Podcast appearances and mentions of John Pankow

Join Justin as he chats with actor Kristine Sutherland about life in Italy, her love of the stage, studying in London, Buffy the Vampire Slayer, and more!Kristine Sutherland bio:“Kristine Sutherland's first love was theater. She went to an audition in high school as moral support for a friend but ended up auditioning herself. She worked as an actress on stage through the 80s, landing a few pilot roles as well as her small secretary part in Legal Eagles and her big-screen debut in Honey, I Shrunk the Kids.In 1993, Kristine and her husband, John Pankow, moved to Los Angeles, looking to enjoy their daughter's upbringing. Kristine told as few people as possible that she was moving and was surprised when she received a phone call from her agent, telling her that he found a part she'd be perfect for. She auditioned for the role of "Joyce Summers" on television's Buffy the Vampire Slayer. In 1999, John and Kristine decided to move to Italy for a year, intending to go for the duration of a school year, giving their daughter the chance to learn a language organically. Whilst Eleanore studied at school, Kristine flew back into the USA occasionally to film a few episodes of "Buffy". In 2000, they moved back to America, keeping a house in both Los Angeles and New York. Since leaving the show, Kristine has pursued other interests. She is a very keen photographer and became a qualified photographer thanks to a college course at the Santa Monica College.”Monsters, Madness and Magic Official Website. Monsters, Madness and Magic on Linktree.Monsters, Madness and Magic on Instagram.Monsters, Madness and Magic on Facebook.Monsters, Madness and Magic on Twitter.Monsters, Madness and Magic on YouTube.

Tune in as Jameson Pfeifle (@sdfilmthoughts) teams up with Arthur for a review and recap of The Hunger, the 1983 erotic horror film that follows a vampire couple, the accelerated aging that has suddenly plagued one of the partners, and the human gerontologist who gets caught up in their alluring and dark world. The neo-noir layers that are given off by this movie's heavy atmosphere, playing around with traditional vampire tropes, and a questionable ending that had been jammed in by the studio comprise some of the subjects for this episode. Directed by Tony Scott, The Hunger stars Catherine Deneuve, David Bowie, Susan Sarandon, Beth Ehlers, Cliff DeYoung, Dan Hedaya, Rufus Collins, Suzanne Bertish, Willem Dafoe, John Pankow, and James Aubrey. Spoilers start at 25:15 Source: Deviance, Decadence & Destructive Desire: The Proprietary Cinematic Gaze in Tony Scott's The Hunger by Deborah Michel on ACIDEMIC Journal of Film and Media Create your podcast today! #madeonzencastr Here's how you can learn more about Palestine and Israel Here's how you can keep up-to-date on this genocide Here's how you can send eSIM cards to Palestinians in order to help them stay connected online Good Word: • Jameson: Conclave • Arthur: Compound Fracture by Andrew Joseph White Reach out at email2centscritic@yahoo.com if you want to recommend things to watch and read, share anecdotes, or just say hello! Be sure to subscribe, rate, and review on iTunes or any of your preferred podcasting platforms! Follow Arthur on Twitter, Goodpods, StoryGraph, Letterboxd, and TikTok: @arthur_ant18 Follow the podcast on Twitter: @two_centscritic Follow the podcast on Instagram: @twocentscriticpod Follow Arthur on Goodreads Check out 2 Cents Critic Linktree

Welcome to your favorite movie podcast, Not a Bomb!! This is the podcast where we revisit some of the biggest box office failures in cinema history and explore whether they deserve a second chance.After delving into deep discussions on “mother!” and “Blade Runner”, we decided to take a whimsical turn with a new theme month - Ape-Ril. That's right, in the coming weeks, it's all about monkey business at Not A Bomb. This week, our focus is on the 1988 horror film (?) - “Monkey Shines.” Directed by horror trailblazer George A. Romero, “Monkey Shines” tells the story of a person with quadriplegia who develops an unexpected relationship with a monkey… or rather, a small ape. Throughout its two-hour runtime, Monkey Shines goes to great lengths not to frighten the audience. However, the plot will leave you pondering how frozen brain tissue and Gatorade can forge a telekinetic bond between a small ape and a quadriplegic. Oh, and we dive into one of the most peculiar sex scenes in film history. You simply have to listen to hear all about it.Monkey Shines is directed by George A. Romero and stars Jason Beghe, John Pankow, Kate McNeil, and Joyce Van Patten. If you want to leave feedback or suggest a movie bomb, please drop us a line at NotABombPod@gmail.com or Contact Us - here. Also, if you like what you hear, leave a review on Apple Podcast.Cast: Brad, Troy

A grimy secret service agent will stop at nothing to take down the counterfeiter who killed his partner. Directed by William Friedkin. Screenplay by Friedkin and Gerald Petievich. Based on Petievich's novel of the same name. Starring William Petersen, Willem Dafoe, John Pankow, Debra Feuer and Darlanne Fluegel. Listener request courtesy of Chris S. Thank you so much for listening! E-mail address: greatestpod@gmail.com Please follow the show on Twitter: @GreatestPod Subscribe on Apple Podcasts / Podbean This week's recommendations: The Zone of Interest (Now in theaters)

Let's Talk - MoviesEpisode 53: To Live and Die in L.A. (1985) - Movie MattersJason Connell and Sal Rodriguez discuss the origin story of Let's Talk - Movies, which began with the short-lived show Movie Matters.To Live and Die in L.A. (1985) Synopsis: A fearless Secret Service agent will stop at nothing to bring down the counterfeiter who killed his partner. Director: William FriedkinWriter: William Friedkin, Gerald PetievichCinematographer: Robby MüllerCast: William Petersen, Willem Dafoe, John Pankow, Debra Feuer, Darlanne Fluegel, John Turturro, Dean StockwellComposer: Wang ChungOriginal Episode: S01E01 (Movie Matters) Recorded: 02-21-24, 10-20-19, 10-15-19Studio: Just Curious MediaListen:BuzzsproutApple PodcastsSpotifyGoogle PodcastsAmazon MusiciHeartRadioTuneInWatch:YouTubeSpotifyFollow:FacebookInstagramHosts:Jason ConnellSal Rodriguez#justcuriousmedia #letstalkmovies #mrjasonconnell #salvadorlosangeles #cinema #classicmovies #movies #moviereviews #film #filmreviews #studios #producers #directors #writers #actors #moviestars #boxoffice #toliveanddieinlaSupport the show

From the director of The French Connection, The Exorcist, and.....Cruising :o....this was somewhat of a comeback vehicle for the late, great William Friedkin in the mid '80's after a series of highly publicized flops and commercial disappointments.  It's a hard-edged LA-based crime story revolving around two Secret Service agents (William Peterson, John Pankow) attempting to take down the ruthless California King of Counterfeiting played by a then baby-faced Willem Dafoe.  And along the way there are no shortage of violent scrapes and shootouts along with loads of gratuitous nudity...and the whole thing is scored by pop band Wang Chung no less!  Yes it's time to revisit a true product of its time which also co-stars Dean Stockwell, John Turturro, Darlene Fluegel, and John Turturro in one of his earliest on-screen roles.  Host & Editor: Geoff GershonProducer: Marlene Gershon https://livingforthecinema.com/Facebook:https://www.facebook.com/Living-for-the-Cinema-Podcast-101167838847578Instagram:https://www.instagram.com/livingforthecinema/Letterboxd:https://letterboxd.com/Living4Cinema/

Hey, all. It's 2024's bloom. It's January. But unlike last year's January Dumping Ground theme, we have what some would call the Queen of the 90s. Demi Moore. All month long. It's Moore Moore Moore! Movie #1, in what maybe one of boldest film choices after blowing up with Ghost the year before, we have Mortal Thoughts. Along with Demi, Glenne Headley, Bruce Willis, John Pankow, with Harvey Keitel as Detective John Woods. From IMDB: Two detectives interrogate a hairdresser on two homicides she may or may not have been involved in. ENJOY! YES. SAG-AFTRA HAVE FINALLY JOINED THE WGA, AND HAS COME TO AN AGREEMENT WITH THE AMPTP. IT'S BEEN A VERY LONG AND UPHILL BATTLE FOR NOT JUST THE MEMBERS AND THEIR FAMILIES OF BOTH UNIONS, IT HAS ALSO CAUSED A GREAT DEAL OF HARDSHIP FOR THE REST OF THE INDUSTRY'S PROFESSIONALS AND THEIR FAMILIES. BUT ALL ISN'T BACK TO NORMAL AND WON'T BE FOR SOME TIME. THESE WORKERS AND THEIR FAMILIES ARE GOING TO BE STRUGGLING WHILE THE INDUSTRY STARTS REMEMBERING HOW TO WORK. THE OVERWHELMING BURDEN OF PUTTING FOOD ON THE TABLE AND A ROOF OVER ONE'S HEAD DOESN'T END WHEN THE DEALS ARE MADE OR EVEN RATIFIED. THE INDUSTRY'S USUAL HIATUS/SHUTDOWN THIS MONTH IS MOST LIKELY GOING TO EXTEND ANY KIND OF BREAK FROM "NORMALCY" IN THE FREQUENCY OF WORK. IT COULD EVEN BE MONTHS INTO 2024 BEFORE PRODUCTIONS GET UP TO SPEED AGAIN. BUT EVEN IF THEY WORK THROUGH THAT USUAL "HOLIDAY HIATUS", FOR MANY FAMILIES THEY ARE GOING TO CONTINUE TO NEED ASSISTANCE, EVEN IF THEY RETURN TO WORK. THIS IS WHERE YOU CAN HELP. IF YOU HAVE A FEW DOLLARS TO SPARE, PLEASE CONSIDER DONATING TO THE ENTERTAINMENT COMMUNITY FUND. THE FUND HELPS ALL WORKERS AFFECTED BY THE STRIKE, NOT JUST ACTORS AND WRITERS. Entertainment Community Fund https://entertainmentcommunity.org/support-our-work ------------------ As always, and maybe even more than ever, here are some mental health resources for North America: United States  https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ The Suicide Hotline phone number has been changed. Now, just text or call 988. Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566 Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you. Be mindful of your surroundings. Karate in the Garage Linkages

Billy Friedkin, maybe the weirdest (in a good way) major American director of his generation, almost doesn't make sense on paper; wait...the same guy directed 'The French Connection' and 'The Excorcist'?  But the ups and downs of Friedkin's storied and somewhat haphazard career are what makes him one of the most interesting directors to consider. And 'To Live and Die in LA' is some kind of crazy masterpiece, punching WELL above its weight as a non-studio, non-union middling-budget (6 million dollars) independent LA neo-noir. Filled with superlative near-first-timers like John Turturro, William Petersen, John Pankow, Willem Dafoe and stellar supporting work from the likes of Steve James, Robert Downey, Sr,  Darlanne Fluegel, Dean Stockwell, Jack Hoar, and Debra Feuer, TLADILA is easily consumed as genre fare...or more diligently dissected as the incredible example of top-tier filmmaking and production design and location and stunt work that it also is. Needless to say that's where I'm taking my cues! Available now on a newly restored 4K UHD and blu-ray disc, TLADILA has frustratingly not been available to stream but my plea here is that you avail yourself of the physical media and set aside an evening to appreciate this great work of FUN and ART. Buy the new release here. Listen to Wang Chung's excellent TLADILA soundtrack here.

