Podcast appearances and mentions of Jack Nicholson

In this Write Big session of the #amwriting podcast, host Jennie Nash welcomes Pulitzer Prize–winning journalist Jennifer Senior for a powerful conversation about finding, knowing, and claiming your voice.Jennifer shares how a medication once stripped away her ability to think in metaphor—the very heart of her writing—and what it was like to get that voice back. She and Jennie talk about how voice strengthens over time, why confidence and ruthless editing matter, and what it feels like when you're truly writing in flow.It's an inspiring reminder that your voice is your greatest strength—and worth honoring every time you sit down to write.TRANSCRIPT BELOW!THINGS MENTIONED IN THIS PODCAST:* Jennifer's Fresh Air interview with Terry Gross: Can't Sleep? You're Not Alone* Atlantic feature story: What Bobby McIlvaine Left Behind* Atlantic feature story: The Ones We Sent Away* Atlantic feature story: It's Your Friends Who Break Your Heart* The New York Times article: Happiness Won't Save You* Heavyweight the podcastSPONSORSHIP MESSAGEHey, it's Jennie Nash. And at Author Accelerator, we believe that the skills required to become a great book coach and build a successful book coaching business can be taught to people who come from all kinds of backgrounds and who bring all kinds of experiences to the work. But we also know that there are certain core characteristics that our most successful book coaches share. If you've been curious about becoming a book coach, and 2026 might be the year for you, come take our quiz to see how many of those core characteristics you have. You can find it at bookcoaches.com/characteristics-quiz.EPISODE TRANSCRIPTJennie NashHi, I'm Jennie Nash, and you're listening to the Hashtag AmWriting Podcast. This is a Write Big Session, where I'm bringing you short episodes about the mindset shifts that help you stop playing small and write like it matters. This one might not actually be that short, because today I'm talking to journalist Jennifer Senior about the idea of finding and knowing and claiming your voice—a rather big part of writing big. Jennifer Senior is a staff writer at The Atlantic. She won the Pulitzer Prize for feature writing in 2022 and was a finalist again in 2024. Before that, she spent five years at The New York Times as both a daily book critic and a columnist for the opinion page, and nearly two decades at New York Magazine. She's also the author of a bestselling parenting book, and frequently appears on NPR and other news shows. Welcome, Jennifer. Thanks for joining us.Jennifer SeniorThank you for having me. Hey, I got to clarify just one thing.Jennie NashOh, no.Jennifer SeniorAll Joy and No Fun is by no means a parenting book. I can't tell you the first thing about how to raise your kids. It is all about how kids change their parents. It's all like a sociological look at who we become and why we are—so our lives become so vexed. I like, I would do these book talks, and at the end, everybody would raise their hand and be like, “How do I get my kid into Harvard?” You know, like, the equivalent obviously—they wouldn't say it that way. I'd be like; I don't really have any idea, or how to get your kid to eat vegetables, or how to get your kid to, like, stop talking back. But anyway, I just have to clarify that, because every time...Jennie NashPlease, please—Jennifer SeniorSomeone says that, I'm like, “Noooo.” Anyway, it's a sociology book. Ah, it's an ethnography, you know. But anyway, it doesn't matter.Jennie NashAll right, like she said, you guys—not what I said.Jennifer SeniorI'm not correcting you. It came out 11 years ago. There were no iPads then, or social media. I mean, forget it. It's so dated anyway. But like, I just...Jennie NashThat's so funny. So the reason that we're speaking is that I heard you recently on Fresh Air with Terry Gross, where you were talking about an Atlantic feature story that you wrote called “Why Can't Americans Sleep?” And this was obviously a reported piece, but also a really personal piece and you're talking about your futile attempts to fall asleep and the latest research into insomnia and medication and therapy that you used to treat it, and we'll link to that article and interview in the show notes. But the reason that we're talking, and that in the middle of this conversation, which—which I'm listening to and I'm riveted by—you made this comment, and it was a little bit of a throwaway comment in the conversation, and, you know, then the conversation moved on. But you talked about how you were taking a particular antidepressant you'd been prescribed, and this was the quote you said: “It blew out all the circuitry that was responsible for generating metaphors, which is what I do as a writer. So it made my writing really flat.” And I was just like, hold up. What was that like? What happened? What—everything? So that's why we're talking. So… can we go back to the very beginning? If you can remember—Jess Lahey actually told me that when she was teaching fifth and sixth grade, that's around the time that kids begin to grasp this idea of figurative language and metaphor and such. Do you remember learning how to write like that, like write in metaphor and simile and all such things?Jennifer SeniorOh, that's funny. Do I remember it? I remember them starting to sort of come unbidden in my—like they would come unbidden in my head starting maybe in my—the minute I entered college, or maybe in my teens. Actually, I had that thing where some people have this—people who become writers have, like, a narrator's voice in their head where they're actually looking at things and describing them in the third person. They're writing them as they witness the world. That went away, that narrator's voice, which I also find sort of fascinating. But, like, I would say that it sort of emerged concurrently. I guess I was scribbling a little bit of, like, short story stuff, or I tried at least one when I was a senior in high school. So that was the first time maybe that, like, I started realizing that I had a flair for it. I also—once I noticed that, I know in college I would make, you know, when I started writing for the alternative weekly and I was reviewing things, particularly theater, I would make a conscientious effort to come up with good metaphors, and, like, 50% of them worked and 50% of them didn't, because if you ever labor over a metaphor, there's a much lower chance of it working. I mean, if you come—if you revisit it and go, oh, that's not—you know, that you can tell if it's too precious. But now if I labor over a metaphor, I don't bother. I stop. You know, it has to come instantaneously or...Jennie NashOr that reminds me of people who write with the thesaurus open, like that's going to be good, right? That's not going to work. So I want to stick with this, you know, so that they come into your head, you recognize that, and just this idea of knowing, back in the day, that you could write like that—you… this was a thing you had, like you used the word “flair,” like had a flair for this. Were there other signs or things that led you to the work, like knowing you were good, or knowing when something was on the page that it was right, like, what—what is that?Jennifer SeniorIt's that feeling of exhilaration, but it's also that feeling of total bewilderment, like you've been struck by something—something just blew through you and you had nothing to do with it. I mean, it's the cliché: here I am saying the metaphors are my superpower, which my editors were telling me, and I'm about to use a cliché, which is that you feel like you're a conduit for something and you have absolutely nothing to do with it. So I would have that sense that it had almost come without conscious thought. That was sort of when I knew it was working. It's also part of being in a flow state. It's when you're losing track of time and you're just in it. And the metaphors are—yeah, they're effortless. By the way, my brain is not entirely fogged in from long COVID, but I have noticed—and at first I didn't really notice any decrements in cognition—but recently, I have. So I'm wondering now if I'm having problems with spontaneous metaphor generation. It's a little bit disconcerting. And I do feel like all SSRIs—and I'm taking one now, just because, not just because long COVID is depressing, but because I have POTS, which is like a—it's Postural Orthostatic Tachycardia Syndrome, and that's a very common sequela from long COVID, and it wipes out your plasma serotonin. So we have to take one anyway, we POTS patients. So I found that nicotine often helped with my long COVID, which is a thing—like a nicotine patch—and that made up for it. It almost felt like I was doping [laughing]. It made my writing so much better. But it's been...Jennie NashWait, wait, wait, this is so interesting.Jennifer SeniorI know…it's really weird. I would never have guessed that so much of my writing would be dampened by Big Pharma. I mean—but now with the nicotine patches, I was like, oh, now I get why writers are smoking until into the night, writing. Like, I mean, and I always wished that I did, just because it looked cool, you know? I could have just been one of those people with their Gitanes, or however you pronounce it, but, yeah.Jennie NashWow. So I want to come—I want to circle back to this in a minute, but let's get to the first time—well, it sounds like the first time that happened where you were prescribed an antidepressant and—and you recognized that you lost the ability to write in metaphor. Can you talk about—well, first of all, can you tell us what the medication was?Jennifer SeniorYeah, it was Paxil, which is actually notorious for that. And at the top—which I only subsequently discovered—those were in the days where there were no such things as Reddit threads or anything like that. It was 1999… I guess, no, eight, but so really early. That was the bespoke antidepressant at the time, thought to be more nuanced. I think it's now fallen out of favor, because it's also a b***h to wean off of. But it was kind of awful, just—I would think, and nothing would come. It was the strangest thing. For—there's all this static electricity usually when you write, right? And there's a lot of free associating that goes on that, again, feels a little involuntary. You know, you start thinking—it's like you've pulled back the spring in the pinball machine, and suddenly the thing is just bouncing around everywhere, and the ball wasn't bouncing around. Nothing was lighting up. It was like a dis… it just was strange, to be able to summon nothing.Jennie NashWow. So you—you just used this killer metaphor to describe that.Jennifer SeniorYeah, that was spontaneous.Jennie NashRight? So—so you said first, you said static, static energy, which—which is interesting.Jennifer SeniorYeah, it's... [buzzing sound]Jennie NashYeah. Yeah. Because it's noisy. You're talking about...Jennie SeniorOh, but it's not disruptive noise. Sorry, that might seem like it's like unwanted crackling, like on your television. I didn't really—yeah, maybe that's the wrong metaphor, actually, maybe the pinball is sort of better, that all you need is to, you know, psych yourself up, sit down, have your caffeine, and then bam, you know? But I didn't mean static in that way.Jennie NashI understood what you meant. There's like a buzzy energy.Jennifer SeniorYeah, right. It's fizz.Jennie NashFizz... that's so good. So you—you recognized that this was gone.Jennifer SeniorSo gone! Like the TV was off, you know?Jennie NashAnd did you...?Jennifer SeniorOr the machine, you know, was unplugged? I mean, it's—Jennie NashYeah, and did you? I'm just so curious about the part of your brain that was watching another part of your brain.Jennifer Senior[Laughing] You know what? I think... oh, that's really interesting. But are you watching, or are you just despairing because there's nothing—I mean, I'm trying to think if that's the right...Jennie NashBut there's a part of your brain that's like, this part of my brain isn't working.Jennifer SeniorRight. I'm just thinking how much metacognition is involved in— I mean, if you forget a word, are you really, like, staring at that very hard, or are you just like, s**t, what's the word? If you're staring at Jack Nicholson on TV, and you're like, why can't I remember that dude's name?Multiple speakers[Both laughing]Jennifer SeniorWhich happens to me far more regularly now, [unintelligible]… than it used to, you know? I mean, I don't know. There is a part of you that's completely alarmed, but, like, I guess you're right. There did come a point where I—you're right, where I suddenly realized, oh, there's just been a total breakdown here. It's never happening. Like, what is going on? Also, you know what would happen? Every sentence was a grind, like...Jennie NashOkay, so—okay, so...Jennifer Senior[Unintelligible]... Why is this so effortful? When you can't hold the previous sentence in your head, suddenly there's been this lapse in voice, right? Because, like, if every sentence is an effort and you're starting from nothing again, there's no continuity in how you sound. So, I mean, it was really dreadful. And by the way, if I can just say one thing, sorry now that—Jennie NashNo, I love it!Jennifer SeniorYeah. Sorry. I'm just—now you really got me going. I'm just like, yeah, I know. I'm sort of on a tear and a partial rant, which is Prozac—there came a point where, like, every single SSRI was too activating for me to sleep. But it was, of course, a problem, because being sleepless makes you depressed, so you need something to get at your depression. And SNRIs, like the Effexor's and the Cymbalta's, are out of the question, because those are known to be activating. So I kept vainly searching for SSRIs, and Prozac was the only one that didn't—that wound up not being terribly activating, besides Paxil, but it, too, was somewhat deadening, and I wrote my whole book on it.Jennie NashWow!Jennifer SeniorIt's not all metaphor.Multiple Speakers[both laughing]Jennifer SeniorIt's not all me and no—nothing memorable, you know? I mean, it's—it's kind of a problem. It was—I can't really bear to go back and look at it.Jennie NashWow.Jennie NashSo—so the feeling...Jennifer SeniorI'm really giving my book the hard sell, like it's really a B plus in terms of its pro…—I mean, you know, it wasn't.Jennie NashSo you—you—you recognize its happening, and what you recognize is a lack of fizzy, buzzy energy and a lack of flow. So I just have to ask now, presumably—well, there's long COVID now, but when you don't have—when you're writing in your full powers, do you—is it always in a state of flow? Like, if you're not in a state of flow, do you get up and go do something else? Like, what—how does that function in the life of a writer on a deadline?Jennifer SeniorOK. Well, am I always in a state of flow? No! I mean, flow is not—I don't know anyone who's good at something who just immediately can be in flow every time.Jennie NashYeah.Jennifer SeniorIt's still magic when it happens. You know, when I was in flow almost out of the gate every day—the McIlvaine stories—like, I knew when I hit send, this thing is damn good. I knew when I hit send on a piece that was not as well read, but is like my second or third favorite story. I wrote something for The New York Times called “Happiness Wont Save You,” about a pioneer in—he wrote one of the foundational studies in positive psychology about lottery winners and paraplegics, and how lottery winners are pretty much no happier than random controls found in a phone book, and paraplegics are much less unhappy than you might think, compared to controls. It was really poorly designed. It would never withstand the scrutiny of peer review today. But anyway, this guy was, like, a very innovative thinker. His name was Philip Brickman, and in 1982 at 38 years old, he climbed—he got—went—he found his way to the roof of the tallest building in Ann Arbor and jumped, and took his own life. And I was in flow pretty much throughout writing that one too.Jennie NashWow. So the piece you're referring to, that you referred to previous to that, is What Bobby McIlvaine Left Behind, which was a feature story in The Atlantic. It's the one you won the—Pul…Pulitzer for? It's now made into a book. It has, like...Jennifer SeniorAlthough all it is like, you know, the story between...Jennie NashCovers, right?Jennifer SeniorYeah. Yeah. Because—yeah, yeah.Jennie NashBut—Jennifer SeniorWhich is great, because then people can have it, rather than look at it online, which—and it goes on forever—so yeah.Jennie NashSo this is a piece—the subtitle is Grief, Conspiracy Theories, and One Family's Search for Meaning in the Two Decades Since 9/11—and I actually pulled a couple of metaphors from that piece, because I re-read it knowing I was going to speak to you… and I mean, it was just so beautifully written. It's—it's so beautifully structured, everything, everything. But here's a couple of examples for our listeners. You're describing Bobby, who was a 26-year-old who died in 9/11, who was your brother's college roommate.Jennifer SeniorAnd at that young adult—they—you can't afford New York. They were living together for eight years. It was four in college, and four—Jennie NashWow.Jennifer SeniorIn New York City. They had a two-bedroom... yeah, in a cheaper part... well, to the extent that there are cheaper parts in...Jennie NashYeah.Jennifer SeniorThe way over near York Avenue, east side, yeah.Jennie NashSo you write, “When he smiled, it looked for all the world like he'd swallowed the moon.” And you wrote, “But for all Bobby's hunger and swagger, what he mainly exuded, even during his college years, was warmth, decency, a corkscrew quirkiness.” So just that kind of language—a corkscrew quirkiness, like he'd swallowed the moon—that, it's that the piece is full of that. So that's interesting, that you felt in flow with this other piece you described and this one. So how would you describe—so you describe metaphors as things that just come—it just—it just happens. You're not forcing it—you can't force it. Do you think that's true of whatever this ineffable thing of voice—voices—as well?Jennifer SeniorOh, that's a good question. My voice got more distinct as I got older—it gets better. I think a lot of people's—writers'—powers wax. Philip Roth is a great example of that. Colette? I mean, there are people whose powers really get better and better, and I've gotten better with more experience. But do you start with the voice? I think you do. I don't know if you can teach someone a voice.Jennie NashSo when you say you've gotten better, what does that mean to you?Jennifer SeniorYeah. Um, I'm trying to think, like, do I write with more swing? Do I—just with more confidence because I'm older? Being a columnist…which is the least creative medium…Jennie NashYeah.Jennifer SeniorSeven hundred and fifty words to fit onto—I had a dedicated space in print. When David Leonhardt left, I took over the Monday spot, during COVID. So it's