Podcast appearances and mentions of Ken Jenkins

Hi! My name is Terry J. Aman, marking my 109th episode of VideoFuzzy titled "Luther, Earnest and The Doctor," reporting the progress I've made in cataloging thousands of VHS transfers and digital recordings, and as of this coming month, June of 2026, I'm marking nine years of VideoFuzzy! [2:20] I celebrate that milestone in part with Part 2 of my conversation with musician, media critic and longtime friend Mikey Heinrich from Minneapolis. Part 1 posted as part of sister podcast effort VideoFuzzy the Soundtrack "Ep. 17: Long Way Down" at https://bit.ly/3MJkPkK  In part 2, we chatted primarily about "Knives Out 3: Wake Up, Dead Man" and "Doctor Who." [IG] Mikey Heinrich can be found at his YouTube Channel: https://www.youtube.com/@MikeyHeinrich and blogs Doux Reviews: https://www.douxreviews.com/ and 42nd Vizsla: https://the42ndvizsla.blogspot.com/ [31:06] My Fuzzy Feature talked in some detail about the series premiere of BBC's "Luther," [IG] starring Idris Elba in the title role, Detective Inspector John Luther. CONTENT WARNING: Some discussion of animal cruelty was critical to the investigation and therefore unavoidable. I talked about the child abduction case he took on at the top of the episode, and the parents of astrophysicist Alice Morgan, played by Ruth Wilson. They were found shot dead in their home along with the family's dog. Luther's investigation loops in his supervisor, DSU Rose Teller, and his new partner, DS Justin Ripley, and coincides with developments in his separation from Zoe, his wife, played by Indira Varma, namely her lover Mark North, played by Paul McGann. [1:01:30] In Cross Connections, I trace connections for Idris Elba and Ruth Wilson through my media collection. I identify Stephen Root, Jon Curry and Ben Schwartz as Golden Threads. Also Colin Salmon, David Allan Grier, Robert Englund, Ken Jenkins, Rob Morrow, Maura Tierney, Tzi Ma, Patrick Fischler, Todd Stashwick, Caterina Scorsone, Frances Conroy, Diane Farr and Christian Clementsen. Fond Reflection to Eric Dane and his many years on "Grey's Anatomy." [1:14:14] In my Classic Collection [VHS-to-DVD transfers], I cataloged discs 2001 through 2025. Comments on "Grey's Anatomy," Chelsea Handler's appearance as host of the 2010 MTV Video Music Awards and comments at the recent roast of Kevin Hart on Netflix. Also, "The Simpsons," [IG] "Glee," [IG] "Mike & Molly," "Undercovers," "Castle," "Rubicon," "The Office" and "Community." [1:29:38] In my Current Collection [direct to digital], I archived the National Theatre presentation of Oscar Wilde's "The Importance of Being Earnest" [IG] starring Ncuti Gatwa, Hugh Skinner, Sharon D. Clark, Ronke Adoluejo, Eliza Scanlen and Amanda Lawrence. [1:31:28] In Book Reports, I chat about Charlotte Brontë's "Jane Eyre," Emily Brontë's "Wuthering Heights," Daphne du Maurier's "Rebecca" and Margot Douaihy's "Scorched Grace," all of which I can trace as recommendations at one time or another by the "All About Agatha" podcast. Quite enjoyable! SPREADING THE WORD! "VideoFuzzy: The Video - Celebrating 100 Episodes!" is posted at https://youtu.be/eWfcCDiOZ2I. Please share as you're able to with anyone you feel might enjoy this production. For PROMOS, scroll all the way down at https://videofuzzy.libsyn.com. Also, there's a "Top Fifteen" episode guide for people looking for a quick read-in on this blog and podcast effort at: https://videofuzzy.libsyn.com/about. Enjoy! [IG]  Reference featured in VideoFuzzy's Instagram page.

On this week's episode, JD defies Dr. Cox's wishes and strives for success in a competition Dr. Kelso is running amongst the residents. In the real world, Zach and Donald are joined by Kelso himself, Ken Jenkins.See omnystudio.com/listener for privacy information.

Johnny Mac recaps Scrubs Season 10, episode 8, focusing on Dr. Cox's return to Sacred Heart, JD's excitement to impress him, and Cox's collapse from microscopic polyangiitis (MPA), an autoimmune disease causing early renal failure and a grim prognosis. He praises scenes between Cox, JD, and Dr. Park, likes the nurses and interns, and strongly dislikes the HR manager character. Other plots include Dr. Tash's avoidable mistake, Dr. Reed's harsh response, and Cox admitting he was too hard on Elliot. Mac highlights Bill Lawrence's intent to explore JD becoming caretaker to his former mentor, and notes emotional moments where Cox admits fear and asks JD to keep him alive. He also summarizes a PaleyFest panel with cast and creators, audience emotional reactions to episode 9, discussion of the janitor's reality, interest in bringing back more original characters including Ken Jenkins, and ABC's pending renewal decision. 00:47 Cox Returns  01:25 Diagnosis and Stakes02:05 Other Plotlines and HR Rant02:26 Caretaker Role Reversal02:44 Creator Insights and Themes04:16 PaleyFest Panel Setup05:03 Panel Highlights and Light Spoilers06:18 Renewal Talk and Wrap UpBecome a supporter of this podcast: https://www.spreaker.com/podcast/daily-comedy-news-with-johnny-mac-a-daily-briefing-on-comedians-and-the-comedy-industry--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.

 In this episode, I take the time to describe in detail what's on my Blogs for the Holidays, including various festive topics that can enrich your celebrations this season. I also provide a brief summary about the links below, which will take you to the detailed information available on the blogs, covering everything from holiday recipes to gift suggestions and community events that you won't want to miss. Additionally, my Westchester Senior Connections Page, featured on my Living Senior blog, provides a valuable link to a video of Ken Jenkins, the new County Executive, where he discusses important initiatives.  In addition, there is a link to information about the 43rd Annual Senior Hall of Fame Awards Celebration. This episode is packed with insights and resources to ensure you make the most of the holidays while staying informed and connected. Use the links below for the "News You Can Use" Celebrating Native American Beauty | HairBluesHoliday Cooking News | livingsenior.meSUSTAINABLE IDEAS FOR HOLIDAY ENTERTAINMENT | tech4boomersNiagara Falls Travel Ideas | TRAVELMARE!Westchester, NY Senior Connections | livingsenior.me For the past several years, blogging has been both a passion and an avocation. I am engaged in exploring the therapeutic uses of essential oils, and I am also a Climate Advocate. I invite you visit my Linktree page: @autocreate740 | LinktreeYou can also visit my website: Aromatherapy | Judithguerra.com

Christine Sculti, running for Westchester County Executive, joins the show to talk about her campaign. She highlights her previous experience as a chief advisor under former executive Rob Astorino, emphasizing their success in keeping spending flat and cutting taxes. Sculti criticizes her opponent, Ken Jenkins, for supporting sanctuary city policies, increasing taxes and spending, and not denouncing radical figures. She outlines her plan to repeal the sanctuary county law, fight congestion pricing, and restore fiscal responsibility to Westchester. Sculti calls on listeners to vote, aiming to unite Republicans, independents, and common-sense Democrats for a significant upset. Learn more about your ad choices. Visit megaphone.fm/adchoices

Westchester County Executive Democrat Ken Jenkins discusses his accomplishments since he took office early this year and his re-election campaign with John Marino on Westchester Talk Radio (westchestertalkradio.com), the Cup of Joe Political Show Episode 1, produced by Sharc Creative

THEY TAKE THE PLANE BACK!Will, Ian & Nora TAKE THE PLANE BACK!They do what they have to do, and make the-EXECUTIVE DECISION (1996) R 133minutesDirected by: Stuart Baird. Starring: Kurt Russell, John Leguizamo, Joe Morton, Oliver Platt, Halle Berry, B.D. Wong, David Suchet, Whip Hubley, Andreas Katsulas, J.T. Walsh, Ingo Neuhaus, Richard Riehle, Ken Jenkins, Steven Seagal, Shaun Toub and Many Other Talented People!00:01:00- First Thoughts00:15:00- Fight of Flight discussion00:25:00- EXECUTIVE DECISION (1996)00:28:00- Tasty Morsels00:35:00- Rating/Review01:15:00- Totals01:16:00- Next Week/ByePatreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/THELastActionCritics⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram: @TheLastActionCriticsemail:   Thelastactioncritics@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Youtube.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Next Week: Pride & Prejudice (2005) with Special Guest A.E. Bennett

On this weeks episode, JD defies Dr. Cox's wishes and strives for success in a competition Dr. Kelso is running amongst the residence. In the real world, Zach and Donald are joined by Kelso himself, Ken Jenkins.See omnystudio.com/listener for privacy information.

Ken Jenkins, well if there has been anyone that has tried his hand at anything in Australian Speedway, he is the man that has. Had an amazing chat with Ken, from his racing days to administration days and so much more.

A new MP3 sermon from Antioch Baptist Church is now available on SermonAudio with the following details: Title: Do You Know Him? Subtitle: Calvary Camp Meeting 2025 Speaker: Ken Jenkins Broadcaster: Antioch Baptist Church Event: Camp Meeting Date: 1/29/2025 Length: 57 min.