On this week's episode, we remember William Friedkin, who passed away this past Tuesday, looking back at one of his lesser known directing efforts, Rampage. ----more---- 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. Originally, this week was supposed to be the fourth episode of our continuing miniseries on the 1980s movies released by Miramax Films. I was fully committed to making it so, but then the world learned that Academy Award-winning filmmaker William Friedkin passed away on Tuesday. I had already done an episode on his best movie from the decade, 1985’s To Live and Die in L.A., so I decided I would cover another film Friedkin made in the 80s that isn’t as talked about or as well known as The French Connection or The Exorcist or To Live and Die in L.A. Rampage. Now, some of you who do know the film might try and point that the film was released in 1992, by Miramax Films of all companies, and you’d be correct. However, I did say I was going to cover another film of his MADE in the 80s, which is also true when it comes to Rampage. So let’s get to the story, shall we? Born in Chicago in 1935, William Friedkin was inspired to become a filmmaker after seeing Citizen Kane as a young man, and by 1962, he was already directing television movies. He’d make his feature directing debut with Good Times in 1967, a fluffy Sonny and Cher comedy which finds Sonny Bono having only ten days to rewrite the screenplay for their first movie, because the script to the movie they agreed to was an absolute stinker. Which, ironically, is a fairly good assessment of the final film. The film, which was essentially a bigger budget version of their weekly variety television series shot mostly on location at an African-themed amusement park in Northern California and the couple’s home in Encino, was not well received by either critics or audiences. But by the time Good Times came out, Friedkin was already working on his next movie, The Night They Raided Minsky’s. A comedy co-written by future television legend Norman Lear, Minsky’s featured Swedish actress Britt Ekland, better known at the time as the wife of Peter Sellers, as a naive young Amish woman who leaves the farm in Pennsylvania looking to become an actress in religious stage plays in New York City. Instead, she becomes a dancer in a burlesque show and essentially ends up inventing the strip tease. The all-star cast included Dr. No himself, Joseph Wiseman, Elliott Gould, Jack Burns, Bert Lahr, and Jason Robards, Jr., who was a late replacement for Alan Alda, who himself was a replacement for Tony Curtis. Friedkin was dreaming big for this movie, and was able to convince New York City mayor John V. Lindsay to delay the demolition of an entire period authentic block of 26th Street between First and Second Avenue for two months for the production to use as a major shooting location. There would be one non-production related tragedy during the filming of the movie. The seventy-two year old Lahr, best known as The Cowardly Lion in The Wizard of Oz, would pass away in early December 1967, two weeks before production was completed, and with several scenes still left to shoot with him. Lear, who was also a producer on the film, would tell a reporter for the New York Times that they would still be able to shoot the rest of the film so that performance would remain virtually intact, and with the help of some pre-production test footage and a body double, along with a sound-alike to dub the lines they couldn’t get on set, Lahr’s performance would be one of the highlights of the final film. Friedkin and editor Ralph Rosenblum would spend three months working on their first cut, as Friedkin was due to England in late March to begin production on his next film, The Birthday Party. Shortly after Friedkin was on the plane to fly overseas, Rosenblum would represent the film for a screening with the executives at United Artists, who would be distributing the film. The screening was a disaster, and Rosenblum would be given carte blanche by the studio heads to save the film by any means necessary, since Friedkin was not available to supervise. Rosenblum would completely restructure the film, including creating a prologue for the story that would be retimed and printed on black and white film stock. The next screening would go over much better with the suits, and a mid-December 1968 release date was set up. The Birthday Party was an adaptation of a Harold Pinter play, and featured Robert Shaw and Patrick Magee. Friedkin had seen the play in San Francisco in 1962, and was able to get the film produced in part because he would only need six actors and a handful of locations to shoot, keeping the budget low. Although the mystery/thriller was a uniquely British story, Harold Pinter liked how Friedkin wanted to tell the story, and although Pinter had written a number of plays that had been adapted into movies and had adapted a number of books into screenplay, this would be the first time Pinter would adapt one of his own stories to the silver screen. To keep the budget lower still, Friedkin, Pinter and lead actor Robert Shaw agreed to take the minimum possible payments for their positions in exchange for part ownership in the film. The release of Minsky’s was so delayed because of the prolonged editing process that The Birthday Party would actually in theatres nine days before Minsky’s, which would put Friedkin in the rare position of having two movies released in such a short time frame. And while Minsky’s performed better at the box office than Birthday Party, the latter film would set the director up financially with enough in the bank where he could concentrate working on projects he felt passionate about. That first film after The Birthday Party would make William Friedkin a name director. His second one would make him an Oscar winner. The third, a legend. And the fourth would break him. The first film, The Boys in the Band, was an adaptation of a controversial off-Broadway play about a straight man who accidentally shows up to a party for gay men. Matt Crowley, the author of the play, would adapt it to the screen, produce the film himself with author Dominick Dunne, and select Friedkin, who Crowley felt best understood the material, to direct. Crowley would only make one demand on his director, that all of the actors from the original off-Broadway production be cast in the movie in the same roles. Friedkin had no problem with that. When the film was released in March 1970, Friedkin would get almost universally excellent notices from film critics, except for Pauline Kael in the New York Times, who had already built up a dislike of the director after just three films. But March 1970 was a different time, and a film not only about gay men but a relatively positive movie about gay men who had the same confusions and conflicts as straight men, was probably never going to be well-received by a nation that still couldn’t talk openly about non-hetero relationships. But the film would still do about $7m worth of ticket sales, not enough to become profitable for its distributor, but enough for the director to be in the conversation for bigger movies. His next film was an adaptation of a 1969 book about two narcotics detectives in the New York City Police Department who went after a wealthy French businessman who was helping bring heroin into the States. William Friedkin and his cinematographer Owen Roizman would shoot The French Connection as if it were a documentary, giving the film a gritty realism rarely seen in movies even in the New Hollywood era. The film would be named the Best Picture of 1971 by the Academy, and Friedkin and lead actor Gene Hackman would also win Oscars in their respective categories. And the impact of The French Connection on cinema as a whole can never be understated. Akira Kurosawa would cite the film as one of his favorites, as would David Fincher and Brad Pitt, who bonded over the making of Seven because of Fincher’s conscious choice to use the film as a template for the making of his own film. Steven Spielberg said during the promotion of his 2005 film Munich that he studied The French Connection to prepare for his film. And, of course, after The French Connection came The Exorcist, which would, at the time of its release in December 1973, become Warner Brothers’ highest grossing film ever, legitimize the horror genre to audiences worldwide, and score Friedkin his second straight Oscar nomination for Best Director, although this time he and the film would lose to George Roy Hill and The Sting. In 1977, Sorcerer, Friedkin’s American remake of the 1953 French movie The Wages of Fear, was expected to be the big hit film of the summer. The film originally started as a little $2.5m budgeted film Friedkin would make while waiting for script revisions on his next major movie, called The Devil’s Triangle, were being completed. By the time he finished filming Sorcerer, which reteamed Friedkin with his French Connection star Roy Scheider, now hot thanks to his starring role in Jaws, this little film became one of the most expensive movies of the decade, with a final budget over $22m. And it would have the unfortunate timing of being released one week after a movie released by Twentieth Century-Fox, Star Wars, sucked all the air out of the theatrical exhibition season. It would take decades for audiences to discover Sorcerer, and for Friedkin, who had gone some kind of mad during the making of the film, to accept it to be the taut and exciting thriller it was. William Friedkin was a broken man, and his next film, The Brinks Job, showed it. A comedy about the infamous 1950 Brinks heist in Boston, the film was originally supposed to be directed by John Frankenheimer, with Friedkin coming in to replace the iconic filmmaker only a few months before production was set to begin. Despite a cast that included Peter Boyle, Peter Falk, Allen Garfield, Warren Oates, Gena Rowlands and Paul Sorvino, the film just didn’t work as well as it should have. Friedkin’s first movie of the 1980s, Cruising, might have been better received in a later era, but an Al Pacino cop drama about his trying to find a killer of homosexual men in the New York City gay fetish underground dance club scene was, like The Boys in the Band a decade earlier, too early to cinemas. Like Sorcerer, audiences would finally find Cruising in a more forgiving era. In 1983, Friedkin made what is easily his worst movie, Deal of the Century, an alleged comedy featuring Chevy Chase, Gregory Hines and Sigourney Weaver that attempted to satirize the military industrial complex in the age of Ronald Reagan, but somehow completely missed its very large and hard to miss target. 1985 would see a comeback for William Friedkin, with the release of To Live and Die in LA, in which two Secret Service agents played by William L. Petersen and John Pankow try to uncover a counterfeit money operation led by Willem Dafoe. Friedkin was drawn to the source material, a book by former Secret Service agent Gerald Petievich, because the agency was almost never portrayed on film, and even less as the good guys. Friedkin would adapt the book into a screenplay with Petievich, who would also serve as a technical consultant to ensure authenticity in how Petersen and Pankow acted. It would be only the second time Friedkin was credited as a screenwriter, but it would be a nine-minute chase sequence through the aqueducts of Los Angeles and a little used freeway in Wilmington that would be the most exciting chase sequence committed to film since the original Gone in 60 Seconds, The French Connection, or the San Francisco chase sequence in the 1967 Steve McQueen movie Bullitt. The sequence is impressive on Blu-ray, but on a big screen in a movie theatre in 1985, it was absolutely thrilling. Which, at long last, brings us to Rampage. Less than two months after To Live and Die in LA opened to critical raves and moderate box office in November 1985, Friedkin made a deal with Italian mega-producer Dino DeLaurentiis to direct Rampage, a crime drama based on a novel by William P. Wood. DeLaurentiis had hired Friedkin for The Brinks Job several years earlier, and the two liked working for each other. DeLaurentiis had just started his own distribution company, the DeLaurentiis Entertainment Group, which we’ll shorten to DEG for the remainder of this episode, and needed some big movies to fill his pipeline. We did an episode on DEG back in 2020, and if you haven’t listened to it yet, you should after you finish this episode. At this time, DEG was still months away from releasing its first group of films, which would include Maximum Overdrive, the first film directed by horror author Stephen King, and Blue Velvet, the latest from David Lynch, both of which would shoot at the same time at DEG’s newly built studio facilities in Wilmington, North Carolina. But Friedkin was writing the screenplay adaptation himself, and would need several months to get the script into production shape, so the film would not be able to begin production until late 1986. The novel Rampage was based on the real life story of serial killer Richard Chase, dubbed The Vampire Killer by the press when he went on a four day killing spree in January 1978. Chase murdered six people, including a pregnant woman and a 22 month old child, and drank their blood as part of some kind of ritual. Wood would change some aspects of Chase’s story for his book, naming his killer Charles Reece, changing some of the ages and sexes of the murder victims, and how the murderer died. But most of the book was about Reece’s trial, with a specific focus on Reece’s prosecutor, Anthony Fraser, who had once been against capital punishment, but would be seeking the death penalty in this case after meeting one of the victims’ grieving family members. William L. Petersen, Friedkin’s lead star in To Live and Die in LA, was initially announced to star as Fraser, but as the production got closer to its start date, Petersen had to drop out of the project, due to a conflict with another project that would be shooting at the same time. Michael Biehn, the star of James Cameron’s The Terminator and the then recently released Aliens, would sign on as the prosecutor. Alex McArthur, best known at the time as Madonna’s baby daddy in her Papa Don’t Preach music video, would score his first major starring role as the serial killer Reece. The cast would also include a number of recognizable character actors, recognizable if not by name but by face once they appeared on screen, including Nicholas Campbell, Deborah Van Valkenberg, Art LaFleur, Billy Greenbush and Grace Zabriskie. Friedkin would shoot the $7.5m completely on location in Stockton, CA from late October 1986 to just before Christmas, and Friedkin would begin post-production on the film after the first of the new year. In early May 1987, DEG announced a number of upcoming releases for their films, including a September 11th release for Rampage. But by August 1987, many of their first fifteen releases over their first twelve months being outright bombs, quietly pulled Rampage off their release calendar. When asked by one press reporter about the delay, a representative from DEG would claim the film would need to be delayed because Italian composer Ennio Morricone had not delivered his score yet, which infuriated Friedkin, as he had turned in his final cut of the film, complete with Morricone’s score, more than a month earlier. The DEG rep was forced to issue a mea culpa, acknowledging the previous answer had been quote unquote incorrect, and stated they were looking at release dates between November 1987 and February 1988. The first public screening of Rampage outside of an unofficial premiere in Stockton in August 1987 happened on September 11th, 1987, at the Boston Film Festival, but just a couple days after that screening, DEG would be forced into bankruptcy by one of his creditors in, of all places, Boston, and the film would be stuck in limbo for several years. During DEG’s bankruptcy, some European companies would be allowed to buy individual country rights for the film, to help pay back some of the creditors, but the American rights to the film would not be sold until Miramax Films purchased the film, and the 300 already created 35mm prints of the film in March 1992, with a planned national release of the film the following month. But that release had to be scrapped, along with the original 300 prints of the film, when Friedkin, who kept revising the film over the ensuing five years, turned in to the Weinsteins a new edit of the film, ten minutes shorter than the version shown in Stockton and Boston in 1987. He had completely eliminated a subplot involving the failing marriage of the prosecutor, since it had nothing to do with the core idea of the story, and reversed the ending, which originally had Reece committing suicide in his cell not unlike Richard Chase. Now, the ending had Reece, several years into the future, alive and about to be considered for parole. Rampage would finally be released into 172 theatres on October 30th, 1992, including 57 theatres in Los Angeles, and four in New York City. Most reviews for the film were mixed, finding the film unnecessarily gruesome at times, but also praising how Friedkin took the time for audiences to learn more about the victims from the friends and family left behind. But the lack of pre-release advertising on television or through trailers in theatres would cause the film to perform quite poorly in its opening weekend, grossing just $322,500 in its first three days. After a second and third weekend where both the grosses and the number of theatres playing the film would fall more than 50%, Miramax would stop tracking the film, with a final reported gross of just less than $800k. Between the release of his thriller The Guardian in 1990 and the release of Rampage in 1992, William Friedkin would marry fellow Chicago native Sherry Lansing, who at the time had been a successful producer at Paramount Pictures, having made such films as The Accused, which won Jodie Foster her first Academy Award, and Fatal Attraction. Shortly after they married, Lansing would be named the Chairman of Paramount Pictures, where she would green light such films as Forrest Gump, Braveheart and Titanic. She would also hire her husband to make four films for the studio between 1994 and 2003, including the basketball drama Blue Chips and the thriller Jade. Friedkin’s directing career would slow down after 2003’s The Hunted, making only two films over the next two decades. 2006’s Bug was a psychological thriller with Michael Shannon and Ashley Judd, and 2012’s Killer Joe, a mixture of black comedy and psychological thriller featuring Matthew McConaughey and Emile Hirsch, was one of few movies to be theatrically released with an NC-17 rating. Neither were financially successful, but were highly regarded by critics. But there was still one more movie in him. In January 2023, Friedkin would direct his own adaptation of the Herman Wouk’s novel The Caine Mutiny Court-Martial for the Paramount+ streaming service. Updating the setting from the book’s World War II timeline to the more modern Persian Gulf conflict, this new film starred Keifer Sutherland as Lieutenant Commander Queeg, alongside Jason Clark, Jake Lacy, Jay Duplass, Dale Dye, and in his final role before his death in March, Lance Reddick. That film will premiere at the Venice Film Festival in Italy next month, although Paramount+ has not announced a premiere date on their service. William Friedkin had been married four times in his life, including a two year marriage to legendary French actress Jean Moreau in the late 70s and a two year marriage to British actress Lesley-Anne Downe in the early 80s. But Friedkin and Lansing would remain married for thirty-two years until his death from heart failure and pneumonia this past Tuesday. I remember when Rampage was supposed to come out in 1987. My theatre in Santa Cruz was sent a poster for it about a month before it was supposed to be released. A pixelated image of Reece ran down one side of the poster, while the movie’s tagline and credits down the other. I thought the poster looked amazing, and after the release was cancelled, I took the poster home and hung it on one of the walls in my place at the time. The 1992 poster from Miramax was far blander, basically either a entirely white or an entirely red background, with a teared center revealing the eyes of Reece, which really doesn’t tell you anything about the movie. Like with many of his box office failures, Friedkin would initially be flippant about the film, although in the years preceding his death, he would acknowledge the film was decent enough despite all of its post-production problems. I’d love to be able to suggest to you to watch Rampage as soon as you can, but as of August 2023, one can only rent or buy the film from Amazon, $5.89 for a two day rental or $14.99 to purchase. It is not available on any other streaming service as of the writing and recording of this episode. Thank you for joining us. We’ll talk again soon, when I expect to release the fourth part of the Miramax miniseries, unless something unexpected happens in the near future. Remember to visit this episode’s page on our website, The80sMoviePodcast.com, for extra materials about Rampage and the career of William Friedkin. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.

