Podcast appearances and mentions of Kathy Bates

A poem about a map opens North and South, the first collection of the great twentieth century poet Elizabeth Bishop, and since, maps have been associated with her poetic vision—at once telescoping and binocular—and with the polarities and preoccupations of her work. The map's privileged, sweeping, bird's eye view of the earth is also hand-held, man-made, intimate. Depending on its level of minuteness or obsession, it can contain the tiniest details as well as, let's say, the whole enchilada. And though it purports to be scientific and objective, it is representational and therefore subjective, particular, imaginative, and personal. For several episodes, Wes & Erin will be reading a selection of some of Bishop's most anthologized poems, starting with “The Moose” as expressions of, among other things, her map-like imagination. Upcoming Episodes: Nolan’s adaptation of “The Odyssey”; more Elizabeth Bishop poetry: “First Death in Nova Scotia,” “One Art.” Pre-order Erin’s forthcoming book “Avail” here: http://subtextpodcast.com/avail For bonus content, become a paid subscriber at Patreon or directly on the Apple Podcasts app. Patreon subscribers also get early access to ad-free regular episodes. This podcast is part of the Airwave Media podcast network. Visit AirwaveMedia.com to listen and subscribe to other Airwave shows like Good Job, Brain and Big Picture Science. Email advertising@airwavemedia.com to enquire about advertising on the podcast. Follow: Twitter | Facebook | Website Transcript 0:11 Erin: Welcome to part two of our discussion of the poems of Elizabeth Bishop. We are currently about. Oh, I'm okay. I'm proud of us. We're just about halfway through the Moose. That's not bad compared to our usual record. We're not halfway through stanza one. We're going. You know, it's about a bus trip. It's encouraging us to pick up the pace a little bit and get to our next stop. So we were just going to pick up with the woman in stanza 13 climbing into the bus. 0:41 Wes: Before you say that, I just want to make one little observation. 0:44 Erin: Oh, sure. 0:45 Wes: Just that we get right as soon as the light goes out, it's then that we get the barking of a dog and the smell of salt. First it's the smell of salt hay and then it's the barking of a dog. So smell is introduced. And is that the first time sound is really introduced in any. You know, we get the bus starting and all that, but I think that's right. It's very visual up to that point, I think. And then as soon as we lose the light, we get these new sensory modalities. The collie just supervised this dog, gives us a nice bark, and presumably we can't even see him. We just hear him. So I just love that. I just. I love the transition into darkness. It's so. 1:26 Erin: Yeah. 1:26 Wes: I don't know how else to say it. 1:28 Erin: Yeah. 1:28 Wes: And it's then that we. This really is the midpoint of the poem because now we're going to make this transition into the world of the bus, I guess. As the woman climbs in, we have 1:41 Erin: the ship's port lantern, as you said, being an indication that it's now nearly or fully dark outside. 1:47 Wes: She says red light swims through the dark. 1:50 Erin: Yeah. I'm assuming that at this point a bus would have some form of illumination, at least for when it's stopped and the doors open for people getting on and off the bus. Right. It would. It would light up on the inside interior. Yeah. 2:03 Wes: Yeah. 2:03 Erin: Or at least maybe it would stop, certainly if it were stopping at a station or a little, you know, whatever those things are called. Those little. Yeah, there's a word for it. 2:14 Wes: We need something to see the freckles by. 2:16 Erin: Right. We need something. Exactly. But wherever they would be stopping would have some form of street light illumination or something of that order. Anyway. 2:26 Wes: But it's interesting you say this, because I didn't picture a bus station at any point in this. And I just imagine people along the side of the road. 2:34 Erin: Right. But if it were a course, it 2:38 Wes: couldn't be that way. 2:39 Erin: Well, I don't think it's a station. I think it would be a stop with a. You know, like a lean to. You know, what are those things that just. 2:44 Wes: Yeah, sure. 2:45 Erin: That just protect you from the elements. 2:47 Wes: Yeah. Bust down. 2:48 Erin: Right. 2:48 Wes: Yeah. 2:49 Erin: And that would probably have at least a street light. But anyway, then we get the moonlight. Maybe my favorite. Oh, it's so hard to say, but maybe my favorite image in the poem is the hairy, scratchy, splintery moonlight and mist caught in them like lambswool on bushes in a pasture. Just. There's nothing. There's no image greater than that. That's unbelievable. 3:13 Wes: There's kind of a more wildness to this. Right. The image now, the hairiness and scratchiness and splinteriness. It's a bit less Domesticated, I guess, than the previous part of the poem. 3:27 Erin: That's a really good point. I hadn't thought of that. Even a suggestion of danger, like the lamb running. 3:34 Wes: I just thought, this is where the hobbits are entering Fangorn Forest. 3:39 Erin: Yes. Yeah, yeah, the New Brunswick. 3:41 Wes: But you go a little bit more. It's a little wilder and more primal. I think once you. Even if you're on a bus, once you get into the woods, there's something different about it. 3:52 Erin: That's right. 3:53 Wes: But yeah, you're right. The idea that the moonlight could get caught in that. That's a great image. 3:59 Erin: Something giving chase to the lamb would cause it potentially to get a little ensnared in the chase. 4:06 Wes: It's as if Lambswool has, you know, a lamb is brushed up on the bramble or whatever and left its will so that. So the moonlight, instead of making this cosmic journey and landing on articulating the environment, has been subordinated to the environment. Right. It's become. It's been captured by these hairy woods. It's caught on it and, you know, a piece of it has come off from being caught on something that's scratchy and splintery. So that. That. Yeah, this is the great reversal. And that's the place where you can really get some good sleeping. Yes, right. 4:44 Erin: Yes. And where dreamy things can happen. 4:47 Wes: Divagation. Yeah, wanderings. 4:51 Erin: I looked that up. Wandering, straying or digressing from a main course, path or topic. So like a digression as long as 4:59 Wes: the bus stays on track. 5:00 Erin: Yeah, that's right. 5:01 Wes: You do whatever you want with your mind. 5:02 Erin: That's right. And the night. I just looked on Google Maps while I was writing my little notes in the margins. And if you were to take a bus today from Great Village to Boston, it would take like 10 hours. So it definitely is a, yikes, full course of the night on this night bus. So I love what happens in stanza 16, which begins in the creakings and noises, an old conversation not concerning us, but recognizable somewhere back in the bus. So I really love that it's grandparents voices, she says, uninterrupted talking. This is where the I becomes an us. And this is a characteristic of a bishop. I think she's rather reluctant to use an I, capital I in a poem. She's more likely to use a we or an us. And here it's as if they're all part of the same family now in the bus and the adults. It's almost like everybody on the bus who isn't a grandparent is a child and the adults in the back are talking and we are all, oh, that doesn't concern us. Just go to sleep. It's none of your business. Just stop eavesdropping on us. Right, so there's some community that's been formed already by the people who are not the grandparents talking. Do you get that impression? 6:20 Wes: Yeah, it's a bit confusing. So, yeah, let's try to figure it out. Because it. So it begins. A dreamy navigation begins in the night. She doesn't say, I started dreaming or they started dreaming or we started dreaming. Although it seems almost like it's collective. Right. So that the bus is dreaming or everyone on the bus is dreaming together, which kind of lines up with the not concerning us later on, the gentle auditory slow hallucination. So that's a very interesting idea. Right. The dream is usually associated with subjectivity. Right. The cogito and Descartes. Right. The dream tells us that we might have trouble distinguishing reality from what's in our own minds. And we in our own minds are very potentially cut off from reality. But it's a. It's an alienated individual position here. The dream is. Seems to be collective. And perhaps it's collective because it's partly real. Right. Is that the conversation? I thought, okay, there's a conversation going on in the back of the bus and it is old people talking. But as you're lying back, you could sort of. You can't hear exactly what they're saying. And you might have that kind of half dream, Right. Where you're. The dream is kind of lined up with or intertwined with what's going on in reality. So she's hearing in the conversation of the old people, her grandparents voices. Is that the way you took this? Or. Or they, they're hearing the grandparents voices or. Yeah. How do we, how do we interpret this? 7:54 Erin: I interpreted it as, you know, people of the age of grandparents having a real conversation. But the idea that one could be having an auditory. I mean, we are given the word auditory slow hallucination. So the idea that there could be an auditory hallucination or kind of half dream of one's own grandparents having a conversation, or it may be superimposed on a real conversation kind of inaudible going on on the bus. I never noticed this before. The G in grandparents is capitalized. So it does seem to sit to suggest the speaker's particular grandparents rather than. 8:30 Wes: Oh, I was going to. I thought you were going to say archetypal grandparents. 8:34 Erin: Oh, yeah, I suppose it could be yeah, it could be read that way, too. I think all of these things are true, right? 8:40 Wes: Yeah. 8:40 Erin: I mean, the image works because of the, shall we say, universal particularity of this experience. 8:47 Wes: The ordinary way to write the poem would be to. And a much simpler way would be to put this in her point of view and not try to put it into a collective point of view. But that seems to be what she's doing. 8:59 Erin: Yes. The effectiveness, though, I think is the. And it could just be the speaker's perception of it, but the atmospheric quality, because everyone on the bus is going to share an experience shortly, but already they are sharing an experience and a kind of atmosphere that they're all listening to the hum and having that. You know, when you're in the car and you. Maybe when you're a kid and you put your ear up against, like, the. The car door or the window or something, and you hear orchestral music. I don't know if you ever had that. I used to always hear classical music when I would put my head up. 9:38 Wes: Yeah, I don't think I have that. 9:40 Erin: All kinds of. And I always think, like, I should write this down. But you always have, like, a hallucination of an orchestra playing songs. Different songs. Sometimes like fantastical songs. Yeah. You know, my particular experience maybe doesn't quite get at the. Yeah. The sense that this is shared. 9:57 Wes: Well, you're put into a kind of dreamy state, and yet you're getting at the auditory hallucination part. I mean, for me, I think, as a child, and this, I think, is very evocative of childhood. It's something about being half asleep or falling asleep. You're on a journey and there are adults in the car and there's some. Maybe some sense of safety, I think is very relevant to this poem. But being ensconced in the world of adults and not quite alone when you do this thing, which is potentially very lonely, which is go to sleep. And of course, a lot of kids don't want to go to sleep because that loneliness factor. But it's a much different experience if you're traveling. You're all on the way to something together. And of course, you're with people who are awake and, you know, are going 10:45 Erin: to be awake, maybe because the kids are falling asleep. Their. Their voices are lowered and softer. And maybe that also contributes Right. To the. The way in which. That lulls the children in the back simply because they're aware of not wanting to talk too loudly. Certainly that would be the case on a bus like this, where they're Having a conversation where they're talking in. In lower voices and maybe actually inducing that calm and hum for sleep in the people, the other people in the bus who aren't talking. 11:15 Wes: And the question is, what are the adults doing with their talk? Right. It's not going to work if your parents are just fighting. In this case, it's the grandparents. Voices are clearing things up and I guess bringing certain things to resolution, coming to terms with these losses. But a lot of it does sound a bit gossipy and not necessarily like the most comforting. 11:39 Erin: Yes. Yeah. 11:39 Wes: Sort of talk we could imagine. Yeah. 11:41 Erin: Well, you know, in a situation like this where you might be a child in this car, could be that you're coming back from whatever, like a, like a late night and then the adults in the car are working through whatever has just happened over the course of the night. And. Oh no, she was the one who had that long. Yeah. Who had the criminal record because of that thing, remember where they. Oh, yeah, yeah. That was like 20 years ago. So you sort of get that. But for an entire family history going back ages and ages, talking in eternity. Deaths, deaths and sicknesses. The year he remarried, the year something happened. Oh, yeah, what year was that? Right. Something about the journey afterwards or maybe away from home. If these people are also. If their home is Nova Scotia and they're departing it, you know, then there's that backwards looking quality where something about the idea of the journey and moving away from the place is giving the opportunity to then take stock and look back. So there's this sort of like dual action happening in the poem where the further the bus goes, the further back they're kind of looking from deaths and sicknesses to then remarriage and then childbirth. Son lost when the schooner found her. 12:58 Wes: These are all very blue collar tragedies, right? 13:00 Erin: Yes. 13:01 Wes: He was arrested for insider trading. 13:04 Erin: No, but I mean, you know, there's a reverse order to what's happening, you know, so we get. We have death, then sickness, then remarriage, then dying in childbirth. So there's a rewind is what I mean. Yeah. 13:17 Wes: Well, we come back in the end to death. The way it's all summed up. 13:20 Erin: Insider trading. Sorry. 13:23 Wes: Huh? 13:24 Erin: Sorry, Just insider trading. That really is funny. 13:31 Wes: And he had an affair. No. A sharp indrawn breath. Half grown, half acceptance. That means life's like that. We know it. Also death, you know, and then the question, what does also death mean there? Death knows it, we also know death. But it, you know, it made me wonder at various points I wondered. Well, Is this an element here of a journey to the underworld or to the afterlife? Maybe it's a job not claiming that that's strong thematic part of this, but maybe a hint of that type of thing. Because the journey, I mean, and it does seem like journeys are good places for this or like when I travel, it produces in me a very different state of mind. And I do find it very calming in a way, you know, especially actually being on the train or something like that, because you're in between two different locations and you maybe you're not caught up in the expectations or the constricting qualities of any particular location. If I'm at home, I have to do this and that work, or if I'm at a destination, then I'm dealing with relatives or I have to be a tourist or something like that. But there's something liberating about being in between two locations. So it does seem like a place for this type of dreamy hallucination or this reflection or this clearing of things up. It's almost like therapy. Right? That's what all of this sounds like. People are talking through their problems, but where is it that they get to in the end here? The half grown, half acceptance. So it's not fully acceptance. It sums things up with this, maybe a degree of resignation. So yeah, I don't know. What do you make of the stanza? 15:15 Erin: Well, they're traveling west significantly. Right. I do take a lot of this to be a kind of, say, pre figurement of death, even though at the same time the fact that they're in the woods, the fact that not to jump ahead too much, the fact that the moose will come out of the woods and appear notably in the middle of the road, there is a suggestion of middle age or middleness, or midway in the journey of our life, I found myself within a dark forest. So I think it works both ways, or perhaps it's working in several ways simultaneously for the various passengers. So maybe the speaker is experiencing something more akin to the Dante esque middle of the journey on the bus. And something about the bus journey is also, symbolically speaking, a kind of final bus journey for some of the other passengers. And that intersection seems significant, but I don't know how, just in the sense that there's a retrospective quality happening or maybe even a reversion to childhood that goes on for the speaker and the other people in the bus by virtue of the propinquity to these old people at the end of their life's journey. Because there is very little about middleness Here, come to think of it, other than the moose appearing in the middle of the road. Right. It seems that the other people on the bus are like children and the grandparents are the adults. 16:50 Wes: I mean, I think part of what's comforting when we're children is that feeling that adults know the answers and that adults know how to cope with all the dangers and have experience doing that and therefore can protect us. The reality, of course, as we realize as we get older, is that that's not true. So what they may have is more of this acceptance that's sort of highlighted in this stanza, which is potentially a good thing, but maybe a double edged sword because it does seem to be a form of dying. It does seem to be a form of the very thing that we want to be protected from. 17:30 Erin: There's also, though, that. What I used to call my mom, the external hard drive. I used to say back before she. 17:42 Wes: She liked that. 17:44 Erin: I think now it would make her sad because she'll say, you know, very openly that she. Her memory is gone. But it used to be that she knew all the, you know, you could ask her who said that at that one. You know, there's that kind of. I mean, that's a sort of jokey, gossipy scorekeeping thing that she would keep tabs on. But there's also just the idea of long memory being the history keeper, the record keeper, the, you know, and there's sort of settling accounts over the course of this conversation. Oh, right, it was that year. Okay. And then this happened and then, then that happened. And that's important too, I think, for, you know, it situates children in a context. Not just say this idea of death that you're referring to, but also how to situate oneself in a life. 18:34 Wes: Right. 18:34 Erin: There's a. There's a sort of frame that the grandparents or the elder relatives have that whole history up until you enter the narrative and where you fit within that. We mentioned in part one a little bit about Bishop's family history just to kind of prefigure the types of story that she inserts, I think very significantly into the poem, particularly about poor Amos who just wouldn't stop praying in the store and had to be. Had to be put away. Right. Of course she does a gender swap, but yeah, we all have family stories like this, of this kind of unruly behavior or madness of some kind or other or some sort of family drama. 