Podcasts about keatons

This week's episode Kenzie sits down with influencer and friend Keaton Milburn while she's in Dallas visiting. The girls are talking about how to have the perfect rot day, fall book recommendations, Keatons recent engagement and more. Enjoy! BLOG: https://kenzieelizabeth.coBOOK CLUB CARDS: https://www.shopfriendofmine.comSHOP MERCH OUT NOW: https://shop.dearmedia.com/collections/ilysmSECRET FACEBOOK PAGE: https://bit.ly/2zEx3BMJOIN OUR GENEVA GROUP CHAT: https://links.geneva.com/invite/ab361e92-0405-41ad-9e12-b17b592365bcJOIN THE MAILING LIST: https://bit.ly/2uumkusKenzie's Channel: https://youtube.com/kenzieelizabethKenzie's IG: https://bit.ly/298RzRnKenzie's Twitter: https://bit.ly/2RdtJsEILYSM IG: https://bit.ly/2vlwxXyILYSM YOUTUBE: https://bit.ly/2UQ8DUjKEBOOK CLUB: https://www.instagram.com/kebookclub/This episode may contain paid endorsements and advertisements for products and services. Individuals on the show may have a direct, or indirect financial interest in products, or services referred to in this episode.Visit Carawayhome.com/houseguest to get 10% off your next purchaseVisit Command.com to find out where to buy this back to college seasonVisit TryFum.com and use code HouseGuest to get a free gift with your Journey PackVisit IBotta in the Google Play or App Store and use code House GuestChoose a New Way Forward and visit Kamalaharris.com/issues to learn moreProduced by Dear MediaSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

 In today's episode Keaton Hoskins, AKA The Muscle, Joins the boys and talks about Mastering Strangers, The Importance of Mentorship, Boob Jobs in Utah, Going to jail, How losing his father affected him, Writing a book, and much more. Keatons a super inspiring dude who loves to help people become better versions of themselves, listen up and enjoy. Sign up for a one-dollar-per-month trial period at https://www.shopify.com/wideopen Get 15% off OneSkin with the code WIDEOPEN at https://www.oneskin.co/ #oneskinpod #ad Follow us on Instagram @cboystv and @lifewideopenpodcast To watch the podcast on YouTube: https://bit.ly/LifeWideOpenYT Don't forget to subscribe to the podcast for free wherever you're listening or by using this link: https://bit.ly/LifeWideOpenWithCboysTV If you like the show, telling a friend about it would be amazing! You can text, email, Tweet, or send this link to a friend: https://bit.ly/LifeWideOpenWithCboysTV You can also check out our main YouTube channel CboysTV: https://www.youtube.com/c/CboysTV Learn more about your ad choices. Visit podcastchoices.com/adchoices

We're continuing our nostalgic look back at the Very Special episodes of yesteryear with a look into how the Keatons handle an alcoholic Tom Hanks on “Family Ties”. Uncle Ned is struggling, but Hanks being Hanks still draws plenty of increasingly inappropriate laughter from the audience. Can his family win him over with some tough love? If you're not familiar with Family Ties, the other major draw is getting to see a young Michael J. Fox in his teen-heart-throb era on his climb to ultimate 80's super stardom.  Got something to say? Send it in to feeny@baldmove.com. You find our co-host Jay McKane streaming weekly over on https://www.twitch.tv/blue_jay_streams. Hey there! Check out https://support.baldmove.com/ to find out how you can gain access to ALL of our premium content, as well as ad-free versions of the podcasts, for just $5 a month! Join the Club! Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Phil and Janelle talk about Groucho Marx, Quiz Time, library presentations, hernias, The 30 Day Livestream Challenge, The Keatons, Twitch, Kingdom Eighties, and more.

In this episode, Phil and Janelle talk about new tires, Lady Detectives, library voices, Moby Dick, Vincent Price, The Keatons, My Big Fat Greek Wedding, John Candy, tiny paper clips, Cardboard Highway, and more.

This podcast has been graciously sponsored by JewishPodcasts.fm. There is much overhead to maintain this service so please help us continue our goal of helping Jewish lecturers become podcasters and support us with a donation: https://thechesedfund.com/jewishpodcasts/donate

Enjoy Ad Free, Early, & Exclusive Episodes! https://www.patreon.com/GeekVerse Support Our Patreon To Help Us Grow The Podcast & Create New Content Guest On Shows, Pick Films For Us To Review, Send Topics & More! GeekVerse.ca is where you can find all info on the show and where you can find it! Watch GV News, GV Reviews, & GUA Shows Live On Our Youtube https://www.youtube.com/c/GeekVersePodcast Come Chat With The Hosts, Join Our Discord! https://discord.gg/2DMzHRn9 Check Out Our Podcast Network, Geek Ultimate Alliance 7 Shows, 5 Days A Week : https://geekverse.ca/geek-ultimate-alliance/ Check Out All Of Our Podcast Feeds, GeekVerse Podcast(All Podcasts), Reviews, News, & Retrospective By Searching In Your Podcast App Of Choice Social Media GeekVerse Podcast on Facebook Twitter @GeekVerseCast Travis @TravisBSnell Taylor @TaylorTheField Kirklin @kirklinpatzer Dylan @atomheartcaster

Talked with Carl Newman Ballet Dancer and Micheal Keatons batsuit double for Batman 89 film and his love for farming and nature and meeting Prince

This week, She-Hulk Attorney at Law premiered last Wednesday to overwhelming good reviews and praise; the gang gives their two cents and some pocket fuzz. Did they go Green or delight or nausea? Also, Chris weighs in with a review of the new A24 release Bodies Bodies Bodies and on the heel of the Ezra Miller press release, we discuss what the in-flux role Micheal Keaton's Batman will play in the upcoming new DCEU if at all. All this and more this week on The House of Gozer Podcast.  Become a Patreon for exclusives and more @ patreon.com/houseofgozer Join us on Discord https://discord.com/channels/964881367366250566/1000221857984819311 Follow the gang on Twitter @HOG_PODCAST Join the House of Gozer on Fan Community on Facebook @facebook.com/houseofgozer and houseofgozer.com  

The Drummonds, the Seavers, the Keatons, the Huxtables ... if you could choose one 1980s TV sitcom family to grow up with, which one would it be? Hear Dr. Amy's surprise answer to that burning question — and take a drink every time Aaron mentions Punky Brewster getting stuck inside a refrigerator — all on this week's episode of The Latchkey Kids.

Support The Alliance On Patreon & Get Ad-Free, Exclusive, Early Episodeshttps://www.patreon.com/guanetworkGeek Ultimate Alliance Network Is Produced By GeekVerse Podcast www.geekverse.caNetwork Schedule Monday : World's Finest True Believers Tuesday : DC Alliance Wednesday : Marvel Alliance Thursday : Star Wars/Slice Of Film/Rangers Alliance Bi-WeeklyFriday : Superhero DiscussionSaturday : DC Comic Round UpSunday : Marvel Comic Round UpFollow the respective shows on Twitter so when they record live on GeekVerse Podcast Network you can join the chat and add to the conversation!

