Podcasts about Hollywood Video

Waynes World, Stretch Limos, Tia Carrere, People Who Switch Up When They Start Making Money, The Cleveland Cunts, Normies PROTESTING Elon Musk Is Hilarious, Elon Musk Is About To Be Off Trump Admin So All Of This Shit Is Stupid, Liberals Hating Elon Musk Is 100% Of Them Showing Mainstream Media Controls Them & Tells Them What To Be Angry Over - Textbook NORMIE Shit, Republican Boogeyman, State Affiliated Media, People In China Don't Even Watch The News BECAUSE THEY KNOW IT'S FAKE PROPAGANDA, America Would Be A Much Better Situation If Nobody Watched The Mainstream News, Blockbuster Video & Hollywood Video & Independent Rental Movie Stores Were The Best In The 90s, Terrance Howard Says Hollywood Is A Hotbed for CIA Programming & Satanic Cabal Conditioning, Terrence Howard Is Definitely Opposing The Establishment, Terrence Howard Turned Down 10+ Million To Refuse The Vaccine For An Iron Man Movie, Independent Companies Is The Way To Go, Jews In Hollywood, Synagogue Of Satan = Hollywood / Entertainment Biz Jews, Sue The Jew Has Returned To The Sly Show, DJ Kool - Let Me Clear My Throat, Fuck Dr. Fauci, Unethical Jews Are The Literal Definition Of Synagogue Of Satan, Music Business Phrase: Owning Your Masters, That Sounds Like Some Slaveship Shit To Me, Jews In Hollywood Chew You Up & Spit You Out, I Never Graduated High School, Kanye West's New Album WW3 Isn't On Spotify, Dave Blunts Is On Kanye's New Album, Dave Blunts Gets My Respect But He Should Definitely Lose Weight For His Sake, Drinking Coffee, When Liberals Call Out Billionaires & Corporations I Agree & How Can I Not?, Don't Piss Down My Neck & Tell Me It's Raining, People Who Play Video Game At 40 Years Old, Lotta People Have IPhones, Would You Pay More If You Thought Something Was Made In America?, S/o To CALIBIRD, Business Owners, Salaried Workers Will Be Fucked In The Ass, Working From Home, People At My Day Job Realizing Government Overreach, More ESTABLISHMENT Government Bullshit Coming Down The Pipeline, Too Many People Obsessed With Their Race, I Don't Care What You Look Like - I Care About Your Values, If You're Obsessed With Your Race You're Probably Not Prepared To Take Accountability When Your Race Fucks Up, Golddigger Whores, High Maintenance Chicks, I Can't Stand Parking Lots, + Much More Fuckery!    TheSlyShow.com

This episode explores the origins and accolades of Ketchup Entertainment, distributor behind “The Day The Earth Blew Up: A Looney Tunes Movie” since neither of The Say Reporters were able to see the movie this past week.  Then we talk about the video games we have been and are planning on playing this coming week and how it feels like the entire industry is in a bit of a holding pattern as we all collectively wait for the Switch 2 Direct coming in two weeks time. Finally Devon has a sobering discussion about the cancellation of “American Dad” on TBS and how the world has convinced itself that FOX will pick the series back up for broadcast despite that being less than conjecture at this point. 

Hershey stock surged 20% on acquisition talks… but family drama can block the whole deal.OpenAI just launched Sora: text-to-video Gen AI… It's turning Hollywood into an app.Over 90% of the tech industry does 1:1 Meetings… but Airbnb's Brian Chesky is killing them.Plus, the fastest-growing job in medicine? It's dermatology… aka The Derm Boom.Check out our Sora AI videos on instagram: https://www.instagram.com/tboypod $HSY $MDLZ $ABNBSubscribe to The Best Idea Yet: Wondery.fm/TheBestIdeaYetLinks to listen.“The Best Idea Yet”: The untold origin stories of the products you're obsessed with — From the McDonald's Happy Meal to Birkenstock's sandal to Nintendo's Super Mario Brothers to Sriracha. New 45-minute episodes drop weekly.—-----------------------------------------------------GET ON THE POD: Submit a shoutout or fact: https://tboypod.com/shoutouts FOR MORE NICK & JACK: Newsletter: https://tboypod.com/newsletter Connect with Nick: https://www.linkedin.com/in/nicolas-martell/ Connect with Jack: https://www.linkedin.com/in/jack-crivici-kramer/ SOCIALS:Instagram: https://www.instagram.com/tboypod TikTok: https://www.tiktok.com/@tboypodYouTube: https://www.youtube.com/@tboypod Anything else: https://tboypod.com/ Subscribe to our new (2nd) show… The Best Idea Yet: Wondery.fm/TheBestIdeaYetLinksEpisodes drop weekly. It's The Best Idea Yet.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On this episode of Super Retro we talked about the Top 10 Most Rare and Expensive SNES Games,  our segment Who Ran the 80's made a return and we highlighted the iconic Sylvester Stallone, are we getting a Goonies 2 or not, Corner Stores in the hood, Stuff your rich friends had at their house, Mike Vallely iconic brawl on video, a Young Jeezy/GoldenEye 007 connection, the UGK banger "One Day" NOT being sung by Ron Isley, and what you picking for your Friday night: Blockbuster or Hollywood Video, favorite candy, favorite chips, favorite soda, favorite horror film and favorite video game, listener emails and a ton more! Email: SuperRetroPod@gmail.comInstagram: https://www.instagram.com/superretropodcast/TikTok: https://www.tiktok.com/@superretropodVideo episodes available at YouTube!

