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In the second half of our conversation with Nick from Pod of Thunder, we dive deep into music, emotion, and entertainment.We compare the emotional depth of Steve Vai's "For the Love of God" with Joe Satriani's instrumental work, exploring how technical skill alone isn't enough—emotional connection is what separates great performances from legendary ones. We discuss instrumental music's power to convey emotion without words, touching on artists like Nat King Cole and what makes truly vulnerable performances resonate.Plus: Todd's saga with terrible hospital cutlery (it's worse than you think) and a fun debate about movie sequels better than their originals—from Terminator 2 to The Last Crusade.Linktree: https://linktr.ee/seangeekpodcastPatreon: https://www.patreon.com/c/meetthegeeksWe are a part of the Boneless Podcast Network: https://boneless-catalogue-player.lovable.app/Merch:Tee Public: https://www.teepublic.com/seangeekpodcastRed Bubble: https://www.redbubble.com/people/seangeekpodcast/shop@seangeekpodcast on Twitter, Instagram and FacebookMentioned in this episode:New Merch AdAn ad that incorporates Red Bubble and Tee Public

Hermione Lee is the renowned biographer of Virginia Woolf, Edith Wharton, Penelope Fitzgerald, and, most recently, Tom Stoppard. Stoppard died at the end of last year, so Hermione and I talked about the influence of Shaw and Eliot and Coward on his work, the recent production of The Invention of Love, the role of ideas in Stoppard's writing, his writing process, rehearsals, revivals, movies. We also talked about John Carey, Brian Moore, Virginia Woolf as a critic. Hermione is Emeritus Professor of English Literature at the University of Oxford. Her life of Anita Brookner will be released in September.TranscriptHenry Oliver: Today I have the great pleasure of talking to Professor Dame Hermione Lee. Hermione was the first woman to be appointed Goldsmiths' Professor of English Literature at the University of Oxford, and she is the most renowned and admired living English biographer. She wrote a seminal life of Virginia Woolf. She's written splendid books about people like Willa Cather, Edith Wharton, and my own favorite, Penelope Fitzgerald. And most recently she has been the biographer of Tom Stoppard, and I believe this year she has a new book coming out about Anita Brookner. Hermione, welcome.Hermione Lee: Thank you very much.Oliver: We're mostly going to talk about Tom Stoppard because he, sadly, just died. But I might have a few questions about your broader career at the end. So tell me first how Shavian is Stoppard's work?Lee: He would reply “very close Shavian,” when asked that question. I think there are similarities. There are obviously similarities in the delighting forceful intellectual play, and you see that very much in Jumpers where after all the central character is a philosopher, a bit of a bonkers philosopher, but still a very rational one.And you see it in someone like Henry, the playwright in The Real Thing, who always has an answer to every argument. He may be quite wrong, but he is full of the sort of zest of argument, the passion for argument. And I think that kind of delight in making things intellectually clear and the pleasure in argument is very Shavian.Where I think they differ and where I think is really more like Chekov, or more like Beckett or more in his early work, the dialogues in T. S. Elliot, and less like Shaw is in a kind of underlying strangeness or melancholy or sense of fate or sense of mortality that rings through almost all the plays, even the very, very funny ones. And I don't think I find that in Shaw. My prime reading time for Shaw was between 15 and 19, when I thought that Shaw was the most brilliant grownup that one could possibly be listening to, and I think now I feel less impressed by him and a bit more impatient with him.And I also think that Shaw is much more in the business of resolving moral dilemmas. So in something like Arms and the Man or Man and Superman, you will get a kind of resolution, you will get a sort of sense of this is what we're meant to be agreeing with.Whereas I think quite often one of the fascinating things about Stoppard is the way that he will give all sides of the question; he will embody all sides of the question. And I think his alter ego there is not Shaw, but the character of Turgenev in The Coast of Utopia, who is constantly being nagged by his radical political friends to make his mind up and to have a point of view and come down on one side or the other. And Turgenev says, I take every point of view.Oliver: I must confess, I find The Coast of Utopia a little dull compared to Stoppard's other work.Lee: It's long. Yes. I don't find it dull. But I think it may be a play to read possibly more than a play to see now. And you're never going to get it put on again anyway because the cast is too big. And who's going to put on a nine-hour free play, 50 people cast about 19th-century Russian revolutionaries? Nobody, I would think.But I find it very absorbing actually. And partly because I'm so interested in Isaiah Berlin, who is a very strong presence in the anti-utopianism of those plays. But that's a matter of opinion.Oliver: No. I like Berlin. One thing about Stoppard that's un-Shavian is that he says his plays begin as a noise or an image or a scene, and then we think of him as this very thinking writer. But is he really more of an intuitive writer?Lee: I think it's a terribly good question. I think it gets right at the heart of the matter, and I think it's both. Sorry, I sound like Turgenev, not making my mind up. But yes, there is an image or there is an idea, or there are often two ideas, as it were, the birth of quantum physics and 18th-century landscape gardening. Who else but Stoppard would put those two things in one play, Arcadia, and have you think about both at once.But the image and the play may well have been a dance between two periods of time together in one room. So I think he never knew what the next play was going to be until it would come at him, as it were. He often resisted the idea that if he chose a topic and then researched it, a play would come out of it. That wasn't what happened. Something would come at him and then he would start doing a great deal of research usually for every play.Oliver: What sort of influence did T. S. Elliot have on him? Did it change the dialogue or, was it something else?Lee: When I was working with him on my biography, he gave me a number of things. I had extraordinary access, and we can perhaps come back to that interesting fact. And most of these things were loans he gave them to me to work on. Then I gave them back to him.But he gave me as a present one thing, which was a black notebook that he had been keeping at the time he was writing Rosencrantz and Guildenstern, and also his first and only novel Lord Malquist and Mr. Moon, which is little known, which he thought was going to make his career. The book was published in the same week that Rosencrantz came up. He thought the novel was going to make his career and the play was going to sink without trace. Not so. In the notebook there are many quotations from T. S. Elliot, and particularly from Prufrock and the Wasteland, and you can see him working them into the novel and into the play.