On this week's episode, we remember William Friedkin, who passed away this past Tuesday, looking back at one of his lesser known directing efforts, Rampage. ----more---- 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. Originally, this week was supposed to be the fourth episode of our continuing miniseries on the 1980s movies released by Miramax Films. I was fully committed to making it so, but then the world learned that Academy Award-winning filmmaker William Friedkin passed away on Tuesday. I had already done an episode on his best movie from the decade, 1985’s To Live and Die in L.A., so I decided I would cover another film Friedkin made in the 80s that isn’t as talked about or as well known as The French Connection or The Exorcist or To Live and Die in L.A. Rampage. Now, some of you who do know the film might try and point that the film was released in 1992, by Miramax Films of all companies, and you’d be correct. However, I did say I was going to cover another film of his MADE in the 80s, which is also true when it comes to Rampage. So let’s get to the story, shall we? Born in Chicago in 1935, William Friedkin was inspired to become a filmmaker after seeing Citizen Kane as a young man, and by 1962, he was already directing television movies. He’d make his feature directing debut with Good Times in 1967, a fluffy Sonny and Cher comedy which finds Sonny Bono having only ten days to rewrite the screenplay for their first movie, because the script to the movie they agreed to was an absolute stinker. Which, ironically, is a fairly good assessment of the final film. The film, which was essentially a bigger budget version of their weekly variety television series shot mostly on location at an African-themed amusement park in Northern California and the couple’s home in Encino, was not well received by either critics or audiences. But by the time Good Times came out, Friedkin was already working on his next movie, The Night They Raided Minsky’s. A comedy co-written by future television legend Norman Lear, Minsky’s featured Swedish actress Britt Ekland, better known at the time as the wife of Peter Sellers, as a naive young Amish woman who leaves the farm in Pennsylvania looking to become an actress in religious stage plays in New York City. Instead, she becomes a dancer in a burlesque show and essentially ends up inventing the strip tease. The all-star cast included Dr. No himself, Joseph Wiseman, Elliott Gould, Jack Burns, Bert Lahr, and Jason Robards, Jr., who was a late replacement for Alan Alda, who himself was a replacement for Tony Curtis. Friedkin was dreaming big for this movie, and was able to convince New York City mayor John V. Lindsay to delay the demolition of an entire period authentic block of 26th Street between First and Second Avenue for two months for the production to use as a major shooting location. There would be one non-production related tragedy during the filming of the movie. The seventy-two year old Lahr, best known as The Cowardly Lion in The Wizard of Oz, would pass away in early December 1967, two weeks before production was completed, and with several scenes still left to shoot with him. Lear, who was also a producer on the film, would tell a reporter for the New York Times that they would still be able to shoot the rest of the film so that performance would remain virtually intact, and with the help of some pre-production test footage and a body double, along with a sound-alike to dub the lines they couldn’t get on set, Lahr’s performance would be one of the highlights of the final film. Friedkin and editor Ralph Rosenblum would spend three months working on their first cut, as Friedkin was due to England in late March to begin production on his next film, The Birthday Party. Shortly after Friedkin was on the plane to fly overseas, Rosenblum would represent the film for a screening with the executives at United Artists, who would be distributing the film. The screening was a disaster, and Rosenblum would be given carte blanche by the studio heads to save the film by any means necessary, since Friedkin was not available to supervise. Rosenblum would completely restructure the film, including creating a prologue for the story that would be retimed and printed on black and white film stock. The next screening would go over much better with the suits, and a mid-December 1968 release date was set up. The Birthday Party was an adaptation of a Harold Pinter play, and featured Robert Shaw and Patrick Magee. Friedkin had seen the play in San Francisco in 1962, and was able to get the film produced in part because he would only need six actors and a handful of locations to shoot, keeping the budget low. Although the mystery/thriller was a uniquely British story, Harold Pinter liked how Friedkin wanted to tell the story, and although Pinter had written a number of plays that had been adapted into movies and had adapted a number of books into screenplay, this would be the first time Pinter would adapt one of his own stories to the silver screen. To keep the budget lower still, Friedkin, Pinter and lead actor Robert Shaw agreed to take the minimum possible payments for their positions in exchange for part ownership in the film. The release of Minsky’s was so delayed because of the prolonged editing process that The Birthday Party would actually in theatres nine days before Minsky’s, which would put Friedkin in the rare position of having two movies released in such a short time frame. And while Minsky’s performed better at the box office than Birthday Party, the latter film would set the director up financially with enough in the bank where he could concentrate working on projects he felt passionate about. That first film after The Birthday Party would make William Friedkin a name director. His second one would make him an Oscar winner. The third, a legend. And the fourth would break him. The first film, The Boys in the Band, was an adaptation of a controversial off-Broadway play about a straight man who accidentally shows up to a party for gay men. Matt Crowley, the author of the play, would adapt it to the screen, produce the film himself with author Dominick Dunne, and select Friedkin, who Crowley felt best understood the material, to direct. Crowley would only make one demand on his director, that all of the actors from the original off-Broadway production be cast in the movie in the same roles. Friedkin had no problem with that. When the film was released in March 1970, Friedkin would get almost universally excellent notices from film critics, except for Pauline Kael in the New York Times, who had already built up a dislike of the director after just three films. But March 1970 was a different time, and a film not only about gay men but a relatively positive movie about gay men who had the same confusions and conflicts as straight men, was probably never going to be well-received by a nation that still couldn’t talk openly about non-hetero relationships. But the film would still do about $7m worth of ticket sales, not enough to become profitable for its distributor, but enough for the director to be in the conversation for bigger movies. His next film was an adaptation of a 1969 book about two narcotics detectives in the New York City Police Department who went after a wealthy French businessman who was helping bring heroin into the States. William Friedkin and his cinematographer Owen Roizman would shoot The French Connection as if it were a documentary, giving the film a gritty realism rarely seen in movies even in the New Hollywood era. The film would be named the Best Picture of 1971 by the Academy, and Friedkin and lead actor Gene Hackman would also win Oscars in their respective categories. And the impact of The French Connection on cinema as a whole can never be understated. Akira Kurosawa would cite the film as one of his favorites, as would David Fincher and Brad Pitt, who bonded over the making of Seven because of Fincher’s conscious choice to use the film as a template for the making of his own film. Steven Spielberg said during the promotion of his 2005 film Munich that he studied The French Connection to prepare for his film. And, of course, after The French Connection came The Exorcist, which would, at the time of its release in December 1973, become Warner Brothers’ highest grossing film ever, legitimize the horror genre to audiences worldwide, and score Friedkin his second straight Oscar nomination for Best Director, although this time he and the film would lose to George Roy Hill and The Sting. In 1977, Sorcerer, Friedkin’s American remake of the 1953 French movie The Wages of Fear, was expected to be the big hit film of the summer. The film originally started as a little $2.5m budgeted film Friedkin would make while waiting for script revisions on his next major movie, called The Devil’s Triangle, were being completed. By the time he finished filming Sorcerer, which reteamed Friedkin with his French Connection star Roy Scheider, now hot thanks to his starring role in Jaws, this little film became one of the most expensive movies of the decade, with a final budget over $22m. And it would have the unfortunate timing of being released one week after a movie released by Twentieth Century-Fox, Star Wars, sucked all the air out of the theatrical exhibition season. It would take decades for audiences to discover Sorcerer, and for Friedkin, who had gone some kind of mad during the making of the film, to accept it to be the taut and exciting thriller it was. William Friedkin was a broken man, and his next film, The Brinks Job, showed it. A comedy about the infamous 1950 Brinks heist in Boston, the film was originally supposed to be directed by John Frankenheimer, with Friedkin coming in to replace the iconic filmmaker only a few months before production was set to begin. Despite a cast that included Peter Boyle, Peter Falk, Allen Garfield, Warren Oates, Gena Rowlands and Paul Sorvino, the film just didn’t work as well as it should have. Friedkin’s first movie of the 1980s, Cruising, might have been better received in a later era, but an Al Pacino cop drama about his trying to find a killer of homosexual men in the New York City gay fetish underground dance club scene was, like The Boys in the Band a decade earlier, too early to cinemas. Like Sorcerer, audiences would finally find Cruising in a more forgiving era. In 1983, Friedkin made what is easily his worst movie, Deal of the Century, an alleged comedy featuring Chevy Chase, Gregory Hines and Sigourney Weaver that attempted to satirize the military industrial complex in the age of Ronald Reagan, but somehow completely missed its very large and hard to miss target. 