  Built to Fail: The Inside Story of Blockbuster's Inevitable Bust w/ Alan Payne AZ TRT Flashback - S05 EP33 (249) 8-28-2024   What We Learned This Week: ·         Blockbuster started in 1985, and scaled quickly after Wayne Huizenga purchased it in 1987, 10,000 stores at its height, dominant video rental co. ·         Alan Payne instituted the Video Rental model of HEB to the Blockbuster franchises he ran – segmented movies to rent new ones for more ·         Wayne Huizenga was a stellar Founder who built 3 fortune 500 companies – Waste Mgmt, Blockbuster, and Auto Nation ·         Viacom purchased Blockbuster in 1994 for $8.4 billion, and went on to lose 75% of the value over the next decade + ·         Competition was fierce from Hollywood Video, Redbox and then in 1997 by a new DVD rental by mail company called Netflix ·         Netflix scaled into the internet company it always wanted to be with streaming in 2009   Guest: Alan Payne Alan Payne spent thirty-one years in the movie rental business, the last twenty-five of those as a Blockbuster retail franchisee. He took over a small group of Blockbuster stores in 1993 and grew it into one of the largest and most successful chains in the company. He finally closed his last store in 2018, more than eight years after Blockbuster filed for bankruptcy. Book: Built to Fail: The Inside Story of Blockbuster's Inevitable Bust     From the Back Cover Blockbuster was phenomenally successful in its early years and made thousands rich beyond their wildest dreams. But it was consistently outsmarted and outmanaged by smaller companies. And the challenges began earlier than you think--long before Netflix was even an idea in the minds of founders Reed Hastings and Marc Randolph. Blockbuster became one of the most iconic brands in the history of American business, but it cracked at the first sign of a challenge. From its founding, Blockbuster was a company built to fail. Link: HERE     Alan Payne Bio:   Border Entertainment, LLC - 2000 to 2018 Founded a $34.2M franchise group with 41 independently owned Blockbuster stores. President & Chief Executive Officer Held complete P&L responsibility while managing executive team (CFO, VP of Product Management, VP and GM Alaska Division, VP and GM El Paso Division, VP and GM South Texas Division) with 750 employees. ·         Grew revenue to $34.2M with 41 stores located in Texas and Alaska. ·         Capitalized business with $14M debt and $3M in private equity investment. Investors received over 35% internal rate of return. Fully retired debt in 2012. ·         Grew sales 140% and profitability 190% during industry decline from 2000 to 2007. Expanded through same store sales increases, new store openings, relocations, and acquisitions. ·         Created proprietary management systems by gathering and analyzing data around financial and inventory performance. ·         Developed and implemented an aggressive real estate strategy, identifying heavily trafficked, high-volume locations. ·         Cultivated culture of loyalty, retaining employees during wind down.     Alan Full Bio: HERE       Blockbuster Video[5] was an American video rental store chain. It was founded by David Cook in 1985 as a stand-alone mom-and-pop home video rental shop, but later grew into a national store chain featuring video game rentals, DVD-by-mail, streaming, video on demand, and cinema theater.[6] The company expanded internationally throughout the 1990s. At its peak in 2004, Blockbuster consisted of 9,094 stores and employed approximately 84,300 people: 58,500 in the United States and 25,800 in other countries.   Blockbuster – c/o Wikipedia: HERE   Harry Wayne Huizenga Sr.[1] (/haɪˈzɛŋɡə/; December 29, 1937 – March 22, 2018) was an American businessman. He founded AutoNation and Waste Management Inc., and was the owner or co-owner of Blockbuster Video, the Miami Dolphins of the National Football League (NFL), the Florida Panthers of the National Hockey League (NHL), and the Florida Marlins (now Miami Marlins) of Major League Baseball (MLB).   Wayne Huizenga – c/o Wikipedia: HERE     Notes:   Seg 1   Blockbuster was the premier video rental company in the 1990s. To put it in perspective how big they were, they brought in more revenue than theater ticket sales.   To add to that, if a movie bombed in the theater, it could be saved by video rental. Also with the introduction of DVDs in the late 1990s, movie studios started doing direct to video movies that would be released in rental stores like Blockbuster.   Pre-Internet was a different era for retail sales. In the 1990s you had huge retail companies like Blockbuster for rental movies, Tower records for CDs and music, and Borders for books. In the 2000s with the rise of the Internet, these businesses were all under attack. Netflix was growing with streaming, iTunes add streaming music, and Amazon was out selling borders with book sales.   In the mid-1990s Blockbuster at its height was the dominant video rental store with 40% market share. Hollywood Video is their main competitor with 20% market share.   Per Alan, half the weekly rental business was done on Friday and Saturday night from 7 to 10 PM. Blockbuster on weekends was the place to be, where the community was literally gathering for family night in movie rentals. There were new releases that came out every week and this section of the store was usually the most popular.   With the introduction of the VCR circa 1985 the video rental business took off. There were tons of small mom and pop video rental stores. The business didn't really have to be run that well as the industry was exploding.   Prior to this it was very difficult to see old movies. You had to have seen them in the past in the theater or wait for Network TV to air them. There was no control and very limited choices.   With the onset of Blockbuster in 1985, the video industry became more organized and professional. Blockbuster also had 6000 movie titles to rent, and scaled fast, opening stores by the dozen+.   Cost for Blockbuster to buy a movie was $70 per movie. They needed to rent the movie 20 times just to break even.   Blockbuster stores count were 5500 stores in the US, 1000 were franchisees and then corporate owned 4500. Corporate stores were typically in the larger markets, while the franchises were in the mid and smaller markets.   Seg 2   Alan bio, in the 1980s straight out of school he went to work for HEB grocery, the second largest grocery company in Texas and privately held. It was a $25 billion company run by CEO Charles Burt   In 1986, with the rise of Blockbuster started with just 30 to 40 stores. In 1987 HEB grocery started in the video business using Blockbuster as a model. They would own single location stores that were about 5 to 7000 ft.² in size.   H-E-B eventually opened 35 stores and was beating Blockbuster in sales had to head in the markets in Texas like San Antonio for example. A few years later HEB sold out to Hollywood Video and Hollywood Video went public.   In 1993 Alan got into franchises of Blockbuster working with Prime Cable. The business was struggling as Prime was not a retail company. They had 8 stores in Alaska and 10 stores in El Paso, Texas. Alan instituted the H-E-B model and was able to turn the stores around.   Blockbuster Business Model - Blockbuster legitimized the video business, and made it more professional than the original mom and pop stores that were not run well. Wayne Huizenga had bought Blockbuster early on when it just had 20 stores and he grew it fast.   The formula was simple - all movies regardless of whether they were new or old or rented for three day at $3. The demand for new movies was huge. Blockbuster could've charged more renting new movies.   Alan used the H-E-B grocery video model that was developed. Rent movies by the day and charge more for new releases. Older movie you could charge a $1 a day and people could keep the movie for 3 to 5 days.   There was actually a lot of demand for older movies, and they were 15,000 movie titles of older movies in demand.     Seg 3 Wayne Huizenga is a great CEO and businessman. He was the only man to build three fortune 500 companies, Waste Management, Blockbuster, and Auto Nation. Auto Nation was run by CEO Mark Jackson, and is the premier car dealership.   Wayne admitted he was more interested in building the thing, not running things. He also went on to buy the Miami Dolphins in football in the 1990s, and start the Florida Marlins baseball franchise.   Blockbuster stores were well run, attractive, and demand was high. Their franchise colors of blue black background and yellow Blockbuster writing on the sign were easily visible. They also picked very good real estate locations for their stores.   In 1994, Wayne sold Blockbuster to Viacom for $8.4 billion. In just seven years, built valuation from 1987 to 1994 when built up the business for a return of hundreds of percent. He paid $15 million, and sold it for $8.4 billion.   Viacom rolled the business into its total corporate structure and six years later they spun it off at a $1.5 billion valuation in six years, they lost 75% of the value of the business, it was poorly run.   Viacom was a TV company with major networks like Nickelodeon run by Sumner Redstone. He wanted to get involved in the movie business and use the Blockbuster purchase eventually to get Paramont studios.   Blockbuster when purchased was cash flowing $1 billion a year, it was making lots of money.   Steve Berrard was named the CEO of Blockbuster after the Viacom purchase, and only lasted one year. Then Bill Fields was brought in as the second Viacom CEO of Blockbuster.   Fields had a Walmart background, so he was hired for his experience in retail. He had no clue though how to run the video business. He also lasted less than one year, and the cash flow was starting to go negative.     Seg 4   1997 the DVD was introduced and this would change the movie and rental business. DVDs were created to be sold direct to consumer. 1997 is also the year that Netflix started with their DVD rental business through the mail. In 1999, the video rental business peaked at $10 billion a year in revenues. Post 1999 thru 2006 sales were flat to small growth.   1997 Blockbuster got their 3rd CEO, John Antioco, who served as Blockbuster CEO from 1997 through 2007. He also had a retail background and marketing. He had been at Taco Bell briefly, and prior to that he spent 20 years at 7-Eleven.   7-Eleven is a huge retail store that's really about location and real estate. They sell gas soda beer and cigarettes. They are not known for being great in retail. One thing John did as the new blockbuster CEO which was good, he started to engage with the franchisees.   In the late 1990s you were starting to see technology in the Internet slowly affect new businesses. When Netflix was created they always intended to be an Internet company,  it just took them 10 years to get where they wanted to be.   John running Blockbuster that stable to slow growth. He doubled top line revenue and doubled the amount of stores blockbuster had but the profit margins went down. Had its height in the early 2000s blockbuster at 5500 US stores and 3 to 4000 stores outside the US.   Blockbuster at the typical business fix cost of rent labor and taxes, which were slowly increasing year after year. Gross margin is just the rental revenue minus the cost of the product.   The cost of the DVD product have been cut in half by the early 2000s. DVDs were made cheaper as the movie business was trying to sell direct to consumer, and kill the rental business if possible.   The rental business revenues started flattening out post 2005. Sell through business for DVDs from movie studios was increasing every year, and had tripled in just a few years in sales.   In theory, Blockbusters gross margin should've gone up but instead was declining. They had the Proto typical business math problem of high costs and not enough sales.   The Great Recession of 2008 was really the beginning of the end for Blockbuster. By 2010 blockbuster and filed bankruptcy. It was the end of an era of a very strong stable business at one point for video sales rental.     Seg 5 – Bonus   Netflix started in 1997, with a business model of DVD rental via the mail. Even though Netflix only had a small portion of market share, by 2004 blockbuster felt compelled to compete with Netflix on the video rental via sales but failed.   Netflix originally did not have their subscription model. That model was added a few years in, circa 2007. In 2010, Netflix started adjusting their business model and experimenting heavily with streaming. The streaming business model for Netflix really didn't take off until post 2010.   Netflix created their AI recommendation model. This taught their subscriber base how to enjoy titles. Netflix overall model was customer centric. If a customer liked comedy Netflix could recommend 10 more comedies to them.   Another thing the customers loved was Netflix would release the full season of the TV series at one time. This created the streaming binge watch phenomenon. By contrast Blockbuster had tons of customer data but never did anything with that data. In theory Blockbuster could've been Netflix, and at one point almost bought Netflix.   Netflix original niche was renting older movies with the recommendation model. Netflix also created the queue system. Netflix sent titles in a customer's queue of 20 movies and would control what movies the customer would get sent in the mail.   In 1998, Blockbuster had to start a revenue sharing of profits with movie studios and this really hurt gross margin in the video rental business. Unit volume sales were not stable as time went on. Overall top line volume sounds was inconsistent.   Blockbuster at one point tried the subscription model, but physically in stores. It failed for it did not work in an actual brick and mortar retail store. Blockbuster in the mid-2000s used gimmick solutions which never really addressed the fundamental problems that were happening.   Reed Hastings of Netflix offered to sell the company to Blockbuster in 2000 for $50 million. Netflix wanted to join forces. Reed Hastings goal from day one, was to be an Internet company. Blockbuster was not able to work out the deal, so it never materialized.   Reed Hastings of Netflix was a true founder and original. He had vision. Founders may not be the best operators all the time, but they must have vision. There are some founders though who not only have vision, but also can be an operator. Examples are Reed Hastings of Netflix, Steve Jobs of Apple, Mark Zuckerberg with Facebook.   Wayne Huizenga was a founder, but not an operator. You go from the founder mentality to the operator mentality, but this never materialized in the history of Blockbuster.   Overall, Blockbuster management never really understood the business they were in. They were in the customer business, but never really focused on the customer. This is how over the long term they were beat out by companies like Netflix, and even Amazon.   Peter Drucker (famous business consultant) would ask the important question: ‘What business are you in?' – to understand who your customers are, what they need, and how to market and sell to your customer   Postscript: Alan Payne closed his last blockbuster store in 2018, and then wrote the Built to Fail Blockbuster book. He does not know what his next endeavor is….         If you enjoyed this show, you may like:  BRT Marketing: HERE BRT Business: HERE    Investing Topic: https://brt-show.libsyn.com/category/Investing-Stocks-Bonds-Retirement     ‘Best Of' Topic: https://brt-show.libsyn.com/category/Best+of+BRT     Thanks for Listening. Please Subscribe to the BRT Podcast.     AZ Tech Roundtable 2.0 with Matt Battaglia The show where Entrepreneurs, Top Executives, Founders, and Investors come to share insights about the future of business.  AZ TRT 2.0 looks at the new trends in business, & how classic industries are evolving.  Common Topics Discussed: Startups, Founders, Funds & Venture Capital, Business, Entrepreneurship, Biotech, Blockchain / Crypto, Executive Comp, Investing, Stocks, Real Estate + Alternative Investments, and more…    AZ TRT Podcast Home Page: http://aztrtshow.com/ ‘Best Of' AZ TRT Podcast: Click Here Podcast on Google: Click Here Podcast on Spotify: Click Here                    More Info: https://www.economicknight.com/azpodcast/ KFNX Info: https://1100kfnx.com/weekend-featured-shows/   Disclaimer: The views and opinions expressed in this program are those of the Hosts, Guests and Speakers, and do not necessarily reflect the views or positions of any entities they represent (or affiliates, members, managers, employees or partners), or any Station, Podcast Platform, Website or Social Media that this show may air on. 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Lesley and Ben are thrilled to be once again joined by Rachel Collins, host of the upcoming grocery and shopping podcast, 10 Items or Less! Instead of our usual format covering single episodes of television, we're chatting about vintage commercials and the stories they're telling! We cover 21 commercials ranging across the decades from the 1960s to 2004. Electronics Boutique, Hollywood Video, Schlitterbaun Water Park, CompUSA, B Dalton Booksellers and mail order educational software learning opportunities. All this and a lot more on this very special episode of Syndicated with Lesley and Ben! On the Main Feed: We're posting a teaser of the first couple of commercials we covered for everyone subscribed to the show, wherever you get your podcasts! On Patreon: Patreon subscribers, you're in for a treat. At the $5/mo level, you get access to the whooole enchilada. An hour and forty minutes of 21 commercials with commentary and live reactions. Musical numbers, jingles, childhood memories, a lot of talk about malls, bookstores, personal computing, Tom Clancy and regional amusement parks! https://www.patreon.com/posts/swlab-special-108949274?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=postshare_creator&utm_content=join_link On YouTube: We have a complete playlist of all of the commercials covered by Lesley, Ben and Rachel for your viewing pleasure. Many of these commercials have real wacky visual components. We included the audio in the episode, but some of these need to be seen to be believed. https://www.youtube.com/playlist?list=PLLCNXaDo9tBqSnM6Wq2bE3WTyiQODHbZy

Bad movies abound in the hallowed halls of Hollywood Video, as do new snack possibilities for a young Mark.Mark brings Poorly Drawn Lines. A poor hypothetical later, Grant attacks the foundation of our society, or something like that.Grant brings Cheer Up, Emo Kid. Brooms? A simple tool for a simple time.Send feedback to comicalstart@gmail.com.

In America, one organization has seemingly been in control of every industry we have at some point and time in our history.  That group is known collectively as The Mob.  From prostitution, to running unions, to funding government officials, some form of organized crime has been in control since the Mayflower.  We are going to […]

Send us a Text Message.Go to our sponsor https://aura.com/techtualchatter to get a 14- day FREE trial and see if your personal information has been leaked onlineIn this compelling episode, "Is Microsoft's AI Recall a GAMECHANGER or Privacy NightMare ?" your hosts Henri and Destini W dive deep into the digital underbelly of cybersecurity breaches that are making headlines. Featuring guest expert Lee, we unravel the recent devastating hacks on PC Tattletale and the Mitre Corporation, and the far-reaching impacts of these breaches on personal and corporate data.

