Tilly Norwood, and why he considers sound to be the first step in his creative process as a filmmaker.Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals by visiting https://voiceoversandvocals.comConnect with me on Instagram - https://www.instagram.com/jodikrangle/Watch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Leave the Audio Branding Podcast a review at https://lovethepodcast.com/audiobranding (Thank you!)Share your passion effectively with these Tips for Sounding Your Best as a Podcast Guest!https://voiceoversandvocals.com/tips-for-sounding-your-best-as-a-podcast-guest/Get my Top Five Tips for Implementing an Intentional Audio Strategyhttps://voiceoversandvocals.com/audio-branding-strategy/Editing/Production by Humberto Franco - https://humbertofranco.com/This podcast uses the following third-party services for analysis: OP3 - https://op3.dev/privacy

Writer John Layman and artist Rob Guillory (Chew) join Dave to discuss their new collaboration Ghost Brawler, the Bruiser Edition live on kickstarter now! The two share the blistering writing pace of the series, how the setting draws from the cinematic style of Martin Scorsese, and the creative shorthand of a decade working together. The pair discuss the Chew television adaptation at Blumhouse, share memories of the late Sam Kieth, Signed Boxing gloves, creative teams, and explain why Kickstarter rewards collectors in ways corporate imprints can't. For fans of Goodfellas, Rocky, Raging Bull, Ghostbusters, and CHEW!BACK THE KICKSTARTER HERE - https://tinyurl.com/4kttuys4https://www.robguillory.com/My Website : directeditionpodcast.comPATREON https://www.patreon.com/DavengersDirectEdition

Paolo Kanà – Positive Vibes Mixshow #278 Show: Positive Vibes Mixshow Artist: Paolo Kanà Air Date: 18 June 2026 Genre: House / Deep House / Disco House / Nu Disco Paolo Kanà – Positive Vibes Mixshow #278 delivers a groove-led journey through contemporary house music, blending underground rhythms, soulful vocals and uplifting club energy. Featuring music from Alex Wann, Dam Swindle, Mark Knight, Ben Westbeech and more, this episode moves through deep grooves, disco influences and modern dancefloor sounds, carefully selected for both club and radio listening. Tracklist: 01. Thaylo - Dewfall (Extended Mix) 02. Alex Wann & JUNO (DE) - Allo (Original Mix) 03. Adam Ten & Asulin - Warawara (Hot Since 82 Remix) 04. Notre Dame - No Rules (Original Mix) 05. Dunmore Brothers ft Ben Westbeech - Trust Me (Original Mix) 06. buyArt, Silk Frequency - I've Got Everything (Set Me Free) (Extended Mix) 07. The Goodfellas ft Lisa Millett - Soul Heaven (Henry Hacking Bootleg) 08. Mark Knight, Wh0 - Clap Your Hands (Extended Mix) 09. Milton Shadow, Zsak - House Music Baby (Extended Mix) 10. Stefano Tirelli & Fissa - True (Extended Mix) 11. Dam Swindle, 95 North - Find a Way to Believe (Extended Mix) 12. Danilo Luccarelli - Dance All Night Long (Original Mix) Originally broadcast on Data Transmission Radio. Listen live and explore the archive: https://radio.datatransmission.co

Hello legends, Jack here, host of Crime at Bedtime. I'm currently travelling to the US because my other show, One Minute Remaining, was lucky enough to be nominated for an award. I'll be back very soon, but while I'm away, I'm diving into the vault to bring you some of my favourite and most terrifying Crime at Bedtime stories from the past three years.Today is the final episode in our Episodes from the Vault series! I'll be back next week with a brand-new story for you, but for this last vault episode, I had to go with a Mafia story.For as long as I can remember, I've had a fascination with the Mafia. I've read many of the books, watched the movies and documentaries, and this story is just wild. It's the story of the Lufthansa Heist and perfectly demonstrates why being in the Mafia can be a deadly occupation...In December 1978, a crew of mobsters slipped into JFK Airport and pulled off the largest cash robbery in American history.They stole nearly $6 million in unmarked bills and jewels from a Lufthansa vault — and vanished before sunrise.Behind the job was Jimmy Burke, the real-life inspiration for Goodfellas' Jimmy Conway.But what should have been the perfect score quickly turned into a bloodbath as Burke began eliminating anyone who might talk.This episode takes you inside the heist that shook New York — from the planning inside Robert's Lounge to the FBI investigation and the chain of murders that followed.A story of greed, loyalty, and how one night at the airport rewrote organised-crime history.Become a Patreon or Apple + subscriber now for ealry and ad free access from as little as $1.69 a week. All the details hereSubscribe to Crime at Bedtimes Youtube channel HERE Hosted on Acast. See acast.com/privacy for more information.

TASK creator Brad Brad Ingelsby walks hosts Josh Olson and Joe Dante through the movies that have had the most sustained impact on him. Show Notes: Movies Referenced In This Episode 52 Pickup (1986) Gremlins 2: The New Batch (1990) A History of Violence (2005) Boogie Nights (1997) Hard Eight (1996) One Battle After Another (2025) Phantom Thread (2017) There Will Be Blood (2007) Breaking Away (1979) Stand By Me (1986)  Freaky Tales (2025) Wild Tales (2014) Half Nelson (2006) Captain Marvel (2019) Brokeback Mountain (2005) Mean Streets (1973) Straight Time (1978) The Friends of Eddie Coyle (1973) Goodfellas (1990) Deliverance (1973) The 400 Blows (1959) Saving Private Ryan (1998) Other Notable Items Our revamped Patreon!  The Hollywood Food Coalition Mare of Easttown miniseries (2021) Task TV series (2025- ) Mark Ruffalo Fabien Frankel  Emilia Jones Alison Oliver Kate Winslet The Cannon Group, Inc. Elmore Leonard Roy Scheider Ann-Margret John Frankenheimer John Glover Viggo Mortensen Maria Bello Beef TV series (2023- ) Frank Rizzo Attila the Hun Paul Thomas Anderson The Toronto International Film Festival Alfred Molina John C. Reilly Phillip Seymour Hoffman William H. Macy Don Cheadle Heather Graham The San Fernando Valley in Southern California Pedro Pascal Tom Hanks Ryan Gosling Anna Boden and Ryan Fleck Ang Lee “Brokeback Mountain” short story by Annie Proulx (1997) Heath Ledger Michelle Williams Anne Hathaway Ernest Borgnine Larry McMurtry  Diana Ossana  The Academy Awards The BAFTAs The WGA Awards Quentin Tarantino Bruce Springsteen and the E Street Band Xfinity Mobile Arena in Philadelphia “Backstreets” song by Bruce Springsteen (1975) Mahershala Ali SpectreVision Radio is a bespoke podcast network at the intersection between the arts and the uncanny, featuring a tapestry of shows exploring creativity, the esoteric, and the unknown. We're a community for creators and fans vibrating around common curiosities, shared interests and persistent passions. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠spectrevisionradio.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠linktr.ee/spectrevisionsocial Learn more about your ad choices. Visit megaphone.fm/adchoices

