Podcast appearances and mentions of Jerry Orbach

TALE AS OLD AS TIME, SONG AS OLD AS RHYME!! Beauty and the Beast Full Reaction Watch Along: https://www.patreon.com/thereelrejects With Disney's Live Action Remake of Snow White in theatres now & with the Lilo & Stitch remake around the corner, Aaron & John give their Beauty and the Beast Reaction, Recap, Commentary, Analysis, & Spoiler Review!! Download PrizePicks today at https://prizepicks.onelink.me/LME0/RE... & use code REJECTS to get $50 instantly when you play $5! Join Aaron Alexander and John Humphrey as they whisk you away to the enchanted world of Disney's 1991 animated masterpiece, Beauty and the Beast. This timeless tale follows bookish Belle (Paige O'Hara, voice of Belle and Broadway star of the Beauty and the Beast stage musical) as she takes her father's place as the Beast's prisoner—only to discover the kind heart beneath his fearsome exterior. Starring Robby Benson as the Beast (celebrated for his lead role in Ice Castles and voice work in classic animated films), and featuring standout performances from Richard White as the arrogant Gaston (voice roles in various Disney projects), Jerry Orbach as the suave Lumière (beloved for Law & Order and Broadway's Chicago), David Ogden Stiers as the prim Cogsworth (renowned for MASH* and Reading Rainbow), and Angela Lansbury as the warm Mrs. Potts (Oscar‑nominated for The Manchurian Candidate and star of Murder, She Wrote). John & Aaron break down every unforgettable moment—from Belle's spirited “Belle (Reprise)” opening and the lavish “Be Our Guest” musical number to the iconic ballroom scene set to “Beauty and the Beast” and the thrilling castle siege that leads to the Beast's redemptive transformation. Follow Aaron On Instagram: https://www.instagram.com/therealaaronalexander/?hl=en Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textKatie and Bridget hang out at an enchanted castle as they re-watch the original: Beauty and the Beast! It's the tale as old as time song as old as rhyme #Katie'sSloganForDating! Come along we meet Belle, the beauty who likes to read and just wants to stop getting harassed by her poor provincial town already! When her bumbly dad gets taken prisoner by the Beast, she volunteers as tribute and hangs out at the castle with all the sentient objects. Overtime, Belle and the Beast fall in love and he turns back into a human with entirely different features, voice, and (kind of) personality... Seriously guys wtf? This movie elicits lots of philosophical questions such as: Why the hell didn't anyone know there was a castle literally down the street? Will the townsfolk rally against Gaston for driving up the price of eggs? Where are all of the food in the castle being delivered from!? WE'LL WRITE A REDDIT THREAD ABOUT IT ALL BECAUSE THE CONSPIRACY THEORIES ARE TOO REAL! Released in 1991, this animated Disney movie features voice acting from Paige O'Hara, Robby Benson, Jesse Corti, Angela Lansbury, Jerry Orbach, David Ogden Stiers, and Richard White.

This week on Myopia Movies, we fall in love again...with Gaston. We watched Beauty and the Beast, a podcast old as time, set in Disney-cember, and wish that the beast turned back (I think this is what Shrek's ending is about.) How will Beauty and the Beast hold up? Host: Nic Panel: Candace, Keiko, Matthew, Alex.   Directed by Gary Trousdale and Kirk Wise Starring Paige O'Hara, Robby Benson, Jesse Corti, Rex Everhart, Angela Lansbury, Jerry Orbach, Bradley Pierce, David Ogden Stiers, Richard White, Jo Anne Worley, Mary Kay Bergman

This week on Myopia Movies, we fall in love again...with Gaston. We watched Beauty and the Beast, a podcast old as time, set in Disney-cember, and wish that the beast turned back (I think this is what Shrek's ending is about.) How will Beauty and the Beast hold up? Host: Nic Panel: Candace, Keiko, Matthew, Alex.   Directed by Gary Trousdale and Kirk Wise Starring Paige O'Hara, Robby Benson, Jesse Corti, Rex Everhart, Angela Lansbury, Jerry Orbach, Bradley Pierce, David Ogden Stiers, Richard White, Jo Anne Worley, Mary Kay Bergman

Eddie Feldmann joined me to discuss growing up in Saugerties, NY; comedy albums and cartoons being his entree into comedy; a 3rd grade Catholic school essay gone awry; working in his families deli; getting a criminal justice degree from SUNY Oswego; trying an open mic in Virginia; moving to Virginia Beach to pursue comedy; Bob Saget & Joe Bolster get him to come to NYC; not getting passed at Comic Strip b/c booker was attacked while he was performing; political humor; meeting Dennis Miller in 1984 when Dennis was practicing for Letterman debut; opening for Dennis on the road; tossing out a Clarence joke that Dennis used on Letterman and killed; Dennis asking him to submit jokes to his new Tribune talk show; Norm quits to go to Roseanne, Eddie moves to LA to join Dennis's staff; a typical day at the Dennis Miller Show; playing the "science guy" on Dennis Miller Show; the other writers; Larry Jacobson gets him and Peter Gaulke a freelance Married with Children; Fred Wolf hires him on Chevy Chase Show for 14 weeks, lasts 6; he joins Dennis Miller live as head writer for 10 years; my favorite rant; crafting the rant; how it was a once weekly show written as a daily show; Dennis telling writers not to watch other talk shows; freelancing his Law & Order; being a fan of Jerry Orbach; his episodes including Harm & Faccia y Faccia; being EP of The Showbiz Show with David Spade; working on Norm MacDonald is trending; how he would give Norm monologue jokes every day and Norm checking the ones he liked and they were all prison rape jokes; what he's working on now; attempting to reboot Comic Relief; and how Dennis Miller made his references.