For this month's theme of AWKWARD LAUGHTER 2: THE FLOP we're discussing some comedies that didn't quite hit at the box office and it's no surprise that some of our selections have tumultuous histories during production and post-production. Today's discussion involves a bit of ego swinging in the editing room that left the creators involved with a bitter aftertaste. On top of that, studio executive shuffling led to this movie not even getting a theatrical release. Our “straight to VHS/DVD” discussion this month is a 2002 Troy Miller directed comedy that spun out of David Cross and Bob Odenkirk's influential HBO sketch show “Mr. Show”. Bob and David don't hold it in high regard in light of the fact that they were shut out of final edit. By some accounts they were relieved that “RUN RONNIE RUN!” didn't lose more money in the theaters with a proper marketing budget. The rest of America got what they got and they probably got it out of a bargain bin at a Hollywood Video in 2004. It was right up the alley of our younger, drunker, stoner selves but could this “cult classic” have been something more? Pretty easy to find. Here's a good link: https://www.youtube.com/watch?v=v03ldhD7k-c and here's a little backstory on the fallout of the project from Bob Odenkirk in 2004: https://web.archive.org/web/20070607210342/http://www.bobanddavid.com/interviews.asp?artID=116 Subscribe to us on YOUTUBE: https://www.youtube.com/channel/UCuJf3lkRI-BLUTsLI_ehOsg Contact us here: MOVIEHUMPERS@gmail.com Check our past & current film ratings here: https://moviehumpers.wordpress.com Hear us on podcast: https://open.spotify.com/show/6o6PSNJFGXJeENgqtPY4h7 Our OG podcast “Documenteers”: https://podcasts.apple.com/us/podcast/documenteers-the-documentary-podcast/id1321652249 Soundcloud feed: https://soundcloud.com/documenteers Twitch: https://www.twitch.tv/culturewrought

This week the Nostalgia Junkies discussing the issue with American Airlines that occurred on Alex's postponed honeymoon. Then the boys get into news for the summer...Choco Tacos and Street Sharks are back! Alex and Joe then share their opinions in this week's This or That: Simon vs. Bop it, Tomagotchi vs. Furby, and Hollywood Video vs. Blockbuster! The Nostalgia Junkies then compare the kings of 90s comedy: Jim Carrey and Adam Sandler. Alex and Joe o through a list of their movies ranging from Wedding Singer to Dumb and Dumber ranking to determine who had the best and worst movie out of the bunch. Do you agree with their picks? Finally the boys round out the episode with a game of 90s trivia. Can you answer their questions? Email us your thoughts and comments: nostalgiajunkiesct@gmail.com STORE: https://www.etsy.com/shop/NostalgiaJunkiesShop  Follow us on our Socials: INSTAGRAM: ⁠⁠@nostagiajunkiespodcast⁠ TIKTOK: ⁠⁠@nostalgiajunkies⁠podcast⁠ YOUTUBE: ⁠⁠@nostalgiajunkiespodcast⁠⁠ Subscribe and Review! 

Jermaine Fowler stops by to talk to Lamorne and Kyle about other famous Jermaines, early stand up life and meeting Redman at Hollywood Video.   If you want bonus content for The Lamorning After join our Patreon patreon.com/TheLamorningAfterPodcast

********WARNING: This case contains details of sexual assault********  Best friends, Liz Reiser and Brandi Hicks, had put a girls movie night into motion when they were interrupted at the local Hollywood Video. Approached by an older man asking for a ride just a mile up the road so he could get home to say good night to his wife and kids, the teen girls debated on whether to help. Ultimately, they agreed that as long as they were together, it would be safe enough. Unfortunately, this was anything but true. The mile turned into a drive into the next town and though he was in fact a husband and father, his intention was definitely not to get home.  Tune in as Savannah gives the account of both the investigation and the survivor. Meanwhile, Elysia remains confused by the entire event, especially the man's audacity.    Don't forget to leave us the weekly emoji! Find us on Instagram and Facebook!   Join us on Patreon for exclusive bonuses!  https://patreon.com/user?u=112566537&utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=creatorshare_creator&utm_content=join_link  Sources: Teen 'played dead' while being thrown off bridge ...Daily Starhttps://www.dailystar.co.uk › News › World News › Crime The Murder Of Elizabeth Riser & The Attempted ... - YouTubeYouTube · Morbid A True Crime Podcast11K+ views · 7 months ago Brandi/Joseph/Sam and SuzanneIMDbhttps://www.imdb.com › title The Murder of Elizabeth Reiser — and How Her Best Friend ...Medium · Verity Partington620+ likes · 2 years agohttps://open.spotify.com/episode/0DWLNdLfU2T2fiS0fGL76i?si=VLcSExKnSNSyF--JW_p6rg Brandi Hicks Now: Where is Elizabeth Reiser's Friend ...The Cinemaholichttps://thecinemaholic.com › where-is-brandi-hicks-now                 Graphic Art By: Taylor Poe Music By: https://www.fesliyanstudios.com/royalty-free-music/download/shady-business/2181

¿Por qué en Hollywood la gente no se pone "vieja"? Igual y están viajando en el tiempo. Pero si es verdad que esta gente parecería que se ven iguales hoy que hace 20 años.

 Best of Business 2023 - Part 4 2023 AZ TRT S04 EP52 (215) 12-31-2023 What We Learned This Week: Alan Payne on the Rise & Fall of Blockbuster Arthur Smith on Reality TV & Sports Trevor Pan of Bidbird on shipping efficiency & container skins Dr. Chuck & Francis of Ally Bio on Cannabis Innovation Chris Owen of J Galt on Commercial Credit Host Matt on Business Assets   Seg. 1 – Clips From: Built to Fail: The Inside Story of Blockbuster's Inevitable Bust w/ Alan Payne AZ TRT S04 EP34 (197) 8-27-2023     What We Learned This Week: ·         Blockbuster started in 1985, and scaled quickly after Wayne Huizenga purchased it in 1987, 10,000 stores at its height, dominant video rental co. ·         Alan Payne instituted the Video Rental model of HEB to the Blockbuster franchises he ran – segmented movies to rent new ones for more ·         Wayne Huizenga was a stellar Founder who built 3 fortune 500 companies – Waste Mgmt, Blockbuster, and Auto Nation ·         Viacom purchased Blockbuster in 1994 for $8.4 billion, and went on to lose 75% of the value over the next decade + ·         Competition was fierce from Hollywood Video, Redbox and then in 1997 by a new DVD rental by mail company called Netflix ·         Netflix scaled into the internet company it always wanted to be with streaming in 2009   Guest: Alan Payne Alan Payne spent thirty-one years in the movie rental business, the last twenty-five of those as a Blockbuster retail franchisee. He took over a small group of Blockbuster stores in 1993 and grew it into one of the largest and most successful chains in the company. He finally closed his last store in 2018, more than eight years after Blockbuster filed for bankruptcy. Book: Built to Fail: The Inside Story of Blockbuster's Inevitable Bust   From the Back Cover Blockbuster was phenomenally successful in its early years and made thousands rich beyond their wildest dreams. But it was consistently outsmarted and outmanaged by smaller companies. And the challenges began earlier than you think--long before Netflix was even an idea in the minds of founders Reed Hastings and Marc Randolph. Blockbuster became one of the most iconic brands in the history of American business, but it cracked at the first sign of a challenge. From its founding, Blockbuster was a company built to fail. Link: HERE     Full Show: HERE   Seg. 2 – Clips From: TV Tales of The Unbreakable Jay Glazer to Creating Competition Shows from American Ninja Warrior to Hell's Kitchen w/ Arthur Smith AZ TRT S04 EP28 (191) 7-16-2023     What We Learned This Week: ·   Jay Glazer's Unbreakable mindset gets him thru ‘the gray' of his daily life, working on his mental health ·   Arthur Smith's describes Reach as striving for our full potential to create amazing things ·   Creation of TV Classics like American Ninja Warrior & Hell's Kitchen   Arthur Smith, the chairman of A. Smith & Co. Productions, is a pioneering veteran of nonfiction television, known for creating and producing some of the longest running unscripted series in history, including Hell's Kitchen and American Ninja Warrior. Smith was honored as one of Variety's “Titans of Unscripted TV” in 2022, inducted into the Realscreen Awards Hall of Fame in 2021, awarded Broadcasting and Cable's “Producer of the Year” in 2020, Nominated for several Emmy Awards, and received dozens of awards, including NAACP Awards, Realscreen Awards, and Critics Choice Awards. Smith embarked on his career in television as a twenty-two-year-old wunderkind, talking his way into sports production at CBC in his native Canada. He quickly distinguished himself as a rising star at the network, where he produced three Olympic Games among countless other high-profile events. At the age of twenty-eight, Smith was named the youngest ever head of CBC Sports. His successful run at the network ended when American broadcasting icon Dick Clark lured him to Hollywood to develop and produce a wide variety of entertainment programming. Then as the head of programming and production at FOX Sports Net, Smith played an instrumental role in the launch and growth of this massive entity, before the biggest reach of his life—the creation of his eponymous production company that has thrived for more than twenty years. He lives in Los Angeles.     Full Show: HERE     Seg. 3 – Clips From: Cannabis Innovation by Ally Biotech w/ Dr. Chuck & Francis - AZ TRT S04 EP36 (199) 9-10-2023                    What We Learned This Week Ally Biotech offers highly bioavailable products to leading manufacturers and dispensaries of cannabis products Cannabis is competitive and it's all about the product quality. Arizona-based Chill PillTM brand is an expansive line of easy-to-swallow THC soft gels for the cannabis industry.       The goal of the company is to adopt the practices of big Pharma and make high grade products. FDA and DEA are actually working together. The DEA treats cannabis like any other Schedule One dangerous drug, like cocaine or heroin. Yet it does not have the same affects, nor addictive qualities. Many pain medication's have very serious side effects as well as the potential for problems with overdosing. Cannabis is a good alternative for pain mgmt.     Guests:   Dr. Chuck Johnson, CSO at Ally Biotech  After earning his BA in Chemistry from Northwestern University and PhD in Analytical Chemistry from Virginia Tech, Dr Chuck refined his craft while working The Procter & Gamble Company, Koch Industries, and Danaher, and expanded his scope of knowledge while working and consulting for DuPont, BATF, FBI, Army Corps of Engineers, Chiyoda Engineering, Toyo Engineering, Japan Gas Company, Yamato, Fisher Scientific, VWR Scientific Products, among others. Chuck brings with him experience with FDA regulatory compliance, LEAN (TPS) principles in Product Development and Manufacturing, competitive market analysis, mergers and acquisitions and technical sales. More recently he has provided consultation services and served as the Chief Science and Operations Officer in the Hemp and Cannabis sectors, including industrial farming, extraction, refining, GMP production, nutraceuticals, and FDA compliance.    Francis Baczek, V.P. of Business Development at Ally Biotech  Francis Baczek serves as Vice President of Business Development at Ally Biotech, a provider of leading-edge bioactive delivery solutions for cannabinoids. Baczek brings significant product development experience in the medical cannabis sector. Since 2013, he has been formulating precision-dosed edibles as lead cannabis chef for Uncle Herb's Health Center, a licensed Arizona operator. Baczek is credite      https://allybiotech.com/about-team/     Full Show: HERE     Efficiency in the Supply Chain by a New Container Invention w/ Trevor Pan of BidBird AZ TRT S04 EP41 (204) 10-15-2023   Things We Learned This Week Malcolm McLean was the inventor of the shipping Container, and a key person in trade & globalization BidBird invented a container skin, a smooth panel for the side to reduce wind resistance & improve fuel efficiency Patent process and Patent Cooperation Treaty to register an invention in foreign countries Building a Prototype and doing a road test with a Truck plus a Container on a race track   Guest: Tevor Pan, BidBird Principal Architect - February 2018 - Present Undergraduate Professional Degree - Landscape Architecture, Colorado State University,  Fort Collins, Colorado 2003 Master Degree - Frank Lloyd Wright School of Architecture, Scottsdale, Arizona 2006   o  Twitter o  LinkedIn     https://bidbird.co/about THE FIRST CONSTRUCTION MARKETPLACE, AT YOUR FINGERTIPS.   Trevor Pan, BidBird Founder & registered Arizona architect.   Spending 21 years as an architect immersed in construction, manufacturing, and design, I've built a unique understanding of the construction industry's constant movements and challenges. I know that construction professionals are exhausted by the RFP game—and the collusion that can come along with it.   I've seen invasive service platforms that trap users into thinking they're a lead generating machine, but then unethically charge them thousands with no quality results.   When I set off to launch BidBird, I wanted to eliminate the red tape and corruption for suppliers, manufacturers, contractors, and building owners. And when my barber approved the irresistible alliteration of the name, BidBird was born.   BidBird is the new way for construction professionals to achieve a constant-but-necessary thing: capture competitive bids for their materials through an efficient process.   At its core, our mission is simple. We connect construction industry professionals around the country through an honest platform that doesn't cost users unreasonable fees, or their dignity.   With its simplicity comes big things. BidBird is an opportunity to beat out the “big guys” by just a penny, equalizing the hunt for businesses around the country.   We strive to combine high-value jobs + the innovation to evolve with construction professionals' needs to transform businesses, one bid at a time.         Full Show: HERE   Seg. 4 – Clips From: Building Commercial Credit w/ Chris Owen of J. Galt AZ TRT S04 EP45 (208) 11-12-2023   Things We Learned This Week J. Galt Helps Small Businesses Optimize Cashflow & Manage Growth Helping Business Owners Access Loans & Credit, Endangering Their Personal Credit & Family Assets Small Business is the backbone of a community, when it thrives, so does the community 3 Types of Credit - Personal, Business & Commercial Credit - Business need to build their Commercial Credit     Guest: Chris Owen  LKIN: HERE Helping Business Owners Access Loans & Credit   Endangering Their Personal Credit & Family Assets When small businesses prosper, then the community also thrives. The passion I have for helping fellow entrepreneurs succeed is something I've fostered my entire life. As an advocate and advisor for small businesses I have seen the challenges they face firsthand. When businesses fail, they leave an average of $80K for the business owner and their family. Knowing these daunting stats, it has become my life's mission to help protect these incredible small businesses that are the bedrock of our economy. Can you imagine what your small business would look like in 12 months if… ✅     You didn't get turned down for the loan, credit card, or line of credit you needed? ✅     Your access to loans and credit didn't impact your personal credit or put your family home at risk? ✅     You had the money you needed to expand and meet new opportunities?   J. Galt: https://www.jgalt.io/cowen     Full Show: HERE     Rethinking What is an Asset AZ TRT S04 EP39 (202) 10-1-2023     What We Learned This Week:   ·         Knowledge as an Asset  ·         Industry You Work in as an Asset   ·         Your Network as an Asset  ·         Leverage as an Asset   ·         Focus as an Asset  ·         Traditional Investment Assets – Appreciating vs Harvesting       Full Show: HERE     Investing Topic: https://brt-show.libsyn.com/category/investing   Tech Topic: HERE   ‘Best Of' Topic: https://brt-show.libsyn.com/category/Best+of+BRT      Thanks for Listening. Please Subscribe to the BRT Podcast.     AZ Tech Roundtable 2.0 with Matt Battaglia The show where Entrepreneurs, Top Executives, Founders, and Investors come to share insights about the future of business.  AZ TRT 2.0 looks at the new trends in business, & how classic industries are evolving.  Common Topics Discussed: Startups, Founders, Funds & Venture Capital, Business, Entrepreneurship, Biotech, Blockchain / Crypto, Executive Comp, Investing, Stocks, Real Estate + Alternative Investments, and more…    AZ TRT Podcast Home Page: http://aztrtshow.com/ ‘Best Of' AZ TRT Podcast: Click Here Podcast on Google: Click Here Podcast on Spotify: Click Here                    More Info: https://www.economicknight.com/azpodcast/ KFNX Info: https://1100kfnx.com/weekend-featured-shows/     Disclaimer: The views and opinions expressed in this program are those of the Hosts, Guests and Speakers, and do not necessarily reflect the views or positions of any entities they represent (or affiliates, members, managers, employees or partners), or any Station, Podcast Platform, Website or Social Media that this show may air on. All information provided is for educational and entertainment purposes. Nothing said on this program should be considered advice or recommendations in: business, legal, real estate, crypto, tax accounting, investment, etc. Always seek the advice of a professional in all business ventures, including but not limited to: investments, tax, loans, legal, accounting, real estate, crypto, contracts, sales, marketing, other business arrangements, etc.  

