Podcasts about Hitchcockian

This week, we review The Bedroom Window (1987), Curtis Hanson's suspenseful neo-noir thriller steeped in voyeurism, deception, and moral ambiguity. Quentin Tarantino recommended it so we thought why not. Steve Guttenberg stars as Terry, a Baltimore businessman who becomes entangled in a murder investigation after his affair with his boss's wife, played by Isabelle Huppert, leads him to report a crime he didn't actually witness. Elizabeth McGovern co-stars as the potential next victim, drawing Terry deeper into a dangerous cat-and-mouse game.With a Hitchcockian setup of mistaken identity and unreliable perception, this film raises intriguing questions about truth, responsibility, and the cost of good intentions gone awry.Is seeing believing, or is lying for love a killer move? Listen on to find out!Join Colin & Niall as we embrace the weird, the wonderful, and the downright awful of cinema!Contact us: itwasamoviepodcast@gmail.comSpotify: It was a movie..Spotify pageFollow, rate & review us here:https://linktr.ee/itwasamovieYoutube: It was a movie channel...Facebook: https://www.facebook.com/itwasamovieInstagram: https://www.instagram.com/itwasamoviepodcast/X: https://x.com/itwasamoviepodTikTok clips & highlights: https://www.tiktok.com/@itwasamoviepodSee all our ratings & reviews: Google SpreadsheetIMDb List: IMDb | Letterboxd: Letterboxd

This week, we talk about the meaning of "gaslighting" with the film that originated the term: George Cukor's 1944 film Gaslight, starring Ingrid Bergman as a woman slowly driven to the brink of madness by her abusive husband (Charles Boyer). This film also featured the cinematic debut (and first Oscar nod!) for Angela Lansbury, who turned 18 during filming. TW for discussions of domestic abuse and abusive relationships. Next week, one of the most Hitchcockian of the films we're discussing: Michael Powell's psychothriller Peeping Tom, which premiered two weeks before Psycho in 1960.

For the first of our Hitchcockian films, we discuss the best "Hitchcock film not directed by Hitchcock": Stanley Donen's Charade (1963), a somewhat satirical, fantastically entertaining globe-trotting thriller with a stellar cast featuring Cary Grant, Audrey Hepburn, and Walter Matthau. Next week we'll be chatting about Gaslight (1944), which somehow Hitchcock also did not direct.

Join hosts Justin Morgan and Chuck Phillips as they dive into the alluring depths of Park Chan-wook's Decision to Leave. This South Korean mystery masterfully weaves themes of obsession, longing, and moral ambiguity into a slow-burn tale of love and betrayal. In this episode, the hosts unpack the film's Hitchcockian echoes, its hypnotic visual style, and the poetic ambiguity of its unforgettable ending. From character motivations to narrative misdirection, this discussion is an essential listen for cinephiles and fans of moody, intricate storytelling. Hosted by Justin Morgan Co-hosted by Charles Phillips Mixing by Scratchin' Menace Music by Song Chang-sik Follow us on Facebook and Bluesky for updates. Listen on Apple Podcasts, Spotify, YouTube, and all major platforms. Please subscribe, rate, and review—we appreciate the support!

It's Die Hard in a brownstone!This week on DIE HARD ON A BLANK we're breaking into PANIC ROOM with the help of a specialist: Shahir Daud - filmmaker, Fincher fanatic and host of the long-running show THE ONLY PODCAST ABOUT MOVIES!On their first night after moving in to a luxurious New York ‘townstone', recently divorced single mother Meg Altman (Jodie Foster) and her 11 year-old daughter Sarah (Kristen Stewart) are terrorized by a trio of mysterious burglars. When Meg and Sarah become aware of the intruders, they seek refuge in the house's high-tech ‘panic room', only to discover that the thing the thieves want most is inside that very room. Despite being more of a Hitchcockian thriller than a traditional action movie, PANIC ROOM is nonetheless filled with DIE HARD DNA – right down to the bearer bonds (the economics of which we're still trying to understand). The guys place this film in context among the wider careers of both director David Fincher and writer David Koepp, and analyze if it explores any of the thematic obsession of both of these storied creators. They discuss the performances of the movie's eclectic cast and go deep on Fincher's groundbreaking filmmaking techniques. As always events culminate with the DIE HARD OSCARS and the delightfully devilish DOUBLE JEOPARDY TRIVIA QUIZ. Fincher-philes rise up! TRAILER: https://www.youtube.com/watch?v=sp2kKzrCm44At the time of release, PANIC ROOM is streaming on Fubo, and is available to rent or buy on Amazon Prime Video, Apple TV/iTunes, YouTube, Fandango and all the usual platforms!Click here to subscribe to our Patreon feed 48 HOURS OF BUDDY MOVIES!www.patreon.com/48hoursofbuddymovies Hosted on Acast. See acast.com/privacy for more information.

It's our last embrace with the dang Demme 1970s this week as we take a look at a Hitchcockian thriller starring Roy Scheider and Janet Margolin, based on the Murray Teigh Bloom novel THE 13TH MAN... it's LAST EMBRACE. This week's guest is a familiar friend, but a first time guest - Evan from the Left of the Projector podcast joins us as we get talk about this stage of Demme's career, meeting guys like Kenneth Utt, working with Christopher Walken, All That Jazz, Roy Scheider's leathery complexion, Tak Fujimoto's return, Charles Napier's head, Sandy Mcleod's haircut, and just how much we disagreed with the critics on this film. Don't believe us? Maybe this photo of Jonathan Demme's cameo in the film will change your mind... Follow Left of the Projector: https://leftoftheprojector.com https://patreon.com/LeftoftheProjectorPod Follow Altmania: https://altmaniapod.com https://estebannoel.com JONATHAN DEMME ARCHIVE Support us on Patreon: https://patreon.com/altmania

The Art of Pure Cinema: Hitchcock and His Imitators (Oxford University Press) is the first book-length study to examine the historical foundations and stylistic mechanics of pure cinema. Author Bruce Isaacs, Associate Professor of Film Studies and Director of the Film Studies Program at the University of Sydney, explores the potential of a philosophical and artistic approach most explicitly demonstrated by Hitchcock in his later films, beginning with Hitchcock's contact with the European avant-garde film movement in the mid-1920s. Tracing the evolution of a philosophy of pure cinema across Hitchcock's most experimental works - Rear Window, Vertigo, North by Northwest, Psycho, The Birds, Marnie, and Frenzy - Isaacs rereads these works in a new and vital context. In addition to this historical account, the book presents the first examination of pure cinema as an integrated stylistics of mise en scène, montage, and sound design. The films of so-called Hitchcockian imitators like Mario Bava, Dario Argento, and Brian De Palma are also examined in light of a provocative claim: that the art of pure cinema is only fully realized after Hitchcock. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Art of Pure Cinema: Hitchcock and His Imitators (Oxford University Press) is the first book-length study to examine the historical foundations and stylistic mechanics of pure cinema. Author Bruce Isaacs, Associate Professor of Film Studies and Director of the Film Studies Program at the University of Sydney, explores the potential of a philosophical and artistic approach most explicitly demonstrated by Hitchcock in his later films, beginning with Hitchcock's contact with the European avant-garde film movement in the mid-1920s. Tracing the evolution of a philosophy of pure cinema across Hitchcock's most experimental works - Rear Window, Vertigo, North by Northwest, Psycho, The Birds, Marnie, and Frenzy - Isaacs rereads these works in a new and vital context. In addition to this historical account, the book presents the first examination of pure cinema as an integrated stylistics of mise en scène, montage, and sound design. The films of so-called Hitchcockian imitators like Mario Bava, Dario Argento, and Brian De Palma are also examined in light of a provocative claim: that the art of pure cinema is only fully realized after Hitchcock. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

The Art of Pure Cinema: Hitchcock and His Imitators (Oxford University Press) is the first book-length study to examine the historical foundations and stylistic mechanics of pure cinema. Author Bruce Isaacs, Associate Professor of Film Studies and Director of the Film Studies Program at the University of Sydney, explores the potential of a philosophical and artistic approach most explicitly demonstrated by Hitchcock in his later films, beginning with Hitchcock's contact with the European avant-garde film movement in the mid-1920s. Tracing the evolution of a philosophy of pure cinema across Hitchcock's most experimental works - Rear Window, Vertigo, North by Northwest, Psycho, The Birds, Marnie, and Frenzy - Isaacs rereads these works in a new and vital context. In addition to this historical account, the book presents the first examination of pure cinema as an integrated stylistics of mise en scène, montage, and sound design. The films of so-called Hitchcockian imitators like Mario Bava, Dario Argento, and Brian De Palma are also examined in light of a provocative claim: that the art of pure cinema is only fully realized after Hitchcock. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne.