19:19 Wes: Yeah. So it's universal. But the way she captures it is very clever with this talk that we don't quite know whether it's just the conversation of the people, the old people at the back of the bus, or whether it's her dream or whether it's both or somewhere in between. They're interlaced, those two things. And that. That interlacing gets at this aspect of universality. Although I think by the time we get to the stanza where she's fantasizing about the grandparents and the featherbed, this, it start. Seems to become inescapably personal, which is why I think of the. The point of view is getting more and more focused. Right. With. With time. Yeah. And potentially it's still universal, but it seems almost like a personal memory. Right. So talking the way they talked in the old feather bed. Right. The way they. Her. Her grandparents presumably in the old feather bed, peacefully on and on. Dim lamp light in the hall, down in the kitchen, the dog tucked in her shaw. Shawl. Yeah, get another. And get another dog here. 20:28 Erin: I love this. 20:29 Wes: The collie, the barking dog. And. Yeah, so this, this stanza is wonderful. And it gets at exactly this thing that you've been talking about, which is the, like, comfort of being a kid overhearing adults talking. It really, despite this talk of death. Right. A reconciliation with death. This is the point. Seems to be the point of view of a child who finds this very comforting. And. Right. She'll say in the next stanza, now it's all right now even to fall asleep, just as on all those nights, the way in which the adult world and the safety of protective figures can make sleep okay to do. And then suddenly that's interrupted. 21:07 Erin: But I love too. I mean, yes, it's so particular, but it also just in this one stanza does so many things in miniature that the poem is doing all along, this telescoping in again to a scene which. Which even as a child, if it were her childhood in particular that she's referencing, she couldn't possibly know or see. She wouldn't be able to see the grandparents in their featherbed. She would have to be picturing them in the featherbed and she wouldn't be able to see the dog in the hall. And also I wonder if this. If the stanza in its operation is kind of doing. I mean, this is just occurring to me now, but maybe it's doing that kind of hallucinatory work that has prior been described where we actually get a remix of, you know, this is the third dog in the poem. But it's also the elements in the stanza are a kind of recapitulation of the light, the red light swimming, the port Lantern becomes the lamp light in the hall. We get the dog barking now becomes the dog curled up in the shawl. And then maybe even because we also get kitchen, maybe the shawl is even a kind of transposition of the table, tablecloth shook out. Right. So there's something actually in the stanza which has that hallucinatory quality that she's describing where these three elements swim in the imagination and then become the lamplight and the dog and the shawl in this half asleep kind of dream space. Maybe that's pushing things too far, but it does seem to be. It's the dreamiest stanza perhaps in the whole poem. Maybe the following one. Now it's all right now even to fall asleep. But this gets interrupted that next stanza. So this one, I think is the real depth of the dreamy or borderline dreamy or hallucinatory moment. 23:00 Wes: Yeah, this is great because it really underlines the way deviation creates the capacity for stasis or for comfort. So the deviation of a bus trip or of the dreaming. Right. Which is movement, which is dynamic and has that momentum, forward momentum that we were talking about, sort of underwrites or grounds this ability to. For stasis, for stopping, for going to sleep, for feeling comforted as a child and safe, I think. And I keep repeating that word because of the. What's going to happen. The use of the word that's going to happen in this poem later. But yeah, I'm not sure if you were saying that explicitly, but that's what came to mind my mind as you were talking. This. The way in which this journey, devigation, motion can ground something that's going to be more static or stationary, which is what we're going to get in the moose. Because it interrupts the. It explicitly interrupts the motion of the bus and the external line of the poem in a way that parallels the comfort that's produced by the dreaming. 24:08 Erin: Yeah. In stanza 22 is where we have that break that you're describing. The moose finally appears. Well, the moose doesn't appear until stanza 23 finally appears. 24:21 Wes: We've been waiting for you. 24:22 Erin: We've been waiting for you. The title has promised that you would come and then here you are. It is foretold of your coming. 24:29 Wes: Comes through the curtains, takes his bow. Right. 24:32 Erin: We get nights, just as on all those nights. And then the moose's appearance, the lights turn on. And that rhyme you get, I mean, it's a very basic, simple rhyme. Right. But there's that sort of sudden jolt which is then also visualized where in the middle of night we have this appearance, this bright because of the headlights on it. Appearance of the moose. And it looms and sniffs at the bus's hot hood, which I'm assuming means that it thinks that the bus might be a boy moose. 25:06 Wes: No. Well, it's a very hot bus, I'll say that. 25:10 Erin: Ow. Ow. 25:14 Wes: That enamel. And it's dented and, you know, depends on if you like bad buses. No, just kidding. 25:21 Erin: Dented from its last encounter with a girl bus. 25:25 Wes: Yeah. It's funny because I wrote in my notes, but was just reading it stanza by stanza. And the previous stanza I'd said, okay to sleep, even with death looming. Looming for all of us, you know, all day one. You know, one day we all die. Blooming in that sense. And then suddenly the moose is looming, standing there, looming. And I thought, whoa, that's really interesting 25:45 Erin: that I. Oh, yes, chose. 25:48 Wes: Chose that word before I even got to the next stanza. Not to give some, you know, obvious rote sort of identification of the moose with death or the experience of the moose as having something to do with that. But obviously they're coming into contact here with something quite primal and important. It's not just, oh, look, there's a nice moose, but is he sniffing or she's sniffing the buses hot hood because she thinks it might be another moon. That hadn't actually occurred to me. 26:21 Erin: I must have been infected with that reading at some point that this was a frisky moose, that it otherwise doesn't seem frisky at all. It seems pretty. Like a pretty staid, respectable moose. 26:34 Wes: But frisky and ditzy. 26:39 Erin: That's right. Hello. 26:41 Wes: What? 26:41 Erin: Oh, look, I seem to be in the middle of the road. Pardon me. 26:46 Wes: So, towering, antlerous, high as a church, homely as a house. We're safe as houses, a man's voice assures us. Perfectly harmless. Which you presume, right, that the. The man making that assurance is. Precedes the idea of it being homely as a house and safe as houses. Even though. So. So she interestingly puts the associations before her associative responses before the actual stimulus. Right. I don't think she's the one who is thinking about how they must be safe and. And he's saying something. I mean, as far as I know. I don't know back then. But you were warned about bison and mooses, right? Or is it mooses or moose? I think we're warned because they don't. They. They seem harmless, but they're not. And so I was quite surprised by this stanza. And I thought this idea, okay, safe as houses. Well, yeah, houses ought to be safe, but they're not always safe. The bus, the moving container of the bus turns out to be, in a way safer and more conducive to reverie and dreaming and all of that. 27:59 Erin: No matter how you slice it, whether you see the moose as harmless, truly, or not so harmless, this has got to be just a little bit of a wink, right? A man's voice assures us. 28:09 Wes: I mean, I think we're definitely meant to be skeptical. 28:12 Erin: Yeah. 28:13 Wes: This perfectly harmless line, it's not there for us to nod our heads in agreement. 28:20 Erin: Oh, yeah, he's right, right, right. I think it's more like, oh, here's another mansplainer. 28:26 Wes: He's moose splaining. 28:28 Erin: Mooseplaining this woman moose to moose splaining. Just out for a good time, having her existence commented upon by another man's voice. Probably a podcaster. One of those male podcasters has a manosphere podcast. 28:45 Wes: Girl mooses are. 28:49 Erin: Then we get these childish again. The passengers are like children and having this childlike response to the appearance of the moose, including. It's awful, plain sad. So much judgment of women's bodies. 29:04 Wes: I mean, they're not good looking creatures. Let's just. They're, you know, put that on the table. Come on. They are in an ugly sort of way. 29:11 Erin: Yeah. I mean, okay, I guess they don't follow, you know, classical proportions. They don't represent the golden mean. 29:21 Wes: They're not into beauty society societal beauty standards. All right. 29:28 Erin: They are like cartoon characters. 29:29 Wes: They're miss Positive is what they are. 29:35 Erin: Well, what I love though, about the description, you know, we get several, I suppose. Yeah. Contradictory descriptions of the moose in a way, because we get homely as a house or safe as houses. We get awful plane. But then she looks the bus over grand otherworldly, so she has some gravitas. She's like a great character actress who. Who may not be beautiful in that leading lady way, but she's Kathy Bates. Yes. Yeah, well, that's maybe a bit insulting to Kathy Bates, who I do think is a very attractive woman, but. 30:19 Wes: Sorry, Kathy. 30:20 Erin: I know, I love her. 30:21 Wes: Come on the show sometime, please. 30:24 Erin: Oh my gosh, I would die. I love Kathy Bates anyway. And then we get curious creatures. Well, first we get the idea that it inspires joy and then we get curious creatures. So there's a. The joy is then immediately undercut by a kind of ambivalence. Right. So there's just all of these descriptions of the moose combine to create a kind of ambivalent portrait, such as it is, of the animal. 30:47 Wes: Are we going to be able to answer this question? Why? Why do they feel the sweet sensation of joy? I mean, I think I would probably feel it. 30:57 Erin: Why? Why do we all feel it? I mean, they have. Well, they've successfully done what I couldn't see a moose in real life. So they're like one up on Erin. Can't wait to go back and tell her we saw moose. Yeah, I've seen certain things. I can't think of a specific example of this, but I've had plenty of instances. Whether it is a wild animal or, I don't know, like a sunset or a really spectacular natural event of some kind or other. You do get that feeling of joy, kind of excitement. 31:28 Wes: Yeah. Unfortunately, most of my encounters with large animals are at zoos. I did see a bear once. I was going to the bathroom. My mom had a house in Front Royal, Virginia, at the beginning of the Appalachian Mountains. And it was up high on a. We called it a mountain, but it was, I guess, more of a hill. But so it was out, you know, it was kind of. There was a bear on the mountain, let's just put it that way. And, yeah, I was going to the bathroom one day and looking out the window. There's a window right. You know, above the toilet. And suddenly there's bear's face looking at me. Wow. What the. So, but that, you know, and. And that was majestic. No, just kidding. That it was. I. It was surprising. 32:13 Erin: Yeah. 32:14 Wes: And there's an element of fear that involved. Even if you're, you know, even if, you know, black bears are harmless and there's a wall between you. Some. Something scary about it. I didn't have time to feel like it's majestic. Yeah. You know, like you have had these experiences in. In nature, but I can't think of a encounter like this. But it. I seem sure that if I had an encounter like this, I would feel exactly the same way. So. Yeah. What is otherworldly about it? What is majestic about it? It's a big, dumb beast. And I say that with love, without any criticism in the sense that. Right. It's an encounter with something primal. And I think we have to take into account the size of the animal as well. I mean, it is interesting to run into a fox or something like that, but it's also a matter of scale here. But. Yeah. What is otherworldly about it? I mean, I think the most. The most obvious part of this is that you know, we have lost something in our humanity and becoming language using creatures and becoming self conscious creatures. And sometimes when we're confronted with an animal like this, we're confronted with that loss. We're not as connected to the environment because of the intermediation of something like language, which poetry of course tries to overcome. It tries to put language into a disintermediating. Sorry to use these business terms. I don't know why this is happening. Into a disintermediation. 33:46 Erin: Actualize. Yeah, yeah. 33:49 Wes: When it. Yeah, right. Synergize it's agenda. Often where language might put distance between us and the world. Poetry, I think, can undo that distance. Like I was saying, with the very vivid imagery, I can undo that distance with figurative language. And maybe that distance is also undone to some extent by the dreaming or the half dreaming hallucinatory state that she was in. And the comfort of that, the return to childhood, which is also a simpler time. I don't know. I'm thinking out loud here. But yeah, I wanted to try to get more at this, you know, the otherworldly status of the moose and the joy that comes from encountering it. 34:34 Erin: I was thinking to myself, is the moose's gaze really clearly encapsulated? And then I thought, yes, she regards us amicably. And then I was like, no, no, that's the passenger who gets on the bus. 34:44 Wes: Right. Does the moose have freckles? Yeah, that'd be an interesting twist, right? 34:50 Erin: But yeah, but there is one. 34:51 Wes: Turned her into a moose. 34:53 Erin: Well, I would think that this would be a more garden variety animal encounter and maybe even a more, to use a word, I don't like, problematic poem in terms of its relationship with the animal. If it were to focus on the gaze of the animal. Because I think that is the thing which is often at the core of these interactions with animals in which we project or hope to have a kind of meaningful encounter. You want to meet the gaze of the animal and in so doing understand it. Right. And of course you don't realize that you're just projecting onto it a kind of maybe mutual regard. She regards us amicably. That you are seeing it and it is seeing you. And there's an acknowledgement and there's this, you know, spiritual encounter that you have with this animal. And all of that, of course, is often quite silly. It's often quite reductive and fanciful and unrealistic. But I am thinking of an encounter that springs to mind is in Utah. I hiked the same trail almost every day. And I Would often hike it late in order to escape the full heat of the desert sun. Which is a little dangerous, right? Because sometimes the sun would be setting and then all kinds of things come out. And one time I was trying to get back to my car before it got completely dark. And what I thought was a wolf, but what must have been a coyote. And the coyotes in Utah are huge. They look like wolves and completely white. Came out from over a hill, crossed my path, turned, looked at me in the eyes for a very long time, turned and went over on the other side of the hill. I mean, curiously, then, of course, I got to the car and I actually found out that a beloved family member, an elderly family member of mine, had passed away. And I said, I think I just saw her. You know, I had this feeling of, like. I don't know, the sense of this connection, inherent connection between these two. This woman who was dear to me and this encounter. But, of course, that's all silliness. And the idea that I was having a sort of interaction through the gate. Some sort of reciprocal. Right. Interaction with this animal was also entirely just my own projecting onto the animal. However, I will say that that's an instance in which I felt fear. But then there was also this, like, joy at the encounter, I think fear because it was dark. Because I wasn't actually sure if this was a wolf because it blocked my path. It was far enough away that I didn't feel as threatened as I might have. But it was definitely a mixed perception. 37:28 Wes: You didn't shoot it and then hang it around your neck. No, because I was thinking. I just suddenly thought of the albatross poem. 37:37 Erin: Rime of the Ancient Mariner. 37:38 Wes: Rime of the Ancient Mariner. And that sort of relationship to the natural world where. I mean, I forget what we said about it, but maybe I said something about envy and wanting to kill the albatross for. Because of its freedom or something like that. I don't. I don't know. But I think it's important because, yeah, this is part of something about the encounter with the natural world. Whether it's a big moose or something else. Yes. Is otherworldly. Strangely enough, it's otherworldly to us, even though it's where we come from. It's uncanny, maybe. And Freud actually, in the German, I think uncanny is sort of like unhomelike is what the German sounds like. And Freud made a lot out of this. I think it's home, but it's a home from which we've become alienated. We're animals, we're something more than animals. And so that primal encounter brings us back to that foundation, that natural foundation in us, but we can't fully come to terms with it. And I think the other aspect of this, I think the death. Right. So there is a link to death. Just. And I was thinking about that when you described thinking of it as seeing. As seeing your departed loved one. Because if we could regress to that animal state, it would be a kind of death. I think that the association with the movement to the pre. Linguistic, natural foundation is something like the movement towards dying, but there's something comforting. 39:07 Erin: Yes. 39:07 Wes: Right. And we encounter that when we encounter the gaze. To have a. Have a gaze returned by an animal like that usually like, like our internal. Our entire psychological structure, what makes us self. Self conscious is the internalization of a human gaze. Right. To the extent that we. We get an animal gaze, I think we are returned to that more primal part of ourselves. And it does seem to me to have something to do with being reconciled to mortality. Right. Which is part of what the function of that dialogue between the elderly people is doing. 39:44 Erin: You're leading me into the one, say, reading of the moose that I wanted to get to. And I just want to say that I think the great thing about Bishop and about this poem and all her poems is that the moose is a moose. It's not a symbol. I hesitate to offer any kind of 40:03 Wes: direct reading, but that's her job on this podcast, though. 40:05 Erin: I know, I know. It's. Yeah. In the letters with Robert Lowell when he's writing to her about her poem at the fish houses, he says, alas, all my fish just become symbols. 40:16 Wes: Ah, very good. 40:17 Erin: I hesitate to reduce. I think what you've just said makes me think that it's the maternal, the mother. 40:25 Wes: Which also brings us back to the house. 40:28 Erin: Yes, the house. Yeah. It's something that comes like the clapboard churches, like clamshells seem to arise out of the ground, if you will, or are directly compared to these native creatures. The houses are then in turn used as comparisons for the moose, the maternal. The idea that this is something that returns us to nature, that this is the encounter that we would have presumably upon death. It's the loved one that is somehow comforting, maternal, and is a female moose. It's moose mom. I don't know. I don't know. Something going on there. 41:04 Wes: Moose mom. 41:05 Erin: Natural and strange at the same time, not us. And I guess that's why I. That's why I mentioned that the story of my grandfather at the beginning, because I don't know why I wanted so badly to see a moose right after my grandfather's death. But there was something, like, logical about it to me. And I was familiar with this poem, but I very much did not have. You know, it was not something that was the forefront of my mind at all. But I think there is this inherent connection, and it's silly. You know, I kind of can't believe I'm saying this, but I do. I do think there is this kind of connection between this desire that I felt to see this animal. Like the particular kind of primordial itch that the moose in particular seems to be scratching for me in that moment. For Bishop, in this poem, something that is at once safe and comforting and from another world, natural in that kind of elemental way. 42:00 Wes: Yeah. 42:01 Erin: That all kind of coalesce in that image. 42:04 Wes: Very good. 42:05 Erin: Okay. I think that's it, Wes. All we're left with is the dim smell of moose and an acrid smell of gasoline. 42:12 Wes: Oh, you know, we should have talked about that. Maybe we can start with that on our next Bishop recording. We'll. We'll begin with the smells, the smells and the significance of that image at the end. 42:25 Erin: Nice. 42:25 Wes: That smellage at the end. 42:26 Erin: Smellage. All right. Thank you. 42:29 Wes: Thank you.