In this episode, we will have an amazing conversation with Joaquin Elizondo, who shares his journey as a video editor, working on different formats, such as news, music videos, and realities, to big TV shows like Narcos and Griselda. Joaquin's journey is extraordinary and unique as he opens up and tells us his thoughts and feelings on how he navigates the Hollywood labyrinth. He shares tips and tricks for how to get a new job, how to pursue new opportunities, how to trust yourself, and why he created one of the most impactful editing mentor programs in the industry. We hope these stories can inspire, inform, and empower everyone in the industry who wants to pursue a Hollywood career. In this episode, you will hear about the following: 

Be kind, please rewind. This week's Forced Retrospective we talk about the pre-streaming days of Blockbuster, Hollywood Video, having a nostalgic moment of picking the best movie out of a batch, renting a bunch of games in a week, the downfall of these video renting sites, and always having a Chinese food restaurant near one of these sites. Who knew that late fees were going to be it's downfall? Site: https://podcasters.spotify.com/pod/show/deadpixelsoftheinternet Youtube: https://www.youtube.com/channel/UC6DRMrv0PIxafjvjWH9rT8g Spotify: https://open.spotify.com/show/6ROO69EAySRoc7Ag7SEtq7 Joe's Twitter: https://twitter.com/joerckpeko Lorne's Twitter: https://twitter.com/BrokenHexagram