Tonight on The Last Word: A DOJ lawyer eviscerates Donald Trump in their resignation letter. Plus, a new lawsuit against Elon Musk claims that his role and DOGE are unconstitutional. Also, U.S. Sec. of Defense Pete Hegseth says returning Ukraine to its 2014 borders is “unrealistic.” And Democrats win big in special election after Trump attack. Andrew Weissmann, Rep. Jamie Raskin, William Tong, William Taylor, and Ken Jenkins join Ali Velshi.

Its the first Saturday Extravaganza of February as Ken Broo talks about some of the recent aviation accidents in the U.S. with Mike Hatton, why employers could be looking to Ai to do jobs instead of Gen Z, details on the DeepSeek Ai app with John Schultz, how the media is portraying Trump's deportation initiatives with Todd Bensman, as well as more coverage of the D.C. crash with Ken Jenkins.

Its the first Saturday Extravaganza of February as Ken Broo talks about some of the recent aviation accidents in the U.S. with Mike Hatton, why employers could be looking to Ai to do jobs instead of Gen Z, details on the DeepSeek Ai app with John Schultz, how the media is portraying Trump's deportation initiatives with Todd Bensman, as well as more coverage of the D.C. crash with Ken Jenkins.

Its the first Saturday Extravaganza of February as Ken Broo talks about some of the recent aviation accidents in the U.S. with Mike Hatton, why employers could be looking to Ai to do jobs instead of Gen Z, details on the DeepSeek Ai app with John Schultz, how the media is portraying Trump's deportation initiatives with Todd Bensman, as well as more coverage of the D.C. crash with Ken Jenkins.

Doc is back on the air-waves and we had an incredible CFP semifinal last night. Then we get to the Burgundy & Gold's Wild Card matchup against the Tampa Bay Buccaneers. Doc thinks Max sounds nervous and he's right!! Finally we're joined by former Washington Redskins RB and Return Specialist, Ken Jenkins to get some insight on how unified teams can accomplish anything.

It's Die Hard in a ghost town!This time week, Phil and Liam throw a bottle in the air and follow it into the desert, as they try to make sense of the dark and brooding action/thriller/western/gangster picture LAST MAN STANDING.During the prohibition era, mysterious gunslinger John Smith (Bruce Willis) rolls into the small, remote border town of Jericho, Texas, where two rival bootlegging gangs have an uneasy and fragile truce. As Smith gets the lay of the land, he works both sides against the other in search of quick profit…until the conscience that he claims he doesn't have, forces him to pick a side.  After comparing the film to the original 1988 classic in the ‘Die Hard DNA' section, the boys discuss their feelings about writer-director-producer Walter Hill and his robust filmography, citing their favorite Hill movies. As this particular film is a credited remake of Akira Kurosawa's 1961 classic YOJIMBO, Liam is in his element waxing lyrical about the Japanese maestro. Phil also espouses his theory that Hill's remake is less of an action movie, and more of an existential exploration of purgatory. The guys also talk about this film's remarkable ensemble cast, that features stellar performances from Walter Hill staples John Patrick Kelly and Bruce Dern, as well as the likes of William Sanderson, Leslie Mann, Ken Jenkins, Michael Imperioli, Karina Lombard and of course Christopher Walken as the Tommy Gun-toting mob enforcer Hickey. Finally, the guys bust into the ‘Die Hard Oscars' to fire off some action movie awards, and Phil slings Liam some tough questions in the ‘Double Jeopardy' trivia quiz!LAST MAN STANDING trailer: https://www.youtube.com/watch?v=763cIT4IXoQAt the time of release, LAST MAN STANDING is streaming on Tubi in the US and is available to rent or buy on Amazon Prime Video, Apple/iTunes, YouTube, Fandango and all the usual platforms! Support this podcast at — https://redcircle.com/die-hard-on-a-blank/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Message from Ken Jenkins on June 16, 2024

What was once an empty strip mall in Dellwood reopened in September as a $20 million economic hub serving north St. Louis County. The R&R Marketplace came after more than a decade of work by married pastors Beverly and Ken Jenkins. Beverly and Ken tell the story of its creation, from praying at an empty parking lot, to the Ferguson protests, to seeing the grand opening.

On this week's episode, JD and Dr. Cox decide to teach Lucy a hard lesson in the most challenging way possible. In the real world, we're thrilled to announce the Season 9 Debate Backpack Sweepstakes. To enter for a chance to win, go to www.iheart.com/fdrfSee omnystudio.com/listener for privacy information.

In “The Abyss”, after a U.S. nuclear submarine is lost at sea, the U.S. Navy enlists the help of a crew of an underwater oil drilling platform to help find it. A team of Navy SEALs, led by Michael Biehn as Lieutenant Coffey, is sent down to the crew to lead the rescue operation. Unbeknownst to the crew, led by Ed Harris as Bud Brigman and Mary Elizabeth Mastrantonio as Lindsey, the SEALs have another possible mission. A mission that is deadly for all. On top of that, during the rescue operation, deep sea otherworldly beings start appearing and ratcheting up the already high tension even more. Are these otherworldly beings friend or foe? Then to elevate the tension even more, Lieutenant Coffey starts acting psychotic due to pressure sickness from being deep undersea. Not the development you want, especially with a guy in possession of nuclear warheads. Where is this flashpoint going to end up? Is it worth watching to find out? Watch this retro review episode to find out. “The Abyss” is the movie James Cameron made between “Aliens” and “Terminator 2: Judgement Day” and I'll talk all about it in this episode. “The Abyss” also stars Leo Burmester, Todd Graff, John Bedford Lloyd, J.C. Quinn, Kimberly Scott, Captain Kidd Brewer Jr., George Robert Klek, Christopher Murphy, Adam Nelson, Dick Warlock, Jimmie Ray Weeks, J. Kenneth Campbell, Ken Jenkins, Chris Elliott and Peter Ratray. Support the showFeel free to reach out to me via:@MoviesMerica on Twitter @moviesmerica on InstagramMovies Merica on Facebook

Ken Jenkins LIVE on LI in the AM w/ Jay Oliver! by JVC Broadcasting

October 4, 2023 - Ken Jenkins, a Democratic appointee to the state's bipartisan redistricting commission, explains why he and his fellow Democrats are soliciting public input for new congressional lines, as they wait for a court ruling to decide whether the boundaries need to be redrawn for 2024.

Message from Ken Jenkins on June 4, 2023

In this episode of our All2000s series we look at the film Clockstoppers (2002). Until now, Zak Gibbs' greatest challenge has been finding a way to buy a car. But when he discovers an odd wristwatch among his father's various inventions and slips it on, something very strange happens: The world around him seemingly comes to a stop, giving the effect that everyone has come to a stop. Zak quickly learns how to manipulate the device, and he and his quick-witted, beautiful new friend Francesca have some real fun. But then they realize that they are not alone in hypertime. Jesse Bradford as Zak Gibbs, a boy who finds a time-stopping watch. Paula Garcés as Francesca, a Venezuelan girl who moves to Zak's town. French Stewart as Earl Dopler, a scientist that was unwillingly brought back into the services of QT Corporation. Miko Hughes as young Earl Dopler Michael Biehn as Henry Gates, the CEO of QT Corporation. Garikayi Mutambirwa as Meeker, Zak's best friend. Robin Thomas as Dr. George Gibbs, a scientist who is the father of Zak and the colleague of Earl Doppler. Julia Sweeney as Jenny Gibbs, the mother of Zak. Lindze Letherman as Kelly Gibbs, the sister of Zak. Grant Marvin as Prof. Jenning Jason George as Richard, an agent who works for Henry. Linda Kim as Jay, a silent agent who works for Henry. Ken Jenkins as Moore, an agent of the NSA Jonathan Frakes (uncredited cameo) as a bystander Judi M. Durand as the uncredited voice of the Q.T. Computer Jenette Goldstein as Doctor DJ Swamp as himself Listen, rate and share Find us at all2reeltoo.com Listen to Mike on Spoiler Alert!! from NewRealms Media... https://www.youtube.com/watch?v=025fHVFQncU&t=1s Listen to Mike on The Family Fright Night Horror Podcast ... https://open.spotify.com/episode/7kstbpDOnLQeI8BQGLzina Check out some cool music by host Matthew Haase at https://youtu.be/5E6TYm_4wIE Check out cool merchandise related to our show at http://tee.pub/lic/CullenPark Become a Patron of the show here.... https://www.patreon.com/CullenPark Listen to Mike on The Nerdball Podcast.... https://pod.fo/e/ba2aa If you can during these troubling times make a donation to one of the following charities to help out. https://www.thetrevorproject.org/ https://www.hrc.org/hrc-story/hrc-foundation https://pointfoundation.org/ https://www.directrelief.org/ https://www.naacpldf.org/ https://www.blackvotersmatterfund.org https://www.tahirih.org/ https://www.monafoundation.org/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Ohio's new distracted driving law has begun: https://www.richlandsource.com/news/ohios-new-distracted-driving-law-has-begun/article_479cc3b8-d3af-5028-a2e1-c833c724ee23.html Sign up for our sports newsletter: https://www.richlandsource.com/sports/  Today — The rules of the road have changed. As of yesterday Ohio drivers that hold cell phones while driving will face consequences.Support the show: https://www.sourcemembers.com/See omnystudio.com/listener for privacy information.