Our hosts return to the podcave doubled in enthusiasm to break down the episode, Second Chance.Alex and Will dive deep into the long-overdue return of a Two-Face-centric story, explaining why the character remains their second fav villain — get it?They unpack the episode's noir-laced animation, its unmistakable Hitchcockian vibes, and the strange surgery procedure that raises more questions than answers. Plus, raunchy tales of Bruce and Harvey's mysterious nightlife, the moment Robin almost went out Goodfellas style, and how a skylight just became Batman's new enemy.Oh — and did anyone else think that the surgeon was Leslie Thompkins? Because it's not! But we totally thought so too.Tip Jar: https://buymeacoffee.com/batmantaspodJoin Our Discord - https://discord.com/invite/bQF76V3nUsOutbreaks Vol. 1 Kickstarter - https://www.kickstarter.com/projects/speechcomics/outbreaks-volume-1-an-ongoing-zombie-anthology-series?ref=discovery&term=outbreaks&total_hits=1475&category_id=252⁠⁠⁠⁠⁠⁠Follow us on TikTok⁠⁠⁠⁠⁠⁠ - https://www.tiktok.com/@batmantaspod?_t=8zn1yhsgnfz&_r=1⁠⁠⁠⁠⁠⁠Follow us on YouTube⁠⁠⁠⁠⁠⁠ - https://www.youtube.com/@batmantaspod⁠⁠⁠⁠⁠⁠Follow the Pod on Instagram⁠⁠⁠⁠⁠⁠ - https://www.instagram.com/batmantaspod/⁠⁠⁠⁠⁠⁠⁠Follow the Pod on Facebook⁠⁠⁠⁠⁠⁠⁠ - https://www.facebook.com/BatmanTASPod/⁠⁠⁠⁠⁠⁠Follow the Pod on Twitter⁠⁠⁠⁠⁠⁠ - https://twitter.com/batmantaspod1⁠⁠⁠⁠⁠⁠Subscribe to Will's Patreon⁠⁠⁠⁠⁠⁠ - https://www.patreon.com/willrobsonSpeech Comics Website⁠ - https://www.speechcomics.com/Monster Mash 1-2 Kickstarter: https://www.kickstarter.com/projects/speechcomics/mobster-mash-1-2-classic-movie-monsters-as-mobstersWill's WhatNot Page⁠⁠⁠⁠⁠⁠⁠ - https://www.whatnot.com/user/speechcomics

Nick & Taylor book themselves into Psycho-Neurotic Institute for the Very, Very Nervous, the primary setting of Mel Brooks' Hitchcockian spoof, High Anxiety (1977). Find out where your hosts rank this movie in the pantheon of Brooks' career of cinematic hits and misses. __________Taylor Zaccario…Host, Director, Producer, WriterNick Zaccario…Host, Director, Producer, Editor

In this episode of The Clean Slate Podcast, we dive into Martin Scorsese's 1991 psychological thriller Cape Fear. From Robert De Niro's haunting turn as Max Cady to the film's bold use of religious symbolism, extreme violence, and Hitchcockian tension, we explore what makes this remake so unforgettable. Is Cape Fear a masterpiece of suspense or a stylish misfire? We break it all down — themes, performances, direction, and how it compares to the 1962 original.

Christopher Landon (Director of “Happy Death Day” & “Freaky”) is back with a new Hitchcockian thriller, and the co-hosts of Queer Cinema Catchup, Joe & Allison, dropped in to review it with us. Tune in to hear us break down “Drop” — from who we initially thought was behind those sinister messages, to what each of us would do in that situation, and of course, that jaw-dropping finale!

DROP in for a brand new episode!!!! The Watch/Skip+ boys drop it like it's hot and review the new Hitchcockian, techno-thriller Drop. Openly gay director Christopher Landon was dropped from the Scream 7 sequel but returned to this dropped project which he was writing. Drop stars the gorgeous and electric leads Meghann Fahy and Brandon Sklenar. Will this taut, tense, and tight movie be embraced by the movie-going audiences or will they drop it in the trash bin? (Editor's note: Say “drop” one more time!)DROP WHAT YOU'RE DOING AND CHECK OUT OUR NEW EPISODE!For Pluses, Cupcake talks feet (don't worry, it not fetish-y, we promise) and Mike reviews a new film that just dropped on Netflix.  #podcast #newpodcast #movie #moviereview #moviereviewpodcast #film #filmisnotdead #cinematography #filmcritic #Drop #ChristopherLandon #meghannfahy #brandonsklenar #violettbeane #jeffreyself #reeddiamond #edweeks #gabrielleryan #jillianjacobs #chrisroach #marcspicer #bearmcreary #benbaudhuin #brendancondren #blumhouse #platinumdunes #wildatlanticpicturesTIMESTAMPS00:00:00 New Chapter00:01:01 INTRO00:03:19 Drop: Below the Line00:17:40 Drop: Above the Line00:28:05 Spoiler Free Reviews00:40:36 SPOILERS AHEAD01:01:11 Jose's Plus01:06:57 Mike's Plus01:11:43 OUTRO- - - - - - - - - -WE ARE WATCH SKIP PLUS! Watch Listen Love!Email us: WatchSkipPlus@gmail.comIG: https://www.instagram.com/watchskipplus/Facebook: https://www.facebook.com/watchskippluspodX: https://x.com/watchskipplusYouTube: www.youtube.com/@WatchSkipPlusDiscord: https://discord.gg/PGX4RRUe

This episode is brought to you courtesy of our sponsors: BetterHelp - Visit BetterHelp.com/FILMCAST to get 10% off your first month. Huel - Visit Huel.com/filmcast today and use code filmcast to get 15% off your first order plus a Free Gift. David, Devindra, and Jeff fall into the Hitchcockian pleasures of Drop, praise the brilliant storytelling of Common Side Effects, and wonder why Hacks doesn't just let the two main leads be friends. Then, it's time to discuss Alex Garland and Ray Mendoza's new movie, Warfare. We're making video versions of our reviews! Be sure to follow us on the following platforms: YouTube Tiktok Instagram Threads Weekly Plugs David - Decoding TV: Matt Goldberg's The Last of Us recaps Devindra - Engadget Podcast: Pixel 9a review + bracing for tariffs Jeff - cameo.com/jeffcannata Shownotes (All timestamps are approximate only)    What we've been watching (~00:16:05) David - Drop, G20, The Last of Us S2  Devindra - Last of Us S2, Hacks S4, The Pitt finale Jeff - Common Side Effects, Your Friends and Neighbors Featured Review (~01:04:00)    Warfare SPOILERS (~01:29:15) Support David's artistic endeavors at his Patreon and subscribe to his free newsletter Decoding Everything. Check out Jeff Cannata's podcasts DLC and We Have Concerns. Listen to Devindra's podcast with Engadget on all things tech. You can always e-mail us at slashfilmcast(AT)gmail(DOT)com. Credits: Our theme song is by Tim McEwan from The Midnight. This episode was edited by Noah Ross who also created our weekly plugs and spoiler bumper music. Our Slashfilmcourt music comes from Simon Harris. If you'd like advertise with us or sponsor us, please e-mail slashfilmcast@gmail.com.

On the latest bonus episode of THE THIRD ACT PODCAST, the crew are living life at the gut level.Christian and Jericho continue their Auteurography series on the films of Brian De Palma with reviews of 1972's corporate satire/tap-dancing magician comedy, GET TO KNOW YOUR RABBIT (1972), and the Hitchcockian psychological thriller, SISTERS (also released in 1972).They also discuss top 5 animals, best movie sisters, male sexual repression, split-screens, tracking shots, homage, duality, and exposing your children to sitcoms.Subscribe to Jericho's Substack: symbioticreviews.substack.comKeep in touch with us on Instagram and email us anytime at: TheThirdActPodcast@gmail.com   

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As his latest, the Hitchcockian thriller Drop arrives in cinemas, we take a look at what director and writer Christopher Landon has been up to since the Happy Death Day movies and Freaky: recent Valentine themed slasher Heart Eyes, and the Netflix family film We Have A Ghost Presented by J.R. Southall, with Matt Barber

It's our 250th episode, and we bring you another neo-noir movie review - but this time its set in South Korea, and one from the director of OldBoy, Park Chan-wook . Plus we are joined by special guest Tom Jolliffe to discuss its Hitchcockian vibes, the deeper meanings behind what are two leads represent, and just a general appreciation for subtitled films!-------------------------------------------------------Don't forget to follow us on social media in the links below, and let us know your thoughts and recommendations for the future!  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠instagram.com/sp_filmviewers⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠x.com/SP_Filmviewers⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠letterboxd.com/SP_Filmviewers⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-------------------------------------------------------Rating and reviewing the show is a great help too! Please feel free to do so with these helpful links below:Goodpods: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://goodpods.app.link/pkE7J2T6ykb⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Podchaser: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.podchaser.com/users/sp_filmviewers⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://podcasts.apple.com/gb/podcast/sp-filmviewers/id1485548644⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Lastly, we now have a Patreon you can join, for as little as £1/$1.50. More details in the link below:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://patreon.com/spfilmviewers⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ 

You are invited back into the Talking Hitchcock screening room! Join creator and host, Hitchcock enthusiast Rebecca McCallum with special guest –actor, director and Hitchcock enthusiast-Christopher Diehl who last year put on awonderful Hitchcock Theatre Festival. In this interview, we focus on staging The Birds as amongst other things we cover what attracted Hitchcock to du Maurier's work, the challenges of adapting The Birds, costume, sound, score and the importance and the power of theatre. After our conversation, I'll be back to answer some questions which were kindly sent by listeners, as is the Talking Hitchcock tradition, to mark the closing out ofSeason 2. Thank you to everyone who has supported the podcast in its second season, I hope you have enjoyed coming along on the Hitchcockian adventure with me and I look forwardto bringing you more discussions in Season 3.Support Talking Hitchcock by making a donation to my Ko-Fi page: Buy Rebecca McCallum a Coffee.Find Talking Hitchcock on Blusky and Instagram @talkinghitchpod where you can support the podcast and keep up to date with releases or email me on talkinghitchpod@gmail.comFind Rebecca and her work on Instagram @pendlepumpkinYou can find Christopher Diehl /Chino Community Theatre Company in the following places:Instagram @chinocommunitytheatreOnline  Chino Community Theatre (google.com)Facebook https://www.facebook.com/chinocommunitytheatre Listen to Talking Hitchcock Episodes ReferencedStaging Patrick Hamilton's ROPE–Talking Hitchcock – Apple PodcastsARCHIE-THE MAN WHO BECAME CARY–Talking Hitchcock – Apple PodcastsREAR WINDOW (1954) with Ygraine–Talking Hitchcock – Apple Podcasts Read Rebecca' Article for FANGORIA The Past, The Present And The Perverse: VERTIGO As A Possession FilmReferencesAFI Salute to Alfred Hitchcock https://www.youtube.com/watch?v=Zn8uRMCENkE&pp=ygUkaGl0Y2hjb2NrIGFmaSBsaWZlIGFjaGlldmVtZW50IGF3YXJkCinema Cinemas -Hitchcock SpecialCinéma Cinémas - Speciale Hitchcock - James Stewart - 1984 - YouTubeWhy Alfred Hitchcock was a "little afraid" of James StewartLawrence J. Quirk's James Stewart: Behind the Scenes ofa Wonderful Life