Support The Alliance On Patreon & Get Ad-Free, Exclusive, Early Episodeshttps://www.patreon.com/guanetworkGeek Ultimate Alliance Network Is Produced By GeekVerse Podcast www.geekverse.caNetwork Schedule Monday : World's Finest True Believers Tuesday : DC Alliance Wednesday : Marvel Alliance Thursday : Star Wars/Slice Of Film/Rangers Alliance Bi-WeeklyFriday : Superhero DiscussionSaturday : DC Comic Round UpSunday : Marvel Comic Round UpFollow the respective shows on Twitter so when they record live on GeekVerse Podcast Network you can join the chat and add to the conversation!

Support The Alliance On Patreon & Get Ad-Free, Exclusive, Early Episodeshttps://www.patreon.com/guanetworkGeek Ultimate Alliance Network Is Produced By GeekVerse Podcast www.geekverse.caNetwork Schedule Monday : World's Finest True Believers Tuesday : DC Alliance Wednesday : Marvel Alliance Thursday : Star Wars/Slice Of Film/Rangers Alliance Bi-WeeklyFriday : Superhero DiscussionSaturday : DC Comic Round UpSunday : Marvel Comic Round UpFollow the respective shows on Twitter so when they record live on GeekVerse Podcast Network you can join the chat and add to the conversation!

Overprotective Parents     [caption id="attachment_2339" align="aligncenter" width="300"]Overprotective Parents[/caption] Overprotective parents come from a place of love, but it is also a disservice to your child.  Learn how you may be overprotective too! Make an authentic connection with your child. Try a FREE 30 Day Challenge. You'll receive a new question to ask your child every day- for 30 days. Get away from the boring questions and start connecting with your child one question at a time! https://theimpactfulparent.com/connection Don't forget to check out all the FREE resources and tips that The Impactful Parent has to offer!  https://theimpactfulparent.com  Links to the YouTube channel and social media post are there too!  Join The impactful Parent community by signing up for the weekly newsletter. Don't miss an impactful tip! Follow The Impactful Parent on social Media! Facebook, Instagram, Linked In, Pinterest, and YouTube. Transcript: Life isn't that good. Don't' believe the hype!  Life isn't that good.  I used to believe the Leave It To Beaver and Andy Griffith reruns that I grew up on.  Not anymore.   Experience quickly taught me that life is not just black and white. As a tween, I was still confused because life was showing me more hardship, but TV kept showing me more great families like The Cosby's and the Keatons from Family Ties.  Then, the show Rosanne premiered.  This was ground-breaking at the time because it represented a not-so-perfect TV sitcom family.   America loved it.   Rosanne was a highly rated show for a while, but it didn't last.  Before I knew it, TV was back to either representing family life as sweet and perfect as the Fresh Prince of Bel Aire or MTV was showing me the craziest of people on the new fad of reality TV.  Needless to say, I learned to stop watching TV altogether.  My life expectations were confused!               Today's kids are in the same predicament!  Social media shows everyone happy.  Life is perfect in the pictures of Instagram and Facebook.  These picture-perfect moments are making our kids feel inadequate. Everyone else is having more fun in the Snapchat videos.  But this generation has it worse.   The TV shows of my day weren't personal.  I was still several degrees away from knowing Michael J. Fox and Will Smith.  Today, photos and videos are personal.  They are posts of the kids at school. People they see walking in the halls.   Social media makes life look perfect and creates unrealistic expectations for our children.  Life is not that great!  We only post the good parts. What do we do as parents?  How can we combat unrealistic expectations? Well, unfortunately, most parents make it worse by sheltering their kids too much and putting them on teams where everyone gets a trophy. As parents, we are to prepare our kids for the real world.  We want our kids to grow up, leave home, and be successful adults.  If you're not preparing your kids for real-world expectations and skills for combating real-world issues, then you are not preparing your kids to be successful.  In fact, you are setting them up for failure.   Of course, we all want our kids safe and happy, but life isn't that good.  We need to prepare our kids for the hard times too.   Let me tell you another story…. My son runs cross county and is a good athlete.  Having said that, he isn't a runner.  He runs cross country for his team, but it's not his primary sport, nor is his body the made-to-run tall and thinly built.  Last week, his small school competed against some big schools in the area, and my wonderful son ran across the finish line last.   Yep dead last.   As a parent, I had a few choices on how to react to this.  Get mad at the coach for setting him up for failure Cry with him and soothe him. Tell him that he is a great runner, and the next time he will do better. Tell him the truth. Remind him that running is not his primary sport. He did a great job.  Tell him that I was proud of him for never giving up and talk to him about the realities of coming in last. Yes, I took path number 3.  Sometimes in life, we come in last.   Sometimes others deserve to win more.  As parents, it is important to teach humility, effort, and grace as much as it is to teach them grit and drive. Learning these lessons are never easy, but learning them at a young age is much better.  When children are young, they can rationalize better and process experiences better.  Learning hard lessons young gives them time to learn coping skills. The younger you can teach your kids to lose, and congratulate others who out-perform you,  the more drive they will have to win!  Better yet, winning will become more meaningful and something they can be proud of.   So put your kids in sports, clubs, and competitions where they can win AND lose.  Don't shelter them from loss.  Instead, take losing as an opportunity to teach them valuable lessons.  The short-term may be hard, but in the long run, you will be giving them a much more beneficial experience.  Watch out that you don't become one of those overprotective parents!

Support The Alliance On Patreon & Get Ad-Free, Exclusive, Early Episodeshttps://www.patreon.com/guanetworkGeek Ultimate Alliance Network Is Produced By GeekVerse Podcast www.geekverse.caNetwork Schedule Monday : World's Finest True Believers Tuesday : DC Alliance Wednesday : Marvel Alliance Thursday : Star Wars/Slice Of Film/Rangers Alliance Bi-WeeklyFriday : Superhero DiscussionSaturday : DC Comic Round UpSunday : Marvel Comic Round UpFollow the respective shows on Twitter so when they record live on GeekVerse Podcast Network you can join the chat and add to the conversation!

It’s hard enough to keep a small family farm going. But add to that the challenges of systemic and environmental racism -- and the Keatons’ accomplishment becomes even less likely. But it’s their commitment to keeping their land, farming it, and teaching the next generation that has protected their family legacy.

