Podcast appearances and mentions of Jack Nicholson

On this week's episode of Unclear and Present Danger, Jamelle and John marked the unfortunate death of Rob Reiner by watching his 1992 military legal thriller A Few Good Men. In their conversation, they discuss Reiner's career, the underlying liberalism of a film like A Few Good Men, and the continued relevance of Jack Nicholson's performance as Colonel Nathan Jessup.After this, we'll be off for a few weeks, but then we'll see you again in the new year with an episode on Murder at 1600. We'll then finish out 1997 with an episode on G.I. Jane. It's been a busy and chaotic 2025 for both Jamelle and John, but they both hope the schedule will return to some regularity for 2026.And do not forget the Patreon, where in addition to a twice-monthly show on the political and military thrillers of the Cold War, we do a weekly politics show. Our next Patreon movie episode will be on the 1984 adaptation of John Le Carre's The Little Drummer Girl, starring the late, great Diane Keaton.

Rob Reiner y su esposa fueron hallados muertos en su domicilio hace unos días, en un suceso que ha conmocionado el mundo del cine. Hoy le rendimo un pequeño homenaje recordando algunas de sus películas más famosas, como "La princesa prometida" o "Cuando Harry encontró a Sally", pero, más específicamente analizamos la película "Algunos hombres buenos", dirigida por Reiner en 1992 e interpretada por (entre otros y otras) Tom Cruise, Jack Nicholson y Demi Moore.

¡Buenos días, Javi y Mar! acompaña en Navidad y presenta los jeroglíficos auditivos con Jimeno. Jimeno pone a prueba a los oyentes con sonidos. Hoy, la sección aborda el síndrome postvacacional, el regreso a la normalidad y el impacto en el cuerpo. Se reflexiona sobre los planes de escape de la rutina. El programa analiza los hábitos de desayuno de los españoles. Se observa que se prefiere lo salado a diario, pero en reuniones íntimas o celebraciones, se opta por lo dulce, ya que genera más cercanía. Los oyentes comparten anécdotas divertidas sobre 'el peor invitado' en casa. Relatan situaciones como el familiar que se acopla una semana, amigos que vacían la nevera, o visitas que traen a toda la familia a usar la piscina. Se comenta la sorprendente historia de Jack Nicholson, quien descubre que su hermana es su madre y su madre, su abuela. Esto, revelado tras el fallecimiento de ambas, plantea la reflexión sobre la privacidad y la decisión de cada uno de compartir aspectos de su vida. ...

Ella McKay heads, stay in line! Critic Jesse Hassenger is back to talk all things James L Brooks with his late period rom com with HOW DO YOU KNOW! Together we discuss the careers of the three leads, the look of the movie, Brooks' legacy with film nerds, Jack Nicholson's final role and how the movie fails its joke writting 