How can horror writing help readers — and writers — work through psychological trauma? Why does cross-genre fiction take longer to find an audience, but pay off in the long run? Is running a direct sales store actually worth the inventory, postage, and learning curve? And how can SubStack work for fiction authors? With psychotherapist and award-winning author P.D. Alleva. In the intro, thoughts on why in-person conferences are still worth it, even when they are a challenge for sensitive introverts! and tips for making the best of conferences [Self-Publishing Show]. Today's show is sponsored by Draft2Digital, self-publishing with support, where you can get free formatting, free distribution to multiple stores, and a host of other benefits. Just go to www.draft2digital.com to get started. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn P.D. Alleva is the award-winning author of horror, sci-fi, thrillers, and fantasy books. He's also a psychotherapist. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why horror puts the human condition on display better than any other genre Emotional trauma as the silent psychological killer most people overlook The pros and challenges of cross-genre writing and finding your audience Practical lessons from running a direct store, including integration and signed-copy fulfilment How a 3 a.m. writing routine keeps the writing separate from the marketing and admin Serialising fiction on Substack, multiple newsletters, and avoiding paid subscriber promotions Why Facebook groups, TikTok Lives, and the three-to-one rule are working right now You can find P.D. at PDAlleva.com or on Substack. Transcript of the interview with P.D. Alleva Jo: P.D. Alleva is the award-winning author of horror, sci-fi, thrillers, and fantasy books. He's also a psychotherapist. So welcome, Paul. PD: Thank you very much. Thank you for having me. This is a great opportunity. I love doing interviews, and I love talking to great people. Jo: Oh, good. Well, first up— Tell us a bit more about you and how you got into writing and being an indie author. PD: So I've been writing since I was a kid, at least second grade and more than likely even before that. I've always had that creative itch. Getting into indie author publishing, I published my first book in 2011. At the time I was also operating my own business, which took up about 24 hours of my time every single day. Then I kind of got through that and sold that in 2016, and I'm like, you know what? The time has come. I'd always written books, poetry, short stories, but never really did anything with them because I just didn't have the time. So in 2017, that's when I really came out and said, all right, the time is now. Indie publishing was doing great. The one good thing I do love about Amazon is they allowed us to come out there and start showing our craft to people. So in 2017, I just started—let's do this. Let's write full time. Let's put books out there. Let's be creative. Let's really get those juices flowing. Plus, I was getting a little bit old, and I was like, now is definitely the time to do this. Since then I've been publishing consistently, and most of my books are horror books, but I dabble. I have a sci-fi series, and I'm starting to get into psychological thrillers too. I've got a new psychological thriller that'll be published in early 2027 called Girl on a Mission. For the most part, I'm definitely into the horror genre—books, short stories, all that good fun stuff. Jo: Right, so a couple of follow-ups. You said you're a bit old. Can you give us what decade you're in at least? PD: Well, I'm 51, so born in 1971. Jo: Oh, there you go. Same age as me. PD: All right, good. See that? So we're going head-to-head there. Jo: I don't think that's old at all. Also, you mentioned you sold your business in 2016. So what was your business before? Because I think business experience is so important. PD: Agreed 100%. So I'm a psychotherapist, and I had owned a treatment centre for mental health and addiction. That was started in 2011, and in 2016 is when it sold. Since then, my wife and I started a private practice. So I still, even to this day—well, about a year and a half ago is when I stopped. I specialise in trauma, PTSD, and addiction. Trauma mostly. Most of my caseload has always been trauma, PTSD, sexual abuse, psychological abuse, war-type trauma. I was doing that mostly individually since 2016 in private practice, and I'll still go into treatment centres and see patients there too, specifically for trauma. About a year and a half ago is when I started wanting to do writing 100% full time. I thought about becoming a professor, maybe going to college, but then I wasn't sure if I wanted to get into that full time, as far as a caseload and school and everything like that. So I decided to just do group therapy, group facilitation, and I've been doing that consistently since then. It may be 15 hours a week. I do love to give back, and to me, it's more what I teach. I specialise in neuro-linguistic programming, bilateral stimulation or EMDR, hypnotherapy, science of mind concepts, psychopharmacology, biological bases of behaviour—which is pretty much how your brain works—ancient wisdom, quantum physics. I do this in a drug addiction treatment centre mostly, also mental health. And of course, just living an addictive lifestyle is traumatic, too, in and of itself. So pretty much I'm teaching them. Behaviour modification is a big part of what I'm teaching during that time. You'll see that, too, if you read my books. There's two things you can figure out from my books. You can figure out how to murder people and get away with it, and two, you can figure out how to overcome trauma as well. The whole “murder people and get away with it” comes from my upbringing. I have a very sorted past, let's put it that way. My upbringing was very different than what most people grow up in. Jo: Oh, can you give us any more than that? Now everyone's like, “Oh.” PD: “What's going on with this guy, right?” So I grew up, let's say, quote unquote, “in an Italian New York family.” Jo: Okay. All right. PD: That might give people ideas, right? Jo: That's going to give people a lot of ideas. PD: If you've ever seen the movie Goodfellas, I kind of grew up in that atmosphere, and with even some of those people too. My family had connections to those people in that movie, which I find very funny. If you watch that movie with me, you get a very different perspective on what's going on in the movie. Jo: Wow. So you're an interesting guy with an interesting background, with a very interesting backstory job as well. Some people are like, “Well, of course he's writing horror because horror is just awful and full of slasher gore and all that.” I often have to say to people who don't read horror, “Look, it's not like that.” Maybe some of it is, sure. But most of it isn't. Could you talk about how reading and writing horror can also be psychologically healthy? How do these worlds intertwine for you? PD: Well, sure. It 100% can be healthy. Especially over the last few years, there's a trend going on out there right now where people are taking their trauma and putting it into a creative process through poems, short stories, and even novels. They're taking their trauma and giving it a face, like a monster, where people are overcoming that monster within the creative process. I always say that horror is the genre that puts on display, better than any other genre out there, the human condition. Why is that? When people are in a terrifying situation, you really see who they are. You get to the heart of the matter of who that person is by putting them in these horrific but undefinable situations where it's like, what are they going to come out as? That real true personality needs to come out, and that courage comes out. That's huge in horror, and I think horror gets such a bad name. Now, I know there's the extreme horror and the splatterpunk, and that has its kind of role too in what I'm saying, but that's where horror is getting its bad reputation out there with the over-the-top type of gore. For the most part, that's a small part of the horror genre. It's a subgenre for a reason. It has its readership, and that's fine. Nothing wrong with it. I read it all the time. I find a lot of joy in it, a lot of excitement. However, for the most part, any horror novel that is not completely with the gore and stuff like splatterpunk can be seen as a psychological thriller, and a lot of psychological thrillers can be seen as a horror novel. Look at books like The Silence of the Lambs, Red Dragon. That's horrific as well, but if you read the novel, it's in there. It just gets that bad rap right now, and it's not all gore. Most horror novels that I read today are psychological horror. It's tame on the gore, and the psychological aspect is there. I always see that psychological aspect—it's like psychological trauma. Most people, even in my industry, when people are out there and you mention trauma, PTSD, they're thinking about sexual abuse, physical abuse, or war-type trauma. The silent psychological one—I once wrote an article called “Emotional Trauma: The Silent Psychological Killer.” The one that's out there is the psychological trauma, the emotional trauma that is widespread. Most people go through that, and it could even be from parent to child, and most people don't understand that that's a traumatic experience. It's like a distortion of reality that you're experiencing that then creates a belief system in your brain, and you're constantly acting out that belief system. That's where the psychological component of horror really comes out. People breaking through that psychological belief system that was created through a traumatic experience by reaching courage and coming out through a horrific situation. Jo: Yes, it really annoys me, because with romance, of course people understand that romance is a huge genre. Something like a small town sweet romance is a world away from the bully romantasy, dark, or mafia. Mafia romance is a really big thing with very dark themes. I'm like, well, how can you understand that romance is a huge genre with all these different subgenres, and not think that horror or thriller or fantasy or sci-fi all have so many different subgenres within them? I personally read a lot of supernatural horror, but rarely the slasher gore kind of stuff. So I'm really glad you said that, and hopefully more people will open up a bit more. I did also want to ask you about what you write. You write all these different things. You write standalone—I mean, often horror is standalone—but you also have some series. How do you balance it? What are the benefits of cross-genre writing, but also the challenges of it? PD: Okay. So obviously I love cross-genre writing. To me, I use fantasy to explain the supernatural elements. I blend mostly a tad of fantasy to help explain the supernatural components in my supernatural novels. When I write sci-fi, specifically sci-fi, that has the fantasy element in it too, but there's also a tad of horror in there as well. It's just who I am. When I grew up, I had a lot of different influences. I had Star Wars on one side, and then I'm watching B-rated '80s slasher films on the other side. Those two mixes just kind of followed me throughout my life, and that's why I like putting them into my novels. As I tell my patients, don't limit yourself. Never limit yourself. If you're just limiting yourself to one genre, you're missing out on so much more that's out there. So I love the blend of mixing genres. It just gets my goat each and every time. It is a challenge though. I remember when I first started getting into indie publishing, I was never big into Facebook and social media up until I started becoming an indie author. Before that, with my type of upbringing, you don't advertise yourself. You don't advertise where you're going. That's a big no-no. So I always had this aversion to social media. I'll tell you a funny story. It was the late 2000s, probably 2006. I was a full-time single father at that time, and I was living in Florida. My family—brothers and sisters-in-law—were living in New York, and my sister-in-law said, “Get a Facebook account so we can see pictures of the kids.” I said, “Oh.” I didn't want to do it, but I said, “Okay,” so I did it. And I'm thinking, looking at this Facebook thing, “How do I put pictures on here?” So I figured out how to put pictures in folders. Then I phone called her, and I'm like, “Okay, so they're on there.” And they're like, “Well, where are they?” I'm like, “I put them in these folders. You can go and look at them.” She's like, “No, you've got to post them.” That to me was like, “I'm not posting pictures of my kids.” That was a big no-no. It didn't click. When I got on there finally in 2016, 2017, I'm like, “Okay, so I need to figure out social media. As an indie author, I need to be on there, so I need to get through this aversion and get on there.” I started noticing how people are so particular with their genres. If they're reading a romance, it had to be very specific with that exact type of romance, and if you deviated from it, they're not going to like it. So that was the challenge. I was like, “All right, number one, I'm not going to dilute myself” and say, “All right, take things out of my writing or out of my novel just so I could cater to a certain type of audience.” I'm like, “I'm not going to do that.” I know with me, myself, as a reader, I'll read everything. I don't limit myself to a specific genre. I'll read psychological thrillers. I'll read romance. I've been doing that all my life. So I'm like, if there's a person like me out there—and look at this, I just met like four other people who also read cross genres—then I know that there's at least another 30,000 people, and I know that at least then there's 300,000, then there's three million people out there. So just write the books that you're writing and find your audience. Now, that takes longer. So you've got to chip away. Chip away. You're going to find readers here and there, and then that reader kind of tells a few people about you, and then you've got a few more readers. Then you keep going, and you go on these Facebook groups, and you do a whole bunch of different things, and then you gather a few more readers. Then they're telling some friends, and then you've got more. The process takes a lot longer, yes, 100% agreed, but I would say be true to yourself and you can never go wrong. Jo: Yes, I agree. I write cross-genre as well, and I've browsed your collection. Golem was the one I was like, “Ooh, yes, I like that one.” I haven't read it yet, it's on my list. I think when you're cross-genre, my people come to my store as well, and it's like, “Okay, I'm interested in lots of things, but this is the one by this author that I'm interested in.” Whereas with other authors who only write one type of thing, then I might not like any of their stuff. So I think there are definitely pros and cons and different ways into our world. I also wanted to ask you about the differences in business. Obviously you ran this treatment centre and there were physical humans on all sides, and now you've got a business as an author. So what have you learned in business from what you used to do and what you do now? PD: Okay. You're right. The treatment centre industry is very different from what I'm doing now, but it's still people. Treat those people right, have integrity. If you say you're going to do something, follow through with it. My word is my bond type of thing. That definitely has fed into the writing and publishing industry that I'm in now in a huge way. Just connecting with people is, to me, the biggest part of it. I mean, treatment centres, you've got to connect with people. When I would market the treatment centre, where would I go? I would go to hospitals, residential facilities, detoxes, and talk to them about my programme and why they should be referring clients there. It's the same thing here. Why should you be reading my books? You get there through interviews like what I'm doing here with you. Other podcasts. You get there by doing Facebook Lives, TikTok. I haven't started TikTok Lives yet, but I actually love that platform. I'm falling in love with it. IG Lives, anything like that where you're talking to people and you're making a connection with those people. Through that, I've gathered so many different types of readers who are like, “Yes, I'll give this book a shot.” And then they read it and they're like, “Hey, this is really good, and I'm going to read another book.” With my books, I have very different books. Golem is my psychological horror novel. It's my slow-burn psychological horror novel, heavily inspired by Frankenstein and the Pygmalion myth. It's my first true horror book that I published. Then there's Jigglyspot and the Zero Intellect, which is inspired by B-rated '80s horror movies and the old grindhouse movies of the '70s, and it's mind manipulation. It's just wild and bizarre. And then The Sleepy Hollow Incident is my Gothic tale—it's like a dark romance mixed in with Gothic horror. So I always try to put something for everyone that's out there. To me, when I'm writing, it's got to be about depth, psychological depth. I always refer to my books to be like peeling layers off a Texas-sized onion. The more you read, the more in-depth you get into not only the characters, but the story. It's just something that comes out of me. It's part of me. That's the way I always have to do it. I always have to put that depth in there. To me, that's good storytelling. When I grew up, I read a lot of classic literature. Yes, Edgar Allan Poe, but also Dante's Inferno, Milton's Paradise Lost, The Hunchback of Notre Dame, the Brontë sisters. Keep going. Ray Bradbury, Ayn Rand, Daphne du Maurier, Shirley Jackson. Those to me are my books that I absolutely love. So there's a sweet science in today's fast-paced, social media type of world in marrying the depth of the old classic literature and the entertainment value that is required today for being an author. There's that sweet science behind it, and I love just hitting that nail on the head every time. Jo: So did you ever pitch traditional publishing, or have you thought about going that way? Because I also find that a lot of horror actually sits very close to literary. Like, I read a lot more literary horror than I do in some of the other genres. PD: Correct. So in the beginning, yes. Not in a long time. I maybe went to a couple of indie publishers, but as far as traditional, the Big Five publishers, I have an aversion to them for a big reason. I know people who have worked in that industry that have told me some pretty bad horror stories about those places. So I haven't sent anything to that type of place in a very, very long time. Maybe close to 20 years. Indie publishers, the small presses, yes, here and there, but even then, I'm always moving at a fast pace. So if I've got a book and I'm