What happens when a fan of Marvel's Daredevil tries his hand at a Hitchcockian yarn? Lots of critical love, in the case of ANDHADHUN. Listen to Alex & Julio tackle another Tomatometer 100-percenter as they examine the ethics of fake blindness!TIMELINE00:01:24 Andhadhun00:08:56 Contrarians Corner- Wanna know how we really feel about ANDHADHUN? Check out the Real Talk (RT) episode, on your feed RIGHT NOW! (or pretty soon — Spotify can be a pain when it comes to refreshing the feed)- Interested in more Contrarians goodness? Join THE CONTRARIANS SUPPLEMENTS on our Patreon Page! Deleted clips, extended plugs, bonus episodes free from the Tomatometer shackles… It's everything a Contrarians devotee would want!- Our YouTube page is live! Get some visual Contrarians delight with our Contrarians Warm-Ups and other fun videos!- Contrarians Merch is finally here! Check out our RED BUBBLE MERCH PAGE and buy yourself something nice that's emblazoned with one of our four different designs!- THE FESTIVE YEARS have been letting us use their music for years now and they are amazing. You can check out their work on Spotify, on Facebook or on their very own website.- Our buddy Cory Ahre is being kind enough to lend a hand with the editing of some of our videos. If you like his style, wait until you see what he does over on his YouTube Channel.- THE LATE NIGHT GRIN isn't just a show about wrestling: it's a brand, a lifestyle. And they're very supportive of our Contrarian endeavors, so we'd like to return the favor. Check out their YouTube Channel! You might even spot Alex there from time to time.- Hans Rothgiesser, the man behind our logo, can be reached at @mildemonios on Twitter or you can email him at mildemonios@hotmail.com in case you ever need a logo (or comics) produced. And you can listen to him talk about economy on his new TV show, VALOR AGREGADO. Aaaaand you can also check out all the stuff he's written on his own website. He has a new book: a sort of Economics For Dummies called MARGINAL. Ask him about it!

Steven Soderbergh's “Kimi” (2022) is a timely movie about invasive technology and Covid-19—and a Hitchcockian throwback to the era of paranoid thrillers. Speaking of Hitch, his work inspired *many* movies. So many there's a name for it. We list our top five favorites.  Social media Instagram @thefilmographers Bluesky: @thefilmographers.bsky.social Letterboxd @filmographers YouTube @TheFilmographersPodcast Website: https://filmographerspodcast.com/ Join our Pateron! Credits Keir Graff & Michael Moreci, hosts Kevin Lau, producer Gompson, theme music Cosmo Graff, graphic design

On this episode of Drive-In Double Feature, Nathan and Ryan dive into Brian De Palma's erotic thriller Dressed to Kill (1980). With its slick cinematography, gripping mystery, and controversial themes, this psychological drama keeps audiences on edge. The hosts explore the film's Hitchcockian influences, standout performances from Michael Caine and Angie Dickinson, and the intense debates surrounding its provocative storytelling. Is Dressed to Kill a masterclass in suspense or a product of its era that doesn't hold up today? Find out as Nathan and Ryan dissect this stylish, divisive, and unforgettable film.

This week we're auditioning for the role of a lifetime as DePALMBER: PART DE continues with another example of what feels like well-worn territory for our man of the month: an erotic thriller in which a working class man in show business is forced to be an unlikely hero as he becomes entangled in a murder. It's 1984's Body Double, directed, produced, and co-written from a story by Brian De Palma, and starring Craig Wasson, Melanie Griffith, Gregg Henry, Deborah Shelton, Guy Boyd and Dennis Franz. As De Palma's immediate follow-up to Scarface, it's a brazenly bizarre swing on what was surely a blank check opportunity, and we have to admire the effort. Dripping in Hitchcockian influence with a plot that plays like Rear Window and Vertigo at the same time, it's another terrific showcase of that 80s cool De Palma style that would be pillaged decades later in the Grand Theft Auto video games. Plus: J Mo goes knives out on Wicked, having been held hostage by it for nearly three hours. If you'd like to watch the movie before listening to our discussion, Body Double is not currently streaming in Canada but can be rented on YouTube for $5. Other works referenced in this episode include The Producers (2005), Avengers Endgame, The Bourne Identity, The Bourne Supremact, Doubt, The Manchurian Candidate (2004), The Manchurian Candidate (1962), The Fog (2005), Mission: Impossible - Fallout, Super 8, The Fablemans, West Side Story (2021), Rory Scovel: Religion, Sex & A Few Things In Between, Batman Returns, Batman & Robin, The Game, North by Northwest and Deep Water, among others. We take a quick break from De Palma next week, as our final release before Christmas Day means it's time to celebrate Shaqmas once again! Our annual holiday tradition of covering a selection from the filmography of Shaquille O'Neal continues this year with what is surely the best movie he ever made: 1994's Blue Chips, directed by William Friedkin and co-starring Nick Nolte. And our DePalmber Canon Entry at the end of the month is 1981's Blow Out! Until next week, we'll see you at the movies!!

This week we chat with Chris Vander Kaay about his new movie .ask, which is streaming on POV Horror. For transparency, .ask is a film that Mary Beth helped produce. We chat about making the film to prove that you can make a movie for very little money, the way he used what was available to him to support the filmmaking process and more. Then we discuss Chris's relationship to horror, how he got introduced to it, what scared him and finally why Cloak & Dagger terrified him growing up. We discuss Tom Holland's effect on a number of our guests, the Hitchcockian nature of the film, kids in danger and Terry has a realization.If you haven't seen Cloak & Dagger, do yourself a favor and watch it before listening. It's a fantastic and surprising filmYou can watch .ask on POV Horror here. More places to come. You can follow Chris on Bluesky.Follow Mary Beth, Terry and the Podcast on Twitter. We also have a Letterboxd HQ account, so follow us there, too! We're also on Bluesky with the same usernames. Support us on Patreon!If you want to support our podcast, please please take a moment to go rate us on Spotify and give us a rating and review on iTunes. It really helps us out with the algorithms. We also have a YouTube channel! Ask us for our Discord server!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Scott faces a night of toilet terror when his bathroom is off limits because of floor retiling. The tension is Hitchcockian, except that Hitch doesn't make a cameo appearance in the bathroom. --- Support this podcast: https://podcasters.spotify.com/pod/show/tom-saunders9/support

Join Michael and John on an enthralling episode of Hit Rewind, as they delve into the rich cinematic landscape of 1998. With an overwhelming number of films to explore, they focus on those that captivate with their depth and storytelling, offering a refreshing break from CGI-laden blockbusters. The episode kicks off with a discussion on "Snake Eyes," a Hitchcockian thriller by Brian De Palma, featuring a riveting performance by Nicolas Cage. The conversation then shifts to "Enemy of the State," a high-octane surveillance thriller that eerily mirrors real-world events. Next, the duo examines "A Simple Plan," a gripping tale of greed and moral decay helmed by Sam Raimi, showcasing the complexities of human relationships. They then revel in the charm of "Out of Sight," a stylish crime caper with sizzling chemistry between George Clooney and Jennifer Lopez. Finally, they explore "Dark City," a visually stunning and thought-provoking sci-fi noir by Alex Proyas, that questions the very nature of reality and identity. Tune in to hear their insights and reflections on these unforgettable films from 1998.

Not actually about Brian De Palma's female siblings, this film is instead about Brian De Palma weird, hazy, perhaps deeply subconscious feelings about white women, their role in society, their capabilities as functional humans, and the role that black men play in his feelings. Also, it's a Hitchcockian something-or-other in a decidedly pre-masterpiece phase of Brian's directorial development. Call it De Palchcockian. Anyway, it's actually a pretty enjoyable flick most of the time, and warms our very specific cockles due to its precursoriness to Basket Case, a film especially beloved by Loathsome Things: A Horror Movie Podcast you can turn to for sound financial and lifestyle expertise.