“I am not Prince Hamlet nor was meant to be.” And that sense of being a disconsolate outsider. Ill at ease with and neurotic about the world that is charging along almost without you, and you are having to hang on to the edge of the world. The person who feels themself to be in internal exile, not at one with the universe. I think that point of view recurs over and over again, right through the work, but also a kind of epigrammatical, slightly mysterious crypticness that Elliot has, certainly in Prufrock and in the Wasteland and in the early poems. He loved that tone.Oliver: Yes. When I read your paper about that I thought about Rosencrantz and Guildenstern quite differently. I've always disliked the idea that it's a sort of Beckett imitation play. It seems very Elliotic having read what you described.Lee: There is Beckett in there. You can't get away from it.Oliver: Surface level.Lee: Beckett's there, but I think the sense of people waiting around—Stoppard's favorite description of Rosencrantz was: “It's two journalists on a story that doesn't add up, which is very clever and funny.”Yes. And that sense of, Vladimir going, “What are we supposed to be doing and how are we going to pass the time?” That's profoundly influential on Stoppard. So I don't think it's just a superficial resemblance myself, but I agree that Elliot just fills the tone of that play and other things too.Oliver: In the article you wrote about Stoppard and Elliot, the title is about biographical questing, and you also described Arcadia as a quest. How important is the idea of the quest to the way you work and also to the way you read Stoppard?Lee: I took as the epigraph for my biography of Stoppard a line from Arcadia: “It's wanting to know that makes us matter, otherwise we're going out the way we came in.” So I think that's right at the heart of Stoppard's work, and it's right at the heart of any biographical work, whether or not it's mine or someone else's. If you can't know, in the sense of knowing the person, knowing what the person is like, and also knowing as much as possible about them from different kinds of sources, then you might as well give up.You can't do it through impressions. You've got to do it through knowledge. Of course, a certain amount of intuition may also come into play, though I'm not the kind of biographer that feels you can make things up. Working on a living person, this is the only time I've done that.It was, of course, a very different thing from working on a safely dead author. And I knew Penelope Fitzgerald a little bit, but I had no idea I was going to write her biography when I had conversations with her and she wouldn't have told me anything anyway. She was so wicked and evasive. But it was a set up thing; he asked me to do it. And we had a proper contract and we worked together over several years, during which time he became a friend, which was a wonderful piece of luck for me.I was doing four things, really. One was reading all the material that he produced, everything, and getting to know it as well as I could. And that's obviously the basic task. One was talking to him and listening to him talk about his life. And he was very generous with those interviews. I'm sure there were things he didn't tell me, but that's fine. One was talking to other people about him, which is a very interesting process. And with someone like him who knew everyone in the literary, theatrical, cultural world, you have to draw a halt at some point. You can't talk to a thousand people, or I'd have still been doing it, so you talk to particularly fellow playwrights, directors, actors who've worked with him often, as well as family and friends. And then you start pitting the versions against each other and seeing what stands up and what keeps being said.Repetition's very important in that process because when several people say the same thing to you, then you know that's right. And that quest also involves some actual footsteps, as Richard Holmes would say. Footsteps. Traveling to places he'd lived in and going to Darjeeling where he had been to school before he came to England, that kind of travel.And then the fourth, and to me, in a way, almost the most exciting, was the opportunity to watch him at work in rehearsal. So with the director's permissions, I was allowed to sit in on two or three processes like that, the 50th anniversary production of Rosencrantz and Guildenstern at the Old Vic with David Lavoie. And Patrick Marber's wonderful production of Leopoldstadt and Nick Hytner's production of The Hard Problem at the National. So I was able to witness the very interesting negotiations going on between Tom and the director and the cast.And also the extraordinary fact that even with a play like Rosencrantz, which is on every school syllabus and has been for 50—however many years—he was still changing things in rehearsal. I can't get over that. And in his view, as he often said, theater is an event and not a text, and so one could see that actual process of things changing before one's very eyes, and that for a biographer, it's a pretty amazing privilege.Oliver: How much of the plays were written during rehearsal do you think?Lee: Oh, 99% of the plays were written with much labor, much precision, much correction alone at his desk. The text is there, the text is written, and everything changes when you go into the rehearsal room because you suddenly find that there isn't enough time with that speech for the person to get from the bed to the door. It's physics; you have to put another line in so that someone can make an entrance or an exit, that kind of thing.Or the actors will say quite often, because they were a bit in awe—by the time he became well known—the actors initially would be a bit in awe of the braininess and the brilliance. And quite often the actors will be saying, “I'm sorry, I don't understand. I don't understand this.” You'd often get, “I don't really understand.”And then he would never be dismissive. He would either say, “No, I think you've got to make it work.” I'm putting words into his mouth here. Or he would say, “Okay, let's put another sentence or something like that.”Oliver: Between what he wrote at his desk and the book that's available for purchase now, how much changed? Is it 10%, 50? You know what I mean?Lee: Yes. You should be talking to his editor at Faber, Dinah Wood. So Faber would print a relatively small number for the first edition before the rehearsal process and the final production. And then they would do a second edition, which would have some changes in it. So 2%. Okay. But crucial sometimes.Oliver: No, sure. Very important.Lee: And also some plays like Jumpers went through different additions with different endings, different solutions to plot problems. Travesties, he had a lot of trouble with the Lenins in Travesties because it's the play in which you've got Joyce and you've got Tristan Tzara and you've got the Lenins, and they're all these real people and he makes him talk.But he was a little bit nervous about the Lenin. So what he gave him to say were things that they had really said, that Lenin had really said. As opposed to the Tzara-Joyce stuff, which is all wonderfully made up. The bloody Lenins became a bit of a problem for him. And so that gets changed in later editions you'll find.Oliver: How closely do you think The Real Thing is based on Present Laughter by Noël Coward?Lee: Oh, I think there's a little bit of Coward in there. Yes, sure. I think he liked Coward, he liked Wilde, obviously. He likes brilliant, witty, playful entertainers. He wants to be an entertainer. But I think The Real Thing, he was proud of the fact that The Real Thing was one of the few examples of his plays at that time, which weren't based on something else. They weren't based on Hamlet. They weren't based on The Importance of Being Earnest. It's not based on a real person like Housman. I think The Real Thing came out of himself much more than out of literary models.Oliver: You don't think that Henry is a bit like the actor character in Present Laughter and it's all set in his flat and the couples moving around and the slight element of farce?The cricket bat speech is quite similar to when Gary Essendine—do you remember that very funny young man comes up on the train from Epping or somewhere and lectures him about the social value of art. And Gary Essendine says, “Get a job in a theater rep and write 20 plays. And if you can get one of them put on in a pub, you'll be damn lucky.” It's like a model for him, a loose model.Lee: Yes. Henry, I think you should write an article