really, really—but what it forces you to do is to be very—your writing becomes lean, and it becomes—and structure is everything. So this does not relate to voice, but my—I was always pretty good at structure anyway. I think if you—I think movies and radio, podcasts, are, like, great for structure. Storytelling podcasts are the best thing to—I think I unconsciously emulate them. The McIlvaine story has a three-act structure. There's also—I think the podcast Heavyweight is sublime in that way.Jennie NashIs that Roxane Gay?Jennifer SeniorNo, no, no, no.Jennie NashOh, it's, um—Jennifer SeniorIt's Jonathan Goldstein.Jennie NashYes, got it. I'm going to write that down and link to that in our show notes.Jennifer SeniorIt's... I'm trying to think of—because, you know, his is, like, narratives, and it's—it's got a very unusual premise. But voice, voice, voice—well, I, you know, I worked on making my metaphors better in the beginning. I worked on noticing things, you know, and I worked on—I have the—I'm the least visual person alive. I mean, this is what's so interesting. Like, I failed to notice once that I had sat for an hour and a half with a woman who was missing an arm. I mean, I came back to the office and was talking—this is Barbara Epstein, who was a storied editor of The New York Review of Books, the story editor, along with Bob Silver. And I was talking to Mike Tomasky, who was our, like, city politic editor at the time. And I said to him, I just had this one—I knew she knew her. And he said, was it awkward? Was—you know, with her having one arm and everything? And I just stared at him and went one arm? I—I am really oblivious to stuff. And yet visual metaphors are no problem with me. Riddle me that, Batman. I don't know why that is. But I can, like, summon them in my head, and so I worked at it for a while, when my editors were responsive to it. Now they come more easily, so that seems to maybe just be a facility. I started noticing them in other people's writing. So Michael Ondaatje —in, I think it was In the Skin of a Lion, but maybe it was The English Patient. I've read, like, every book of his, like I've, you know— Running… was it Running in the Family? Running with the Family? I think it was Running in the—his memoir. And, I mean, doesn't—everything. Anil's Ghost—he— you know, that was it The Ballad of Billy the Kid? [The Collected Works of Billy the Kid] Anyway, I can go on and on. He had one metaphor talking about the evening being as serene as ink. And it was then that I realized that metaphors without effort often—and—or is that a simile? That's a simile.Jennie NashLike—or if it's “like” or “as,” it's a simile.Jennifer SeniorYeah. So I'm pretty good with similes, maybe more than metaphors. But... serene as ink. I realized that what made that work is that ink is one syllable. There is something about landing on a word with one syllable that sounds like you did not work particularly hard at it. You just look at it and keep going. And I know that I made a real effort to make my metaphors do that for a while, and I still do sometimes. Anything more than that can seem labored.Jennie NashOh, but that's so interesting. So you—you noticed in other people what worked and what you liked, and then tried to fold that into your own work.Jennifer SeniorYeah.Jennie NashSo does that mean you might noodle on—like, you have the structure of the metaphor or simile, but you might noodle on the word—Jennifer SeniorThe final word?Jennie NashThe final word.Jennifer SeniorYeah. Yeah, the actual simile, or whatever—yeah, I guess it's a simile—yeah, sometimes. Sometimes they—like I said, they come unbidden. I think I have enough experience now—which may make my voice better—to know what's crap. And I also, by the way, I'll tell you what makes your voice better: just being very willing to hit Select Alt, Delete. You know, there's more where that came from. I am a monster of self-editing. I just—I have no problem doing it. I like to do it. I like to be told when things are s**t. I think that improves your voice, because you can see it on the page.Jennie NashYeah.Jennifer SeniorAnd also, I think paying attention to other people's writing, you know, I did more and more of that, you know, reverse engineering stuff, looking at how they did stuff as I got older, so...Jennie NashSo I was going to ask a question, which now maybe you already answered, but the question was going to be… you said that you're—you feel like you're getting better as a writer as you got older. And you—you said that was due to experience. And I was going to ask, is it, or is it due to getting older? You know, is there something about literally living more years that makes you better, or, you know, like, is wisdom something that you just get, or is it something you work for? But I think what I'm hearing is you're saying you have worked to become the kind of writer who knows, you know, what you just said—you delete stuff, it comes again. But tell me if—you know, you welcome the kind of tough feedback, because you know that makes you better. You know, this sort of real effort to become better, it sounds like that's a practice you have. Is that—is that right?Jennifer SeniorOh yeah. I mean, well, let's do two things on that, please. I so easily lose my juju these days that, like, you've got to—if you can put a, you know, oh God, I'm going to use a cliché again—if you can put a pin in or bookmark that, the observation about, you know, harsh feedback. I want to come back to that. But yes, one of the things that I was going to keep—when I said that I have the confidence now, I also was going to say that I have the wisdom, but I had too many kind of competing—Jennie NashYeah. Yeah.Jennifer SeniorYou know, were running at once, and I, you know, many trains on many tracks—Jennie NashYeah, yeah.Jennifer Senior…about to leave, so…, Like, I had to sort of hop on one. But, like, the—the confidence and wisdom, yes, and also, like, I'll tell you something: in the McIlvaine piece, it may have been the first time I did, like, a narrative nonfiction. I told a story. There was a time when I would have hid behind research on that one.Jennie NashOoh, and did you tell a story. It was the—I remember reading that piece when it first came out, and there you're introducing, you know, this—the situation. And then there's a moment, and it comes very quickly at the top of the piece, where you explain your relationship to the protagonist of the story. And there's a—there's just a moment of like, oh, we're—we're really in something different here. There's really—is that feel of, this is not a reported story, this is a lived story, and that there's so many layers of power, I mean, to the story itself, but obviously the way that you—you present it, so I know exactly what you're talking about.Jennifer SeniorYeah, and by the way, I think writing in the first person, which I've been doing a lot of lately, is not something I would have done until now. Probably because I am older and I feel like I've earned it. I have more to say. I've been through more stuff. It's not, like, with the same kind of narcissism or adolescent—like, I want to get this out, you know. It's more searching, I think, and because I've seen more, and also because I've had these pent up stories that I've wanted to tell for a long time. And also I just don't think I would have had the balls, you know.Jennie NashRight.Jennifer SeniorSo some of it is—and I think that that's part of—you can write better in your own voice. If it's you writing about you, you're—there's no better authority, you know? So your voice comes out.Jennie NashRight.Jennifer SeniorBut I'm trying to think of also—I would have hid behind research and talked about theories of grief. And when I wrote, “It's the damnedest thing, the dead abandon you, and then you abandon the dead,” I had blurted that out loud when I was talking to, actually, not Bobby's brother, which is the context in which I wrote it, but to Bobby's—I said that, it's, like, right there on the tape—to his former almost fiancée. And I was thinking about that line, that I let it stand. I didn't actually then rush off and see if there was a body of literature that talked about the guilt that the living feel about letting go of their memories. But I would have done that at one point. I would have turned it into this... because I was too afraid to just let my own observations stand. But you get older and you're like, you know what? I'm smart enough to just let that be mine. Like, assume...Jennie NashRight.Jennifer SeniorIt's got to be right. But can we go back, also, before I forget?Jennie NashYeah, we're going to go back to harsh, but—but I would just want to use your cliché, put a pin in what you said, because you've said so many important things— that there's actual practice of getting better, and then there's also wisdom of—of just owning, growing into, embracing, which are two different things, both so important. So I just wanted to highlight that you've gone through those two things. So yes, let's go back to—I said harsh, and maybe I miss—can...misrepresenting what you meant.Jennifer SeniorYou may not have said that. I don't know what you said.Jennie NashNo, I did, I did.Jennifer SeniorYou did, okay, yeah, because I just know that it was processed as a harsh—oh no, totally. Like, I was going to say to you that—so there was a part of my book, my book, eventually, I just gave one chapter to each person in my life whom I thought could, like, assess it best, and one of them, so this friend—I did it on paper. He circled three paragraphs, and he wrote, and I quote, “Is this just a shitty way of saying...?” And then I was like, thank God someone caught it, if it was shitty. Oh my God. And then—and I was totally old enough to handle it, you know, I was like 44, whatever, 43. And then, who was it? Someone else—oh, I think I gave my husband the intro, and he wrote—he circled a paragraph and just wrote, “Ugh.” Okay, Select Alt, Delete, redo. You know, like, what are you going to do with that? That's so unambiguous. It's like, you know—and also, I mean, when you're younger, you argue. When you're older, you never quarrel with Ugh. Or Is this...Jennie NashRight, you're just like, okay, yep.Jennifer SeniorYeah. And again, you—you've done it enough that, you know, there's so much more where that came from.Jennie NashYeah.Jennifer SeniorWhy cling to anything that someone just, I don't know, had this totally allergic reaction to? Like, you know, if my husband broke out in a hive.Jennie NashYeah. So, circling back to the—the storyline of—you took this medication, you lost your ability to write in this way, you changed medications, presumably, you got it back. What did it feel like to get it back? Did you—do you remember that?Jennifer SeniorOh God, yes, it was glorious.Jennie NashReally?!Jennifer SeniorOh, you don't feel like yourself. I think that—I mean, I think there are many professions that are intertwined with identity. They may be the more professional—I'm sorry, the more creative professions. But not always, you know. And so if your writing voice is gone, and it's—I mean, so much of writing is an expression of your interior, if not life, then, I don't know some kind of thought process and something that you're working out. To have that drained out of you, for someone to just decant all the life out of your—or something to decant all the life out of your writing, it's—it's, I wouldn't say it's traumatic, that's totally overstating it, but it's—it's a huge bummer. It's, you know, it's depressing.Jennie NashWell, the word glorious, that's so cool. So to feel that you got back your—the you-ness of your voice was—was glorious. I mean, that's—that's amazing.Jennifer SeniorWhat—if I can just say, I wrote a feature, right, that then, like, I remember coming off of it, and then I wrote a feature that won the News Women's Club of New York story for best feature that year. Like, I didn't realize that those are kind of hard to win, and not like I won... I think I've won one since. But, like, that was in, like, 99 or something. I mean, like, you know, I don't write a whole lot of things that win stuff, until recently, you know. There was, like, a real kind of blackout period where, you know, I mean, but like—which I think, it probably didn't have to do with the quality of my writing. I mean, there was—but, I mean, you know, I wasn't writing any of the stuff that floated to the tippy top, and, like, I think that there was some kind of explosion thereof, like, all the, again, stuff that was just desperate to come out. I think there was just this volcanic outpouring.Jennie NashSo you're saying now you are winning things, which is indeed true. I mean, Pulitzer Prizes among them. Do you think that that has to do with this getting better? The wisdom, the practice, the glorious having of your abilities? Or, I guess what I'm asking is, like, is luck a part of—a part of all that? Is it just, it just happens? Or do you think there's some reason that it's happening? You feel that your writing is that powerful now?Jennifer SeniorWell, luck is definitely a part of it, because The Atlantic is the greatest place to showcase your feature writing. It gets so much attention, even though I think fewer people probably read that piece about Bobby McIlvaine than would have read any of my columns on any given day. The kind of attention was just so different. And it makes sense in a funny way, because it was 13,600 words or something. I mean, it was so long, and columns are 750 words. But, like, I think that I just lucked out in terms of the showcase. So that's definitely a part of it. And The Atlantic has the machinery to, you know, and all these dedicated, wonderful publicity people who will make it possible for people to read it, blah, blah, blah. So there's that. If you're older, you know everyone in the business, so you have people amplifying your work, they're suddenly reading it and saying, hey, everybody read it. It was before Twitter turned to garbage. Media was still a way to amplify it. It's much harder now, so passing things along through social media has become a real problem. But at that moment, it was not—Jennie NashYeah.Jennifer SeniorSo that was totally luck. Also, I wonder if it was because I was suddenly writing something from in the first person, and my voice was just better that way. And I wouldn't have had, like, the courage, you know?Jennie NashYeah.Jennifer SeniorAnd also, you're a book critic, which is what I was at The Times. And you certainly are not writing from the first person. And as a columnist, you're not either.Jennie NashYeah.Jennifer SeniorSo, you know, those are very kind of constricted forms, and they're also not—there are certainly critics who win Pulitzers. I don't think I was good enough at it. I was good, but it was not good enough. I could name off the top of my head, like, so many critics who were—who are—who haven't even won anything yet. Like Dwight Garner really deserves one. Why has he not won a Pulitzer? He's, I think, the best writer—him and Sophie Gilbert, who keeps coming close. I don't get it, like, what the hell?Jennie NashDo you—as a—as a reader of other people's work, I know you—you mentioned Michael Ondaatje that you'd studied—study him. But do you just recognize when somebody else is on their game? Like, do you recognize the voice or the gloriousness of somebody else's work? Can you just be like, yeah, that...?Jennifer SeniorWell, Philip Roth, sentence for sentence. Martin Amis, even more so—I cannot get over the originality of each of his sentences and the wide vocabulary from which he recruits his words, and, like, maybe some of that is just being English. I think they just get better, kind of more comprehensive. They read more comprehensively. And I always tell people, if they want to improve their voice, they should read the Victorians, like that [unintelligible]. His also facility with metaphor, I don't think, is without equal. The thing is, I can't stand his fiction. I just find it repellent. But his criticism is bangers and his memoirs are great, so I love them.Jennie NashYeah.Jennifer SeniorSo I really—I read him very attentively, trying to think of, like, other people whose kind of...Jennie NashI guess I was—I was getting at more... like, genius recognizes genius, that con... that concept, like, when you know you can do this and write in this way from time to time anyway, you can pull it off.Jennifer SeniorYeah, genius as in—I wouldn't—we can't go there.Jennie NashWell, that's the—that's the cliché, right? But, like...Jennifer SeniorOh no, I know, I know. Game—game, game recognizes game.Jennie NashGame recognizes game is a better way of saying it. Like, do you see—that's actually what the phrase is. I don't know where I came up with genius, but...Jennifer SeniorNo, it's fine. You can stick anything in that template, you know—evil recognizes evil, I mean, you know, it's like a...Jennie NashYeah. Do you see it? Do you see it? Like, you can see it in other people?Jennifer SeniorSure. Oh yeah, I see it.Jennie NashYeah.Jennifer SeniorI mean, you're just talking about among my contemporaries, or just as it...Jennie NashJust like anything, like when you pick up a book or you read an article or even listen to a storytelling pack podcast, that sense of being in the hands of somebody who's on it.Jennifer SeniorYeah, I think that Jonathan Goldstein—I mean, I think that the—the Heavyweight Podcast, for sure, is something—and more than that, it's—it's storytelling structure, it's just that—I think that anybody who's a master at structure would just look at that show and be like, yeah, that show nails it each and every time.Jennie NashI've not listened, but I feel like I should end our time together. I would talk to you forever about this, but I always like to leave our listeners with something specific to reflect or practice or do. And is there anything related to metaphor or practicing, finding your voice, owning your voice, that you would suggest for—for folks? You've already suggested a lot.Jennifer SeniorRead the Victorians.Jennie NashAwesome. Any particular one that you would say start with?Jennifer SeniorYeah, you know what? I find Dickens rough sledding. I like his, you know, dear friend Wilkie Collins. I think No Name is one of the greatest books ever. I would read No Name.Jennie NashAmazing. And I will add, go read Jennifer's work. We'll link to a bunch of it in the show notes. Study her and—and watch what she does and learn what she does—that there it is, a master at work, and that's what I would suggest. So thank you for joining us and having this amazing discussion.Jennifer SeniorThis has been super fun.Jennie NashAnd for our listeners, until next time, stop playing small and write like it matters.NarratorThe Hashtag AmWriting Podcast is produced by Andrew Perrella. Our intro music, aptly titled Unemployed Monday, was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output, because everyone deserves to be paid for their work. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