1985 would see a comeback for William Friedkin, with the release of To Live and Die in LA, in which two Secret Service agents played by William L. Petersen and John Pankow try to uncover a counterfeit money operation led by Willem Dafoe. Friedkin was drawn to the source material, a book by former Secret Service agent Gerald Petievich, because the agency was almost never portrayed on film, and even less as the good guys. Friedkin would adapt the book into a screenplay with Petievich, who would also serve as a technical consultant to ensure authenticity in how Petersen and Pankow acted. It would be only the second time Friedkin was credited as a screenwriter, but it would be a nine-minute chase sequence through the aqueducts of Los Angeles and a little used freeway in Wilmington that would be the most exciting chase sequence committed to film since the original Gone in 60 Seconds, The French Connection, or the San Francisco chase sequence in the 1967 Steve McQueen movie Bullitt. The sequence is impressive on Blu-ray, but on a big screen in a movie theatre in 1985, it was absolutely thrilling. Which, at long last, brings us to Rampage. Less than two months after To Live and Die in LA opened to critical raves and moderate box office in November 1985, Friedkin made a deal with Italian mega-producer Dino DeLaurentiis to direct Rampage, a crime drama based on a novel by William P. Wood. DeLaurentiis had hired Friedkin for The Brinks Job several years earlier, and the two liked working for each other. DeLaurentiis had just started his own distribution company, the DeLaurentiis Entertainment Group, which we’ll shorten to DEG for the remainder of this episode, and needed some big movies to fill his pipeline. We did an episode on DEG back in 2020, and if you haven’t listened to it yet, you should after you finish this episode. At this time, DEG was still months away from releasing its first group of films, which would include Maximum Overdrive, the first film directed by horror author Stephen King, and Blue Velvet, the latest from David Lynch, both of which would shoot at the same time at DEG’s newly built studio facilities in Wilmington, North Carolina. But Friedkin was writing the screenplay adaptation himself, and would need several months to get the script into production shape, so the film would not be able to begin production until late 1986. The novel Rampage was based on the real life story of serial killer Richard Chase, dubbed The Vampire Killer by the press when he went on a four day killing spree in January 1978. Chase murdered six people, including a pregnant woman and a 22 month old child, and drank their blood as part of some kind of ritual. Wood would change some aspects of Chase’s story for his book, naming his killer Charles Reece, changing some of the ages and sexes of the murder victims, and how the murderer died. But most of the book was about Reece’s trial, with a specific focus on Reece’s prosecutor, Anthony Fraser, who had once been against capital punishment, but would be seeking the death penalty in this case after meeting one of the victims’ grieving family members. William L. Petersen, Friedkin’s lead star in To Live and Die in LA, was initially announced to star as Fraser, but as the production got closer to its start date, Petersen had to drop out of the project, due to a conflict with another project that would be shooting at the same time. Michael Biehn, the star of James Cameron’s The Terminator and the then recently released Aliens, would sign on as the prosecutor. Alex McArthur, best known at the time as Madonna’s baby daddy in her Papa Don’t Preach music video, would score his first major starring role as the serial killer Reece. The cast would also include a number of recognizable character actors, recognizable if not by name but by face once they appeared on screen, including Nicholas Campbell, Deborah Van Valkenberg, Art LaFleur, Billy Greenbush and Grace Zabriskie. Friedkin would shoot the $7.5m completely on location in Stockton, CA from late October 1986 to just before Christmas, and Friedkin would begin post-production on the film after the first of the new year. In early May 1987, DEG announced a number of upcoming releases for their films, including a September 11th release for Rampage. But by August 1987, many of their first fifteen releases over their first twelve months being outright bombs, quietly pulled Rampage off their release calendar. When asked by one press reporter about the delay, a representative from DEG would claim the film would need to be delayed because Italian composer Ennio Morricone had not delivered his score yet, which infuriated Friedkin, as he had turned in his final cut of the film, complete with Morricone’s score, more than a month earlier. The DEG rep was forced to issue a mea culpa, acknowledging the previous answer had been quote unquote incorrect, and stated they were looking at release dates between November 1987 and February 1988. The first public screening of Rampage outside of an unofficial premiere in Stockton in August 1987 happened on September 11th, 1987, at the Boston Film Festival, but just a couple days after that screening, DEG would be forced into bankruptcy by one of his creditors in, of all places, Boston, and the film would be stuck in limbo for several years. During DEG’s bankruptcy, some European companies would be allowed to buy individual country rights for the film, to help pay back some of the creditors, but the American rights to the film would not be sold until Miramax Films purchased the film, and the 300 already created 35mm prints of the film in March 1992, with a planned national release of the film the following month. But that release had to be scrapped, along with the original 300 prints of the film, when Friedkin, who kept revising the film over the ensuing five years, turned in to the Weinsteins a new edit of the film, ten minutes shorter than the version shown in Stockton and Boston in 1987. He had completely eliminated a subplot involving the failing marriage of the prosecutor, since it had nothing to do with the core idea of the story, and reversed the ending, which originally had Reece committing suicide in his cell not unlike Richard Chase. Now, the ending had Reece, several years into the future, alive and about to be considered for parole. Rampage would finally be released into 172 theatres on October 30th, 1992, including 57 theatres in Los Angeles, and four in New York City. Most reviews for the film were mixed, finding the film unnecessarily gruesome at times, but also praising how Friedkin took the time for audiences to learn more about the victims from the friends and family left behind. But the lack of pre-release advertising on television or through trailers in theatres would cause the film to perform quite poorly in its opening weekend, grossing just $322,500 in its first three days. After a second and third weekend where both the grosses and the number of theatres playing the film would fall more than 50%, Miramax would stop tracking the film, with a final reported gross of just less than $800k. Between the release of his thriller The Guardian in 1990 and the release of Rampage in 1992, William Friedkin would marry fellow Chicago native Sherry Lansing, who at the time had been a successful producer at Paramount Pictures, having made such films as The Accused, which won Jodie Foster her first Academy Award, and Fatal Attraction. Shortly after they married, Lansing would be named the Chairman of Paramount Pictures, where she would green light such films as Forrest Gump, Braveheart and Titanic. She would also hire her husband to make four films for the studio between 1994 and 2003, including the basketball drama Blue Chips and the thriller Jade. Friedkin’s directing career would slow down after 2003’s The Hunted, making only two films over the next two decades. 2006’s Bug was a psychological thriller with Michael Shannon and Ashley Judd, and 2012’s Killer Joe, a mixture of black comedy and psychological thriller featuring Matthew McConaughey and Emile Hirsch, was one of few movies to be theatrically released with an NC-17 rating. Neither were financially successful, but were highly regarded by critics. But there was still one more movie in him. In January 2023, Friedkin would direct his own adaptation of the Herman Wouk’s novel The Caine Mutiny Court-Martial for the Paramount+ streaming service. Updating the setting from the book’s World War II timeline to the more modern Persian Gulf conflict, this new film starred Keifer Sutherland as Lieutenant Commander Queeg, alongside Jason Clark, Jake Lacy, Jay Duplass, Dale Dye, and in his final role before his death in March, Lance Reddick. That film will premiere at the Venice Film Festival in Italy next month, although Paramount+ has not announced a premiere date on their service. William Friedkin had been married four times in his life, including a two year marriage to legendary French actress Jean Moreau in the late 70s and a two year marriage to British actress Lesley-Anne Downe in the early 80s. But Friedkin and Lansing would remain married for thirty-two years until his death from heart failure and pneumonia this past Tuesday. I remember when Rampage was supposed to come out in 1987. My theatre in Santa Cruz was sent a poster for it about a month before it was supposed to be released. A pixelated image of Reece ran down one side of the poster, while the movie’s tagline and credits down the other. I thought the poster looked amazing, and after the release was cancelled, I took the poster home and hung it on one of the walls in my place at the time. The 1992 poster from Miramax was far blander, basically either a entirely white or an entirely red background, with a teared center revealing the eyes of Reece, which really doesn’t tell you anything about the movie. Like with many of his box office failures, Friedkin would initially be flippant about the film, although in the years preceding his death, he would acknowledge the film was decent enough despite all of its post-production problems. I’d love to be able to suggest to you to watch Rampage as soon as you can, but as of August 2023, one can only rent or buy the film from Amazon, $5.89 for a two day rental or $14.99 to purchase. It is not available on any other streaming service as of the writing and recording of this episode. Thank you for joining us. We’ll talk again soon, when I expect to release the fourth part of the Miramax miniseries, unless something unexpected happens in the near future. Remember to visit this episode’s page on our website, The80sMoviePodcast.com, for extra materials about Rampage and the career of William Friedkin. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.