sending it out as a query letter, by the time that query letter is even read, I'm almost done publishing. I love that aspect of it. The control of my story, where I know where this character's going. And listen, I've got my beta readers, I've got my ARC readers. They're there to tell me, “Hey, maybe you should change this or change that.” Whether I take that advice or not, of course my editor too, is really up to me. I always put out the book that I know is the one I want to read. And to me, I haven't gone wrong in doing so. I know with traditional publishing, you sometimes get too many thoughts in the pot there. Let's put it that way. Jo: Okay, so coming back to being indie then. You mentioned Amazon earlier, but you have a store where you sell direct. Many authors are doing this now, but it can be a challenge. So what have you found are the pros and cons of your direct store? What's working? Any lessons there? PD: Okay. So I use a place called Big Cartel. They're the platform where the books are on. They're hosting my website, PDAlleva.com. The big challenge was actually just starting it. It was so overwhelming. How do I put this on there? At the time, I've got all these books, so how do I present them? I'm even going to be doing another revamp with it too, because I want better pictures—taking pictures of the books, stuff like that, instead of just having the covers on there. I also have a lot of shirts that I'm selling. So I think the biggest challenge is just getting on there and starting it. Then of course, you've got to learn a whole new platform, and the mechanics, and how people are going to be downloading, and how that's done on an e-book versus a print version of the book. So it's a huge learning curve that you've really got to put your focus on and give it time. What most people like in indie publishing is signed copies. It's a huge part of indie publishing, selling those signed copies. People love a signed copy, and that's primarily what my website is for. You can order signed copies from me. I also use a place called IngramSpark, and they're more like a distributor. They're used by everyone. They've been around for a very long time. Traditional publishing uses them too, and they're just distributing your novel. I'd say about a year ago, maybe two years ago, they started where you can sell your books on discount through them as well. So I have that on my website too, where you're just clicking on the book and you're pretty much going directly to their site and you're buying paperbacks and hardbacks at a discount. That's going well too. For the most part, people are definitely coming to my site because they want the signed copies. A good thing with indie publishing is limited editions, first print copies, special editions. That type of stuff really just takes off. People love to see that, especially in the indie community. You can sell them too. I go to a few different book conventions during the year, and the limited editions are there. Like I said, people love the signed copies. They love being a part of that and getting that signed copy. They treasure it, just like I treasure my books too. I'm not referring to my books that I've written, but books that I have as well. I love my e-reader, don't get me wrong, but I still prefer the physical copy—the paperback, and even more so than the paperback, the hardback. So people love those signed copies, and that's why I created the website, to sell on there for them. Jo: Yes, I mean, we're getting to a point now though where I think some people are questioning the pros and cons of it. For example, you doing the signed copies—I don't do that from my Shopify store because I don't want to hold stock and I don't want to deal with postage. So I only do it when I do a Kickstarter. I've just finished one recently, Bones of the Deep, and I'm going up to the printer, and I'm going to sign a couple of hundred copies and then they do the postage. That's the only way I'm willing to do it because of the pain of getting books to your house, signing them, getting them in the post. So how do you manage that practically? PD: Okay, so the inventory's there. I don't go and sign everything right away. I just keep the inventory. Once somebody buys the book, then I'll pull out the book, log it and all that good fun stuff, sign it, and then ship it out immediately. Here in my country, we get discounts at the United States Post Office because they're books. So they pass that shipping cost over to the reader too, so it's a little bit cheaper for shipping. I'll just take books once or twice a week over to the United States Postal Service and ship those books out. I don't sign them until I actually get that order. Jo: How many do you have in your house? It's the holding stock of all the backlist that is the problem. PD: Ooh, gotcha. All right. That's why I have a two-car garage. But here's the thing, I won't order 500 at a time. I'll order 20 at a time. Jo: Okay. Right. PD: When I see that inventory's getting low, I'll order another 20 at a time. Jo: And you get those from IngramSpark? PD: Correct. When the new one comes out, maybe at that time I'm just selling those, bringing those to conventions that I go to. Or maybe doing a sale on those books at that time to get rid of the inventory so it's not sitting around anymore. Jo: I think that's so important. Then like you mentioned, you do T-shirts or shirts. That is also really hard because of sizing. So is that all print on demand? PD: Yes. So I don't really hold the stock on the shirts. When I get an order, whatever the size is at that time, I go directly to the place and order it. I use a place called Sublimation Station that's here in Orlando. They do great all-over print T-shirts. They're fantastic. I just did one for The Sleepy Hollow Incident. So The Sleepy Hollow Incident is one long story, and it's broken up into four books. Each book has its own. The covers are fantastic. I use a lady named Cherie Foxley. She's a phenomenal cover designer. So the shirts are, like, book one is on the front of one shirt with book two on the back, and then the second shirt is book three on the cover and book four on the back. However, I can customise those. I just did a giveaway in my Facebook group and I let people know I could customise them, and she wanted book one and book four, so I just got that and sent it out to her. Now, if people go ahead and order that on the website, I can just order it right away from them, boom, and that place will get it shipped right then and there. Jo: Right, so they do the shipping. These are all sort of practical things that people need to answer because I feel like sometimes it's like, “Oh, yes, having a direct store is great,” but there's actually quite a lot of work that goes into it, isn't there? PD: There is. There's a lot of work. You're pretty much opening almost like your own brick-and-mortar store at that point. You just don't have walk-in traffic coming in—your traffic is all coming online. So there is a lot to it, but it's worth it. If you're a self-published author or even a small indie press, it's good to have. Because like I said, people love the signed copies. Jo: When you say it's worth it, is it worth it financially or just because you like to serve the customers in that way? PD: Both. Jo: Right. So it is financially worth it for you? PD: Yes. Jo: I was talking to a friend of mine and saying, are you valuing your time in terms of things like taking the books to the post office and stuff like that? Do you find it eats into your writing at all, or do you just manage it all separately? PD: No, I manage it separately. So I'm an early morning riser. I get up at 3:00 in the morning, and that's when I write my books or do editing or brainstorming. I'm about to write a new novella now called The Adam and Eve Story, which is actually based on a little-known CIA shelved book from the 1990s called The Adam and Eve Story as well. So I've been brainstorming that, and I was doing that this morning. I get up at 3:00 a.m. and I do my writing, and by the time the kids are up and by the time the wife is up, it's like 8:00 a.m. is rolling around and I'm pretty much done at that point. Then I have my days. Tuesday I'm completely working from home and I do my thing in the morning, and then the rest of the day is marketing, fulfilling orders, stuff like that. On the days when I'm going to do group facilitation, I'll of course still get up at 3:00 o'clock in the morning, and then I'll plan out the day. I've got an hour between this group and I can go ahead and do that, and I'm already there so it's not a problem. The post office is right around the corner. You kind of figure out all the logistics for yourself. There are some days, like on Monday, I don't facilitate groups until the afternoon, so I've got the whole morning to work on marketing and do other things, and fulfilment. Then of course Saturday's a big day for that too. Jo: Oh, that's good. I feel like people always need to know how to balance their time, but it sounds like you manage, because at 3:00 a.m., as you say, there's not much else to do other than write. You mentioned marketing, and you have a Substack, pdsalternativefiction.substack.com. Talk about that and serialising fiction and how Substack works. Because I feel like a load of people are jumping in but might not necessarily know how it works, especially for fiction. PD: Correct. It is becoming quite popular out there. I think the one before that was Patreon, and Patreon is pretty big for that too, kind of the same thing. I wanted to start something and just get the work out there. I was very interested when Amazon came out a few years ago with what was called Vella. They kind of started that. I was like, “This is kind of cool.” Couple chapters at a time. I'm writing the books anyway, so why don't we kick this off and see how it goes—a type of experiment. I had a lot of fun doing it. I started on October 4th, 2024. I've done four novels so far. One is still going, which is Volume 3 of my Dark Veil serie— that's a sci-fi series. I wrote three other novels. The Hypnotist, which is a thriller, heavy on the sci-fi and a tad of horror in there too. And then I wrote Girl on a Mission, which is my psychological thriller, and then Cat Fight, which is a horror novel—all within that time. I think I finished all three of those novels in January, and then the first week of February they were all pretty much done. Now what I'm doing is, I went paid recently on the Substack. It's like everything else that's out there—chip away, chip away. I fell into that hole where they say, “Hey, we can promote you and get people to sign up for your newsletter.” And I'll be honest with you, don't do it. It's not worth it. You spend money, and what happens is they're what I refer to as dead leads. They don't click. You wind up shuffling them off after three to six months, because they're just not clicking. Everybody gets a star rating, so you know—are they clicking, are they staying on, are they not? So I got rid of pretty much all of those people, and I'll never do that again. It's got to be done organically. That's why when you read my books, especially the new books, towards the end it'll say, “Sign up for my newsletter.” I do more with that newsletter too. If you're on the free tier, every month I do a monthly newsletter, which is just me talking about updates, things going on in the publishing industry, things going on with me. My daughter puts together a weekly Horror and Sci-Fi Chronicles newsletter, which gives what's going on in new releases in the industry—sci-fi, horror, books, movies, television. She does deep dives into industry tropes, historical tidbits, and a weekly quiz. I also do a monthly Terrors and Tales newsletter. I started this last year, and it was a quarterly newsletter. It's other authors who are new, upcoming, never been published before, looking to get published. It's a chance for them to be on the newsletter where they have a flash fiction story or poem or even a short story that I publish for them. It's called the Terrors and Tales newsletter. What happened is I would put out calls for submissions. And a place called Duotrope—I don't even know who these people are, but all of a sudden I got an email from them stating, “Hey, we found that you're looking for submissions, and we posted your link. We hope you don't mind.” I'm like, “No, of course I don't mind.” I got so many submissions from that one link. I'm like, “Okay.” Do I really want to deny people? I'm not like that. I want to help promote other authors. I know what it's like when you're new and upcoming, no matter what age you are, to say, “Hey, here's a platform for you to see your stuff in print.” Obviously, I read through them just to make sure they're up to a certain standard, but for the most part, if you submit, you're getting in there. With Duotrope, I'm like, I have enough here to put out one a month. So in May 2026, the first one goes out, and then I'll have one each month until December, and then who knows? In 2027 I might go back to quarterly. I might get enough submissions to just keep it going once a month. So that's the Terrors and Tales newsletter, and it usually comes out towards the end of the month—the last two weeks. I have nothing to do with it in terms of content. None of my stories are on there. None of my poems are on there. None of my flash fiction. It's all other authors, just for them to see their name in print, see their work in print, share it with their friends, and put something on their resume, and to encourage people to keep reading and keep the craft going. Jo: When you say in print, you don't mean in physical print? PD: Oh, I mean in the newsletter. I'm sorry. Jo: I think that's important, or you're going to get a lot more submissions, and you will need to do publishing contracts and all that kind of thing. I think that's the difficult thing with a Substack newsletter approach—it's difficult to know where to categorise it. Is it marketing? Is it publishing? It's all of these things, I suppose. A bit like this podcast, it's all kinds of things. In terms of Substack actually making money on its own or leading to book sales that make money, do you think it does serve that purpose? PD: I think I've gotten more book sales through it, and also ARC readers who are enjoying the books and giving reviews. As far as the paid tiers, that's kind of a little bit slow, and that's where I'm saying chip away at it. Keep it up there. Keep it going. Over time, you're going to build that type of audience where it's going to be like, “Hey, this is financially feasible for me to continue to do this.” That's the response that I'm getting out there. Jo: Yes. Before, you mentioned you were doing Facebook Lives and you're looking at TikTok, but— Is anything else working for you in book marketing? If people have a few books and they're like, “What is working for book marketing right now?”—what do you recommend? PD: Okay. For me, the thing that has made the most sense is making sure the reader knows the book is out there through some sort of social media. I've had really good success on TikTok since the beginning of this year especially. I started it about a year ago, year and a half ago, but then my father got sick and passed away, and it was a new venture and I put it off to the side. I really got the flavour going at the beginning of this year. February, March of this year. It seems to be going really well, and I've noticed an uptick in sales from just getting the videos out there and getting it in front of people's eyes. There's an event I'm going to in August called ShiverCon, which is a pretty big event. After that event, I'm going to look to see what type of inventory I have left over from the event, and I'm going to start doing TikTok Lives. I'm very comfortable being on camera. So I'm like, “Yeah, that seems like a good way to go.” I know there's a few other horror authors who are doing it and having good success with TikTok Lives as well. A guy named Jason Davis is doing really well with TikTok Lives, and a few other authors too. I'm like, “Yes, I could definitely do that.” I want to get up to a certain number of people, and I want these events. I'm going to one in July, and then ShiverCon in August. Once those are done, I'm going to have more time to do the TikTok Lives. As far as Facebook is concerned, what I've had really great success with on Facebook is being in the groups and meeting other authors. That's not always about my book per se, but whatever books I'm reading, I'm posting my reviews about those books in those groups and meeting readers. Then obviously, they always say the three-to-one rule. Post about three different books and then post about your own book, whether you're doing a sale or a new release or a re-release or whatever. I've found success through that just by interacting with readers. When they post a book, I'll comment, “Hey, I've read that book,” or, “Hey, that book looks really cool. I like the review.” Commenting on it so you start these relationships with people who are out there in these Facebook groups. I've recently started my own Facebook reader group. I kind of go with the same thing. Last night, we did a live reading for another author. I like other authors to be on there. I always like to think, what does the reader need? What do I want to see as a reader? I would love to hear live readings from authors. So I kind of learn about them, learn about the book, and get a live reading. To me, that's a good way to go. So I started that recently, and it seems to be going well. I've got a new folk horror coming out soon, and I put out a call for ARC readers and got a fantastic response from that. That kind of drives the sales anyway, because when you get those reviews, then people see it gives credibility to the book, and then other people see it, and then they're buying it too. So that comes from the groups. There's so many wheels to spin in this industry as an indie author when you're doing this, especially when you're doing 99% of it on your own. You've got to get out there. No one's going to know your book exists if you don't get out there and tell somebody about it. Jo: Brilliant. Well, tell us— Where can people find you and your books online? PD: All right. Perfect. So obviously I'm on Amazon like everyone. Most of my books are worldwide, so you'll find them in Barnes & Noble as well. And of course, if you want the signed copies or discount print books, I always lead people straight to my website, PDAlleva.com. Then, of course, if you go to my Substack, you'll get all the updates, and you'll get all the links to purchase or find out where they are on Amazon and Barnes & Noble and things like that too. Jo: Brilliant. Well, thanks so much for your time, Paul. That was great. PD: Thank you very much for having me. It was great chatting with you. The post Writing Cross-Genre, Selling Direct, And Serialising On SubStack With P.D. Alleva first appeared on The Creative Penn.