The legendary Nick Castle, the original Michael Myers, steps into the spotlight on this special Halloween-themed episode of Pop Culture Weekly. Join me, Kyle McMahon, as Nick opens up about his role as "The Shape" and the incredible journey of the Halloween franchise from an indie flick to a cultural touchstone. Hear firsthand about his cherished memories with producer and co-writer Deborah Hill, his work with John Carpenter, his experiences at horror conventions, and a tantalizing glimpse into the franchise's future. This conversation is a must-listen for fans of the horror genre and those curious about the legacy of Halloween, which continues to captivate audiences with its chilling allure. Switching gears, I also have the pleasure of chatting with Daisy Ridley about her latest project, "Magpie," a gripping Hitchcockian thriller. Daisy shares how her journey in the film industry inspired this tale of isolation and family dynamics, with insights into the creative partnership with writer Tom and the film's talented crew. Discover how the noir ambiance of "Magpie" was brought to life through the collaborative efforts of director Sam Yates, director of photography Laura Bellingham, and production designer Amanda McCarthy. With nods to cinematic influences like Hitchcock and "Silence of the Lambs," this conversation sheds light on the intricacies behind crafting a compelling thriller. Tune in for an episode filled with engaging stories and exclusive insights from Nick Castle and Daisy Ridley.Kyle McMahon's Death, Grief & Other Sh*t We Don't Discuss is now streaming: https://www.deathandgrief.show/Chapter-One-The-Diagnosis-AKA-WTF/---------------Get all the Pop Culture Weekly podcast info you could want including extra content, uncut interviews, photos, videos & transcripts at: https://podcast.popcultureweekly.comWatch celebrity interviews at: https://www.facebook.com/realkylemcmahon/videosor Kyle McMahon YouTube at: https://www.youtube.com/officialkylemcmahonRead the latest at http://www.PopCultureWeekly.comFollow Kyle on:Facebook: http://www.facebook.com/realkylemcmahonInstagram: http://www.instagram.com/kmacmusicYouTube: https://www.youtube.com/@popcultureweeklyWebsite: http://www.kylemcmahon.me

Author Stephanie Wrobel takes a break from the busy book tour for her acclaimed, addictive new mystery novel THE HITCHCOCK HOTEL to talk about writing, what it takes to navigate multi-character arc narratives, & lessons in suspense from the Master of Suspense, Alfred Hitchcock. In addition to covering her exciting mystery, we discuss three of the biggest Hitchcockian sources of inspiration for the work via the films PSYCHO, ROPE, REBECCA, & much more. Bio: Stephanie Wrobel is an international and USA Today bestselling author. Her debut, DARLING ROSE GOLD, has sold rights in twenty-one countries and was a finalist for the Edgar Award for Best First Novel & her latest novel is the wonderful THE HITCHCOCK HOTEL. Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive Shop Watch With Jen logo Merchandise in Logo Designer Kate Gabrielle's Threadless Shop Donate to the Pod via Ko-fi Originally Posted on Patreon (10/24/24) here: https://www.patreon.com/posts/114580335

On this episode of Complicated Conversations, we welcome Stephanie Wrobel to discuss her suspenseful new novel, The Hitchcock Hotel, a story about a Hitchcock fanatic with an agenda who invites old friends for a weekend stay at his secluded themed hotel. As the past is revealed, tensions rise, loyalties break down, and chaos ensues. Stephanie chats with Carinn about her inspiration for the book and how she incorporated Hitchcockian elements into the story, her *very cool* approach to writing multiple points of view, the importance of setting in her storytelling, which in this novel includes the creepy hotel and Stephanie's own campus nostalgia. The Hitchcock Hotel is out now - buy it, read it, share it, and listen to our spoiler-free chat wherever you get your podcasts.

Disclosure: We are part of the Amazon Affiliate/LTK Creator programs. We will receive a small commission at no cost if you purchase a book. This post may contain links to purchase books.In this episode, Laura chats with Kelsey Rae Dimberg, author of the upcoming novel Snake Oil (https://amzn.to/3XyRmLS). Kelsey discusses the inspiration behind her book, a Hitchcockian suspense set in the high-pressure world of San Francisco startups. The story centers around three women involved with a wellness company named Radical and explores themes of wellness culture, corporate tension, and high-stakes deception. Kelsey also shares her thoughts on the wellness industry and how it influenced her writing.Highlights:Kelsey's background and the concept behind her novel Snake Oil.Discuss the wellness industry and the fine line between genuine wellness practices and snake oil salesmanship.Exploration of startups and the culture of overselling.The dynamic between the three women characters in Snake Oil.Kelsey's reading preferences and recent book recommendations.Books Mentioned in the Episode:Snake Oil by Kelsey Rae Dimberg – https://amzn.to/3XyRmLSSkippy Dies by Paul Murray - https://amzn.to/3MVYcpJKate Atkinson's Jackson Brodie series – https://amzn.to/3TBPCA0Margaret Millar's Novels - https://amzn.to/3MY4RQhThe Cazalet Chronicles by Elizabeth Jane Howard – https://amzn.to/3XSsFLtWhere to Find Kelsey Rae Dimberg:Website: kelseyraedimberg.comInstagram: @kraedimbergWant to check out more book recommendations?Visit What to Read Next Blog for reader tips, popular books like recommendations, and many more posts. Join our What to Read Next Blog Community to get bonus book recommendations, listen to podcasts, and connect with other readers. As a podcast listener, you'll get 20% off your membership forever. Click here to sign up. (https://wtrnblog.substack.com/e3630d38) Music from #Uppbeat (free for Creators!): https://uppbeat.io/t/mood-maze/trendsetterLicense code: IP29FC0QKB6DV2UE

In this edition of Study Break, we discuss the most pressing topics facing fashion and culture, featuring analysis of Sabrina Carpenter's grindhouse pinup comeback, Addison Rae's arthouse cult single "Diet Pepsi," reflection on Simon Porte Jacquemus's legacy (and speculation on his rise to the Chanel throne), Hollister nostalgia-baiting, global fashion updates from the UK and Mexico, and more.Links:Sabrina Carpenter's Short n' Sweet – Video Playlist"Diet Pepsi" by Addison Rae (dir. Sean Price Williams)"Breakaway" by Bruce ConnorThe Birthday Party by Harold PinterChanel's New Kaiser – Lauren Sherman for Puck NewsHollister long-sleeve babydoll tops on TikTok"Archive" Hollister tops from 2022 on TikTokHalley Kate v. Sophia La Corte drama summaryTribal trend in Mexico (some TikTok examples)Intentalo by 3ballMTY This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.nymphetalumni.com/subscribe

In this edition of Study Break, we discuss the most pressing topics facing fashion and culture, featuring analysis of Sabrina Carpenter's grindhouse pinup comeback, Addison Rae's arthouse cult single "Diet Pepsi," reflection on Simon Porte Jacquemus's legacy (and speculation on his rise to the Chanel throne), Hollister nostalgia-baiting, global fashion updates from the UK and Mexico, and more.Links:Sabrina Carpenter's Short n' Sweet – Video Playlist"Diet Pepsi" by Addison Rae (dir. Sean Price Williams)"Breakaway" by Bruce ConnorThe Birthday Party by Harold PinterChanel's New Kaiser – Lauren Sherman for Puck NewsHollister long-sleeve babydoll tops on TikTok"Archive" Hollister tops from 2022 on TikTokHalley Kate v. Sophia La Corte drama summaryTribal trend in Mexico (some TikTok examples)Intentalo by 3ballMTY

We kick off a new season of Film Trace exploring Manhunt Movies with Longlegs and Trap.In this season of Film Trace, we will dive into movies about being hunted or being the hunter. While these hunted vs hunter films span a wide breadth of genres, we start with the most tried and true model, the serial killer thriller. Longlegs made a huge splash this summer. A true indie made for under 10 million, Longlegs has broken the 100 million dollar mark at the worldwide box office to become the highest-grossing independent film release of the year. This is particularly bizarre for few reasons. One, the marketing campaign budget was tiny. It was a throw back to the Blair Witch Project campaign from 1999: guerrilla, less is more, driven by word of mouth. Two, Oz Perkins is not a huge director, mostly genre and more experimental fare. Three, while elevated horror has a big profile, it tends to not bring home the bacon. Longlegs starts a new chapter for Neon as studio-distributors and the horror genre at large. Trap had a huge marketing campaign and a big name behind it, M Night Shyamalan. The trailer seemed everywhere in 2024. The release spot was not great, but it still counts as a summer release. So the hopes were high for fans and the studio. It turns out to be a pretty standard M Night movie: fun, odd, and very polarizing. Josh Hartnett makes a major return in this arena thriller with a conspicuous Hitchcockian flair. Where as a Longlegs tries to get by on mostly just vibes, Trap drives forward with a mousetrap plot that feels compellingly contrived. Neither seems to hit the bullseye, but both are well-made and engaging films that provoke discourse.

M. Night Shyamalan's new “Hitchcockian” and, frankly, “Shyamalan-esqe”, thriller Trap is reviewed in depth. Sure the film is a lot of fun, but what does it actually mean? TFT film critics Jett Loe and Gareth Higgins break the movie down within the context of Alfred Hitchcock's Psycho, and a society which doesn't seem to foster psychological integration in men. Enjoy. Subscribe on Patreon Apple - The Film Talk Spotify - The Film Talk Facebook.com/TheFilmTalk To contact Jett and Gareth go to: info@thefilmtalk.com Or leave a voicemail message at: Speakpipe.com/TheFilmTalk To see on Threads what Jett is getting up to: Threads.net/@jett_loe