Prime Cut Podcast explores the 1985 neo-noir classic "To Live and Die in L.A.," from legendary director William Friedkin.This film stars William Petersen, Willem Dafoe, John Pankow, and John Turturro.You can follow Prime Cut Podcast on Instagram: https://www.instagram.com/prime_cut_podcast/You can e-mail Prime Cut Podcast: primecutpodcast@gmail.com

On this week's episode, APE-ril continues with a chat about George A. Romero's totally bonkers helper-monkey horror film, Monkey Shines! Should that nurse have been allowed to move in with her awful bird? Should John Pankow's character be skipping so much sleep like that? Is it always this awful to work with a Stephen Root character as your boss? Has the Tooch ever played sleazier? And how about that sex scene, huh?! Now we're talkin'! PLUS: Lots of talk about how to make Pat Sajak's inevitable funeral more fun! Monkey Shines stars Jason Beghe, John Pankow, Kate McNeil, Joyce Van Patten, Christine Forrest, Stephen Root, Stanley Tucci, Janine Turner, and Boo the Monkey as Ella; directed by the late legend, George A. Romero. San Francisco, Los Angeles and New Brunswick, NJ—tickets on sale now for our upcoming spring and summer shows, along with the just-announced VIRTUAL LIVE SHOW all about Peter Jackson's King Kong happening on 4/20! Check out the WHM Merch Store featuring new DILF Den, Grab-Ass & Cancer, SW Crispy Critters, MINGO! & WHAT IF Donna? designs! This episode is brought to you by BetterHelp. Give online therapy a try at betterhelp.com/whm and get on your way to being your best self.Advertise on We Hate Movies via Gumball.fmUnlock Exclusive Content!: http://www.patreon.com/wehatemoviesSee omnystudio.com/listener for privacy information.

Director Ian Pfaff joins to discuss William Friedkin's 1985 crime thriller TO LIVE AND DIE IN L.A. starring William Petersen, Willem Dafoe, John Pankow, Debra Feuer, and John Turturro. The film follows a pair of Secret Service agents resorting to extreme measures to catch a notorious counterfeiter. As a west coast equivalent to Friedkin's own The French Connection, TO LIVE AND DIE IN L.A. is remembered for its iconic opening titles, highly authentic counterfeiting sequences, pulse-pounding car chase, and new wave soundtrack by Wang Chung. But underneath the '80s style, is there a film of substance? Or is this slick neo-noir an elaborate counterfeit job itself? Join us as we discuss this long-time MNAM favorite along with reckless diversions into Miami Vice, art school, Frasier, Ray Liotta, Tangerine Dream, Compulsion, Ted Danson, and much much more! TO LIVE AND DIE IN L.A. is not currently streaming, but is posted in its entirety to the Internet Archive.

Dead Air - Oliver Stone's Talk Radio  On this week' s episode of WatchThis W/RickRamos, Mr. Chavez & I sit down to talk an underseen Oliver Stone film . . . Talk Radio (1988). From an original theatrical production (produced Off-Broadway), Eric Bogosian tells the story of Barry Champlagne - provocateur, shock jock, vile human being. It's a wonderful debut from an actor we don't see nearly enough of. Along with Bogosian, Stone peppers his film with a wonderful supporting cast including: Ellen Greene, John C. McGinley, Leslie Hope, John Pankow, Michael Wincott, and Alec Baldwin. There's a whole lot to break down. Take a listen and let us know what you think. Questions, Comments, Complaints, & Suggestions can be directed to gondoramos@yahoo.com. Many Thanks.   

Welcome to Episode 3 of BULLSHITTERY Podcast! Look at you, supporting this chaotic artist by listening to her chaotic podcast!? Legend!? Hellooooo! Join me as I chat with my friend Adam Rose; actor, dancer, content creator, comedy icon, blue-cardigan king, dad & hubby! Adam is the best & I'm so happy you're here to learn more about his illustrious life as a performer. Here's his IMDb bio: Rose made his debut opposite Robin Williams and Julie Kavner in Woody Allen's Deconstructing Harry. Born to a would-be Rabbinical cantor and an opera singer, Rose embraced music at an early age and excelled at Tap, Jazz, Ballet, and the martial arts training he underwent.It was during this same time that Rose was cast to be the voice of Peanut for three years, as the title-character on PB & J Otter, a cartoon on the Disney Channel. Soon after Rose would perform under the direction of Michael Mayer (Spring Awakening, Thoroughly Modern Millie) alongside Kristen Johnston and John Pankow in Peter Hedges' Baby Anger. The successful portrayal of a young boy with cancer led to subsequent guest spots on TV's Ed and Third Watch.Having developed a passion for live theater, Rose landed a role on stage with Theodore Bikel in The Gathering and went on to tour with three consecutive productions - including the pre-Broadway tour with Hal Linden. Throughout his time on stage and in recording booths, Rose continued to grow his love for dance, and at age 15 went on to become the youngest to ever teach dance at the renowned Broadway Dance Center in New York. While continuing to study the dramatic arts at New York's famed LaGuardia High School of the Performing Arts, he appeared on the hit series The Sopranos and the Comedy Central movie The Hebrew Hammer, starring Adam Goldberg. It was soon after that Rose had the honor of working with Noah Baumbach, Jeff Daniels, Laura Linney, and Anna Paquin in the Oscar-nominated The Squid and the Whale, as Otto - the best friend of Walt, played by Jesse Eisenberg.After four years of Shakespeare, character study, dialects, clowning (-study, not literally), vocal and dance training and all other school subjects, Rose was done with High School and ready to head west. The exodus was aided by his role on the production of Dead End, directed by Nicholas Martin at the Ahmanson Theater in Los Angeles' famous Music Center. Rose starred as Angel, one of the Dead End Kids, alongside Jeremy SIsto, Tom Everett Scott, Joyce Van Patten, and Kathryn Hahn. He later appeared in HBO's Voyeur Internet project, directed by Jake Scott, and soon after earned a role in Kenneth Lonergan's Margaret. Rose once again found himself on-set with Anna Paquin, along with Matthew Borderick, Matt Damon, Mark Ruffalo, and Kieran Culkin, just to name a few. While still acclimating to life in LA, Rose continued to make appearances on many hit TV shows.   Follow Adam everywhere at @realadamrose. Please subscribe to BULLSHITTERY wherever you get your podcasts and be sure to find me on YouTube at Mackenzie Barmen! And follow me everywhere at @mackenziebarmen. LOVE YOU! Stay chaotic. XoxoSee omnystudio.com/listener for privacy information.