Join us as Gen Z meets the Keatons. Things will never be the same! We also talk theme songs. Beware of the earworms! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Today’s episode “Getting It Right With Mr. Wrong” just in time for hearts, kisses, chocolates and cards espousing your love for that special someone World of Walley brings you one half of the on-screen “it couple” of the 80’s. NO I’m not talking about Bo and Hope from Days of Our Lives. I’m talking about Nick and Mallory from Family Ties. That’s right, Justine Bateman and our guest today Scott Valentine. For 7 seasons Family Ties entered living rooms all over America introducing us to the Keatons and in Season 3 they upped the ante and introduced Nick Moore to the world and the rest as they say is history. We at World of Walley can now say with confidence that Scott is a friend of the show and we can’t wait to share our conversation we had with Scott about everything, his journey, his time on Family Ties, his life and adventures and even some forward thinking projects he is currently working on as he steams forward into the future. A trip down memory lane turned into a conversation for the ages. Come along for the Journey. Patreon link: https://www.patreon.com/WorldofWalley World of Walley is nothing without YOU the listener and YOUR support. Thank you from all of us here at World of Walley. Become part of our journey find out how at the link above. World of Walley is nothing without YOU the listener and YOUR support. Thank you from all of us here at World of Walley. Become part of our journey find out how at the link above. Sponsor(s) Promotional Links: RIdgewood Recording Studios’ desire to capture what God has put in your heart as an artist so that He gets the glory for the dedication, talent and commitment you've put into your music. It's just one of many ways you can touch the heart of many. The studio offers a full line of music production ranging from song demos and singles to fully produced albums. We focus on excellence at every level of the recording and production process and will work with you for your project's specific needs. The studio rate and pricing can be set on a per hour or per day schedule, as well as per song or per project basis. For rates specific to your project contact us for more information. Our services include: arranging, hiring musicians, recording, editing, mixing, and/or mastering. We record Christian and positive music from a variety of genres, including bands, solo artists and songwriters, worship groups, instrumentalists, backing vocals and more. We even do audio overdubs for commercials and videos. So, whatever you need in professional recording we have you covered. Reach out to us at https://timothydavis.org/ridgewood-studios or email us at https://timothydavis.org/contact Publicist Steven Joiner worked as a child actor, and through this capacity, met a lot of people in the film industry. These connections would prove vital to his later career as a Publicist. Steve stepped into this role in 2016, building a thriving clientele of up-and-coming film artists. His roster of available podcasts that he works with to secure his clientele interviews is above par for the industry. His primary goal is to match each client with the best podcast(s) for their needs. He can be contacted at 1-816-605-4561 or via email at Stevesjnetwork@gmail.com --- Send in a voice message: https://anchor.fm/worldofwalley/message Support this podcast: https://anchor.fm/worldofwalley/support

We're proud to be joined by comedian, author, actor, screenwriter, and game designer Grant Lyon! Grant's new game, "Curmudgeon" just launched and can be found in game stores and on Amazon! We discuss our upcoming "Greatest Board Game" tournament and highlight many of the first-round matchups. We also review the "Greatest TV Family" tournament, which just concluded. The results were the Taylors from "Home Improvement" in 4th place, the Munster family from "The Munsters" in 3rd, and the Keatons from "Family Ties" coming in 2nd. Who was the champion? Listen and find out! --- Send in a voice message: https://podcasters.spotify.com/pod/show/pop-culture-tournaments/message

Episode 8 is in the books baby.. We talk Stefon Diggs absolute swaggerhound entrance into billsmafia.. childhood sleepovers.. Formula 1.. NBA BUBBLE and much more.. listen to us on your way to work 2m.. apple googs spot anywhere pods r found.. video content this week for youtube and ig follow us/subscribe cus rej and the zoo are here to make your f***in daySupport the show (https://www.patreon.com/rejandthezoo)

Die Gerüchte um eine Rückkehr von Michael Keaton beschäftigen nicht nur das FanDome, sondern auch uns. Apropos FanDome: darüber sprechen wir auch, so wie über den aktuellen Stand zu The Batman, Gerüchte um eine TV Serie mit Ben Affleck und was ein Multiverse für Chancen bietet. Und wir nehmen Abschied von Batman-Autor Dennis O’Neil und Regisseur Joel Schumacher. Wir sind auch bei iTunes zu finden und freuen uns über jeden neuen Abonnenten, sowie über euer Feedback. BatCast-Theme von Benjamin Müller Disclaimer: BatCast ist ein Podcast-Projekt von Fans für Fans. Batmannews.de und der BatCast stehen nicht in Verbindung mit Warner Bros. oder DC Comics.

This week we talk Cobra Kai moves to Netflix for season 3, Michael Keaton in talks to be Batman again. More shows get pulled due to racially insensitive episodes. The fall of Chris De'lia EMAIL: TATMPODCAST@GMAIL.COM

Welcome back to another fantastic episode of the Video Rangers Podcast. This week the Rangers juggle alternate time lines so they can jump from then to now, soon. You know how Chris Ranger felt about his viewing of 1987's Mannequin but lets travel back in time and listen to his pre-screening optimism. The Rangers cast Michael J Fox in a John Hughes movie and follow the Keatons on Vacation in the Family Ties TV Movie.  Chunk from Goonies was in another movie ? Guess we'll have to go back to 1986 and Ask Max. Better lay off the pipe, This Is Heavy!