Did you Miss our Tribute to The 'Grandfather of the 9/11 Truth Movement'?It was with a very heavy heart that we shared the news that our friend and mentor in the great 9/11 Truth work, Prof. David Ray Griffin, had succumbed to his long battle with cancer and passed away on November 25, 2022.This was a very special livestream tribute to the 'Grandfather of the 9/11 Truth Movement' on Friday, December 10, hosted by Elizabeth Woodworth, myself, and my wife & assistant Gail Gage.Our panel of distinguished guests payed their respects to this giant of an intellectual, this author of no less than 50 books (15 on the subject of 9/11 truth) include Peter Dale Scott, Paul Craig Roberts, Fran Shure, Barbara Honegger, Niels Harrit, Steven Jones, David Chandler, and Ken Jenkins.My personal reflection:The Day My Life Changed ForeverHis voice was deceptively gentle on the radio that afternoon, March 29, 2006. I had by chance turned to the FM station KPFA, on my way back from a construction observation duty in the San Francisco Bay Area. There was a very brave talk show host, Bonnie Faulkner, who was the only one at the station willing to take deep dives into exposing the Deep State, but I didn't know about that, or her, yet – nor of her mysterious guest that day, David Ray Griffin.She was asking him to share with her audience his findings, having just discovered Graeme MacQueen's deep research into the 500 pages of explosive testimonies of the Oral Histories of hundreds of 9/11 first responders – released by New York City under court order in August of 2005.This professor of theology carefully read many of these eyewitness statements of explosions, one after another. I found myself entering a state of cognitive dissonance. I had never heard of any alternative theory about how the Twin Tower's came down. I couldn't drive and listen to this at the same time. It required all of my brain power to try to process his message. The testimony was powerful – and already contradicting my very world view. I pulled my car into the parking lot and just sat and listened  – in horror actually. I thought I knew pretty well what happened on 9/11. I was a Reagan Republican and wanted to go into Afghanistan and Iraq and get those bastards who did this to us.But here was this very well-spoken, seemingly objective, elderly gentleman, telling me about beams flying out of the towers laterally, dripping with molten metal, impaling themselves into buildings hundreds of feet away. He even tried to tell me that a third tower came down – one that wasn't even hit by a plane! “What?! I'm an architect! I would know if a third tower came down! Either this guy is the biggest con artist – or I had been conned by my government – and I just couldn't go there – not yet anyway. I would prove him wrong. I went to see him the next night at the Grand Lake Theater in Oakland, CA. But I was late. And he had attracted a sell-out crowd of 600. I couldn't get in.I could listen to him on what they were calling a “livestream” (brand new back then!). What I heard, online that night, was a deeply moving presentation that covered a whole lot more ground than I had heard on the radio, and it was delivered with a simple logic that I couldn't fight. David Ray Griffin stepped aside and let his evidence do the work. I was in trouble. By the time he was done with me, I felt like I had been turned upside down and inside out. I was confused – raw and vulnerable, yet this had turned to anger in the days and weeks to come, and the anger turned to action, as I independently verified his outrageous insinuations about my government and the media who had lied to me on a colossal scale. It was his unique unassuming style that had strip