Built to Fail: The Inside Story of Blockbuster's Inevitable Bust w/ Alan Payne BRT S04 EP34 (197) 8-27-2023   What We Learned This Week: ·         Blockbuster started in 1985, and scaled quickly after Wayne Huizenga purchased it in 1987, 10,000 stores at its height, dominant video rental co. ·         Alan Payne instituted the Video Rental model of HEB to the Blockbuster franchises he ran – segmented movies to rent new ones for more ·         Wayne Huizenga was a stellar Founder who built 3 fortune 500 companies – Waste Mgmt, Blockbuster, and Auto Nation ·         Viacom purchased Blockbuster in 1994 for $8.4 billion, and went on to lose 75% of the value over the next decade + ·         Competition was fierce from Hollywood Video, Redbox and then in 1997 by a new DVD rental by mail company called Netflix ·         Netflix scaled into the internet company it always wanted to be with streaming in 2009       Guest: Alan Payne Alan Payne spent thirty-one years in the movie rental business, the last twenty-five of those as a Blockbuster retail franchisee. He took over a small group of Blockbuster stores in 1993 and grew it into one of the largest and most successful chains in the company. He finally closed his last store in 2018, more than eight years after Blockbuster filed for bankruptcy. Book: Built to Fail: The Inside Story of Blockbuster's Inevitable Bust   From the Back Cover Blockbuster was phenomenally successful in its early years and made thousands rich beyond their wildest dreams. But it was consistently outsmarted and outmanaged by smaller companies. And the challenges began earlier than you think--long before Netflix was even an idea in the minds of founders Reed Hastings and Marc Randolph. Blockbuster became one of the most iconic brands in the history of American business, but it cracked at the first sign of a challenge. From its founding, Blockbuster was a company built to fail. Link: HERE     Alan Payne Bio:   Border Entertainment, LLC - 2000 to 2018 Founded a $34.2M franchise group with 41 independently owned Blockbuster stores. President & Chief Executive Officer Held complete P&L responsibility while managing executive team (CFO, VP of Product Management, VP and GM Alaska Division, VP and GM El Paso Division, VP and GM South Texas Division) with 750 employees. ·         Grew revenue to $34.2M with 41 stores located in Texas and Alaska. ·         Capitalized business with $14M debt and $3M in private equity investment. Investors received over 35% internal rate of return. Fully retired debt in 2012. ·         Grew sales 140% and profitability 190% during industry decline from 2000 to 2007. Expanded through same store sales increases, new store openings, relocations, and acquisitions. ·         Created proprietary management systems by gathering and analyzing data around financial and inventory performance. ·         Developed and implemented an aggressive real estate strategy, identifying heavily trafficked, high-volume locations. ·         Cultivated culture of loyalty, retaining employees during wind down.     Alan Full Bio: HERE       Blockbuster Video[5] was an American video rental store chain. It was founded by David Cook in 1985 as a stand-alone mom-and-pop home video rental shop, but later grew into a national store chain featuring video game rentals, DVD-by-mail, streaming, video on demand, and cinema theater.[6] The company expanded internationally throughout the 1990s. At its peak in 2004, Blockbuster consisted of 9,094 stores and employed approximately 84,300 people: 58,500 in the United States and 25,800 in other countries.   Blockbuster – c/o Wikipedia: HERE   Harry Wayne Huizenga Sr.[1] (/haɪˈzɛŋɡə/; December 29, 1937 – March 22, 2018) was an American businessman. He founded AutoNation and Waste Management Inc., and was the owner or co-owner of Blockbuster Video, the Miami Dolphins of the National Football League (NFL), the Florida Panthers of the National Hockey League (NHL), and the Florida Marlins (now Miami Marlins) of Major League Baseball (MLB).   Wayne Huizenga – c/o Wikipedia: HERE     Notes:   Seg 1   Blockbuster was the premier video rental company in the 1990s. To put it in perspective how big they were, they brought in more revenue than theater ticket sales.   To add to that, if a movie bombed in the theater, it could be saved by video rental. Also with the introduction of DVDs in the late 1990s, movie studios started doing direct to video movies that would be released in rental stores like Blockbuster.   Pre-Internet was a different era for retail sales. In the 1990s you had huge retail companies like Blockbuster for rental movies, Tower records for CDs and music, and Borders for books. In the 2000s with the rise of the Internet, these businesses were all under attack. Netflix was growing with streaming, iTunes add streaming music, and Amazon was out selling borders with book sales.   In the mid-1990s Blockbuster at its height was the dominant video rental store with 40% market share. Hollywood Video is their main competitor with 20% market share.   Per Alan, half the weekly rental business was done on Friday and Saturday night from 7 to 10 PM. Blockbuster on weekends was the place to be, where the community was literally gathering for family night in movie rentals. There were new releases that came out every week and this section of the store was usually the most popular.   With the introduction of the VCR circa 1985 the video rental business took off. There were tons of small mom and pop video rental stores. The business didn't really have to be run that well as the industry was exploding.   Prior to this it was very difficult to see old movies. You had to have seen them in the past in the theater or wait for Network TV to air them. There was no control and very limited choices.   With the onset of Blockbuster in 1985, the video industry became more organized and professional. Blockbuster also had 6000 movie titles to rent, and scaled fast, opening stores by the dozen+.   Cost for Blockbuster to buy a movie was $70 per movie. They needed to rent the movie 20 times just to break even.   Blockbuster stores count were 5500 stores in the US, 1000 were franchisees and then corporate owned 4500. Corporate stores were typically in the larger markets, while the franchises were in the mid and smaller markets.   Seg 2   Alan bio, in the 1980s straight out of school he went to work for HEB grocery, the second largest grocery company in Texas and privately held. It was a $25 billion company run by CEO Charles Burt   In 1986, with the rise of Blockbuster started with just 30 to 40 stores. In 1987 HEB grocery started in the video business using Blockbuster as a model. They would own single location stores that were about 5 to 7000 ft.² in size.   H-E-B eventually opened 35 stores and was beating Blockbuster in sales had to head in the markets in Texas like San Antonio for example. A few years later HEB sold out to Hollywood Video and Hollywood Video went public.   In 1993 Alan got into franchises of Blockbuster working with Prime Cable. The business was struggling as Prime was not a retail company. They had 8 stores in Alaska and 10 stores in El Paso, Texas. Alan instituted the H-E-B model and was able to turn the stores around.   Blockbuster Business Model - Blockbuster legitimized the video business, and made it more professional than the original mom and pop stores that were not run well. Wayne Huizenga had bought Blockbuster early on when it just had 20 stores and he grew it fast.   The formula was simple - all movies regardless of whether they were new or old or rented for three day at $3. The demand for new movies was huge. Blockbuster could've charged more renting new movies.   Alan used the H-E-B grocery video model that was developed. Rent movies by the day and charge more for new releases. Older movie you could charge a $1 a day and people could keep the movie for 3 to 5 days.   There was actually a lot of demand for older movies, and they were 15,000 movie titles of older movies in demand.     Seg 3 Wayne Huizenga is a great CEO and businessman. He was the only man to build three fortune 500 companies, Waste Management, Blockbuster, and Auto Nation. Auto Nation was run by CEO Mark Jackson, and is the premier car dealership.   Wayne admitted he was more interested in building the thing, not running things. He also went on to buy the Miami Dolphins in football in the 1990s, and start the Florida Marlins baseball franchise.   Blockbuster stores were well run, attractive, and demand was high. Their franchise colors of blue black background and yellow Blockbuster writing on the sign were easily visible. They also picked very good real estate locations for their stores.   In 1994, Wayne sold Blockbuster to Viacom for $8.4 billion. In just seven years, built valuation from 1987 to 1994 when built up the business for a return of hundreds of percent. He paid $15 million, and sold it for $8.4 billion.   Viacom rolled the business into its total corporate structure and six years later they spun it off at a $1.5 billion valuation in six years, they lost 75% of the value of the business, it was poorly run.   Viacom was a TV company with major networks like Nickelodeon run by Sumner Redstone. He wanted to get involved in the movie business and use the Blockbuster purchase eventually to get Paramont studios.   Blockbuster when purchased was cash flowing $1 billion a year, it was making lots of money.   Steve Berrard was named the CEO of Blockbuster after the Viacom purchase, and only lasted one year. Then Bill Fields was brought in as the second Viacom CEO of Blockbuster.   Fields had a Walmart background, so he was hired for his experience in retail. He had no clue though how to run the video business. He also lasted less than one year, and the cash flow was starting to go negative.     Seg 4   1997 the DVD was introduced and this would change the movie and rental business. DVDs were created to be sold direct to consumer. 1997 is also the year that Netflix started with their DVD rental business through the mail. In 1999, the video rental business peaked at $10 billion a year in revenues. Post 1999 thru 2006 sales were flat to small growth.   1997 Blockbuster got their 3rd CEO, John Antioco, who served as Blockbuster CEO from 1997 through 2007. He also had a retail background and marketing. He had been at Taco Bell briefly, and prior to that he spent 20 years at 7-Eleven.   7-Eleven is a huge retail store that's really about location and real estate. They sell gas soda beer and cigarettes. They are not known for being great in retail. One thing John did as the new blockbuster CEO which was good, he started to engage with the franchisees.   In the late 1990s you were starting to see technology in the Internet slowly affect new businesses. When Netflix was created they always intended to be an Internet company,  it just took them 10 years to get where they wanted to be.   John running Blockbuster that stable to slow growth. He doubled top line revenue and doubled the amount of stores blockbuster had but the profit margins went down. Had its height in the early 2000s blockbuster at 5500 US stores and 3 to 4000 stores outside the US.   Blockbuster at the typical business fix cost of rent labor and taxes, which were slowly increasing year after year. Gross margin is just the rental revenue minus the cost of the product.   The cost of the DVD product have been cut in half by the early 2000s. DVDs were made cheaper as the movie business was trying to sell direct to consumer, and kill the rental business if possible.   The rental business revenues started flattening out post 2005. Sell through business for DVDs from movie studios was increasing every year, and had tripled in just a few years in sales.   In theory, Blockbusters gross margin should've gone up but instead was declining. They had the Proto typical business math problem of high costs and not enough sales.   The Great Recession of 2008 was really the beginning of the end for Blockbuster. By 2010 blockbuster and filed bankruptcy. It was the end of an era of a very strong stable business at one point for video sales rental.     Seg 5 – Bonus   Netflix started in 1997, with a business model of DVD rental via the mail. Even though Netflix only had a small portion of market share, by 2004 blockbuster felt compelled to compete with Netflix on the video rental via sales but failed.   Netflix originally did not have their subscription model. That model was added a few years in, circa 2007. In 2010, Netflix started adjusting their business model and experimenting heavily with streaming. The streaming business model for Netflix really didn't take off until post 2010.   Netflix created their AI recommendation model. This taught their subscriber base how to enjoy titles. Netflix overall model was customer centric. If a customer liked comedy Netflix could recommend 10 more comedies to them.   Another thing the customers loved was Netflix would release the full season of the TV series at one time. This created the streaming binge watch phenomenon. By contrast Blockbuster had tons of customer data but never did anything with that data. In theory Blockbuster could've been Netflix, and at one point almost bought Netflix.   Netflix original niche was renting older movies with the recommendation model. Netflix also created the queue system. Netflix sent titles in a customer's queue of 20 movies and would control what movies the customer would get sent in the mail.   In 1998, Blockbuster had to start a revenue sharing of profits with movie studios and this really hurt gross margin in the video rental business. Unit volume sales were not stable as time went on. Overall top line volume sounds was inconsistent.   Blockbuster at one point tried the subscription model, but physically in stores. It failed for it did not work in an actual brick and mortar retail store. Blockbuster in the mid-2000s used gimmick solutions which never really addressed the fundamental problems that were happening.   Reed Hastings of Netflix offered to sell the company to Blockbuster in 2000 for $50 million. Netflix wanted to join forces. Reed Hastings goal from day one, was to be an Internet company. Blockbuster was not able to work out the deal, so it never materialized.   Reed Hastings of Netflix was a true founder and original. He had vision. Founders may not be the best operators all the time, but they must have vision. There are some founders though who not only have vision, but also can be an operator. Examples are Reed Hastings of Netflix, Steve Jobs of Apple, Mark Zuckerberg with Facebook.   Wayne Huizenga was a founder, but not an operator. You go from the founder mentality to the operator mentality, but this never materialized in the history of Blockbuster.   Overall, Blockbuster management never really understood the business they were in. They were in the customer business, but never really focused on the customer. This is how over the long term they were beat out by companies like Netflix, and even Amazon.   Peter Drucker (famous business consultant) would ask the important question: ‘What business are you in?' – to understand who your customers are, what they need, and how to market and sell to your customer   Postscript: Alan Payne closed his last blockbuster store in 2018, and then wrote the Built to Fail Blockbuster book. He does not know what his next endeavor is….         If you enjoyed this show, you may like:  BRT Marketing: HERE BRT Business: HERE    More - BRT Best of: https://brt-show.libsyn.com/category/Best+Of     Thanks for Listening. Please Subscribe to the BRT Podcast.      Business Roundtable with Matt Battaglia The show where Entrepreneurs, High Level Executives, Business Owners, and Investors come to share insight and ideas about the future of business. BRT 2.0 looks at the new trends in business, and how classic industries are evolving.  Common Topics Discussed: Business, Entrepreneurship, Investing, Stocks, Cannabis, Tech, Blockchain / Crypto, Real Estate, Legal, Sales, Charity, and more…  BRT Podcast Home Page: https://brt-show.libsyn.com/ ‘Best Of' BRT Podcast: Click Here BRT Podcast on Google: Click Here BRT Podcast on Spotify: Click Here                    More Info: https://www.economicknight.com/podcast-brt-home/ KFNX Info: https://1100kfnx.com/weekend-featured-shows/   Disclaimer: The views and opinions expressed in this program are those of the Hosts, Guests and Speakers, and do not necessarily reflect the views or positions of any entities they represent (or affiliates, members, managers, employees or partners), or any Station, Podcast Platform, Website or Social Media that this show may air on. All information provided is for educational and entertainment purposes. Nothing said on this program should be considered advice or recommendations in: business, legal, real estate, crypto, tax accounting, investment, etc. Always seek the advice of a professional in all business ventures, including but not limited to: investments, tax, loans, legal, accounting, real estate, crypto, contracts, sales, marketing, other business arrangements, etc.  

J.T. Robertson grew up in West Jordan, Utah.  His father, a retired firefighther, is someone he emulates to this day; his "mother by choice" adopted both J.T. and his brother after his birth mother left the family. J.T. was given adult responsibility as an eight-year-old child when in the "care" of his birth mother.  As the older brother, J.T. fed and attended to his brother while their mother was engaged with men and drugs.   J.T. lost contact with his mother when he was 12.  A drug hit was placed on her head, and she vanished.  His father did not know about what had happened at the home. J.T. will be the first to tell you, his choices weren't always thought through beforeheand.  As a senior in high school, he found himself as a husband and father.   J.T. took two glorious jobs at Firestone Tires and Hollywood Video to support his small family. ....Then September 11, 2001.  The following day, September 12, 2001, J.T. went to the recruiter's office.  He was going to protect his child, whether it be on home soil or foreign.  J.T. visited the airforce, navy, army, and finally...the marine recruitment centers. On January 14, 2002 J.T. began bootcamp as a prospective marine, followed by the school of infantry. J.T. was deployed to Iraq three days after his 2nd daughter was born. He served 8 years as a marine with one deployment to Iraq, and six years with the army national guard with one deployment to Afghanistan. J.T. was a witness to the disparity between Iraq and the United States, something most Americans can't even imagine.  He engaged in dangerous missions, including serving with the most decorated national guard unit in Utah, performing route clearance on the roads of Afghanistan. J.T. saw the senseless destruction, the fog of war as friendly fire took out a column of marines. He lost friends who came home with the war and were unable to cope with the PTS. J.T himself came home with TBI, PTS, anxiety, and a victim mentality.  He suffered debilitating depression.  J.T. went through two divorces.  Life was hardly easy. His PTS was unrecognizable to him.  First, believing it  to be survivors guilt, something J.T. would get over....but he didn't.   Things escalated.  Living outside the wire for both deployments, friends getting blown up, and an overall culmination combined into a terrible storm. The lowest point was the holiday season of 2015.  Working 2 jobs, living with a girl on the rebound, in peril of losing his business, living in the basement of a friend's home; the only thing he had to look forward to was spending Thanksgiving weekend with his girls until.. J.T. was arrested for being $1900 short on his child support.  He was put in jail until his credit card cleared for the amount owed, plus jailing expenses. J.T.'s holiday season becomes even darker.  Finding himself alone, J.T. buys a gun with a singular purpose.  Sitting in the basement with only his beloved dog, Montana, J.T. puts the gun in his mouth.  Through a series of actions by J.T's buddy, Montana, he does not pursue his plan.  Karaoke was the beginning of digging his hole out of depression.  The simple act of singing on statge gave J.T. a way out.  It has been a steady progression of steps since that first karaoke night. J.T. lives in Montana on serveral acres of land where he finds refuge and peace.    "No matter what happens in your life, you have a choice...a choice to suffer or be happy." During the pandemic, he experimented with honey and co-founded the Bearded Viking Mead Co.. You can find J.T. on the Podcast, Vikings, Outlaws, and Cowboys-dedicated to men's mental health And on social media at: https://www.instagram.com/beardedvikingmeadco/,  https://www.facebook.com/profile.php?id=100083611050695 https://www.tiktok.com/@beardedvikingmead https://www.youtube.com/@beardedviking1586            