Mark Rader was the lead vocalist and guitarist of The Traditional Grass, one of the foremost bluegrass bands on the festival circuit in the 80's and 90's. In this episode of Walls of Time, Mark shares great tales from the road, tells us what Kathy Bates film inspired one of the band's biggest hits, and discusses the band's decision to get off the road in 1995. He also lets us know what bands in today's bluegrass scene really fire him up!   Let's return to Mark's dining room table for Part Two of our conversation with Daniel's "Uncle" Mark Rader.   This episode is brought to you by the following sponsors: -- Greene County Public Library: greenelibrary.info -- Samson's Haircare: samsonshaircare.com (Use code BLUEGRASS to save 10%.) 

Madame Delphine LaLaurie was one of the most admired socialites in New Orleans, and the Royal Street mansion she left behind is still called the most haunted address in the French Quarter.==========HOUR ONE: 
Winnie had two trunks when she arrived at the train station – trunks that contained the severed body parts of her two best friends. She had murdered them, it seems, all in the name of love. (Winnie Ruth Judd: Trunk Murderess) *** Was British government weapons inspector Dr David Kelly murdered? (Many Dark Actors: Dr. David Kelly) *** Madame Delphine LaLaurie, made popular by Kathy Bates in American Horror Story: Coven, was a first class monster. A figure of high society, she was well known for her mistreatment of slaves. But no one knew just how sick she truly was. (The Monster of Royal Street)==========HOUR TWO: Reddit users share some of the strangest, creepiest, most terrifying phone calls they've ever received – many that left the recipient with no explanation as to what just happened. (Creepy Phone Calls) *** Elizabeth Bathory was beautiful – and wanted to stay that way. So determined was her desire for a youthful appearance that she would bathe in the blood of young girls, thinking of it as a macabre fountain of youth. But how much truth is there to this story? And are there ghosts today, haunting their residences thanks to the Blood Countess? 
(Ghosts of the Blood Countess)==========SUDDEN DEATH OVERTIME: A former schoolhouse has accrued a sinister reputation as one of the most haunted, weirdest places in Japan. (Haunted Schoolhouse In Japan) *** The gold rush brought many to North Carolina – men looking to get rich, and rich men looking to get richer. But the greed also brought cruelty to some mine owners… and that cruelty sometimes brought death… and hauntings. (The Skinflint Mine Entity) *** Was a certain female reporter murdered because she knew too much about the death of John F. Kennedy? (The Dorothy Killgallen Murder) *** Something bizarre and terrifying is living below the streets of London – and there are many theories as to what it might be. (Strange Things Below London)==========SOURCES AND REFERENCES FROM TONIGHT'S SHOW:“The Monster of Royal Street: Delphine LaLaurie”: https://tinyurl.com/ssf9lm3“Many Dark Actors: Dr. David Kelly”: https://tinyurl.com/uf4jv5m“Winnie Ruth Judd: Trunk Murderess” by Troy Taylor: http://ow.ly/kpFb30nhABS“Creepy Phone Calls” by Aaron Edwards for Graveyard Shift: https://tinyurl.com/spnqq2s“Ghosts of the Blood Countess” by Amy's Crypt for Paranormal Scholar: https://tinyurl.com/r4lh7rn“Strange Things Below London” by Nick Redfern for Mysterious Universe: https://tinyurl.com/ulutgp7“The Murder of Dorothy Kilgallen” by Jessika M. Thomas for Ranker: https://tinyurl.com/tjzpaz7“The Skinflint Mine Entity” from North Carolina Ghosts: https://tinyurl.com/w6ofq7g“Haunted Schoolhouse In Japan” by Brent Swancer for Mysterious Universe: https://tinyurl.com/w4n98c6==========(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for material I use whenever possible. If I have overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it immediately. Some links may benefit me financially through qualifying purchases.)=========="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46==========WeirdDarkness®, WeirdDarkness© 2025==========To become a Weird Darkness Radio Show affiliate, contact Radio America at affiliates@radioamerica.com, or call 800-807-4703 (press 2 or dial ext 250).