On this, our 100th episode, we eschew any silly self-congratulatory show to get right into one of James Cameron's most under appreciated films, his 1989 anti-nuke allegory The Abyss. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   We're finally here.    Episode 100.   In the word of the immortal Owen Wilson, wow.   But rather than throw myself a celebratory show basking in my own modesty, we're just going to get right into another episode. And this week's featured film is one of my favorites of the decade. A film that should have been a hit, that still informs the work of its director more than thirty years later.   But, as always, a little backstory.   As I quite regularly say on this show, I often do not know what I'm going to be talking about on the next episode as I put the finishing touches on the last one. And once again, this was the case when I completed the show last week, on Escape to Victory, although for a change, I finished the episode a day earlier than I usually do, so that would give me more time to think about what would be next.   Thursday, Friday, Saturday. All gone. Still have no clue what I'm going to write about.   Sunday arrives, and my wife and I decide to go see Avatar: The Way of Water in 3D at our local IMAX theatre. I was hesitant to see the film, because the first one literally broke my brain in 2009, and I'm still not 100% sure I fully recovered. It didn't break my brain because it was some kind of staggering work of heartbreaking genius, but because the friend who thought he was being kind by buying me a ticket to see it at a different local IMAX theatre misread the seating chart for the theatre and got me a ticket in the very front row of the theatre. Now, I don't know if you've ever seen a movie in IMAX 3D, but that first row is not the most advantageous place to watch an IMAX movie in 3D. But because the theatre was otherwise sold out, I sat there, watching Avatar in 3D from the worst possible seat in the house, and I could not think straight for a week. I actually called off work for a few days, which was easy to do considering I was the boss at my theatre, but I have definitely seen a cognitive decline since I saw Avatar in IMAX 3D in the worst possible conditions. I've never felt the need to see it again, and I was fine not seeing the new one. But my wife wanted to see it, and we had discount tickets to the theatre, so off we went.   Thankfully, this time, I chose the seats for myself, and got us some very good seats in a not very crowded theatre, nearly in the spot that would be the ideal viewing position for that specific theatre. And I actually enjoyed the movie.    There are very few filmmakers who can tell a story like James Cameron, and there are even fewer who could get away with pushing a pro-conservation, pro-liberal, pro-environment agenda on an unsuspecting populace who would otherwise never go for such a thing.   But as I was watching it, two things hit me.   One, I hate high frame rate movies. Especially when the overall look of the movie was changing between obviously shot on video and mimicking the feel of film so much, it felt like a three year old got ahold of the TV remote and was constantly pushing the button that turned motion smoothing off and on and off and on and off and on, over and over and over again, for three and a half hours.   Two, I couldn't also help but notice how many moments and motifs Cameron was seemingly borrowing from his under-appreciated 1989 movie The Abyss.   And there it was.   The topic for our 100th episode.   The Abyss.   And, as always, before we get to the movie itself, some more background.   James Francis Cameron was born in 1954 in small town in the middle eastern part of the Ontario province of Canada, about a nine hour drive north of Toronto, a town so small that it wouldn't even get its first television station until 1971, the year his family would to Brea, California. After he graduated from high school in 1973, Cameron would attend Fullerton College in Orange County, where would initially study physics before switching to English a year later. He'd leave school in 1974 and work various jobs including as a truck driver and a janitor, while writing screenplays in his spare time, when he wasn't in a library learning about movie special effects.   Like many, many people in 1977, including myself, Star Wars would change his life. After seeing the movie, Cameron quit his job as a truck driver and decided he was going to break into the film industry by any means necessary.   If you've ever followed James Cameron's career, you've no doubt heard him say on more than one occasion that if you want to be a filmmaker, to just do it. Pick up a camera and start shooting something. And that's exactly what he did, not a year later.   In 1978, he would co-write, co-produce, co-direct and do the production design for a 12 minute sci-fi short called Xenogenesis. Produced at a cost of $20,000 raised from a dentist and starring his future T2 co-writer William Wisher, Xenogenesis would show just how creative Cameron could be when it came to making something with a low budget look like it cost far more to produce. There's a not very good transfer of the short available on YouTube, which I will link to in the transcript for this episode on our website, at The80sMoviePodcast.com (). But it's interesting to watch because you can already see themes that Cameron will revisit time and time again are already fully formed in the storyteller's mind.   Once the short was completed, Cameron screened it for the dentist, who hated it and demanded his money back. But the short would come to the attention of Roger Corman, The Pope of Pop Cinema, who would hire Cameron to work on several of his company's upcoming feature films. After working as a production assistant on Rock 'n' Roll High School, Cameron would move up becoming the art director on Battle Beyond the Stars, which at the time, at a cost of $2m, would be the most expensive movie Corman would have produced in his then-26 year career, as the production designer on Galaxy of Terror, and help to design the title character for Aaron Lipstadt's Android.    Cameron would branch out from Corman to work on the special effects for John Carpenter's Escape from New York, but Corman would bring Cameron back into the fold with the promise of running the special effects department for the sequel to Joe Dante's surprise 1978 hit Piranha. But the film's original director, Miller Drake, would leave the production due to continued differences with the Italian producer, and Cameron would be moved into the director's chair. But like Drake, Cameron would struggle with the producer to get the film completed, and would eventually disavow the film as something he doesn't consider to be his actual work as a director. And while the film would not be any kind of success by any conceivable measure, as a work of storytelling or as a critical or financial success, it would give him two things that would help him in his near future.   The first thing was an association with character actor Lance Henriksen, who would go on to be a featured actor in Cameron's next two films.   The second thing would be a dream he would have while finishing the film in Rome. Tired of being in Italy to finish the film, and sick with a high grade fever, Cameron would have a nightmare about an invincible cyborg hit-man from the future who had been sent to assassinate him.   Sound familiar?   We've already discussed how The Terminator came to be in our April 2020 episode on Hemdale Films, so we'll skip over that here. Suffice it to say that the film was a global success, turning Arnold Schwarzenegger into a beloved action star, and giving Cameron the clout to move on to ever bigger films.   That even bigger film was, of course, the 1986 blockbuster Aliens, which would not only become Cameron's second big global box office success, but would be nominated for seven Academy Awards, including a well deserved acting nomination for Sigourney Weaver, which came as a surprise to many at the time because actors in what are perceived to be horror, action and/or sci-fi movies usually don't get such an accolade.   After the success of Aliens, Twentieth Century-Fox would engage Cameron and his producing partner, Gale Anne Hurd, who during the making of Aliens would become his second wife, on a risky project.   The Abyss.   Cameron had first come up with the idea for The Abyss while he was still a student in high school, inspired by a science lecture he attended that featured Francis J. Falejczyk, the first human to breathe fluid through his lungs in experiments held at Duke University. Cameron's story would involve a group of underwater scientists who accidentally discover aliens living at the bottom of the ocean floor near their lab.    Shortly after he wrote his initial draft of the story, it would be filed away and forgotten about for more than a decade.   While in England shooting Aliens, Cameron and Hurd would watch a National Geographic documentary about remote operated vehicles operating deep in the North Atlantic Ocean, and Cameron would be reminded of his old story. When the returned to the United States once the film was complete, Cameron would turn his short story into a screenplay, changing the main characters from scientists to oil-rig workers, feeling audiences would be able to better connect to blue collar workers than white collar eggheads, and once Cameron's first draft of the screenplay was complete, the couple agreed it would be their next film.   Cameron and Hurd would start the complex process of pre-production in the early days of 1988. Not only would they need to need to find a place large enough where they could film the underwater sequences in a controlled environment with life-size sets under real water, they would need to spend time designing and building a number of state of the art camera rigs and costumes that would work for the project and be able to capture the actors doing their craft in the water and keep them alive during filming, as well as a communications system that would not only allow Cameron to talk to his actors, but also allow the dialogue to be recorded live underwater for the first time in cinema history.   After considering filming in the Bahamas and in Malta, the later near the sets constructed for Robert Altman's Popeye movie nearly a decade before, Cameron and Hurd would find their perfect shooting location outside Gaffney, South Carolina: an uncompleted and abandoned $700m nuclear power plant that had been purchased by local independent filmmaker Earl Owensby, who we profiled to a certain degree in our May 2022 episode about the 3D Movie craze of the early 1980s.   In what was supposed to be the power plant's primary reactor containment vessel, 55 feet deep and with a 209 foot circumference, the main set of the Deepcore rig would be built. That tank would hold seven and a half million gallons of water, and after the set was built, would take five days to completely fill. Next to the main tank was a secondary tank, an unused turbine pit that could hold two and a half million gallons of water, where most of the quote unquote exteriors not involving the Deepcore rig would be shot.   I'm going to sidetrack for a moment to demonstrate just how powerful a force James Cameron already was in Hollywood by the end of 1987. When word about The Abyss was announced in the Hollywood trade papers, both MGM and Tri-Star Pictures started developing their own underwater action/sci-fi films, in the hopes that they could beat The Abyss to theatres, even if there was scant information about The Abyss announced at the time.   Friday the 13th director Sean S. Cunningham's DeepStar Six would arrive in theatres first, in January 1989, while Rambo: First Blood Part Two director George P. Cosmastos' Leviathan would arrive in March 1989. Like The Abyss, both films would feature deep-sea colonies, but unlike The Abyss, both featured those underwater workers being terrorized by an evil creature. Because if you're trying to copy the secret underwater action/sci-fi movie from the director of The Terminator and Aliens, he's most definitely going to do evil underwater creatures and not peace-loving aliens who don't want to hurt humanity.   Right?   Suffice it to say, neither DeepStar Six or Leviathan made any kind of impact at the box office or with critics. DeepStar Six couldn't even muster up its modest $8.5m budget in ticket sales, while Leviathan would miss making up its $25m budget by more than $10m. Although, ironically, Leviathan would shoot in the Malta water tanks Cameron would reject for The Abyss.   Okay. Back to The Abyss.   Rather than cast movie stars, Cameron would bring in two well-respected actors who were known to audiences but not really that famous.   For the leading role of Bud Brigman, the foreman for the underwater Deepcore rig, Cameron would cast Ed Harris, best known at the time for playing John Glenn in The Right Stuff, while Mary Elizabeth Mastrantonio would be recognizable to some for playing Tom Cruise's girlfriend in The Color of Money, for which she was nominated for an Academy Award for Best Supporting Actress. Other actors would include Michael Biehn, Cameron's co-star from The Terminator and Aliens, Leo Burmester, who had been featured in Broadcast News and The Last Temptation of Christ, Todd Graff, who had starred in Tony Bill's Five Corners alongside Jodie Foster and John Turturro, character actor John Bedford Lloyd, Late Night with David Letterman featured actor Chris Elliott in a rare non-comedy role, and Ken Jenkins, who would become best known as Doctor Kelso on Scrubs years down the road who had only made two movies before this point of his career.   More than two millions dollars would be spent creating the underwater sets for the film while Cameron, his actors and several major members of the crew including cinematographer Mikael Salomon, spent a week in the Cayman Islands, training for underwater diving, as nearly half of the movie would be shot underwater. It was also a good distraction for Cameron himself, as he and Hurd had split up as a couple during the earliest days of pre-production.    While they would go through their divorce during the filming of the movie, they would remain professional partners on the film, and do their best to not allow their private lives to seep into the production any more than it already had in the script.   Production on The Abyss would begin on August 15th, 1988, and would be amongst the toughest shoots for pretty much everyone involved. The film would endure a number of technical mishaps, some due to poorly built supports, some due to force majeure, literal Acts of God, that would push the film's production schedule to nearly six months in length and its budget from $36m to $42m, and would cause emotional breakdowns from its director on down. Mastrantonio would, during the shooting of the Lindsey resuscitation scene, stormed off the set when the camera ran out of film during the fifteenth take, when she was laying on the floor of the rig, wet, partially naked and somewhat bruised from being slapped around by Harris during the scene. “We are not animals!” she would scream at Cameron as she left. Harris would have to continue shooting the scene, yelling at nothing on the ground while trying to save the life of his character's estranged wife. On his way back to his hotel room after finishing that scene, Harris would have to pull over to the side of the road because he couldn't stop crying.   Biehn, who had already made a couple movies with the meticulous director, noted that he spent five months in Gaffney, but maybe only worked three or four weeks during that entire time. He would note that, during the filming of one of his scenes underwater, the lights went out. He was thirty feet underwater. It was so dark he couldn't see his own hand in front of him, and he genuinely wondered right then and there if this was how he was going to die. Harris was so frustrated with Cameron by the end of the shoot that he threatened to not do any promotion for the film when it was released into theatres, although by the time that happened, he would be making the rounds with the press.   After 140 days of principal photography, and a lawsuit Owensby filed against the production that tried to kick them out of his studio for damaging one of the water tanks, the film would finally finish shooting on December 8th, by which time, Fox had already produced and released a teaser trailer for the movie which featured absolutely no footage from the film. Why? Because they had gotten word that Warners was about to release their first teaser trailer for their big movie for 1989, Tim Burton's Batman, and Fox didn't want their big movie for 1989 to be left in the dust.   Thirty-four years later, I still remember the day we got both trailers in, because they both arrived at my then theatre, the 41st Avenue Playhouse in Capitola, Calfornia, within five minutes of each other. For the record, The Abyss did arrive first. It was the Tuesday before Thanksgiving, the day before we opened the Bill Murray comedy Scrooged, and both Fox and Warners wanted theatres to play their movie's trailer, but not the other movie's trailer, in front of the film. I programmed both of them anyway, with Batman playing before The Abyss, which would be the last trailer before the film, because I was a bigger Cameron fan than Burton. And as cool as the trailer for Batman was, the trailer for The Abyss was mind-blowing, even if it had no footage from the film. I'll provide a link to that first Abyss teaser trailer on the website as well.   But I digress.   While Cameron worked on editing the film in Los Angeles, two major teams were working on the film's effects. The artists from Dreamquest Images would complete eighty effects shots for the film, including filming a seventy-five foot long miniature submarine being tossed around through a storm, while Industrial Lights and Magic pushed the envelope for computer graphics, digitally creating a water tentacle manipulated by the aliens that would mimic both Bud and Lindsey in an attempt to communicate with the humans. It would take ILM six months to create the minute and fifteen second long sequence.   Originally slated to be released in time for the Fourth of July holiday weekend, one of the busiest and most important weekends of the year for theatres, The Abyss would be held back until August 9th, 1989, due to some effects work not being completed in time, and for Cameron to rework the ending, which test audiences were not too fond of.   We'll get back to that in a moment.   When The Abyss opened in 1533 theatres, it would open to second place that weekend with $9.3m, only $350k behind the Ron Howard family dramedy Parenthood. The reviews from critics was uniformly outstanding, with many praising the acting and the groundbreaking special effects, while some would lament on the rather abrupt ending of the storyline.   We'll get back to that in a moment.   In its second week, The Abyss would fall to third place, its $7.2m haul behind Parenthood again, at $7.6m, as well as Uncle Buck, which would gross $8.8m. The film would continue to play in theatres for several weeks, never losing more than 34% of its audience in any given week, until Fox abruptly stopped tracking the film after nine weeks and $54.2m in ticket sales.   By the time the film came out, I was managing a dollar house in San Jose, a point I know I have mentioned a number of times and even did an episode about in September 2021, but I can tell you that we did pretty good business for The Abyss when we got the film in October 1989, and I would hang on to the film until just before Christmas, not because the film was no longer doing any business but because, as I mentioned on that episode, I wanted to play more family friendly films for the holidays, since part of my pay was tied to my concessions sales, and I wanted to make a lot of money then, so I could buy my girlfriend of nearly a year, Tracy, a nice gift for Christmas. Impress her dad, who really didn't like me too much.   The film would go on to be nominated for four Academy Awards, including for Mikael Salomon's superb cinematography, winning for its special effects, and would enjoy a small cult following on home video… until shortly after the release of Cameron's next film, Terminator 2.   Rumors would start to circulate that Cameron's original cut of The Abyss was nearly a half-hour longer than the one released into theatres, and that he was supposedly working on a director's cut of some kind. The rumor was finally proven true when a provision in James Cameron's $500m, five year financing deal between Fox and the director's new production company, Lightstorm Entertainment, included a $500k allotment for Cameron to complete his director's cut.   Thanks to the advancements in computer graphics between 1989 and 1991, Industrial Lights and Magic was able to apply what they created for T2 into the never fully completed tidal wave sequence that was supposed to end the movie. Overall, what was now being called The Abyss: Special Edition would see its run time expanded by 28 minutes, and Cameron's anti-nuke allegory would finally be fully fleshed out.   The Special Edition would open at the Loews Village VII in New York City and the Century Plaza Cinemas in Century City, literally down the street from the Fox lot, on land that used to be part of the Fox lot, on February 26th, 1993. Unsurprisingly, the critical consensus for the expanded film was even better, with critics noting the film's story scope had been considerably broadened. The film would do fairly well for a four year old film only opening on two screens, earning $21k, good enough for Fox to expand the footprint of the film into more major markets. After eight weeks in only a total of twelve theatres, the updated film would finish its second run in theatres with more than $238k in ticket sales.   I love both versions of The Abyss, although, like with Aliens and Cameron Crowe's untitled version of Almost Famous, I prefer the longer, Special Edition cut. Harris and Mastrantonio gave two of the best performances of 1989 in the film. For me, it solidified what I already knew about Harris, that he was one of the best actors of his generation.   I had seen Mastrantonio as Tony Montana's sister in Scarface and in The Color of Money, but what she did on screen in The Abyss, it still puzzles me to this day how she didn't have a much stronger career. Did you know her last feature film was The Perfect Storm, with George Clooney and Mark Wahlberg, 23 years ago? Not that she stopped working. She's had main or recurring roles on a number of television shows since then, including Law and Order: Criminal Intent, Blindspot and The Punisher, but it feels like she should have had a bigger and better career in movies.   Cameron, of course, would become The King of the World. Terminator 2, True Lies, Titanic, and his two Avatar movies to date were all global box office hits. His eight feature films have grossed over $8b worldwide to date, and have been nominated for 45 Academy Awards, winning 21.   There's a saying amongst Hollywood watchers. Never bet against James Cameron. Personally, I wish I could have not bet against James Cameron more often. Since the release of The Abyss in 1989, Cameron has only made five dramatic narratives, taking twelve years off between Titanic and Avatar, and another thirteen years off between Avatar and Avatar 2. And while he was partially busy with two documentaries about life under water, Ghosts of the Abyss and Aliens of the Deep, it seems that there were other stories he could have told while he was waiting for technology to catch up to his vision of how he wanted to make the Avatar movies.   Another action film with Arnold Schwarzenegger. An unexpected foray into romantic comedy. The adaptation of Taylor Stevens' The Informationalist that Cameron has been threatening to make for more than a decade. The adaptation of Charles Pelligrino's The Last Train from Hiroshima he was going to make after the first Avatar. Anything. Filmmakers only have so many films in them, and Cameron has only made eight films in nearly forty years. I'm greedy. I want more from him, and not just more Avatar movies.   In the years after its initial release, both Ed Harris and Mary Elizabeth Mastrantonio have refused to talk about the film with interviewers and at audience Q&As for other movies. The last time Harris has ever mentioned The Abyss was more than twenty years ago, when he said he was never going to talk about the film again after stating "Asking me how I was treated on The Abyss is like asking a soldier how he was treated in Vietnam.” For her part, Mastrantonio would only say "The Abyss was a lot of things. Fun to make was not one of them.”   It bothers me that so many people involved in the making of a film I love so dearly were emotionally scarred by the making of it. It's hard not to notice that none of the actors in The Abyss, including the star of his first three films, Michael Biehn, never worked with Cameron again. That he couldn't work with Gale Anne Hurd again outside of a contractual obligation on T2.     My final thought for today is that I hope that we'll someday finally get The Abyss, be it the theatrical version or the Special Edition but preferably both, in 4K Ultra HD. It's been promised for years. It's apparently been completed for years. Cameron says it was up to Fox, now Disney, to get it out. Fox, now Disney, says they've been waiting for Cameron to sign off on it. During a recent press tour for Avatar: The Way of Water, Cameron said everything is done and that a 4K UHD Blu-ray should be released no later than March of this year, but we'll see. That's just a little more than a month from the time I publish this episode, and there have been no official announcements from Disney Home Video about a new release of the film, which has never been available on Blu-ray after 15 years of the format's existence, and has been out of print on DVD for almost as long.   So there it is. Our 100th episode. I thank you for finding the show, listening to the show, and sticking with the show.   We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about James Cameron, The Abyss, and the other movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