"A federal agent is dead. A killer is loose. And the City of Angels is about to explode." In this week's episode we discuss the crime thriller 'To Live and Die in L.A.' starring William Peterson. Willem Defoe and John Pankow. Directed by William Friedken. Based on the novel by Gerald Petievich. To Live and Die in L.A. - IMDB: https://www.imdb.com/title/tt0090180/?ref_=tttg_tg_tt To Live and Die in L.A. trailer: https://www.youtube.com/watch?v=I5JI_RclmIg To Live and Die in L.A. - Rotten Tomatoes: https://www.rottentomatoes.com/m/to_live_and_die_in_la To Live and Die on L.A. Alternate Ending: https://www.youtube.com/watch?v=x6B7UiTcRvM Bill's Letterboxd Ratings: https://letterboxd.com/bill_b/list/bills-all-80s-movies-podcast-ratings/

Nothing human loves forever, but you can forever love 80s Revisited as we talk THE HUNGER and Pride Month! Also, addressing WOKENESS! 80srevisited@gmail.com to talk with us, and leave a review for us! Thank you for listening 80s Revisited, hosted by Trey Harris. Produced by Jesse Seidule.

Back to our regularly scheduled programming and Elyse is back as the first member of the 3 Timers Club to talk some monkey movies. Link(1986) Directed by Richard Franklin. Starring Elisabeth Shue, Terrence Stamp, Locke the Orangutan and Jed the Chimpanzee. Trailer: https://www.youtube.com/watch?v=tVkZNhqsxpk&ab_channel=DeathtrapTrailers Monkey Shines(1988) Directed by George A. Romero. Starring Jason Beghe, John Pankow, Kate McNeil and Boo. Trailer: https://www.youtube.com/watch?v=HD8TBmk6lIM&ab_channel=ScreamFactoryTV Twitter: @DoubledFeature Instagram: DoubledFeature Email: DoubledFeaturePodcast@Gmail.com Dan's Twitter: @DannyJenkem Dan's Letterboxd: @DannyJenkem Max's Twitter: @Mac_Dead Max's Letterboxd: @Mac_Dead Executive Producer: Koolaid --- Send in a voice message: https://anchor.fm/doubledfeature/message

"Nachdem sein langjähriger Freund und Partner Jim Hart kurz vor seiner Pensionierung brutal erschossen und in einem Müllbehälter deponiert wird, hat FBI-Agent Richard Chance genug von Regeln und schwört Rache. Er hat den Verdacht, dass der Geldfälscher Eric Masters hinter dem Mord steckt. Von nun an versucht er, den Mörder um jeden Preis zu überführen. Dabei begibt er sich selbst immer mehr in die Grauzone von Korruption und illegalen Machenschaften."

*batteries not included, released December 18th, 1987, is a science-fiction tale about friendly UFO-shaped aliens who help the tenants of a building fight back against land developers. It's sometimes wholesome, sometimes dark, but regularly messy and frustrating... Particularly for one of us! Which one? Well, you'll have to listen to find out. Join the Bad Porridge Club on Patreon for TWO bonus episodes each month! https://www.patreon.com/oldiebutagoodiepod Follow Skorn! Twitch: https://www.twitch.tv/skorngaming/  YouTube: https://www.youtube.com/channel/UCYfesFDSMmrIy0OWB4_U3MQ/  Instagram: https://www.instagram.com/skorngaming/  Twitter: https://twitter.com/skorngaming/ Follow the show! Instagram: https://www.instagram.com/oldiebutagoodiepod/  Facebook: https://fb.me/oldiebutagoodiepod Youtube: https://www.youtube.com/channel/UCjfdXHxK_rIUsOEoFSx-hGA  Podcast Platforms: https://linktr.ee/oldiebutagoodiepod  Got feedback? Send us an email at oldiebutagoodiepod@gmail.com Follow the hosts! Sandro Falce - Instagram: https://www.instagram.com/sandrofalce/ - Twitter: https://twitter.com/sandrofalce - Letterboxd: https://letterboxd.com/SandroFalce/ - Twitch: https://www.twitch.tv/kegelandgregmusic  - Nerd-Out Podcast: https://anchor.fm/nerd-out-podcast  Zach Adams - Instagram: https://www.instagram.com/zach4dams/ - Twitter: https://twitter.com/ZackoCaveWizard Donations: https://paypal.me/oldiebutagoodiepod Please do not feel like you have to contribute anything but any donations are greatly appreciated! See omnystudio.com/listener for privacy information.

País Estados Unidos Dirección Roger Michell Guion Aline Brosh McKenna Música David Arnold Fotografía Alwin H. Kuchler Reparto Rachel McAdams, Harrison Ford, Diane Keaton, Patrick Wilson, Jeff Goldblum, Ty Burrell, John Pankow, Patti D'Arbanville, Matt Malloy, Noah Bean, Adrian Martinez, Curtis '50 Cent' Jackson, Vanessa Aspillaga, J. Elaine Marcos, Linda Powell Sinopsis Cuando la joven Becky Fuller (Rachel McAdams), una enérgica productora de TV, es despedida de su trabajo en Nueva Jersey, su vida profesional se hace tan sombría como su vida sentimental. Su siguiente trabajo, en una gran cadena neoyorquina, consistirá en sacar a flote un magazine matinal de segunda; para ello contrata a Mike Pomeroy (Harrison Ford), un famoso periodista de televisión caído en el olvido, para que presente el programa con Colleen Peck (Diane Keaton), una veterana cascarrabias.

Episodes is a hilarious, well-written, maybe a little edgy show that was originally on Showtime and is now Streaming on Netflix.Starring Matt LeBlanc - playing himself, Tamsin Greig, Stephen Mangan, Mircea Monroe, John Pankow, and Kathleen Rose Perkins (who we think stole the show!).Listen as we tell you whether to binge it or not, hint - binge it! Beware of spoilers halfway through! After married couple Sean and Beverly Lincoln win yet another BAFTA Award for their successful British sitcom, Lyman's Boys, they are persuaded to move to Hollywood and remake their series for an American audience. Unfortunately, the network starts to make changes (including the title, now Pucks!), and pressures the couple into casting Matt LeBlanc in the lead role, a part that Matt is largely unsuited for.

On this episode of ActorSpeak, Austin Basis speaks with actor James Immekus (Lucifer, The Good Doctor, Grey's Anatomy, Mad Men). In Part 1, we discuss James' love of Ladyhawke, Viola Spolin, his mentor Rick Murphy, doing Boxboarders!, and making our way in LA together. Born in Crystal Lake, Illinois, James grew up in Kennesaw, Georgia, and graduated from the DePaul Theatre School in Chicago with a BFA in Acting. His vast theatre experience includes The Goodman Theatre in Chicago, The Contemporary American Theatre Festival in Shepherdstown, WV and the Center Theatre Group's Mark Taper Forum in Los Angeles, where he appeared in The House of Blue Leaves alongside Jane Kaczmarek, John Pankow, Kate Burton, and Diedrich Bader. But James has really made a name for himself with his extensive TV guest star work. He has over 25 guest stars & recurring roles to his credit in some of the biggest shows on television. He's not only an extremely talented actor & artist who respects his craft, but he's also a great friend & groomsman of mine...! And I couldn't think of better person to share this first episode of ActorSpeak with. WE AUDITION is a video-chat community where actors can audition, self-tape, rehearse, and get expert industry advice. USE promo code: ACTORSPEAK to get 25% off when joining at WeAudition.com

On this episode of ActorSpeak, Austin Basis continues to speak with actor James Immekus (Lucifer, The Good Doctor, Grey's Anatomy, Mad Men). In Part 2, we talk about improv, our love of rehearsal, working with good people, and being fully rounded artists- more than just actors. Born in Crystal Lake, Illinois, James grew up in Kennesaw, Georgia, and graduated from the DePaul Theatre School in Chicago with a BFA in Acting. His vast theatre experience includes The Goodman Theatre in Chicago, The Contemporary American Theatre Festival in Shepherdstown, WV and the Center Theatre Group's Mark Taper Forum in Los Angeles, where he appeared in The House of Blue Leaves alongside Jane Kaczmarek, John Pankow, Kate Burton, and Diedrich Bader. But James has really made a name for himself with his extensive TV guest star work. He has over 25 guest stars & recurring roles to his credit in some of the biggest shows on television. He's not only an extremely talented actor & artist who respects his craft, but he's also a great friend & groomsman of mine...! And I couldn't think of better person to share this first episode of ActorSpeak with. WE AUDITION is a video-chat community where actors can audition, self-tape, rehearse, and get expert industry advice. USE promo code: ACTORSPEAK to get 25% off when joining at WeAudition.com

Part 2 of our William Friedkin trilogy. Alex got to show Bob “To Live and Die in LA” and answered some of those burning questions. Is that a shadow, or a dong? Did Willem Dafoe actually paint? Does William Petersen look like Dan Marino?

FEBRUARY 18 Born on this Day: is a daily podcast hosted by Bil Antoniou, Amanda Barker & Marco Timpano. Celebrating the famous and sometimes infamous born on this day. Check out their other podcasts: Bad Gay Movies, Bitchy Gay Men Eat & Drink Every Place is the Same My Criterions The Insomnia Project Marco's book: 25 Things I Wish I Knew Before I Started My Podcast NATIONAL BATTERY DAY John Travolta, Molly Ringwald , John Hughes, Jeremy Allen White, Matt Dillon , Cybill Shepherd, Ike Barinholtz , George Kennedy , Greta Scacchi, Jayne Atkinson, Jack Palance, Sinéad Cusack, Vanna White , John Pankow, Milos Forman , Nadine Labaki , , Andre Romelle , Yoko Ono, Phyllis Calvert , Mary Ure , Esther Garrel , Kay Hammond. --- Send in a voice message: https://anchor.fm/born-on-this-day-podcast/message

On this episode, we take a look back at the 1988 Oliver Stone drama Talk Radio, the first time the writer and director would direct a screenplay from material created by someone else. That someone else was Eric Bogosian, the writer and star of the off-Broadway play the movie would be adapting. ----more----   The original 1988 Theatrical One-Sheet for Talk Radio   Eric Bogosian as radio talk show host Barry Champlain (foreground), and John Pankow and Alec Baldwin (background)   Writer/Star Eric Bogosian  

On this episode, we take a look back at the 1988 Oliver Stone drama Talk Radio, the first time the writer and director would direct a screenplay from material created by someone else. That someone else was Eric Bogosian, the writer and star of the off-Broadway play the movie would be adapting. ----more----   The original 1988 Theatrical One-Sheet for Talk Radio   Eric Bogosian as radio talk show host Barry Champlain (foreground), and John Pankow and Alec Baldwin (background)   Writer/Star Eric Bogosian  

John Pankow has been a familiar face to television, film and theater audiences for almost four decades. Although he has been a frequent guest on dozens of hit television series, he is probably best known for his roles on two highly regarded, long running sitcoms- as the loveable Ira Buchman on the iconic Mad About You, and as the ruthless & clueless Merc Lapidus on the Showtime hit, Episodes. He has appeared in numerous films including William Friedkin’s To Live and Die in LA, Oliver Stone’s Talk Radio, and the George Romero directed cult classic, Monkey Shines. His extensive credits on the New York stage include the title role in Amadeus, The Iceman Cometh with Jason Robards, The Tempest with Patrick Stewart and Bill Irwin, the acclaimed Roundabout revival of Twelve Angry Men, and, most recently, Kiss Me, Kate with Kelli O’ Hara and Will Chase.  Cocktails at Table 7- Inside New York’s Joe Allen is produced and hosted by Jason Woodruff, Dana Mierlak and Sean Kent, with music by James Rubio and logo and artwork design by Christina D’Angelo. The Producers would like to extend a special thank you to the owners of Joe Allen, Orso and Bar Centrale Restaurants.