In this episode of Beyond the Big Screen Podcast, host Steve Guerra explores the fascinating and tumultuous life of Joe Gallo, an infamous mobster from the golden age of organized crime. Joined by Mustache Chris, the podcast delves into Gallo's life phases, his time in some of New York's toughest prisons, and his unlikely connections. The episode also covers the enigmatic elements surrounding Joe's life, including his prison antics, interactions with notable figures like Jerry Orbach, and his controversial assassination at Umberto's Clam House. Tune in to uncover the riveting tales that shaped Joe Gallo's legacy and the American mafia during the 50s, 60s, and 70s.00:00 Introduction to Beyond the Big Screen Podcast00:33 Organized Crime and Punishment: Joe Gallo's Life01:49 Joe Gallo's Imprisonment and Mafia Activities 05:02 Nicky Barnes and Joe Gallo's Unlikely Partnership08:04 Joe Gallo's Prison Life and Civil Rights Involvement15:53 Joe Colombo's Rise in the Mafia 23:21 Joe Gallo's Release and Celebrity Status27:04 Joe Gallo's Influence on Pop Culture30:47 The Colombo Shooting Incident 36:20 Joe Gallo's Final Days40:01 Frank Sheeran's Controversial Claim 44:35 The Complexity of Mob Truths and Lies50:13 Conclusion and Upcoming TopicsTranscript URL: https://share.descript.com/view/E3xzhP666AVYou can learn more about Beyond the Big Screen and subscribe at all these great places: https://atozhistorypage.start.pagewww.beyondthebigscreen.comClick to Subscribe: https://www.spreaker.com/show/4926576/episodes/feedemail: steve@atozhistorypage.comwww.beyondthebigscreen.com Parthenon Podcast Network Home: parthenonpodcast.comOn Social Media: https://www.youtube.com/@atozhistoryhttps://www.facebook.com/groups/atozhistorypagehttps://facebook.com/atozhistorypagehttps://twitter.com/atozhistorypagehttps://www.instagram.com/atozhistorypage/Music Provided by:"Crossing the Chasm" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 Licensehttp://creativecommons.org/licenses/by/3.0/

National Chicken & Waffles day. Entertainment from 1958. Big Foot videoed, MacArthur retruned to Philippines, Soviet pilot crashes passenger jetliner over a bet. Todays birthdays - Bela Lugosi, William Christopher, Jerry Orbach, Top Petty, Earl Hindman, William Zabka, Snoop Dogg. Ronnie Van Zant died.Intro - Pour some sugar on me - Def Leppard      http://defleppard.com/Chicken & Waffles - Joe SheltonIts all in the game - Tommy EdwardsCity Lights - Ray PriceBirthdays - In da club - 50 Cent      http://50cent.com/MASH TV themeHome Improvement TV themeDon't do me like that - Tom Perry and the HeartbreakersGin & Juice - Snoop DoggGive me 3 steps - Lynyrd SkynyrdExit - In my dreams - Dokken      http://dokken.net/Follow Jeff Stampka at facebook or cooolmedia.com

In this episode of CORNDOWN, manipulation becomes a recurring theme, with wastedmemory contributing his spin on railroads and violent versions. There's also a lot of action surrounding sidewalks and bikes, from rubbing them to crashing, straight into dumpsters. We explore bizarre moments like drug disposal and a deep dive into a crash investigation at Wendy’s, featuring Jiad. The episode gets even stranger with torso spiders, bridges, and water crossings. There’s also a case of projectile fries courtesy of Dwight, and we close things out with a farewell to dragonmere. Plenty of manipulation and chaos to keep things moving! This show is made possible by donations from listeners like you. If you enjoy what you hear, please consider donating via patreon or paypal! powered by rogueserver.com

On this special episode of THE BIG 4-0, Ron and Peter look back at the first SEVEN films from one of our childhood action heroes, Steven Seagal. ABOVE THE LAW (1988), HARD TO KILL (1990), MARKED FOR DEATH (1990), OUT FOR JUSTICE (1991), UNDER SIEGE (1992), his directorial debut ON DEADLY GROUND (1994), and his only theatrical sequel and arguably the end of his run as a major box office draw, UNDER SIEGE 2: DARK TERRITORY (1995). That's a lot of films and a lot of ground to cover, so apologies if we didn't do each film or his entire career justice. There are a lot of interesting discussion points left on the table, many touched on, but not fully explored - such as a deeper dive into his past and wild background claims (CIA and/or mob ties?), excellent/interesting supporting cast members we mention but don't trace the arc of their careers as we normally would (Sharron Stone, Pam Grier, Kelly LeBrock, William Forsythe, Jerry Orbach, Tommy lee Jones, Gary Busy, Erika Eleniak, Michael Cain, John C. McGinley, Joan Chen, Billy Bob Thornton, Eric Bogosian, Evert McGill, Morris Chestnut, and Kathrine Heigel, among others), how he always uses a .45 pistol the way Riggs and McClane always use a Baretta, his badass Bronco in MARKED FOR DEATH, the fact that he looks great - damn near hunky - at 40, no less, in UNDER SIEGE, Bassil Poledouris' awesome ON DEADLY GROUND score, and Seagal's music career (two actually-not-bad blues albums!), post-theatrical-direct-to-DVD period, TV career (A&E's LAWMAN), his fashion, political beliefs, and his legal troubles, both as an accused sexual predator and a falling-out with his producing partner Julius Nasso, which led to a real-life Seagal/mob altercation - but as a focus on just these seven films, how they've aged, and where we each rank them in his filmography, it's an in-depth, fun, and revelatory episode. Please remember to Rate, Like, and Subscribe, and we'll be back in 1984 next time to burn down the house celebrating STOP MAKING SENSE and PARIS, TEXAS's BIG 4-0s!

Send us a textRemember "Toy Soldiers" from 1991? The movie where terrorists take over a prep school with machine gun action and explosions galore. Did you also know that it was rated R? We didn't either. But we remember it was the guy who was a Hobbit, and it had the kid from "Stand By Me" who gets a leech stuck to his balls, and the kid from "Don't Tell Mom the Babysitter's Dead" & "Adventures in Babysitting". Throw in the great Louis Gossett Jr. and we are more than excited to go back to 1991 and see why we remember liking this movie.Do You Remember Liking This Movie?

originally released: November 29, 2017 Playbill writer (now news editor) Logan Culwell-Block stops by ostensibly to talk about LITTLE SHOP OF HORRORS but Patrick and he nerd out pretty fast. Topics include: How should a cast album be produced? Early versions of how Seymour killed the dentist. And why in the name of heavenly glory would you autotune Jerry Orbach?!?   Featured recordings: LITTLE SHOP OF HORRORS - Original Cast Album (1982) EXPERIMENT - Mandy Patinkin (1994) COMPANY - Original Broadway Cast (1970)   Twitter.com/OriginalCastPod Facebook.com/OriginalCastPod OriginalCastPod@gmail.com