Hollywood is not trying to stop a monopoly by blocking the Paramount Skydance merger with Warner Bros. It's trying to protect one.If a monopoly means near-complete control over what gets made, promoted, and rewarded, then much of Hollywood and the cultural institutions around it operate under the ideological consensus of the Left and the Democratic Party. Why do the Obamas have a long-running production deal at Netflix? Why do the Emmys consistently elevate late-night hosts whose politics align with that consensus? Jimmy Kimmel, John Oliver, Stephen Colbert, Jon Stewart? Do you think they'd ever nominate Greg Gutfeld, whose show often tops them all in ratings? If that isn't an ideological monopoly, I don't know what is. Why did major awards shows stay silent on Charlie Kirk? Why did so many artists cancel Kennedy Center appearances after its Trump-era changes, and why did multiple acts drop out of America 250 events?David Ellison and Paramount Skydance are attempting something brave and unprecedented: an outside challenge to that consensus. Their roughly $110 billion bid for Warner Bros. Discovery would give them control of a major studio, HBO/Max, CNN, and a large portfolio of cable and streaming assets. While there has been some resistance to the biggest mergers in recent history, we've never seen anything like #blockthemerger. Meet the new resistance, same as the old resistance. 12 state attorneys general, including California, have sued to block the deal. The Writers Guild of America has filed its own antitrust lawsuit. SAG-AFTRA has publicly opposed the merger, though it has not joined the litigation. Opposition also includes the Future Film Coalition (which leads the #BlockTheMerger campaign), Democracy Defenders Fund, Committee for the First Amendment, Free Press, the International Documentary Association, and the American Economic Liberties Project, among others. More than 5,600 industry figures have signed an open letter against the deal, including Mark Ruffalo, Jane Fonda, Javier Bardem, Elliot Page, Emma Thompson, Ben Stiller, and Cynthia Nixon.Paramount Skydance has, for now, delayed closing. Can they hold the line under this unprecedented pressure campaign? Hope springs eternal. But you won't read about that point of view in any of the trades. They're a monopoly, too. Most of them are owned by the same entity, Penske Eldridge. Just today, it was announced that the Hollywood Foreign Press, the former owners of the Golden Globes, are suing Jay Penske for $150 million. They are claiming Penske orchestrated their downfall so he could buy the Golden Globes. Jay Penske already owns Deadline, The Hollywood Reporter, Variety, Indiewire, Gold Derby predicting site, Rolling Stone, a virtual monopoly on the awards race from soup to nuts. Gold Derby shapes the nominees, the trades take ads from the studios and the Golden Globes hand out the awards. But wouldn't you know, when Rebecca Keegan wrote a hit piece on me, she did so in the Hollywood Reporter, owned by Penske Eldridge. I was a vocal and prominent critic of Penske's growing monopolistic power on the awards race and one of the few willing to speak out. With one hit piece, the Penske company took out both a competitor for ad money and a pesky nuisance for the brand. That is what you call a monopoly. A Climate of Fear and A Culture of SilenceI found out firsthand how monopolies work in Hollywood when I was canceled in 2024. The day a Hollywood Reporter story labeled me a “MAGA darling,” one studio pulled its ads from my site that day. The last thing they wanted was to be associated with an accused and condemned witch.It was shocking how many of them fell in line in robotic fashion, gripped with fear. The response was swift and uniform. Every writer on my site left to protect their reputations. Friends of fifteen years ended the friendship. My Oscars ticket was revoked. Jane Fonda's Women's Media Center fired me from their annual Oscars report. Screening and party invitations dried up. I was benched on Gold Derby.Worst of all, the lucrative studio ad buys for the Oscars and Emmys vanished. As it all collapsed, I remembered in 2012, an advertising strategist telling me I could be making far more money if I sold the site better. “You have no baggage to speak of,” she'd said.That was true then. I was one of the few independent Oscar sites left, and still am, known around town for being honest to a fault. I stayed independent even as the ad money made life more comfortable for me and my daughter than it had ever been.There was never any question why my career ended in Hollywood: I had been outed as a Trump voter. I was on the wrong side of Hollywood's progressive orthodoxy, and that meant I was finished.How it started…I started Oscarwatch.com as a single mom with a one-year-old baby living in a studio guest house in Van Nuys, California, in 1999. I was an early web pioneer with a 1200-baud modem and a really good idea. I was already catching the attention of publicists and rocking the boat, as all of us amateurs did back then. We were moving fast and breaking things. Traditional media was not ready. The studios weren't either. They were used to having a monopoly on Oscar FYC ads in Variety and the Hollywood Reporter, their bread and butter. Until the blogs came along.By 2006, I was starting to make money because my little site had birthed a big bang of other Oscar sites, and by then even the New York Times had an Oscar blogger, the late great David Carr, who called himself the Carpetbagger.David Carr became a mentor of sorts and encouraged me to sell ads for myself, rather than piggyback off bigger sites. I was working three jobs by then: as a horoscope writer under a pseudonym (Laura Wilde), a janitor working my dad's routes because he was a good guy and knew I needed the money, and a freelance film critic.Right around then, the Academy of Motion Picture Arts and Sciences sued me for trademark infringement, and my site was renamed AwardsDaily.com. Now I was cleared to start making real money.David Carr was horrified that I was working as a janitor while the trades were raking in millions on Oscar ads and encouraged me to start sending out RFPs. But I didn't have to, because before long the studios were sending them to me. My site became so influential that I never really had to pitch to them. They all wanted real estate on my site. Who could ever have imagined that? Certainly not me, someone who got online in 1994 back when no one thought you could make money on the internet.One of the first studios that bought ads was Fox Searchlight, an awards subsidiary of Fox. I called it Big Fox and Little Fox, and both advertised on my site. When I got my first $15,000 just to run ads, I was stunned. That was more money than I had ever seen on a check. I was just kind of faking it, pretending I knew what I was doing, but I really didn't.Of course, it was also about promoting films the studio wanted to place in the Oscar race, and that's still what it's about. It's not exactly pay-to-play, but most of the bloggers making money in the Oscar game are grateful and help keep the advertisers' movies prominent. I did too.I barely noticed in 2019 when Disney bought Fox for $71 billion. The Writers Guild objected to the merger, just as they have to the Paramount Skydance merger with Warner Bros., but there was nowhere near the same amount of public outcry.Trump praised the Disney/Fox merger after having attempted to stop the 2018 merger of AT&T and Time Warner, leading to a trial, but the judge ruled against the Trump administration, and the deal went through. Again, no major public outcry.At some point after 2020, I'd noticed that Disney had stopped advertising on my site. I wrote it off as their shying away from my comments on “gender affirming care” for kids. I'll never know exactly why, but all I do know is that once the merger went through, Fox and Fox Searchlight also stopped advertising. The Paramount/Skydance merger with Warner Bros. is significantly higher and covers more territory than any of the major corporate mergers we've seen as Hollywood reshuffles the deck amid the shift to streaming. Warner Bros. was selling. The only question was whether Netflix or Paramount Skydance would buy it. Both deals would have had the blessing of the Trump administration.But because it's David Ellison and the team that bought CBS, and because Trump is an ally, the Democrats and the Left have turned #BlockTheMerger into another No Kings protest or battle for the “resistance.”After the story about me broke in the Hollywood Reporter, Netflix also stopped advertising. No other studio except Focus Features, an adjunct of Universal, had the courage to run ads on my site. I was now officially blacklisted. Emails to the various studio reps went unanswered.This past year, Paramount bought a modest ad package on my site for the Emmys to celebrate the success of Landman and The Madison. I felt lucky to get it, and it was a sign, at least to me, that Paramount, like Focus Features, was brave enough to take a chance on someone deemed too toxic by the industry.Landman, Taylor Sheridan's Billy Bob Thornton drama, had become one of Paramount+'s biggest hits: its first season averaged 15.8 million viewers in Nielsen's cross-platform ratings and ranked among the top 10 series of the 2024-25 season. Season 2 opened to a Paramount+ record 9.2 million views in its first few days and continued to dominate the streaming charts, at one point leading all multiplatform viewing with more than 14 million. The Madison, starring Michelle Pfeiffer, launched as Sheridan's biggest series debut yet, drawing 8 million views in its first 10 days.But unfortunately, #blockthemerger had bled into the awards ecosystem, which remains a closed loop. Sure enough, when the Emmy nominations arrived, the Paramount shows were completely blanked—even Billy Bob Thornton in Landman and Michelle Pfeiffer in The Madison. Kathy Bates was similarly overlooked for Matlock.If Gold Derby shapes the Emmy nominations, and they do, they have to similarly play ball by blacklisting all Paramount Plus's most popular shows, proving to American audiences that the industry does not care about what they want or what they watch. Sheridan has transformed much of the television landscape, thanks to Paramount Plus. If Paramount buys Warner Bros., they won't be creating a monopoly but breaking one up. The Death RattleI know I should walk away from this industry and give up the site that took me 26 years to build. But I just can't do that. I can't let them win. Now that I've walked in the shoes of the other half of the country, I can clearly see why Hollywood's empire is collapsing. If ratings and box office don't matter, neither do audiences. None of this is about artistic freedom or making better movies or television shows. This is the Left flexing its muscle in an attempt to keep all of Hollywood to itself, to push its ideology on the people, to convert them, to indoctrinate them, to “correct them,” everything but entertaining them. Most of all, though, it is about one man: Donald Trump and their failure to stop him, destroy him, kill him, or exile him and his supporters. This is one of the most exciting times to be living through in American history, but you'd never know it by the movies and TV shows Hollywood pumps out. Their monoculture, their one-sided point of view, has choked the life out of Hollywood. If they could make fun of themselves, if they could humanize their fellow Americans, they might be able to tell stories that resonate with everyone. Maybe, just maybe, they would breathe new life into a decaying organism.But they can't risk it. Like the Democrats who don't trust the people with elections, Hollywood doesn't trust them with the culture.Elon Musk spent $44 billion to take Twitter out of the hands of its previous gatekeepers. Ellison is now trying to pry open a crack in the thick shell of Hollywood's product and return more of it to market forces and all of those people Hollywood left behind. // This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.sashastone.com/subscribe

Forrest and Kristina Oakes have both watched Titanic a million times but Conan Neutron has never seen it!! We discuss James Cameron's 1997 blockbuster triumph Titanic. Starring Leonardo DiCaprio, Kate Winslet, Kathy Bates, Bill Paxton, Victor Garber, Bernard Hill, Gloria Staurt, Frances Fisher, Billy Zane #jamescameron #titanic #leonardodicaprio #katewinslet #kathybates #titanicship #boat #ships #1997 #1998 #academyawards #bestpicture #bestdirector #bestdirectors #jamescameronsavatar #billyzane #katewinslet #terminator #terminator2 #live #livestream #vertical #verticallive

Randy OglesbyTake a walk with me down Fascination Street as I get to know actor Randy Oglesby. Randy has been an actor on television, film, and stage for more decades than I feel comfortable saying! In this episode, we chat about some of his pre-acting jobs, and why he eventually decided to get into acting. We touch on some of his earlier acting roles and experiences, and even what famous actress was in his high school drama class. We take a little detour as we discuss some of his stage performances and projects in the Los Angeles area. Randy shares his opinions about self-tape auditions versus in the room, which he prefers and the reasons why. Finally, we dive into his roles on THREE current television shows. Randy plays president of The United States Jim Bragg on Apple TV's 'For All Mankind', police chief McNamara on Amazon Prime's 'Marvel's Spider Noir', and Bill Festersen on Peacock's 'The Burbs'. He shares a few stories around the SEVEN roles he has played in the Star Trek universe, before I pepper him with industry and audition questions that we provided by an actress who happens to also be a listener. Make sure you catch Randy on those three shows and keep an eye out for him on some of your favorite films and TV shows from past, present, and future!

401 VelociPastor II Interview Jurassic Park Trivia Comic Con CarrieDoom Scrolling IntroThe Foos kick off the 400s with yard-work injuries, mosquito attacks, and the ongoing backyard project that may or may not destroy Joe's arm before it's done. Steph explains her mosquito bite allergy situation, Joe suspects he messed up his elbow trenching in 90-degree weather, and somehow this still counts as progress.Geeking Out starts with San Diego Comic-Con week: Marvel is expected to bring Avengers Doomsday heat to Hall H, Insomniac is showing off Marvel's Wolverine, DC is bringing Batman: Caped Crusader and Lanterns energy, Guillermo del Toro is tied to Pan's Labyrinth programming, and The VelociPastor II is premiering at the con with a double feature of the original movie.Then it's horror TV news: Mike Flanagan is bringing Stephen King's Carrie to Prime Video as a series, which actually makes sense given his track record with Gerald's Game and Doctor Sleep. The Foos also talk American Horror Story Season 13 bringing back a massive lineup of franchise favorites, including Jessica Lange, Sarah Paulson, Evan Peters, Angela Bassett, Kathy Bates, Emma Roberts, and Billie Lourd.In honor of Sam Neill, Steph runs Joe through Jurassic Park trivia focused on the original movie. There are correct answers, wrong answers, technical difficulties, a timer disaster, and the realization that the first dinosaur they see is not the Triceratops with the giant pile of poop.The main event is an interview with Jesse Gouldsberry, director of The VelociPastor II and producer/director of photography on the original VelociPastor. Jesse talks about how a fake title and college short became a real cult movie, how the first trailer went micro-viral and even landed on G4's Attack of the Show, the jump from the first film's tiny budget to the sequel, and why having more money doesn't mean losing the handmade chaos.They dig into the fake Australian trailer narration, the legendary “VFX: Car on fire” placeholder gag, balancing intentionally ridiculous filmmaking with actual story structure, the pressure of making a sequel to a cult favorite, and the DIY production choices that keep the movie feeling like community-theater grindhouse insanity in the best way possible.Jesse also talks about premiering The VelociPastor II in a 14th-century church in Prague, bringing it to San Diego Comic-Con, planning a roadshow, getting rights back to the first film, possible future streaming/distribution plans, and why fans should ask their local theaters to bring the movie to town.ChaptersDoom Scrolling IntroIntroMosquito bites skeeter syndrome and yard work injuriesBackyard project trenching granite sod and chaosGeeking Out San Diego Comic-Con previewMarvel Avengers Doomsday Hall H expectationsMarvel's Wolverine deep dive at Comic-ConDC Batman Caped Crusader Lanterns and Pan's Labyrinth programmingThe VelociPastor II Comic-Con double feature previewMike Flanagan Carrie series for Prime VideoAmerican Horror Story Season 13 franchise reunionJurassic Park trivia in honor of Sam NeillInterview Jesse Gouldsberry joins the showThe VelociPastor origin fake title college short and G4VelociPastor II budget sequel pressure and DIY chaosFake Australian trailer voice and VFX car on firePrague church premiere and San Diego Comic-Con screeningRoadshow plans streaming rights and future VelociPastor ideasOutro + Doom Scrolling OutroThe Foobar Show, VelociPastor II, Jesse Gouldsberry, VelociPastor interview, San Diego Comic-Con 2026, Avengers Doomsday, Marvel's Wolverine, Batman Caped Crusader, Lanterns DC, Mike Flanagan Carrie, Stephen King, American Horror Story Season 13, Jurassic Park trivia, Sam Neill, grindhouse comedy, cult movie sequel