On this, our 100th episode, we eschew any silly self-congratulatory show to get right into one of James Cameron's most under appreciated films, his 1989 anti-nuke allegory The Abyss. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   We're finally here.    Episode 100.   In the word of the immortal Owen Wilson, wow.   But rather than throw myself a celebratory show basking in my own modesty, we're just going to get right into another episode. And this week's featured film is one of my favorites of the decade. A film that should have been a hit, that still informs the work of its director more than thirty years later.   But, as always, a little backstory.   As I quite regularly say on this show, I often do not know what I'm going to be talking about on the next episode as I put the finishing touches on the last one. And once again, this was the case when I completed the show last week, on Escape to Victory, although for a change, I finished the episode a day earlier than I usually do, so that would give me more time to think about what would be next.   Thursday, Friday, Saturday. All gone. Still have no clue what I'm going to write about.   Sunday arrives, and my wife and I decide to go see Avatar: The Way of Water in 3D at our local IMAX theatre. I was hesitant to see the film, because the first one literally broke my brain in 2009, and I'm still not 100% sure I fully recovered. It didn't break my brain because it was some kind of staggering work of heartbreaking genius, but because the friend who thought he was being kind by buying me a ticket to see it at a different local IMAX theatre misread the seating chart for the theatre and got me a ticket in the very front row of the theatre. Now, I don't know if you've ever seen a movie in IMAX 3D, but that first row is not the most advantageous place to watch an IMAX movie in 3D. But because the theatre was otherwise sold out, I sat there, watching Avatar in 3D from the worst possible seat in the house, and I could not think straight for a week. I actually called off work for a few days, which was easy to do considering I was the boss at my theatre, but I have definitely seen a cognitive decline since I saw Avatar in IMAX 3D in the worst possible conditions. I've never felt the need to see it again, and I was fine not seeing the new one. But my wife wanted to see it, and we had discount tickets to the theatre, so off we went.   Thankfully, this time, I chose the seats for myself, and got us some very good seats in a not very crowded theatre, nearly in the spot that would be the ideal viewing position for that specific theatre. And I actually enjoyed the movie.    There are very few filmmakers who can tell a story like James Cameron, and there are even fewer who could get away with pushing a pro-conservation, pro-liberal, pro-environment agenda on an unsuspecting populace who would otherwise never go for such a thing.   But as I was watching it, two things hit me.   One, I hate high frame rate movies. Especially when the overall look of the movie was changing between obviously shot on video and mimicking the feel of film so much, it felt like a three year old got ahold of the TV remote and was constantly pushing the button that turned motion smoothing off and on and off and on and off and on, over and over and over again, for three and a half hours.   Two, I couldn't also help but notice how many moments and motifs Cameron was seemingly borrowing from his under-appreciated 1989 movie The Abyss.   And there it was.   The topic for our 100th episode.   The Abyss.   And, as always, before we get to the movie itself, some more background.   James Francis Cameron was born in 1954 in small town in the middle eastern part of the Ontario province of Canada, about a nine hour drive north of Toronto, a town so small that it wouldn't even get its first television station until 1971, the year his family would to Brea, California. After he graduated from high school in 1973, Cameron would attend Fullerton College in Orange County, where would initially study physics before switching to English a year later. He'd leave school in 1974 and work various jobs including as a truck driver and a janitor, while writing screenplays in his spare time, when he wasn't in a library learning about movie special effects.   Like many, many people in 1977, including myself, Star Wars would change his life. After seeing the movie, Cameron quit his job as a truck driver and decided he was going to break into the film industry by any means necessary.   If you've ever followed James Cameron's career, you've no doubt heard him say on more than one occasion that if you want to be a filmmaker, to just do it. Pick up a camera and start shooting something. And that's exactly what he did, not a year later.   In 1978, he would co-write, co-produce, co-direct and do the production design for a 12 minute sci-fi short called Xenogenesis. Produced at a cost of $20,000 raised from a dentist and starring his future T2 co-writer William Wisher, Xenogenesis would show just how creative Cameron could be when it came to making something with a low budget look like it cost far more to produce. There's a not very good transfer of the short available on YouTube, which I will link to in the transcript for this episode on our website, at The80sMoviePodcast.com (). But it's interesting to watch because you can already see themes that Cameron will revisit time and time again are already fully formed in the storyteller's mind.   Once the short was completed, Cameron screened it for the dentist, who hated it and demanded his money back. But the short would come to the attention of Roger Corman, The Pope of Pop Cinema, who would hire Cameron to work on several of his company's upcoming feature films. After working as a production assistant on Rock 'n' Roll High School, Cameron would move up becoming the art director on Battle Beyond the Stars, which at the time, at a cost of $2m, would be the most expensive movie Corman would have produced in his then-26 year career, as the production designer on Galaxy of Terror, and help to design the title character for Aaron Lipstadt's Android.    Cameron would branch out from Corman to work on the special effects for John Carpenter's Escape from New York, but Corman would bring Cameron back into the fold with the promise of running the special effects department for the sequel to Joe Dante's surprise 1978 hit Piranha. But the film's original director, Miller Drake, would leave the production due to continued differences with the Italian producer, and Cameron would be moved into the director's chair. But like Drake, Cameron would struggle with the producer to get the film completed, and would eventually disavow the film as something he doesn't consider to be his actual work as a director. And while the film would not be any kind of success by any conceivable measure, as a work of storytelling or as a critical or financial success, it would give him two things that would help him in his near future.   The first thing was an association with character actor Lance Henriksen, who would go on to be a featured actor in Cameron's next two films.   The second thing would be a dream he would have while finishing the film in Rome. Tired of being in Italy to finish the film, and sick with a high grade fever, Cameron would have a nightmare about an invincible cyborg hit-man from the future who had been sent to assassinate him.   Sound familiar?   We've already discussed how The Terminator came to be in our April 2020 episode on Hemdale Films, so we'll skip over that here. Suffice it to say that the film was a global success, turning Arnold Schwarzenegger into a beloved action star, and giving Cameron the clout to move on to ever bigger films.   That even bigger film was, of course, the 1986 blockbuster Aliens, which would not only become Cameron's second big global box office success, but would be nominated for seven Academy Awards, including a well deserved acting nomination for Sigourney Weaver, which came as a surprise to many at the time because actors in what are perceived to be horror, action and/or sci-fi movies usually don't get such an accolade.   After the success of Aliens, Twentieth Century-Fox would engage Cameron and his producing partner, Gale Anne Hurd, who during the making of Aliens would become his second wife, on a risky project.   The Abyss.   Cameron had first come up with the idea for The Abyss while he was still a student in high school, inspired by a science lecture he attended that featured Francis J. Falejczyk, the first human to breathe fluid through his lungs in experiments held at Duke University. Cameron's story would involve a group of underwater scientists who accidentally discover aliens living at the bottom of the ocean floor near their lab.    Shortly after he wrote his initial draft of the story, it would be filed away and forgotten about for more than a decade.   While in England shooting Aliens, Cameron and Hurd would watch a National Geographic documentary about remote operated vehicles operating deep in the North Atlantic Ocean, and Cameron would be reminded of his old story. When the returned to the United States once the film was complete, Cameron would turn his short story into a screenplay, changing the main characters from scientists to oil-rig workers, feeling audiences would be able to better connect to blue collar workers than white collar eggheads, and once Cameron's first draft of the screenplay was complete, the couple agreed it would be their next film.   Cameron and Hurd would start the complex process of pre-production in the early days of 1988. Not only would they need to need to find a place large enough where they could film the underwater sequences in a controlled environment with life-size sets under real water, they would need to spend time designing and building a number of state of the art camera rigs and costumes that would work for the project and be able to capture the actors doing their craft in the water and keep them alive during filming, as well as a communications system that would not only allow Cameron to talk to his actors, but also allow the dialogue to be recorded live underwater for the first time in cinema history.   After considering filming in the Bahamas and in Malta, the later near the sets constructed for Robert Altman's Popeye movie nearly a decade before, Cameron and Hurd would find their perfect shooting location outside Gaffney, South Carolina: an uncompleted and abandoned $700m nuclear power plant that had been purchased by local independent filmmaker Earl Owensby, who we profiled to a certain degree in our May 2022 episode about the 3D Movie craze of the early 1980s.   In what was supposed to be the power plant's primary reactor containment vessel, 55 feet deep and with a 209 foot circumference, the main set of the Deepcore rig would be built. That tank would hold seven and a half million gallons of water, and after the set was built, would take five days to completely fill. Next to the main tank was a secondary tank, an unused turbine pit that could hold two and a half million gallons of water, where most of the quote unquote exteriors not involving the Deepcore rig would be shot.   I'm going to sidetrack for a moment to demonstrate just how powerful a force James Cameron already was in Hollywood by the end of 1987. When word about The Abyss was announced in the Hollywood trade papers, both MGM and Tri-Star Pictures started developing their own underwater action/sci-fi films, in the hopes that they could beat The Abyss to theatres, even if there was scant information about The Abyss announced at the time.   Friday the 13th director Sean S. Cunningham's DeepStar Six would arrive in theatres first, in January 1989, while Rambo: First Blood Part Two director George P. Cosmastos' Leviathan would arrive in March 1989. Like The Abyss, both films would feature deep-sea colonies, but unlike The Abyss, both featured those underwater workers being terrorized by an evil creature. Because if you're trying to copy the secret underwater action/sci-fi movie from the director of The Terminator and Aliens, he's most definitely going to do evil underwater creatures and not peace-loving aliens who don't want to hurt humanity.   Right?   Suffice it to say, neither DeepStar Six or Leviathan made any kind of impact at the box office or with critics. DeepStar Six couldn't even muster up its modest $8.5m budget in ticket sales, while Leviathan would miss making up its $25m budget by more than $10m. Although, ironically, Leviathan would shoot in the Malta water tanks Cameron would reject for The Abyss.   Okay. Back to The Abyss.   Rather than cast movie stars, Cameron would bring in two well-respected actors who were known to audiences but not really that famous.   