You can now text us anonymously to leave feedback, suggest future content or simply hurl abuse at us. We'll read out any texts we receive on the show. Click here to try it out!Welcome back to Bad Dads Film Review! Today, we're taking a deep dive into Alfred Hitchcock's classic thriller, Vertigo. Released in 1958, this film is not only a masterpiece of suspense and psychological depth but also consistently ranks as one of the greatest films of all time.Vertigo follows John "Scottie" Ferguson, played by James Stewart, a former police detective suffering from acrophobia—the fear of heights. Scottie is hired by an old college acquaintance to follow his wife, Madeleine, portrayed by Kim Novak, whom he suspects is in danger. What unfolds is a complex narrative laced with obsession, identity, and supernatural elements.The story takes viewers on a twisted journey through San Francisco's iconic locations, as Scottie becomes increasingly obsessed with Madeleine. His assignment turns personal and leads him down a path of emotional turmoil and psychological unravelling. The film's use of the "dolly zoom" effect—now often referred to as the "Vertigo effect"—visually represents Scottie's disorientation and fear, enhancing the film's immersive experience.Why It Stands OutCinematic Techniques: Hitchcock's pioneering use of camera techniques, such as the aforementioned dolly zoom, set new standards in visual storytelling. His framing and use of color also contribute to the film's eerie and hypnotic atmosphere.Themes and Symbolism: The film is rich in symbolism and explores deep themes of identity, love, and loss. Scottie's vertigo is not just a physical ailment but also metaphorical, symbolizing his personal and emotional instability.Iconic Score: Bernard Herrmann's score is haunting and perfectly complements the film's mood, enhancing the suspense and emotional depth of the narrative.Vertigo offers a lot more than just a suspenseful plot; it's a film ripe for discussion about human psychology, the nature of obsession, and the illusion of control. These themes make it an excellent movie for older teenagers and adults who can appreciate its complexity and engage in a dialogue about its deeper meanings.Why It's a Must-Watch For fans of Hitchcock, psychological thrillers, or classic cinema, Vertigo is a cornerstone film that combines masterful direction, compelling performances, and a story that stays with you long after the credits roll. Its influence on both filmmakers and the thriller genre cannot be overstated.So, join us as we explore the dizzying heights of Vertigo, examining its legacy, dissecting its intricate plot, and reveling in its cinematic beauty. Whether you're watching it for the first time or revisiting this Hitchcockian gem, there's always something new to discover.

Bust out your telephoto lens, because this week we take a hard look at “Bart of Darkness” (S6E1) and Rear Window (1954) on its 70th anniversary. Nate and Adam are joined by That Shelf Managing Editor and Jeopardy champ Emma Badame to reminisce about baby's first Alfred Hitchcock movie and the episode of The Simpsons that convinced us to do this podcast.Also in this episode:• The mystery references of this episode's Hitchcockian climax• The insanely detailed set and sound design that take this movie from a “bottle episode” to a cinematic classic• Nate's own Rear Window story and the ethics of neighborliness• Your epidermis is showing• Plus, check out our show notes for a complete list of Simpsons references, double feature suggestions, and further readingAfter a short break, we'll be back on September 24, 2024, with Glengarry Glen Ross (1992) and a retrospective on Springfield's favorite desperate salesman Ol' Gil, starting with “Realty Bites” (S9E9).Discover more great podcasts on the That Shelf Podcast Network.Follow us @simpsonsfilmpod on Instagram, TikTok, YouTube, Twitter, and Letterboxd.

EPISODE #424-- We continue to celebrate Pride Month by going to. . . Canada? Huh. That can't be right. Anyways, we talk the Hitchcockian thriller THE SILENT PARTNER from Daryl Duke and Curtis Hanson, starring Elliot Gould and Christopher Plummer. It's properly sleezy-- just like us! We also talk the BAD BOYS saga (including the latest feature RIDE OR DIE), the BEVERLY HILLS COP saga (including the latest film, AXEL F), as well as the documentary GOODNIGHT, OPPY (2022), the Oscar-nominated AMERICAN FICTION (2023), MURIEL'S WEDDING (1994), and, finally, the insane and illegal RAP WORLD (2024). Big week for movies. And queer people. And Canada. Something for everybody. Join the cause at Patreon.com/Quality. Follow the us on Twitter @kislingtwits, on Bluesky at kislingconnection.bsky, on Instagram @kislingwhatsit, and on Tiktok @kislingkino. You can watch Cruz and show favorite Alexis Simpson on You Tube in "They Live Together." Thanks to our artists Julius Tanag (http://www.juliustanag.com) and Sef Joosten (http://spexdoodles.tumblr.com). The theme music is "Eine Kleine Sheissemusik" by Drew Alexander. Listen to DRACULA: A RADIO PLAY on Apple Podcasts, at dracularadio.podbean.com, and at the Long Beach Playhouse at https://lbplayhouse.org/show/dracula And, as always, Support your local unions! UAW, SAG-AFTRA, and WGA strong and please leave us a review on iTunes or whatever podcatcher you listened to us on!