John Pankow has been a familiar face to television, film and theater audiences for almost four decades. Although he has been a frequent guest on dozens of hit television series, he is probably best known for his roles on two highly regarded, long running sitcoms-as the loveable Ira Buchman on the iconic Mad About You, and as the ruthless & clueless Merc Lapidus on the Showtime hit, Episodes. He has appeared in numerous films including William Friedkin’s To Live and Die in LA, Oliver Stone’s Talk Radio, and the George Romero directed cult classic, Monkey Shines. His extensive credits on the New York stage include the title role in Amadeus, The Iceman Cometh with Jason Robards, The Tempest with Patrick Stewart and Bill Irwin, the acclaimed Roundabout revival of Twelve Angry Men, and, most recently, Kiss Me, Kate with Kelli O’ Hara and Will Chase.Cocktails at Table 7- Inside New York’s Joe Allen is produced and hosted by Jason Woodruff, Dana Mierlak and Sean Kent, with music by James Rubio and logo and artwork design by Christina D’Angelo. The Producers would like to extend a special thank you to the owners of Joe Allen, Orso and Bar Centrale Restaurants.

Jason Connell and Jake Futernick break down the classic movie and talk about counterfeiting, William Friedkin’s love for car chases, and getting shot in the face. Synopsis: A fearless Secret Service agent will stop at nothing to bring down the counterfeiter who killed his partner. Director: William FriedkinWriter: William Friedkin, Gerald PetievichCinematographer: Robby MüllerCast: William Petersen, Willem Dafoe, John Pankow, Debra Feuer, Darlanne Fluegel, John Turturro, Dean StockwellComposer: Wang Chung Recorded on 05-26-20 Connect with the show!https://www.instagram.com/Lets__Talk__Movies/ Connect with us! https://www.instagram.com/MrJasonConnell/ https://www.instagram.com/SilverlakeYake/ https://www.JustCuriousMedia.com/

An athlete is rendered a paraplegic through a devastating jogging accident.  A trained helper monkey arrives as his live-in assistant.  A well-meaning but drugged out lab rat performs monkey-altering experiments.  Some sort of Manimal transference takes place and the bodies and histrionics pile up from there.  It's 1988's George A. Romero horror classic "Monkey Shines" starring Chicago P.D.'s pre-contractually-required-anger-management Jason Beghe, Janine Turner, John Pankow and the indispensable Stephen Root, as well as the greatest and most hilarious pair of little monkey arms-on-sticks ever designed by FX man Tom Savini. PLUS: Can you ever trust anyone whose favorite food is Linguine & Clam Sauce? New Segment "Rants 'n Raves".  AND ALSO: Listener Mail, Jason has a big admission of guilt, and Chris introduces a new thing where he edits himself BACK into the podcast after his initial jokes fall flat. Finally, the boys torpedo any impending State Farm Insurance podcast sponsorship.

 This week, we're presenting a special two-part bonus episode featuring the stories from our June 2018 show in New York City, "Abortion: Stories from doctors and patients," which was part of Caveat's first annual Underground Science Festival. Rather than the speeches we typically hear on this topic, our storytellers -- who are both OB-GYNs and patients -- have shared firsthand experiences that cross both generations and borders, and are crucial to our understanding of women's health. Stay tuned for Part 2 tomorrow, August 29! Part 1: Actress and playwright Jacey Powers faces a difficult decision when she’s diagnosed with breast cancer just as she discovers she's pregnant. Part 2: Working with Doctors Without Borders in a war-torn country, OB-GYN Rasha Khoury tries to save a pregnant woman in critical condition. Part 3: Abortion doula Molly Gaebe is surprised to find herself in the same position as her patients. Jacey Powers is an actress and a writer, a stand-up and a storyteller. Jacey started acting at the age of five, when she appeared in the classic drama, The Chicken and the Man. She played the chicken. Her only line was “Cluck, cluck, cluck.” In the end the man ate her. Since then she has been seen performing off-Broadway and regionally. Some favorites include Our Town (Barrow Street Theatre), Falling (Minetta Lane Theatre) and Band Geeks! (Goodspeed Opera Company). She played the lead role in Picking Up (DR2 Theatre), which she also wrote. Her newest play, Not About The Cat had a reading in NYC last summer. It featured Kathryn Erbe, John Pankow and Deidre Lovejoy. As a stand-up she’s been seen at The Comedy Cellar/Village Underground, Stand-Up NY, Broadway Comedy Club, Dangerfield’s and more. She delivered the opening speech at the final Avon 39 Walk to End Breast cancer this past fall, and her story: “Army of Women,” aired on NPR last spring. She is a graduate of NYU and believes Nutella is the way to world peace. Dr. Rasha Khoury is a Palestinian woman who works as an emergency obstetrician with Doctors Without Borders (Medecins Sans Frontieres -MSF) and is a fellow in Maternal Fetal Medicine at Montefiore Medical Center in the Bronx, NY. Dr. Khoury’s clinical work and research centers around reducing maternal morbidity and mortality by improving access to high quality, dignified and safe abortion and contraceptive care, antepartum, delivery, and postpartum care among vulnerable populations (including women of color, women living in poverty, and women enduring displacement and war). Her work as a humanitarian medical aid worker has taken her to Afghanistan, Iraq, Lebanon, Cote d’Ivoire, and Sierra Leone. Molly Gaebe is a comedian living in NYC where she writes for Lady Parts Justice League, a reproductive rights organization that uses comedy to expose anti-choice extremist douchebags. She can be seen performing every Saturday with her house team Women and Men at the Upright Citizens Brigade Theater. Molly is an abortion and birth doula with The Doula Project, and a member of the sketch team Buzz Off, Lucille (buzzofflucille.com). A psychic once told her to look at the moon every month and demand "love and money" from it, so she does that too. Find more info at www.mollygaebe.net. Learn more about your ad choices. Visit megaphone.fm/adchoices

They just don't come cuter than Kathleen Rose Perkins. As fabulous as her Carol Rance on Episodes, Kathleen's all that, and then a lot! Hysterical, gorgeous, adorable, warm, accessible, authentic and fearless. I adore her even more than I did binging five seasons of her, tracking her down and getting an instant "Yes." We talked growing up in Michigan with her creative PE teacher dad, four brothers, and supportive, encouraging mom... starting out wanting to be a CEO and kind of becoming one, or playing one, sort of on TV. Musical theatre in college and rep to moving to Hollywood, working day jobs and lying to sneak off to auditions. Working with Ben Affleck in Gone Girl, Brad Garrett in 'Till Death, Jay Mohr in Gary Unmarried, to Matt LeBlanc and John Pankow in Episodes. The British cast, mad love for Tamsin Greig who shared the screen with for five seasons, maybe four lines with Mr. LeBlanc... her longtime love, Christopher, creator, and showrunner of Merlin, going into their 2nd season, their story to pilot, which Kathleen broke into the business in, playing herself... what?!? And, her decision to create and write her own vehicles, currently in process. I cannot get enough of this vivacious, charismatic, crazy fun girl, who I feel like I've known forever. I sure hope I will. Fun, fun, more fun! Kathleen Rose Perkins on The Road Taken, Celebrity Maps to Success Wed, 6/6/18, 7 pm PT/ 10 pm ET With Louise Palanker Live on The Facebook Full show replay here: https://bit.ly/2kRn70G All BROADcasts, as podcasts, also available on iTunes apple.co/2dj8ld3 Stitcher bit.ly/2h3R1fl tunein bit.ly/2gGeItj This week's BROADcast is brought to you by Rick Smolke of Quik Impressions, the best printers, printing, the best people people-ing. quikimpressions.com And, Nicole Venables of Ruby Begonia Hair Studio Beauty and Products for tresses like the stars she coifs, and regular peoples, like me. I love my hair, and I loves Nicole. http://www.rubybegoniahairstudio.com/ Her fabulous Ruby Begonia Products can be purchased and shipped from http://www.frendsbeauty.com/ And Anson’s Williams’ Alert Drops, saving lives while people drive. Natural and drug-free, https://www.alertdrops.com