James L. Brooks (Ella McCay, The Simpsons, Taxi) is an Emmy, Golden Globe, and Academy Award-winning screenwriter, director, and producer. James joins the Armchair Expert to discuss being an industrious high school reporter interviewing Louis Armstrong and Anne Bancroft, his lucky break as a studio page bringing Edward R. Murrow coffee, and co-creating the Mary Tyler Moore Show with Alan Burns. James and Dax talk about why there's no better job in the world than on a television show that's working, seeing Andy Kaufman perform as the vile Tony Clifton for the first time, and that he thinks you go legally insane when directing. James explains what it was like giving notes to Jack Nicholson, starting The Simpsons which is still the longest-running scripted show in history, and what makes a contemporary female heroine in his new screwball comedy Ella McCay.Follow Armchair Expert on the Wondery App or wherever you get your podcasts. Watch new content on YouTube or listen to Armchair Expert early and ad-free by joining Wondery+ in the Wondery App, Apple Podcasts, or Spotify. Start your free trial by visiting wondery.com/links/armchair-expert-with-dax-shepard/ now.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The couples view of life has eyes on the holidays, interesting entertainments, and busy work times. In the mix Jack Nicholson, Matthew Rhys, Gary Oldman, Keri Russel, George Clooney, Macy's Parade, home chores, and much more. Come on along with us!

GGACP celebrates the birthday (December 1st) of writer-director Larry Charles (“Borat,” “Seinfeld,” “Curb Your Enthusiasm”) with this ENCORE of an interview from 2019. In this episode, Larry joins the boys for an engrossing conversation about humor as a survival tactic, the hazards of guerrilla filmmaking, the persuasive powers of Sacha Baron Cohen and the Netflix show, “Larry Charles' Dangerous World of Comedy.” Also, Mel Brooks sends up Bill Cullen, Jerry Lewis inspires Bob Dylan, Gilbert guest stars on “Mad About You” and Larry remembers the late, great Bob Einstein. PLUS: “Lancelot Link, Secret Chimp”! The Zen of Jack Nicholson! The influence of Jackie Mason! Larry hangs with Huntz Hall! And the “Seinfeld” episode that never aired! Learn more about your ad choices. Visit megaphone.fm/adchoices

Five Easy Pieces turned out to be an incredibly relatable movie for me to discuss these days. In fact, this 699th episode might get a little TOO personal as I shared plenty of things about my own life. Jack Nicholson gives one of his deepest performances as he continued to build his legend following Easy Rider the year before. Here we have universal themes of alienation, rebellion, family strife, running away from life's problems. Director Bob Rafelson's cast is good across the board, especially Jack, of course, and his all-wrong-for-him girlfriend Karen Black. His film though is mostly famous for the "piano on the truck" scene and especially the diner scene. Oh, and the ending. So hold the chicken (somewhere) and just get the man some toast as I fill you in on the happenings in Five Easy Pieces. Subscribe to Have You Ever Seen in your app. Rate and review the podcast too. Also, go ahead and pick a fight with me on social media that I, like Nicholson in this movie, am bound to lose. I'm @moviefiend51 on Twi-X and ryan-ellis on Bluesky. The trusty email is haveyoueverseenpodcast@gmail.com.  The reviews on Letterboxd have finally picked up. Check out "RyanHYES" there to find my sometimes-offbeat thoughts about movies old and new.