For the leading role of Bud Brigman, the foreman for the underwater Deepcore rig, Cameron would cast Ed Harris, best known at the time for playing John Glenn in The Right Stuff, while Mary Elizabeth Mastrantonio would be recognizable to some for playing Tom Cruise's girlfriend in The Color of Money, for which she was nominated for an Academy Award for Best Supporting Actress. Other actors would include Michael Biehn, Cameron's co-star from The Terminator and Aliens, Leo Burmester, who had been featured in Broadcast News and The Last Temptation of Christ, Todd Graff, who had starred in Tony Bill's Five Corners alongside Jodie Foster and John Turturro, character actor John Bedford Lloyd, Late Night with David Letterman featured actor Chris Elliott in a rare non-comedy role, and Ken Jenkins, who would become best known as Doctor Kelso on Scrubs years down the road who had only made two movies before this point of his career.   More than two millions dollars would be spent creating the underwater sets for the film while Cameron, his actors and several major members of the crew including cinematographer Mikael Salomon, spent a week in the Cayman Islands, training for underwater diving, as nearly half of the movie would be shot underwater. It was also a good distraction for Cameron himself, as he and Hurd had split up as a couple during the earliest days of pre-production.    While they would go through their divorce during the filming of the movie, they would remain professional partners on the film, and do their best to not allow their private lives to seep into the production any more than it already had in the script.   Production on The Abyss would begin on August 15th, 1988, and would be amongst the toughest shoots for pretty much everyone involved. The film would endure a number of technical mishaps, some due to poorly built supports, some due to force majeure, literal Acts of God, that would push the film's production schedule to nearly six months in length and its budget from $36m to $42m, and would cause emotional breakdowns from its director on down. Mastrantonio would, during the shooting of the Lindsey resuscitation scene, stormed off the set when the camera ran out of film during the fifteenth take, when she was laying on the floor of the rig, wet, partially naked and somewhat bruised from being slapped around by Harris during the scene. “We are not animals!” she would scream at Cameron as she left. Harris would have to continue shooting the scene, yelling at nothing on the ground while trying to save the life of his character's estranged wife. On his way back to his hotel room after finishing that scene, Harris would have to pull over to the side of the road because he couldn't stop crying.   Biehn, who had already made a couple movies with the meticulous director, noted that he spent five months in Gaffney, but maybe only worked three or four weeks during that entire time. He would note that, during the filming of one of his scenes underwater, the lights went out. He was thirty feet underwater. It was so dark he couldn't see his own hand in front of him, and he genuinely wondered right then and there if this was how he was going to die. Harris was so frustrated with Cameron by the end of the shoot that he threatened to not do any promotion for the film when it was released into theatres, although by the time that happened, he would be making the rounds with the press.   After 140 days of principal photography, and a lawsuit Owensby filed against the production that tried to kick them out of his studio for damaging one of the water tanks, the film would finally finish shooting on December 8th, by which time, Fox had already produced and released a teaser trailer for the movie which featured absolutely no footage from the film. Why? Because they had gotten word that Warners was about to release their first teaser trailer for their big movie for 1989, Tim Burton's Batman, and Fox didn't want their big movie for 1989 to be left in the dust.   Thirty-four years later, I still remember the day we got both trailers in, because they both arrived at my then theatre, the 41st Avenue Playhouse in Capitola, Calfornia, within five minutes of each other. For the record, The Abyss did arrive first. It was the Tuesday before Thanksgiving, the day before we opened the Bill Murray comedy Scrooged, and both Fox and Warners wanted theatres to play their movie's trailer, but not the other movie's trailer, in front of the film. I programmed both of them anyway, with Batman playing before The Abyss, which would be the last trailer before the film, because I was a bigger Cameron fan than Burton. And as cool as the trailer for Batman was, the trailer for The Abyss was mind-blowing, even if it had no footage from the film. I'll provide a link to that first Abyss teaser trailer on the website as well.   But I digress.   While Cameron worked on editing the film in Los Angeles, two major teams were working on the film's effects. The artists from Dreamquest Images would complete eighty effects shots for the film, including filming a seventy-five foot long miniature submarine being tossed around through a storm, while Industrial Lights and Magic pushed the envelope for computer graphics, digitally creating a water tentacle manipulated by the aliens that would mimic both Bud and Lindsey in an attempt to communicate with the humans. It would take ILM six months to create the minute and fifteen second long sequence.   Originally slated to be released in time for the Fourth of July holiday weekend, one of the busiest and most important weekends of the year for theatres, The Abyss would be held back until August 9th, 1989, due to some effects work not being completed in time, and for Cameron to rework the ending, which test audiences were not too fond of.   We'll get back to that in a moment.   When The Abyss opened in 1533 theatres, it would open to second place that weekend with $9.3m, only $350k behind the Ron Howard family dramedy Parenthood. The reviews from critics was uniformly outstanding, with many praising the acting and the groundbreaking special effects, while some would lament on the rather abrupt ending of the storyline.   We'll get back to that in a moment.   In its second week, The Abyss would fall to third place, its $7.2m haul behind Parenthood again, at $7.6m, as well as Uncle Buck, which would gross $8.8m. The film would continue to play in theatres for several weeks, never losing more than 34% of its audience in any given week, until Fox abruptly stopped tracking the film after nine weeks and $54.2m in ticket sales.   By the time the film came out, I was managing a dollar house in San Jose, a point I know I have mentioned a number of times and even did an episode about in September 2021, but I can tell you that we did pretty good business for The Abyss when we got the film in October 1989, and I would hang on to the film until just before Christmas, not because the film was no longer doing any business but because, as I mentioned on that episode, I wanted to play more family friendly films for the holidays, since part of my pay was tied to my concessions sales, and I wanted to make a lot of money then, so I could buy my girlfriend of nearly a year, Tracy, a nice gift for Christmas. Impress her dad, who really didn't like me too much.   The film would go on to be nominated for four Academy Awards, including for Mikael Salomon's superb cinematography, winning for its special effects, and would enjoy a small cult following on home video… until shortly after the release of Cameron's next film, Terminator 2.   Rumors would start to circulate that Cameron's original cut of The Abyss was nearly a half-hour longer than the one released into theatres, and that he was supposedly working on a director's cut of some kind. The rumor was finally proven true when a provision in James Cameron's $500m, five year financing deal between Fox and the director's new production company, Lightstorm Entertainment, included a $500k allotment for Cameron to complete his director's cut.   Thanks to the advancements in computer graphics between 1989 and 1991, Industrial Lights and Magic was able to apply what they created for T2 into the never fully completed tidal wave sequence that was supposed to end the movie. Overall, what was now being called The Abyss: Special Edition would see its run time expanded by 28 minutes, and Cameron's anti-nuke allegory would finally be fully fleshed out.   The Special Edition would open at the Loews Village VII in New York City and the Century Plaza Cinemas in Century City, literally down the street from the Fox lot, on land that used to be part of the Fox lot, on February 26th, 1993. Unsurprisingly, the critical consensus for the expanded film was even better, with critics noting the film's story scope had been considerably broadened. The film would do fairly well for a four year old film only opening on two screens, earning $21k, good enough for Fox to expand the footprint of the film into more major markets. After eight weeks in only a total of twelve theatres, the updated film would finish its second run in theatres with more than $238k in ticket sales.   I love both versions of The Abyss, although, like with Aliens and Cameron Crowe's untitled version of Almost Famous, I prefer the longer, Special Edition cut. Harris and Mastrantonio gave two of the best performances of 1989 in the film. For me, it solidified what I already knew about Harris, that he was one of the best actors of his generation.   I had seen Mastrantonio as Tony Montana's sister in Scarface and in The Color of Money, but what she did on screen in The Abyss, it still puzzles me to this day how she didn't have a much stronger career. Did you know her last feature film was The Perfect Storm, with George Clooney and Mark Wahlberg, 23 years ago? Not that she stopped working. She's had main or recurring roles on a number of television shows since then, including Law and Order: Criminal Intent, Blindspot and The Punisher, but it feels like she should have had a bigger and better career in movies.   Cameron, of course, would become The King of the World. Terminator 2, True Lies, Titanic, and his two Avatar movies to date were all global box office hits. His eight feature films have grossed over $8b worldwide to date, and have been nominated for 45 Academy Awards, winning 21.   There's a saying amongst Hollywood watchers. Never bet against James Cameron. Personally, I wish I could have not bet against James Cameron more often. Since the release of The Abyss in 1989, Cameron has only made five dramatic narratives, taking twelve years off between Titanic and Avatar, and another thirteen years off between Avatar and Avatar 2. And while he was partially busy with two documentaries about life under water, Ghosts of the Abyss and Aliens of the Deep, it seems that there were other stories he could have told while he was waiting for technology to catch up to his vision of how he wanted to make the Avatar movies.   Another action film with Arnold Schwarzenegger. An unexpected foray into romantic comedy. The adaptation of Taylor Stevens' The Informationalist that Cameron has been threatening to make for more than a decade. The adaptation of Charles Pelligrino's The Last Train from Hiroshima he was going to make after the first Avatar. Anything. Filmmakers only have so many films in them, and Cameron has only made eight films in nearly forty years. I'm greedy. I want more from him, and not just more Avatar movies.   In the years after its initial release, both Ed Harris and Mary Elizabeth Mastrantonio have refused to talk about the film with interviewers and at audience Q&As for other movies. The last time Harris has ever mentioned The Abyss was more than twenty years ago, when he said he was never going to talk about the film again after stating "Asking me how I was treated on The Abyss is like asking a soldier how he was treated in Vietnam.” For her part, Mastrantonio would only say "The Abyss was a lot of things. Fun to make was not one of them.”   It bothers me that so many people involved in the making of a film I love so dearly were emotionally scarred by the making of it. It's hard not to notice that none of the actors in The Abyss, including the star of his first three films, Michael Biehn, never worked with Cameron again. That he couldn't work with Gale Anne Hurd again outside of a contractual obligation on T2.     My final thought for today is that I hope that we'll someday finally get The Abyss, be it the theatrical version or the Special Edition but preferably both, in 4K Ultra HD. It's been promised for years. It's apparently been completed for years. Cameron says it was up to Fox, now Disney, to get it out. Fox, now Disney, says they've been waiting for Cameron to sign off on it. During a recent press tour for Avatar: The Way of Water, Cameron said everything is done and that a 4K UHD Blu-ray should be released no later than March of this year, but we'll see. That's just a little more than a month from the time I publish this episode, and there have been no official announcements from Disney Home Video about a new release of the film, which has never been available on Blu-ray after 15 years of the format's existence, and has been out of print on DVD for almost as long.   So there it is. Our 100th episode. I thank you for finding the show, listening to the show, and sticking with the show.   We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about James Cameron, The Abyss, and the other movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