Text us and say hello!Check out the official Generation 'S' Blockbuster shirt here!In this episode of Generation 'S', we embark on a delightful journey back to the 90s, a time when movie rental stores like Blockbuster held a special place in our hearts. Join us as we relive the golden era of movie rental culture and explore the rise, fall, and lasting impact of these iconic establishments.We kick off the show by setting the stage for the 90s – a time before streaming services dominated our screens. The episode dives deep into the birth of Blockbuster, tracing its origins from a single store to a nationwide sensation that defined an era. We also reminisce about other key players in the movie rental scene, such as Hollywood Video and Family Video, highlighting the unique experiences each store offered.The heart of the episode takes us through the Blockbuster experience itself. We paint a vivid picture of the store's signature blue and yellow design, neon lights, and rows upon rows of VHS tapes that beckoned to be explored. Remember those Friday nights dedicated to finding the perfect movie for the weekend? We take a trip down memory lane to the days when membership cards were prized possessions, and late fees were the dreaded reminders of the passing time.As the episode unfolds, we explore the digital disruption that eventually led to the decline of these beloved rental stores. The rise of DVDs and the advent of Netflix's groundbreaking DVD-by-mail service marked a turning point in the industry. We delve into how Netflix's innovative approach revolutionized the way we consumed content and discuss the various factors that contributed to Blockbuster's downfall.However, even as we bid farewell to the era of movie rental stores, their legacy lives on in our collective memory. We reflect on the nostalgia that continues to surround these stores and share stories of collectors who treasure vintage VHS tapes and Blockbuster memorabilia. Drawing parallels between the analog experience of browsing store aisles and the modern convenience of algorithm-driven streaming, we ponder how technology has changed our entertainment consumption habits.The episode concludes with a heartwarming segment where we read out listener-submitted stories and answer questions about the cultural impact and behind-the-scenes stories of movie rental stores. From fond memories to cherished anecdotes, our listeners offer a firsthand account of the role these stores played in shaping their 90s upbringing.Join us in this nostalgic trip down memory lane as we celebrate the Blockbuster era and the charm of 90s movie rental culture. Whether you're a die-hard fan of classic VHS tapes or a digital native curious about the past, this episode is sure to take you on a delightful journey through the iconic Generation 'S'. Don't forget to subscribe and leave a review to keep the nostalgia alive. Until next time, stay tuned and stay nostalgic!Support the Show.We've got merch!Check out the site for some awesome Gen 'S' swag :)

Felder, Surber and Hartzell start out with Blankman and is Summer Over. The gang gets into some lawn talk plus pool talk with respect to pricing. Felder is very clear that he hates the pool. Surber on renting video games vs movies at Hollywood Video plus he has a real time experience of learning Michael Jordan cologne was a thing. What was your middle school cologne? Nolan movies are too loud. Being grounded. DEAR Time!! Plus voicemails, a robo mower tease and baguette pan into the product doc plus Hartzell and Felder battle over miles. Rate. Review. Subscribe. #LETSGROWSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Roll back time with us here at ARG...back to those days where Blockbuster and Hollywood Video kept you entertained on a Friday night. This was a time when you stared at a wall of movies and games and hoped that the one you wanted wasn't rented out. Go back to a time where it seemed like you had a universe of choices..but you only had them for 2 days, and you darn sure better rewind. If you were a frequent GAME renter at your local video store, then you are probably well aware that some games ONLY appeared for rent! It's down this road we travel! Join Amigo Aaron and THE BRENT for RENTAL EXCLUSIVE GAMES, as we tackled Stunt Racer 64 for the Nintendo 64, and Sonic Adventure Limited for the Dreamcast. Pop some corn and settle in! --- Send in a voice message: https://podcasters.spotify.com/pod/show/amigospodcast/message

Roll back time with us here at ARG...back to those days where Blockbuster and Hollywood Video kept you entertained on a Friday night. This was a time when you stared at a wall of movies and games and hoped that the one you wanted wasn't rented out. Go back to a time where it seemed like you had a universe of choices..but you only had them for 2 days, and you darn sure better rewind. If you were a frequent GAME renter at your local video store, then you are probably well aware that some games ONLY appeared for rent! It's down this road we travel! Join Amigo Aaron and THE BRENT for RENTAL EXCLUSIVE GAMES, as we tackled Stunt Racer 64 for the Nintendo 64, and Sonic Adventure Limited for the Dreamcast. Pop some corn and settle in! --- Support this podcast: https://podcasters.spotify.com/pod/show/arg-presents/support

In the latest episode of Hospitality Hangout, hosts Michael Schatzberg "The Restaurant Guy" and Jimmy Frischling "The Finance Guy" sit down with Sherif Mityas, CEO of BRIX Holdings. BRIX Holdings is a Dallas-based franchising company that specializes in superior foodservice chains within the better-for-you segments. Their mission is to provide exceptional franchise opportunities and focus on brands that appeal to the expanding single-unit owner/operator franchise market, with the potential to become national and international award-winning chains. The current BRIX Holdings portfolio includes renowned brands such as Red Mango Yogurt Café Smoothie & Juice Bar, Smoothie Factory Juice Bar, Souper Salad, Orange Leaf, Humble Donut Co., Greenz, and Friendly's.During the episode, Sherif Mityas shares insights into the iconic Friendly's brand, which is celebrating its 88th birthday this year. He highlights the emotional connection people have with Friendly's, recalling stories of customers' first dates over milkshakes and the enduring popularity of their signature treats like the Jim Dandy and Banana Royale. Sherif also discusses other brands within the BRIX Holdings portfolio, including frozen yogurt concepts Red Mango and Orange Leaf, super salad, the newly reconcepted Smoothie Factory Plus Kitchen, and Humble Donuts. He hints at the upcoming addition of another brand.The conversation delves into Sherif's background, where he shares his experience in the retail industry, including his time running the Hollywood Video and Movie Gallery chain. He also explains how he transitioned into the hospitality sector, joining TGI Fridays as their Chief Experience Officer before joining the BRIX Holdings Group. Sherif expresses his excitement about leading an amazing team at BRIX Holdings and driving the growth of their portfolio.The episode takes an interesting turn as Jimmy Frischling introduces breaking news about BRIX Holdings' latest concept, Pizza Jukebox. Sherif describes this fully automated dine-in experience, where guests can watch robots and automated machines craft personalized pizzas within minutes. The innovative approach aims to provide not just a pizza but a memorable theater-like experience for customers. Sherif emphasizes the importance of technology in enhancing the guest engagement and driving the dine-in experience.The conversation concludes with a discussion about BRIX Holdings' partnership with Middleby and their collaboration with L2F to bring the Pizza Jukebox concept to life. Sherif highlights the focus on personalization, aiming to cater to individual preferences while maintaining consistency through robotics and automation.Overall, the episode offers fascinating insights into BRIX Holdings' brand portfolio, Sherif Mityas' journey in the industry, and the exciting innovations shaping the future of hospitality.To hear the questions and Mityas' responses to “Two Truths and a Lie” check out this episode of Hospitality Hangout.

In the latest episode of Hospitality Hangout, hosts Michael Schatzberg "The Restaurant Guy" and Jimmy Frischling "The Finance Guy" sit down with Sherif Mityas, CEO of BRIX Holdings. BRIX Holdings is a Dallas-based franchising company that specializes in superior foodservice chains within the better-for-you segments. Their mission is to provide exceptional franchise opportunities and focus on brands that appeal to the expanding single-unit owner/operator franchise market, with the potential to become national and international award-winning chains. The current BRIX Holdings portfolio includes renowned brands such as Red Mango Yogurt Café Smoothie & Juice Bar, Smoothie Factory Juice Bar, Souper Salad, Orange Leaf, Humble Donut Co., Greenz, and Friendly's.During the episode, Sherif Mityas shares insights into the iconic Friendly's brand, which is celebrating its 88th birthday this year. He highlights the emotional connection people have with Friendly's, recalling stories of customers' first dates over milkshakes and the enduring popularity of their signature treats like the Jim Dandy and Banana Royale. Sherif also discusses other brands within the BRIX Holdings portfolio, including frozen yogurt concepts Red Mango and Orange Leaf, super salad, the newly reconcepted Smoothie Factory Plus Kitchen, and Humble Donuts. He hints at the upcoming addition of another brand.The conversation delves into Sherif's background, where he shares his experience in the retail industry, including his time running the Hollywood Video and Movie Gallery chain. He also explains how he transitioned into the hospitality sector, joining TGI Fridays as their Chief Experience Officer before joining the BRIX Holdings Group. Sherif expresses his excitement about leading an amazing team at BRIX Holdings and driving the growth of their portfolio.The episode takes an interesting turn as Jimmy Frischling introduces breaking news about BRIX Holdings' latest concept, Pizza Jukebox. Sherif describes this fully automated dine-in experience, where guests can watch robots and automated machines craft personalized pizzas within minutes. The innovative approach aims to provide not just a pizza but a memorable theater-like experience for customers. Sherif emphasizes the importance of technology in enhancing the guest engagement and driving the dine-in experience.The conversation concludes with a discussion about BRIX Holdings' partnership with Middleby and their collaboration with L2F to bring the Pizza Jukebox concept to life. Sherif highlights the focus on personalization, aiming to cater to individual preferences while maintaining consistency through robotics and automation.Overall, the episode offers fascinating insights into BRIX Holdings' brand portfolio, Sherif Mityas' journey in the industry, and the exciting innovations shaping the future of hospitality.To hear the questions and Mityas' responses to “Two Truths and a Lie” check out this episode of Hospitality Hangout.

Join the moms of Santa Clarita and Special Guest Jessica Hall from Kendra Sells  Hollywood as they chat about what it's like when Hollywood collides with the burbs and what it's like to be a working mom. They talk about everything from social media, work/life balance, changing priorities, therapy, and things get wild when they flashback to the Playboy Mansion and the Hugh Hefner days. Raising a family right outside Hollywood, CA these mamas are committed to showing their children you can work and have it all right here in Santa Clarita, CA because it's a game of perspective and priorities. Grab a beverage and pull up a seat, and let's chat. Unfiltered - because that's when the greatest connections happen. Plus, when a group of women gets together, let their hair down, and share their purpose and passions magic happens.*Be sure to WATCH this episode, not just listen, to follow along and get the full experience!*Guest Links: For more information on the Bras for a Cause Charity Event on September 23 click HERE Link to Jessica Hall's podcast Flashbacks  HERE Nobody knows Santa Clarita better than Top Leading Santa Clarita Real Estate Agent for Keller Williams VIP Melissa Gunn can be reached on Instagram @melissa_gunn_realestate and on Facebook HERE Don't forget to mention SCV Connected  Mom, Wife, and Interior Designer Lesley Crawford Dorso can be found on Instagram HERERadio/TV Personality/Investor/Podcast Host Jessica HallBlog➡sleeplessmom.com Investor @sugartaco Podcast Host @actionparkmediagroupCurrent Projects HEREShow Notes:Got Feedback or Questions!! Be sure to reach out via email at info@scvconnected.comSupport for the showHit follow on your favorite podcast app & leave a lovely rating, and review on your favorite podcasting platform!SCV Connected is on Instagram, Facebook, Pinterest, and YouTubeSCV Connected is brought to you by Kelly O'Keefe of SCV Connected in collaboration with @podcastscvCheers SCV!!

What was your first job? As our oldest son prepares to enter the workforce Javi walks down memory lane about his "first" job at a video and getting accused of stealing video games. Follow us here. --- Send in a voice message: https://podcasters.spotify.com/pod/show/theogpodcast/message Support this podcast: https://podcasters.spotify.com/pod/show/theogpodcast/support

Stone Cold Ryan's Winter Film Fest Federation continues with Michel Gondry's 2008 swed-fest, Be Kind, Rewind. I'm your host, Stone Cold Ryan, and joining me as we make sure not to magnetize our entire VHS collection are fellow film fans Dave and Michael! In this episode we'll discuss our time at Hollywood Video during the great home media shift of the late 2000s; we'll break down Michel Gondry's varied career path from music videos to beloved classics like Eternal Sunshine of the Spotless Mind; and finally, Dave and I will try to explain to Michael the difference between improv and sketch comedy. Be sure to rate, review and subscribe wherever you get your podcasts. You can also Follow Us on Twitter, Like Us on Facebook, or shoot us an email at apocalypsevideopod@gmail.com Stone Cold Ryan's Winter Film Fest Federation will conclude with Clerks III.