comparing these two plays.Oliver: Okay. Very good. What does Stoppardian mean?Lee: It means witty. It means brilliant with words. It means fizzing with verbal energy. It means intellectually dazzling. The word dazzling is the one that tends to get used. My own version of Stoppardian is a little bit different from, as it were, those standard received and perfectly acceptable accounts of Stoppardian.My own sense of Stoppardian has more to do with grief and mortality and a sense of not belonging and of puzzlement and bewilderment, within all that I said before, within the dazzling, playful astonishing zest and brio of language and the precision about language.Oliver: Because it's a funny word. It's hard to include Leopoldstadt under the typical use of Stoppardian, because it's an untypical Stoppard.Lee: One of the things about Leopoldstadt that I think is—let's get rid of that trope about Stoppardian—characteristic of him is the remarkable way it deals with time. Here's a play like Arcadia, all set in the same place, all set in the same room, in the same house, and it goes from a big hustling room, late 19th-century family play, just like the beginning of The Coast of Utopia, where you begin with a big family in Russia and then it moves through the '20s and then into the terrible appalling period of the Anschluss and the Holocaust.And then it ends up after the war with an empty room. This room, is like a different kind of theater, an empty room. Three characters, none of whom you know very well, speaking in three different kinds of English, reaching across vast spaces of incomprehension, and you've had these jumps through time.And then at the very end, the original family, all of whom have been destroyed, the original family reappears on the stage. I'm sorry to tell this for anyone who hasn't seen Leopoldstadt. Because when it happens on the stage, it's an absolutely astonishing moment. As if the time has gone round and as if the play, which I think it was for him, was an act of restitution to all those people.Oliver: How often did he use his charm to get his way with actors?Lee: A lot. And not just actors. People he worked with, film people, friends, companions. Charm is such an interesting thing, isn't it? Because we shouldn't deviate, but there's always a slightly sinister aspect to the word charm as in, a magic charm. And one tends to be a bit suspicious of charm. And he knew he had charm and he was physically very magnetic and good looking and very funny and very attentive to people.But I think the charm, in his case, he did use it to get the right results, and he did use it, as he would say, “to look after my plays.” He was always, “I want to look after my plays.” And that's why he went back to rehearsal when there were revivals and so on. But he wasn't always charming. Patrick Marber, who's a friend of his and who directed Leopoldstadt, is very good on how irritable Stoppard could be sometimes in rehearsal. And I've heard that from other directors too—Jack O'Brien, who did the American productions of things like The Invention of Love.If Stoppard felt it wasn't right, he could get quite cross. So this wasn't a sort of oleaginous character at all. It's not smooth, it's not a smooth charm at all. But yes, he knew his power and he used it, and I think in a good way. I think he was a benign character actually. And one of the things that was very fascinating to me, not only when he died and there was this great outpouring of tributes, very heartfelt tributes, I thought. But also when I was working on the biography, I was going around the world trying to find people to say bad things about him, because what I didn't want to do was write a hagiography. You don't want to do that; there would be no point. And it was genuinely quite hard.And I don't know the theater world; it's not my world. I got to know it a little bit then. But I have never necessarily thought of the theater world as being utterly loving and generous about everybody else. I'm sure there are lots of rivalries and spitefulness, as there is in academic life, all the rest of it. But it was very hard to find anyone with a bad word to say about him, even people who'd come up against the steeliness that there is in him.I had an interview with Steven Spielberg about him, with whom he worked a lot, and with whom he did Empire of the Sun. And I would ask my interviewees if they could come up with two or three adjectives or an adjective that would sum him up, that would sum Stoppard up to them. And when I asked Spielberg this question, he had a little think and then he said, intransigent. I thought, great. He must be the only person who ever stood up to him.Oliver: What was his best film script? Did he write a really great film.Lee: That one. I think partly the novel, I don't know if you know the Ballard novel, the Empire of the Sun, it's a marvelous novel. And Ballard was just a magical and amazing writer, a great hero of mine. But I think what Stoppard did with that was really clever and brilliant.I know people like Brazil, the Terry Gilliam sort of surrealist way. And there's some interesting early work. Most of his film work was not one script; it was little bits that he helped with. So there's famously the Indiana Jones and the Last Crusade, he did most of the dialogue for Harrison Ford.But there are others like the One Hundred and One Dalmatians, where I think there's one line, anonymously Stoppardian in there. One of the things about the obituaries that slightly narked me was that there, I felt there was a bit too much about the films. Truly, I don't think the film work was—he wanted it to be right and he wanted to get it right—but it wasn't as close to his heart as the theater work. And indeed the work for radio, which I thought was generally underwritten about when he died. There was some terrific work there.Oliver: Yes. And there aren't that many canonical writers who've been great on the radio.Lee: Absolutely. He did everything. He did film, he did radio. He wrote some opera librettos. He really did everything. And on top of that, there was the great work for the public good, which I think is a very important part of his legacy, his history.Oliver: How much crossover influence is there between the different bits of his career? Does the screenwriting influence the theater writing and the radio and so on? Or is he just compartmentalized and able to do a lot of different things?Lee: That's such an interesting question. I don't think I've thought about it enough. I think there are very cinematic aspects to some of the plays, like Night and Day, for instance, the play about journalism. That could easily have been a film.And perhaps Hapgood as well, although it could be a kind of John le Carré type film thriller, though it's such a set of complicated interlocking boxes that I don't know that it would work as a film. It's not one of my favorite players, I must say. I struggle a little bit with Hapgood. But, yes, I'm sure that they fed into each other. Because he was so busy, he was often doing several things at once. So he was keeping things in boxes and opening the lid of that box. But mentally things must have overlapped, I'm sure.Oliver: He once joked that rather than having read Wittgenstein from cover to cover, he had only read the covers. How true is that? Because I know some people who would say he's very clever in everything, but he's not as clever as he looks. It's obviously not true that he only read the covers.Lee: I think there was a phase, wasn't there, after the early plays when people felt that he was—it's that English phrase, isn't it—too clever by half. Which you would never hear anyone in France saying of someone that they were too clever by half. So he was this kind of jazzy intellectual who put all his ideas out there, and he was this sort of self-educated savant who hadn't been to Oxford.There was quite a lot of that about in the earlier years, I think. And a sense that he was getting