This week on The Spectator Film Podcast… Sherlock Jr. (1924) 11.1.19 Featuring: Austin, Maxx Commentary Track begins at 10:58 — Notes — Sherlock Jr. (1924) — There’s the link to the Youtube version we watched for this episode. My Wonderful World of Slapstick by Buster Keaton — Here’s the link to Buster’s autobiography. Buster Keaton’s Sherlock Jr. Edited by Andrew Horton — This is the link to the wonderful essay collection we referenced during the episode. This is a truly wonderful collection of essays, with the highlights (for me) being the essays by Henry Jenkins and Kathleen Rowe Karlyn. Highly recommended for anyone interested in Buster Keaton’s work. We’ll include some relevant passages below: “‘This Fellow Keaton Seem to Be the Whole Show’: Buster Keaton, Interrupted Performance, and the Vaudeville Aesthetic” by Henry Jenkins “Vaudeville was streamlined, stripped down to those elements most likely to provoke emotion, building toward a ‘wow climax,’ a moment of peak spectacle calculated to ensure a final burst of applause. Performers often directly addressed the audience or crossed beyond the footlights. Making little attempt to preserve the invisible fourth wall that characterized theatrical realism, vaudeville performers foregrounded the process of performance, often in highly reflexive ways, as when the Keatons structured their performance around Buster’s perpetual disruption of his father’s act and included orchestra members and stagehands as part of the performance. Closely related to this reflexive quality in vaudeville performance was what Neil Harris calls the ‘operational aesthetic,’ a fascination with how things work, with the mechanics and technology of showmanship. Vaudeville was not about telling stories; it was about putting on a show and, more than that, it was about each performer’s individual attempt to stop the show and steal the applause. Vaudeville had little use for the trappings of theatrical realism; it was about the spectacular, the fantastic, and the novel. Vaudeville had little use for continuity, consistency, or unity; it was about fragmentation, transformation, and heterogeneity. The incorporation of this vaudeville tradition was what gave silent screen comedy its intensity and absorption; it was also what made the genre’s absorption into the mainstream of classical Hollywood cinema so problematic. Classical cinema, like theatrical realism, was in the business of telling stories, constructing characters, maintaining continuity, consistency, unity, causality and plausibility. Classical cinema, unlike vaudeville, sought to efface the mechanisms of its production, presenting itself as a coherent, self-contained world cut off from the realm of spectator experience” (36). “In fact, Keaton performs two types of tricks in Sherlock Jr. First, there are the tricks he performs for the camera, his pool table tricks, his acrobatic stunts… his motorcycle riding, his quick-change act, and his demonstration of stock comic turns, such as the sticky paper act or slipping on a banana peel. Here Keaton wants us to watch his performance unfold in continuous space and time so that there can be no escaping our awareness of his mastery. Second, there are the tricks Keaton performs with the camera, special effects such as the doubling of Keaton as he slips into dream or the transformation of the cast of Heart of Peals into their real-world counterparts or editing tricks such as the rapid transformation of space as Keaton struggles to get a foothold in the movie world. Here Keaton wants us to recognize that the camera can make us see things that could not possibly occur” (46-47). “The Detective and the Fool: Or, The Mystery of Manhood in Sherlock Jr.” by Kathleen Rowe Karlyn “The use of the detective as a model for the hero signals from the outset that this is a film about clues and about the necessity of reading the world and seemingly trivial details as signs, full of meaning. Among the most important of these concern gender, which the film shows to be a product of social codes, something to be studied and absorbed from the symbolic systems – such as those found in popular fiction and, more dramatically, cinema – that channel our desires and dreams into culturally appropriate directions. Indeed, the film derives much of its comedy from its satire of the infatuation of adolescents with screen idols – whether Mary Pickford, whose poster hangs in the theater lobby, or Rudolph Valentino, the model for the sheik, or John Barrymore, who played Holmes in a film two years before Sherlock Jr. And so the fake mustache suggests not only adult masculinity but its social construction and the fact that gender itself is less a biological condition than a social role, even disguise, that can be acquired by studying the clues and manuals our culture provides” (97-98). “The gendered relationships of the Holmesian universe might more accurately be explained… by the structure of desire Eve Sedgwick has described as homosocial, a term used in history and the social sciences to describe social bonds among people of the same sex…the real play of desire is often not male to female, but male to male. This desire may or may not be overtly sexual but it does involve eros of another kind – the drive to identify with and emulate an admired other… Yet those bonds exist within a logic of sameness rather than difference, a logic that, as Sedgwick explains, functions historically and politically as a kind of ‘social glue’ that fosters the maintenance and transferred of power in patriarchal society. Homosociality encompasses ‘male friendship, mentorship, entitlement, rivalry, and heter – and homosexuality,” attachments that link men together along a continuum of desire between homosocial and homosexual. This structure allows for heirarchy without difference, and it explains the relationships between men so familiar in Western literature and culture, beginning with the Socratic dialogues and including not only Watson’s relationship with Holmes but the boy’s with his fictional ideal” (106-07). [Between Men: English Literature and Male Homosocial Desire by Eve Sedgwick] “And so the boy’s dream might finally be understood as driven less by heterosexual desire for the girl than by homosocial for a boys-only club where no girls are allowed, a fantasy that combines the heightened drama and excitement of the action adventure film with the comfort of the buddy film. Thus, the dream re-creates a less sinister version of what Pleasure Island offered Pinocchio, or Never-Never Land offered Peter Pan and the Lost Boys, a space where they will never grow up and can always play with Pirates and Indians because Wendy remains in the background to mother them and Tinkerbell is only a tiny sprite” (107-08). “Similarly the Fool, a figure from literary and social history, resides on the margins of society. Yet whereas the detective is deadly earnest, if cynical, about the world he investigates and protects, the Fool mocks it and its pretensions. Whereas the detective soberly defends the foundations of society – including, as we have seen, the primacy of logos over pathos, male over female – the Fool opposes all that the social world deems serious. And while usually male like the classical detective, the Fool is often androgynous or hermaphroditic, encompassing both male and female traits. Like the detective, the Fool exists apart from marriage, the foundation of kinship systems and social order. But unlike the detective, he acts to destabilize rather than uphold the hierarchies on which that order rests” (109-110).   Buster Keaton: A Hard Act to Follow (1987) — Here’s the link to the first part of the documentary directed by Kevin Brownlow and David Gill. Recommended to anyone looking to learn more about Buster Keaton and his films. We’ll include the quote from Eleanor, Buster’s wife, below: “The train went out from under him. He rode the water tower down to the track. But he didn’t realize how much force that water had and it threw him against the railroad track with the back of his head. He had a terrible headache. I think they called off shooting for a few days anyway. Then he went back to work, and that was the end of that until about twelve or thirteen years later. He went in for a complete physical: X-rays and the whole lot. And the doctor said, ‘When did you break your neck?’ He said, ‘I never broke my neck.’ He said, ‘Yes, you did break your neck.’ Buster said, ‘Do you think it could have been when I hit my head against the railroad track?’ The doctor said, ‘Sounds reasonable to me.'” Greg Jennings (Broken Leg) scores on the saints — Buster Keaton broke his fuckin’ neck…  

6-4 on Best Bets, Mason Rudolph is Tom Brady, 9ers are for real, Teddy 2 Gloves?, Rams are a TRAPPPPPPP, Seth steals Keatons third best bet, 45 game picks, 3 Teasers. (Best Bets)Kade: 2-0, Keaton: 4-1, Seth: 2-3

Heiraten hat was. Dabei muss es nicht immer Liebe sein. Geld macht vielleicht nicht glücklich, aber beruhigt ungemein. Entsprechend kann sich Buster Keaton nicht für Damen retten - zumindest im Film.

The Keaton family is making their first-ever trip to Rome, Italy. With the holidays on the horizon, the Keatons are eager to celebrate in a different way and make memories together over the holidays. When it comes to traveling as a family, Michael understand the importance of patience and flexibility.“It can try the patience a little bit,” he said. “Kids want to do their thing, and parents have ideas of what the kids should be doing. We give them enough freedom, and it all works out.”Michael loves starting his adventures at AVL. “It is very convenient,” he said. “The parking is close to the terminal. It is very affordable. It is much faster than taking a long two-and-a-half-hour drive… and it is great that at the end of your trip you do not have a two-and-a-half-hour drive awaiting you when you are all exhausted and just want to go home.”