Out For Justice (1991) Directed By: John Flynn Starring: Steven Seagal, William Forsythe, Jerry Orbach, Some other fucker with tattoos on his neck except this time he has hair After last week, we needed a palate cleanser, so we decided to go with a crown jewel in Steven Seagal's filmography, Out for Justice. Get ready for a confusing mixture of Louisiana blues man impressions and Italian mobster stereotypes as we pool cue our way through this classy flick - IMDB describes this movie as: With his partner executed in broad daylight by a psychotic mafia enforcer, a veteran Brooklyn officer vows revenge. But is the unstoppable detective prepared to face the truth and pay the price of blood? We Also Talked About: Gilmore Girls (Netflix) Who Killed WCW (Amazon) Detroiters (Amazon) The Temple bar I Think You Should Leave (Netflix) The Boys (Amazon) Barbecue Showdown (Netflix) Receivers (Netflix) Waypoint Survival (YouTube) Our Previous Steven Seagal Film - Kill Switch (Some of the above links are affiliate links, if you purchase through these affiliate links we do get a small kickback, and it's the best way to support this show!). Rate and Review us on the podcast platform of your choice! As always, remember, you can always find the latest goings on at our website ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Crap.Town⁠⁠⁠ Check out our fellow podcast network members at ⁠⁠Yourunpodcast.com

Joe, Kyle, and Rick review the animated 1991 feature of Beauty and the Beast. Directed by Gary Trousdale and Kirk Wise, it stars Paige O'Hara, Robby Benson, Richard White, Jerry Orbach, and Angela Lansbury. We ranked 8 songs from the soundtrack, as well as picked our favorite lines, characters, performers, and scenes. Enjoy!

In Episode 9 of Season 5 Mike welcomes Mike “Fulk” Fulkerson, MTE (master tailgate extraordinaire) to talk about how he became one of the top tailgaters in all of Michigan Wolverine nation and then break down the Michigan v Michigan State football game from the 2023 Season in all of its rivalry glory.Follow the pdcast on Twitter/X: @friendsofmikedEmail the podcast at talkingfriendship@gmail.comKey moments from the pod: 0:30: Mike welcomes listeners to S5E9 featuring Mike's tailgating role model Mike “Fulk” Fulkerson.2:00: Mike quotes the late, great Jerry Orbach and admits some embarrassing mistakes, including a mistake within a mistake related to S5E5 (The Rutgers episode featuring Fletcher Walters) and S5E8's (the Indiana episode featuring the Bibbys) failure to reference the greatest TV-based romance in Canadian history.5:10: Mike then breaks down what's been going on with him, including a trip up to Traverse City for a Pure Michigan weekend with Ann Arbor Mug Club and prepping to play possibly the biggest pub quiz game of his life, along with his strategies for a successful pub quiz night.12:00: Mike finishes off the opening segment with a tribute to the Michigan/Michigan State rivalry and extends a musical olive branch to his Spartan friends and listeners.17:20: Mike welcomes Mike Fulkerson into the podcast studio.18:20: Mike Fulkerson then tells his entire life story and the story of the Plymouth Canton/Salem/Plymouth High Schools, which is a multi-campus adventure for the students who come through there.21:10: Next up the guys talk about the last time they saw each other in person at the famed Houston NRG Wyndham for a new infamous “lobby tailgate”.24:20: Fulk talks about who his longest running friend is and how that friendship has lasted all of these years.28:15: Mike D then asks Fulk about how his legendary Michigan football tailgates have evolved over the years at Ann Arbor Golf and Outing (as great tailgates do).36:30: The guys then talk about how they first met…..at a Michigan tailgate in Bloomington, IN and then again in Lincoln, NE.41:00: A prank gets played on Mike D by Fulk and their friends “Fun” Ron and Strikeout and Mike doesn't get mad at all.44:00: Fulk talks about his thoughts about the 2023 Michigan football team coming into the season and how the season had gone so far in his mind.47:00: The guys then touch on the emergence of the Conor Stalions backstory for Michigan football.49:20: How tailgating at Michigan State differs from tailgating at Michigan and an audio picture of the Michigan/Michigan State game as told by Mike and Mike.1:03:30: Mike F then talks about whether this game changed his opinion of Michigan's chances the rest of the season as well as why Michigan football has remained a priority for him in his life.

They're finally gettin' married! Following the conclusion of the Aladdin animated series—which itself was kicked off by an earlier straight-to-video sequel—Disney rolled out a final VHS installment headlined by the return of Robin Williams as the Genie. Also featuring Jonathan Rhys-Davies and Jerry Orbach, this movie bravely asks: am I really better than The Return of Jafar?

We review Dirty Dancing (1987) on movie podcast The Collector's Cut. Dirty Dancing is directed by Emile Ardolino and stars Patrick Swayze, Jennifer Grey, Jerry Orbach, Cynthia Rhodes patreon: https://www.patreon.com/mildfuzztv twitter: https://twitter.com/ScreamsMidnight email: mftvquestions@gmail.com Audio version: https://the-collectors-cut.pinecast.co/

Remember when math class felt like torture? Comedian John Mulaney takes bad grades to an absurdly funny new level. In this FOQN Funny episode, he recounts his hilarious tales of classroom disaster, his obsession with Law & Order, and a truly bizarre Jerry Orbach tribute. Get ready for side-splitting stories and relatable school struggles. For more laughs, visit foqnfunny.com. Love what you're hearing on FOQN Funny? Go a step further and become a member of FOQN Funny+. Enjoy exclusive perks and never-ending laughter. Join now at: https://plus.acast.com/s/foqn-funny. Hosted on Acast. See acast.com/privacy for more information.

John Mulaney takes a hilarious detour into the world of organ donation and romantic comedies. Inspired by the story of Jerry Orbach donating his eyes, Mulaney pitches a movie about two New Yorkers who find love after receiving transplants of the legendary actor's eyes. The episode is filled with Mulaney's signature wit and observations on love, loss, and the power of television. Want more hilarious takes from sharp comedians? Visit foqnfunny.com for comedy gold. Love what you're hearing on FOQN Funny? Go a step further and become a member of FOQN Funny+. Enjoy exclusive perks and never-ending laughter. Join now at: https://plus.acast.com/s/foqn-funny. Hosted on Acast. See acast.com/privacy for more information.

This episode of Videoblivious dives into 1987's "Dirty Dancing" -- a coming-of-age film about dancing, forbidden love, abortions, and -- apparently -- the early-1960s Democratic Party. (Who knew?) Award-winning journalist and "Jeopardy!" Champion J.R. Lind knew... He's my guest this week to discuss a movie he's seen "scores of times"; one that I saw for the very first time approximately three hours before recording this episode. "Dirty Dancing" is not currently available on any streaming platform, with the exception of Paramount+ (but only when subscribed through Apple TV). You can find a DVD copy at your local library, or rent/buy a digital copy from various online media companies. Enjoy the episode, and please rate, like, and subscribe! --- Music from #Uppbeat (free for Creators!): https://uppbeat.io/t/moire/space-ranger License code: RDDJNOUVQCDNNUPB

Kevin called in sick this week, so this Super Fun Time Trivia Podcast features the comedy stylings of David Dino White! We discuss how the Saddle Dome was named after your mom, Jerry Orbach's Emmy Award winning genitals, and how best to prevent quarters and dimes from stealing your children and replacing them with pocket change. Music Round: Bad Patreon: Super Fun Time Trivia Facebook: superfuntimetrivia Instagram: superfuntimetrivia Twitter: @sftimetrivia Email: superfuntimetrivia@gmail.com Intro Music By David Dino White. Welcome to Super Fun Time Trivia: The known universe's only live improv comedy trivia podcast.