Happy Thanksgiving! On this special holiday episode Jack and Corey are joined by director/writer/actor Libby Ewing (Charliebird) to talk Nancy Meyers' quintessential midlife rom-com SOMETHING'S GOTTA GIVE (2003)! The three talk Thanksgiving, cozy movies, Nancy Meyers underrated reputation, Diane Keaton's untouchable charm, Jack Nicholson's butt, director's commentaries, Letterboxd top fours, mixing nitroglycerine and viagra, Crazy Town, AIM, Keanu Reeves childlike innocence, Frances McDormand's comedy chops, Amanda Peet's tour through the set, crying montages, and turtlenecks.Support the pod by joining our Patreon at patreon.com/cinemapossessedpod and unlock the Cinema Possessed Bonus Materials, our bi-monthly bonus episodes where we talk about more than just what's in our collection.Instagram: instagram.com/cinemapossessedpodTikTok: https://www.tiktok.com/@cinemapossessedpodEmail: cinemapossessedpod@gmail.com Hosted on Acast. See acast.com/privacy for more information.

Filmbuff Jeff Kerr, Poet Oreo Brewer & the usual podcasting suspects welcome interviewer Jimmy Carter for a tribute on actor/filmmaker Jack Nicholson.   TOPICS INCLUDE: *Discussion on his rare appeal with both critics & audiences, the best parodies of him & how his career is a special kind of lightning in a bottle *When did he become the recognizable "character" while avoid becoming a mockery of himself? *We note the dramatic beats & Natural cadence in his dialogue mixed with his quirky charisma) *Was ventriloquist comedian Otto Petersen the best at doing impressions of Nicholson? *Jimmy also gets to talk about what it's like meeting both Nicholson AND Elvis Presley in-person from actual experience!   INTRO CLIP: Film '82 special with Ian Johnstone Interviewing Jack Nicholson

De klassieker One Flew Over The Cuckoo's Nest met Jack Nicholson bestaat 50 jaar. Een mooie aanleiding om de film - toentertijd goed voor de 5 belangrijkste Oscars - weer eens te zien. Gudo en John zijn nog altijd onder de indruk, maar de tijd is niet in álle opzichten goed geweest voor het werk van Amadeus-regisseur Milos Forman. Een gloedvolle recensie dus, met wat scherpe randjes. En lanceerde Netflix recent dé verstopte parel van 2025? Train Dreams, over het ogenschijnlijk betekenisloze leven van een houthakker begin vorige eeuw, weet met zijn bloedmooie beelden absoluut te betoveren. Of hij ook voldoende beklijft? 03:02 Recensie: Train Dreams22:19 Klassieker: One Flew Over The Cuckoo's Nest (1975)Support the show: https://www.patreon.com/movieinsidersSee omnystudio.com/listener for privacy information.

Our time with James L. Brooks comes to a close as we look at his third Best Picture nominee: As Good As It Gets. Jack Nicholson won his third Oscar for playing irascible, OCD-afflicted writer Melvin Udall, with Helen Hunt also winning and Greg Kinnear also nominated. We break down their performances and characters and whether or not they work, while also answering an important question: what the hell is this movie? Plus, our thoughts on The Running Man, Now You See Me Now You Don't, and more! What's your favorite James L. Brooks movie? Let us know at cinemaontappodcast@gmail.com

To mark the 50th-anniversary rerelease of One Flew Over the Cuckoo's Nest, hosts Hugo Emmerzael and Tom Ooms revisit the career of the man at the center of its enduring power: Jack Nicholson. In this episode, they explore how Nicholson's performances, volatile and mischievous yet remarkably controlled, forged a style of American screen acting entirely his own.From his countercultural rise in the late '60s to the defining roles that secured his place as a cinema icon, Hugo and Tom examine the man behind the myth, the craft behind the charisma, and the legacy Nicholson leaves in his graceful retreat from the spotlight.Get tickets to One Flew Over The Cuckoo's Nest @ LAB111Get tickets to Jack of All Trades: The Best of Jack Nicholson @ LAB111

In Cineversary podcast episode #88, host ⁠Erik J. Martin⁠ honors the 50th anniversary of One Flew Over the Cuckoo's Nest, directed by Milos Forman. He and his guest Patrick McGilligan – a film historian and author of Jack's Life: A Biography of Jack Nicholson –  check themselves in for a voluntary visit to Nurse Ratched's ward as they profess how crazy they are for this movie and discuss what makes it great, its influence on cinema, pivotal themes, and more.Learn more about the Cineversary podcast at www.cineversary.com and email show comments or suggestions to cineversarypodcast@gmail.com.

Dana and Tom with 5x Club Member, Sara Shea (Host and Creator of Shea Cinema), discuss the Best Picture winner of 1975, One Flew Over the Cuckoo's Nest: directed by Milos Forman, written by Lawrence Hauben and Bo Goldman, cinematography by Haskell Wexler, music by Jack Nitzschke, edited by Richard Chew, Lynzee Klingman, and Sheldon Kahn, starring Jack Nicholson, Louise Fletcher, Danny Devito, and Christopher Lloyd.Plot Summary: One Flew Over the Cuckoo's Nest is a powerful drama directed by Miloš Forman, based on the novel by Ken Kesey. The film stars Jack Nicholson as Randle P. McMurphy, a rebellious man who fakes insanity to avoid prison and is sent to a mental institution. There, he clashes with Nurse Ratched (Louise Fletcher) whose strict control over the patients crushes their spirits. McMurphy's defiance inspires the other men, including the quiet and gentle Chief Bromden (Will Sampson), to rediscover their sense of freedom and individuality. The movie explores themes of authority, conformity, and the human spirit, ultimately showing the cost of resisting oppressive systems.Guest:Sara SheaHost and Creator of Shea Cinema; @sheacinema on X, IGPreviously on 12 Angry Men (1957) Revisit, Barry Lyndon (1975), Shampoo (1975), 2025 Post Oscars Reaction Show, Patton (1970)Chapters:00:00 Introduction, Cast, and Background for One Flew Over the Cuckoo's Nest04:42 Welcome Back, Sara Shea!08:23 Mental Health - Then and Now23:57 Relationship(s) with Cuckoo's Nest32:25 Plot Summary for Cuckoo's Nest33:20 What is One Flew Over the Cuckoo's Nest About?39:44 Did You Know?45:46 First Break46:32 What's Happening with Sara Shea?50:25 The Cinema Legacy Poll Rankings - #25-2101:05:44 Best Performance(s)01:31:09 Best Scene(s)01:38:08 Second Break01:38:48 In Memoriam01:39:13 Best/Funniest Lines01:41:04 The Stanley Rubric - Legacy01:50:36 The Stanley Rubric - Impact/Significance01:55:14 The Stanley Rubric - Novelty02:02:57 The Stanley Rubric - Classicness02:11:51 The Stanley Rubric - Rewatchability02:19:23 The Stanley Rubric - Audience Score and Final Total02:21:02 Remaining Questions for Cuckoo's Nest02:27:16 Thank You to Sara and Remaining Thoughts02:35:35 CreditsYou can also find this episode in full video on YouTube.You can now follow us on Instagram, Twitter, YouTube, or...

“But I tried, didn't I? Goddammit, at least I did that.” Join Ian & Liam for our 305th episode as we get ourselves committed to one of the greatest American films ever made: One Flew Over the Cuckoo's Nest (1975). Kev and Megs? They won't be joining us this week — Megs was last seen challenging Nurse Ratched's medication schedule and Kev tried to lift the hydrotherapy console to escape. Security is “having a chat” with both of them. This week we discuss: How Miloš Forman's direction created a sense of art imitating life. But who was Miss Ratched and who was Mac? Jack Nicholson's legendary performance as R.P. McMurphy — charming, chaotic, and dangerously alive.  But is it just Jack playing Jack? Louise Fletcher's cold, controlled terror as Nurse Ratched — is she evil, institutionalised, or the product of her system? The film's astonishing supporting cast — from Danny DeVito to Brad Dourif — and why the ensemble might be one of the best ever assembled.  Who asked for asshole Doc Brown? The real power struggle at the heart of the film: rebellion vs. routine, individuality vs. institution. Ian breaks down the film's narrative structure and why one sequence isn't necessary Liam reflects on the humour, the heartbreak, and the explosive final act — does any other ending hit quite like this one? Is Mac crazy? How would someone pretending to be crazy present themselves in this environment? We discuss the film's legacy: its Oscars sweep, its influence on pop culture, and its place in the “Great American Films” canon. Is McMurphy a hero, a catalyst, or a cautionary tale? What was Milos Forman trying to say in the film based on his personal lifestory? And finally, whether One Flew Over the Cuckoo's Nest is the Best Film Ever — or simply one of the boldest critiques of power and conformity ever committed to screen. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE. Find out more about Juleen's nephew, Castor, and how you can help at https://gofund.me/73a67a9d6 We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor. Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

Strap into your tighty-whiteys folks, because this week we take on Something's Gotta Give, a movie that opens with Crazy Town's “Butterfly” and only gets more bewildering from there. Nick, Elise, and Anthony wade through a Hamptons fantasy land where everyone is wealthy beyond reason, morals take the day off, and Jack Nicholson wanders around in tighty-whiteys giving new meaning to his SAG card. We did not plan to hit this one, but Diane Keaton's passing continues our accidental tradition of rearranging the watchlist every time Hollywood breaks our hearts. Once the shock wears off, the real questions start piling up. Why is half the cast named “Beauty,” and why does the movie treat CPR like a party trick? How is Keanu Reeves the only person behaving like he belongs in a functioning society? And at what point did Nancy Myers decide that age gaps large enough to trigger a carbon dating session should be adorable? Step aside Geoff and make room for Fair Weather Manny who decided that this is a world so disconnected from reality that he tapped out of this episode.   By the time we wrap, we are staring down the film's unbelievable box office numbers, the critic scores that feel like clerical errors, and the troubling fact that Nicholson's undercarriage has more screen presence than some billed actors. Pull up a chair and pour one out for Diane Keaton. You deserved better, we all did. https://www.imdb.com/title/tt0337741/  

Special movies reviews today!It's #56 and it's all Streisand movies.Barbra Streisand made 9 movies in the 70,s and we have already reviewed 3, (The Way we were 1973-For Pete's sake 1974-and A Star is Born 1976) So now you get our reviews of the remaining 6.1 (On a Clear Day 1970) Here rad director Vincent Minnelli (yes Liza's dad) gives us a weird musical about a woman with esp who can also make plants grow. Bob Newhart and Jack Nicholson are here along with a French guy and the racist ass cop from West Side Story. Babs sings her way into space at the end of this, and I'm extremely here for it.2 (The Owl and the Pussycat 1970) This one has a director that I really like Herbert Ross (Footloose, Goodbye Girl, the Turning Point, the Sunshine Boys, the Last of Shelia, and T.R. Baskin) giving us a zany movie that I love less than all those others. this movie is still good but for me Babs could be more of a Xanadu Muse, than an insensitive crack addict. 3 (What's Up Doc 1972) I might be getting this confused with the last film, and Maybe the “Muse” comment more applies here, I'm not sure cause it's been a minute. Also both of these films are a bit similar and Zany, I like this one better though and we might have Madeline Kahn and San Francisco to thank for that. people loved this when it came out and it pairs Babs with Ryan O'Neal which just may come up again soooooon.4 (Up the Sandbox 1972) Here Babs plays a rad woman and mother who says some of the coolest shit I've ever heard. Film ain't perfect but this was a treat for us. Watch this and then The Empire Strikes back, 2 great films from the same director.5 (Funny Lady 1975) Herbert Ross directing again in this messy sequel (ish) to 1968's Funny girl. Not the worst film but I guess it's not what people ordered at the time. I like That Cornelius from the planet of the apes is here, and that Roddy got to play an “out” character standing next to Babs.6 (Main Event 1979) This pairs Babs with Ryan O'Neil again. this one was a place in my heart cause I saw it as kid in the theater, so I'll always enjoy watching it. It's fun and light, it's got an issue or two and hey, why listen to us tell ya all about it. thank you film chums for listening.