away with it, to which I would countermand with the story of the writing of The Invention of Love. So what attracted him to the figure of Housman initially was not the painful, suppressed homosexual love story, but the fact that here was this person who was divided into a very pernickety, savagely critical classical editor of Latin and a romantic lyric poet. In order to work out how to turn this into a play, he probably spent about six years taking Latin lessons, reading everything he could read on the history of classical literature. Obviously reading about Housman, engaging in conversation with classical scholars about Housman's, finer points of editorial precision about certain phrases. And what he used from that was the tip of the iceberg. But the iceberg was real.He really did that work and he often used to say that it was his favorite play because he'd so much enjoyed the work that went into it. I think he took what he needed from someone like Wittgenstein. I know you don't like The Coast of Utopia very much, but if you read his background to Coast of Utopia, what went into it, and if you compare what's in the plays, those three plays, with what's in the writing about those revolutionaries, he read everything. He may have magpied it, but he's certainly knows what he's talking about. So I defend him a bit against that, I think.Oliver: Good, good. Did you see the recent production at the Hamstead Theatre of The Invention of Love?Lee: I did, yes.Oliver: What did you think?Lee: I liked it. I thought it was rather beautifully done. I liked those boats rowing around that clicked together. I thought Simon Russell Beale was extremely good, particularly very moving. And very good in Housman's vindictiveness as a critic. He is not a nice person in that sense. And his scornfulness about the women students in his class, that kind of thing. And so there was a wonderful vitriol and scorn in Russell Beale's performance.I think when you see it now, some of the Oxford context is a little bit clunky, those scenes with Jowett and Pater and so on, it's like a bit of a caricature of the context of cultural life at the time, intellectual life at the time. But I think that the trope of the old and the young Housman meeting each other and talking to each other, which I still think is very moving. I thought it worked tremendously well.Oliver: What are Tom Stoppard's poems like?Lee: You see them in Indian Ink where he invents a poet, Flora Crewe, who is a poet who was died young, turn of the century, bold feminist associated with Bloomsbury and gets picked up much later as a kind of Sylvia Plath-type, HD type heroine. And when you look at Stoppard's manuscripts in the Harry Ransom Center in the University of Austin, in Texas, there is more ink spent on writing and rewriting those poems of Flora Crewe than anything else I saw in the manuscript. He wrote them and rewrote them.Early on he wrote some Elliot—they're very like Elliot—little poems for himself. I think there are probably quite a lot of love poems out there, which I never saw because they belong to the people for whom he wrote them. So I wouldn't know about those.Oliver: How consistently did Stoppard hold to a kind of liberal individualism in his politics?Lee: He was accused of being very right wing in the 1980s really, 1970s, 1980s, when the preponderant tendency for British drama was radicalism, Royal Court, left wing, all of that. And Stoppard seemed an outlier then, because he approved of Thatcher. He was a friend of Thatcher. He didn't like the print union. It was particularly about newspapers because he'd been a newspaper man in his youth. That was his alternative university education, working in Bristol on the newspapers. He had a romance heroic feeling about the value of the journalist to uphold democracy, and he hated the pressure of the print unions to what he thought at the time was stifling that.He changed his mind. I think a lot about that. He had been very idealistic and in love with English liberal values. And I think towards the end of his life he felt that those were being eroded. He voted lots of different ways. He voted conservative, voted green. He voted lib dem. I don't if he ever voted Labour.Oliver: But even though his personal politics shifted and the way he voted shifted, there is something quite continuous from the early plays through to Rock ‘n' Roll. Is there a sort of basic foundation that doesn't change, even though the response to events and the idea about the times changes?Lee: Yes, I think that's right, and I think it can be summed up in what Henry says in The Real Thing about politics, which is a version of what's often said in his plays, which is public postures have the configuration of private derangement. So that there's a deep suspicion of political rhetoric, especially when it tends towards the final solution type, the utopian type, the sense that individual lives can be sacrificed in the interest of an ultimate rationalized greater good.And then, he's worked in the '70s for the victims of Soviet communism. His work alongside in support of Havel and Charter 77. And he wrote on those themes such as Every Good Boy Deserves Favour and Professional Foul. Those are absolutely at the heart of what he felt. And they come back again when he's very modest about this and kept it quiet. But he did an enormous amount of work for the Belarus exile, Belarus Free Theater collective, people in support of those trying to work against the regime in Belarus.And then the profound, heartfelt, intense feeling of horror about what happened to people in Leopoldstadt. That's all part of the same thing. I think he's a believer in individual freedom and in democracy and has a suspicion of political rhetoric.Oliver: How much were some of his great parts written for specific actors? Because I sometimes have a feeling when I watch one of his plays now, if I'd been here when Felicity Kendal was doing this, I would be getting the whole thing, but I'm getting most of it.Lee: I'm sure that's right. And he built up a team around him: Peter Wood, the director and John Wood who's such an extraordinary Henry Carr in in in Travesties. And Michael Hordern as George the philosopher in Jumpers. And he wrote a lot for Kendal, in the process of becoming life companions.But he'd obviously been writing and thinking of her very much, for instance, in Arcadia. And also I think very much, it's very touching now to see the production of Indian Ink that's running at Hampstead Theatre in which Felicity Kendal is playing the older woman, the surviving older sister of the poet Flora Crewe, where of course the part of Flora Crewe was written for her. And there's something very touching about seeing that now. And, in fact, the first night of that production was the day of Stoppard's funeral. And Kendal couldn't be at the funeral, of course, because she was in the first night of his play. That's a very touching thing.Oliver: Why did he think the revivals came too soon?Lee: I don't really know the answer to that. I think he thought a play had to hook up a lot of oxygen and attract a lot of attention. If you were lucky while it was on, people would remember the casting and the direction of that version of it, and it would have a kind of memory. You had to be there.But people who were there would remember it and talk about it. And if you had another production very soon after that, then maybe it would diminish or take away that effect. I think he had a sort of loyalty to first productions often. What do you think about that? I'm not quite sure of the answer to that.Oliver: I don't know. To me it seems to conflict a bit with his idea that it's a living thing and he's always rewriting it in the rehearsal room. But I think probably what you say is right, and he will have got it right in a certain way through all that rehearsing. You then need to wait for a new generation of people to make it fresh again, if you like.Lee: Or not a generation