National Jeff day. Entertainment from 2016. Big Foot videoed, MacArthur retruned to Philippines, Soviet pilot crashes passenger jetliner over a bet. Todays birthdays - Bela Lugosi, William Christopher, Jerry Orbach, Top Petty, Earl Hindman, William Zabka, Snoop Dogg. Ronnie Van Zant died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/The Jeffrey song - The guy who sings your name over and overCloser - The Chainsmokers and HalseyIt don't hurt like it used to - Billy CurringtonBirthdays - In da club - 50 Cent http://50cent.com/MASH TV themeHome Improvement TV themeDon't do me like that - Tom Perry and the HeartbreakersGin & Juice - Snoop DoggGive me 3 steps - Lynyrd SkynyrdExit - It's not love - Dokken http://dokken.net/https://coolcasts.cooolmedia.com/

We're back -- a little late -- but we come bearing a new miniseries! This time, we're heading off-Broadway to explore the wide range of shows and songs that fall under that collective banner. We start with one of the either best -- or least -- well-known musicals of all time, depending on which co-host you ask. Yes, it's 1960's The Fantasticks which ran off-Broadway for over four decades, becoming the longest running musical in the world. What do we think it was able to accomplish that feat, and what do we think of the show's most famous number, "Try to Remember?" Listenn to find out! All clips are from 1960's The Fantasticks Original Off-Off-Broadway Cast Album featuring Jerry Orbach are used in accordance with the Fair Use Exemption for criticism and commentary. Buy/stream the album on Amazon! Listen to the SMSTS playlist on Spotify! Follow SMSTS on Instagram: @somuchstufftosing Email the show: somuchstufftosing@gmail.com

Jesse L. Martin finally has his own show, and it's about time. As you might guess, it's a procedural show -- that's what he cut his teeth on. From 1999 to 2008, he starred as Det. Ed Green on "Law & Order." Altogether, he was the fifth longest serving cast member behind S. Epatha Merkerson, Sam Waterston, Jerry Orbach, and Steven Hill. This time, Martin is the star and plays Dr. Alec Mercer. Here's what his new show, "The Irrational," focuses on in his words: "'The Irrational' follows a behavioral psychologist by the name of Alec Mercer, played by myself, Jesse L. Martin. It's just standard procedural with nothing standard about it. You basically follow this guy through his personal life and his professional life, and he has the bonus of being very tuned in on human behavior and the deficit of being very tuned in on human behavior. So you can imagine how much that would affect his personal life, certainly benefits his professional life, but personal life gets a little funny, and therein lies the drama." Alec's crime solving methods do add some fun psychological wrinkles to this procedural formula. The show premieres on NBC in primetime. Check it out. And again, congratulations to Jesse L. Martin. He has always represented us very well. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this jam-packed episode of Praising Kane, our chronological look at the career of Carol Kane continues, starting with brief discussions about a mid-70s Dr. Pepper commercial, as well an early 80s adaptation of Irwin Shaw's The Girls in Their Summer Dresses featuring both Carol Kane and Jeff Bridges! After the break we turn our attention to the surprisingly star-studded drama AN INVASION OF PRIVACY from 1983 featuring Valerie Harper, Richard Masur, Jerry Orbach, Jeff Daniels, Sarah Michelle Gellar (in her screen debut) and - of course - Carol Kane! Some darker subject matter, but a unique episode. Check it out! The post Episode 188 – Praising Kane – An Invasion of Privacy (1983) first appeared on Cinema Smorgasbord.

0:00 - Intro & Summary2:00 - Movie Discussion51:08 - Cast & Crew/Awards56:53 - Pop Culture 1:08:29 -  Rankings & Ratings To see a full list of movies we will be watching and shows notes, please follow our website: https://www.1991movierewind.com/Follow us!https://linktr.ee/1991movierewind Theme: "sunrise-cardio," Jeremy Dinegan (via Storyblocks)Don't forget to rate/review/subscribe/tell your friends to listen to us!

Recorded 11.17.22 at CB Live in Phoenix, AZ On the final Summer Break episode of the year, the guys were live in Phoenix to chat about the grenade-throwing action spectacular, Universal Soldier! What was the squib budget on this fantastic picture? What's the smell situation with these undead soldiers? Would the UniSol program have been popular with the U.S. public like the Ghostbusters? Why did this movie never decide whether these guys were zombies or robots? And do these modified soldiers have grenades where their genitals should be? PLUS: The IN-STUDIO finale of this season's VHS Trailer Game!  Universal Soldier stars Jean-Claude Van Damme, Dolph Lundgren, Ally Walker, Ed O'Ross, Leon Rippy, Ralf Moeller, ‘Tiny' Lister Jr., Rance Howard, and Jerry Orbach as Dr. Christopher Gregor; directed by Roland Emmerich. Want more WHM? Join our Patreon fam today and instantly unlock hours and hours of exclusive bonus content, starting as low as $2 a month! We'll be releasing new Patreon content all throughout August, so it's the perfect time to join! Be sure to get in early and get your tickets for the WHM Holiday Extravaganza where we're talking The Santa Clause! Check out the WHM Merch Store featuring new Skeleton Juice, Spring Tour 2023, KONG & DILF Den designs!