Every film is both a product of its environment, and a rebellion against it. Artists (and audiences) search for something new and fresh, but cannot escape the world as it exists around them. Die Hard is no exception. While Die Hard is often marked as a turning point in American action cinema, we must first look at the state of action cinema as it existed before 1988. What does a “typical” 80s action movie look like? What artistic and societal pressures shaped that mold? And in what ways does Die Hard break it? As we kick off this limited series, let us know what you think! Drop us a line at diehardwithapodcast@gmail.com, or visit our site at www.diehardwithapodcast.com.   Source Links A/V Club, Die Hard humanized (and perfected) the action movie Creative Screenwriting, “There is no such thing as an action movie.” Steven E. de Souza on Screenwriting David Bordwell, It's the 80s, stupid Hollywood Suite, The French Connection and the gritty realism of the 70s IndieWire, 10 Defining 1970s Disaster Movies IndieWire, Cruel Summer: Die Hard (1988) James Kendrick, Hollywood Bloodshed: Violence in 1980s American Cinema Medium, New Hollywood: Why The 70's Were The Greatest Decade In America Cinema New York Times, How the American Action Movie Went Kablooey Oxford Bibliographies, Action Movies Slate, In The Parallax View, Conspiracy Goes All the Way to the Top—and Beyond Vulture, How Die Hard Changed the Action Game   Guests Shannon Hubbell Ed Grabionowski Adam Sternbergh Katie Walsh Scott Wampler   Get In Touch Email Website Twitter Facebook Instagram Patreon   Full Episode Transcript Welcome to the podcast, pal. My name is Simone Chavoor, and thank you for joining me for Die Hard With a Podcast! The show that examines the best American action movie of all time: Die Hard. Thank you to everyone who listened to the first episode of the show! It’s been so fun to get this podcast off the ground. Everyone’s been really awesome and supportive, from the listeners to the experts I’ve been talking to for the show. Starting in this episode, we’ll hear from filmmakers, film critics, and pop culture writers to get their perspectives on Die Hard and what it means as a part of film history. I’m excited to introduce them to you later in the show. If you want to share your thoughts on Die Hard and the things brought up on the podcast, reach out! Email Website Twitter Facebook Instagram I’ve been trying to post lots of additional photos and facts to the social media accounts in particular. My favorite so far was a Dungeons and Dragons character alignment chart I made for Die Hard. McClane is Chaotic Good, Al Powell is Lawful Good… You’ll have to visit the pages to see the rest of who’s who on the chart. And if you like this show, kick me a buck or two on Patreon. Patreon helps to offset the cost of doing this show, not just in pure dollars and cents, but for the sheer amount of time this podcast takes to put together. This is my first solo project, and although I have the wonderful, amazing support of my guests and fans, it still takes a lot of time researching, writing, recording, and editing. Patreon There are some cool bonuses you can get, everything from shout outs on the show, to stickers, ornaments, and the bonus episode – which is TBD, because you get to vote on! So check that out, and pitch in if you can. Shout out to our contributors… Rob T, Jason H, and Saint Even! I hope I’m saying that right. Anyone who’s listened to my other podcast knows that I can’t pronounce half the names I come across. It’s amazing how good you think you are at pronouncing things until you get in front of a mic... Thank you so much! You can also support Die Hard With a Podcast by leaving a review on iTunes. With more starred ratings and written reviews, the show becomes more visible to other potential listeners, so please share the love and let me know what you think! All right. On to our main topic. Every film is both a product of its environment, and a rebellion against it. Artists (and audiences) search for something new and fresh, but cannot escape the world as it exists around them. Die Hard is no exception. While Die Hard is often marked as a turning point in American action cinema, we must first look at the state of action cinema as it existed before 1988. What does a “typical” 80s action movie look like? What artistic and societal pressures shaped that mold? And in what ways does Die Hard break it? But before we talk about 80s films, let’s talk about… 70s films. 70s cinema was a time when shit started to get real. After years of glossy studio pictures, filmmakers wanted to show things as they really were. And with Vietnam, Watergate, the oil crisis, rising crime in cities, and so much more, things were… fucked up. And the movies made then reflected that. They were dark, pessimistic, gritty, bleak. No happy endings to be found here. Midnight Cowboy and Taxi Driver are two of the most 70s-ish depressing-ass movies that I like to point out as an example of this. [CLIP: MIDNIGHT COWBOY - I’M WALKING HERE] With that mood in mind, let’s drill down into some specifics. [INTERVIEW: ED GRABIANOWSKI I’m Ed Grabianowski, and I am a longtime writer; I’ve written for sites like io9 and How Stuff Works and a whole bunch of others, and I also write horror and fantasy fiction. If you go back to the 70s, there weren’t really movies in the 70s that were just like action movies, like that you would just define as action movies, to the extent there were later. You instead got sort of different sub-genres; you had sort of like cops and robbers movies with gunfights and car chases, and then you had like martial arts movies with lots of fist fights and sword fights.] Within this general movement, a few particular genres stand out. There was a lot going on in 70s film as the studios’ creative control was usurped by a new wave of auteur filmmakers. Now of course, there were lots of popular genres in this moment, all important in their own ways, like science fiction, horror, spaghetti Westerns, blaxploitation films, kung-fu movies. You can see some through lines from then, to the 80s, and into Die Hard in particular. But for our discussion today, we’re going to focus on three: disaster movies, paranoid political thrillers, and rogue cops and vigilantes. Let’s start with disaster movies. [INTERVIEW: ED GRABIANOWSKI And then you had the disaster movie subgenre, which was a huge trend for a while, and that was more based on spectacle and the visuals of a disaster happening. And also interestingly tended to be more ensemble casts.] After all, As we discussed in our first episode, Die Hard was directly inspired by one of the best-known disaster movies of the 70s: 1974’s The Towering Inferno. These movies featured people going about their business – attending a party, trying to catch a flight, taking a nice little cruise. Then BAM! A fire starts, a bomb goes off, a tsunami hits. These disasters, some natural, some natural-with-the-help-of-man’s-hubris, and some entirely man-made strike large groups of people, who we quickly learn are totally expendable. We follow these thinly written characters in multiple plot lines as they try to escape, survive, or stop whatever calamity is going on. In the process, the audience gets to experience their peril... which usually includes a bunch of explosions. The Towering Inferno boasts an all-star cast that includes Steve McQueen, Paul Newman, Faye Dunaway, and Fred Astaire. Our main characters are at a dedication ceremony for the new Glass Tower, the now-tallest building in the world. (As an aside, I work quite close to Salesforce Tower in San Francisco, which is currently the tallest building in San Francisco and the second-tallest west of the Mississippi. The fictional Glass Tower in the movie is taller than both of those by 500 feet. And every time I look at it I think about either The Towering Inferno or Nakatomi Tower, and neither of those are things you want to think about on your lunch break.) While at the ceremony, a fire breaks out on the 81st floor, trapping the people above. A group makes it to the roof for an attempted helicopter rescue, but the copter crashes and sets the roof on fire. After many thwarted attempts to escape, Steve McQueen and Paul Newman use plastic explosives to blow up the water tanks on the top of the building, flooding the floors below and putting out the fire. [CLIP: THE TOWERING INFERNO TRAILER] It’s easy to see how novelist Roderick Thorp could see that movie, dream about it, throw in some terrorists, and come up with the seed of Die Hard. As the Watergate scandal unfolded, the paranoid political thriller came to the fore. We’re talking Three Days of the Condor, Parallax View, and obviously All the President’s Men. These are films mostly centered on an individual uncovering a government conspiracy, and trying to either expose it or just escape with their life. But, fitting with the general mood of American cinema at the time, things usually don’t work out too well for the protagonists. Spoiler alert – in these films, usually the big bad government conspiracy gets away with it, leaving the heroes either dead or defeated. The individual, no matter what knowledge they’re armed with, is helpless against the faceless cabal that keeps the populace in line. To put it bluntly, the government is all-powerful and all-knowing, and you, the lone citizen, are fucked if you go against them. [CLIP: ALL THE PRESIDENT’S MEN TRAILER ] The final 70s genre we’re looking at as a direct influence to Die Hard is the “rogue cop” or “vigilante” movie. The protagonists in these films are also lone individuals, but of a different stripe than what we’ll see later: they’re the anti-heroes. They’re deeply messed up in some way. They’re the cop who doesn’t play by the rules, or the everyman who gets pushed too far by society and turns to violence. Death Wish, Dirty Harry, The French Connection. These movies manifest the existential dread of audiences who feared social upheaval, economic instability, and rising crime