even, but give it five years.Oliver: Everyone new and this theater's working differently now. We can rework it in our own way. Can we have a few questions about your broader career before we finish?Lee: Depends what they are.Oliver: Your former colleague John Carey died at a similar time to Stoppard. What do you think was his best work?Lee: John Carey's best work? Oh. I thought the biography of Golding was pretty good. And I thought he wrote a very good book on Thackery. And I thought his work on Milton was good. I wasn't so keen on The Intellectuals and the Masses. He and I used to have vociferous arguments about that because he had cast Virginia Woolf with all the modernist fascists, as it were. He'd put her in a pile with Wyndham Lewis and Ezra Pound and so on. And actually, Virginia Woolf was a socialist feminist. And this didn't seem to have struck him because he was so keen to expose her frightful snobbery, which is what people in England reading Woolf, especially middle class blokes, were horrified by.And she is a snob, there's no doubt about it. But she knew that and she lacerated herself for it too. And I think he ignored all the other aspects of her. So I was angry about that. But he was the kind of person you could have a really good argument with. That was one of the really great things about John.Oliver: He seems to be someone else who was amenable and charming, but also very steely.Lee: Yes, I think he probably was I think he probably was. You can see that in his memoir, I think.Oliver: What was Carmen Callil like?Lee: Oh. She was a very important person in my life. It was she who got me involved in writing pieces for Virago. And it was she who asked me to write the life of Virginia Woolf for Chatto. And she was an enormous, inspiring encourager as she was to very many people. And I loved her.But I was also, as many people were, quite daunted by her. She was temperamental, she was angry. She was passionate. She was often quite difficult. Not a word I like to use about women because there's that trope of difficult women, but she could be. And she lost her temper in a very un-English way, which was quite a sight to behold. But I think of her as one of the most creative and influential publishers of the 20th century.Oliver: Will there be a biography of her?Lee: I don't know. Yes, it's a really interesting question, and I've been asking her executors whether they have any thoughts about that. Somebody said to me, oh, who wants a biography of a publisher? But, actually, publishers are really important people often, so I hope there would be. Yes. And it would need to be someone who understood the politics of feminism and who understood about coming from Australia and who understood about the Catholic background and who understood about her passion for France. And there are a whole lot of aspects to that life. It's a rich and complex life. Yes, I hope there will be someday.Oliver: Her papers are sitting there in the British Library.Lee: They are. And in fact—you kindly mentioned this to start with—I've just finished a biography of the art historian and novelist, Anita Brookner, who won the Booker prize in 1984 for a novel called Hotel du Lac.And Carmen and Anita were great buddies, surprisingly actually, because they were very different kinds of characters. And the year before she died, Carmen, who knew I was working on Anita, showed me all her diary entries and all the letters she'd kept from Anita. And that's the kind of generous person that she was.That material is now sitting in the British Library, along with huge reams of correspondence between Carmen and many other people. And it's an exciting archive.Oliver: She seems to have had a capacity to be friends with almost anyone.Lee: Yes, I think there were people she would not have wanted to be friends with. She was very disapproving of a lot of political figures and particularly right-wing figures, and there were people she would've simply spat at if she was in the room with them. But, yes, she an enormous range of friends, and she was, as I said, she was fantastically encouraging to younger women writers.And, also, another aspect of Carmen's life, which I greatly admired and was fascinated by: In Virago she would often be resuscitating the careers of elderly women writers who had been forgotten or neglected, including Antonia White and including Rosamund Lehmann. And part of Carmen's job at Virago, as she felt, was not just to republish these people, some of whom hadn't had a book published for decades, but also to look after them. And they were all quite elderly and often quite eccentric and often quite needy. And Carmen would be there, bringing them out and looking after them and going around to see them. And really marvelous, I think.Oliver: Yes, it is. Tell me about Brian Moore.Lee: Breean, as he called himself.Oliver: Oh, I'm sorry.Lee: No, it's all right. I think Brian became a friend because in the 1980s I had a book program on Channel 4, which was called Book Four. It had a very small audience, but had a wonderful time over several years interviewing lots and lots of writers who had new books out. We didn't have a budget; it was a table and two chairs and not the kind of book program you see on the television anymore. And I got to know Brian through that and through reviewing him a bit and doing interviews with him, and my husband and I would go out and visit him and his wife Jean.And I loved the work. I thought the work was such a brilliant mixture of popular cultural forms, like the thriller and historical novel and so on. And fascinating ideas about authority and religion and how to be free, how to break free of the bonds of what he'd grown up with in Ireland, in Northern Ireland, the bombs of religious autocracy, as it were. And very surreal in some ways as well. And he was also a very charming, funny, gregarious person who could be quite wicked about other writers.And, he was a wonderfully wicked and funny companion. What breaks my heart about Brian Moore is that while he was alive, he was writing a novel maybe every other year or every three years, and people would review them and they were talked about, and I don't think they were on academic syllabuses but they were really popular. And when he died and there were no more books, it just went. You can think of other writers like that who were tremendously well known in their time. And then when there weren't any more books, just went away. You ask people, now you go out and ask people, say, “What about The Temptation of Eileen Hughes or The Doctor's Wife or Black Robe? And they'll go, “Sorry?”Oliver: If anyone listening to this wants to try one of his novels, where do you say they should start?Lee: I think I would start with The Doctor's Wife and The Temptation of Eileen Hughes. And then if one liked those, one would get a taste for him. But there's plenty to choose from.Oliver: What about Catholics?Lee: Yes. Catholics is a wonderful book. Yes. Wonderful book. Bit like Muriel Spark's The Abbess of Crewe, I think.Oliver: How important is religion to Penelope Fitzgerald's work?Lee: She would say that she felt guilty about not having put her religious beliefs more explicitly into her fiction. I'm very glad that she didn't because I think it is deeply important and she believes in miracles and saints and angels and manifestations and providence, but she doesn't spell it out.And so when at the end of The Gate of Angels, for instance, there is a kind of miracle on the last page but it's much better not to have it spelt out as a miracle, in my view. And in The Blue Flower, which is not my favorite of her books, but it's the book of the greatest genius possibly. And I think she was a genius. There is a deep interest in Novalis's romantic philosophical ideas about a spiritual life, beyond the physical life, no more doctrinally than that. And she, of course, believes in that. I think she believed, in an almost Platonic way, that this life was