Welcome to the podcast Hacking the Afterlife. I tend to put information here that gives context to the podcast. In that vein, for those unfamiliar with what we're doing: At what point in time is it okay to ask recently deceased people questions on the flipside? When is too soon? When is it inappropriate?  Some context: as a filmmaker, I've written and or directed 10 feature films, made a number of documentaries about the afterlife, and have spoken at UVA Medical school DOPS regarding how the footage shows consciousness is not confined to the brain. Jennifer Shaffer works with law enforcement agencies nationwide on missing person cases. I've interviewed some of those agents from the FBI, LAPD (NYPD) who work with her on a daily basis. A third of her practice is pro bono work with law enforcement. She also works with a number of people who knew Rob and Michelle, and the families of Kobe Bryant and Steve Jobs have allowed her to mention that she works with them. Ten years ago, I began working with Jennifer - we met for lunch and have been talking since then. The past five years on our podcast. Our moderator on the flipside is Luana Anders - who worked with Rob Reiner in the film THE LAST DETAIL. Luana died in my arms, and began visiting me not long after (back in 1996). It took me until 2004 to investigate how it was possible she could communicate with me - and upon meeting Jennifer I realized I could have conversations with her. And indeed - we've been doing that nonstop for over ten years. Luana was in many films - worked with Marlon Brando, Jack Nicholson and others - and in my case, I worked with Ray Charles in the film LIMIT UP where he plays “God.” The point is that it's “six degrees of separation.” If Luana knows someone, or I worked with someone, it's easier for us to verify those details. I knew Penny Marshall, we did a gig together once, I appeared on Laverne and Shirley once (cutting room floor because Harry Dean Stanton's song went long.) So when this question is asked; “Are you going to be speaking to Rob and Michelle soon?” it comes from the couple of hundred interviews we have on the podcast HACKING THE AFTERLIFE on YouTube. In terms of our podcast, people tend to miss the notion that we aren't in charge of the guest list. Since Jennifer and I have begun to talk to the flipside, it's really up to Luana Anders to decide who is “ready to be interviewed.” In terms of how that works, sometimes I “hear” a voice from someone I knew or know - and when that happens, I'll say to myself “Well, if this person wants to show up for a conversation, they know where to find us.” And then - since Jennifer and I have been doing that for over the past ten years, frequently I'll show up for a meeting with her - and she'll say “so and so is here.” That has happened more often than I can recall. I can report that I heard Robert Kennedy's voice one day saying “I understand you're the person I need to speak with to get a message to my family.” I had the presence of mind to not judge that I heard his distinct voice - and said to him; “Actually I'm not the guy, you need to find Luana.” The next day I went to meet with Jennifer and she said before I could say anything; “Robert Kennedy is here.” The other day during the Frank Gehry interview, I heard his voice (or had the impression of hearing his voice) saying “Yes, I'll be on your podcast.” And not believing that it was actually him and not my imagination, I said to him “Well, we met through Sally Kellerman, so if you do want to speak to us, Sally should show up and I'll know it's you.” And during that podcast, at first Jennifer said “Luana says you have someone” and then said “Hot Lips is here.” (Sally Kellerman's role in the film MASH.) So I knew that Frank was available to converse. In this case, we have spoken to Rob Reiner's ex, Penny whom I was pals with. When she crossed over, we have a conversation with the one and only. We've also interview Garry Marshall, whom I knew when he was still on the planet - so it wasn't hard for us to connect with Penny. Generally - what we've learned recently is that Luana Anders is teaching a class in the flipside in how to communicate with us. The class - is large. We've spoken to quite a few people in the past ten years. So all that being said, I was wondering if we'd be speaking to Rob and his wife Michelle this week. A friend of mine who has done a guided meditation session with me said “I have the feeling you're going to be speaking to Rob Reiner this week.” I said “It may be too soon - but I have to be open to whomever does show up.” In other words - I know how tragic the event is, I know how raw his friends feel - and some of them I know well enough to say that I know they'd be upset to hear that we were inviting him to our podcast. This week - I'm about to post it - he does show up. I ask Luana “Who is here on your guest list” and Jennifer makes a face and says “Rob Reiner.” Then she said “He's just observing. He doesn't want to speak. But he's observing the class.” We've had that before - where people show up to just observe this give and take to see what it is. In the Frank Gehry podcast I asked him if he was ready to converse (He was friends with Luana and I told him at a party that I had scattered some of his old friend's ashes at the Guggenheim in Bilbao) - and we ask him about that on the podcast. The point is - without context it may seem exploitive to converse with someone who is recently passed. I know that some people are offended that we speak to anyone in this fashion - however, as I try to point out, as a filmmaker for the past 40 years, a music critic at Variety, and since Luana was in over 100 films and TV shows - between us we know many folks on the flipside, and she has many of them in her class on how to “communicate with the denser realm.” (Folks onstage). So Rob and Michelle may talk to us in the future. That's up to them. Again - it's not my opinion, theory or belief that people exist after leaving the stage - it's what the footage, data and research show. People can spend their lives believing that life ends, and be completely startled, shocked to realize life goes on. That our manner of passing isn't as relevant as our many of living - and how many people we've affected or cared about. Love is all there is. So it's a cogent question, and the answer is revealed in today's podcast: “Yes, he still exists and No, he's not ready to talk about it yet.” We'll see if he is at a future date. The point of the podcast (and the underlying point of the question) is that “everyone can communicate with people offstage” - our loved ones are not gone, they just aren't here. I'm sorry that bothers some people - but I wouldn't be accurate if I didn't report verbatim what the data, research or footage was showing. Hope this helps someone. For people who want to communicate directly with loved ones, I can recommend Jennifer's help - there's also her "Wine & Spirits" events in Manhattan beach. For those willing to do hypnotherapy, I recommend Scott at LightBetweenLives.com - a way to explore in detail. For those who are familiar with guided meditation, I can help them access their teachers and guides via RichardMartini.com Hope this helps.