In this week's episode, I rank the movies and streaming shows I saw in the first half of summer 2024. TRANSCRIPT 00:00:00 Introduction, Writing Updates, and Reader Question Hello, everyone. Welcome to Episode 210 of the Pulp Writer Show. My name is Jonathan Moeller. Today is July 19th, 2024, and today we are discussing the movies and streaming shows I watched for the first half of summer 2024. Before that, we'll have an update on my current writing projects and then we will go into Question of the Week. So, my current writing projects. I'm pleased to report that the rough draft of Half Orc Paladin is finished at about 81,500 words. Next up, I'm writing a short story called Paladin's Hunt that newsletter subscribers will get for free in ebook form when Half Orc Paladin is out, hopefully in early August. I'm also 23,000 words into Ghosts in the Tombs. I'm not 100% decided what I'm going to write next once Half Orc Paladin is out. I have to make a decision soon obviously, but it's probably going to be either Shield of Conquest or Cloak of Illusion. In audiobook news, the audiobook Wizard-Thief, as narrated by Leanne Woodward, is almost done. It's just got to get through the various approvals at the audiobook sites, so hopefully that should be out in early August. Recording is going to start very soon on Shield of Darkness. So that's where I'm at with my current writing projects. We have a question about the Shield War series from reader EM, who writes in to ask: I was rereading Shield of Darkness and occurred to me that Connmar Pendragon would have had a much easier time finding his way to Owyllain if he had a Corsair Lord or whatever they called themselves back then, who had the Hidden Eye navigating for him. Am I right and this will be revealed in the Shield Wars series? No, Connmar did not have a Corsair or anyone with the Hidden Eye ability navigating for him, and he basically found his way to Owyllain by accident. At that time, there were people living on the Isle of Kordain, but they hadn't really coalesced around the Corsairs of the Isle of Kordain as their national identity yet. I mean the process was underway but hadn't reached the form it would by the time of the Frostborn series. And while some of them had the Hidden Eye ability, they hadn't quite fully understood what it meant yet, and they hadn't lived on the isle long enough for the mutilations from the dwarven engines to fully take hold. We'll reveal more details about that in Shield of Conquest when I write that as my next book or the book after my next book. 00:02:26 Question of the Week Now on to Question of the Week. Question of the Week is designed to inspire enjoyable discussion of interesting topics. This week's question: subscription services such as Kindle Unlimited, Spotify, Netflix, Thrive Market and Xbox Game Pass are an inevitable part of modern life. If you have a subscription service, which one is your favorite? No wrong answers and bear in mind that “subscription services all cost too much and I hit them all with the fiery consuming heat of 1,000 cores of 1,000 suns” is a perfectly acceptable answer as well. Surabhi said: Disney Plus, because Marvel movies are my therapy. Ray says: I only use Bookbub and Google Play. Justin says: I do not use subscription services. I prefer to purchase the books, games, and programs I buy outright rather than rent them. Connectivity can be a problem where I am so being able to read, work, or play without being tethered to the Internet is a good thing. That is something to keep in mind when considering a subscription service. If you have questionable Internet connectivity in your area, that may not be the best choice to sign up for a subscription service that relies on the Internet. Our next comment is from Venus, who says: I can't afford any subscriptions services, although if Barnes and Noble did one for ebooks, I'd consider working something out. I refuse to support Amazon and don't like the fact that apparently books on Kindle Unlimited can't be anywhere else. That is indeed one of the annoying features of the Kindle Unlimited program, which is why only four of my 153 novels are currently on Kindle Unlimited. Barbara says: my husband and daughter subscribe to some streaming services, but I'm not sure which ones. I don't subscribe to any. I don't watch television. I already own the games I play and I purchased my digital books so I don't have to give them back. John says: I think I get by far the most bang for the buck from Amazon Prime, but my favorite subscription service is probably my local weekly seafood delivery service, Sea Forager. Bonnie says: I gave up the ones I had because I don't watch TV anymore and can't afford it. I have Prime, but only really use it for ebooks. If I need background noise, I use local radio. Local radio remains free, so I suppose that is the most cost effective of all the subscription services. Juana says: Kindle seems to have the most content and good price. I looked at the other platforms, too. Becca says: I have Prime and agree it has a ton of benefits. I canceled Netflix because it doesn't work on my TV. Hulu has some great shows (I recommend Crazy Fun Park, an Australian teen show about ghosts and friendships and changes. Surprisingly mature and well-acted). William says: given the sheer quantity of great Star Wars series that Disney produces, theirs is hard to beat. Gary says: Spotify. David says: for value, you can't beat Prime: movies, free shipping, and music. Netflix is very good for original content and Hulu for old stuff. And Joseph says: I also have Prime mostly for the free shipping. Everything else there is just a bonus. I also have Kindle Unlimited. Totally worth it for me as I read daily and read two or three hundred books a year. That is down from 400 to 500 the first couple years of retirement. It is diverse enough that I can always find a good read. For myself, the one I enjoy most is Nintendo Switch Online. I'll pay for a month of Netflix when they have something I want to see and then we'll cancel again after I've seen it.  I used to have Xbox Game Pass, but all I ever actually play on the Xbox is Skyrim, Starfield, and the first three Halo games, so there is no point in keeping it. But Nintendo Switch Online lets you get the classic Mario and Zelda games from the NES and Super Nintendo era. Given that Nintendo's attitude towards the legacy properties tends to veer between complete indifference and wrathful litigation depending upon the month, it's good that Nintendo offers a relatively affordable way to get them legally because at my age, sometimes the best way to relax at the end of the night is to just play a few levels of the original Super Mario Brothers. So that's it for Question of the Week this week. 00:06:26 Main Topic: Summer 2024 Movie/TV Show Review And now let's move on to our main topic: 2024 Summer Movie Roundup, Part 1. Summer always has a lot of movies, so I usually split the Summer Movie Roundup post in two halves and this would be Part 1. I was surprised at the number of sports movies I watched this time, since, as I've mentioned before, I don't usually follow professional sports all that closely. That said, while the NFL and the NBA might not have quite the cultural hegemony they had at their peak in the 1990s and early 2000s, they're still hugely central to American culture. I don't think you can really understand the United States without grasping the central role of professional sports in mainstream culture. I expect there's a similar phenomenon with association football clubs in the UK and many European countries. Besides, one of the abilities of good storytelling is to make you interested in a story about a topic you might not otherwise care about, like athletic shoes. So here are the movies and shows I watched in the first half of summer 2024, ranked from worst to best. As always, the rankings are totally subjective and based on nothing but my own opinions and observations. So first up is Madam Webb, which came out in 2024. Oofffff. This wasn't quite the crime against cinema that the Internet thought it was, but it still wasn't great. Sony has the rights to a bunch of Spider-man adjacent characters, and the company is holding those in a death grip and has been trying to make a Spider-man Cinematic Universe happen for some time, with mixed results. The Tom Hardy Venom movies had been pretty good, the others, not so much. The plot of Madam Webb: cynical and jaded EMT Cassandra Webb works with her partner Ben Parker (later in the Uncle Ben of Spider-man fame) and is almost drowned in an accident. While drowned, Cassandra starts developing precognition and clairvoyant powers. She starts seeing visions of three young women who will be murdered by a powerful real estate developer named Ezekiel. Turns out that Ezekiel has Spider-man powers that also include precognition, and he wants to kill the girls before they someday kill him. The scenes where Cassandra wonders if she is going mad, but gradually starts to realize that she can see the future were actually quite good and cleverly laid out since they did in sort of a time loop where she experiences the event before it happens. That said, this movie could have been an interesting concept, but it didn't really work. For one thing, the dialogue was just clunky. Dialogue is a hard, hard art to master, both in movies and writing novels (as I know first-hand). But Madame Webb didn't get there. Many of the dialogue scenes were just wooden. Additionally, the movie felt padded and drawn out, which is interesting because the runtime was under two hours. Ultimately, I think Madam Webb succumbed to the illness of a shared cinematic universe. It felt like the incomplete prologue to a more interesting movie, and not every side character in the Spider-man mythos needs an origin story. The trick to making a shared cinematic universe is that each movie must stand alone on its own, especially in the beginning, and the stories have to be interesting. Madam Webb, alas, couldn't quite manage either. Overall grade: D- Next up is The Acolyte, a streaming series which came out in 2024. There is quite a furor about this show on social media, but you can't believe most of what you see on social media. To be blunt about it, I've come to believe that social media is designed to induce mental illness in as many of its users as possible in order to increase their time spent on the site, which in turn raises ad revenue. Very cynical. But I suspect that's the basic business model of Facebook and YouTube, which is why you see so much rage-filled clickbait on both sites, since that's what drives engagement and increases revenue, but that's a problem beyond the scope of a movie review podcast episode. Back to The Acolyte. I would say that The Acolyte wasn't the crime against cinema that YouTube thought it was but instead an uneven mixture of some strong points and some weaknesses. The plot: former Jedi Osha has left the Order and is working as a mechanic on a trade federation starship. Meanwhile, a woman who looks exactly like her has started murdering Jedi Masters. Osha is arrested for the murders, but her former teacher, Jedi master Sol, quickly figures out that the murderer is in fact Osha's twin sister Mae, who has been presumed dead for the last sixteen years. Osha reluctantly tagged along with Sol to help track down Mae, which means she needs to delve into the dark secrets of her past and discover who trained Mae to be a Jedi killing assassin. The Jedi assume a renegade member of the Order must have trained Mae because the Sith had been extinct for a long, long time. Or have they? This show did have its strong points. The lightsaber fights looked good and were fun to watch. Lee Junge-jae as Sol, Manny Jacinto as Qimir, Charlie Bennett as Yord, and Dafne Keen as Jecki all gave good performances. In particular, they stole episode 5, which was overall the strongest episode of the series. The design of the Sith Lord's helmet (dubbed Darth Teeth or Smilo Ren by the Internet) was good. The nods to the old Expanded Universe, like cortosis ore, were nice. There was enough of a compelling mystery -who is the Sith Lord and what actually happened in the twin's past- that can hook the viewer through to the end of the series. The show also did a good job of showing how complacent and political the Jedi had become, to the point where 100 years later the Jedi High Council would meet with Supreme Chancellor Palpatine every day for thirteen years and completely failed to realize that he was in fact the Sith Master who had been pulling the strings all along. That said, I think the show did have four significant problems. 1: the whole good twin/evil twin thing was kind of lame. Playing identical twins is hard for any actor, and sometimes I had a hard time keeping track of whether Osha or Mae was in a particular scene. I kind of wish the characters had been brother and sister, or at least not identical twins so they had been easier to tell apart. 2: As much as I appreciated the nods to the Expanded Universe, I think it relied too heavily on them and assumed the audience had a high level of Star Wars knowledge, like the weird Force cult where Osha and Mae grew up. In the Expanded Universe, there are all kinds of weird half-baked cults with an incomplete knowledge of the Force that run into serious problems when they encounter an actual Jedi or an actual Sith. One advantage of visual media over novels is that it's much easier to show instead of tell, but I don't think Acolyte explained its premises well. The Mandalorian explained its premises better, gradually exposing the viewer to the Mandalorian's culture as he dealt with the Monster of the Week. Mando gradually learned about the Force and the Jedi, a race of enemy sorcerers, as he tried to save The Child from the Imperial Remnant. By contrast, The Acolyte kind of dropped viewers into the middle of things, didn't bother to explain any ambiguities, and simply assumed they would all understand the references. 3: The problem with the Jedi Order is that its philosophy is essentially stupid. The reason for that is that Jedi philosophy is basically a highly watered-down version of 1970s style Hollywood Buddhism, which is itself a tremendously watered down version of actual Buddhism. The Jedi are basically left with “don't feel fear or anger” and “don't get attached to people” but lack the religious and philosophical underpinnings which would allow those concepts to make sense in actual Buddhism. In real life, eventually we learn that both suppressing anger and fear or allowing it to dominate us is unhealthy. Both anger and fear serve useful functions. Fear warns of danger and anger is a good response when one is forced into circumstances where you have no choice but to fight. Anger and fear make for good servants, but awful masters, but Jedi philosophy completely misses that point. 