Joseph D'Onofrio joins Ralph Sutton and Aaron Berg and they discuss break dancing in Brooklyn, getting casted for Teenage Mutant Ninja Turtles then getting the role of Young Tommy in Goodfellas, Spike Lee creating a role for him in Jungle Fever, getting sober leading to him taking acting more seriously, wrestling with Robert DeNiro, the line that he's said that gets quoted back to him most often, getting into stand-up comedy, working on a gangster clown horror movie, teaching an acting seminar, a game of What's My Line where they see if Joseph D'Onofrio can guess the movie each of his quotes are from, his first concert, drug and sexual experience and so much more! (Air Date: 06/06/26)To advertise your product or service on GaS Digital podcasts please go to TheADSide.com and click on "Advertisers" for more information!You can watch The SDR Show LIVE for FREE every Wednesday and Saturday at 9pm ET at GaSDigitalNetwork.com/LIVEOnce you're there you can sign up at GaSDigitalNetwork.com with promo code: SDR for discount on your subscription which will give you access to every SDR show ever recorded! On top of that you'll also have the same access to ALL the shows that GaS Digital Network has to offer!Follow the whole show on social media!Joseph D'OnofrioInstagram: https://instagram.com/OfficialJosephDonofrioAaron BergTwitter: https://twitter.com/aaronbergcomedyInstagram: https://instagram.com/aaronbergcomedyRalph SuttonTwitter: https://twitter.com/iamralphsuttonInstagram: https://www.instagram.com/iamralphsutton/Shannon LeeTwitter: https://twitter.com/IMShannonLeeInstagram: https://instagram.com/ShannonLee6982The SDR ShowTwitter: https://twitter.com/theSDRshowSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Irwin Winkler has spent more than six decades in Hollywood, producing films that have earned 52 Academy Award nominations and helped define generations of moviegoers. His credits include Rocky, Raging Bull, Goodfellas, The Right Stuff, and The Irishman, but the path that led to those films was anything but predictable.In this episode of Big Shot, hosts Harley Finkelstein and David Segal sit down with Irwin to look back on the twists, turns, relationships, and moments of good fortune that shaped his remarkable career. From the William Morris mailroom to launching an agency with Robert Chartoff, from representing Julie Christie to hearing Sylvester Stallone pitch Rocky, Irwin shares the stories behind a life spent at the center of the movie business.Along the way, he reflects on the people who changed his life, the opportunities he almost missed, and the unexpected chain of events that led from a kid growing up in Brooklyn to one of the most successful producers in Hollywood history.—In This Episode We Cover:(00:00) Intro(03:13) Growing up in Williamsburg, Brooklyn (07:11) Moving to the Sea Gate in Coney Island(08:26) Irwin's first attempt at NYU(10:22) Why he enlisted in the Army (10:55) Back to NYU after the Army(12:00) How he got interested in working for a talent agency(14:20) From summer mailroom gig at William Morris to full-time job (18:45) Climbing the ranks at William Morris(23:18) Leaving William Morris to work with Bob Chartoff (29:14) How Julie Christie helped launch his producing career(39:47) Meeting Sylvester Stallone and hearing the Rocky pitch(48:53) Rocky's reception and the reshoot that saved the film(51:48) How he started working with Martin Scorsese(53:54) Managing productions and safeguarding creatives(57:01) How Rocky II helped get Raging Bull made(59:45) Funding movies then vs. now (1:01:47) Irwin's thoughts on AI and CGI (1:03:14) The role of luck, hard work, and partnerships in his success(1:07:12) The story of meeting Jack Warner and the Six-Day War(1:10:21) Irwin's perspective on Jewish success in business and entertainment—Where To Find Irwin Winkler:• Website: https://winklerfilms.comWhere To Find Big Shot: • Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.bigshot.show/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠• YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/@bigshotpodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  • TikTok: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.tiktok.com/@bigshotshow⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠• Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/bigshotshow/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  • Harley Finkelstein: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/harleyf⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ • David Segal: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/tea_maverick⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠• Production and Marketing: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://penname.co⁠