This is The Zone of Disruption! This is the I AM RAPAPORT: STEREO PODCAST! His name is Michael Rapaport aka The Gringo Mandingo aka The Monster of Mucous aka Captain Colitis aka The Disruptive Warrior aka Mr. NY aka The Inflamed Ashkenazi aka The Smiling Sultan of Sniff aka The Flat Footed Phenom aka The Jewish Don King is here with Rob Reiner (Director/Actor/Producer/Podcaster) to discuss: The state of the world, Making a documentary, preparing a This Is Spinal Tap sequel, All In The Family & Archie Bunker, Carole O'Conner & Norman Lear, firing on all cylinders & doing more, directing Jack Nicholson on A Few Good Men, working with James Caan on Misery, being directed by Martin Scorcese & his own acting style, his podcast about the assassination of JFK, the division in The United States, the Robert Kennedy running for President & how it affects DTRUMP running & a whole lotta mo'! Stand Up Comedy Tickets on sale at: MichaelRapaportComedy.com Follow on YouTube at: https://www.youtube.com/@MichaelRapaport If you are interested in NBA, NFL, MLB, NCAA, Soccer, Golf, Tennis & UFC Picks/Parlays/Props & Single Sport! Follow @CaptainPicksWins on Instagram & signup for packages at www.CaptainPicks.com www.dbpodcasts.com Produced by DBPodcasts.comFollow @dbpodcasts, @iamrapaport, @michaelrapaport on TikTok, Twitter & InstagramMusic by Jansport J (Follow @JansportJ)See omnystudio.com/listener for privacy information.

In today's conversation, we pay loving tribute to Rob Reiner and acknowledge a remarkable achievement by Patrick before your regularly scheduled programming of Movies We've Seen since last time (20:46), TV Talk (1:04:29), and Entertainment News/Upcoming Trailers and Stuff (1:22:22).  Then it's time for an exciting Lethal Weapon 2 installment of “Not Like This, Christopher Nolan” (1:36:54) before Patrick grinds out another What Year Did That Come Out Again? (1:52:41), a special Rob Reiner themed Tomato Talk (1:55:49), and nails a quick installment of the Action Movie Trivia Card game (2:00:49).  Finally, a Christmas Hidden Gem recommendation (2:02:35) before we say goodbye until next year.  Episode highlights include discussions about paranormal theater, sponges, anacondas, the 1974 men's basketball national champion NC State Wolfpack, run-ins with Jeff Goldblum, great steaks, revisiting the Iron Man movies, the length of time between television seasons, the brilliance of Vince Gilligan, Star Trek and Star Wars, 24, Netflix purchases and intentions, the future of the Oscars, leaf blowers, new Spielberg, Gates McFadden's NOT sister, and Jack Nicholson's love of acting.