This show aired on Wednesday, January 11th, 2023 on 107.9 and 980 The WAAV in Wilmington, NC. Guests include Pete Wildeboer, Luke Waddell, and Ken Jenkins. 2022 Wilmington Crime Report, Opioid Settlement Funding, and more.See omnystudio.com/listener for privacy information.

Message from Ken Jenkins on January 8, 2023

Returning guest Ken Jenkins stops by to talk about his work as the head coach of the US Cyber Games. If you're intrigued by this emerging e-sport, you will want to keep it here: Jenkins discusses the selection process for the athletes, the roles of the coaches and mentors, and the intense, real-time collaboration going on during the competitions. – Get your FREE cybersecurity training resources: https://www.infosecinstitute.com/free– View Cyber Work Podcast transcripts and additional episodes: https://www.infosecinstitute.com/podcast0:00 - US Cyber Games 3:38 - How does the security scorecard work9:06 - Ken Jenkin's typical workday12:20 - Head coach at the US Cyber Games18:20 - How do Cyber Games teams work? 20:50 - Cyber Games events21:28 - Cyber Games draft26:30 - Challenges for Cyber Games teams30:00 - The makeup of a Cyber Games team32:46 - Cyber Games participation explained38:35 - Cyber Games red teaming41:13 - How to get into the Cyber Games44:31 - How Cyber Games translate to real-world skills48:27 - Tackling a new cybersecurity challenge51:12 - Follow the US Cyber Games55:05 - OutroAbout InfosecInfosec believes knowledge is power when fighting cybercrime. We help IT and security professionals advance their careers with skills development and certifications while empowering all employees with security awareness and privacy training to stay cyber-safe at work and home. It's our mission to equip all organizations and individuals with the know-how and confidence to outsmart cybercrime. Learn more at infosecinstitute.com.