in cities. And then they offer the wish fulfillment of being able to buck the rules and do things your way – no matter what the police chief says. [CLIP: DIRTY HARRY] As Ed pointed out earlier, the 70s didn’t have what we consider a blanket “action movie” – as you can see, the genres we just talked about had action in them, but it wasn’t the defining characteristic of the movie. If the word “action” was used to describe a movie in generic terms at all, it was usually paired with the word “adventure” to convey something more fantastic and epic. But moreover, the action in these films was, well… kind of a bummer. Violence and destruction were used to emphasize the more troubling aspects of our society. Even if these scenes were exciting, they were heavy. They were serious. So what tipped these old genres over into a new kind of film at the start of the decade? [INTERVIEW: ED GRABIANOWSKI It just sort of happened. There’s – yes, people – there’s this sort of gestalt like, let’s take elements of all these things and make something that just embodies all of that. And that became the action movie.] Audiences were transforming from Steven and Elyse Keatons into Alex P. Keatons. But in addition to a transition from Carter and the recession to Reagan and a “greed is good” economy, the film industry in particular had new pressures and opportunities that ushered in a new era of filmmaking. David Bordwell, Professor of Film Studies at the University of Wisconsin – Madison, sums it up: “With the new attractiveness of the global market, the demands of home video, and increasingly sophisticated special effects, the 1980s brought the really violent action movie into its own.” Bordwell amusingly closes his exploration of 80s action movies with one, lone sentence: “I save for last the obligatory mention of Die Hard, the Jaws of the 1980s: a perfectly engineered entertainment.” Guess that statement stands on its own... The writer of Die Hard and Commando, Steven De Souza, expands on Bordwell’s point about the global market. He says, “I would argue that the genre of an ‘action movie’ is a completely false creature. There is no such thing as an action movie. All movies have action. ‘Action movie’ is a term that was invented in the ‘80s. I think Commando may have been the first one in 1985. They noticed for the first time that a handful of American movies were making more money overseas than in America. This had never happened before. Commando made 60% of its money overseas and 40% in the US. Action speaks louder than words. You don’t need to read the subtitles to know it was a bad idea to kidnap Arnold Schwarzenegger’s little girl. I disagree with the idea that there is such thing as an action movie, but we are stuck with that term now.” Well, if we’re stuck with that term, let’s go with it. So: what makes an action movie? In the 80s, “physical action and violence [became] the organizing principle, from the plot, to the dialogue, to the casting.” That’s according to academic reference site Oxford Bibliographies. Picture your typical action movie poster. There’s probably some kind of aircraft or ship or ground vehicle, maybe a hot lady kinda small and in the corner there… there’s definitely a bunch of fire… And standing tall in the middle, our hero. And he’s probably holding a gun. The lone hero is one of the defining characteristics of what we think of the stereotypical action movie. But he – and it’s almost always a “he” – is different than our “rogue cop” of the 1970s. The 80s action star was a one-man army, alone more powerful than the hordes of henchman thrown up against him. Our hero might have a sidekick or lead a small team, but in the end they’re either ineffectual and/or expendable – by the end of the film, it’s our protagonist who takes down the bad guy by himself. The action hero inhabits his body, not his mind. His powers come from physical strength (and firepower) instead of cleverness. I mean, when we meet Arnold Schwarzenegger in Commando, we see multiple shots of his biceps before we even see his face. As IndieWire put it, the heroes are “obscenely pumped-up one-man fighting machine[s]... outrageously entertaining comic-book depictions of outsized masculinity.” [INTERVIEW: ADAM STERNBERGH My name is Adam Sternbergh. I’m a novelist and a contributing editor to New York Magazine and a pop culture journalist. 80s action films, as we think of them now, they’re very excessive, they’re all about a sort of oversized machismo and enormous guns and enormous muscles and enormous explosions. Which was very exhilarating, but I think even by the time Die Hard came out, was starting to feel a little bit tired, and there was a hunger for action film fans – certainly myself, I would have been about seventeen or eighteen, for something a little bit different.] [INTERVIEW: SCOTT WAMPLER My name is Scott Wampler, I’m the news editor at Birth. Movies. Death. I’m also the host of the Trying Times podcast. The first word that’s coming to mind is “sweaty.” When I think of action movies in the 80s I think of, you know, dudes that are super cut up, they look like condoms filled with walnuts, and they’re always glistening with sweat. And usually there’s a dirty tank top involved, or maybe some camo pants.] [INTERVIEW: SHANNON HUBBELL My name is Shannon Hubbell, I’m editor-in-chief of LewtonBus.net. I’d say action films of the 80s – I mean, it’s obviously dominated by Schwarzenegger and Stallone, and so a lot of the larger action films are centered around big, burly, unstoppable killing machines. Just barely human. Other than Terminator, that kinda thing doesn’t yank my chain. But also, you have things like, say, Escape from New York – smaller fare, different types of heroes, anti-heroes, instead of just hulking, machine-gun-spraying douchebags.] Matrix and Dutch, Rambo and Cobra – these guys were far from helpless. Once pulled into a conflict by circumstance, our hero is unstoppable. It’s a reclaiming of agency that had been taken away by faceless forces in the 70s. Our heroes’ incredible power is just that: incredible. I know this might be shocking news to you, but a lot of these 80s action movies are… unrealistic. After all, in Predator, Arnold escapes a thermo-nuclear explosion by just… running away. These guys are superheroes pretending to be regular dudes. Comic book movies weren’t so much a thing yet, although we did have that platonic ideal of a superhero – Superman – appear onscreen in ‘78, ‘81, ‘83, and ‘87. But invulnerability is okay. That’s part of the appeal. We want the heroes that fight for truth, justice, and the American way to be assured of victory. This leads into another characteristic of 80s action: patriotism. Now, of course, not all of our protagonists are American. Arnold definitely does not – er… can not – try to pass for an American, and neither can Jean Claude Van Damme. But most of our protagonists are not only American, but working-class, everymen Americans who are just trying to get by with an honest day’s work. Sometimes that honest day’s work involves special forces missions, but you know what I mean. Adam Sternbergh explains. [INTERVIEW: ADAM STERNBERGH There was a sort of parallel ascent of the John Rambo paradigm, and Ronald Reagan. And Reagan was quite open about making references to Rambo, and I think Reagan at one point quoted the Dirty Harry line, “Make my day.” And there was a real sense in American culture that post the 1970s, post Jimmy Carter, post this national ennui or whatever people decided had overtaken the country, that America was being proud of being America again, and part of that was watching movies in which American POWs blow entire countries. And in fact the third Rambo movie is just sort of a ridiculous patriotism porn where he goes to Afghanistan and essentially single-handedly defeats the Russian Army in Afghanistan. That kind of action movie, I think if you look at it in a historical, sociological context, it made perfect sense for the national mood.] [CLIP: REAGAN AND RAMBO] In other words, if America was in fact a shining city on a hill, Arnold Schwarzenegger, Sylvester Stallone, and Carl Weathers were there to guard its walls. Finally, the hallmark of an action movie is all the… [GUNSHOTS, EXPLOSIONS] If you’re having a celebration of American masculinity and strength, what else are you gonna do but blow shit up? There was certainly a fetishization of weapons in the preceding decade. Robert Blake’s character Beretta shared his name with that of a gun manufacturer, and Dirty Harry gives a whole soliloquy about his .45 Magnum. But the films that followed had to be bigger. Louder. If the 70s were the decade of the handgun, the 80s were the decade of the automatic weapon. [CLIP: NOW I HAVE A MACHINE GUN, HO HO HO] General explosions were also bigger and better, due to improved special effects technologies. The disaster movie of course had terrific destruction, but the buildings getting blown up were more obviously flimsy sets, if not just miniatures. And to me, the differentiating factor that separates 70s action from 80s action, was that 80s violence and destruction was… celebratory. It was fun. It was generally free of consequence. Our hero can’t die, remember? And the bad guys he’s blowing away are largely faceless cartoon characters, a dime a dozen. It was perfectly okay to sit in a theater and shove popcorn in your mouth while large-scale mayhem unfolded before your eyes. With these definitions in place, let’s go back and tick off the action movie characteristics that Die Hard shares. Lone hero? Check. John McClane is almost totally alone, with only a walkie-talkie as a tether to the outside world. The LAPD and FBI are ostensibly on his side, but they’re certainly not working with him. John must face a whole gang of terrorists by himself to rescue his wife. We’re confident that he’ll achieve his goal, even if things look dicey sometimes. [INTERVIEW: ADAM STERNBERGH I mean, Die Hard was similar in the sense that it featured a sort of lone, male protagonist