Hoy nos ponemos cómodos frente a la pantalla del Telefunken porque os traemos un peliculón. Mezcla de géneros, que es lo que a nosotros nos gusta, la diversidad. Un film del año 1992 dirigido por Rob Reiner (La Princesa Prometida, Cuando Harry encontró a Sally o Misery) y protagonizada por Jack Nicholson, Tom Cruise y Demi Moore. Película que estuvo nominada a cuatro estatuillas de los Óscars y que entre otras curiosidades, alguien ha contado el número de veces que se pronuncia la palabra señor. Un total de 164 veces, una vez cada 50 segundos, ni siquiera José Ángel de la Casa llegó a tanto en España Malta. Hoy en los estrenos de Antes repasamos Algunos hombre buenos. ------------------------------ Disfruta del programa en vídeo en nuestro canal de Youtube: https://www.youtube.com/@ZafarranchoVilima Escúchanos también en el podcast de la Cadena SER: https://play.cadenaser.com/programa/zafarrancho_vilima/ En Spotify: https://open.spotify.com/show/4U9YnP0b9cxdD0Uhr91Oq5?si=2ztFVbmER6SToIdYUPLrzA En Itunes: https://podcasts.apple.com/es/podcast/zafarrancho-vilima/id1073084453 --------------------------------------------------------------------------------------- Conoce nuestra web: zafarranchovilima.com Y síguenos en nuestras redes sociales: Twitter: https://twitter.com/Vilimadas Facebook: https://www.facebook.com/zafarranchovilima Instagram: https://www.instagram.com/zafarranchovilima/ Email: zafarranchovilima@gmail.com

Rich and the guys weigh in on the eminent return of Joe Burrow to the Cincinnati Bengals, and react to the Dallas Mavericks firing GM Nico Harrison less than a year after trading Luka Doncic to the Los Angeles Lakers for Anthony Davis. Ted Danson and Mary Steenburgen join Rich in-studio to discuss the new season of ‘A Man on the Inside' on Netflix, and share some great stories about Jack Nicholson, ‘Step Brothers,' ‘Elf,' ‘Cheers' and ‘Curb Your Enthusiasm' in a round of ‘Celebrity True or False.' Learn more about your ad choices. Visit podcastchoices.com/adchoices

We've turned the page on spooky season and it's time for a new monthly theme. With his first film in 15 years releasing in theaters later this year, we're taking a look at the films of James L. Brooks! To start, Terms of Endearment. This Best Picture-winning film netted Brooks 3 Oscars for his feature directorial debut, also earning Shirley MacClaine and Jack Nicholson awards for their performances. Our hosts at crossing a Best Picture blindspot off their watchlist as they watch one of the most famous mother-daughter films ever made. Plus, our thoughts on the worst box office weekend of 2025 so far! Do you think Debra Winger should have won the Oscar over MacClaine? Let us know at cinemaontappodcast@gmail.com

HEEEERE'S JOHNNY!! The Shining Full Movie Reaction Watch Along: ⁠  / thereelrejects  ⁠ Support The Channel By Getting Some REEL REJECTS Apparel! ⁠https://www.rejectnationshop.com/⁠ With IT: Welcome to Derry premiering to huge success on HBO & The Running Man coming soon + recent Stephen King adaptations The Long Walk now on VOD & home video, Tara & Andrew RETURN to give their The Shining Reaction, Recap, Commentary, Analysis, Ending Explained & Spoiler Review! Tara Erickson & Andrew Gordon react to The Shining (1980), the legendary psychological horror masterpiece directed by Stanley Kubrick (A Clockwork Orange, 2001: A Space Odyssey) and based on the bestselling novel by Stephen King. A chilling blend of psychological dread, supernatural terror, and stunning visual precision, The Shining remains one of the most haunting and analyzed horror films ever made. The story follows Jack Torrance (played by Jack Nicholson – One Flew Over the Cuckoo's Nest, Batman) as an aspiring writer who takes a winter caretaker job at the isolated Overlook Hotel with his wife Wendy (played by Shelley Duvall – Popeye, 3 Women) and their young son Danny (Danny Lloyd). As cabin fever and supernatural forces consume Jack, his descent into madness gives rise to some of the most iconic moments in film history. The film also features Scatman Crothers (One Flew Over the Cuckoo's Nest, The Aristocats) as Dick Hallorann, the hotel's cook who shares a psychic “shine” with Danny. Kubrick's meticulous direction, paired with Nicholson's unforgettable performance, turned The Shining into a genre-defining classic that continues to influence filmmakers and terrify audiences decades later. Iconic and highly searched moments include “Here's Johnny!”, the blood-flooded elevator, the twin girls in the hallway, “All work and no play…”, and the hedge maze finale. With its eerie sound design, haunting score by Wendy Carlos & Rachel Elkind, and hypnotic cinematography by John Alcott, The Shining is a cinematic descent into madness that still chills to the core. Follow Andrew Gordon on Socials:  YouTube: ⁠https://www.youtube.com/@MovieSource⁠ Instagram:⁠ ⁠ ⁠https://www.instagram.com/agor711/?hl=en⁠ Twitter:  ⁠https://twitter.com/Agor711⁠ Follow Tara Erickson: Youtube:⁠ https://www.youtube.com/@TaraErickson⁠ Instagram: ⁠ https://www.instagram.com/taraerickson/⁠ Twitter: ⁠ https://twitter.com/thetaraerickson⁠ Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. ⁠https://creativecommons.org/licenses/...⁠ Support The Channel By Getting Some REEL REJECTS Apparel! ⁠https://www.rejectnationshop.com/⁠ Follow Us On Socials:  Instagram: ⁠https://www.instagram.com/reelrejects/⁠  Tik-Tok: ⁠https://www.tiktok.com/@reelrejects?lang=en⁠ Twitter: ⁠https://x.com/reelrejects⁠ Facebook: ⁠https://www.facebook.com/TheReelRejects/⁠ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. ⁠https://creativecommons.org/licenses/by/4.0/⁠ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. ⁠https://creativecommons.org/licenses/...⁠ POWERED BY @GFUEL Visit⁠ https://gfuel.ly/3wD5Ygo⁠ and use code REJECTNATION for 20% off select tubs!! Head Editor:⁠ https://www.instagram.com/praperhq/?hl=en⁠ Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license.⁠ https://creativecommons.org/licenses/by/4.0/⁠ Ask Us A QUESTION On CAMEO:⁠ https://www.cameo.com/thereelrejects⁠ Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  ⁠https://www.facebook.com/TheReelRejects/⁠ INSTAGRAM: ⁠ https://www.instagram.com/reelrejects/⁠ TWITTER:  ⁠https://twitter.com/thereelrejects⁠ Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  ⁠https://www.instagram.com/thegregalba/⁠ TWITTER:  ⁠https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

You can now text us anonymously to leave feedback, suggest future content or simply hurl abuse at us. We'll read out any texts we receive on the show. Click here to try it out!In this episode, we wade into Chinatown — a sun-bleached noir where water is power, everyone's lying, and the system wins. We talk Jack Nicholson's bandaged nose, Faye Dunaway's glass-shard fragility, John Huston's all-time villainy, and that ending that still guts you. Yes, we address the director caveat up front; then we focus on what's on screen: A precision-engineered thriller that never wastes a line, a clue, or a cut.What we coverWhy “Chinatown”? The title's bleak punchline and what “forget it” really means in a city built on corruption.Follow the water: Droughts, land grabs, cooked records, and a murder that only makes sense when you trace the pipes.Noir done right: Goldsmith's moody trumpet score, razor tailoring, art-deco menace, and how every tiny detail pays off.Iconic moments: The nose slice (cameo alert), the “my sister/my daughter” reveal, and the slow-motion horror of the finale.Performances: Nicholson's cocky PI unravelled, Dunaway's haunted elegance, Huston's monstrous calm.The ethics disclaimer: Separating a notorious off-screen history from on-screen craft — and why that discomfort belongs in the conversation.Context chats: How the screenplay became a template, the year it ran into The Godfather Part II, and why the ending had to be that ending.Should you watch it?If you like your mysteries tidy and comforting, this isn't that. If you want clockwork plotting, glorious craft, and a finish that lingers… it's essential. We're candid, a bit feral, and very fun about it.“Every throwaway line is a breadcrumb. By the time you see the trail, it's already too late.”

En esta madrugada dedicada al pronombre 'alguien', hemos querido invitar a Elio Castro, compañero de 'Sucedió una noche' y 'El cine en la SER', para que nos cuente los entresijos de una de las películas más valoradas del cine de todos los tiempos: "Alguien voló sobre el nido del cuco", dirigida por Miloš Forman, protagonizada por Jack Nicholson y que este año celebra su 50 aniversario. Además, como cada martes, Alejandro Pelayo se ha sentado al piano del estudio central de la Cadena SER, esta vez para hablarnos de algunos de los pianistas más reconocidos en la actualidad, entre ellos Ludovico Einaudi y los compositores de bandas sonoras Yann Tiersen y Justin Hurwitz.