Who are some of the greatest women in horror history? In this episode, we're celebrating some of our favorite actresses and unforgettable female characters who helped shape the horror genre. From terrifying villains to gothic legends and unforgettable performances, these women left an everlasting mark on horror cinema. Featured in this discussion: Kathy Bates as Annie Wilkes (Misery) The Alien Queen (Aliens) Frieda(?) Gelhorn (Twins of Evil) Evelyn Ankers (Weird Woman) Rhoda Penmark (The Bad Seed) Lynda Hayden (Blood on Satan's Claw) Barbara Steele (Black Sunday) Linda Blair (The Exorcist) Gloria Holden (Dracula's Daughter) Margaret Hamilton as the Wicked Witch of the West (Wizard of Oz) We'll talk about what makes each performance so memorable, why these characters continue to resonate with horror fans, and how they've influenced generations of filmmakers and audiences. Who are YOUR favorite women in horror? Let us know in the comments. If you enjoy classic horror, cult films, Hammer Horror, Universal Monster, and deep dives into horror history, be sure to Like, Subscribe and Turn on Notifications so you never miss a new episode.  

National Tapioca day. Entertainment from 1956. Molly Pitcher stars at battle of Monmouth in American Revolution, WW1 began, Everyone in South Korea gets one year younger. Todays birthdays - Mel Brooks, Pat Morita, Gilda Radner, Kathy Bates, John Cusack, Mary Stuart Masterson, Tichina Arnold, Elon Musk, Kellie Pickler. James Madison died.Intro - God did good - Dianna Corcoran https://www.diannacorcoran.com/Tapioca song - Lizz RoThe wayword wind - Gogi GrantHeartbreak Hotel - Elvis PresleyBirthdays - In da club - 50 Cent http://50cent.com/Best days of your life - Kellie PicklerExit - Pretty little things - Suzi Kory https://suzikory.com/History & Factoids about today Playlist on SpotifyHistory & Factoids about today webpagecooolmedia.comcountryundergroundradio.comNational Days Puzzles - JulyGrace & Grit Christian Country Radio

Welcome to Atlanta where the players play and sometimes security guards get blamed for planting bombs even though they're innocent. This is RICHARD JEWELLRICHARD JEWELLRELEASED: December 13, 2019DIRECTED BY: Clint EastwoodSTARRING: Paul Walter Hauser, Sam Rockwell, Kathy Bates, Jon Hamm, Olivia WildeBUDGET: $45MBOX OFFICE: $44.6MESTIMATED LOSS: $20MNEXT EPISODE: One of the least plausible "based on a true story" movies ever, it's 2005's DOMINO 0:00 Intro 4:16 Show & tell10:24 This week's movie

Horror history spirals into paranoia and infection this week—from The Thing's frozen body horror to 28 Days Later's rage-virus chaos, The Omen's cursed bloodline, 1408's haunted hotel nightmare, and Quake's gothic digital terror. Henrique explores how June 22–28 birthed some of horror's most influential outbreak and supernatural films, dissecting what made them landmarks in horror legends and why they still feel dangerously relevant today.Inside this episode:• 1408 turns one hotel room into a psychological pressure cooker, trapping a skeptical writer inside a space that studies him, wounds him, and refuses to let him leave.• The Omen gives the evil-child movie one of its classiest and creepiest landmarks, with the Antichrist hiding behind privilege, elegance, and a terrifyingly calm little smile.• 28 Days Later drags outbreak horror into the 21st century with empty London streets, sprinting infected, digital grime, and the terrifying idea that civilization can collapse almost overnight.• Quake opens a slipgate into gothic castles, wet tunnels, shambling monsters, Lovecraftian dread, and a diseased industrial soundscape that helped reshape horror-tinged gaming.• The Deep-Cut Spotlight goes to The Thing, John Carpenter's 1982 alien paranoia nightmare about imitation, isolation, mistrust, Rob Bottin's legendary effects, and the terrifying question of who is still human.Plus: a horror birthday roll featuring Bruce Campbell, Peter Lorre, Isabelle Adjani, and Kathy Bates, a creepy look at how horror teaches us to distrust the obvious, and a weekly recommendation for Twilight Zone: The Movie, the complicated 1983 anthology film that brought Rod Serling's nightmare world to the big screen.From haunted rooms and Antichrist children to rage-infected streets, gothic gaming nightmares, Antarctic isolation, alien imitation, blood tests, body horror, and the cold collapse of trust, this week proves horror history can make monsters out of places, people, memories, machines, and the person standing right beside you.

‘Matlock' lead Kathy Bates discusses what's to come as the CBS drama ends its current storyline and ventures into new territory, as the show moves to midseason with a new focus next year. Also, “Pluribus” star Rhea Seehorn discusses the complexities of her character Carol, the cast's on-set debates over the show, and collaborating with Vince Gilligan. Learn more about your ad choices. Visit megaphone.fm/adchoices

"Face it, girls, I'm older and I have more insurance." We watched "Fried Green Tomatoes" directed by Jon Avnet, and we would like to take a moment to talk about Towanda! As we meander through this mortal coil and start to see time marching on, right across our faces, we grow ever more aware of Evelyn Couch as portrayed by national treasure Kathy Bates. We too are too young to be old, and too old to be young! Evelyn's journey to become more in touch with herself and at home in her own body resonates more than ever, but the story of Idgie and Ruth as played by Mary Stuart Masterson and Mary-Louise Parker really hits close to home. The filmmakers may have shied away from the blatant queer overtones of the book, but movie watchers everywhere picked up what the actors were putting down. Idgie and Ruth were more than just friends, and we all know it to be true. The Marys are delivering fine performances in the flashbacks, but Kathy Bates and Jessica Tandy are keeping us in the seats. Two best actress Oscar winners are volleying off of each other, and it's a master class. Is Jessica Tandy's Ninny Threagoode really Idgie? Does it even matter in the long run? What matters is 4 fine performances by women in a story about friendship, self-acceptance, and queerness. Towanda!  Thank you for listening, and don't forget to subscribe, rate, and review us on Apple Podcasts! www.patreon.com/moviesthatmadeusgay Facebook/Instagram: @moviesthatmadeusgay Bluesky: @MTMUGPod.bsky.social Scott Youngbauer: Twitter @oscarscott / Instagram @scottyoungballer Peter Lozano: Twitter/Instagram @peterlasagna Cover Art by Shaun Piela 

THIS IS A PREVIEW PODCAST. NOT THE FULL REVIEW. Please check out the full podcast review on our Patreon Page by subscribing over at - https://www.patreon.com/NextBestPicture Our 2008 retrospective continues with "Revolutionary Road," starring Leonardo DiCaprio, Kate Winslet, Michael Shannon, Kathryn Hahn, David Harbour, and Kathy Bates. Directed by Winslet's real-life husband at the time, Academy Award winner Sam Mendes, and adapted by Justin Haythe from the award-winning novel by Richard Yates, this was considered a huge Oscar contender on paper before its release around Christmas time in 2008. Once it was released, it received mixed but still positive reviews, with most of the praise going to the acting of Winslet, DiCaprio, and Shannon, and eventually scored three Oscar nominations. Winslet, though, despite winning the Golden Globe and receiving BAFTA and SAG nominations, was Oscar-nominated for her other 2008 contender, "The Reader." How has the period domestic drama held up all these years later? Please tune in as Lauren LaMagna, Dan Bayer, Amy Kim, and I talk about the Mendes's direction, the story's themes, Roger Deakins's cinematography, Thomas Newman's score, the performance, its awards season run, and more in our SPOILER-FILLED review. Please check out our past reviews for "Frost/Nixon," "Doubt," and "Changeling." We appreciate your support and hope you enjoy our review! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

Don't go anywhere, We're about to get crackalackin on our review of Misery, one of Stephen Kings most successful and critically acclaimed novel adaptations. Synopsis When world class author Paul Sheldon takes a spill he falls under the care of Annie Wilkes, his Nurse. As Paul regains his strength to learn to walk again, he also finds himself learning to love again. Little does he know that Annie Wilkes is his #1 fan. As Annie becomes his muse for his next novel, Annie tries to remain professional and hide her true feelings. From the Director Princess Bride and When Harry Met Sally comes the feel good romantic comedy of the 90's, which asks, why unrequited love can lead to such… Misery. Review of Misery Misery is a horror movie that proves you don't need all the bells and whistles of the genre to be truly terrifying. Sometimes all you need is one truly unhinged person and no escape. Kathy Bates performance is truly impressive and well deserving of her academy award win. She is convincingly able to portray a cavalcade of mental health disorders at the flip of a switch. Going from Manic fan girl to menacing anger, to unnerving disassociation. James Caan comparatively has light work being nonplussed at Annie's theatrics. William Goldman's adapted screenplay deserves a lot of credit for its tight pacing, the smart addition of a sheriff character, and great dialogue. Rob Reiner had a lot to prove with this film in expanding his credibility as a director outside of comedy. It undeniably is a great thriller, but my one criticism is that it is often visually uninteresting. It might be intentional, but the over reliance on monologue long closeups felt claustrophobic at times. It's said that Reiner studied the films of Hitchcock before shooting Misery, but I don't see anything close to that level of visual storytelling. Overall, this is a great movie. The tension never lets up and Kathy Bates performance is required viewing. Score 10/10

My Best Friend is a Vampire - “This Blood's for You!”We have another delightful 80's teen horror flick this week - MY BEST FRIEND IS A VAMPIRE (1987). Directed by Jimmy Huston (Final Exam) and starring Robert Sean Leonard (Dead Poets Society). A lovesick high schooler gets turned into a vampire, which throws a wrench into his dating life!This is a fun one! We even get a cameo from Kathy Bates early in her career.We hope you enjoy biting into this fresh episode!Support the show

Steve's Birthday Month begins with a nostalgic trip back to the 90s and one of the biggest movies ever made, Titanic.Noel K and Caitlin Claessens join us to talk about the romance, the spectacle, the unforgettable ending, and why this movie still hits emotionally decades later. From the sinking sequence to the performances to all the debates about that door, we dive into what made Titanic a global phenomenon.Episode 229 of Hey Did You See This One.Please remember to like, comment, subscribe and click that notification bell for all our updates! It really helps us out!Starring: Leonardo DiCaprio, Kate Winslet, Billy Zane, Kathy Bates, Frances Fisher, Bernard Hill,, Jonathan Hyde, Danny Nucci, David Warner & Bill PaxtonDirected By: James CameronSynopsis: Poor artist Jack and rich debutante Rose fall in love with each other while aboard the unsinkable Titanic. However, the trip takes a turn for the worse when the ship hits an iceberg.Watch LIVE on Twitch (https://www.twitch.tv/heydidyouseethisone ) and YouTube (https://www.youtube.com/@HeyDidYouSeeThisOne ) every Thursday at 8 PM ESTWE HAVE MERCH - https://www.redbubble.com/people/HDYSTMerch/shop?asc=u & http://tee.pub/lic/GdSYxr8bhtY Website: https://www.ufpodcasts.com/hdysto Audio version of the show: Spotify - https://podcasters.spotify.com/pod/show/heydidyouseethisone Apple Podcasts - https://podcasts.apple.com/us/podcast/hey-did-you-see-this-one/id1712934175YouTube Audio Podcast - https://youtube.com/playlist?list=PLD6BOSx2RcKuP4TogMPKXRMCxqfh5k9IU&si=umIaVrghJdJEu2ARA MEMBER OF THE UNITED FEDERATION OF PODCASTSCheck us out online at: https://www.ufpodcasts.com/Main Intro & outro videos created by Steve Waters & Jason R PhillipsMain Intro and Outro Themes created by Joshua Howard - remixes by Jacob Hiltz & Jake ThurgoodLogo created by Jeff RobinsonWebsite by: https://www.facebook.com/worldmindinfoDirector Of Interstitials - Alex GowAdditional Intro and Outro song written and performed by Windom Earle – please follow at: (https://www.youtube.com/@windomearle)We use White Bat Audio for our pre-show– a user that creates DMCA free music for podcasters and YouTubers. Please follow at: (https://www.youtube.com/@WhiteBatAudio)Chapters:00:00 - Intro06:07 - Brief Synopsis09:52 - Brief Histories20:48 - Production Talk39:27 - The BODY Of The Episode03:39:03 - The Home Alone Of It All, Final Thoughts & Reviews03:55:35 - Plugs04:05:06 - Outro#heydidyouseethisone #Titanic #90sMovies #MoviePodcast #JamesCameron