It's time for a brand new special episode of Travis Bickle on the Riviera, the world's only movie podcast, with your hosts Tucker Stone and Sean Witzke. 0:00:00 - 0:23:45 -  Night of the Living Dead (1968), directed by, co-written, edited, and shot by George Romero, starring Duane Jones, Judith O'Dea, Karl Hardman, Marilyn Eastman, Keith Wayne, Judith Ridley, Kyra Schon, Bill Hinzman, George Kosana, Russell Streiner, George Romero, and Bill Cardille.  There's Always Vanilla (1971), directed by, edited, and shot by George Romero, written by Rudy Ricci, starring Raymond Laine, Judith Ridley, and Johanna Lawrence. (this film is currently not available) Season of the Witch (1973), directed by, written, shot, and edited by George Romero, starring Jan White, Raymond Laine, and Anne Muffly.  The Crazies (1973), directed by, written, shot, and edited by George Romero, original screenplay by Paul McCullough, starring Lane Carrol, Lynn Lowry, Will MacMillan, Harold Wayne Jones, Lloyd Hollar, Richard Liberty, and Richard France.  Martin (1978), directed by, written and edited by George Romero, cinematography by Michael Gornick, starring John Amplas, Lincoln Maazel, Christine Forrest, Tom Savini, Elayne Nadeau, Sara Venable, and George Romero.  Dawn of the Dead (1978), directed by, written and edited by George Romero, cinematography by Michael Gornick, european edit by Dario Argento, starring Ken Foree, David Emge, Scott Reinger, Gaylen Ross, and Tom Savini.  Knightriders (1981), directed by, written and co-edited by George Romero, cinematography by Michael Gornick, starring Ed Harris, Ken Foree, Tom Savini, and Joe Pilato.  Creepshow (1982), directed and co-edited by George Romero, written by Stephen King, cinematography by Michael Gornick, starring Hal Holbrook, Ed Harris, Gaylen Ross, Ted Danson, Tom Atkins, Stephen King, Leslie Neilsen, EG Marshall, Fritz Weaver, and Adrienne Barbeau.  Day of the Dead (1985), directed and written by George Romero, cinematography by Michael Gornick, starring Lori Cardille, Richard Liberty, Terry Alexander, Joe Pilato, Jariath Conroy, Greg Nicotero, Anthony Dileo Jr, Sherman Howard, and John Amplas.  Monkey Shines (1988), directed and written by George Romero, cinematography by James A Contner, starring Jason Beghe, John Pankow, Kate McNiel, Joyce Van Patten, Stephen Root, Christine Forrest, and Stanley Tucci.  Two Evil Eyes (1990), directed by George Romero & Dario Argento, written by Romero, Argento, and Franco Ferrini, cinematography by Peter Reiners, starring Adrienne Barbeau, EG Marshall, Tom Atkins, Harvey Keitel, Madeline Potter, John Amos, Sally Kirkland, Martin Balsam, and Kim Hunter. The Dark Half (1993), directed and co-written by George Romero, cinematography by Tony Pierce-Roberts, starring Timothy Hutton, Amy Madigan, Julie Harris, and Michael Rooker.  Bruiser (2000), directed and written by George Romero, cinematography by Adam Swica, starring Jason Flemyng, Peter Stormare, Leslie Hope, and Tom Atkins. Land of the Dead (2005), directed and written by George Romero, cinematography by Miroslaw Baszak, starring Simon Baker, John Leguizamo, Asia Argento, Dennis Hopper, and Tom Savini.  Diary of the Dead (2007), directed, co-produced and written by George Romero, cinematography by Adam Swica, starring Michelle Morgan, Joshua Close, Shawn Roberts, Amy Lalonde, Tatiana Maslany, and Scott Wentworth.  Survival of the Dead (2009), directed and written by George Romero, cinematography by Adam Swica, starring Alan Van Sprang, Kenneth Welsh, Kathleen Munroe, and Devin Bostick.  Next Week: Twin Peaks The Return Our outro music this week: is "Opening Theme" by John Harrison from Day of the Dead. And our intro is "L'Alba Dei Morti Viventi (intro - Alternate Takes)" by Goblin with some additional audio from The American Nightmare You can download episodes directly from itunes and rss. This is a Patreon-supported podcast, subscribing to the show can give you access to monthly criticism from the hosts. The hosts' twitter accounts are: Tucker, Morgan, and Sean. 

Jon and Russ discuss Episode Four ("Out of the Past"), the Jewish "Waltons," why the movie "Summer Rental" is better than "The Goonies," and more. They also create a contest for the week on the fly! Tweet at 'em: @madaboutyoupod Tumble with 'em: madaboutyoupod.tumblr.com Facebook with 'em: www.facebook.com/madaboutyoupod/ And please subscribe and review them on iTunes! CREDITS Our show is hosted by Russ Feder (@russfeder) and Jonathan Marballi (@jonnymarbles) Our theme song is by John D Ivy (SoundCloud, YouTube) Our logo is by Nathan Diffee (@NathanDiffee) WATCH WITH US Buy the full "Mad About You" series on Amazon NEWS STORIES Voyage on Fifth Avenue Brings Out Politicians Rolling Home: Weary Allure of the Last-Chance Train Swastika Etched on Wall TB Carriers See Clash of Liberty and Health Corrections OTHER SHOW NOTES Watch "Brooklyn Bridge" Watch the "Boston Common" pilot Watch the full Mel Brooks interview Watch the "Keeping the Faith" trailer ABOUT "MAD ABOUT YOU" "Mad About You" was a romantic sit-com from the 90s that aired on NBC from 1992 - 1999. It starred Paul Reiser and Helen Hunt as Paul and Jamie Buchman, two newlyweds navigating their marriage and life in New York City. The show also featured Leila Kenzle and Richard Kind as Mark and Fran Devanow, their married friends, Anne Ramsay as Jamie's sister Lisa, and John Pankow as Paul's cousin Ira. Read more at IMDB

Unfortunately we fell a little behind this week and will not be releasing Episode 4 until next Wednesday. We are terribly sorry. In the mean-time here's a minisode that we recorded a few hours ago that includes an apology along with some shout-outs to you, our listeners. Tweet at 'em: @madaboutyoupod Tumble with 'em: madaboutyoupod.tumblr.com Facebook with 'em: www.facebook.com/madaboutyoupod/ And please subscribe and review them on iTunes! CREDITS Our show is hosted by Russ Feder (@russfeder) and Jonathan Marballi (@jonnymarbles) Our theme song is by John D Ivy (SoundCloud, YouTube) Our logo is by Nathan Diffee (@NathanDiffee) WATCH WITH US Buy the full "Mad About You" series on Amazon ABOUT "MAD ABOUT YOU" "Mad About You" was a romantic sit-com from the 90s that aired on NBC from 1992 - 1999. It starred Paul Reiser and Helen Hunt as Paul and Jamie Buchman, two newlyweds navigating their marriage and life in New York City. The show also featured Leila Kenzle and Richard Kind as Mark and Fran Devanow, their married friends, Anne Ramsay as Jamie's sister Lisa, and John Pankow as Paul's cousin Ira. Read more at IMDB

Michaela falls in love with a cute killer monkey in George A. Romero's Monkey Shines (1988). After an accident leaves him crippled from the neck down, Allan Mann (Jason Beghe) is recruited by his mad scientist best pal (John Pankow) to try out a super-smart helper monkey who caters to his every wish, and begins helping a bit too much whenever Allan gets mad at someone. Listen as we continue to document the best animal performers in Hollywood, speculate as to what parts of the story might have been left on the cutting room floor, and discuss Romero's varied film career on this week's exciting episode! See acast.com/privacy for privacy and opt-out information.

Jon and Russ discuss Episode Three ("Sunday Times"), the Munchiverse, stressed-out squirrels, pidgin languages, anti-Semites (again), and more! Tweet at 'em: @madaboutyoupod Tumble with 'em: madaboutyoupod.tumblr.com Facebook with 'em: www.facebook.com/madaboutyoupod/ And please subscribe and review them on iTunes! CREDITS Our show is hosted by Russ Feder (@russfeder) and Jonathan Marballi (@jonnymarbles) Our theme song is by John D Ivy (SoundCloud, YouTube) Our logo is by Nathan Diffee (@NathanDiffee) WATCH WITH US Buy the full "Mad About You" series on Amazon NEWS STORIES Fur Is Flying in Madison Square Park Chinese Agency Indicted in Jeans Import Scheme Apology for New York Telephone Brochure A Prowler Stops Lunch In Midtown OTHER SHOW NOTES Information Regarding the Production of "The Will Rogers Follies" That Lisa Saw Buy all volumes of The Survey of Pidgin and Creole Languages (it's only $570, practically free!) ABOUT "MAD ABOUT YOU" "Mad About You" was a romantic sit-com from the 90s that aired on NBC from 1992 - 1999. It starred Paul Reiser and Helen Hunt as Paul and Jamie Buchman, two newlyweds navigating their marriage and life in New York City. The show also featured Leila Kenzle and Richard Kind as Mark and Fran Devanow, their married friends, Anne Ramsay as Jamie's sister Lisa, and John Pankow as Paul's cousin Ira. Read more at IMDB  

Jon and Russ discuss Episode Two, Garth Brooks concerts, Nazis, New York City's parking laws, and more! Tweet at 'em: @madaboutyoupod Tumble with 'em: madaboutyoupod.tumblr.com Facebook with 'em: www.facebook.com/madaboutyoupod/ And please subscribe and review them on iTunes! CREDITS Our show is hosted by Russ Feder (@russfeder) and Jonathan Marballi (@jonnymarbles) Our theme song is by John D Ivy (SoundCloud, YouTube) Our logo is by Nathan Diffee (@NathanDiffee) WATCH WITH US Buy the full "Mad About You" series on Amazon NEWS STORIES New York Times Metro Digest from 9/28/1992 McCandlish Phillips' 1965 Times piece about the Jewish KKK Grand Dragon Eviction Suit Threatens Bitter End, a Folk Legend Under the Sign of a Topless Car Wash, Frustration With a Nod Toward Mecca, Weary Car Owners Give Thanks for a Parking Reprieve Dinkins's Drug Chief Quits Over Tight Budget Two Are Charged in East Village Slaying ABOUT "MAD ABOUT YOU" "Mad About You" was a romantic sit-com from the 90s that aired on NBC from 1992 - 1999. It starred Paul Reiser and Helen Hunt as Paul and Jamie Buchman, two newlyweds navigating their marriage and life in New York City. The show also featured Leila Kenzle and Richard Kind as Mark and Fran Devanow, their married friends, Anne Ramsay as Jamie's sister Lisa, and John Pankow as Paul's cousin Ira. Read more at IMDB

John Pankow discusses what's in store for Merc in season 4 of Episodes.

Kathleen Rose Perkins ("Episodes") joins Cole and Vanessa to talk about Adele's pregnancy, Katie Holmes' Scientology stalkers, Game of Thrones, John Pankow, musicals, Bristol Palin's Life is a Tripp, Matt LeBlanc, Alf, 33, dirty It's A Wonderful Life, One Man Two Guvnors, Diablo Cody's new movie, Ted Danson, and the longest conversation ever about The Secret of My Success.Leave your answer to the firsts question (What was the first time you got in trouble and were sent to the Principal's Office, and what did you do?) on our website for a chance to win a snuggly Pop My Culture T-Shirt!