a kind of cave of shadows and that there was something beyond that. And there are some very mysterious moments in her books, which, if they had been explained as religious experiences, I think would've been much less forceful and much less intense.Oliver: What is your favorite of her books?Lee: Oh, The Beginning of Spring. The Beginning of Spring is set in Moscow just before the revolution. And its concerns an Englishman who runs a print and publishing works. And it's based quite a lot on some factual narratives about people in Moscow at the time. And it's about the feeling of that place and that time, but it's also about being in love with two people at the same time.And, yes, and it's about cultural clashes and cultural misunderstanding, and it is an astonishingly evocative book. And when asked about this book, interviewers would say to Penelope, oh, she must have lived in Moscow for ages to know so much about it. And sometimes she would say, “Yes, I lived there for years.” And sometimes she would say, “No, I've never been there in my life.” And the fact was she'd had a week's book tour in Moscow with her daughter. And that was the only time she ever went to Russia, but she read. So it was a wonderful example of how she would be so wicked; she would lie.Oliver: Yes.Lee: Because she couldn't be bothered to tell the truth.Oliver: But wasn't she poking fun at their silly questions?Lee: Yes. It's not such a silly question. I would've asked her that question. It is an astonishing evocation of a place.Oliver: No, I would've asked it too, but I do feel like she had this sense of it's silly to be asked questions at all. It's silly to be interviewed.Lee: I interviewed her about three times—and it was fascinating. And she would deflect. She would deflect, deflect. When you asked her about her own work, she would deflect onto someone else's work or she would tell you a story. But she also got quite irritable.So for instance, there's a poltergeist in a novel called The Bookshop. And the poltergeist is a very frightening apparition and very strong chapter in the book. And I said to her in interview, “Look, lots of people think this is just superstition. There aren't poltergeists.” And she looked at me very crossly and said they just haven't been there. They don't know what they're talking about. Absolutely factual and matter of fact about the reality of a poltergeist.Oliver: What makes Virginia Woolf's literary criticism so good?Lee: Oh, I think it's a kind of empathy actually. That she has an extraordinary ability to try and inhabit the person that she's writing about. So she doesn't write from the point of view of, as it were, a dry, historical appreciation.She's got the facts and she's read the books, but she's trying to intimately evoke what it felt like to be that writer. I don't mean by dressing it up with personal anecdotes, but just she has an extraordinary way of describing what that person's writing is like, often in images by using images and metaphors, which makes you feel you are inside the story somehow.And she loves anecdotes. She's very good at telling anecdotes, I think. And also she's not soft, but she's not harshly judgmental. I think she will try and get the juice out of anything she's writing about. Most of these literary criticism pieces were written for money and against the clock and whilst doing other things.So if you read her on Dorothy Wordsworth or Mary Wollstonecraft or Henry James, there's a wonderful sense of, you feel your knowledge has been expanded. Knowledge in the sense of knowing the person; I don't mean in the sense of hard facts.Oliver: Sure. You've finished your Anita Brookner biography and that's coming this year.Lee: September the 10th this year, here and in the States.Oliver: What will you do next?Lee: Yes. That's a very good question, though a little soon, I feel.Oliver: Is there someone whose life you always wanted to write, but didn't?Lee: No. No, there isn't. Not at the moment. Who knows?Oliver: You are open to it. You are open.Lee: Who knows what will come up.Oliver: Yes. Hermione Lee, this was a real pleasure. Thank you very much.Lee: Thank you very much. It was a treat. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

The Outer Realm Welcomes welcomes Metaphysical Author and NonCommercial Blogger, Mark Russell Bell Date: January 21st, 2026 Episode: 670 Discussion: Mark will be talking about one of his amazing articles which covers A Metaphyscial Approach which presents “precise evidence and documentation of interstellar & interdimensional UFO/UAP, Space People Interaction” What's The Real Story? From Non Fiction to Channellers, and more! Contact for the show - theouterrealmcontact@gmail.com Michelle Desrochers and The Outer Realm :https://linktr.ee/michelledesrochers_ Please support us by Liking, Subscribing, Sharing and Commenting. Thank you all !!! About Mark: Noncommercial blogger Mark Russell Bell is the author of Testament (1997). The nonfiction book is presented as a case study with a documentary style using question and answer interview transcripts, journals and photographs. Prior to retirement, his professional occupations have included talent agent, movie publicity writer for Paramount Pictures, and school office technician including special education duties. After experiencing some strange events as a child, Bell has had a life-long interest in learning about occurrences sometimes categorized as ‘paranormal phenomena.' After majoring in cinema at USC, he worked as a talent agent before becoming staff writer in the publicity department of Paramount Pictures and contributing to the campaigns for such films as "Braveheart," "Fatal Attraction," "Forrest Gump," "Ghost," "The Godfather, Part III," "Indiana Jones and the Last Crusade," and the "Star Trek" series. He had begun writing movie press kits on a freelance basis as a favor to his twin brother who at the time was a publicity department executive at the Hollywood studio. (article) In 1995 after researching documented 'talking poltergeist' cases, Bell learned about a contemporary Oklahoma family experiencing the phenomena. His unexpurgated interview with the family is featured in Testament. The family was seen on television in the November 1995 ABC special "Ghosts, Mediums, Psychics: Put To The Test" and this footage also aired in the summer of 1996 on "20/20." Among the authentic phenomena filmed for the special was a dining room chair moved by an unseen presence. Bell's New Consciousness Research Organization was formed as Internet publisher of the noncommercial online edition of Testament in 1997. In 2009 he began blogging at https://www.metaphysicalarticles.org; his noncommercial blog is entitled Metaphysical Articles: Interesting Articles, Links and Other Media. Also available is an online Page of Online Autobiography Chapter Links and Articles Index of Subjects and Titles with Links. Bell resides in Los Angeles, where the New Consciousness Research Organization helps people expand their metaphysical, spiritual and cosmological understanding of life. Some example blog articles are "UFOs / UAP / Space People 'Disclosure' Evidence Is Already Available — The Data Is Identified In This Blog Article", "Key Data for 'Genius' Thinkers Regarding Science, Life and Cosmology" and an autobiographical article "In Comparison to the Lives of Other People This Is How Mine Became 'Over-The-Top' 30 Years Ago". Mark Russell Bell https://www.metaphysicalarticles If you enjoy the content on the channel, please support us by subscribing: Thank you All A formal disclosure: The opinions and information presented or expressed by guests on The Outer Realm Radio and Beyond The Outer Realm are not necessarily those of the TOR, BTOR Hosts, Sponsors, or the United Public Radio Network and its producers. Although the content may be interesting, it is deemed "For Entertainment Purposes" . We are always be respectful and courteous to all involved. Thank you, we appreciate you all!