@SteezyKane used to be broke and famous- think over a million followers, making less than $50K a year. He blew up with clever prankster videos - but his true passion is to produce creative documentaries. Tune in to learn how he built his content into a financially stable business - and how he's transitioning from clickbait to something more meaningful. Learn more about Karat: trykarat.com

Jeff Zenisek joins Randy back in studio for a special recording on International Women's day. Randy opens the show asking Jeff about his Too Woke Boys videos. The fellas move on to talk about what about women annoys them the most. Jeff tells Randy about how bad his diet was as a kid. The boys mock “content creators”. Randy shares the stats from a website that show how hard it is to find the “ideal man”. Jeff talks about working at Hollywood Video as a teenager. Randy and Jeff share some strip club stories. They close with the news - A mom hosted teenage parties at her house, an NYC hedge fund manager was extorted by his therapist for “mistress money”, and Trans-abled people are identifying as disabled when they're not.    Outro: “Queens Galaxy” by Gee Dubs Social Media: Instagram: @randyvalerio @readysetblowpodcast Twitter: @randytvalerio @readysetblowpodcast TikTok: @randyvaleriocomedy @readysetblowpod YouTube:  @readysetblowpodcast   @randyvaleriocomedy    FB:  facebook.com/randy.valerio.777

Jared Rasic has lived in Bend since 1999, when he moved here for college. Since then he's worked at Westside Video, Boomtown, Hollywood Video, Cascades Theatrical Company, Tin Pan Theater and, on and off since 2010, The Source. Now he divides his time between The Source and helping program films for Tin Pan Theater and shorts for the BendFilm Festival. In this edition of Bend Don't Break, Rasic talks about his love for film, memories of the 1000 articles he has now written for the Source Weekly and more.

The GCP guys hang out on this episode and talk podcasts, Union Club, movies, and the new game 3 Questions?. 00:00 – The show starts talking about weird shows before metal concerts, the amount of cash Jeff would take to have it stapled on him, and Justin talks about the pizza they enjoyed at Puget Sound Pizza. He shares how listeners can tune in live while recording, Jeff talks about why he carries a pocket of animal crackers, and Justin explains how listeners can support the podcast. He talks about past guests they've had on, the crazy weather that's been going on in the PNW, and invites listeners to join them on March 10th for Mario Day. 13:47 -Derek talks about going on the Dudes with Brews on a Porch podcast to talk with a close friend about the GCP, Scott expresses how Grit City is a state of mind, and Justin talks about finding the east coast version of the Grit City. Derek talks about doing indoor golf with his wife at Tower Lanes, he talks about it being open 24 hours in the past, and the other put-put golf places in the area he's visited. They make plans for a Tacoma Olympics, the new Discord channel Derek made, and gives his review of the new horror sci-fi movie M3gan. 27:12 – The guys discuss their reviews of the movie The Goonies, movies in the 80's that were products of their time, and Scott recommends the rewatch of Popeye with Robin Williams. Justin runs a test of their newest game 3 questions, each of the guys share their dream vacation, and Justin explains why he would love to go to New Zealand and what he would do there if there was no limit on money. 39:52 – Derek expresses the most important thing for a workplace to have, Scott and Justin share what's essential for them, and Jeff reflects on getting spoiled at a place he recently worked out. Scott talks about the guacamole contest at one of his jobs, Jeff describes the worst movie he's ever watched, and Derek talks about renting bulk movies from Hollywood Video back in the day. Justin talks about the movies that were so bad they were good, if he prefers casual or professional dress, and encourages listeners to give feedback on the new game.

The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro)   TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago?   For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt.   That was the logo of the disc's distributor.   Vestron Video.   A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it.   But before we get there, we, as always, must go back a little further back in time.   The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company.   But what to call the company?   It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point.   At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future.   Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling.   The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet.   Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great.   Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night.    For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron.   They were doing pretty good.   And in 1984, Vestron ended up changing the home video industry forever.   When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video.   It would become the second home videotape to sell a million copies, after Star Wars.   Suddenly, Vestron was flush with more cash than it knew what to do with.   In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made.   Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies.   Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build.   But it costs money to build a movie production and theatrical distribution company.   Lots of money.   Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day.   It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution.   Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure.   Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000.   Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside.   And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year.   Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2.   The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner.   The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again.   In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco.   Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross.   Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week.   It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for.   Dirty Dancing.   Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname.   Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle.   But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it.   They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise.   To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special.   Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget.   For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials.   Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny.   Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role.   Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming.   Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released.   After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th.   Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance.   But, to be fair, one important element of the film was still not set.   The music.   Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film.   Vestron would spend another half a million dollars licensing the original recording.    The writer nailed all ten.   But even then, there was still one missing piece of the puzzle.   The closing song.   While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.”   Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version.   The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there.   While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals.   With all the songs added to the movie, audience test scores improved considerably.   RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts.   When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts.   The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds.   But then a funny thing happened…   Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack.   Its second week in theatre would only see the gross drop 6%, and the film would finish in third place.   In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales.   Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better.   When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago.   On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong.   The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988.   Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets.   Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then.   Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola.   The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role.   New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.”   Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck.   But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales.   Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves.   Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo.   The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales.   And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting.   Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot.   One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either.   John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6.   The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres.   Vestron would also release two movies in 1987 through their genre Lightning Pictures label.   The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film.   The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them.   After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run.   While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school.   People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years.   Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was.   Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right?   We'll find out next episode, when we continue the Vestron Pictures story.   Thank you for joining us. We'll talk again next week.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

If you needed proof that '90s movies were built different, look no further than TALES FROM THE CRYPT: DEMON KNIGHT. It's a practical effect-driven spinoff of a horror comedy anthology from a Black director, sprinkled with bare-breasted ladies, centered around a mixed-race cast, set in the Southwest,  and starring Billy Zane as an ooze-filled demon and Jada Pinkett as a quietly brooding Final Girl. It's a whole moment in horror history, and a young Akela Cooper -- the same Akela Cooper who would go on to write M3GAN and MALIGNANT -- saved up over $40 to buy it on VHS after her parents missed taking her to see in in theaters. All that, plus some flowers for Ke Huy Quan and Michelle Yeoh as we do our part to push for EEAAO for Everything this awards season.***With Jordan Crucchiola and Akela Cooper

Derek Waters (Drunk History) talks about growing up in the tire business, being denied a job at circuit city, and renting movies to celebrities at Hollywood Video. Ticket link to the Wheelan Motors Table read January 12: https://www.elysiantheater.com/shows/deadpilotssociety

This week Jackie and Danielle are joined again by their good friend Nick! Nick retells the tale of his Hollywood Video arrest (darn those bundle sales!) as they reminisce about being video store clerks. --- No More Late Fees --- Send in a voice message: https://anchor.fm/nomorelatefees/message Support this podcast: https://anchor.fm/nomorelatefees/support --- Send in a voice message: https://anchor.fm/nomorelatefees/message Support this podcast: https://anchor.fm/nomorelatefees/support

In what may prove to be the ultimate film that built the duo known as Devon and Sejohn into the podcasters they are today, we take a trip to Pengu Island to explore Sony Animation's second film: “Surf's Up”Along the way we discuss the event that shook Sejohn to his core regarding how some people “watch” movies, Devon's memories of Hollywood Video and how this movie helped to shape them, before ultimately celebrating how “Surf's Up” helped to shape the technology and culture of the animated feature film.

An ambitious video editor (who also runs many side hustles!) uses a string of $5/month Craiglist ads to land thousands of dollars in work.   Side Hustle School features a new episode EVERY DAY, featuring detailed case studies of people who earn extra money without quitting their job. This year, the show includes free guided lessons and listener Q&A several days each week. Show notes: SideHustleSchool.com Email: team@sidehustleschool.com Be on the show: SideHustleSchool.com/questions Connect on Twitter: @chrisguillebeau Connect on Instagram: @193countries Visit Chris's main site: ChrisGuillebeau.com If you're enjoying the show, please pass it along! It's free and has been published every single day since January 1, 2017. We're also very grateful for your five-star ratings—it shows that people are listening and looking forward to new episodes.

Alan Payne is the man who built the longest-lasting Blockbuster franchise chain in the country, the author of an Amazon Best-Seller, Built to Fail: The Inside Story of Blockbuster's Inevitable Bust, and was recently featured on the Netflix film, The Last Blockbuster. During this episode, Alan discusses his upbringing in Breckenridge, Texas until graduating from Texas Tech. What did he do to get an interview at H-E-B? How did he get into the video business? Then Alan starts to take us through the downfall of Blockbuster Video.What happened when Blockbuster passed on a chance to buy Video Central, which was eventually sold to Hollywood Video? What did Video Central and Hollywood Video do differently to out-perform Blockbuster? What brought Alan to Blockbuster? He also takes us behind the scenes through the various leaders at Blockbuster and how their “If it's not invented here, we're not interested” mentality hindered their success. As Alan mentions in his book, “Netflix didn't kill Blockbuster, Blockbuster killed Blockbuster.” What happened when Blockbuster had a chance to purchase Netflix? Where is the Russell Crowe memorabilia, and how did it feel to close his final stores in Alaska? Alan also talks about the Last Blockbuster film on Netflix, Buc ee's, the Blockbuster World theme park, and much more in this Business 101 episode of the Shadows Podcast. Grab a copy of Alan's Amazon Best-Seller, Built to Fail: The Inside Story of Blockbuster's Inevitable Bust at https://www.amazon.com/Built-Fail-Inside-Blockbusters-Inevitable/dp/1544517769 If you enjoy what we're doing and would like to leave a review, please head over to https://linktr.ee/ShadowsPodcast or www.theshadowspodcast.com. Also, while you're there, check out all past episodes, our book recommendations, and weekly blogs. The Shadows Podcast is a proud member of the Lima Charlie Network (www.limacharlienetwork.com).work.com). --- Support this podcast: https://anchor.fm/shadows-podcast/support

The Queens rate and review a 4 Star Amazon Review for Cards Against Humanity and a 1 Dot TripAdvisor Review for Hollywood Boulevard! Trey is straight (surprise), Chelsey has BEEF, and the Queens can't stop the beat! Dictionaries, Teletubbies, Hollywood Video, Pythons, and more! (03:40) Lodge a Complaint! (08:53) Cards Against Humanity Review (21:30) Exclusive Offer (22:31) Meryl-Go-Round (27:32) Hollywood Blvd Review (42:56) My Royal Highness (47:43) https://www.reviewthatreview.com/donate (DONATE)! (48:21) On Today's After Show Pod https://www.reviewthatreview.com/donate (DONATE) to the Production of Review That Review by visiting https://www.reviewthatreview.com/donate (ReviewThatReview.com/Donate)  https://www.patreon.com/reviewthatreview (Click Here to Join our Patreon) Royal Court for Bonus content and Member's Only After-Show Podcast featuring additional reviews, deeper dives, salacious stories, and more. ***** PROMO CODES ***** REVIEW40 at https://www.vitable.com.au (vitable.com.au) REVIEWQUEEN at https://www.shesbirdie.com/?rfsn=6249656.5f81a4 (shesbirdie.com) REVIEWQUEEN40 at https://www.natalieweissvoice.com/ (NatalieWeissVoice.com) QUEEN15 at https://smartpatches.myshopify.com/?rfsn=6293516.b74717&utm_source=refersion&utm_medium=affiliate&utm_campaign=6293516.b74717 (SmartPatches.com) QUEEN at https://www.superchewer.com/queen (superchewer.com) *** https://reviewthatreview.us1.list-manage.com/subscribe/post?u=f8634011bef332e917e868253&id=a65c8f7884 (Click Here) to Join the Queendom Mailing List! Leave us a voicemail at 1-850-REVIEW-0 WATCH CLIPS on https://www.youtube.com/channel/UCfhCAcirZKQb9E2NxI5BiJg (YouTube)! Visit our website for more: http://www.reviewthatreview.com/ (www.ReviewThatReview.com) @TheReviewQueens | @ChelseyBD | @TreyGerrald  --- Review That Review is an independent podcast.  Executive Produced by Trey Gerrald and Chelsey Donn with editing and sound design by Trey Gerrald.  Cover art designed by LogoVora, voiceover talents by Eva Kaminsky, and our theme song was written by Joe Kinosian and sung by Natalie Weiss.