This week, we honour the memory of a very good man as we reconvene to finally discuss a movie that had been in our on-deck circle well before this past week's tragedy -- a movie that fits very snuggly within our wheelhouse as a very Tom Cruise and When Harry Met Sally...-centric podcast, and we'll be up front about that because you can handle the truth. It's 1992's A Few Good Men, directed by Rob Reiner, written by Aaron Sorkin, and starring Tom Cruise, Jack Nicholson, Demi Moore, Kevin Bacon, Kiefer Sutherland, Kevin Pollak, J.T. Walsh, James Marshall, Wolfgang Bodison, Xander Berkeley, Noah Wyle, Cuba Gooding Jr., and Christopher Guest. Sorkin, adapting his own stage play, feels capable of keeping some of his most annoying lib tendencies in check than he is today (even if they do poke through in points), and Cruise and Nicholson both do a great job of making his dialog sound like they're coming out of the mouths of real people, which we know is no small feat. A great movie, and another example of Reiner's ability to play in any sandbox as a master of any genre he chose to take on, in this case a paranoid legal thriller. It's also been a minute since we last spoke, so we've got a lot of a theatrical field trips to report on, with reviews of Bugonia, Wake Up Dead Man!, The Running Man, Die My Love, Keeper, Predator: Badlands and Train Dreams. If you'd like to watch the movie before listening along to our discussion, A Few Good Men is not currently streaming or rentable in Canada, but you can purchase it on Amazon and YouTube, or find a good copy on VHS at the thrift, just like Hayley did. Other works discussed on this episode include LOST, Stranger Things, Best In Miniature, Materialists, Eddington, Freaky Tales, Glass Onion, Prey, A Very Jonas Christmas Movie, Romy & Michelle's High School Reunion, and Freakier Friday. We'll be back some time in the new year talking about lord knows what, but keep an eye on our Instragram for all the latest. Until then, we'll see you at the movies!!

Recasting one of our earliest movies to celebrate its 50th anniversary. Trevor and Stephen watch Jack Nicholson in his iconic role. Relive the show and the movie, thanks to Fetch and Hisense

Adalberto Maria Merli"Il mio Risorgimento"Seri Editore, Maceratawww.serieditore.itUna dura, estenuante battaglia per realizzare una battaglia.Una battaglia spettacolo per ricordare quella popolare, eroica con cui nel 1849, sul Gianicolo, garibaldini e popolo romano sconfissero i soldati francesi per difendere la Repubblica romana.Burocrazia,  lentocrazia, peripezia, e pazzia (come aggiunse l'assessore alla cultura di Roma Gianni Borgna) furono le condizioni  della realizzazione di una manifestazione speciale e grandiosa, la cui storia ha ancora molto da insegnare a tutti noi, da tanti punti di vista.Adalberto Maria Merli è nato e vive a Roma. Attore è interprete di molti film e sceneggiati per la televisione e la radio. Ha lavorato in Francia, Spagna e Inghilterra. Ha dato la sua voce nel doppiaggio tra gli altri a Jack Nicholson in “Qualcuno volò sul nido del cuculo”, a Malcom McDowell in “Arancia meccanica”, a Ed Harris in “The Truman show” (doppiaggio per il quale ha avuto il premio come miglior voce del 1999), a David Carradine in “Kill Bill” e a Clint Eastwood in “The million dollar baby” per cui ha vinto il nastro d'argento 2006. In ambito letterario ha pubblicato tre romanzi: “La Mangereta”, “Scherzi, risate e qualcosa di serio” e “Partigianin”, tutti con l'editore La nave di Teseo. Questo è il suo primo libro per Seri Editore.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Evan Ross Katz sits with actress and comedian MARY STEENBURGEN who shares fond memories with Hollywood's favorites: DIANE KEATON, JANE FONDA, and JACK NICHOLSON, how empathy influences her acting, some thoughts on the success of her 30-year-marriage to TED DANSON, and much more. Host: Evan Ross KatzProducer: Sophia Asmuth Show links: Evan Ross Katz on Instagram https://www.instagram.com/evanrosskatz/CHAPTERS(00:00) Intro(7:22) Moving out of LA(12:13) Humanitarian work, empathy in acting, studying at the Neighborhood Playhouse with Sandy Meisner(22:28) Moving to New York, Jack Nicholson mentorship(36:43) Diane Keaton friendship, portraying loss in storytelling(42:51) Book Club costars Jane Fonda, Candice Bergen, Diane Keaton(47:23) Working with Ted Danson, marrying Ted Danson, relationship advice(55:00) Mary's heroes See acast.com/privacy for privacy and opt-out information. Hosted on Acast. See acast.com/privacy for more information.