who’s battling against the odds, and if faced with a sort of intractable situation where he’s trying to fight his way out using his brains and brawn. An interesting parallel is the movie Commando, which came out just a couple years earlier with Arnold Schwarzenegger, and he basically has 24 or 48 hours save his daughter from these evil military types. And he goes about breaking everyone’s neck and shooting a bunch of people and blowing things up, and spoiler: he saves the daughter at the end. And so in that sense, Die Hard was sort of a very familiar setup. It obviously was kind of ingenious setup because it launched its own mini-genre of movies, which was the “Die Hard in a blankity-blank movie.”] Physical prowess? Mmm, not as much. John McClane isn’t in bad shape, not at all. He’s a cop, he can brawl. But he’s not one of those guys with “gleaming sweat [and] bulging muscles that couldn’t possibly exist without chemical enhancement... A bodybuilder’s fever dream, the sort of thing he might imagine after doing a mountain of blow and watching nothing but early MTV for 48 hours,” as the AV Club puts it. [INTERVIEW: ADAM STERNBERGH Everything else was moving in that direction, toward more invulnerable, more muscular, more explosive. And then Die Hard came along and said, what if a real, normal guy found himself in this situation? What would he do, and how would he prevail?] Bruce Willis’s embodiment of a wisecracking cop caught in an extraordinary situation was a key factor in John McClane’s believability. [INTERVIEW: SHANNON HUBBELL On paper, just like describing Die Hard to someone, you can totally imagine Schwarzenegger playing that role, or Stallone playing that role. It’s the details and execution that makes it different. You have a character who is fallible, and hurtable and emotionally vulnerable, which is not something that comes across in a paragraph synopsis of Die Hard.] John is a pretty regular guy. He gets tired, he gets hurt. In fact, his physical vulnerability in the original Die Hard is famous. [CLIP: SHOOT THE GLASS] [INTERVIEW: ADAM STERNBERGH From the very beginning of the movie, when he takes his shoes off at the beginning of the movie, you know, he’s in bare feet, he’s incredibly vulnerable and there’s this real sense that he’s this regular guy, who, there’s no way he’s going to accomplish this. He doesn’t even seem to believe it at the beginning. And it makes it so much more satisfying at the end of the movie when he does; he’s bloodied and he’s broken and his feet are bleeding. And that was just so different from that kind of Rambo, Schwarzenegger paradigm that had been established that had been so successful.] When you watch an action movie, you get the thrill of watching a superman executing a perfect plan. But watching a normal guy making it up as he goes along in Die Hard, you start to wonder – what would I do in this situation? We’ll get more into McClane’s physical and emotional vulnerability in our next episode. Patriotism? Die Hard isn’t an explicitly jingoistic film. There aren’t American flags waving as soldiers fight to defend American values. But we do have John, a white, heterosexual, working-class dude as our hero. See, not only is John representative of the American way of life, he also reflects a tension between classes within America, as well as in relationship to other world powers. Our bad guys are an International House of Terrorists, including what Ellis calls… [CLIP: ELLIS EUROTRASH] [INTERVIEW: ADAM STERNBERGH I think there’s definitely some quintessential American ideas of class in the movie, and it’s not a mistake that the terrorists are not just Europeans but they’re all wearing turtlenecks and sort of beautiful European clothes and then there is a whole conversation in the elevator between Hans and Mr. Takagi about their suits and their respective tailors. And John McClane’s just a guy with a singlet on, running around like Johnny Lunchbucket. And I think at that particular moment in American history, that was a very resonant idea, again because there was this sense of America’s influence in the world being undermined – in particular by Japan, but just in general. American industry and this sort of notion of the blue-collar American economy was faltering in coming out of the 1970s. There was a sense that that was changing. So McClane is interesting, and I wonder if you made Die Hard now, if he would still be a New York cop, or if they would try to make him even more of a kind of heartland hero.] It’s also worth noting the presence of another foreign “threat” in Die Hard. The Nakatomi Corporation represents a very real American fear in the 80s that the Japanese wouldn’t so much invade as they would conduct a hostile takeover. Richard Brody of The New Yorker explains: “There’s another ethnic anxiety that the movie represents—the film is centered on the Nakatomi Corporation, headed by a Japanese-American man named Joseph Takagi, which is an emblem of the then widely stoked fear that Japanese high-tech businesses were threatening to dominate the American economy.” At the time, the Japanese economy was booming thanks to post-World War II reconstruction and a strong manufacturing industry. Japanese corporations began buying American companies, starting with car factories, steel works, and media companies – industries that are held as quintessentially American. [CLIP: TAKAGI TAPE DECKS] [INTERVIEW: ADAM STERNBERGH It also has interesting strains of things that were happening in politics at the time, you know, the whole idea of a Japanese corporation that’s come to America and is a powerful corporation, and then the American inevitably has to save them. There’s a little mini-genre of 80s-era films that were sort of about America’s anxiety about Japan’s rising influence in the world. So I think a little bit of that is in Die Hard. You know, this sort of twist of having the terrorists be political terrorists who just turn out to be greedy robbers, was a little bit of a wink at the notion that all the other movies were about politics.] As Adam points out, American fear of this so-called threat can be seen in more than just Die Hard. 1986’s Gung Ho is specifically about a Japanese company buying Michael Keaton’s character’s auto plant. The Back to the Future series (which kicked off in 1985) also has a few telling moments. [CLIP: BACK TO THE FUTURE ALL THE BEST STUFF IS MADE IN JAPAN] [CLIP: BACK TO THE FUTURE II McFLY’S BOSS] In Die Hard, Nakatomi is positioned as not just another Japanese mega-corporation with more money than they know what to do with, but it’s also the company that is threatening to take Holly away from John. Okay, onto our last action movie qualifier: [CLIP: GUNSHOTS, EXPLOSIONS] Welp, I think it’s pretty safe to say that Die Hard has big explosions and over-the-top stunts. Lots of ‘em – and really good ones, too. They’re well choreographed and a pleasure to watch. Plus, they keep their own sense of fun. Having your hero dispatch a bad guy and follow it with a quippy remark is a classic action movie cliche. [CLIP: FEET SMALLER THAN MY SISTER] But the difference is that Bruce Willis has the comedy acting chops to actually pull it off. Look, Arnold’s great at a lot of things, but line delivery ain’t one of ‘em. [CLIP: LET OFF SOME STEAM] In the end, Die Hard is very much in the mold of traditional 80s action movies – and where it breaks that mold, is where it improves upon it. Hollywood’s been trying to recapture that magic ever since. [INTERVIEW: SCOTT WAMPLER I would say that it probably broke a general mold that had a hold on Hollywood for at least a decade. Outside of the work of say, Stallone, Schwarzenegger, who – you know, Schwarzenegger did a lot of sci-fi stuff, and Stallone – Stallone’s always been pretty ‘oo-rah American.’ But I think Hollywood as a whole, it definitely reformed the template, you know? There were shock waves coming off of Die Hard for at least a decade. You can still feel them.] [INTERVIEW: ADAM STERNBERGH I remember sitting in the theater and watching the movie and just being completely blown away by how great it was and how fresh it felt. That is really the thing I wonder if people watching it now can appreciate, is just how it felt like this gust of fresh air, given all the films that had come before. And those action films again, they were all tightly packed in in just like six or seven years in the 80s. It was a very sort of young genre itself. But this kinda came in and it was just a complete reinvention of what an action film could be, and John McClane was a completely different kind of hero, and it was so exhilarating.] The elevated craft of Die Hard, from the airtight script to McTiernan’s direction to De Bont’s cinematography, to the performances of Willis and Rickman, took what could have been an unremarkable summer flick and turned it into a classic. [INTERVIEW: KATIE WALSH My name’s Katie Walsh. I am a film critic for the Tribune News Service and LA Times. You know, you see enough bad action movies, and then you watch Die Hard, and you’re like, “This is so impeccably made.” The cinematography is gorgeous, there’s these amazing camera movements, and the lighting and all of the stuff that’s going on is just so perfect. And then you’re like, “Okay, this is a perfect movie.” I think cinephiles now are saying John McTiernan’s an amazing director, Jan De Bont is an amazing cinematographer, the craft that goes into this movie is impeccable, and it’s a very well-made movie; I think people are recognizing that.] In our next episode, we’ll dig in to arguably the most important contributor to Die Hard’s success: the character of John McClane, and Bruce Willis’s portrayal of him. So get ready, take off your shoes, make some fists with your toes, and join us next time. Thank you to our guests Adam Sternbergh, Scott Wampler, Shannon Hubbell, Ed Grabionowski, and Katie Walsh. Be sure to check the show notes on the website to learn more about them. Thanks again for joining me, and yippee-kai-yay, motherfuckers!  