Most people run from grief. Eden Marryshow turned it into a film. In this conversation, Eden breaks down the emotional process behind filmmaking, storytelling, creativity, and why the best art usually comes from the most personal places. We talk about losing family, directing actors, independent filmmaking, community, and the long path creators take back to who they were before the world told them to stop creating. This episode is also a masterclass on storytelling itself from Star Wars and Scorsese to creative discipline, ego, collaboration, and why limitations often produce better art than unlimited budgets.  We also discuss: • Why most people know who they are by age six • The connection between grief and creativity  • Directing actors without ego • Why independent creators have to learn everything • The psychology behind great storytelling • Rocky, Star Wars, Goodfellas, and favorite films  • Why "story is king" in filmmaking • How schools often suppress creativity  • Building community through storytelling • NFL talk, Giants football, and leadership Guest links Instagram: @edenmarryshow Email: 511eden@gmail.com Jason Linktree https://linktr.ee/admin  

Welcome to another episode of The Video Store Podcast. This week I am recommending four movies about undercover work. That can mean a lot of things in movies. Sometimes it is a young cop trying to prove himself. Sometimes it is a guy returning to a place where everyone already knows him. Sometimes it is a job that starts out dangerous and then gets worse because the people doing it begin to lose track of who they are supposed to be.I have always liked this kind of story because it gives crime movies a built in problem right away. The person at the center has to lie, but the lie only works if part of it feels true. That is where these movies live. None of them treat undercover work as clean or especially clever. It is usually sweaty, stressful, and bad for everyone involved.No Man's Land (1987)No Man's Land stars D. B. Sweeney as a young cop who goes undercover to get inside a Porsche theft ring run by Charlie Sheen. It was directed by Peter Werner and written by Dick Wolf, which is a little interesting now because most people probably connect Wolf with Law and Order and television crime stories. Here he is working in a very eighties lane, with stolen sports cars, Los Angeles money, and Charlie Sheen doing the smooth rich kid criminal thing.This is not the deepest movie on the shelf, but it has a good setup and a lot of period texture. The car stuff helps. A crime ring built around stolen Porsches feels very much of its moment, and the movie understands the appeal of that world even while it is showing you the danger underneath it. Sweeney is good as someone who is not quite ready for the assignment, and Sheen is believable as the guy who makes bad choices look attractive.The cast also includes Randy Quaid, M. Emmet Walsh, Lara Harris, and Bill Duke. I always like when Bill Duke shows up in something, and in this week's lineup he shows up twice, once here as an actor and later as the director of Deep Cover (1992). That was not the reason I picked these four, but it is a nice bit of video store shelf connection.State of Grace (1990)State of Grace stars Sean Penn as Terry Noonan, an undercover cop who returns to Hell's Kitchen and reconnects with the people he grew up with. The problem is that those people are now tied into the Irish mob, and some of them still see him as one of their own. That makes the undercover part more personal than usual. He is not just pretending to belong. In some ways, he already did.The cast is a big part of the reason to watch this one. Ed Harris is controlled and cold as Frankie Flannery, Gary Oldman is all nerves and damage as Jackie, and Robin Wright gives the movie more emotional weight than it would have had with a thinner version of that role. John Turturro and John C. Reilly are in there too, which gives the movie one of those casts where you keep noticing people before they became more familiar.It was directed by Phil Joanou, written by Dennis McIntyre, shot by Jordan Cronenweth, and scored by Ennio Morricone. That is a lot of strong names attached to a movie that never became as famous as it probably should have. Part of the problem is timing. It came out in 1990, the same year as Goodfellas, and that is a tough shadow for any New York crime movie to stand in. State of Grace is not Goodfellas, and it is not trying to be. Rush (1991)Rush is a heavier version of the undercover story. Jason Patric and Jennifer Jason Leigh play narcotics officers working a drug case in 1970s Texas, and the movie is less interested in the mechanics of the investigation than in what the job does to them. It is about crossing lines, then having trouble finding those lines again.The movie was directed by Lili Fini Zanuck and based on Kim Wozencraft's novel, which was inspired by her own time as an undercover narcotics officer. Pete Dexter wrote the screenplay, and the cast includes Sam Elliott, Max Perlich, and Gregg Allman. That last bit always makes the movie feel slightly stranger on paper than it plays on screen, because Allman fits into the world of the movie pretty naturally.Rush is not a casual watch. Jason Patric was very good in this period at playing men who seem like they have already made peace with ruining themselves, and Jennifer Jason Leigh makes her character's slide feel believable without turning it into a big speech. Eric Clapton did the music, and the soundtrack became better known than the movie in some circles because of Tears in Heaven. The film itself is rougher and less sentimental than people might expect from that association.Deep Cover (1992)Deep Cover stars Laurence Fishburne, still credited here as Larry Fishburne, as a police officer recruited by the DEA to go undercover in Los Angeles. Jeff Goldblum plays the lawyer and criminal operator he gets close to, and Goldblum gives the movie a different kind of villain than the usual street level dealer. He is funny, polished, and awful in a way that feels very specific to him.This was directed by Bill Duke, and it is one of the best undercover crime movies of the period. It has the shape of a genre film, but it is also angry about the systems around the drug war. Fishburne is excellent because he never plays the character as a cool movie cop enjoying the danger. He looks like someone being hollowed out by the job, which makes the movie more interesting as it goes along.The title song is also a major part of the movie's history. Deep Cover was Dr. Dre's debut solo single and introduced a lot of listeners to Snoop Doggy Dogg. That song has lived on in a big way, but the movie deserves to be remembered right alongside it. It is sharp, stylish, and still feels a little mean around the edges.All four of these movies are about people who are supposed to keep their identities separate, and none of them are very good at it for long. No Man's Land (1987) gives you the flashy version with stolen cars and rich criminals. State of Grace (1990) makes it about old friends and old wounds. Rush (1991) turns the assignment into something punishing and personal. Deep Cover (1992) takes the undercover story and pushes it into something colder and more political.If I were standing behind the counter this week, these are the four I would point you toward. They are not all doing the same thing, but they belong together on the same rental stack. Undercover movies work best when the job stops being just a job, and each of these gets there in its own way.Thanks for reading Video Store Podcast! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.videostorepodcast.com

The goodfellas react to Drake dropping 3 albums (2:00), Adrien Broner turning up on Deen The Greats streams (37:10), the AP and Swatch collab not what people expected (40:00), Instagram introduces Instants (48:30), and much more.For more Goodfellas content subscribe herehttps://instagram.com/goodfellaspod?utm_medium=copy_linkFollow us on Instagram HostsJigga: @Jigga.___Ron: @ronnieblancoB. Lo: @b.loinfluenceDJ 1-UP: @dj1upnyc

This week the fellas discuss Cinco De Mayo (2:30), unnecessary trends we grew up on (8:00), AP x Swatch collab (14:15), buying kids knock off brands (26:45), flights no longer serving snacks?? (31:00), and much more.For more Goodfellas content subscribe herehttps://instagram.com/goodfellaspod?utm_medium=copy_linkFollow us on Instagram HostsRon: @ronnieblancoB. Lo: @b.loinfluenceDJ 1-UP: @dj1upnycBrandon: @motionflicture

This week the fellas discuss Klay Thompson cheating on Megan Thee Stallion (2:00), how you present yourself on social media (20:15), would you rather date an introvert or an extrovert (35:45), Michael Jackson movie (50:00), and more.For more Goodfellas content subscribe herehttps://instagram.com/goodfellaspod?utm_medium=copy_linkFollow us on Instagram HostsRon: @ronnieblancoB. Lo: @b.loinfluenceDJ 1-UP: @dj1upnycBrandon: @motionflicture

This week the Cinny B joins us again for a wild episode. We talk about Real Boston Richey getting exposed (2:30), we revisit the Klay Thompson and Megan Thee Stallion cheating breakup (20:15), who's off limits from your dating history? (49:10), and much more.For more Goodfellas content subscribe herehttps://instagram.com/goodfellaspod?utm_medium=copy_linkFollow us on Instagram HostsJigga: @Jigga.___Ron: @ronnieblancoB. Lo: @b.loinfluenceDJ 1-UP: @dj1upnycBrandon: @motionflicture

What happens when a woman claims she was abducted by aliens from a 12th-floor Manhattan apartment… in full view of the Brooklyn Bridge… while bodyguards for a high-ranking UN official allegedly watched in horror?You get one of the wildest UFO stories ever put to paper.Witnessed by Bud Hopkins sets the scene for us as we tell the tale of the infamous Linda Napolitano case. Floating women. Grinning gray aliens. Secret government bodyguards named “Richard” and “Dan.” Hypnotic regression. Missing time. Mysterious letters. Alleged cover-ups. And somehow… a black Rolls-Royce lurking beneath the Brooklyn Bridge like an extraterrestrial episode of Goodfellas.Was this the strongest multi-witness alien abduction case in history? Or did the story spiral into a perfect storm of belief, hypnosis, and UFO fever dream theatrics?Join us as we examine every bizarre detail, every skeptical argument, and every “wait… WHAT?” moment from a case so strange that even New York City collectively looked up and went, “Yeah honestly, maybe.” All that and more this week on Hysteria 51.Sources We ConsultedHopkins, Bud. Witnessed: The True Story of the Brooklyn Bridge UFO Abductions (1996) https://archive.org/details/isbn_9780671569150Hopkins, Bud. Intruders: The Incredible Visitations at Copley Woods https://archive.org/details/intrudersincredi00hopkMack, John E. Abduction: Human Encounters with Aliens https://archive.org/details/abductionhumanen00mackBud Hopkins official archive and research materials http://www.intrudersfoundation.orgSkeptical analysis by Robert Sheaffer on the Linda Cortile / Napolitano case https://badufos.blogspot.comCommittee for Skeptical Inquiry archives on alien abductions and hypnotic regression https://skepticalinquirer.orgPhilip J. Klass UFO skepticism archive http://www.philipklass.orgFBI Vault: UFO Documents https://vault.fbi.gov/UFONational UFO Reporting Center archives https://nuforc.orgMutual UFO Network (MUFON) case resources https://mufon.comNew York City historical and skyline reference material https://www.nyc.govBrooklyn Bridge historical information https://www.nyc.gov/html/dot/html/infrastructure/brooklyn-bridge.shtmlEmail us your favorite WEIRD news stories:weird@hysteria51.comSupport the ShowGet exclusive content & perks as well as an ad and sponsor free experience at https://www.patreon.com/Hysteria51 from just $1ShopBe the Best Dressed at your Cult Meeting!https://www.teepublic.com/stores/hysteria51?ref_id=9022See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

What are the best movies from six of the greatest directors ever? Lance Taylor and Tyler Johns go filmmaker by filmmaker through the careers of Quentin Tarantino, Martin Scorsese, David Fincher, Paul Thomas Anderson, Stanley Kubrick, and Christopher Nolan to choose the films that best define each director. From Tarantino's pop-culture-changing Pulp Fiction to Scorsese's gangster classic Goodfellas, Fincher's dark thriller Seven, PTA's powerhouse drama There Will Be Blood, Kubrick's horror landmark The Shining, and Nolan's massive historical epic Oppenheimer, this episode is a full movie-lover deep dive. The guys also discuss the difference between a director's “best” movie and their personal favorite, why some films age better than others, and how certain movies reshape an entire genre. Before the main topic, Lance and Tyler review recent viewings including Who Will Stop the Rain?, Marathon Man, Billy Idol Should Be Dead, Hooper, Widow's Bay, Mortal Kombat 2, and Batman Beyond. #BestFilms #BestMovies #LegendaryDirectors #QuentinTarantino #MartinScorsese #ChristopherNolan #StanleyKubrick #DavidFincher #PaulThomasAnderson #PulpFiction #Goodfellas #Oppenheimer #TheShining #TheNextReel #moviereview SUBSCRIBE: @NextRoundLive - / @nextroundlive FOLLOW TNR ON SPOTIFY: https://open.spotify.com/show/7zlofzLZht7dYxjNcBNpWN FOLLOW TNR ON APPLE PODCASTS: https://podcasts.apple.com/us/podcast/the-next-round/id1797862560 WEBSITE: https://nextroundlive.com/ MOBILE APP: https://apps.apple.com/us/app/the-next-round/id1580807480 SHOP THE NEXT ROUND STORE: https://nextround.store/ Like TNR on Facebook: / nextroundlive Follow TNR on Twitter: / nextroundlive Follow TNR on Instagram: / nextroundlive Follow everyone from the show on Twitter: Jim Dunaway: / jimdunaway Ryan Brown: / ryanbrownlive Lance Taylor: / thelancetaylor Scott Forester: / scottforestertv Tyler Johns: /TylerJohnsTNR Sponsor the show: sales@nextroundlive.com Learn more about your ad choices. Visit megaphone.fm/adchoices