There are movies you enjoy, movies you love, and then there are Life Changing Movies, the ones that hit you at the exact right moment and quietly shape how you see the world. In this special Born to Watch episode, Whitey and Gow sit down on the couch for a rare daytime recording to unpack the films that genuinely changed them, not just as movie fans, but as people.Originally planned as a solo episode, Whitey quickly realised this topic needed conversation, reflection, and a bit of friendly back-and-forth. What follows is a deeply personal walk through cinema history, from classic black and white films through to modern blockbusters, with each movie tied to a specific time, place, and feeling. These are not rankings, not reviews, and not necessarily the “greatest films of all time”. These are the films that left a permanent mark.The rules were simple. The films had to be movies Born to Watch has never reviewed before, and they had to be experienced in the order Whitey first saw them. What unfolds is a cinematic timeline that mirrors growing up, discovering new genres, and realising that movies can be far more than mere entertainment. They can be confronting, comforting, terrifying, inspiring, and sometimes completely overwhelming.The episode kicks off with The African Queen, a film Whitey first watched as a kid with his Nan, and a gateway into old cinema that opened the door to classics like Casablanca and Captain's Courageous. From there, the conversation moves into The Great Escape, a film both hosts hold in incredibly high regard, not just for its iconic moments, but for its storytelling, tension, and emotional weight that still holds up decades later.As the timeline moves forward, the episode touches on cultural moments that defined entire generations. Seeing Batman (1989) in a packed cinema, complete with Prince's soundtrack and Jack Nicholson's Joker, becomes more than just a movie memory. It becomes a snapshot of adolescence, crushes, embarrassment, and the shared chaos of opening night at the local cinema.The conversation does not shy away from darker territory. Films like Deliverance, The Evil Dead, Psycho, and Schindler's List are discussed not for shock value, but for the way they challenged expectations and forced viewers to confront uncomfortable truths. These are films that stay with you long after the credits roll, sometimes in ways you do not fully understand until years later.Blockbusters also have their place. Terminator 2: Judgment Day is remembered as a near-perfect cinematic experience, combining groundbreaking visual effects with emotional storytelling and characters that audiences genuinely cared about. It is a reminder that big movies can still have heart and depth when done correctly..The episode closes by reflecting on films driven by dialogue and ideas, particularly JFK, a movie that became comfort viewing for Whitey despite its heavy subject matter. It represents how movies can evolve with us, revealing new layers each time we revisit them.This is an episode about memory, growth, and the quiet power of cinema. Whether you agree with every pick or not, these Life Changing Movies will almost certainly spark memories of your own. #BornToWatch #LifeChangingMovies #MovieMemories #FilmPodcast #CinemaLovers #MovieNostalgia #ClassicFilms #FilmDiscussion #MovieFans #PodcastAustralia

The son of actor Richard Dreyfus told an amazing story about Jack Nicholson and a female stalker!

Mark Simone talks about the Minnesota welfare scam; Transportation Secretary Sean Duffy escapes criticism; De Blasio's romantic exploits; a new book coming out about Jack Nicholson's partying days; Dick Van Dyke is about to turn 100; Glen Cove bans marijuana in public; Ilhan Omar allegedly has 2 husbands, and Wikipedia's left-wing bias. See omnystudio.com/listener for privacy information.