Spring is in the air, and so is the drama in our latest chat about the film "Dolores Claiborne"! We dive right into the heart of the episode by exploring the gripping tension between love and sacrifice through the lens of Kathy Bates' powerful performance as Dolores. The film, adapted from Stephen King's novel, uncovers the dark secrets of a mother-daughter relationship marred by abuse, trauma, and the haunting question: is Dolores a cold-blooded killer or a desperate mother protecting her child? We share a few laughs (and a few cringe-worthy moments) as we reminisce about the wild ride that is the '90s film scene and the quirky characters that populate it. So grab your popcorn, settle in, and join us as we navigate the twists and turns of this captivating story! Spring is in the air, and so is the drama in our latest chat about the film "Dolores Claiborne"! We dive right into the heart of the episode by exploring the gripping tension between love and sacrifice through the lens of Kathy Bates' powerful performance as Dolores. The film, adapted from Stephen King's novel, uncovers the dark secrets of a mother-daughter relationship marred by abuse, trauma, and the haunting question: is Dolores a cold-blooded killer or a desperate mother protecting her child? We share a few laughs (and a few cringe-worthy moments) as we reminisce about the wild ride that is the '90s film scene and the quirky characters that populate it. So grab your popcorn, settle in, and join us as we navigate the twists and turns of this captivating story!Takeaways:The podcast dives into the themes of abuse and resilience, highlighting how trauma shapes relationships, especially between Dolores and her daughter Selina.Listeners are treated to a mix of humor and serious discussion as the hosts share personal anecdotes related to the film's themes, making the episode relatable and engaging.Throughout the episode, the hosts explore the complexities of female relationships in the context of societal expectations, showing how these dynamics evolve over time.The hosts humorously reflect on their own experiences and cultural observations, making comparisons to modern society and highlighting how certain issues persist through generations.Takeaways:The podcast dives into the themes of abuse and resilience, highlighting how trauma shapes relationships, especially between Dolores and her daughter Selina.Listeners are treated to a mix of humor and serious discussion as the hosts share personal anecdotes related to the film's themes, making the episode relatable and engaging.Throughout the episode, the hosts explore the complexities of female relationships in the context of societal expectations, showing how these dynamics evolve over time.The hosts humorously reflect on their own experiences and cultural observations, making comparisons to modern society and highlighting how certain issues persist through generations.Companies mentioned in this episode:Windows 95Bill GatesMercuryTitanicDolores ClaiborneGood Night and Good LuckA League of Their OwnCall the MidwifeFast Times at Ridgemont HighSingle White FemaleThe Hateful EightMiseryStarflight

Weee're Baaaacck!!! And it's HAMMER TIME!!! Jack and Corey kick of Season 4 with special guest Betsy Sodaro (Ghosts) joined them to talk Rob Reiner's unforgettable Stephen King adaptation MISERY (1990)! The three talk Kathy Bates, watching scary movies too young, discovering new movie stars, being scared of ET, #1 fans, Stans, Galantis, Rob Reiner's incredible movie run, Liberace, Misery Meatloaf, inflatable corn, James Caan's swollen feet, Barry Sonnenfeld's cinematography, hobbling, stuffing things down your pants, abstaining from Taco Bell, Misery the pig, giving good notes, and foot horror.Support us and get bonus episodes by joining our Patreon at patreon.com/cinemapossessedpod and unlock the Cinema Possessed Bonus Materials, our bi-monthly bonus episodes where we talk about more than just what's in our collection.Instagram: instagram.com/cinemapossessedpodTikTok: https://www.tiktok.com/@cinemapossessedpodEmail: cinemapossessedpod@gmail.com Hosted on Acast. See acast.com/privacy for more information.

In Episode 12 of Out To Get You, we are joined by writer, researcher, and host of Referential, Dr. Khaliden Nas, to read between the margins of Stephen King's convalescent spine-chiller, Misery.Content warning:This episode contains discussion of torture, substance abuse, molestation, stalking, racism, infanticide, and many more topics that may be sensitive for listeners.This episode was recorded prior to hiatus, May 11, 2025, several months before the heartbreaking deaths of Rob and Michele Singer Reiner. We are choosing to air today's episode as recorded, with love in our hearts for a great American filmmaker who had not yet left us. May their memory be a blessing.In this episode, we discuss the spiraling nightmare of success through the lens of stan culture, undying IPs, and parasocial projection, in this timeless thriller from Rob Reiner, starring Kathy Bates, James Caan, and Richard Farnsworth.Follow Khaliden at @AlsoPurp on socials everywhere, subscribe to Referential, and visit alsopurple.com to stay tuned for more.Follow Out To Get You on BlueSky and Patreon for new episodes, bonus content , and more, and get your own Valentine M. Smith-designed merch at TeePublic.Send your questions and comments to OutToGetYouPodcast@gmail.com.

Ron Pearson: From Juggling on Street Corners to Warming Up Hollywood - A Comedian's Life In this hilarious and surprisingly heartfelt episode of Reza Rifts, Keith sits down with veteran comedian and showman Ron Pearson a guy who has literally done it all. From juggling on street corners at age 10 to warming up audiences for Full House, Fuller House, and Lopez vs. Lopez, Ron has spent decades perfecting the art of making people laugh. Keith and Ron bond immediately over their mutual connection to comedy legends Norm MacDonald and Bob Saget, swapping wild stories that only people in their world would understand. Ron opens up about growing up as the youngest of eight kids, finding comedy as an escape, battling the side effects of being 90% deaf in one ear, and what it truly means to never master the craft. The conversation ranges from the business realities of audience warm-up work versus film acting, to the philosophy of comedy, to what exactly goes in a headliner's rider. Packed with laughs, industry insight, and genuine human connection, this one is a must-listen for comedy fans and aspiring entertainers alike.     Guest Bio Ron Pearson is a veteran stand-up comedian, actor, juggler, and one of Hollywood's most in-demand audience warm-up performers. A natural entertainer since childhood, Ron began juggling on the streets at age 10 and by 14 had already appeared on The Mike Douglas Show. Over a career spanning decades, he has served as the audience warm-up comedian for iconic television productions including Full House, Fuller House, Lopez Tonight, Lopez vs. Lopez (all three seasons), and the Ellen DeGeneres Show, among many others. As an actor, Ron has appeared in films including Little Black Book (alongside Brittany Murphy, Holly Hunter, and Kathy Bates) and The Incredible Burt Wonderstone (with Steve Carell). A close friend of the late Norm MacDonald and Bob Saget, Ron brings a unique perspective to the comedy world shaped by decades of friendship, performance, and personal resilience. He currently tours with comedian T.J. Miller and regularly performs at comedy clubs including the Laugh Factory in Long Beach. Notable Credits: Full House / Fuller House - Audience Warm-Up Comedian Lopez vs. Lopez (Seasons 1–3) - Audience Warm-Up Comedian The Ellen DeGeneres Show - Audience Warm-Up Comedian Lopez Tonight - Audience Warm-Up Comedian Little Black Book (2004) - Film, with Brittany Murphy & Kathy Bates The Incredible Burt Wonderstone - Film, with Steve Carell The Mike Douglas Show - Guest Performer (age 14) Close friend of Norm MacDonald and Bob Saget Follow Ron:

The Late Shift Directed by Betty Thomas Starring John Michael Higgins, Kathy Bates, and Daniel Roebuck Actual A.I description of The Late Shift on Google: David Letterman (Daniel Roebuck) vies with Jay Leno (Kathy Bates) and his manager (John Michael Higgins) to succeed Johnny Carson, retiring from "The Tonight Show."

Dave Hondel sits down with Bernard Robichaud, who played the Cyrus in the popular TV series "Trailer Park Boys". Bernard was trained in the theatre by renowned educators and has shared the screen with legends like James Caan and Kathy Bates, among many others. Bernard talks about working in TV,, Film and Stage and gives advice to young artists aspiring to be in the entertainment industry.As mentioned in this podcast, a GoFundMe has been set up for Bernard, who is facing a recent medical setback and our listeners can go to gofund.me/bernard-dent-o2feb and donate. Thank you for your support!

Ok, I promise it's not miserable. As a matter of fact, Rob Riener's month has been quite a pleasant journey. But it's time for Isaac and Juzo to dig into one of Rienner's most thrilling pictures yet. Based on Steven King's Book, Misery stars Kathy Bates and James Caan in a shut-in thriller about a writer who is held captive by a fan. But how well does Riener take on a dark thriller? Can he really jump to something this serious after such feel-good films? Cinema Spectator is a movie podcast hosted by Isaac Ransom, Juzo Greenwood, and Cameron Tuttle. The show is executive-produced by Darrin O'Neill and recorded and produced in the San Francisco Bay Area, CA. You can support the show at patreon.com/ecfsproductions. Follow us on YouTube, Facebook, Instagram, and Twitter @cinemaspectatorpodcast. Isaac and Cameron began recording podcasts with their first project, Everything Comes from Something (2018), and are now focusing on new weekly content for Cinema Spectator. Cameron Tuttle is a full-time professional cinematographer who majored in film at SFSU and collaborates on corporate, private, and creative productions. Cameron is the expert. Isaac Ransom works full-time as a marketing leader with creative experience in brand, advertising, product, music, and film. Isaac is the casual. Juzo is a producer, director, and avid film enthusiast who knows everything about cinema. The podcast is a passion project by three longtime friends; we hope you enjoy it! Thank you for your time, generosity, and support.

The First Biloxi Experience: On this week's episode - beautiful Biloxi, Katrina, cabbies, Schuckers, The Golden Nugget, Ice Queen, Aloha Jonny, Kathy Bates, reds, docks, and Ten Ton loves étouffée. Call The Casino Tears Vent Line 229-NO SEVEN (667-3836) Now! Leave a message, ask a question or simply get something off your mind -  We might even play it on air!! NEW EPISODES DROP WEEKLY ON TUESDAYS - Please visit our home page at casinotears.com for more info, merch, and host contacts Extended versions will also drop Tuesdays on Patreon - Don't miss out :) Email: noseven@casinotears.com Patreon: https://www.patreon.com/CasinoTears Pro Shop: https://www.casinotears.vegas/shop/ Instagram: https://www.instagram.com/casinotearspodcast YouTube: https://www.youtube.com/@CasinoTears X: https://x.com/CasinoTears Reddit: https://www.reddit.com/r/casinotears