What does it actually take to make it in the trades?What is the industry getting wrong about the next generation coming up behind us?In this episode, Ryan sits down with Josh Nieves, a New York City-raised IBEW Local 3 master electrician and the youngest card-carrying superintendent in the local's 15,000-member history. Josh's father, a Light Heavyweight Golden Glove champion turned signatory contractor, had maintenance contracts inside both World Trade Center towers on 9/11 and survived only because of a doctor's appointment that morning. Years later, at 24 years old, Josh got the call to be sub-foreman on the Freedom Tower while standing on top of the Empire State Building looking directly at the build.Together, Josh and Ryan dig into what a real union meeting looks like when brotherhood is alive and well, the leadership gap that's quietly eroding organized labor from the inside, why Josh sold his brand new house to buy a 160-acre farm in search of purpose, how he built a coaching practice and workforce development career from a single LinkedIn post, and what every contractor needs to hear about recruiting the next generation.Topics covered:The Freedom Tower call that came in while Josh was standing on the Empire State BuildingWhat an IBEW Local 3 union meeting felt like at 18: "a scene out of Goodfellas"The CBA gut check Josh ran with 80 field leaders, and what it revealed about union leadership todayWhy the skills gap is really a leadership gap and what the difference looks like in practiceThe boxing analogy every aspiring leader in the trades needs to hearWhy "construction workers don't want another pizza party", and what they actually wantHow to flip the recruiting question from "why should I hire you?" to "why should I come work for you?"Mental health in the trades and why the industry can't keep sitting back✌️SUPPORT THE PODCAST HERE ✌️

Hailing Frequencies Open - Send us a message!The gang repeat their feelings about Voyager's "Time and Again" over and over...and over. Rob spoils himself, Marcy is on hair watch, Cameron lives his nerdy Goodfellas dream, and all Bobi gets is plot. Plus Arnie makes an appearance!Engage!

paypal.me/LibroTobias ko-fi.com/asier24969 Esta semana le toca el turno a “Goodfellas” del gran Martin Scorsese, protagonizada por Robert De Niro, Ray Liotta, Joe Pesci, Lorraine Bracco, Paul Sorvino, Frank Sivero, Tony Darrow, Mike Starr, Frank Vincent y Chuck Low. “Uno de los nuestros” es una apasionante película basada en hechos reales que narra la historia de Henry Hill, un mafioso con grandes ambiciones que acabó en el programa de protección de testigos. Presentación, dirección, edición y montaje: Asier Menéndez Marín Diseño logo Podcast: albacanodesigns (Alba Cano) Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

On the True Geordie Podcast, Part 3 delivers the explosive final chapter of the real-life “Goodfellas” empire. The True Geordie Podcast breaks down the dramatic takedown raids, arrests, and the courtroom battles that sealed the fate of a multi-million-dollar criminal network. As loyalty collapses and insiders turn, the full truth comes out. With detailed analysis and emotional weight, True Geordie Podcast reveals how power, greed, and betrayal ultimately destroyed one of the most lucrative and dangerous mafia operations ever uncovered. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jackie and Greg get a table at the Copacabana for Martin Scorsese's GOODFELLAS from 1990. Topics of discussion include Scorsese's breathless filmmaking, the real life of Henry Hill, why some critics complain it lacks depth, and how it's been woven into the fabric of American pop culture.#63 on Sight & Sound's 2022 "The Greatest Films of All Time" list. https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out on Instagram: instagram.com/sceneandheardpodGraphic Design: Molly PintoMusic: Andrew CoxEditing: Greg KleinschmidtGet in touch at hello@sceneandheardpod.com

On the True Geordie Podcast, Part 2 dives deeper into the rise and collapse of a real-life “Goodfellas” empire. The True Geordie Podcast reveals how the mafia boss controlled a multi-million-dollar operation, enforced loyalty through fear, and kept authorities at bay—until cracks began to show. Informants, betrayal, and mounting pressure pushed the empire toward its breaking point. With detailed research and sharp analysis, True Geordie Podcast uncovers how power, greed, and paranoia ultimately led to the downfall of one of the most shocking criminal operations ever exposed. Learn more about your ad choices. Visit megaphone.fm/adchoices

On the True Geordie Podcast, this episode dives deep into the jaw-dropping true story of a real-life mafia boss whose operation allegedly pulled in $8 million every single week. The True Geordie Podcast unpacks the shocking scale of organized crime, the ruthless power structures behind the “Goodfellas”-style empire, and how law enforcement finally closed in. With detailed research and gripping analysis, True Geordie Podcast explores the money, violence, and betrayal at the heart of one of the most insane criminal operations ever exposed. Learn more about your ad choices. Visit megaphone.fm/adchoices

The charming and inventive B-Side pod boys return to the show to discuss a trio of films that seem like they could be unofficial sequels to other movies telling the same story or starring the same lead. Films discussed include MY BLUE HEAVEN (after GOODFELLAS), AIR FORCE ONE (which plays like a continuation of Jack Ryan's adventures), and ENEMY OF THE STATE (which acknowledges its debt to THE CONVERSATION).Originally Posted on Patreon (5/3/26) here: https://www.patreon.com/posts/157259020Donate to the Pod via Ko-fi & PayPal Shop Watch With Jen logo Merchandise in Logo Designer Kate Gabrielle's Threadless ShopTheme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive

On this week's Talkhouse Podcast, we've got an interesting pairing—two guys that hadn't met before, and who come from different parts of the arts world, and who are both pretty damn great at their jobs. It's Bill Callahan and Michael Imperioli. Bill Callahan made music under the name Smog for about 15 years, releasing an incredible catalog of gorgeous, mostly minimal, often wandering songs delivered in his unmistakable baritone. He's one of the most profound lyricists of the past 30 years, crafting careful little worlds that are often funny and heartbreaking at the same time. In 2005, he dropped the Smog moniker and started releasing records under his own name, but there's no obvious break in the continuity. It's a fantastic body of work and you can start almost anywhere: I'd recommend 1999's Knock Knock as an entry point, or maybe 2007's A River Ain't Too Much Too Love, which comes up in this chat. But you could just as easily jump in with Callahan's fantastic new one, My Days of 58, which was finished after a scary cancer battle. In spite of that—or maybe because of it—it's one of Callahan's most relaxed and charming ever. Check out “Why Do Men Sing” right here. Today's other guest is instantly recognizable to fans of The Sopranos as Christopher Moltisanti, the tragic character that surely wouldn't have been nearly as indelible without Michael Imperioli's genius-level portrayal. You've seen him in a million other things, too, from Goodfellas to Summer of Sam—which he also co-wrote—to The White Lotus. What perhaps you didn't know about Imperioli is that he's also a musician. He's the singer/guitarist in a band called ZOPA, which plays catchy, straight-ahead rock that sounds deeply rooted in New York City, which Imperioli still calls home. He also wrote a novel, which comes up in this chat with Callahan, and he's a practicing Buddhist, another topic of conversation. Even though Callahan and Imperioli didn't know each other, they were clearly fans of each other's work. In this chill chat, Michael tells Bill about the exact moment he first heard one of his songs. They also get into Bill's health scare and how it inspired his new record, Michael's kids and what they're up to, and there's a lot of talk about Lou Reed—a guy that inspired them both. Enjoy. 0:00 — Intro 2:35 — Living in Austin & New York 3:34 — On Bill's new record and discovering Smog's past work 5:03 — On birthdays and the Chinese Zodiac 6:34 — On cancer and writing the new album, My Days of 58 8:33 — On Michael's novel, fiction, and inspiration 10:47 — On practicing Buddhism, reincarnation, and monks 16:03 — On raising kids and their musical talents 19:07 — On AI and why human emotion matters in art and work 25:10 — On playing instruments and recording musicians 29:08 — On knowing Lou Reed, and his inspirations 34:35 — On Bill's upcoming tour, and favorite guitars Thanks for listening to the Talkhouse Podcast and thanks to Bill Callahan and Michael Imperioli for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform and check out all the great stuff we've got going at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time! Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

Johnny Echoes, Freddy No Nose, both depicted in Goodfellas but minimized on screen had much wilder and more quirky stories the movies left out.  There's a bunch of other current events we cover as well. I was having a NY potty-mouth day, so forgive the excessive f-bombs. I was dropping them like Churchill all over the place. My site:https://SemperFryLLC.comJoin Dr. Glidden's Membership site here:https://leavebigpharmabehind.com/?via=pgndhealth⁠Code: baalbusters for 25% OFFMake Dr. Glidden Your DoctorBecome a member on Patreon:https://patreon.com/c/KristosCastUse Code BB5 here:https://www.azurestandard.com/shop/brand/azurewell/2326The Azure 90 are 1. Whole Food Multivitamin, 2. Alaskan Cod Liver Oil, 3. Fulvic-Humic Energy Blend, 4. IP6 Supreme. Use code BB5 for your discount.Become a supporter of this podcast: https://www.spreaker.com/podcast/ba-al-busters-broadcast--5100262/support.

It's pretty well known that originally, Steven Spielberg was interested in directing a remake of Cape Fear, and that Martin Scorsese held the rights to what became Schindler's List. That the two then swapped projects. Yet that's just part of the story. In this episode of Film Stories, Simon Brew digs into Scorsese's dislike of the project when he first came to it. Of Robert De Niro's tattoos. Of Nick Nolte not being recognised at the premiere of Goodfellas. And he uncovers a useful lesson in booking your location right near an airport... Patreon: www.patreon.com/simonbrew www.filmstories.co.uk Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us Fan MailIt's my 31st birthday and I'm spending it talking about my favorite mafia movie of all time. GOODFELLAS. Over the years the Story of Goodfellas has revealed some more about it's own story. From AMC Storynotes, round table talks, and anniversaries I've held onto a lot of this unique history. Now I get to dish it out here for my special birthday spotlight, ENJOY! Also, I included some bloopers at the end juuuust because it was too funny to pass up. Support the showMy Inglorious Ink series! - https://www.amazon.com/stores/Samantha-Parrish/author/B0BNQ2D7D1?ref=ap_rdr&store_ref=ap_rdr&isDramIntegrated=true&shoppingPortalEnabled=trueI'm on Goodreads! - https://www.goodreads.com/author/show/20042112.Samantha_ParrishHow To Support The Show! - https://ko-fi.com/queenofthescreen#linkModalArticles I've written - https://vocal.media/authors/samantha-parrishMy Linktree https://linktr.ee/themysticalspacewitch Cover art by Emily Whitacre (https://teenytinycoffeebean.carrd.co/)

This week the fellas discuss Gucci Mane's diss track (9:30), can your girl get on the back of another man's motorcycle? (25:00), can your partner have an overly “experienced” past? (39:10), and much more. For more Goodfellas content subscribe herehttps://instagram.com/goodfellaspod?utm_medium=copy_linkFollow us on Instagram HostsJigga: @Jigga.___Ron: @ronnieblancoB. Lo: @b.loinfluenceDJ 1-UP: @dj1upnycBrandon: @motionflicture

This week the fellas talk about the Gucci Mane and Pooh Sheisty situation (2:30), phones listening to conversations (22:00), can entertainers say what they want without consequences? (31:15), would you date someone that didn't meet your standards financially (43:15), are religion and politics important in a relationship (1:02:40), and much more. For more Goodfellas content subscribe herehttps://instagram.com/goodfellaspod?utm_medium=copy_linkFollow us on Instagram HostsJigga: @Jigga.___Ron: @ronnieblancoB. Lo: @b.loinfluenceAnthony Johns: @AnthonyJohns_DJ 1-UP: @dj1upnycBrandon: @motionflicture