Mark Simone talks about the Minnesota welfare scam; Transportation Secretary Sean Duffy escapes criticism; De Blasio's romantic exploits; a new book coming out about Jack Nicholson's partying days; Dick Van Dyke is about to turn 100; Glen Cove bans marijuana in public; Ilhan Omar allegedly has 2 husbands, and Wikipedia's left-wing bias.

In our first ever episode dedicated to an actor we train our sights on the man, the myth, the legend that is Jack Nicholson. Specifically our focus is on his four 1975 calendrical releases: Ken Russell's Tommy, Michelangelo Antonioni's The Passenger, Mike Nichols' The Fortune, and finally we top things off with a brief discussion of his Oscar Winning turn in One Flew Over the Cuckoo's Nest. It's a fun one! We talk about some weird movies, the hosts certainly get in a few attempts at Jack impressions, and everyone should leave with a little more knowledge of that marvelous year in film that was 1975. Topics include: Nicholson's house on so-called “Bad Boy Lane”, Alana's mom's crush on Roger Daltrey, and the charms of a young Stocking Channard…I mean Stockard Channing.

Click here to send us a message!This week we're celebrating the late, great Diane Keaton. Contributor and playwright Keegon Schuett returns to the pod with one of his favorite warm blanket movies, Something's Gotta Give co-starring Jack Nicholson and Keanu Reeves. And tis the season for Holiday movies, so we pair it with Keaton's turn as the matriarch of a chaotic family Christmas in The Family Stone.For details and to buy's Keegon's new play, click the link below!https://yalebooks.yale.edu/book/9780300282764/this-dry-spell/

The son of actor Richard Dreyfus told an amazing story about Jack Nicholson and one of his stalkers!

The son of actor Richard Dreyfus told an amazing story about Jack Nicholson and one of his stalkers!

MUSICA new Courtney Love documentary, Antiheroine, will premiere at the Sundance Film Festival, which is set for January 22nd through February 1st in Park City, Utah. https://festival.sundance.org/program/film/6932fb761a55354cab91b505 Deftones are helping out a soccer team in their hometown of Sacramento, California.The band is sponsoring Street Soccer USA's Los Jaguares team, which is a team of team of 11–14-year-old boys and girls from the Oak Park neighborhood where Deftones got started.Deftones and GOAL Projects teamed up to design the team's official 2026 jerseys and a soccer ball, both of which can be purchased now at Shopdeftones.com. Proceeds from each jersey sold will go to Los Jaguares and Street Soccer USA, a nonprofit that serves over 75,000 players in 16 U.S. cities. James Cameron co-directed Billie Eilish's upcoming 3D concert film, "Hit Me Hard and Soft: The Tour (Live in 3D)". Here's part of the trailer that takes us onstage and backstage. Jelly Roll just fulfilled a lifelong dream. Yesterday, Craig Morgan invited him to join the Grand Ole Opry. And it all happened on "The Joe Rogan Experience". Joe played Jelly a clip from one of his past Opry performances. Jelly called it "the most special night of my life." He talked about how Craig's song "Almost Home" helped him while he was in jail. TVRIP: Jeff Garcia, the comedic actor, who is best known for voicing the Jimmy Neutron character Sheen passed away at the age of 50. An official cause of death was not yet made public. https://www.tmz.com/2025/12/10/jeff-garcia-dead-comedian/ Icon and legend Diana Ross has been confirmed as the headliner for Dick Clark's New Year's Rockin' Eve with Ryan Seacrest 2026 in Times Square! https://www.billboard.com/music/music-news/diana-ross-perform-dick-clarks-new-years-rockin-eve-2026-1236133111/ MOVING ON INTO MOVIE NEWS:HBO Max made a documentary called "Happy and You Know It" about the popularity of annoying kids' music. It includes several children's artists like the Wiggles, and as you'll hear in this part of the trailer, the guy who made the original "Baby Shark" video is still upset at Pinkfong making a massive hit out of it.Andy Dick suffered an apparent overdose Tuesday, in broad daylight outside a building in Hollywood. Someone administered Narcan, and Andy didn't need to go to the hospital. He says he's okay. https://www.tmz.com/2025/12/09/andy-dick-suffers-apparent-overdose/ Jack Nicholson had an interesting way with stalkers. At least one particular stalker. One FEMALE stalker. Ben Dreyfus is the son of "Jaws" star Richard Dreyfus and a woman named Jeramie Rain. Jeramie dated Nicholson in the early 80s. And Ben told a crazy story that happened when they were together. https://x.com/bendreyfuss/status/1993502358551380205 AND FINALLY Billboard released their 2025 Year End charts. https://www.billboard.com/charts/year-end/ Hot 100 Songs:1. "Die with a Smile", Lady Gaga and Bruno Mars2. "Luther", Kendrick Lamar and SZA3. "A Bar Song (Tipsy)", Shaboozey Billboard 200 Albums:1. "The Life of a Showgirl", Taylor Swift2. "I'm the Problem", Morgan Wallen3. "SOS", SZA Top Artists:1. Morgan Wallen (More on him here.)2. Kendrick Lamar3. Taylor Swift Top Female Artists:1. Taylor Swift2. Sabrina Carpenter3. SZA Top Male Artists:1. Morgan Wallen2. Kendrick Lamar3. Drake This is the worst Country Song of the year: See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