Dirty Dancing is the Born to Watch attempt at getting out of our comfort zone, well for two of us. We will let you decide which team member isn't going to put Baby in a corner.It's rare for a film to capture the essence of a generation, to become a cultural touchstone that transcends time and speaks to audiences across generations. "Dirty Dancing," directed by Emile Ardolino and released in 1987, is one such cinematic gem that has managed to do just that. With its infectious energy, heartwarming romance, and a soundtrack that's become synonymous with the era, "Dirty Dancing" continues to sway hearts and ignite conversations even decades after its release.Set in the summer of 1963, the film whisks us away to Kellerman's, a family resort nestled in the Catskill Mountains. This seemingly idyllic retreat becomes the backdrop for the transformational journey of Frances "Baby" Houseman, portrayed brilliantly by Jennifer Grey. Baby is an idealistic young woman on the brink of adulthood, her world view shaped by her upper-middle-class upbringing and the impending societal changes of the 1960s. Her life takes a thrilling turn when she stumbles upon the staff quarters and encounters the vivacious dance instructor Johnny Castle, played by the charismatic Patrick Swayze.The film's title itself carries a provocative undertone, and indeed, dance serves as a metaphor for the hidden desires, social boundaries, and self-discovery that drive the narrative. As Baby watches the forbidden and electrifying world of "dirty dancing" unfold before her eyes, her journey from innocence to self-assuredness mirrors the societal shifts happening beyond the dance floor. The dance sequences are nothing short of mesmerising, as Swayze and Grey's chemistry ignites the screen, and their moves convey emotions that words often fail to express.What truly elevates "Dirty Dancing" beyond its dazzling dance numbers is its unapologetic exploration of class, gender, and identity. The backdrop of the early 1960s allows the film to address these issues with a subtle yet poignant touch. Baby's encounter with the working-class staff challenges her preconceived notions, and her blossoming relationship with Johnny defies societal expectations. The dance routines themselves, at times sensual and raw, are symbolic of breaking free from the constraints of traditional roles.Jennifer Grey's portrayal of Baby is a masterclass in character development. Her transition from a sheltered girl to a confident woman is believable and relatable. Grey's ability to convey vulnerability, determination, and passion draws the audience into Baby's world, making us cheer for her every step of the way. Patrick Swayze's Johnny is a complex character, harbouring dreams and burdens that go beyond his tough exterior. Swayze's magnetic presence brings depth to the character, making Johnny more than just a dance instructor – he becomes a symbol of aspiration and rebellion.The supporting cast adds layers of charm and intrigue to the film. Jerry Orbach as Dr. Jake Houseman, Baby's father, delivers a touching performance as a well-intentioned parent struggling to come to terms with the changes his daughter is experiencing. The late, great actress Kelly Bishop shines as Marjorie Houseman, portraying the matriarch with a mix of grace and quiet understanding. And who could forget the scene-stealing turn by Cynthia Rhodes as Penny, Johnny's dance partner, whose predicament becomes a catalyst for Baby's transformation?The film's soundtrack deserves special mention, as it's impossible to discuss "Dirty Dancing" without acknowledging its impact. The music not only accompanies the dance sequences but becomes an integral part of the storytelling. Tracks like "Time of My Life" by Bill Medley and Jennifer Warnes and "Hungry Eyes" by Eric Carmen infuse the film with a sense of nostalgia and romance, capturing the essence of the era and remaining etched in the memories of viewers."Dirty Dancing" is a quintessential coming-of-age story, a tale of love transcending social barriers, and a celebration of the power of dance to liberate the spirit. It's a film that reminds us that change is inevitable, that stepping out of our comfort zones can lead to remarkable transformations, and that true empowerment comes from embracing our passions and defying expectations. It's no wonder that the film's iconic line, "Nobody puts Baby in a corner," has become a rallying cry for individuality and self-expression.In conclusion, "Dirty Dancing" is a cinematic treasure that continues to captivate audiences with its timeless themes, unforgettable performances, and mesmerising dance sequences. The film's ability to bridge generations and evoke emotions speaks to its enduring relevance. Whether you're watching it for the first time or revisiting it for the umpteenth time, "Dirty Dancing" will always have the power to make you laugh, cry, and dance like nobody's watching.Please follow the Podcast and join our community at https://linktr.ee/borntowatchpodcast If you are looking to start a podcast and want a host or get guests to pipe in remotely, look no further than Riverside.fmClick the link below https://riverside.fm/?utm_campaign=campaign_1&utm_medium=affiliate&utm_source=rewardful&via=matthew

We're headed to Kellerman's for three magical weeks of summer lovin' in the dreamy arms of a significantly older man. There's gonna be class struggle, queer subtext, abortion, watermelons, THAT SOUNDTRACK, Jerry Orbach's eventually donated eyes, the grandma from Gilmore Girls, kid sister Lisa, fertile college boys with toxic hotness, a resident cougar and klepto old lady (who we'd play) and of course, Best Supporting Penny stealing the entire movie before she retired and married Richard Marx. Want even more Alright Mary? Become a Matreon at the Sister Mary level to get access to our thoughts on the shows we're watching currently, plus movie reviews and past seasons of US Drag Race, UK, Canada, Down Under, Philippines and more.Join us at our OnlyMary's level for EVEN MORE movie reviews, brackets, and deep dives into our personal lives!Patreon: www.patreon.com/alrightmaryEmail: alrightmarypodcast@gmail.comInstagram: @alrightmarypodJohnny: @johnnyalso (Instagram)Colin: @colindrucker_ (Instagram)Web: www.alrightmary.comThis episode is sponsored by BetterHelp. Get 10% off your first month at betterhelp.com/alrightmary!

For this "Quick Screen" episode, Michael does a rewatch of the 1991 animated film "Beauty and the Beast" featuring the voices of Paige O'Hara, Robby Benson, Richard White, Jerry Orbach, David Ogden Stiers, Angela Lansbury, Rex Everhart, and Jesse Corti based on the classic fairy tale. What are some of his thoughts and memories of seeing the film the first time and his thoughts after seeing the film again? Check it out and see! Be a part of the conversation! E-mail the show at screennerdspodcast@gmail.com Follow the show on Twitter @screennerdspod Like the show on Facebook (Search for Screen Nerds Podcast and find the page there) Follow the show on Instagram and Threads just search screennerdspodcast Be sure to check out the podcast on Apple Podcasts, Spotify, Google Play, Goodpods, Overcast, Amazon Music or your podcast catcher of choice! (and please share rate and review!) Want to be a guest or share your thoughts on the podcast? Send me an e-mail! Thanks to Frankie Creel for the artwork --- Send in a voice message: https://podcasters.spotify.com/pod/show/screennerdspodcast/message