Took us a little while but we hit a milestone i been excited for.  We have now covered 200 films not counting the MCU movies.  For 200 I wanted to celebrate with the 3rd and debatable best of the series?  We swing high and low and punch some Nazis in the face as we discuss this movie.   Starring Mike Albertin, Kenneth Sanity, Kerry, and Peter. Peter's Website - http://www.peterbp.com/ Kerry's Twitch - https://www.twitch.tv/kerooseta A Gamer Looks at 40 - https://agamerlooksat40.com/ Carrying My Cross - https://podcasts.apple.com/pl/podcast/carrying-my-cross-a-faith-journey-podcast/id1865524685 Phoebe's Twitch - https://www.twitch.tv/theletsplayprincess Phoebe's Podcast - https://nerdsabroadcast.podbean.com/ Zac's Podcast - https://linktr.ee/absolutelythebest Helena - https://linktr.ee/helhathfury Patreon - https://www.patreon.com/GamesMyMomFound Follow us on Facebook. Instagram - gamesmymomfound_ YouTube  - https://youtube.com/c/GamesMyMomFoundPodcast Discord - https://discord.gg/ Indiana Jones and the Temple of Doom (Film 150) - GMMF https://gamesmymomfoundpodcast.podbean.com/e/indiana-jones-and-the-temple-of-doom-film-150-gmmf Indiana Jones and the Raiders of The Lost Ark (Film 100) - GMMF https://gamesmymomfoundpodcast.podbean.com/e/indiana-jones-raiders-of-the-lost-ark-film-100-gmmf

The Outer Realm Welcomes welcomes Metaphysical Author and NonCommercial Blogger, Mark Russell Bell Date: January 21st, 2026 Episode: 670 Discussion: Mark will be talking about one of his amazing articles which covers A Metaphyscial Approach which presents “precise evidence and documentation of interstellar & interdimensional UFO/UAP, Space People Interaction” What's The Real Story? From Non Fiction to Channellers, and more! Contact for the show - theouterrealmcontact@gmail.com Michelle Desrochers and The Outer Realm :https://linktr.ee/michelledesrochers_ Please support us by Liking, Subscribing, Sharing and Commenting. Thank you all !!! About Mark: Noncommercial blogger Mark Russell Bell is the author of Testament (1997). The nonfiction book is presented as a case study with a documentary style using question and answer interview transcripts, journals and photographs. Prior to retirement, his professional occupations have included talent agent, movie publicity writer for Paramount Pictures, and school office technician including special education duties. After experiencing some strange events as a child, Bell has had a life-long interest in learning about occurrences sometimes categorized as ‘paranormal phenomena.' After majoring in cinema at USC, he worked as a talent agent before becoming staff writer in the publicity department of Paramount Pictures and contributing to the campaigns for such films as "Braveheart," "Fatal Attraction," "Forrest Gump," "Ghost," "The Godfather, Part III," "Indiana Jones and the Last Crusade," and the "Star Trek" series. He had begun writing movie press kits on a freelance basis as a favor to his twin brother who at the time was a publicity department executive at the Hollywood studio. (article) In 1995 after researching documented 'talking poltergeist' cases, Bell learned about a contemporary Oklahoma family experiencing the phenomena. His unexpurgated interview with the family is featured in Testament. The family was seen on television in the November 1995 ABC special "Ghosts, Mediums, Psychics: Put To The Test" and this footage also aired in the summer of 1996 on "20/20." Among the authentic phenomena filmed for the special was a dining room chair moved by an unseen presence. Bell's New Consciousness Research Organization was formed as Internet publisher of the noncommercial online edition of Testament in 1997. In 2009 he began blogging at https://www.metaphysicalarticles.org; his noncommercial blog is entitled Metaphysical Articles: Interesting Articles, Links and Other Media. Also available is an online Page of Online Autobiography Chapter Links and Articles Index of Subjects and Titles with Links. Bell resides in Los Angeles, where the New Consciousness Research Organization helps people expand their metaphysical, spiritual and cosmological understanding of life. Some example blog articles are "UFOs / UAP / Space People 'Disclosure' Evidence Is Already Available — The Data Is Identified In This Blog Article", "Key Data for 'Genius' Thinkers Regarding Science, Life and Cosmology" and an autobiographical article "In Comparison to the Lives of Other People This Is How Mine Became 'Over-The-Top' 30 Years Ago". Mark Russell Bell https://www.metaphysicalarticles If you enjoy the content on the channel, please support us by subscribing: Thank you All A formal disclosure: The opinions and information presented or expressed by guests on The Outer Realm Radio and Beyond The Outer Realm are not necessarily those of the TOR, BTOR Hosts, Sponsors, or the United Public Radio Network and its producers. Although the content may be interesting, it is deemed "For Entertainment Purposes" . We are always be respectful and courteous to all involved. Thank you, we appreciate you all!

Kicking off a new season with a tradition! We are finally wrapping up the greatest trilogy known to man and that is Indiana Jones! Any chance we get to talk about Nazis getting punched in the mouth, we will talk about it! Parker from Dissect That Film joins us in this wild adventure of train jumping, library smashing and tank flipping!

8 Hours and 20 MinutesPG-13This is the complete reading of Warren H. Carroll's 1996 book, "The Last Crusade: 1936." Antelope Hill - Promo code "peteq" for 5% off - https://antelopehillpublishing.com/FoxnSons Coffee - Promo code "peter" for 18% off - https://www.foxnsons.com/The Last CrusadeFaction: With the CrusadersKarl's SubstackKarl's MerchPete and Thomas777 'At the Movies'Support Pete on His WebsitePete's PatreonPete's SubstackPete's SubscribestarPete's GUMROADPete's VenmoPete's Buy Me a CoffeePete on FacebookPete on TwitterBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-pete-quinones-show--6071361/support.