12-11-25 - Entertainment Drill - THU - w/Dale Hellestrae - Fun Facts About A Charlie Brown Christmas - Jack Nicholson Let A Female Stalker Blow Him In The 70sSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Hour 1: Bob's Movie Club Presents: Love Actually - An absolute Christmas classic. Even with 2025 goggles, this movie is charming and full of love. Are kids still Christmas shopping for their parents at school? For many of us this was our first experience shopping alone. Today is THE DAY to break-up with someone. Why spend money on a Christmas present when you know it's over. On the flip side, it's crazy that some people are just coasting through their relationships without even considering where it's going. Hour 2: Andy Dick from ‘NewsRadio' has suffered an apparent overdose after years of publicly battling with addiction. Conan O'Brien is sharing how he's dealing with grief, and it's making everyone laugh. Don't worry, your pajamas are safe. Ben Franklin was a man of many interests. A young boy cleared the snow away from a fire hydrant saving lives the very next day. GameStop is trying a new, bizarre promotional program. Hour 3: Hilary Swank is apologizing – and she needs to. Jack Nicholson, the early 80s, and the longest story ever told. Technical difficulties spark a conversation about Sarah and Bob's plans for the zombie apocalypse. Vinnie's telling us about a Grinch themed meal. The best part of having a dog. In-N-Out Burger is standing up against the 6/7 trend. Plus, some overwhelming feelings of concern. Hour 4: Watch us on YouTube!!!! Sharon reveals Ozzy Osbourne's last words. Billie Eilish has a 3D concert film on the way, and James Cameron directed it! Justin Bieber is also going 3D… 3D printed sneakers, that is. Is Airbnb losing steam? More Americans are choosing hotels. The latest beauty trend is “dry brushing” before you get in the shower. A truly heartwarming message from a long time listener, and a chaotic game of Dead or Alive!

Hilary Swank is apologizing – and she needs to. Jack Nicholson, the early 80s, and the longest story ever told. Technical difficulties spark a conversation about Sarah and Bob's plans for the zombie apocalypse. Vinnie's telling us about a Grinch themed meal. The best part of having a dog. In-N-Out Burger is standing up against the 6/7 trend. Plus, some overwhelming feelings of concern.