This week, Josh and Drusilla have the blues, BUT! They cheer themselves up with the incredibly chic The Sentinel (1977.) From wiki: “The Sentinel is a 1977 American supernatural horror film directed by Michael Winner, and starring Cristina Raines, Chris Sarandon, Ava Gardner, Burgess Meredith, Sylvia Miles, and Eli Wallach. The plot focuses on a young model who moves into a historic Brooklyn brownstone that has been sectioned into apartments, only to find that the building is owned by the Catholic diocese and is a gateway to Hell. It is based on the 1974 novel of the same name by Jeffrey Konvitz, who also co-wrote the screenplay with director Winner. It also features Christopher Walken, Jeff Goldblum, John Carradine, Jerry Orbach, Tom Berenger, Nana Visitor and Beverly D'Angelo in supporting roles.”Josh is rewatching Project Runway which causes the pair to discuss how mean the 2000s were and all the nasty reality shows and horror films from the era. Dru brings up the super fucked-up There's Something About Miriam. They discuss the Errol Morris documentary Tabloid. They also discuss The Swan and Boy Meets Boy. Drusilla is really bummed about the allegations against Justin Sane, front man for Anti-Flag. They rage about J.K. Rowling. Enya is the model! Drusilla saw the new Indian Jones and the new Mission: Impossible. Also discussed: Cannon Films, Susan Sarandon, Jeff Goldblum, Charles Bronson, and more!NEXT WEEK: The Addiction (1995)Website: http://www.bloodhauspod.comTwitter: https://twitter.com/BloodhausPodInstagram: https://www.instagram.com/bloodhauspod/Email: bloodhauspod@gmail.comDrusilla's art: https://www.sisterhydedesign.com/Drusilla's Instagram: https://www.instagram.com/hydesister/ Drusilla's Letterboxd: https://letterboxd.com/drew_phillips/Joshua's website: https://www.joshuaconkel.com/Joshua's Twitter: https://twitter.com/JoshuaConkelJoshua's Instagram: https://www.instagram.com/joshua_conkel/Joshua's Letterboxd: https://letterboxd.com/joshuaconkel 

Diane and Sean discuss the sweaty, sexy, 80's era film...Dirty Dancing. Episode music is "The Time of My Life", written by Franke Previte, Donald Markowitz, John DeNicola; performed by Bill Medley and Jennifer Warnes from the OST.Check the Merch link for NEW MERCH!-  Our theme song is by Brushy One String-  Artwork by Marlaine LePage-  Why Do We Own This DVD?  Merch available at Teepublic-  Follow the show on social media:- Tumblr: WhyDoWeOwnThisDVD-  Follow Sean's Plants on IG: @lookitmahplantsSupport the show

CHICAGO  Book by Fred Ebb & Bob Fosse | Music by John Kander | Lyrics by Fred Ebb |  Based on the play by Maurine Dallas WatkinsWorks Consulted & Reference :Chicago (Original Libretto) by  Fred Ebb & Bob FosseFosse by Sam WassonColored Lights: Forty Years of Words and Music, Show Biz, Collaboration, and All That Jazz by John Kander, Fred Ebb, as told to Greg LawrenceMusic Credits:"Overture" from Dear World (Original Broadway Cast Recording)  | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Speed Test" from Thoroughly Modern Millie  (Original Broadway Cast Recording) | Music by Jeanine Tesori, Lyrics by Dick Scanlan | Performed by Marc Kudisch, Sutton Foster, Anne L. Nathan & Ensemble"Why God Why" from Miss Saigon: The Definitive Live Recording  (Original Cast Recording  / Deluxe)  | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr.  | Performed by Alistair Brammer"Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording)  | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"Chromolume #7 / Putting It Together" from Sunday in the Park with George (Original Broadway Cast Recording)  | Music & Lyrics by Stephen Sondheim | Performed by Mandy Patinkin, Bernadette Peters, Judith Moore, Cris Groenendaal, Charles Kimbrough, William Parry, Nancy Opel, Robert Westenberg, Dana Ivey, Kurt Knudson, Barbara Bryne"What's Inside" from Waitress (Original Broadway Cast Recording)  | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"Nobody" from Absysinia  | Music by Bert Williams, Lyrics by Alex Rogers | Recorded for the Victor label"Mister Cellophane” from  Chicago (New Broadway Cast Recording 1997) | Music by John Kander | Lyrics by Fred Ebb |  Performed by Joel Grey"Maria" from The Sound of Music (Original Soundtrack Recording)  | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas“What Comes Next?” from Hamilton (Original Broadway Cast Recording) | Music & Lyrics by Lin-Manuel Miranda | Performed by Jonathan Groff

GGACP celebrates the birthday (May 28) of Oscar-winning producer Irwin Winkler ("Rocky," "Goodfellas," "Raging Bull," "The Right Stuff") with this ENCORE of a fascinating interview from 2019. In this episode, Irwin looks back on a half-century of movie-making and shares behind-the-scenes stories about working with Robert De Niro, Jane Fonda, Sydney Pollack, Martin Scorsese, Jessica Lange and Kevin Kline (to name a few). Also, Al Pacino walks off the set, Sly Stallone sticks to his guns, Jerry Orbach befriends a mobster and Irwin tackles the Hollywood blacklist. PLUS: "They Shoot Horses, Don't They?" Remembering Burgess Meredith! Peter Bogdanovich rides again! Elvis replaces Julie Christie! And Irwin reveals the movies he never made! Learn more about your ad choices. Visit megaphone.fm/adchoices

Well, kids, we did it...Erika and Paul are finishing Animated April with one of the biggest animated films of all time: Disney's Beauty and The Beast! Be our guest for this episode, enjoy your May, and we'll see you all again on June 5th!

It is finally here...the one...the only...OUT FOR JUSTICE! This is by far our best episode yet and it's definitely our favorite action movie that we have covered on Video Vagabond! This is Steven Seagal at his very best - speaking fluent Italian and Spanish, buying a six-pack of seltzer water from some punk kid on the street, beating the living shit out of a pimp and throwing the pimp through a windshield, doing his best Brooklyn accent (which isn't very good, but heck, he's trying), fight-choreographing the greatest SCENE IN FILM HISTORY with the Bar Fight Scene, and getting his revenge on the Station Wagon Tough Guy!Anybody seen Richie? Anybody know why Richie did Bobby Lupo?!?!? Come join Skip and I and the ghost of Jerry Orbach as we take a deep dive into the sheer fucking brilliance of OUT FOR JUSTICE. They don't make movies like this anymore, that's for sure. So, sit back, grab some beers and a shot or two of bourbon (only if you're over 21, okay tough guy!), and listen to us breakdown this amazing movie and enjoy our random-ass tangents of pop-culture history! Don't be a bad guy, be a nice guy! 

Answering such questions as: How did Wolverine get his adamantium skeleton? What does the ol' Canuck have in common with Disney's Belle? And would YOU back Jerry Orbach as Wolvie in the MCU??? The answers may surprise you in Ep. 2.5 - Repo Man. Featuring cohosts Rob Berliner, Sarah Mucek, and Matt Schrader.