Behind the grandeur of New Orleans' infamous LaLaurie Mansion lies a chilling legacy of cruelty, paranormal hauntings, and the lingering memory of Madame Delphine's horrific acts.IN THIS EPISODE: IN THIS EPISODE: We're all familiar with, thanks to Stephen Spielberg, the concept of a close encounter of the third kind. That's when you not only see a UFO, but you also see the extraterrestrials. The fourth kind of encounter is when you are abducted. A close encounter of the fifth kind is when you communicate with the alien – either verbally or telepathically. But then there is a close encounter of the sixth kind – the kind of encounter not even die-hard Ufologists and lovers of anything extraterrestrial want to experience… because nobody comes back from it alive. (Close Encounters of the Sixth Kind) *** In 1908, Charles Luard found his wife Caroline shot dead at a neighbor's country house. But who killed her? (The Seal Chart Murder) *** Madame Delphine LaLaurie, made popular by Kathy Bates in TV's “American Horror Story: Coven” was a first class monster. A figure of high society, she was well known for her mistreatment of slaves. But no one knew just how sick she truly was. So much so that even after leaving the mansion and it burning down, there are still terrors taking place there, thanks to Madame Delphine LaLaurie, the Monster of Royal Street. (The Monster of Royal Street)CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = DShow Open00:02:03.613 = The Horrors of Delphine LaLaurie, Part 100:11:26.413 = The Horrors of Delphine LaLaurie, Part 2 ***00:15:31.150 = The Seal Chart Murder00:22:10.189 = Close Encounters of the Sixth Kind, Part 1 ***00:46:49.572 = Close Encounters of the Sixth Kind, Part 2 ***00:56:40.825 = Show Close***= Begins immediately after inserted ad breakHELPFUL LINKS & RESOURCES…https://WeirdDarkness.com/STORE = Tees, Mugs, Socks, Hoodies, Totes, Hats, Kidswear & Morehttps://WeirdDarkness.com/HOPE = Hope For Depression or Thoughts of Self-Harmhttps://WeirdDarkness.com/NEWSLETTER = In-Depth Articles, Memes, Weird DarkNEWS, Videos & Morehttps://WeirdDarkness.com/AUDIOBOOKS = FREE Audiobooks Narrated By Darren Marlar SOURCES and RESOURCES:“The Seal Chart Murder” by Elisabeth Tilstra for TheLineUp.com: https://weirddarkness.tiny.us/envbsb3k“The Horrors of Delphine LaLaurie posted at TheScareChamber.com: https://weirddarkness.tiny.us/kt9ktkpj,https://weirddarkness.tiny.us/3aprfmpa“Close Encounters of the Sixth Kind” by Marcus Lowth for UFOInsight.com: https://weirddarkness.tiny.us/pkvf6cdcBOOK: “From Deep Within The Archives Of UFO Insight: History's Most Bizarre, Outlandish, And Controversial UFO And Alien Encounters!” by Marcus Lowth: https://weirddarkness.tiny.us/9xeyhz8=====(Over time links may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2026, Weird Darkness.=====Originally aired: July 14, 2021EPISODE PAGE (includes sources): https://weirddarkness.com/DelphineLaLaurieABOUT WEIRD DARKNESS: Weird Darkness is a true crime and paranormal podcast narrated by professional award-winning voice actor, Darren Marlar. Seven days per week, Weird Darkness focuses on all things strange and macabre such as haunted locations, unsolved mysteries, true ghost stories, supernatural manifestations, urban legends, unsolved or cold cases, conspiracy theories, and more. Weird Darkness has been named one of the “20 Best Storytellers in Podcasting” by Podcast Business Journal. Listeners have described the show as a blend of “Coast to Coast AM”, “The Twilight Zone”, “Unsolved Mysteries”, and “In Search Of”.DISCLAIMER: Stories and content in Weird Darkness can be disturbing for some listeners and intended for mature audiences only. Parental discretion is strongly advised.#WeirdDarkness, #DelphineLaLaurie, #LaLaurieMansion, #NewOrleans, #HauntedHouse, #FrenchQuarter, #TrueCrime, #Paranormal, #GhostStories, #HauntedMansion, #DarkHistory, #HistoricalHorror, #TrueHorror, #GhostSightings, #HauntedNewOrleans, #RoyalStreet, #MadameLaLaurie, #CreepyStories, #ScaryStories, #Haunted, #GhostHunting, #UnsolvedMysteries, #TrueCrimeStories, #HorrorHistory, #ParanormalActivity, #SlaveHistory, #NicolasCage, #NewOrleansGhosts, #DarkPast, #ScaryButTrue

John discusses the influence of comedian Nate Bargatze on up-and-coming comedian Mason James and reflects on how comedians often adopt styles from their predecessors. The show also covers notable upcoming comedy events, including a benefit show featuring Dave Chappelle and John Stewart, Taylor Tomlinson's new Netflix special 'Prodigal Daughter,' and Reese Darby's upcoming CBS sitcom 'Regency.' Additional segments include parenting advice humor from Jimmy Carr, Adam Sandler's story about Kathy Bates' involvement in 'The Water Boy,' and a segment on comedy stocks where Mack shares his buys and sells within the comedy industry. 00:35 Mason James and Comedy Influences03:39 Taylor Tomlinson's Upcoming Special06:04 Jimmy Carr's Parenting Advice07:16 Adam Sandler and Kathy Bates Story09:25 Comedy Stock Market10:53 Rhys Darby's New CBS Comedy11:55 All Access Comedy and Jo Koy's Achievement Become a supporter of this podcast: https://www.spreaker.com/podcast/daily-comedy-news-with-johnny-mac--4522158/support.Daily Comedy News is the number one comedy news podcast, delivering daily coverage of standup comedy, late night television, comedy specials, tours, and the business of comedy.COMEDY SURVIVOR in the facebook group.Contact John at John@thesharkdeck dot com For Uninterrupted Listening, use the Apple Podcast App and click the banner that says Uninterrupted Listening.  $4.99/month John's Substack about media is free.This is the animal sanctuary mentioned in the February 10 episode.

On this week's show, we take a look at another collaboration between horror icon Stephen King and legendary director Rob Reiner, with 1990's Misery starring James Caan, Kathy Bates, Richard Farnsworth, Frances Sternhagen, and Lauren Bacall.  Be sure to let us know what you think of the movie, and the podcast. Thanks and enjoy! ADAMSNERDS.COM

Thank you to our Patreon supporters for choosing this week's episode: Misery. Join us as we delve into the snowed-in horror story from the mind of Stephen King, and the vision of Rob Reiner. Also, make sure to help us decide which character was most deserving to die in the Cherry Picker Poll.If you would like to join our livestream recordings for The Cherry Picker, we would be thrilled to have you with us. Check out Zack's Patreon (Link below) to take part.● ● ●▶️ Watch the Video Podcast☑️ Vote in the Cherry Picker● ● ●

The movie Misery (1990) is one of the best Stephen King movie adaptations ever made. Directed by Rob Reiner, the film is anchored by unforgettable performances from James Caan as Paul Sheldon and Kathy Bates as Annie Wilkes—a role that's become iconic in horror and thriller cinema. Set mostly in a single room, Misery shows how smart directing, tight pacing, and strong acting can create nonstop tension. We talk about the film's clever filmmaking, its most unforgettable scenes, and why it remains a perfect example of suspense-driven storytelling done right.Stick around until the end of the discussion for a short round of trivia!Safe travels, nomads.

Hey, all you cockadoody listeners! Welcome to Stephen King month! Are you ready for MORE wintertime fun? Then look no further, as we've got yet ANOTHER adaptation for your listening pleasure.We decided to give the legendary Rob Reiner a nice send-off (RIP), covering his only horror movie, written by the legendary Stephen King, and featuring the legendary Kathy Bates in an Oscar-winning performance! It's gonna be legendary...So grab yourself some hopefully un-spiked hot cocoa, pull up a wheelchair and take your Liberace record off the phonograph so you can drop the needle on this bad boy! It'll be divine! Misery's Child, the Sistine Chapel, and this...those are the only divine things ever in this cockadoody world.Send us a textSupport the showPodcast art by Jayson Cessna: https://jaysoncessna.crevado.comMusic by Dusty Lane, created in LMMS.Movie clips provided by https://movie-sounds.org/horror-movie-samples/

This week we honor the life and legacy of Rob Reiner by watching one of his funniest and scariest movies, Misery - the Stephen King adaptation about how parasocial relationships with content creators can be very toxic.Tune in next week for our 100th episode when our movie will be... Repo! The Genetic Opera-----Visit Emily's ETSY store FlemGemsSee Matt do stand up at the Ice House Comedy Club in Pasadena on January 24th at 7PM. Buy tickets NOW!Listen to Jordan's appearance on NPR's Pop Culture Happy HourJordan will be at the Pasadena ComicCon on January 25th! Get your tickets now!Finally, click this link to get a signed copy of PREDATOR Bloodshed #1-5! https://bit.ly/coolfight 

She's known as history's most prolific female serial killer — a noblewoman who tortured hundreds of young girls and bathed in their blood to stay young. But what if Elizabeth Bathory was innocent, and the real monsters were the men who wanted her gone? | WEEK OF JAN 11, 2026 #WDRadio==========HOUR ONE: Reddit users share some of the strangest, creepiest, most terrifying phone calls they've ever received – many that left the recipient with no explanation as to what just happened. (Creepy Phone Calls) *** Elizabeth Bathory was beautiful – and wanted to stay that way. So determined was her desire for a youthful appearance that she would bathe in the blood of young girls, thinking of it as a macabre fountain of youth. But how much truth is there to this story? And are there ghosts today, haunting their residences thanks to the Blood Countess? 
(Ghosts of the Blood Countess)==========HOUR TWO: 
Winnie had two trunks when she arrived at the train station – trunks that contained the severed body parts of her two best friends. She had murdered them, it seems, all in the name of love. (Winnie Ruth Judd: Trunk Murderess) *** Was British government weapons inspector Dr David Kelly murdered? (Many Dark Actors: Dr. David Kelly) *** Madame Delphine LaLaurie, made popular by Kathy Bates in American Horror Story: Coven, was a first class monster. A figure of high society, she was well known for her mistreatment of slaves. But no one knew just how sick she truly was. (The Monster of Royal Street)==========SUDDEN DEATH OVERTIME: A former schoolhouse has accrued a sinister reputation as one of the most haunted, weirdest places in Japan. (Haunted Schoolhouse In Japan) *** The gold rush brought many to North Carolina – men looking to get rich, and rich men looking to get richer. But the greed also brought cruelty to some mine owners… and that cruelty sometimes brought death… and hauntings. (The Skinflint Mine Entity) *** Was a certain female reporter murdered because she knew too much about the death of John F. Kennedy? (The Dorothy Killgallen Murder) *** Something bizarre and terrifying is living below the streets of London – and there are many theories as to what it might be. (Strange Things Below London)==========SOURCES AND REFERENCES FROM TONIGHT'S SHOW:“The Monster of Royal Street: Delphine LaLaurie”: https://tinyurl.com/ssf9lm3“Many Dark Actors: Dr. David Kelly”: https://tinyurl.com/uf4jv5m“Winnie Ruth Judd: Trunk Murderess” by Troy Taylor: http://ow.ly/kpFb30nhABS“Creepy Phone Calls” by Aaron Edwards for Graveyard Shift: https://tinyurl.com/spnqq2s“Ghosts of the Blood Countess” by Amy's Crypt for Paranormal Scholar: https://tinyurl.com/r4lh7rn“Strange Things Below London” by Nick Redfern for Mysterious Universe: https://tinyurl.com/ulutgp7“The Murder of Dorothy Kilgallen” by Jessika M. Thomas for Ranker: https://tinyurl.com/tjzpaz7“The Skinflint Mine Entity” from North Carolina Ghosts: https://tinyurl.com/w6ofq7g“Haunted Schoolhouse In Japan” by Brent Swancer for Mysterious Universe: https://tinyurl.com/w4n98c6==========(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for material I use whenever possible. If I have overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it immediately. Some links may benefit me financially through qualifying purchases.)=========="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46==========WeirdDarkness®, WeirdDarkness© 2026==========To become a Weird Darkness Radio Show affiliate, contact Radio America at affiliates@radioamerica.com, or call 800-807-4703 (press 2 or dial ext 250).

This week, Nick is joined by returning guest and friend of the Gimme Three Podcast, Ryan Lacen. The two celebrate the life, career, and some of their all-time favorites in this tribute to the legendary Rob Reiner.- First up: can you handle the truth? Rob Reiner directs Aaron Sorkin's first screenplay—Tom Cruise, Demi Moore, and Jack Nicholson star in A Few Good Men. - Second: misery loves company. Rob Reiner directs his second Stephen King adaptation in the Academy Award-winning thriller, Misery. - Finally, we explore a film that blends all that makes a Rob Reiner film great; comedy, adventure, and romance are all on display in The Princess Bride.What is your favorite Rob Reiner film? ❗️SEND US A TEXT MESSAGE ❗️Support the showSign up for our Patreon for exclusive Bonus Content.Follow the podcast on Instagram @gimmethreepodcastYou can keep up with Bella on Instagram @portraitofacinephile or Letterboxd You can keep up with Nick: on Instagram @nicholasybarra, on Twitter (X) @nicholaspybarra, or on LetterboxdShout out to contributor and producer Sonja Mereu. A special thanks to Anselm Kennedy for creating Gimme Three's theme music. And another special thanks to Zoe Baumann for creating our exceptional cover art.

We're taking a short break from new episodes this festive season, so we're re-releasing our Double Feature Christmas special on the films of Rob Reiner, now serving as a tribute to the legendary director following his tragic passing.Across The Princess Bride, When Harry Met Sally, and Misery, we explore how one filmmaker mastered the fairy tale, the rom-com, and the psychological horror, within 3 years of each other. We debate whether Westley is cinema's greatest romantic hero, ask if Harry and Sally should have just stayed friends, and try to work out how Kathy Bates made us root for Annie Wilkes (just a little bit). Plus: hot takes on Inigo Montoya's revenge quest, the fake orgasm heard around the world, and whether anyone has ever been more terrifying with a sledgehammer. As you wish. Rest in peace, Rob.

Rest In Peace Rob ReinerCommemorating not only the 35th Anniversary of an iconic adaptation of the popular Stephen King novel of the same name but the recent tragic loss of its director Rob Reiner who was in the middle of a sterling run of instant classics (When Harry Met Sally, The Princess Bride, A Few Good Men, Stand By Me) at the time of this film's release.  It's the simple story of fictional best-selling author Paul Sheldon (Oscar-nominee James Caan) who gets severely injured and incapacitated after accidently driving off of a snow road one day in the mountains after finishing his latest novel.  Fortunately he's found by a local retired nurse named Annie Wilkes (Kathy Bates in the role which won her the Oscar for Best Actress) who gradually nurses him back to health....or DOES she?