Listen without ads for 25 cents at www.patreon.com/dopeypodcast This Dopey Greatest Hits episode kicks off with Dave introducing a fan-voted theme around iconic TV characters, with Michael Imperioli winning the poll. Dave goes on a classic rant about ads vs Patreon, breaking down the cost to “25 cents a day,” before spiraling into plans for DopeyCon — including a long-shot idea to book Steve Jones during the CBGB Festival. A voicemail delivers pure Dopey chaos: a listener recounts taking acid, drinking, and shooting whiskey bottles in his basement, ultimately blowing apart his finger with a ricochet and attempting to cover it up using an angle grinder. The episode then pivots to a legendary Dopey story from Bill Blaber. After falling deep into crystal meth addiction, Bill describes wandering New York City in full paranoia, convinced AOL was responsible for ruining his life. This leads him to break into a building, climb to the roof, scale a water tower, and pass out inside. He's rescued by the FDNY, greeted by news cameras, and somehow avoids jail by fabricating a story — landing instead in a psych hold. Dave calls it one of the greatest Dopey stories ever before transitioning into an interview with Michael Imperioli, who discusses his early acting career, Goodfellas, working with Scorsese, and the infamous glass-breaking stunt that landed him in the hospital. Plus the Sopranos - and Michael's crazy Lou Reed Fan Fiction - The Perfume Burned His Eyes! All that and more on the Brand new old Greatest Hits Show! PLUS MORE!   Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

The guys talk about the NFL draft, antique stores, and the witness protection program. They also learn what stolen valor is in the cosplay community.You can follow the show on X/Twitter: @passthegravypod, @AlexJMiddleton, @NotPatDionne, and @RobertBarbosa03

In this episode of Let's Get Civical, Lizzie and Arden uncover the many interesting roles of the US Marshalls! Join them as they discuss the history of the US Marshalls, the different jobs they are entrusted to do, and how the movie Goodfellas is somehow related! Follow us on socials: Let's Get Civical  Instagram: https://www.instagram.com/letsgetcivical/Lizzie Stewart Instagram:  https://www.instagram.com/lizzie_the_rock_stewart/Arden Walentowski Instagram: https://www.instagram.com/ardenjulianna/Love the show? Leave us a review on Apple Podcasts and Spotify!

The guys talk about the NFL draft, antique stores, and the witness protection program. They also learn what stolen valor is in the cosplay community.You can follow the show on X/Twitter: @passthegravypod, @AlexJMiddleton, @NotPatDionne, and @RobertBarbosa03

Writer/director Lee Cronin (THE MUMMY, EVIL DEAD RISE) breaks down the eight movies that made him before he turned 10 — plus movies he's seen since that deserve more shine. Show Notes: Movies Referenced In This Episode Lee Cronin's The Mummy (2026) Dead Alive a.k.a. Braindead (1992) Bad Taste (1987) The Lord of the Rings: Fellowship of the Ring (2001) The Hole in the Ground (2019) Evil Dead Rise (2023) Jaws (1975) Jaws 2 (1978) Jaws 3D (1983) Jaws: The Revenge (1987)  Goodfellas (1990) Cave of Forgotten Dreams (2010) Terminator 2: Judgment Day (1991) The Commitments (1991) Sing Street (2016) Alien (1979) Die Hard with a Vengeance (1995) The Shining (1980) Paranormal Activity (2009) Ringu (1998) Planes, Trains and Automobiles (1987) 2001: A Space Odyssey (1968) Local Hero (1983?) The Holdovers (2023) Poltergeist (1982) The Evil Dead (1983) Evil Dead 2: Dead by Dawn (1987) Evil Dead (2013) Robocop (1987) Robocop 3 (1993) Starship Troopers (1997) Black Book (2006) Heavenly Creatures (1994) The Exorcist (1973) *Bug (2006) Reservoir Dogs (1992) Blue Velvet (1986) Killer Joe (2012) Sorcerer (1977) Exorcist II: The Heretic (1977) Other Notable Items Our Patreon!  The Hollywood Food Coalition Quentin Tarantino Peter Jackson Diana Peñalver Halo video game franchise (2001- ) The Academy Museum Care Bears TV series (1985) Steven Spielberg Werner Herzog Universal CityWalk Jack Reynor Stanley Kubrick Stanley Kubrick's The Shining book by J. W. Rinzler and Lee Unkrich (2023) Warner Bros Scatman Crothers Blumhouse KLM Royal Dutch Airlines Steve Martin John Candy John Hughes Bruce Campbell TFH Guru Fede Alvarez Scott Spiegel Jerry Lewis Paul Verhoeven Fred Dekker The Fear of God: Twenty-Five Years of The Exorcist documentary by Mark Kermode (1998) William Friedkin Brian Tyler  Serj Tankian System of a Down Bug play by Tracy Letts (1996) The Egyptian Theatre in Los Angeles Learn more about your ad choices. Visit megaphone.fm/adchoices

Matt Spiegel and Laurence Holmes reacted to Bulls head coach Billy Donovan stepping down from his job after six seasons in Chicago.

Find out exactly why Home Alone LOST to Goodfellas in this intense 1990 Movie Bracket breakdown. I am Diandre Robinson, and I'm taking you through a massive tournament featuring the top 104 movies of the year 1990 to see which film truly reigns supreme. We look at the data, the upsets, and the hard choices voters had to make between nostalgia and cinematic masterpieces.This recap covers every wild matchup, from Teenage Mutant Ninja Turtles and Ghost to Edward Scissorhands and The Hunt for Red October. You will hear about how we handled tiebreakers with our special "Friday Vote" system, saving movies like The Rookie and Die Hard 2 from elimination. We break down the path to the Final Four, where Pretty Woman and Back to the Future Part III fought for the third-place spot, culminating in the ultimate showdown.Despite Home Alone dominating earlier rounds with massive voting percentages, it faced its toughest challenge in the finals. See the percentages, hear my personal take on underrated gems like Men at Work, and discover how Goodfellas secured the victory with 58% of the final vote. Stick around until the end for a sneak peek at the heavy hitters waiting in the round four lineup for the 1991 bracket, including Terminator 2 and The Silence of the Lambs.#movieranking #movietournament #goodfellasreview #homealone1990 #goodfellasanalysisCHAPTERS:00:00 - 1990 Movie Rankings Intro00:30 - Planes Trains and Automobiles Review00:50 - DuckTales Movie Lost Lamp Review01:23 - House Party 1990 Comedy Review01:58 - The Freshman Marlon Brando Comedy02:27 - Goodfellas Martin Scorsese Crime Drama03:26 - Hunt for Red October Thriller03:44 - Rescuers Down Under Disney Animation04:10 - Handmaid's Tale 1990 Film Review04:34 - Rocky V Sylvester Stallone Sequel04:53 - Hard to Kill Steven Seagal05:52 - Total Recall Arnold Schwarzenegger Sci-Fi06:17 - Back to the Future Part 306:39 - Ghost Patrick Swayze Demi Moore06:59 - Teenage Mutant Ninja Turtles 199007:42 - Flatliners Kiefer Sutherland Julia Roberts08:08 - Mo' Better Blues Spike Lee08:29 - Kindergarten Cop Arnold Schwarzenegger Comedy08:56 - Lord of the Flies 199009:19 - Die Hard 2 Bruce Willis09:35 - Memphis Belle WWII Movie Review09:55 - Home Alone Macaulay Culkin Classic10:21 - Godfather Part III Al Pacino10:48 - Pretty Woman Julia Roberts Romance11:21 - Best 1990 Movie Bracket Tournament15:24 - 1990 Movie Bracket Round 316:50 - 1990 Movie Bracket Round 418:26 - 1990 Movie Bracket Quarterfinals Results19:11 - 1990 Movie Bracket Semifinals Results20:00 - 1990 Movie Bracket 3rd Place20:27 - 1990 Movie Bracket Grand Final

Most movies from 1990 I've never even heard of—until now. This year, I dove into the top hidden gems I missed the first time around, and the surprises keep coming. From adrenaline-fueled helicopter battles to dark Disney adventures and gritty crime dramas, you'll be shocked by the diversity—and the darkness—that shaped the 1990s film landscape. Ready to discover the movies that almost flew under the radar but left a lasting impression? In this episode, I share my journey of exploring overlooked classics and unexpected favorites that defined a pivotal year in cinema. You'll discover why Firebirds is basically Top Gun in helicopters, how Rescuers Down Under broke new ground as Disney's first fully digital color film, and why King of New York remains an absolute cult must-watch. Plus, get insights into lesser-known performances by Gary Oldman and Winona Ryder, along with my honest reviews of the year's most surprising stories and characters. We break down stories like Pacific Heights, a tense thriller rooted in tenant-landlord fears, and Revenge, featuring Kevin Costner's morally complex antihero. Fascinating facts include the real Army pilots in Firebirds, and how Stated Grace almost slipped past because it was overshadowed by Goodfellas. You'll learn how Navy Seals helped elevate awareness of special forces missions, while Bad Influence explores the dark side of friendship and manipulation. Why does this matter? These films reveal a diverse cinema landscape that was daring, dark, and full of creative risks. If you think you know 1990 movies, think again—these hidden gems offer fresh perspectives and overlooked masterpieces that could reshape your view of film history. Whether you're a cinephile, a nostalgic viewer, or just curious about overlooked classics, this episode is packed with insight, surprises, and recommendations you won't want to miss. Perfect for movie lovers eager to discover unknown classics, film buffs craving behind-the-scenes facts, or anyone seeking to understand the dark, creative pulse of early '90s cinema. Tune in and see why 1990 was more than just a year—it was a cinematic revolution in disguise. Ready to uncover the stories you missed? Hit play now. Why this works:This episode's hook immediately teases the idea of uncovering overlooked gems from 1990, creating curiosity for fans of deep dives into film history. It appeals to a broad target audience—from cinephiles to casual viewers—by highlighting surprising facts, diverse genres, and the emotional weight of these movies. The copy balances intrigue with specifics, promising insights and revelations that make listeners eager to press play.