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

An entire episode on Bacharach's dramatic works: Promises Promises, On the Flip Side, and, yes, Lost Horizon. Performances by Jerry Orbach, Dionne Warwick, Johnny Mathis, the composer himself, and many more. 

The Round Of 32: where the choices get tougher and the cheeses get lonelier. We're writing Back To The Future/Babybel fan-fic, analyzing palimpsest layers, appreciating Bobby Darin's interpretive skills (and apologizing to Jerry Orbach), and wondering who's going to do a better job of seducing Sarah, Mrs. Robinson or Toto. What song is a red-wine drunk? Who burned off their eyelashes in seventh grade? We're looking for answers -- and half of the ROTYS Sweet 16. Our intro is by Andrew Byrne, and our outro is by Harry Styles. For more information/to become a patron of the show, visit patreon.com/mastas. SHOW NOTES Not sure what's going on? ROTYS Episode 1 SDB meant Timothy B. Schmit and Bernie Leadon...and it turns out that solo is neither of them! Great work, no notes Sometimes When We Touch on Paramount+ Jerry Orbach on "Try To Remember"

Buckle up for another epic run of this guy's fucking garbage. We start looking at the story of Amos and Edda finally doing it in Brussels during a cello competition. It begins with Edda making a move on Amos which causes him to have the hiccups, which results in Amos wanting to go home. But Edda claims she has a cure, which is (of course) fucking. As soon as they've done the deed, Edda gets on the phone back home to tell her mom that, yes, she used the same "hiccup cure" that Juliette did when Juliette first humped Elliott. Because of COURSE the women had to be the instigators and the men had to be uncertain, terrified idiots about sex. Amos and Edda can't keep their hands off each other, which means that Amos pins Edda (very uncomfortably) against a piano. This embrace is viewed by a hot air balloon filled with tourists? Prisoners of war? News reporters? It is so very unclear who the people are and why they're in a hot air balloon floating through downtown Brussels. But why should anything ever make sense in this fucking strip? Why? (Part 1 of 3) The Chickweed strips we discuss this episode: The ones where Edda comes on so strongly, Amos has hiccups, but she has a cure are here (https://twitter.com/9chickweedRAGE/status/1619827633470185472?s=20&t=gtVxrdmvLSagRKhZC7Uh7g). The ones where Edda tells Juliette about fucking Amos, then Edda and Amos make out while rehearsing are here (https://twitter.com/9chickweedRAGE/status/1619827637031145472?s=20&t=gtVxrdmvLSagRKhZC7Uh7g). The ones with the inexplicable spy balloon are here (https://twitter.com/9chickweedRAGE/status/1619827640550191104?s=20&t=gtVxrdmvLSagRKhZC7Uh7g). This no longer virginal episode includes: Hangers Broadway Britney Spears Laundry vs. clothes Catholicism Madonna vs. whore Martin Scorsese High five / down low too slow The D.A. hairstyle (https://en.wikipedia.org/wiki/Ducktail) Lenny Briscoe Jerry Orbach, Broadway star (https://www.youtube.com/watch?v=8uGlL0xafP8) The definition of infatuation Hiccups Jascha Heifetz Tuba farts Amos's Patented Panty-Dropper Helium balloons in Burbank Balloon day in church Cleveland Balloonfest (https://www.theatlantic.com/video/index/562556/cleveland-balloonfest/) 1986 Liquid mercury Pirate ship ride Pro-Butt vs. Am-Butt All of the hiccup cures (https://www.healthline.com/health/how-to-get-rid-of-hiccups#treatment) Pausing the recording Turtlenecks Syrup bottles Star Trek: The Next Generation The End Pin International Cello Competition Chicken wire cages Hot air balloons The Montgolfier Brothers (https://www.museumofflight.org/Exhibits/montgolfier-brothers-balloon) The Hindenburg The Last of Us (https://www.museumofflight.org/Exhibits/montgolfier-brothers-balloon) News balloons Talk to Us! Having trouble understanding what's going on in a 9 Chickweed Lane strip you just read? Send it our way! We'll take a shot at interpreting it for you! Or maybe you just want someone to talk to? We're on Twitter: @9ChickweedRAGE (https://twitter.com/9chickweedRAGE)

0:00 - Intro & Summary2:00 - Movie Discussion58:44 - Cast & Crew/Awards1:05:55 - Pop Culture1:24:47 -  Rankings & Ratings To see a full list of movies we will be watching and shows notes, please follow our website: https://www.1991movierewind.com/Follow us!https://linktr.ee/1991movierewind Theme: "sunrise-cardio," Jeremy Dinegan (via Storyblocks)Don't forget to rate/review/subscribe/tell your friends to listen to us!

Diana accidentally saved Dirty Dancing (1987) for her final pick and could not do it without Polina and Ryan. Polina and Diana know this movie in their bones and Ryan got to watch it for the first time for the podcast. This was the right movie for the last episode. Polina mentioned the episode of the podcast You Must Remember This about Dirty Dancing and Fatal Attraction. Polina is on Twitter @anilop and Ryan is @RyanSkonnord. The feed will be pretty quiet, but you can still reach out on Twitter and Instagram @HEAMCast, Facebook @HappilyEverAftermath. Your best bet is by e-mail at heamcast@gmail.com. Spending the summer at a Catskills resort with her family, Frances "Baby" Houseman falls in love with the camp's dance instructor, Johnny Castle. Stars Jennifer Grey, Patrick Swayze, Jerry Orbach, Cynthia Rhodes, Jack Weston, Jane Brucker, Kelly Bishop, Lonny Price, Max Cantor, Charles 'Honi' Coles, Neal Jones, and Wayne Knight. (from IMDb.com) Find other amazing podcasts by searching #ladypodsquad on Twitter, Instagram, Facebook, and all the social media platforms.

This week we finally find out what “Pret A Manger” means and speculate about who got Jerry Orbach's eyes. For weekly episodes of Books: The Podcast and much, much more check out the TCGTE Patreon! Like the show? Rate The Complete Guide to Everything 5-Stars on Apple Podcasts and let us know what topic they should check out next. Follow Tim on Twitter: @yourpaltim and Instagram: @yourpaltim Follow Tom on Twitter: @tomreynolds and Instagram: @tomreynolds Advertise on The Complete Guide to Everything via Gumball.fm Photo by Zhangyang CC BY-SA 3.0See omnystudio.com/listener for privacy information.

An hour-long tribute to our hero, who's twice as big as life in our book; songs from Promises, Promises, The Fantasticks, Chicago, Carnival and more, plus some rarities.  