Send us a textThis week the Beaveman talks about all the fond memories he has of the life changing gifts that legendary director Rob Reiner gave to the world. The Swan shares her memories as well and they have a light hearted discussion about their love of The Princess Bride and Stand By Me specifically, as well as Beaveman's new crush on 40-something Kathy Bates. They are joined by Drippy Steve who is younger than the Beaveman and Swan. So he gets an education about all the pop culture references throughout the decades that can be directly attributed to The Princess Bride, Spinal Tap, and Stand By Me. These are not all of the legendary Rob Reiner's contributions. There are too many to discuss in so little of a time to do them justice. He gave the world many gifts. Our hearts go out to the friends, family, and all the lives touched by Rob and Michele Reiner. Rest in peace. https://www.slaptailnation.comSupport the show

The snow is falling, the logs are crackling on the fire, and Kathy Bates is about to break your ankles so you can't escape her love. Also, you better rewrite your whole novel while writhing in excruciating pain. MISERY (1990) has a reputation which precedes it, as does our host this week, friend and author Erik J. Brown! Of course we would have a writer come on to discuss how bad it would suck to be in James Caan's shoes. Baby it's cold outside (but you might not want to come in)! Buy some Merch Join our Patreon Join our Facebook Group Follow us on Instagram Follow us on Letterboxd Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textThis week on Mummy Dearest Podcast we're unwrapping the dripping wet sensual author thriller: "Misery"! We loved watching the hottie with a body, Kathy Bates, slink around her sumptuously decorated love nest / prison with the timelessly gorgeous James Caan. The chemistry between these two was off the charts. We haven't seen a "will they / won't they" like this in a long time. Bonus points to the filmmakers for finding and casting an actual pig named Misery! We love to see a woman pig getting her flowers like that! As usual we also talk about food, wet dreams, Jessica Lange and whether or not we should hobble Pedro Pascal and Bad Bunny. All that and so much more on this week's episode of "Mummy Dearest Podcast!" Support the showVisit MummyDearestPodcast.com for merch and more!Follow the podcast on Instagram!Follow Sloane on Instagram!Follow Zach on Instagram!And most importantly, become a Patron and unlock hundreds of bonus episodes!

Welcome to another cock-a-doodie episode of Black Girl Film Club! As the weather gets colder, we take on stan culture, fandom and unhinged devotion in Misery (1990), directed by Rob Reiner and starring James Caan and Kathy Bates. In this episode: Stephen King's experiences with fan backlash and substance abuse, King's vast influence on the horror genre, Kathy Bates' star making turn as Annie, the evil nurse trope, and our own personal experiences with fandom. Our recommendations: Selena (1997), Der Fan (1982), Ingrid Goes West (2017), Play Misty for Me (1971), The Fanatic (2019) Support the show with a Ko-fi! ko-fi.com/blackgirlfilmclub Check out the rest of our socials at linktr.ee/blackgirlfilmclub

Squirrel away those pills and burn that manuscript because we're talking about Rob Reiner's adaptation of Stephen King's Misery (1990).Joining us for the discussion is comedian Roz Hernandez, who has begun (but maybe never finished?) every King novel.We're talking Kathy Bates' Academy award winning performance as Annie Wilkes, a horny Sheriff & Deputy combo, and multiple fiery manuscripts.Plus: toxic (queer) fandom, Lauren Bacall's smoker voice, the FX we do - and don't - see, and pranking Barnes & Noble employees Questions? Comments? Snark? Connect with the boys on BlueSky, Instagram, Youtube, Letterboxd, Facebook, or join the Facebook Group or the Horror Queers Discord to get in touch with other listeners.> Trace: @tracedthurman (BlueSky)/ @tracedthurman (Instagram)> Joe: @joelipsett (BlueSky) / @bstolemyremote (Instagram) > Roz: @rozhernandez (Instagram) / Ghosted PodcastBe sure to support the boys on Patreon!  Theme Music: Alexander Nakarada   Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Another week, another one of film's most villainous women: this time it's deranged devotee Annie Wilkes, a role which bagged Kathy Bates an Oscar for mangling the feet, mind and spirit of novelist Paul Sheldon (James Caan). Its credentials are impeccable, with a William Goldman screenplay based on Stephen King's novel directed by Rob Reiner. But, ask Mick, Hannah and Jen, is that bitch crazy? Is she misunderstood? Or is she just a hell of a drug? Learn more about your ad choices. Visit megaphone.fm/adchoices

Dennis is joined via Zoom by actor and interior designer Francisco Chacin who plays Beau Bridge's fastidious assistant Stuart on the hit CBS drama Matlock. Francisco talks about the thrill of booking the gig, getting paid to be mean to Kathy Bates, basing Stuart on certain "clipboard gays" he's observed in the real world and his dream that maybe Stuart can coach pageant contestants as a side business. He also talks about growing up in Venezuela then moving to Canada with his parents, at 20, when the political situation in Venezuela got too dangerous. He recalls his bold decision to leave a corporate job in Canada to pursue his creative dreams in Los Angeles without really knowing anyone except the filmmaker Darren Stein, who he had met when Darren visited Toronto. Other topics include: Francisco's unique and gender-fluid way of dressing, the way people react to to his unique way of dressing, the dominance of pageant culture in Venezuela, being married to fellow actor--and past podcast guest Kasey Mahafey--and how they help each other with self-tapes and the internship that led to his thriving side career as an interior decorator to L.A.'s rich and fabulous.

MUSICAnother worrying signal from Britney Spears -- she's apparently deleted her Instagram account yet again. (People) An Oasis fan in Melbourne, Austalia really ticked off Liam Gallagher during their show at Marvel Stadium on Friday night.During "Champagne Supernova" a fan let off a flare in the audience, causing Liam to say during the song "naughty, naughty, naughty."A British farm celebrated the life of legendary rock singer Ozzy Osbourne by breaking a Guinness World Record with a massive squash mosaic in the musician's image. https://www.upi.com/Odd_News/2025/10/31/Guinness-World-Records-pumpkin-mosaic-Ozzy-Ozbourne/2961761923832/ Ariana Grande is doing the next season of "American Horror Story", along with veteran cast members Sarah Paulson, Evan Peters, Angela Bassett, Kathy Bates, Emma Roberts, Billie Lourd, Gabourey Sidibe, Leslie Grossman, and Jessica Lange. https://www.hollywoodreporter.com/tv/tv-news/american-horror-story-season-13-ariana-grande-1236415048/ TVOn the latest episode of The Kardashians, Kim Kardashian said she “doesn't think we did” land on the moon and claimed “It could've been scary, but it wasn't because it didn't happen.” https://www.eastbaytimes.com/2025/11/02/nasa-responds-kim-kardashian-moon-landing-conspiracy-theory/ MTV has canceled its long-running show Ridiculousness, bringing an end to any further original episodes. https://www.eonline.com/news/1424499/ridiculousness-canceled-by-mtv Catherine Bach, who played Daisy Duke, 71, was recently hospitalized after suffering complications following surgery. https://www.yahoo.com/entertainment/celebrity/articles/fans-pray-dukes-hazzard-star-045618332.html?guccounter=1&guce_referrer=aHR0cHM6Ly9wcmVwcGx1cy5mdXR1cmltZWRpYS5jb20v&guce_referrer_sig=AQAAANazakzLidHfptxmdBkBVLjW4fsP2XdiQ6DZuJ96FPBbVxo4PPDvE7HOlP3uTjXfWmW2gceKAhcifR0SaoGMUaHCF2VoWx9iauTbPPRy6ozLash-tYCKEayCTztdXxm--49lBzkGesCdml2s-ZQcyuunx17UlT_zz1ORI3_TcHBr Heidi Klum never fails to go all out for her annual Halloween party, and this year was no exception. She spent 10 HOURS preparing for her final reveal. https://www.buzzfeed.com/chelseastewart/celebrity-halloween-costumes-2025 MOVING ON INTO MOVIE NEWS:This news might put a damper on your excitement going into the final season of "Stranger Things". Millie Bobby Brown allegedly accused her on-screen father figure David Harbour of bullying and harassment. https://pagesix.com/2025/11/02/celebrity-news/david-harbour-allegedly-faced-bullying-accusations-from-stranger-things-co-star-millie-bobby-brown/ Drew Barrymore showed up to a Sabrina Carpenter concert dressed as Ghostface from "Scream", and got "arrested". https://nypost.com/2025/11/01/entertainment/sabrina-carpenter-playfully-arrests-this-former-scream-star-at-msg-halloween-concert/ AND FINALLY Forbes has released its list of the top paid dead celebrities for 2025. https://www.forbes.com/sites/mattcraig/2025/10/31/the-highest-paid-dead-celebrities-of-2025/ AND THAT IS YOUR CRAP ON CELEBRITIES!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Paul and Amy crack open Misery, where Rob Reiner turns Stephen King's nightmare of fame and obsession into a masterclass in tension. They unpack Kathy Bates' Oscar-winning turn as Annie Wilkes, James Caan, and what the film says about fandom. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Sean and Lexi dive into several Stephen King adaptations, including an in-depth discussion on 'Dolores Claiborne' and 'Secret Window.' They explore the bizarre similarities between 'Secret Window' and 'The Dark Half,' both written by King within a year of each other. The episode features various humorous tangents, including an analysis of Kathy Bates' portrayal in 'Dolores Claiborne,' Johnny Depp's performative quirks in 'Secret Window,' and unintended accents in these films. They also share personal anecdotes and reflect on some of King's most absurd character names. The episode ends with Lexi trying to fend off an insect attack in her room. 00:00 Introduction and Random Banter 00:25 Hollywood and Travel Stories 03:45 Half-Baked Ideas and Airport Anecdotes 07:11 Movie Reviews: Running Man 18:03 Movie Reviews: Dolores Claiborne 42:32 Unpacking the Daughter's Revelation 43:41 Analyzing Feminist Themes 44:29 Vera and Dolores: A Complex Relationship 47:09 Dolores' Character and Her Relationships 53:06 Dolores Claiborne: Final Thoughts 57:48 Introduction to Secret Window 59:12 Plot and Themes of Secret Window 01:05:49 Johnny Depp's Performance and Character 01:11:02 Comparing Secret Window and The Dark Half 01:22:47 Final Thoughts and Wrap-Up Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Sean and Lexi dive into several Stephen King adaptations, including an in-depth discussion on 'Dolores Claiborne' and 'Secret Window.' They explore the bizarre similarities between 'Secret Window' and 'The Dark Half,' both written by King within a year of each other. The episode features various humorous tangents, including an analysis of Kathy Bates' portrayal in 'Dolores Claiborne,' Johnny Depp's performative quirks in 'Secret Window,' and unintended accents in these films. They also share personal anecdotes and reflect on some of King's most absurd character names. The episode ends with Lexi trying to fend off an insect attack in her room. 00:00 Introduction and Random Banter 00:25 Hollywood and Travel Stories 03:45 Half-Baked Ideas and Airport Anecdotes 07:11 Movie Reviews: Running Man 18:03 Movie Reviews: Dolores Claiborne 42:32 Unpacking the Daughter's Revelation 43:41 Analyzing Feminist Themes 44:29 Vera and Dolores: A Complex Relationship 47:09 Dolores' Character and Her Relationships 53:06 Dolores Claiborne: Final Thoughts 57:48 Introduction to Secret Window 59:12 Plot and Themes of Secret Window 01:05:49 Johnny Depp's Performance and Character 01:11:02 Comparing Secret Window and The Dark Half 01:22:47 Final Thoughts and Wrap-Up Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, the hosts kick off 'Stephen King September' with a discussion marked by rants about Hollywood. They engage in a draft where they select their favorite Stephen King adaptations, debating the merits of classics like 'Stand By Me' and 'Pet Sematary,' and more obscure picks like 'The Dark Half.' The episode also dives into some personal Hollywood gossip, interactions with friends, and the quirks of Stephen King's storytelling. 00:00 Introduction and Frustrations 01:09 Hot Goss Section 03:40 Stephen King September Plans 15:51 Stephen King Movie Draft 46:37 Kathy Bates and Stephen King Movies 48:22 The Firestarter Remake Debate 50:00 Sleepwalkers and Other Stephen King Picks 51:18 Dr. Sleep and The Shining 56:39 Salem's Lot and Other Stephen King Adaptations 01:01:11 The Running Man and Other Picks 01:07:24 Stephen King's Legacy and Adaptations 01:31:03 Stephen King's Personal Life and Writing 01:33:16 Final Thoughts and Thank Yous Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, the hosts kick off 'Stephen King September' with a discussion marked by rants about Hollywood. They engage in a draft where they select their favorite Stephen King adaptations, debating the merits of classics like 'Stand By Me' and 'Pet Sematary,' and more obscure picks like 'The Dark Half.' The episode also dives into some personal Hollywood gossip, interactions with friends, and the quirks of Stephen King's storytelling. 00:00 Introduction and Frustrations 01:09 Hot Goss Section 03:40 Stephen King September Plans 15:51 Stephen King Movie Draft 46:37 Kathy Bates and Stephen King Movies 48:22 The Firestarter Remake Debate 50:00 Sleepwalkers and Other Stephen King Picks 51:18 Dr. Sleep and The Shining 56:39 Salem's Lot and Other Stephen King Adaptations 01:01:11 The Running Man and Other Picks 01:07:24 Stephen King's Legacy and Adaptations 01:31:03 Stephen King's Personal Life and Writing 01:33:16 Final Thoughts and Thank Yous Learn more about your ad choices. Visit megaphone.fm/adchoices