In this first of a multi-part exploration of William Friedkin's ground-breaking and massively successful adaptation of William Peter Blatty's best-selling novel 'The Exorcist': Friedkin & DP Owen Roizman coming off 'The French Connection' and into 'The Exorcist' Casting travails involving Jack Nicholson, Paul Newman, Jane Fonda, Anne Bancroft, and Audrey Hepburn. Jason Miller and Ellen Burstyn willing themselves into their roles. Studio pushback on the film's prequel, set in Iraq, and Friedkin's demand that they film there despite political upheaval and a lack of an Iraqi film industry. The search for a girl to pay Regan; over 1,000 seen, hundreds screen-tested, before Linda Blair walked into the film production's offices. Special Effects approaches courtesy of Dick Smith and Rick Baker. Soundtrack troubles with Bernard Hermann and Lalo Schiffrin and the saving grace of Mike Oldfield's 'Tubular Bells'. This episode features Friedkin, Blatty, Roizman, and Ellen Bursytn in their own words. Other Friedkin Full Cast & Crew Episodes: The French Connection To Live And Die In LA    

Hereinspaziert ins ikonische Overlook-Hotel! 1980 schuf der Regisseur Stanley Kubrick eines der verehrtesten und auch umstrittensten Werke an der Grenze von Genrekino und Filmkunst. "The Shining", eher vage auf einem Bestseller von Stephen King basierend, ist ein einzigartiger Albtraum aus Farben und Formen, Architektur und Klängen, für ein breites Publikum gedacht und trotzdem voller Avantgarde-Bezüge. Pia Reiser und Christian Fuchs verbeugen sich in einer dichten Spezialfolge vor dem Horror-Meilenstein mit Jack Nicholson und Shelley Duvall. Sendungshinweis: FM4 Film Podcast, 03.11.2025, 0 Uhr

We're bringing back an epic discussion as we attempt to break down all the facets of the 1980 masterpiece The Shining, including; Stanley Kubrick's perfectionism, seizure acting, if Jack Nicholson can ever play “normal,” conspiracy theories, what Instagram teaches us about Hallmark movies, what's going on in Room 237, and so much more! Turn down the lights and check into the Overlook Hotel in this special Halloween episode! This episode was originally released on Monday Oct 28, 2019. I Love This You Should Too is hosted by Samantha and Indy Randhawa  

From Planes Trains and Automobiles to Uncle Buck to that unforgettable racquetball scene in Splash John Candy made us laugh till we cried

The Agents are back with a Halloween mission full of magic and glorious 80s hair. Join us for Witches of Eastwick with Cher, Susan Sarandon, Michelle Pfeiffer with the devilish Jack Nicholson. Our coven walks through the important questions. Who is taking care of all those kids? Is Jack Nicholson actually the devil? What is the horniest scene? We can confirm that this movie is fun, campy, and perfect for the season of the witch. Annette Wierstra with Sandra Wong and Shelly Brisbin.

Happy Halloween! On the fifty- second episode of All the Film Things, my friend and ATFT regular, movie critic Matthieu Côté joins me for an analytical discussion about Stanley Kubrick's 1980 psychological horror classic, The Shining! This episode is spoiler- filled and contains some explicit language.The Shining, a classic psychological horror film which unnerves you instantly with its eerie score, almost entirely takes place at the Overlook Hotel that lies in isolation atop an Indian burial ground. Jack Torrance, played brilliantly by Jack Nicholson, accepts a job as the winter caretaker of the Overlook Hotel, when the hotel is out of commission, in order to get five months of peace and quiet to help him write his book. He brings along his wife Wendy (Shelley Duvall) and son Danny (Danny Lloyd) and, over time, isolation begins to wear on them... especially Jack. Over the course of the film, Jack becomes increasingly mad while Danny's gift of "shining" haunts him of the hotel's evil past, present, and future. While the film is based on Steven King's 1977 book of the same title, King publicly criticized the film on numerous occasions because of the liberties Kubrick took that departed from his original story. King wasn't the only one who disliked the film because, shockingly, The Shining is one of those films, like 12 Angry Men and Fight Club, that wasn't well- received at the time of its release. It wasn't until the film started airing on TV at the end of the 80s that public opinion shifted in favor of Kubrick's film. Today, 45 years later, The Shining is widely considered one of the greatest horror films ever made and contains one of Jack Nicholson's very best performances.This is Matthieu's fourth time on the podcast and he has rapidly earned the title of “ATFT regular”! I had been wanting to do an episode on The Shining for over three years now and when I learned it was Matthieu's favorite film of all time, I knew he was the one to join me in celebrating The Shining for both it's 45th anniversary and Halloween. While Matthieu is enamored with the horror genre, I very much shy away from it. The Shining is my favorite horror film and one of the only few I can really watch, in the daytime of course. This episode was recorded on October 2, 2025. Matthieu has been steadily interviewing filmmakers and actors through both his personal YouTube channel, @matthieucote2272, and through Horreur Québec for a few years now. Most recently, Matthieu was able to check off a bucket list interviewee off his list when he interviewed James Wan. Click to watch that interview here! Also, a few years ago, Matthieu made an analytical video essay analyzing a scene in The Shining titled “The Shining (And the Path to Redemption)- Scene Breakdown” which I highly recommend watching for his incredible insight to the character of Jack Torrence and performance by Jack Nicholson. Subscribe to Matthieu's YouTube channel by clicking here to watch his past interviews, video essays, and more! In this episode, we attempt to understand The Shining's biggest mysteries and discuss the most popular theories about the famous ending. Our analytical conversation, though wide- encompassing, is a bit sporadic since there is seemingly infinite points of discussion through every aspect of this film. It's overwhelming and we only scratched the surface. In this episode, Matthieu and I share our rocky roads to appreciating this film, Kubrick's clever tricks in deceiving the audience, and how Grady could have possibly opened that storage room door for Jack. All this and much more on the latest episode of All the Film Things!Music credit: CURSE by Mehul ShaRma | https://www.instagram.com/mehul_sharmaofficial/Music promoted by https://www.free-stock-music.comCreative Commons / Attribution 3.0 Unported License (CC BY 3.0)https://creativecommons.org/licenses/by/3.0/deed.en_US

The Agents are back with a Halloween mission full of magic and glorious 80s hair. Join us for Witches of Eastwick with Cher, Susan Sarandon, Michelle Pfeiffer with the devilish Jack Nicholson. Our coven walks through the important questions. Who is taking care of all those kids? Is Jack Nicholson actually the devil? What is the horniest scene? We can confirm that this movie is fun, campy, and perfect for the season of the witch. Annette Wierstra with Sandra Wong and Shelly Brisbin.

HAPPY HALLOWEEN! Though Death By DVD is taking a break to relocate and build a bigger and better Death By DVD studio we thought it would just be down right insane to not have at least SOMETHING to offer our fine dead studio audience for Halloween. Halloween is our favorite holiday, our favorite time of year and I'll boldly say it's down right the best time of year, so we wanted to celebrate with you and boy howdy, though short in run time we have a whole lot for you to hear on this episode.An all new movie from your host Harry-Scott Sullivan is available now to stream, we have an exclusive new song from SATANIC HEARSE RECORDS called NO LIFE IN THEIR EYES from their forthcoming record DEATH SEX GORE HORROR and of course an update on when Death By DVD will return full time. Celebrate the season of the witch and hit play and hear this episode today! SATANIC HEARSE on Bandcamp : tap here or copy and paste the link belowhttps://satanichearserecords.bandcamp.com/WATCH YOUR HOSTS DOCUMENTARY AND DARK TALES FROM CHANNEL X NOW ON BLOODSTREAM TV: tap here or copy and paste the link belowhttps://bloodstreamtv.com/show-details/dark-tales-from-channel-xLearn more about Bloodstream TV : Tap here or copy and paste the link belowhttps://bloodstreamtv.com/homeIf you're reading this I would like to thank you from the bottom of my heart for your support. Death By DVD has almost existed for 2 solid decades, please consider supporting Death By DVD directly on Patreon to secure the future of this very show. ★ Support this podcast on Patreon ★ Thank you for choosing Death. DEATH BY DVD FOREVER. FOREVER DEATH BY DVD. ★ Support this podcast on Patreon ★ CHECK OUT DEATH BY DVD ON YOUTUBE : https://www.youtube.com/@DeathByDVDDon't forget, Death By DVD has its very own all original audio drama voiced almost entirely by Death By DVD!DEATH BY DVD PRESENTS : WHO SHOT HANK?The first of its kind, (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE ENDWHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES 

This week, Rob, Dave, and Kurt dive deep into one of the most haunting and visually striking films of the 1980s—Stanley Kubrick's The Shining. Released in 1980 and based (loosely) on Stephen King's novel, the film stars Jack Nicholson as Jack Torrance, a struggling writer who takes a job as the winter caretaker of the isolated Overlook Hotel. Alongside his wife Wendy (Shelley Duvall) and young son Danny (Danny Lloyd), Jack's descent into madness unfolds through Kubrick's signature slow-burn tension, eerie atmosphere, and unforgettable imagery—from the ghostly twins in the hallway to that chilling “Here's Johnny!” moment. The crew explores how The Shining went beyond traditional horror to become a psychological masterpiece. They'll dig into Kubrick's meticulous direction, Nicholson's unhinged performance, and the film's enduring mysteries—from the Overlook's sinister layout to the cryptic final photograph. Expect theories, trivia, and maybe even a few laughs as Rob, Dave, and Kurt revisit what many consider the ultimate blend of artistry and terror in 1980s cinema Pandora: https://pandora.app.link/iq8iShjXOLb   Apple: https://podcasts.apple.com/us/podcast/totally-80s-and-90s-recall/id1662282694    Spotify: https://open.spotify.com/show/11dk5TUoLUk4euD1Te1EYG?si=b37496eb6e784408    Amazon Music: https://music.amazon.com/podcasts/1960c8f9-158d-43ac-89a6-d868ea1fe077/totally-80s-and-90s-recall    YouTube Podcasts: https://youtube.com/playlist?list=PLH9lGakNgCDZUkkHMUu88uXYMJu_33Rab&si=xo0EEVJRSwS68mWZ Contact Us: Website: https://totally80s90srecall.podbean.com/  Email: 80s90srecall@gmail.com LinkTree:https://linktr.ee/80s90srecall 

EPISODE 111 -  “CELEBRATING DIANE KEATON: THE HIDDEN GEMS OF A HOLLYWOOD ORIGINAL” - 10/27/25 When DIANE KEATON passed away on October 11, 2025, she left behind an incredible legacy of important films and stunning performances that were some of the best of the era. Her youthful effervescence, her fashion style, everything about her belied mortality.  Most people think of her masterful, Oscar-winning performance in Annie Hall, (1977) but her career is so much more than that one role. Over the past five decades, her filmography is a study in contrasts: farce, heart wrenching dramas, rom-coms with a twist — she's taken risks, playing complicated women (even in the lighter faire), and made some really interesting choices. In this episode, we're going to take a look at some of the films Diane Keaton made that don't always get the spotlight they deserve. Watching these films, whether for the first time or a revisit, you realize just how bold and varied her work was. Whether in a quiet drama focusing on an intimate character study, a quirky comedy, or something completely unexpected, Diane Keaton always brought a mix of honesty, humor, and heart that was entirely her own.  So, today we honor the life and legacy of the multifaceted Diane Keaton. SHOW NOTES:  Sources: Wikipedia.com; TCM.com; IBDB.com; IMDBPro.com; Movies Mentioned: Play It Again, Sam (1972), starring Woody Allen, Diane Keaton, & Tony Roberts; Looking For Mr, Goodbar (1977), starring Diane Keaton, Tuesday Weld, William Atherton, Richard Gere, Richard Riley, Allen Fienstein, Tom Berenger,  Priscilla Pointer, & LaVar Burton; Interiors (1978), starring Diane Keaton, Mary Beth Hurt, Kristin Griffith, Geraldine Page, E.G. Marshall, Richard Jordan, Sam Waterston, & Maureen Stapleton; Shoot The Moon (1978), starring Diane Keaton, Albert Finney, Dana Hill, Karen Allen, Peter Weller, Tracy Gold, Tina Yothers, & Viveka Davis; Marvin's Room (1996), starring Diane Keaton, Meryl Streep, Leonardo Di Caprio, Robert DeNiro, Gwen Verdon, Hume Cronyn, & Hal Scardino; Sometime's Gotta Give (2003), starring Diane Keaton, Jack Nicholson, Keanu Reeves, Amanda Peet, Frances McDormand, & Jon Favreau; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

For the podcast's 10th Halloween Show, Jim pulls a classic Stanley Kubrick film out of the bag and discusses 1980's "The Shining," starring Jack Nicholson, Shelley Duvall, Danny Lloyd, Scatman Crothers, Barry Nelson, Philip Stone,Joe Tiurkel, Anne Jackson, and Tony Burton. This adaptation of the Stephen King classic deals witha man, his wife and their young son spenfing the winter iso0lated at a large hotel in the Colorado Mountains. It's a frightening tales of a man's descent into madness. find out more on MONSTER ATTACK!, The Podcast Dedicated To Old Monster

Spooktoberando por aí, sob a batuta de George Miller, com Cher, Susan Sarandon, Michelle Pfeiffer e Jack Nicholson. Haverá melhor dream team? Não me parece.