4th and finally: the show was the wrong genre for the kind of moral relativism it had. Moral relativism worked well in Andor, which was a spy thriller about criminals gradually realizing that they had to fight the Empire and do terrible things while doing it. That worked because Andor was a spy thriller. By contrast, The Acolyte was about Kung Fu space wizards using space magic that literally comes in good and evil flavors. Moral relativism works less well in that kind of setting where there is literally good or evil space magic. So I would say Acolyte was a mixed bag. I admit, if there's a second season, I'll watch it just because I want to see what happens, but given Disney's significant financial woes, that seems unlikely. Overall grade: C- Next up is Unfrosted, which came out in 2024. It is an absurdist comedic retelling of the creation of the Pop Tart breakfast food, told as sort of a parody of corporate biopics like Ford versus Ferrari and Air (which we will talk about later this episode). This movie was silly and kind of dumb, but it knew it was silly and kind of dumb and so leaned into it and therefore worked. Jerry Seinfeld plays Bob Cabana, a high-ranking employee of the Kellogg cereal company, which is locked in a bitter rivalry with the Post cereal company for the breakfast market. One day Cabana uncovers everyone at Post is working on something that will upend the breakfast market, a fruit filled breakfast pastry that can be toasted. Alarmed with this information, the CEO of Kellogg, Edsel Kellogg III (played by Jim Gaffigan as a sort of parody of ‘60s era U.S. business executives), launches a crash effort to match Post's effort. Cabana must recruit a heist style team to build Kellogg's breakfast pastry, including numerous obscure figures from 1960s pop culture. The race is on to build the Pop Tart. Anyway, this was an entertaining movie, but it has no connection to factual accuracy. Also, Bill Burr was hilarious as President Kennedy. Overall grade: B- Next up is The Hit Man, which came out in 2023. It is an amusing cross between a dark comedy and a sort of Hitchcockian thriller. Glenn Powell plays Gary Johnson, a mild mannered and somewhat ineffective philosophy professor. Due to his skill with electronics and microphones, he frequently helps out the police with sting operations. One day, the officer who usually goes in for sting operations gets suspended for beating up some teenagers and having it go viral on viral on YouTube. Gary is drafted at the last minute to go undercover as a hit man and get a suspect to contract his services. Gary does it so well that the Police Department uses him more and more and Gary starts disappearing into his roles as various hit men in a sequence which is quite funny. This works well until Gary meets Madison, a woman who wants him to kill her abusive husband. Gary talks her out of it and starts seeing her, a situation which quickly escalates out of control. It was interesting that the movie went through a sudden genre shift about 1/3 of the way through, from dark comedy to love story, a bit darker than I usually prefer, to be honest, but enjoyable nonetheless if you don't mind the strong language. That said, I watched this right after Madam Webb and the contrast between Webb's clunky and wooden dialogue and the much better written Hitman was night and day. What was interesting was that the movie only cost $8.8 million to make. Given the economic climate, I expect we will see more of this: movies that have to be disciplined about keeping the cost down, as opposed to the enormous 295 million budgets of something like Indiana Jones and the Dial of Destiny. Overall grade: B- Next up is Boss Level, which came out in 2021. This movie is best described as Groundhog's Day but as an action movie. Former Special Forces soldier Roy Pulver, played by Frank Grillo, is caught in a time loop that repeats the same day over and over again, which always ends with him getting killed by assassins that have been hired to hunt him down. This happened after he tried to reconnect with his former girlfriend, a scientist working on a secret project overseen by the sinister Colonel Ventor, played by Mel Gibson. For a variety of reasons, let's just say at this point in his career, Gibson is very believable in a villain role. At first, Roy succumbs to despair in the time loop, but then decides to spend the endless day trying to reconnect with his estranged son. Eventually, this causes him to rally and fight back against the loop and he realizes that his ex-girlfriend deliberately put him into the time loop because he was the only person she knew who could stop Colonel Ventor's evil plans for his project, which turns out to be a time machine. I'd say the biggest weakness of the movie is the opening, which is a sort of record scratch “you're probably wondering how I got here” opening I complained about in Episode 203 of this podcast. Also, I think it maybe should have been five to 10 minutes longer. The ending is sort of implied but it would have been far more satisfying to have actually been shown what would happen. But overall, I like this movie. Solid B-level thriller/science fiction stuff. It's interesting to compare this to Groundhog's Day because Groundhog Day had to spend so much time establishing the premise because the plot idea of a time loop wasn't as widely known back then as it is now, whereas nowadays you just say “Groundhog Day loop” and most people will immediately know what you're talking about. Overall Grade: B Next up is Ghostbusters: Frozen Empire, which came out in 2024. This wasn't quite as good as Ghostbusters: Afterlife, but I still enjoyed it. In this one, Ian Spengler's daughter, her good-natured boyfriend, and her teenage children have returned to New York City to restart the Ghostbusters business. They were bankrolled by original Ghostbuster Winston Zeddmore, who is now a wealthy businessman funding a variety of ghostbusting projects. When one of Zeddmore's employees stumbles across a dangerous artifact holding a powerful ice ghost, both the new and original Ghostbusters must team up to save the day. I really like how the new Ghostbusters films handle the original characters. The original characters are no longer the main focus but they're now mentoring the new characters and providing advice and support. I like this a lot better than the Disney/Lucasfilm approach of the original character as being sad old losers that the new characters must rebel against and then surpass. It was also great that actor William Atherton returned as government apparatchik Walter Peck. Back in the first movie, Peck was an officious EPA inspector who accidentally released a ghost horde upon New York. In the grand American political tradition of tradition of failing upward, he is now the mayor of New York City and still hopes to disband the Ghostbusters. I think the movie's biggest weakness was that it was too complicated and there were a lot of different characters and moving parts to keep track of. Overall grade: B Next up is Inside Out 2, which came out in 2024. It is a terrifying descent into the nightmarish hellscape that has the mind of the average teenage girl. I am, of course joking (though, if you have teenagers, you know that I'm only mostly joking) but Inside Out 2 is a strong follow up to the first movie. In the first movie, the anthropomorphized representations of emotions (Joy, Sadness, Anger, Fear and Disgust) tried to control themselves inside the mind of young girl Riley. At the start of the second movie, Riley is now 13 and doing pretty well, but then puberty kicks in. Suddenly new emotions arrive in her head: Ennui, Envy, Embarrassment, and Anxiety. Anxiety in particular runs amuck and seizes control of Riley's mind. As Anxiety starts to send Riley spiraling out of control, the other emotions have to rally behind Joy and find a way to save Riley's mind and sense of self. It is both quite funny and poignant. I can see why this movie cleared a billion dollars. As of early July 2024, is the biggest box office movie of the year so far. Overall grade: A Next up is Ford versus Ferrari, which came out in 2019. This is a biopic of the rivalry between Ford Motor Company and Ferrari in the 1960s, which is an interesting bit of history. In the ‘60s, Ford Motor Company, under the leadership of Henry Ford II (founder Henry Ford's grandson), decided it needed a cooler image, much like how Microsoft bought a bunch of indie gaming studios in the 2010s so Xbox would seem cooler. So Ford Motor Company spent years negotiating with Enzo Ferrari to buy Ferrari's company. At the last minute, negotiations collapsed and Ferrari famously went on a rant insulting Ford as an ugly company that made ugly cars and also called Ford II a lesser man compared to his famous grandfather. This was a major public failure and humiliation for Ford Motor Company, and needless to say Ford II took this very, very personally. He threw a ton of resources behind Ford's racing car project with one goal: beat Ferrari at the famous Le Mans 24 hour race. To pull this off, Ford recruited Carroll Shelby (played by Matt Damon), a former racing driver who turned to race car designing because a heart condition no longer let him race. Shelby needed a driver, so he recruited Ken Miles (played by Christian Bale), a talented driver and mechanic with a combative streak and knack for making enemies. Shelby, Miles, and their team set out to build the GT40, Ford's first proper racing car. Since this is all in the historical record, it's not a spoiler to say that they succeeded in the 1966 Le Mans race. Ford Cars finished in first, second, and third positions, locking out Ferrari entirely from the podium. This was a very enjoyable biopic. All the actors disappear into their roles and give strong performances. The racing scenes all look cool. It is also interesting from a historical perspective to see how the Ford executives had a very bad habit of acting like feudal lords who would dictate their will to the consumer rather than what they actually were, which is merchants who needed to give the customer what they wanted. This attitude was one of several reasons the US auto industry hit very hard times in the 1970s. I'd say the only thing wrong with the movie is that it feels too long, though for the life of me I'm not sure what they could have cut. Overall grade: A Next up is The Last Dance, which originally came out in 2020. I originally watched this back during peak COVID, but after watching Air (which I will discuss shortly), I decided to watch this again to refresh my memory. The Last Dance is a documentary about the Chicago Bulls NBA team and the renowned three-peat champion streak back in the 1990s. I have to admit it is an amusing feeling to have lived long enough that things I lived through are now considered history and have prestige Netflix documentaries made about them. The documentary mostly revolves around the career of Michael Jordan, though it includes interviews with many other people involved in the experience of the Bulls championship run, including brief interviews with two ex U.S. Presidents. The documentary got a lot of criticism for focusing too heavily on Jordan and portraying him in a positive light, especially from the other members of the 1990s Bulls team. Interestingly, I thought Jordan did not really come across all that great on the show. He seemed somewhat vindictive and petty and prone to holding on to grudges for decades. He was presented as the sort of man who is afflicted with an all-consuming competitive streak, who is irresistibly compelled to win at everything he does, even if it's a casual golf game between friendly acquaintances. For that matter, professional basketball players in general all tend to be highly competitive type A personalities who like to win and hate to lose. Getting them all to agree on an account of events beyond the objectively observable facts is probably impossible. Despite that, I suspect the simple fact is that the Bulls would not have won their championships without Jordan. There's no denying that Jordan was probably one of the most famous people on Earth in the 1990s. Honestly, no one can stand up to that kind of scrutiny well, especially after a personal tragedy like when Jordan's father was murdered in the mid-1990s. When Jordan talks about how winning requires complete focus and absolute dedication, I'm afraid that he's right. Winning in the competition at a level like the NBA does require 110% focus, even to the detriment of every other aspect of one's life. I've heard athletes say that champions have no balance and Jordan himself seems to be a living example of both the benefits and the extremely high personal costs of that. Amusing anecdote: when I originally watched this documentary in late 2020, I texted my brother that he should check it out because I thought he would enjoy it. His response was something along the line said he had seen when it first came out on ESPN and I really ought to engage with the culture more. Overall grade: A Now for the best movie I saw in the first half of summer 2024 and that would be Air, which came out in 2023 and is related to our sports documentary topics. This is a movie about Michael Jordan and his family negotiating deal with Nike about the Air Jordan shoe. I didn't expect to like this movie very much, but it turns out it is quite excellent. As I mentioned earlier, in full disclosure, I have minimal interest in the NBA and while I could tell you the NBA team of the US state in which I currently reside, I think if pressed, off the top of my head, I could probably tell you the name of maybe five other NBA teams. Additionally, I lived through the 1990s and had no money for all of it, and so at the time I really resented the peer pressure around Air Jordan shoes and other sports apparel, because that stuff was always so expensive. As I mentioned, I had no money. All that aside, that shows Air was a good movie because it made me care about a story involving a topic in which I have no interest and perhaps mildly dislike. Anyway, the movie's plot is set in 1984. Matt Damon (back again) plays Sonny Vaccaro, who was working with Nike's struggling basketball shoe division. At the time, Nike was the biggest maker of running shoes in the US that had only a minimal presence in the basketball shoe market. Vaccaro has the idea of building a shoe brand entirely around an upcoming young NBA rookie named Michael Jordan. At the time, this was an enormous gamble and had never been done before, but needless to say, it paid off for the company in a big, big way. All the actors gave good performances and the dialogue was sharply written, simultaneously conveying the character of the speaker and moving the plot forward. If you want to learn how to write good dialogue, you could do much worse than to watch Air. I recommend this movie, even if like me, you have zero interest in sports apparel. Perhaps that is one of the functions of art, to give you glimpses of worlds into which you would otherwise never visit. Overall grade: A+ So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you find the show enjoyable and useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