S7E6 - "Heartstrings (Part 2)." Today on QTWFT, we learn . . . that, just like the Keatons, we're waiting. But we're waiting...for Paul.

TUFFT TUFF-TUFF #1! Pod Hard lägger i en ny växel, startar nytt tema och lägger räls. Och äntligen får vi tillfälle att stormysa åt stumfilmsikonen Buster Keatons upptåg. Jonas Högberg & Anders Hultqvist ser The General, Keatons kanske mest kända film, och försöker ta sig igenom det här avsnittet samtidigt som de förgäves försöker borsta bort hjärtan för ögonen. Lär dig allt om hur Buster fick sitt namn (av Harry Houdini!), vilket visuellt geni han var, hur han var Jackie Chan 50 år innan Jackie Chan var Jackie Chan och varför The General - en komedi - är den kanske mest realistiska skildringen av det amerikanska inbördeskriget. Filmen innehåller otaliga mästerliga gags, den enskilt dyraste scenen under hela stumfilmseran, ett diegetiskt metaskämt, en osäkrad sabel, en björnsax utan taggar, en ankparad som fylls på och inte mindre än 11 snubbelfall från en man som blev djupt demprimerad när han inte fick sätta livet på spel på vita duken. Buster jagar skurkar i The General.

In this very special episode, Phil talks with Brendan Creecy about the 21st episode of Family Ties. They discuss Elyse’s fake job, Alex’s stage issues, the Keatons’ rampant cheating, kid judges, a conspiracy theory, Zoobilee Zoo, Masters and Johnson, the … Continue reading →

Family Ties "Say Uncle" (26 January, 1984) Lovable Uncle Ned (Tom Hanks) pays the Keatons a visit and no one is more excited than Alex (Michael J. Fox). Even though Ned was disgraced for embezzling millions, he's still Alex's hero. Turns out Uncle Ned brought a little friend along... a friend named Alcoholism. Things get uncomfortable when Ned drinks heavily in front of the family, botches a job interview and ultimately slaps Alex across the room. Will Ned get the help he needs? Will Elyse (Meredith Baxter) emerge from the river Denial? Will Tom Hanks acknowledge his acting debt to Robin Williams? Listen to Episode 8 of Very Special Television and find out with us! Thanks for listening and don’t forget to subscribe and rate us 5 stars on iTunes! https://www.facebook.com/VERYSPECIALTELEVISION/ https://www.instagram.com/veryspecialtelevision/ facebook: @veryspecialtelevision instagram: @veryspecialtelevision twitter: @BestMenMedia

As a Gen-Xer, I've had my fill of clip shows, those network TV programs where the producers cobble together a "new" episode from clips of earlier installments. The worst offender for doing that was Family Ties. It seemed like every other episode, the Keatons would gather around the kitchen table to discuss that week's crisis and someone would say, "Do you remember that time ... ?" Then they'd play a clip of Skippy asking Mallory for a date or Alex learning an important lesson about friendship. I hate clip shows. So, welcome to our clip show.

This week on #43 of Very Special Episode we head back to Columbus, Ohio once again for a visit to the Keatons of Family Ties. In this season 6 episode entitled "Sign Of The Times" we learn the humble beginnings of John Blake of The Dark Knight Rises and that deaf people are cool. When will Andy hit us with that 'sweet voice'? Will Alex every get his shoe lace tying grade changed? Will see ever see Andy's deaf best friend Josh again (Nope!)? Why is Eugene being such a stupid head? The guys discuss these pressing matters and we all learn a little something about tolerance. #JGL Enjoy the show! THIS IS VERY SPECIAL EPISODE!!

On this week's show the boys discuss Family Ties Season 2 Episode 14 Say Uncle. The notorious Uncle Ned is back to stir things up with the Keatons. Do all alcoholics hit rock bottom in just 24 hours? Are we seeing flashes of the future Oscar winner right before our eyes? Does vanilla extract taste good? Join in the conversation. This is Very Special Episode!

Sie sind das seltsamste Paar der Stummfilmzeit, Buster Keaton und Brown Eyes, die in "Go West" gemeinsam Gefahren überstehen und unzertrennlich werden. Am 23. November 1925 kommt der Film in die Kinos und hat noch etliche andere Merkwürdigkeiten zu bieten.