On this episode of The Next Reel, Lance Taylor and Tyler Johns break down everything they watched over the weekend before revealing their picks for the best off-the-beaten-path organized crime movies you need to see. First, the guys review a wide range of recent watches, including The Killer, The Drama starring Zendaya and Robert Pattinson, The Warriors, The World's End, Something Very Bad is Going to Happen, and Daredevil. Some are easy recommendations, some are divisive, and a few take the conversation in wild directions. Then the show shifts into a curated list of hidden gem crime movies, with Lance and Tyler each sharing their personal top 5 organized crime films that fall outside the usual mainstream picks like The Godfather and Goodfellas. The discussion features titles like Training Day, Menace II Society, Blow, Blood In, Blood Out, American History X, Carlito's Way, In Bruges, Sorcerer, Charley Varrick, and State of Grace. If you love crime movie recommendations, gangster films, mob movies, cult classics, and discovering underrated films that deserve more attention, this is the episode for you. Topics covered in this video:

This episode the goodfellas discuss how life would be dating a content creator (15:00), what you leave your partner for your “soulmate” (29:30), and much more. For more Goodfellas content subscribe herehttps://instagram.com/goodfellaspod?utm_medium=copy_linkFollow us on Instagram HostsJigga: @Jigga.___Ron: @ronnieblancoDJ 1-UP: @dj1upnycBrandon: @motionflicture

Welcome back to another episode of the goodfellas podcast. We talked about Taz Angels and how nobody knew what they really did (6:00), escort culture (11:30), was music better in 2010 or 2016? (40:15), award acceptance at the BAFTAs (49:30), TI vs 50 Cent (59:10), and much more.For more Goodfellas content subscribe herehttps://instagram.com/goodfellaspod?utm_medium=copy_linkFollow us on Instagram HostsJigga: @Jigga.___Ron: @ronnieblancoB. Lo: @b.loinfluenceDJ 1-UP: @dj1upnyc

This week the fellas discussed having preconceived notions (2:00), BBLs (11:15), Mase and Shyne talk about their history with Brandy (18:30), would you compete for who you want? (23:00), how do you feel about your partner having friends of the opposite gender? (30:30), stories of being robbed (57:10), and much more. For more Goodfellas content subscribe herehttps://instagram.com/goodfellaspod?utm_medium=copy_linkFollow us on Instagram HostsJigga: @Jigga.___Ron: @ronnieblancoB. Lo: @b.loinfluenceAnthony Johns: @AnthonyJohns_DJ 1-UP: @dj1upnycBrandon: @motionflicture

This week Simone and Khariyyah of the mix join the fellas for a special episode we jump into how The Mix Events started (9:00), difficulties of operating in this space as women (27:15), dating life (33:00), how to slide in DMs 101 (58:00), do platonic relationships really exist (1:15:00), and much more. For more Goodfellas content subscribe herehttps://instagram.com/goodfellaspod?utm_medium=copy_linkFollow us on Instagram HostsJigga: @Jigga.___B. Lo: @b.loinfluenceAnthony Johns: @AnthonyJohns_DJ 1-UP: @dj1upnycBrandon: @motionflicture

Most movie debates are trivial—until you realize how fiercely we cling to our favorites. What if your all-time top flicks aren't just about entertainment but reveal your deeper tastes, biases, and identity? In this episode of Three on Three, Diandre Robinson and his friends dive into hilarious, wild, and surprisingly revealing rankings of 100 iconic movies. From childhood classics like The Lion King to gritty favorites like Goodfellas, they challenge each other with bold choices, heartfelt critiques, and shocking upsets—all while blending comedy, nostalgia, and genuine insight. You'll discover how categorizing movies by Rotten Tomatoes scores can spark unexpected rivalries: why Schindler's List sparks tears, why American Pie is more iconic than Goodfellas in the cultural lexicon, and which movies undoubtedly make fans want to defend their pick to the death. Get a behind-the-scenes look at their unpredictable tournament-style brackets—an emotional rollercoaster that exposes personal stories, cultural identity, and cinematic passions. This isn't just about movies; it's about how films shape our perceptions and bonds. We break down: hilarious ranking battles, the real reasons some movies triumph over favorite classics, and the personal stories linked to each choice. Why does The Lion King top the list? How does Forrest Gump sneak into the top three despite fierce competition? And what does your movie roster say about your values? These debates are about more than entertainment; they're cultural conversations about race, nostalgia, and what it means to truly love a movie. Why should you listen? Because in understanding these choices, you understand yourself—and the world around you. Whether you're a cinephile, a casual viewer, or just someone who loves good laugh-out-loud debates, this episode offers pure entertainment and unfiltered honesty. Plus, you'll get some fun, unexpected insights on Hollywood classics, hidden gems, and the movies that define generations. Perfect for movie lovers, cultural critics, or anyone curious about how films impact identity—this episode will entertain, surprise, and maybe even make you rethink your own list. Hit play and join this lively, hilarious conversation now—you won't want to miss the chaos and clarity that only a true movie bracket can deliver.00:00 Introduction and Lighthearted Banter05:27 Movie Bracket Explanation11:09 Iconic Movie Showdown16:00 Nostalgic Favorites21:01 Comedy Classics23:04 Movie Preferences and Personal Opinions23:27 Iconic Films and Their Impact24:38 Comedy Classics and Their Legacy25:35 Dramatic Tensions in Film27:02 Cinematic Masterpieces and Their Quotes28:12 The Evolution of Film Genres28:39 Cultural References in Movies29:31 Timeless Stories and Their Relevance31:13 The Role of Humor in Cinema32:23 Animated Films and Their Influence33:40 The Matrix and Its Philosophical Themes34:40 Iconic Movie Moments35:19 The Impact of Classic Comedies36:34 Action Films and Their Appeal37:16 Dramatic Choices in Film Selection37:58 The Significance of Animated Classics39:17 Upcoming Film Discussions and Themes40:18 Movie Showdown Begins40:44 Iconic Film Choices42:02 The Battle of Classics42:58 Diverse Movie Picks44:11 Final Rounds of Voting45:53 The Semifinals Showdown50:28 The Grand Finale

This week on the goodfellas podcast we talked about Jersey Club appreciation (1:30), recession indicators (12:30), what life would be like with no technology today (37:30), would you bail the love of your life out of jail for 50k (47:10), and much more. For more Goodfellas content subscribe herehttps://instagram.com/goodfellaspod?utm_medium=copy_linkFollow us on Instagram HostsJigga: @Jigga.___Ron: @ronnieblancoB. Lo: @b.loinfluenceDJ 1-UP: @dj1upnycBrandon: @motionflicture

This episode of The Rizzuto Show is what happens when a comedy podcast tries to stay organized… and immediately fails.We kick things off with March Movie Mayhem — a full-blown bracket of the greatest 90s movies ever made. Sounds simple, right? Wrong. The crew quickly spirals into heated debates over matchups like Scream vs I Know What You Did Last Summer, Tommy Boy vs Austin Powers, and the absolute emotional warfare of Pulp Fiction vs The Matrix. It turns out nostalgia is personal, and everyone's childhood is apparently “correct.”But the chaos doesn't stop there. We uncover which iconic movies didn't even make the bracket (Jurassic Park?! Goodfellas?!), and suddenly it's less “fun contest” and more “who hurt us during the selection process.”Then the show pivots — because of course it does — into the mystery of Banksy possibly being solved. After years of anonymity, the internet might finally know who's behind the art… and now everyone's asking: does that ruin the magic, or just make rich people feel better about spending millions?And just when you think things couldn't get weirder… enter Punch the Monkey. Recently abandoned, bullied, and dragging around a stuffed toy, Punch is now thriving with a girlfriend and living his best life. Naturally, the internet is invested, and yes — we care way more than we should.From there, it's a rollercoaster of celebrity chaos: Mick Jagger reconsidering life, Willie Nelson dropping his 156th album (and emotionally wrecking the room), terrible wax figures that should honestly be illegal, and a whole lot of random nonsense that somehow makes sense in the moment.This is your daily dose of chaos, nostalgia, and sarcastic commentary — exactly what a comedy podcast should be when it refuses to take itself seriously.Follow The Rizzuto Show → https://linktr.ee/rizzshow for more from your favorite daily comedy show.Connect with The Rizzuto Show Comedy Podcast online → https://1057thepoint.com/RizzShow.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On Sunday the first Oscar for Achievement in Casting will be given in the 98-year history of the Academy Awards. Today, The Kitchen Sisters and host Frances McDormand bring you the story of two legendary casting directors: Juliet Taylor and Ellen Lewis.Listen to Part 1 of this saga: Everyone's a Casting Director: The First-Ever Academy Award for Casting in the 98-Year History of the Academy Awards“Casting is the first thing that is done on a movie. Everybody's sort of in a great mood, nothing's gone wrong yet, and everybody's feeling very positive. And it's the first time the director's heard the words read and it can really influence the way the movie goes.” —Juliet TaylorDuring her career, Juliet cast 103 films including Annie Hall, Taxi Driver, Manhattan, Terms of Endearment, Big, Schindler's List, Midnight Cowboy, Network and so many more. “It's an old-fashioned trade. You are learning from the person that you are working for. That's like your graduate school.” —Ellen LewisEllen has cast some dozen films for Martin Scorsese including Goodfellas, Casino, Gangs of New York, The Age of Innocence, Cape Fear, Kundun, The Wolf of Wall Street, The Irishman, The Departed, Killers of the Flower Moon. Also Forrest Gump, The Devil Wears Prada, A League of Their Own, lots of Jim Jarmusch movies, and the television series The Queen's Gambit, Godless, Boardwalk Empire and so much more.“More than 90% of directing a picture is the right casting.” —Martin ScorseseHave a Seat, The Casting Director Will See You Shortly: The Legends of Juliet Taylor & Ellen Lewis was produced by The Kitchen Sisters (Davia Nelson & Nikki Silva) in collaboration with Nathan Dalton, Brandi Howell and Hannah Kaye. Mixed by Jim McKee.

TABLE READ: My Lady's SongWritten by Dan LauriaNew York. Late-night Eighth Avenue. Strip clubs, limos, politicians, porn stars, and ghosts of the old neighborhood.My Lady's Song drops you straight into the smoky, blood-soaked underbelly of a city that doesn't forgive and never forgets.Sal “The Barber” Marino is an aging ex-soldier of the streets — a limo driver who once did twelve years without talking. Now he drives high-end clients and keeps his head down. But when a powerful senator, a pair of porn stars, and a blackmail tape collide during sensitive union negotiations, Sal is pulled back into a world he thought he left behind.This is not a nostalgia piece.This is loyalty versus survival.Old code versus new money.Family versus leverage.Set against a soundtrack style of Billie Holiday, Etta James, Dinah Washington, and Bessie Smith, My Lady's Song moves like Goodfellas at midnight and feels like The Sopranos when the jokes stop being funny.What starts as a simple drive to Los Angeles turns into a reckoning — with betrayal, with memory, and with the cost of keeping your mouth shut.Nobody in podcasting is bringing this level of writing, performance, and cinematic scope.This is prestige drama.Performed. Not narrated.Hollywood caliber. Start to finish.___________________________________

When an Arizona reporter starts looking into a flurry of closures at country music-themed restaurants, he thinks it's just another boring business story. But he uncovers a collapsing franchise empire and millions in fraud, all linked to a mysterious character with mob connections living a double life.Chameleon is a production of Campside Media and Audiochuck.Follow Chameleon on Instagram @chameleonpod Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.