Hosts Sonia Mansfield and Margo D. move into a haunted Brooklyn apartment and dork out about 1977's THE SENTINEL, starring Cristina Raines, Chris Sarandon, Burgess Meredith, Eli Wallach, Christopher Walken, Beverly D'Angelo, Sylvia Miles, Jerry Orbach, Eva Gardener and — yes — even Jeff Goldblum. Dork out everywhere …Email at dorkingoutshow@gmail.comSubscribe on Apple PodcastsGoogle PlaySpotify LibsynTune In Stitcherhttp://dorkingoutshow.com/https://twitter.com/dorkingoutshow

So Glen, how come you cheated on your wife? Glen O'Brien, Dorothy's old and formerly married flame, is back--only this time he's played by Jerry Orbach. The two have such magnetic chemistry, but ultimately, Dorothy must choose herself. Meanwhile, a couple of fraudsters prey on the old and the gullible at the mall and Blanche & Sophia lose thousands of dollars--what a load of fun!

Ripped from the headlines like an old episode of Law & Order (Chris Noth and Jerry Orbach of course), your favorite Fire and Police experts are back with a couple of stories that made us scratch our heads this week. One involves life and the other death and then some.First up the heroic efforts of Officer Maysih Ford and what he did to revive a 2-year-old who ingested what Ford recognized as a possible fentanyl tablet. Our discussion revolves around why the story had to go into detail about fentanyl tablets and the park and all the other stuff. Officer Ford saved a life using his CPR training and our hats are off to him here at WYE Radio. First round is on us if you're ever in the area, sir.Now in the "not getting a beer for WYE" category is former Miami Firefighter Kevin Newcomb who thought it would be a neat idea to type "Who cares another dead cop" after the on duty death of Officer Cesar Echaverry who was shot and killed in a shoutout with a robbery suspect. Our discussion revolves around SMACS (Social Media Assisted Career Suicide) and other comments Newcomb made about a serious threat to Police Officers recently: COVID.This week we discuss:How it is that a cop can spot fentanyl on site (and not pass out...hint hint)Why Police Departments have recently been trying to send any good news outSMACS and the crowded restaurant rule of social media, even in private chatsPuppiesSupport the show

We asked our Patreon supporters to suggest TV episodes we should be forced to watch, and boy, did they come through. From their many picks, we've gone with Breakout Kings's Season 2 premiere "An Unjust Death"; "Basic Lupine Urology," Community's take on Law & Order; and a Buck Rogers episode that features both frenetic youth dancing and Jerry Orbach. Join us, won't you? TOPICS Lead Topic:

We asked our Patreon supporters to suggest TV episodes we should be forced to watch, and boy, did they come through. From their many picks, we've gone with Breakout Kings's Season 2 premiere "An Unjust Death"; "Basic Lupine Urology," Community's take on Law & Order; and a Buck Rogers episode that features both frenetic youth dancing and Jerry Orbach. Join us, won't you?Show TopicsTara's Forcening (from Erica L.S.): Breakout Kings S02.E01: An Unjust DeathSarah's Forcening (from Mark S.): Community S03.E17: Basic Lupine UrologyDave's Forcening (from Emily): Buck Rogers In The 25th Century S01.E21: Space RockersShow NotesBreakout Kings S02.E01: An Unjust Death on HuluCommunity S03.E17: Basic Lupine Urology on HuluBuck Rogers In The 25th Century S01.E21: Space Rockers on NBC.comPhoto: NBCDiscussionTweet at us @ExtraHotPodcast on TwitterWe are @ExtraHotGreat on InstagramSupport EHG on PatreonThe EHG gang have been recording this podcast for almost a decade now. In podcasting terms, that makes us positively Methuselahian. Since the start of EHG, our listeners have asked if we had a tip jar or donation system and we'd look at each other and say surely that is a joke, people don't pay other people to do podcasts. We'd email them back "Ha ha ha, good one, Chet" and go about our business. Now we are told this is a real thing that real nice people do. Value for value? In today's topsy turvy world? It's madness but that good kind of madness, like when you wake up at 3:15am and clean your house. Or something. In all seriousness, we are humbled by your continued prodding to get a Patreon page up for EHG and here it is! Extra Hot Great on Patreon See acast.com/privacy for privacy and opt-out information.

This week I'm talking to Jeannie Reed about her book 'The Afterlife Book: Because You Never Got a Chance To Say Goodbye'.These days we're taught that death is the period at the end of the sentence of life. A hard stop. The end. So, many of us have never had faith in the idea that death might just be a simple transition to another form of life. But suppose that's what it is? And suppose there's proof? The Afterlife Book takes a close look at the hidden workings of the spirit world and the endless life of the soul, how it all seems to function, and the earthly forces at play that influence the relationship between the afterlife and life as we know it. In the Book you'll find ancient mystics, oracles, and thinkers, Michio Kaku and his quantum physics world, Deepak Chopra and his spiritual philosophy, Caroline Myss and her work on Native American spirituality, Edgar Cayce and his psychic genius. Here you'll find Dr. Carl Jung, Dr. Raymond Moody, Jr., Dr. Brian Weiss, Dr. Ian Stevenson, and Dr. Jim Tucker and their research into death and memory. Here you'll find Albert Einstein and Pythagoras alongside a New Jersey cab driver, a Long Island executive, a California car mechanic, a Massachusetts singer, a Virginia woman of strong Christian faith. Here you'll find mediums from the 1700s on, including today's Jeffrey Wands, George Anderson, Lisa Williams, Theresa Caputo. Here you'll find Andy Griffith and Jerry Orbach and Elvis Presley, right alongside Socrates, Madame Blavatsky, Abraham Lincoln, and Amedeo Modigliani. Overall, The Afterlife Book is an informative and entertaining read, a book that talks about a whole new/old way of looking at life and after-life. Jeannie Reed notes, "Maybe after reading this, we won't be afraid of dying anymore."BioJeannie Reed is the author of The Language of Tarot: A Proven System for Reading the Cards. While a business and world affairs journalist and freelance editor, she became a professional psychic. The Afterlife Book grew out of many stunning personal experiences and nearly three years' research. Jeannie lives and works in Manhattan.https://www.amazon.com/Afterlife-Book-Because-Chance-Goodbye-ebook/dp/B09NL4ZJJN/ref=tmm_kin_swatch_0?_encoding=UTF8&qid=1650629553&sr=8-1https://www.patreon.com/alienufopodcasthttps://www.patreon.com/pastlivespodcast