Brim and Mr. Greer are back at it again. Apart from all the usual shenanigans, the gang chats about everything pop culture with all the trimmings including the TikTok kid who tried to punk Busta Rhymes by calling him Tracy Morgan, and the cheeseburger ice cream that is currently going viral. The crew also chats about the Cinnabon employee who had a meltdown on customers - was let go - and is now making a mint online, a Jack Nicholson story, and Will Ferrell's sons replicate the Elf shower scene. The cast talks about YouTube personality Markiplier's new Horror film 'Iron Lung', the CIA agent who has been spilling serious secrets, the Netflix Warner Bros potential merger and conflict, and a likeness issue for Star Wars. They talk about the permanent removal of Aerosmith from the Disney Theme Park, the new Grinch Meal at McDonald's, and the Spongebob Meal at Burger King. The crew also discusses Spirit Christmas and the Diddy Documentary. The crew chats about entertainment news, opinions and other cool stuff and things. Enjoy.Wherever you listen to podcasts & www.thegrindhouseradio.comhttps://linktr.ee/thegrindhouseradio

A Kimmer story, Michigan coach saga, wife-beating illegal let go, Jack Nicholson parties, Jingle Bells racist says dumb lib skank, HCIS See omnystudio.com/listener for privacy information.

E News: A Charlie Brown Christmas movie, Conan O'Brien, Jason Bateman, and Jack Nicholson... See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

12-11-25 - Entertainment Drill - THU - w/Dale Hellestrae - Fun Facts About A Charlie Brown Christmas - Jack Nicholson Let A Female Stalker Blow Him In The 70sSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Wait until you hear how he handled a stalker in the 80's. Support the show and follow us here Twitter, Insta, Apple, Amazon, Spotify and the Edge! See omnystudio.com/listener for privacy information.

Writer, director, producer, and improvisor Alex Fernie (Children's Hospital, Bajillion Dollar Propertie$, Convoy) joins Matt and Tim to discuss the 1996 Tim Burton film, Mars Attacks!, starring Jack Nicholson and Glenn Close. Jack Nicholson plays President Dale. For the rest of this conversation, go to ⁠⁠⁠https://patreon.com/secondincommand⁠⁠⁠ and become a patron! Matt Walsh ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/mrmattwalsh⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Timothy Simons ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/timothycsimons⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Alex Fernie https://instagram.com/ferniecommaalex Second In Command ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://instagram.com/secondincommandpodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email questions to: ⁠secondincommandatc@gmail.com

Writer, director, producer, and improvisor Alex Fernie (Children's Hospital, Bajillion Dollar Propertie$, Convoy) joins Matt and Tim to discuss the 1996 Tim Burton film, Mars Attacks!, starring Jack Nicholson and Glenn Close. Jack Nicholson plays President Dale. For the rest of this conversation, go to ⁠⁠⁠https://patreon.com/secondincommand⁠⁠⁠ and become a patron! Matt Walsh ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/mrmattwalsh⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Timothy Simons ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/timothycsimons⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Alex Fernie https://instagram.com/ferniecommaalex Second In Command ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://instagram.com/secondincommandpodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email questions to: ⁠secondincommandatc@gmail.com

In this extended interview, actor Ethan Hawke talks with Tracy Smith about his first experiences with Broadway. He also discusses his films "Explorers," "Dead Poets Society," "Reality Bites," "Training Day," and his latest, "Blue Moon," Leonardo DiCaprio's success, and his obsession with Jack Nicholson's performance in "One Flew Over the Cuckoo's Nest." 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

SISTERS! Happy December! You've made it all the way to the last month of the year, and to celebrate, we're dropping our episode to honor the late, great Diane Keaton in one of Paola's favorite rom-coms - Something's Gotta Give (2003), starring aforementioned Queen Keaton and Jack Nicholson. We squeal and sigh our way through this one, as we deal with some conflicting feelings on May-December relationships (while supporting women's rights AND wrongs). It's one of Diane Keaton's best, and we love her in it.As always - please feel free to reach out to us any time on Instagram @sisflickspodcast; shoot us an email at sisflickspodcast@gmail.com; find us on Letterboxd and come on over to play on Patreon, where we have exclusive bonus content, Hit Clips episodes, and video!

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

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.

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

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.”

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