Bienvenidos, cinéfilos hierberos, soy José Enrique Guzmán, su anfitrión, que hoy está particularmente emocionado porque inauguramos un ciclo dedicado a uno de los titanes del guionismo contemporáneo: Aaron Sorkin. Pero antes de sumergirnos en sus palabras afiladas como bisturíes, permítanme esbozar un poco el mapa de este genio neoyorquino.  Aaron Benjamin Sorkin nació en 1961 en Manhattan, en una familia que respiraba cultura por los cuatro costados: su padre era abogado y su madre, profesora. Desde joven, Sorkin se sintió atraído por el teatro, estudiando en la Universidad de Syracuse, donde se graduó en Bellas Artes con énfasis en teatro musical. Sus inicios fueron en Broadway, donde, como un joven dramaturgo ambicioso, debutó en 1989 con una obra que ya apuntaba maneras: "Cuestión de Honor". Imagínense: un chico de veintitantos años escribiendo sobre dilemas éticos en el ejército, inspirado en una anécdota real que le contó su hermana, quien era abogada naval. Esa obra fue un éxito rotundo en el off-Broadway y luego en el circuito principal, atrayendo la atención de Hollywood. De ahí, Sorkin dio el salto al cine y la televisión, convirtiéndose en un maestro de los diálogos que fluyen como un río caudaloso, pero con la precisión de un reloj suizo. Sus guiones son como partidas de ajedrez verbal: rápidos, ingeniosos y siempre un paso adelante. Ahora, para este ciclo, vamos a enfocarnos exclusivamente en su obra cinematográfica, dejando de lado –con un suspiro de resignación– sus joyas televisivas. ¿Por qué? Bueno, series como "Sports Night", "The West Wing" o "Studio 60 On the Sunset Strip", un vistazo satírico al mundo de la TV en vivo... no están disponibles en ninguna plataforma de streaming aquí en Latinoamérica, lo que nos obliga a posponer esa conversación para cuando los dioses del copyright seapiaden de nosotros. Así que, nos ceñiremos al celuloide.Por ende, hoy arrancamos con su ópera prima en la gran pantalla: " Cuestión de Honor ", de 1992. “Cuestión de Honor” es un thriller judicial que te agarra por el cuello desde el minuto uno. Ambientada en la base naval de Guantánamo, sigue a dos marines acusados de asesinar a un compañero durante un "código rojo", esa práctica no oficial de disciplina que huele a abuso de poder. El teniente Daniel Kaffee, un abogado naval interpretado por un Tom Cruise en su mejor forma de galán arrogante pero redimible, toma el caso junto a su equipo: la tenaz Jo Galloway (Demi Moore) y el astuto Sam Weinberg (Kevin Pollak). Enfrentados a un muro de silencio militar, se topan con el imponente coronel Nathan Jessup, encarnado por un Jack Nicholson que mastica el escenario con esa sonrisa lobuna suya. Kevin Bacon, Kiefer Sutherland y J.T. Walsh completan un elenco estelar queeleva el material a alturas estratosféricas. En fin, Aaron Sorkin es, probablemente, uno de los mejores –si no el mejor– guionista de Hollywood en la actualidad. Sus diálogos son como fuegos artificiales: rápidos, explosivos, cargados de inteligencia y un humor que te hace reírmientras piensas. Sus personajes no son marionetas; son mentes brillantes, a veces falibles, siempre divertidas en su complejidad humana. Y sus historias te atrapan como una red bien tejida, contadas con una maestría narrativa que haceque el tiempo vuele. Aquí en "Cinefilia y Otras Hierbas", somos fans absolutos, con devoción casi religiosa–. Así que, empecemos con la que lo inició todo, " Cuestión de Honor ", para desmenuzarla a fondo, y descubrir por qué Sorkin no solo escribe guiones, sino que reinventa el arte de contar historias.  ¿Nos acompañan?Patreon: patreon.com/cinefiliayotrashierbas⁠Correo: cinefiliayotrashierbas@gmail.com No olviden suscribirse, compartir este episodio y dejar un comentario y un like, eso nos ayudará a crecer y a encontrar más audiencia. ¡Que lo disfruten! #Sorkin⁠ ⁠#TomCruise⁠ ⁠#JackNicholson⁠ ⁠#Cine

Today on Too Opinionated, actor, writer, director Natalija Nogulich drops in for a visit! Natalija is known for her recent work on CHICAGO MED, SHAMELESS, PRESUMED INNOCENT, FULLER HOUSE, NCIS, CRIMINAL MINDS and KC UNDERCOVER, GLEE, 2 BROKE GIRLS, and the WIZARDS OF WAVERLY PLACE REUNION. Natalija was series regular on ABC series, RED WIDOW, where she played Russian mob wife, Elena Petrova. Her role as Italian reporter, Giovanetta Ricci in HBO biopic PHIL SPECTOR with Al Pacino, reunited her with director David Mamet, with whom she has done six films: (SPECTOR, HOMICIDE, SPARTAN, THINGS CHANGE, THE WATER ENGINE, and HOFFA opposite Jack Nicholson.) Other films include: COMMENTARY, INCARNATE, SHARKSKIN, THE HOLLOW, STEAL BIG-STEAL LITTLE, ABOVE SUSPICION, AN EYE FOR AN EYE, THE GLASS SHIELD, THE CHASE, POSTCARDS FROM THE EDGE, BLOOD IN-BLOOD OUT, THE GUARDIAN, FOUR FRIENDS, COMMENTARY, STONY ISLAND and NATIONAL LAMPOON'S CHRISTMAS VACATION. Natalija is perhaps most known for her role as Admiral Nechayev in STAR TREK - THE NEXT GENERATION and STAR TREK DEEP SPACE NINE, and was also featured in Hallmark's JANE DOE 9, LOCUSTS, PIZZA MY HEART, GROWING PAINS, DYING TO DANCE, THE SLEEPWALKER KILLING, LAZARUS MAN. Recurring on THE WEST WING, THE PRACTICE, THE PRETENDER, BROOKLYN BRIDGE, TRACY TAKES ON, she also guested on CRIMINAL MINDS, NCIS, TWOBROKE GIRLS, BONES, THE UNIT, NIP/TUCK, FRASIER, THE CLOSER, HUFF, CROSSING JORDAN, WITHOUT ATRACE, CHARMED and 24.  Natalija authored historical novel, ONE WOMAN'S WAR, which is now being developed into a screenplay. She also wrote and directed a documentary short called CORPORAL JAKE, about World War I Medal of Honor Recipient Jake Allex.    Want to watch: YouTube Meisterkhan Pod. (Please Subscribe)    

Kevin Federline drops a Britney Spears bombshell. ET with his only TV sit-down. Why he says he fears for her life and his new tell-all. K-Fed sharing his side for the first time. His relationship with Britney, their sons, and why he's speaking out now. Plus, what he's never told about their past. How a phone call from Justin Timberlake nearly called off their wedding. Then, Hollywood continues to pay tribute to Diane Keaton. Why co-star Jack Nicholson is staying silent as their iconic film, “Something's Got To Give” returns the theaters. And, an exclusive first look at Robert Irwin's new “Dancing” moves in front of his mom? Then, how the stars of “NCIS” shows past and present are honoring real life Navy heroes. Plus, Naomi Watts gets a star on the Hollywood Walk of Fame. How best friend Nicole Kidman paid tribute.  To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

We are down to three "Over the Hill" Special episodes. We commit ourselves to talking about this classic film celebrating its 50th anniversary and starring many familiar faces including Jack Nicholson. We talk about how different the film was from the book and debate if Nurse Ratched is actually as evil as everyone has said she is. All that and more is discussed. Kicking The Seat: https://www.kickseat.com

Director:  Rob Reiner Producers:  David Brown, Rob Reiner, Andrew Scheinman Screenplay:  Aaron Sorkin Photography:  Robert Richardson Music:  Marc Shaiman Cast:  Tom Cruise, Demi Moore, Jack Nicholson, Kevin Pollak, J.T. Walsh Rotten Tomatoes:  Critics: 84%/Audience: 89%

With the sad passing of Diane Keaton today, we remember her legacy in this one from the vault. This long ago episode delves into the one and only Diane Keaton, and all her spiderwebs! Dominick Dunne interviewed Keaton in 1985, in both New York City and Los Angeles, and this piece provides so much sub-text to so much of Hollywood. Certainly, the story is about the reclusive Diane Keaton, but also leads into our investigation Woody Allen, Mia Farrow, Jack Nicholson, Warren Beatty and many, many more! To advertise on Done & Dunne, please reach out to info@amplitudemediapartners.com⁠. Learn more about your ad choices. Visit megaphone.fm/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

With the sad passing of Diane Keaton today, we remember her legacy in this one from the vault. This long ago episode delves into the one and only Diane Keaton, and all her spiderwebs! Dominick Dunne interviewed Keaton in 1985, in both New York City and Los Angeles, and this piece provides so much sub-text to so much of Hollywood. Certainly, the story is about the reclusive Diane Keaton, but also leads into our investigation Woody Allen, Mia Farrow, Jack Nicholson, Warren Beatty and many, many more! To advertise on Done & Dunne, please reach out to info@amplitudemediapartners.com⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

Actor Charlie Sheen joins Rich in-studio to discuss his new memoir and ‘AKA Charlie Sheen' Netflix documentary, reveals why he's a Cincinnati Reds fan despite growing up in Malibu, marvels over the singular greatness of Dodgers 2-way star Shohei Ohtani, recounts the time he bought out 2000 seats in the Angels' outfield section to give him a better shot at catching a Cecil Fielder home run ball, reveals that he, not Ralph Macchio, was the original choice to play ‘The Karate Kid,' explains how he got into the alcohol-free beer business, and shares some great stories about meeting Jack Nicholson, making ‘Platoon,' ‘Wall Street,' ‘Ferris Bueller's Day Off,' and ‘Major League' in a round of ‘Celebrity True or False.' In the NFL Week 5 edition of ‘Higher Register' Rich and the guys offer up their solid-but-not-all-that-convincing endorsement of the Denver Broncos, Seattle Seahawks, and Baltimore Ravens backup QB Cooper Rush. Learn more about your ad choices. Visit podcastchoices.com/adchoices