Live from Mt. Vernon at the Our Communities United for Hochul & Delgado Rally for Row A. Election Day is Tuesday November 8th. New York polls are open 6am-9pm. Every vote counts! Highlights from Gov. Hochul, Lt. Gov. Delgado, Rep. Jamaal Bowman, Sen. Jamaal Bailey, Mt. Vernon Mayor Shawyn Patterson-Howard, County Exec. George Latimer, Deputy County Exec. Ken Jenkins and members from Hispanic Democrats of Westchester, Westchester County Democratic Committee, Working Families Party and Westchester Asian American Democrats.

Today's show covers a critical skill set for all coaches. An important part of our work involves engaging with people when they are in a state of crisis. For our clients, there are various reasons that their emotions and responses might escalate during these times, and the very best coaches learn how to meet people in their pain. Join us to learn more from the discussion! Ken Jenkins is a professional emergency manager with extensive experience in planning, logistics, training, deployment, response, and after-action analysis in aviation disasters. He has been involved in the aftermath of 9/11 events, along with many other catastrophic events. He has provided strong leadership for over 30 years in the transportation disaster sector. His work has enabled him to use his collaborative skills under conditions of high stress, and, in becoming a coach, he knows how these skills relate to the coaching profession. He is a coach, trainer, and author, as well as the owner and president of his own emergency response company. His book is Resilience: Stories of Courage and Survival in Aviation Disasters. In today's episode, Ken shares specific strategies that will be useful in your toolbox to appropriately and successfully engage with clients in crisis.  Show Highlights: What brought Ken into trauma work early in his career Why Ken wrote his book, Resilience, which focuses on his experience in eight aviation disasters with fatalities Why Ken decided to add coaching to his skillset and become a certified coach How showing up for people in the aftermath of a disaster is how we should approach people in need every single day—with deep empathy and compassion How Ken learned to engage with people through tough, emotional conversations by building rapport, trust, and safety How Ken learned to lessen the internal and external noise that people are experiencing The importance of preparation and presence in a situation where someone is wounded and grieving How open-ended questions help someone focus on the question instead of the emotion they feel How to best engage productively with someone who shows anger What it means to validate someone's feelings Why crisis communication is everyday communication Resources: Connect with Ken:https://kenjenkinsllc.com/ ( Website),https://www.facebook.com/KenJenkinsLLC ( Facebook), andhttps://twitter.com/kenjenkinsllc ( Twitter),https://www.linkedin.com/in/kjllc/ ( LinkedIn) Find Ken's book:https://www.amazon.com/Resilience-Stories-Survival-Aviation-Disasters/dp/1619200368 ( Resilience: Stories of Courage and Survival in Aviation Disasters) Join the STaR Coach Community: http://www.starcoachshow.com/register/ ( www.STaRcoachshow.com/register/).   To join the Fall Mentor Program with Meg, visithttp://www.starcoachshow.com/mentor ( www.starcoachshow.com/mentor).  Visit myhttps://www.starcoachshow.com ( website) for your FREE download: What I Know Now, That I Wish I Had Known When I First Started Coaching. 

Last week, a settlement administrator uploaded a report showing that hundreds of Black former NFL players now qualify for compensation from the league, following adjustments to dementia tests that eliminated the discriminatory practice known as “race-norming.” Following a civil rights lawsuit by two former players, the NFL said last year that they would stop applying lower cognitive base scores to Black players compared with white players. The Takeaway spoke with former NFL running back and player advocate Ken Jenkins about the significance of this latest development. And to learn more about the use of "race-norming" as well as what else is going on in the sports world, The Takeaway checked in with Dave Zirin, sports editor at The Nation.

Last week, a settlement administrator uploaded a report showing that hundreds of Black former NFL players now qualify for compensation from the league, following adjustments to dementia tests that eliminated the discriminatory practice known as “race-norming.” Following a civil rights lawsuit by two former players, the NFL said last year that they would stop applying lower cognitive base scores to Black players compared with white players. The Takeaway spoke with former NFL running back and player advocate Ken Jenkins about the significance of this latest development. And to learn more about the use of "race-norming" as well as what else is going on in the sports world, The Takeaway checked in with Dave Zirin, sports editor at The Nation.

Message from Ken Jenkins on July 31, 2022

Over the weekend, hundreds of flights were cancelled. The airline industry has been dealing with cancellations since the beginning of the pandemic. Weather was an issue, but the ongoing pilot shortage is expected to continue to affect the industry. Will this affect your summer travel plans? Ernie talks to aviation consultant Ken Jenkins ... (Photo Courtesy of WFAA) See omnystudio.com/listener for privacy information.

Rick talks to aviation consultant Ken Jenkins. DFW Airport was temporarily shut down (a single runway was later opened); operations are suspended at Love Field. Dallas is a national hub for several airlines. Are you stuck at the airport? And how does this affect air travel across the nation? The Rick Roberts Show is on NewsTalk 820 WBAP ... (Photo Courtesy of WFAA) See omnystudio.com/listener for privacy information.

Season Three, BAYBEE! We're back with a tale of two doctors, Dr. Bob Kelso, er, Paul Stubbs and Dr. Beverly Crusher. Wesley is up to his old antics again: experimenting on nanites and falling asleep with cute hair, at least according to Kate. Dr. Stubbs is a wunderkind just like him and those two bond over living up to the POE-tential as a gifted kid and baseball. It's a stealth Prime Directive episode, and Ken Jenkins chews up the scenery while providing ample fodder for Star Trek Acid Party. NOTE: Your cultural bridge officers met in person pre-Omicron so the sound is a little different than our previous episodes. Get in touch with us on Twitter @ReEngageTNG!   Host: Greg Tito (@gregtito on Twitter, @greg_tito on IG) Panel: Erik Gratton (@erikfallsdown on Twitter & IG), Kate Jaeger (@jaegerlicious on Twitter and IG), and Jimmie G (@thejimmieg on IG & Twitter)  Audio Editor: Greg Tito (@gregtito on Twitter, @greg_tito on IG) Logo artwork: @mojojojo_97 on Twitter, mojo97.com Theme music: Ryan Marth   Next up is the s3e2 "The Ensigns of Command" hosted by Kate!

Evan Solomon breaks down Canada's announcement on international vaccines passports, and the end of some support for individuals and businesses and the extension and creation of others.   On today's show:  Mark Agnew with The Canadian Chamber of Commerce on the government announcing targeted COVID-19 support measures to create jobs and growth. We play Evan's full interview with Newfoundland and Labrador Premier Andrew Furey on his province's soft drink tax. Ken Jenkins, former Washington running back, on the NFL agreeing to end race-based brain testing in $1B settlement. Kuljinder Singh and Arvindjeet Singh on how they created a makeshift rope out of their turbans to save stranded hikers.  Glen McGregor, CTV National News Senior Political Correspondent on his story investigating a Canadian racing driver and Instagram influencer accused of 'massive fraudulent' scheme. Jennifer Scott, a gig worker and President of Gig Workers United on Uber drivers pressuring the Ontario government for employee status.

Program Summary: As the nation marks 20 years since the Sept 11 attacks, Mickey interviews Ray McGinnis, the author of a new book that looks at numerous questions that remain unanswered by official authorities, and were not even asked by the 9/11 Commission. Then long-time 9/11 researcher Ken Jenkins explains why activists must be on the lookout for logical fallacies in their own thinking, especially on controversial issues such as 9/11.   Ray McGinnis is the author of the new book "Unanswered Questions: What the September Eleventh Families Asked and the 9/11 Commission Ignored." He is a freelance writer and writing instructor. Ken Jenkins is an independent video producer and long-time Sept 11 researcher. He holds a degree in electrical engineering, and has also studied psychology.

Ken Jenkins, former head of emergency response with American Airlines & aviation consultant See omnystudio.com/listener for privacy information.

Ken Jenkins, 9/11 activist and video producer offers Frank Morano alternative theories about what happened on September 11th, 2001.

Ken Jenkins, manager of American Airlines' Customer Assistance Relief Effort team shares his story from September 11, 2001

On today's episode of Felony Friday Ken Jenkins joins John to share his revolutionary business that is transforming interactions between individuals and the criminal justice system. Ken is the founder of R3 Contingencies, which offers those with a criminal record communication, financial and transportation services in addition to helping locate other resources such as employment. Check out the service packages offered on the site and get 2 free calls by entering promo code "JohnO1" at checkout.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Ken Jenkins - Aviation Consultant - 08-23-17

In Episode 7 of The Black Box, Ken Jenkins is joined by Lee Taft, an expert in values-driven crisis response and the role of apology in prompting forgiveness in the wake of an adverse event. Ken & Lee discuss liability fears, apology, and airline standards and practices and also examine the delicate line companies walk when bridging legal and humanistic response to errors.

In Episode 4, Ken shifts into the role of interviewee as he fields questions about his past work at American Airlines, his role in Emergency Response Management, and some of his most influential experiences both on and off the tarmac.

In the aftermath of a commercial aviation accident what is the process for accident investigation? Who are the players and what are their roles? Aviation Emergency Response consultant Ken Jenkins interviews Tommy McFall, a former National Transportation Safety Board and American Airlines investigator to get the answers.In addition, Ken will delve in to how accident investigation may differ outside of the United States by exploring the on scene activities involving the crash of American Airlines Flight 965 in Cali, Columbia on December 20, 1995. We will examine the accident investigation, as well as the humanitarian response for this tragic accident.