Every kid from the 80's and 90's remembers the weekend ritual of going to the video store and picking up your entertainment for the weekend.  The feeling of walking up and down the aisles, hoping what you want is in stock, with nothing to go on except the back of the box or a recommendation from an employee.  You were committed to that movie or game for the weekend – good or bad.Adam and Chad reminisce about the good old days of Blockbuster and Hollywood Video and dissect how a multibillion dollar enterprise could go from the top of the world to practically non-existent within a matter of years.< '00 | an Art House Empire Production | a proud member of the HyperX podcast Network | #LessThan2000Support the show

For this month's episode, Melinda is bringing another incredible role model to the stage, Janet Phan. Janet is a TED speaker, author, and most importantly the founder of Thriving Elements- a non-profit for underserved girls in STEM. Growing up, Janet's mother worked as a cashier in dollar stores and goodwills and she remembers dreaming of being a cashier just like her mom. As she grew up, she realized there were other options for her. Janet's parents were refugees from Vietnam so it was very difficult for them to navigate Janet through the American education system. This affected how Janet viewed the world, including who she could trust, who she would allow in her network, and who she saw as her role models. Janet says through her parents she learned to, "do good work and the people around you will see you and want to help you". She did so by going above and beyond, helping her school and her community. She says, "That has been a key part in how I've been successful, doing more than asked." Meldina asks, "What was your breakout moment?", the time that Janet saw a whole other path and wanted to take charge. Janet says she remembers the moment very vividly. Leaving her family's house her senior year of high school due to conflict, she started working at KFC and Hollywood Video, trying to get in as many hours as possible. She said one night after work she went to go get gas and didn't have the money to pay for it. She says this was the turning point in her life. She realized then that she did not want to live paycheck to paycheck and this kicked her motivation into high gear. Janet then wrote a book about this experience called, "Boldly You". After holding her story in for so long she realized she needed to share and inspire others. So what inspired Janet to start Thriving Elements and help underserved girls in STEM? Janet says it came from when she started traveling globally for a previous technology company she used to work for. She says through them she had the opportunity to enroll in business classes, something she was very grateful for. She says she wouldn't have gotten to where she is now if it wasn't for the mentors in her life that put time into her and took those risks for her. She says Thriving Elements started because when she was working and doing technology consulting around the globe she realized that she was often the only woman at the table and the only woman of color. This is why she wanted to help those girls that come from underserved backgrounds and put them on the playing field, like some of her mentors did for her, by providing opportunities and mentoring them. But how does Thriving Elements overcome the hurdles and challenges of mentorship and how do they build long-lasting relationships with their clients? Janet says the problem with formal mentoring today is that it lacks that one on one connection so, they are not as impactful as they would like to be. The mentoring model Thriving Elements uses is built off the mentoring model that Janet built for herself. The way Thriving Elements works is as a mentee, you get matched with your mentor in High School, and the mentors stay with their mentee throughout college. In the early parts of your career, your mentor makes sure you get into the field you have been striving for. Janet says, there are three concepts to mentoring with Thriving Elements and the key concept is, "always follow up with your mentor". Sharing and following up with your mentor is important because they invest a lot of their time in you, so it is rewarding for them to hear all that you have accomplished with their help and guidance. Thriving Elements started in 2016, and her roadmap has always been to expand globally. With people from all over the world asking Janet to bring Thriving Elements into their communities, she had built a network. Getting meets set up with people from all over the world was difficult due to a bad internet connection, and this was frustrating for Janet. This created a digital divide. She has been wanting to work with an organization to bridge the digital divide. As of today, Janet is starting her career at Amazon's Project Kuiper, where they will be launching satellites to get reliable broadband to underserved communities. This is helping to bridge together Janet's knowledge in technology and her passion to help these underserved communities together. Thriving Elements is always looking for more STEM mentors, if you want to be a part of this organization you can go to www.thrivingelements.org. You can also pre-order Janet's book, Boldly You at boldly-you.com. You can also find Janet on Instagram, Twitter, and LinkedIn.

PUBLIC VERSION. Filmmaker Joe Swanberg (DRINKING BUDDIES, YOU'RE NEXT, Netflix's LOVE) is one of the most prolific artists working today. Writer, director, producer, actor, editor, cinematographer… he literally does it all! Swanberg sits down with Adam, Joe, and Arwen to discuss his career journey from aspiring basketball player to filmmaker… the films and filmmakers of the mid-80's to mid-90's that inspired him while working at Hollywood Video… how he prioritizes projects that “can be made tomorrow” rather than investing years developing giant productions that may never ever get made at all… how working with Adam Wingard helped teach him how to make really good movies really fast… and how he turned a combination of fear and major life changes like becoming a father, getting divorced, and being broke into the very fuel that kept him churning out project after project in his 20's and 30's. Swanberg also discusses acting in Mickey Keating's latest film OFFSEASON which opened in theaters on March 11th and is currently available on VOD and digital! Dr. Arwen provides “Hollywood Therapy” for a filmmaker unsure of just how much time, energy, and money to spend promoting and traveling with a short film on the festival circuit and Swanberg reveals where you can now finally stream his earlier previously impossible to find films in this total geek-out between three fellow filmmakers / cinematic nerds.

Casey Venus joins Jeff to talk about his childhood, his marriage, and his professional journey. They cover a handful of topics related to their local area, including wild mushroom foraging, local cuisine, and the local nightlife. We hear from the saga of Casey's romantic life including the story of his first orgasm, which might surprise you. Also, I believe we got his second orgasm in there too. And of course Jeff chimes in with his own sexual anecdotes in a manner that would be so inappropriate under any normal circumstances that he had to create his own show. Additional topics include: the career of Billy Zane, repressed memories, Christian-rock music, podcasting, Chuck Barry vs Chuck Barris, Joe Rogan's use of the N-word, and the formation of a brand new political party called the Gun-toting Liberals party (GTL). Jeff's lovely daughters join him for the intro to reiterate that this episode is for adults only. The content is graphic in nature and while hilarious, may not be suitable for younger listeners. Keywords: ASMR; Youtube; NFTs; Cult of Meerks; Ukraine; Russia; misophonia; Billy Zane; The Mummy; Dwayne The Rock Johnson; Zoolander; Hollywood Video; Robinhood Men in Tights; Dave Chapel; Cancel culture; censorship; Russel Brand; Joe Rogan; Apple Podcasts; UFC; Qanon; mushrooms; Matsutake; psilocybe; cooking; culinary arts; Religion; theology; Puritanism, sexual health; masturbation; sexual fantasies; repressed memories; sexual abuse; sexual education; kinks; deviance; romance; guns; violence; salmon; salmon fishing; salmon habitat restoration; Washington Department of Fish and Wildlife; salmon hatcheries; steelhead fishing; black bear; trophic cascades; The Apprentice; Trump; economy; Covid-19 relief; Reddit.com; Discord servers; Google; fermented foods; kimchi; Hawaiian plate lunch; teriyaki chicken. music: Incessant, Ofelia Moore Still Fly, Revel Day Links ·      Patreon: https://www.patreon.com/ramblebytheriver (Patreon.com/ramblebytheriver) ·      Website: http://ramblebytheriver.com/ (Ramblebytheriver.com) ·      Business: ramblebytheriver@gmail.com ·      Facebook: https://www.facebook.com/jeff.nesbitt.9619/ (https://www.facebook.com/jeff.nesbitt.9619/) ·      Instagram: https://instagram.com/ramblebytheriver (https://instagram.com/ramblebytheriver) ·      Twitter: https://twitter.com/rambleriverpod (https://twitter.com/rambleriverpod) ·      Podcast host: Ramblebytheriver.captivate.fm

Our special guest today is filmmaker Bobby Canipe Jr, whose forthcoming documentary, “Mom n' Pop: The Indie Video Store Boom of the 80s/90s”, is a fascinating and nostalgic look at the local video stores that many of us grew up with! We had a great discussion about his career and take a deep dive into the history and our memories of Video Stores! If you have a young person in your life that has never experienced the fun of going to video stores, looking wide eyed at the cover art, and the joy of choosing a movie or two for movie night, then have them listen to this fun retrospect on one of the coolest periods of our lifetime! Bobby can be found at: Mom n' Pop: The Indie Video Store Boom of the 80s/90s film - https://www.facebook.com/MomNPopDoc Twitter: @Bobbycanipejr North Carolina Terror Con - https://www.facebook.com/TinyTerrorCon/ Universe Retro - https://www.facebook.com/theUniverseRetro/ Movies from the Morgue Podcast: https://open.spotify.com/show/07y3M9sH9rOVbrJqGdBFiy?si=6usNuUooQWugcblFv4oVBw&fbclid=IwAR1Ojwox0f7cz2pIzXQqBP3JLZx_Z9OfjkMqp7gjqE5U_kvCbG_rw6githw&nd=1 Chris Can be found at: http://www.storiesmotion.com Haven Podcasts: Patreon: https://www.patreon.com/ThenIsNowPodcast TeePublic: http://www.teepublic.com/stores/havenpodcasts Feedback: thenisnow42@gmail.com Join the conversation at our Facebook Group Twitter: @HavenPodcasts Website: havenpodcasts.com where you'll find our sister show, The East Meets the West, in which we discuss Shaw Brothers films and Spaghetti Western movies! Please SUBSCRIBE to our YouTube page, also! Don't forget to go to wherever you download your podcasts from and leave us a great review so more listeners can find us! You can find us on all the podcasting apps, especially the big 3: iTunes, Spotify, and Stitcher! Enjoy, Re-Gor

-- Presented by Boneyard Beer --On this week's episode, Peter is weirded out by celebrities under 18 hawking underwear.An update on Hank the Tank, the 500 pound bear breaking into homes in South Lake Tahoe, who has been vindicated. A man wins a $10M scratch off lottery twice in three years-- would you try to keep it secret? What are some businesses that used to be around that you're bummed aren't around anymore? Did Braxton put Hollywood Video out of business? The IJMS mascot, Doug the bearded dragon, might be demented. Kyler Murray wants an extension and he's going about it all the wrong way. Hue Jackson may have admitted to tax fraud while defending the hiring of Art Briles. The Lakers continue to be hot garbage in a dumpster fire-- will they make the playoffs?March Madness is just around the corner and it's looking to be the most up in the air tournament in years. Peter loses this week and has to take a tequila shot-- with a catch. 

-- Presented by Boneyard Beer --On this week's episode, Peter is weirded out by celebrities under 18 hawking underwear.An update on Hank the Tank, the 500 pound bear breaking into homes in South Lake Tahoe, who has been vindicated. A man wins a $10M scratch off lottery twice in three years-- would you try to keep it secret? What are some businesses that used to be around that you're bummed aren't around anymore? Did Braxton put Hollywood Video out of business? The IJMS mascot, Doug the bearded dragon, might be demented. Kyler Murray wants an extension and he's going about it all the wrong way. Hue Jackson may have admitted to tax fraud while defending the hiring of Art Briles. The Lakers continue to be hot garbage in a dumpster fire-- will they make the playoffs?March Madness is just around the corner and it's looking to be the most up in the air tournament in years. Peter loses this week and has to take a tequila shot-- with a catch. 

I talk about wanting to work at Hollywood Video and Blockbuster as a child. I continue to talk for roughtly 40 something minutes. Thank you for watching and appreciating my art. God Bless. https://www.logcabinlibrarian.com//