We're at the beach with Jack and Diane as we look at the romance of Nancy Meyers's 2003 smash rom com Something's Gotta Give! Join in as we discuss thinly-veiled adaptations of real life, the film's examination of Jack Nicholson, and the weird lack of Frances McDormand. Plus: How long has Julian (Keanu Reeves) been tracking down productions of Erica's (Diane Keaton) plays? Why didn't Harry's employees ever show up again? And did Nancy watch the Matrix sequels? Make sure to rate, review, and subscribe! Next week: A Nice Indian Boy (2025)---------------------------------------------------Key sources and links for this episode:"Nancy Meyers Searches for Her Own Comfort" (Vulture)"What's it Like to be Directed by Nancy Meyers" (Vulture)"A Kooky Conversation with Nancy Meyers Muse Diane Keaton" (Vulture)"Set Design: Something's Gotta Give" (Architectural Digest)"Venice 2012: Paul Thomas Anderson says Tom Cruise Has Seen The Master 'and We're Still Friends'" (The Hollywood Reporter)"The Story of Harold Ramis and Amy Heckerling's Secret Daughter" (Vulture)"Last 5 Years is a Musical Marriage-Go-Round" (New York Post)"Stereophonic Settles Lawsuit with Fleetwood Mac Producer" (The Hollywood Reporter)"Life Isn't Like the Movies (Even if You Write the Movies)" - Modern Love essay by Nancy Meyers (New York Times)

Guest host Jo Feldman welcomes “Yesteryear” writer and Diabolical Lies co-host Caro Claire Burke to dive into “Girls Next Door” star Kendra Wilkinson's first memoir, “Sliding Into Home.”  From her childhood days that rival scenes from “Thirteen” to becoming one of Hugh Hefner's girlfriends, Kendra's path to fame is a 2000s fever dream complete with cameos from Jack Nicholson and Criss Angel. Jo and Caro sift through the strange nights in the dilapidated Playboy Mansion, Hefner lore, and the culture of misogyny that defined a generation of reality TV. A content warning: This episode contains discussions of sensitive topics, including substance use, disordered eating, self-harm, and suicide. Take care while listening and find helpful resources here. Join the cookie community: Become a member of the Patreon Show Notes: Holly Madison Memoir Episode Crystal Hefner Memoir Episode Where to find our guest Caro Claire Burke: Pre-order her novel “Yesteryear” Diabolical Lies Substack Instagram *** Glamorous Trash is all about going high and low at the same time— Glam and Trash. We recap and book club celebrity memoirs, deconstruct pop culture, and sometimes, we cry! If you've ever referenced Mariah Carey in therapy... then this is the podcast for you. Thank you to our sponsors: Quince  - Go to quince.com/glamorous for free shipping on your order and 365-day returns.  Libro.fm - Click here to get 2 audiobooks for the price of 1 with your first month of membership using code TRASH. Learn more about your ad choices. Visit podcastchoices.com/adchoices

We're at the beach with Jack and Diane as we look at the romance of Nancy Meyers's 2003 smash rom com Something's Gotta Give! Join in as we discuss thinly-veiled adaptations of real life, the film's examination of Jack Nicholson, and the weird lack of Frances McDormand. Plus: How long has Julian (Keanu Reeves) been tracking down productions of Erica's (Diane Keaton) plays? Why didn't Harry's employees ever show up again? And did Nancy watch the Matrix sequels? Make sure to rate, review, and subscribe! Next week: A Nice Indian Boy (2025)-------------------------------------------------Key sources and links for this episode:"Nancy Meyers Searches for Her Own Comfort" (Vulture)"What's It Like to Be Directed by Nancy Meyers?" (Vulture)"A Kooky Conversation with Nancy Meyers Muse Diane Keaton" (Vulture)"Set Design: Something's Gotta Give" (Architectural Digest)"Venice 2012: Paul Thomas Anderson Says Tom Cruise Has Seen The Master 'and We're Still Friends'" (The Hollywood Reporter)"The Story of Harold Ramis and Amy Heckerling's Secret Daughter" (Vulture)"Last 5 Years a Musical Marriage-Go-Round" (New York Post)"Stereophonic Settles Lawsuit with Fleetwood Mac Producer" (The Hollywood Reporter)"Life Isn't Like the Movies (Even if You Write the Movies)" - Nancy Meyers "Modern Love" Essay (New York Times)

Eric, Jeff, Styles, Sheek, Jadakiss and Kay Rosewood got together in Yonkers to break down the 2006 crime thriller film directed by Martin Scorsese and starring Leonardo DiCaprio, Matt Damon, Jack Nicholson, and Mark Wahlberg, with Martin Sheen, Vera Farmiga, Alec Baldwin and Anthony Anderson in supporting roles. We discussed rats, ratting, cops, integrity, class, race, who we REALLY were rooting for, what the most devastating death was, whose baby Vera was carrying, Anthony Anderson's big moment, Scorcese's Oscar win, how legendary Leo and Jack are and so much more!!! PLUS: an all new word from Uptown Paco and a celebration of Sheek for his birthday!!! Hosted on Acast. See acast.com/privacy for more information.

Rich weighs in on Cowboys owner Jerry Jones throwing shade a Micah Parsons ahead of Dallas hosting the Green Bay Packers in Week 4. In ‘What's More Likely' Rich weighs in on Micah Parsons and the Green Bay Packers taking on the Dak Prescott and the Dallas Cowboys, Jaxon Dart's first NFL start, the Chiefs possibly falling to 1-3, Baker Mayfield, Caleb Williams, Carson Wentz, Cal Raleigh, and more. Actor Kevin Pollak joins Rich in-studio to discuss the new season of ‘Tulsa King' on Paramount+, the state of his beloved San Francisco 49ers, shares some great stories about making ‘A Few Good Men' with Tom Cruise and Jack Nicholson, and more. Rich previews the biggest matchups in NFL Week 4 including Vikings vs Steelers, Colts vs Rams, Eagles vs Buccaneers, Ravens vs Chiefs, Packers vs Cowboys, and Chargers vs Giants. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This is an unusual version of the podcast. An old friend passed, someone I've known for 40 years, someone who was friends with our moderator Luana Anders on the Flipside, and by his own estimate was friends with 80% of our class on the flipside. Henry Jaglom was a Hollywood icon, known by everyone, knew everyone, used to hold the most attended New Year's Eve parties where I got to meet the cast of the Sopranos, met Ang Lee, Oscar winning actors, directors - Peter Bogdanovich, would run into my friend Carl Weathers and Sally Kellerman and her husband Jonathan Krane. It was always fun - and Orson was a born raconteur. He also didn't believe in the afterlife at all. He was adamant about it - and if the topic came up, would squint at me, wrinkle his brow, shake his head - just the way Luana's pal BJ Merholz does when the topic comes up. All I can say is Harry Dean Stanton was the King of Skeptics - and when we spoke to him on a number of occasions (and he proved beyond a shadow of doubt he still existed by giving me private health messages to friends of his at his memorial - who were flabbergasted to hear what Harry had to tell them as only he could have known those intimate details from the Afterlife.. Harry told us to tell people to "believe in the possibility of an afterlife so they don't waste another minute of their lives arguing about it like I did." As noted in the podcast, Jennifer was able to squeeze me in today when I told her a friend had passed, without telling her anything about it, and his friends had already reached out to me to ask some questions. So sincere best wishes to his family, to his kids, to his exwives, to all those who loved him and think this is an unusual way to pay our respects.   Yes, I know that Orson Welles was upset that he caught Henry secretly taping him - I heard it from Orson's secretary at a party at Henry's house. She whispered to me that Orson felt so betrayed, "He never left his home again." I didn't have to tell Jennifer who I was asking about - she could see them.  And to be clear - Jennifer is not a movie fan, she spends much of her day on criminal cases helping out various law enforcement agencies pro bono - I've interviewed some of those agents or detectives. She is interpreting what she gets - like when I asked her on BJ Merholz behalf - "who introduced him to Henry?"  I thought it might be their mutual pal Jack Nicholson - but Jennifer got that it was a woman - and wasn't Luana (even though that makes sense) but really couldn't pin down who it was.  Why?  Who cares? She was aware of Bert Schneider without knowing who he was (or how his first name is spelled) and how he "left the planet too early."  (How could she know?)  Or that Dennis was Dennis Hopper, or that Orson was Orson Welles - she knew nothing, zero, zippo about Henry Jaglom and most people who knew Henry didn't know that much about him anyways.  Finally it wasn't until I was listening to the podcast when I realize why Carl Weathers and Sally Kellerman were teasing him about "being in our class."  I realized that they were referring to the fact that he was adamant about life going on - and I suspect those who knew this about Henry will continue to believe that is the case - but in doing this work with Jennifer EVERY WEEK for the past ten years, I can report we've had many skeptics, curmudgeons show up to talk to us about how surprised, gob smacked, shocked they were to realize that life goes on. Life goes on. Get over it. Thanks for tuning in.

Jim Lampley's story is a 50-year travelog of an unlikely career that catalogs the evolution of sports television—from his emergence as the first sideline reporter, through hosting and covering 14 Olympics, to working with all major sports networks. In this episode, Lampley reflects on his experiences in boxing, the evolution of the sport, and the genius of athletes like Muhammad Ali and George Foreman. The conversation also explores the unpredictability of life and how chance events shape our paths, the importance of mentorship, and the impact of performance-enhancing drugs. Lampley offers insights into the current state of journalism, emphasizing the importance of truth and objectivity amidst the challenges posed by social media and economic incentives. He also reflects on the complex legacy of O.J. Simpson and shares anecdotes about some of his other friends, including the beloved actor (and avid golfer) Jack Nicholson. Jim Lampley is a Hall of Fame sportscaster with 50 years of on-site experience at numerous live sports events, including the Super Bowl, Wimbledon, and 14 Olympics. For 30 years, he was the face and voice of HBO World Championship Boxing, calling some of the sport's most iconic fights—including bouts featuring Muhammad Ali, Mike Tyson, George Foreman, and Floyd Mayweather. A three-time Emmy winner and International Boxing Hall of Fame inductee, his new book is It Happened!

On this week's Wrap Party, Zeth is talking about a Robert Altman retrospective, controversial Martin Scorsese Top 5 lists, Jack Nicholson, ABBA, and much more. Join the party and get in touch with your recs, your reviews, and any insane story from Hollywood history that you want to tell us! Call or text (617) 906-6638, email disgracelandpod@gmail.com, or reach out on socials @disgracelandpod. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Originally Released October 3, 2019 [EDITOR'S NOTE: Odds are you have already heard this classic W❤️M on The Shining, however we did record a new intro for this one that contains some pretty exciting Patreon-related news! So be sure to check this out and have a great time revisiting a fan-fave WLM classic episode! And get ready, because WHM16 starts NEXT WEEK with a redux episode to beat the band! - Andrew] “This is like taking out a nice bottle of wine…” - Steve on covering this film On this month's Spooktacular episode of We ❤️ Movies, the gang is talking about one of the all-time greats: Stanley Kubrick's The Shining! Just look at how much of a jerk Jack is being during that job interview. How come Dick Hallorann can't do a better job covering up that "Doc" flub in the kitchen? And who in their right mind decided that this film deserved Razzie nominations? PLUS: Welcome to Shelley Duvall's Haunted House! The Shining stars Jack Nicholson, Shelley Duvall, Danny Lloyd, Scatman Crothers, Barry Nelson, Philip Stone, Joe Turkel, and Tony Burton; directed by Stanley Kubrick. Don't sleep on snagging your tickets to our 15th Anniversary show this December where we're talking all things Arnold in Total Recall! It's gonna be a gas and we wanna see you there! Click through for tickets now! Throughout 2025, we'll be donating 100% of our earnings from our merch shop to the Center for Reproductive Rights. So head over and check out all these masterful designs and see what tickles your fancy! Shirts? Phone cases? Canvas prints? We got all that and more! Check it out and kick in for a good cause! Original cover art by Felipe Sobreiro.