A Hitchcockian thriller or a massive disappointment?Matt becomes a mentor...A teacher pleads for the youth to stay in school so they don't end up like Doug...Ethics of cheating...And how wives have improved lives...Ethics of reporting crimes...A legend will be honored...Star Wars somehow continues to dig down...Matt's expiration comes ever closer...Are you sure? I'm not just sure... --- Send in a voice message: https://podcasters.spotify.com/pod/show/mattanddoug/message

This week, I talk with Debbie Babitt about her new Hitchcockian thriller The Man on the Train.  We dive into how she gets to know her characters, how she figures out plot and what she's working on next.The Man on the Train SynopsisManhattan Assistant District Attorney Linda Haley is awakened early one morning by two police officers at the door. She has no idea that her husband has been living a secret life during his daily commute from Scarsdale into the city. Now Guy is the prime suspect in a brutal murder that could derail Linda's high-powered career and may be connected to a cold case.And Guy has disappeared.With a warrant out for her husband's arrest, Linda sets out to prove his innocence accompanied by an ex-cop who harbors a secret affection for her. Together, they travel to the scene of a forty-year-old unsolved murder and a night of violence that shattered the serenity of a small fishing hamlet just past the Hamptons.But as the manhunt intensifies and she begins to uncover the shocking truth—and the past Guy has buried deep—Linda must decide if the stranger she married is innocent or guilty. And if he truly deserves to be saved.Featuring tense, atmospheric suspense that moves at breakneck speed, this Hitchcockian thriller careens from a bedroom community just north of New York City to the picturesque beaches of eastern Long Island to a suburban train station, where a killer hiding in plain sight waits to exact a final revenge.

A book editor witnesses a murder during a cross-country trip, and is plunged into a Hitchcockian world of murder and intrigue. Eventually Richard Pryor shows up, and we get some unfortunate blackface. What can I say, it's the 1970s. Starring Gene Wilder, Richard Pryor, Jill Clayburgh, Patrick McGoohan, Ned Beatty, Ray Walston, Scatman Crothers, and Richard Kiel. Written by Colin Higgins. Directed by Arthur Hiller.

It's another fan request as the holobois go down another Riker hallucination tunnel! This time, it's not weird alien kids with holoprojectors, but rather a plot to gaslight him into thinking theatre is real life. A fantastic Hitchcockian romp, it's a shame nothing takes place on... THE HOLODECK! Hosted by Marc Cooper, Darius Hamilton-Smith, Dylan Hamilton-Smith and Jan Lefrancois-Gijzen Computer Voice provided by Verona Blue Music by b o d y l i n e available on Bandcamp We're a fan podcast! You can help us keep the podcast running by donating at ko-fi.com/holodeck Join the Trek to the Holodeck Discord! https://discord.gg/YzxfCUT

Step into the shadows of suspense as the 7th Street Community Theatre's dynamic trio, Ken, Flynn, and Jack, pulls back the curtain on their chilling adaptation of Alfred Hitchcock's "Dial M for Murder." Get a rare glimpse behind the scenes as Ken reveals his vision for honoring the master of suspense with a keen focus on music and ambiance. The actors chime in with enthusiasm; Flynn delves into the psyche of the scheming Tony while Jack avoids the original film to infuse Max Halliday's character with a fresh essence. If the intricate dance between character and plot intrigues you, this conversation will sharpen your appetite for mystery and drama.The creativity brews in our second act, where we weave through the elaborate costume and prop tapestry of the upcoming "Three on the Edge Festival." Discover how a community theater's ingenuity turns budget constraints into a showcase of period-perfect ensembles and how a vintage dial phone becomes the silent star of the show. Anticipation peaks as we tease out the festival's Hitchcockian lineup, including a nod to the much-awaited stage adaptation of "The Birds." This episode is more than a mere chat; it's an ode to the artistry and camaraderie that fuels the passion play of community theater. Join us for this auditory escapade that celebrates the pulse-quickening journey from script to stage.May 10, 23, 25 @ 8pmMay 12 & 18 @ 2:30pmFestival tickets available at the box office now!PLEASE NOTE: Festival passes with discounted prices ($39 student/senior and $48 general) CANNOT be purchased online - they are available by phone or at box office ONLY. Reservations 909-590-1149www. chinocommunitytheatre. orghttp://tinyurl.com/CCTseatsFind STTS:Steps To The Stage (@stepstothestage) | InstagramFacebookSteps To The Stage (buzzsprout.com)Steps To The Stage - YouTubePlease follow on your favorite podcast platform and we appreciate 5 Star ratings and positive reviews!

Ever wonder what it takes to turn a classic Hitchcock thriller into a side-splitting stage show? Well, cue the laughter and hold onto your seats, because Cameron is here to reveal the backstage antics of adapting "The 39 Steps" into a comedic masterpiece. With only four actors, a multitude of characters, and enough quick-changes to make your head spin, this episode peels back the curtain on the art of farce and the meticulous choreography that keeps the audience roaring.Behind every great performance lies a world of creativity, and that's exactly what we explore with our guest in the heart of theater production. We're talking minimalist sets, a Hitchcockian palette of grays, and the kind of costume magic that only Megan Harris could conjure up. Meanwhile, casting woes are no match for the collaborative spirit of the Three on the Edge Festival, proving that it takes more than a village—it takes a community theater—to raise the roof with laughter.As the spotlight fades and the applause crescendos, our conversation with Cameron comes to a close, but the excitement lingers. There's a special kind of buzz that builds towards the closing night of a show like "The 39 Steps," and we're here to share every last giggle and gasp. So, whether you're a thespian at heart or just love a good chuckle, be sure to catch this unforgettable performance at the 3 on the Edge Festival and remember to tune in for more behind-the-scenes banter here on "Steps to the Stage.May 16, 18, 24 @ 8pmMay 11 & 26 @ 2:30pmFestival tickets available at the box office now!PLEASE NOTE: Festival passes with discounted prices ($39 student/senior and $48 general) CANNOT be purchased online - they are available by phone or at box office ONLY. Reservations 909-590-1149www. chinocommunitytheatre. orghttp://tinyurl.com/CCTseatsFind STTS:Steps To The Stage (@stepstothestage) | InstagramFacebookSteps To The Stage (buzzsprout.com)Steps To The Stage - YouTubePlease follow on your favorite podcast platform and we appreciate 5 Star ratings and positive reviews!

Why does discussing the overlooked 1991 classic “Dead Again” feel like we’re living a past life? Maybe it’s the shock of seeing young Sir Kenneth Branagh (attempting a weird American accent) and Dame Emma Thompson. Maybe it’s Sir Derek Jacobi making us wonder if that stutter is an “I, Claudius” reference. Maybe it’s the whole romantic fantasy thing, with a Hitchcockian past intruding on a 1990s present. Jason Snell with Glenn Fleishman, Erika Ensign, Annette Wierstra, Dr. Drang and Shannon Sudderth.

Why does discussing the overlooked 1991 classic “Dead Again” feel like we’re living a past life? Maybe it’s the shock of seeing young Sir Kenneth Branagh (attempting a weird American accent) and Dame Emma Thompson. Maybe it’s Sir Derek Jacobi making us wonder if that stutter is an “I, Claudius” reference. Maybe it’s the whole romantic fantasy thing, with a Hitchcockian past intruding on a 1990s present. Jason Snell with Glenn Fleishman, Erika Ensign, Annette Wierstra, Dr. Drang and Shannon Sudderth.

Welcome boils and ghouls, to a tale of...really stupid criminals? This week, Courtland and Brandon watch the fifty-eighth episode of Tales from the Crypt and discuss a meatloaf snatching cop, Hitchcockian shenanigans, and the terror of garbage disposals. Linktree - https://linktr.ee/PrivateIsland Become a Patron - Patron.com/privateisland Follow us on Twitter - https://twitter.com/UANPod Laugh with us on Instagram - https://www.instagram.com/upallnightpodcast/ Connect with fans on Discord - https://discord.gg/2RAp2af

Today on Too Opinionated, we talk with actor/author Stev Guttenberg about his new book, Time to Thank: Caregiving for my Hero.  Guttenberg made his acting debut in The Boys From Brazil with Laurence Olivier and Gregory Peck. From that recognition, he attracted a variety of leading roles including the film classic Diner(1983), which was chosen by Vanity Fair as the Best Film of the Last Thirty Years, and the broad comedy, Police Academy(1984) which continues to be one of the highest earning film franchises ever. in 1985 Guttenberg's fame increased with Cocoon, a life affirming film of the highest order. The science fiction genre continued with Short Circuit(1986), John Badham's ground breaking artificial intelligence film. Steve worked opposite Isabelle Hupert in Curtis Hansen's Bedroom Window(1986), the heralded Hitchcockian thriller, In 1987, Disney released Three Men and a Baby, Leonard Nimoys popular movie about bachelors raising a child. The film went on to announce itself as the number one grossing film of the year ,and provided a successful sequel.  He has produced an Emmy nominated television special, Gangs, performed in the original Miracle On Ice, and also ABC's The Day After, still one of the most watched television events of this century. Steve has written The Guttenberg Bible, a comedic account of his first ten years in the film industry, and The Kids from DISCO, a superhero children's book relating a story about his nieces and nephews. He guested on Veronica Mars, Party Down, Community and Law and Order,(as every N.Y. actor should). Guttenberg has the record for most original films to go to franchises in film history, and appearing in the most films in The Screen Actors Guild from 1980-1990 tying Gene Hackman. He received a Star on the Hollywood Walk of Fame, and continues to learn and study his beloved craft.   Want to watch: YouTube Meisterkhan Pod (Please Subscribe)