In a lively episode, we're joined by veteran actor Julian Glover to dig into his legendary film career. Julian reflects on how he first fell for stories and characters as a kid, and then traced his path from British theater to iconic roles in The Empire Strikes Back, Indiana Jones and the Last Crusade, For Your Eyes Only, Game of Thrones, and more. He shares funny behind-the-scenes anecdotes from his time on set and talks about the emotional craft of playing villains versus heroes. Support the show Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In a lively episode, we're joined by veteran actor Julian Glover to dig into his legendary film career. Julian reflects on how he first fell for stories and characters as a kid, and then traced his path from British theater to iconic roles in The Empire Strikes Back, Indiana Jones and the Last Crusade, For Your Eyes Only, Game of Thrones, and more. He shares funny behind-the-scenes anecdotes from his time on set and talks about the emotional craft of playing villains versus heroes.Support the show___________________Check out video versions of this and other episodes on YouTube: youtube.com/dollarbinbandits!If you like this podcast, please rate, review, and subscribe on Apple Podcasts or wherever you found this episode. And if you really like this podcast, become a member of the Dollar Bin Boosters on Patreon: patreon.com/DollarBinBoosters.You can follow us @dollarbinbandits on Facebook, Instagram, and Bluesky, or @DBBandits on X. You can email us at dollarbinbandits@gmail.com.___________________Dollar Bin Bandits is the official podcast of TwoMorrows Publishing. Check out their fine publications at twomorrows.com. ___________________ Thank you to Sam Fonseca for our theme music, Sean McMillan for our graphics, and Pat McGrath for our logo.

This is a preview of the latest Skull Boys episode. You can unlock the entire episode here on patreon which I'm sure you would enjoy and it would support me financially so that I can keep doing this, hope you are getting some free time during Christmas and New Year. Original episode description: We have now in this series finally arrived at the episode that many of you have been waiting for. The episode about the mysterious Männerbund. We are picking up an old thread fist explored in the Stargate Conspiracy with Reid and Colin but also elaborated upon and hinted at in the first season of the Skull Boys.There are many of you who suspect that Joe Rogan's fame is not the consequence of organic development. We will never know just how that ascension took place but we can study the history of this think tank's knowledge production. The first person to ever come on to the show to attempt to lay forth a cosmology if you like, that is to say a guest who was not one of Rogans comedy buddies or MMA pals, was according to Rogan and the man himself, Graham Hancock.Exploring the idea-historical roots and the personal linage of Hancock, we will take to you to the early days of the great proto-fascistic split of the Theosophical Society in the early 1900s. We will take you to the days of Blavatsky's coming-on-to-the-scene in the 1870s and deeper still to the Spiritualist genesis in March 31, 1848, fuck it, we will take you back to the first arioheroic Swastikalers as they went underground during the masonic bans of the late 1700s.And we will show why Rogan has been told to tell his followers to believe in the strength of the Männerbund.So get out that Christmas drink or spliff or long distance walking boots because I know you will enjoy this one.PS. I made a 5 hour! long screen recording of me making tonight's episode cover art but somehow the file was corrupted and so I will have to make you another version of that screen recording in a short while to show you how I go about making these.Music: Kebnekajse - Horgalåten Lars Hollmer - Boeves Psalm Ted Gärdestad - I dröm och fantasi Broder Daniel - Underground Barry McGuire - Eve Of DestructionFilms: Indiana Jones and the Last Crusade 1989 Choosing Grail scene The German General's Speech - Band of Brothers Secret societies of Ancient Egypt - Graham Hancock and Lex FridmanGraham Hancock - A lost civilization and secret societies

This week we pick our favorite holiday traditions, treats, and movies. Consumption: Mr. Pold - Wake Up Dead Man: A Knives Out Mystery St. Jimmy - Psych season 2, Cryo, Companion D'Viddy- Indiana Jones and the Last Crusade, The Elder Scrolls V: Skyrim, Wake Up Dead Man: A Knives Out Mystery Master Z - Light Bringer, True Detective season 2 Music Provided By: Mr. Pold / Nerdy Wonderland Karissa Hobbs / White Flag The Womb / Don't Remind Me Greg Gibbs / Most Guitars Are Made of Trees

Gareth, Lee and Paul breakdown the game against the Colts.  Can the Niners slow down Taylor and can they get pressure on Phillip Rivers.   San Francisco 49ers @ Indianapolis Colts, Wk 16

In this episode of Franchise Addicts, we take on Indiana Jones and the Dial of Destiny — the final chapter in one of cinema's most iconic franchises.Set decades after his last adventure, Dial of Destiny finds Indiana Jones aging, isolated, and wrestling with a world that no longer needs him. When an ancient artifact tied to time itself resurfaces, Indy is pulled into a story that forces him to confront legacy, loss, and whether history still has room for heroes.We break down the full plot, the controversial use of time travel, the Archimedes reveal, the return of Marion Ravenwood, and the film's meditative tone compared to earlier entries like Raiders of the Lost Ark, The Last Crusade, and Kingdom of the Crystal Skull. We also debate whether Dial of Destiny delivers a fitting ending — or misunderstands what made Indiana Jones endure in the first place.Is this a thoughtful farewell, or a film more interested in reflection than adventure? Does the franchise benefit from aging its hero, or does it lose something essential in the process?This episode isn't about nostalgia — it's about reckoning.

Join hosts Peter and Eddie on this exciting episode of The Marvelists as they sit down with veteran actor Alex Hyde-White for an in-depth conversation about his long and varied career in film, television, voice acting, and audiobook narration. Alex opens up about his diverse body of work, from memorable roles in major films like Pretty Woman, Catch Me If You Can, and Indiana Jones and the Last Crusade, to his early days as one of the last contract players at Universal Studios. He also discusses his successful transition into audiobook narration—winning Audible's New Narrator of the Year Award in 2011, founding Punch Audio, and narrating over 100 titles with his versatile British-American accents. The conversation dives deep into his iconic Marvel connections: portraying Reed Richards/Mr. Fantastic in Roger Corman's legendary unreleased 1994 Fantastic Four film, sharing behind-the-scenes stories from that cult phenomenon. Alex then reflects on returning to the Marvel universe with a cameo appearance alongside his 1994 co-stars in the 2025 Marvel Cinematic Universe blockbuster, The Fantastic Four: First Steps. Whether you're a fan of classic Hollywood, superhero history, or the art of audiobook storytelling, this candid and entertaining interview with Alex Hyde-White is one Marvelists episode you won't want to miss!

In this episode of Franchise Addicts, we dive headfirst into one of the most controversial blockbusters of the 21st century: Indiana Jones and the Kingdom of the Crystal Skull (2008).Set in the Cold War era, Crystal Skull sees Indiana Jones pulled into a Soviet conspiracy involving a mysterious crystal skull, ancient civilizations, secret military experiments, and the lost city of Akator. Directed by Steven Spielberg and produced by George Lucas, the film marked Harrison Ford's return to the iconic role nearly 20 years after The Last Crusade — and instantly split fans down the middle.We break down the entire plot, analyze the alien vs. mythology debate, discuss the infamous “nuke the fridge” scene, the introduction of Mutt Williams, the return of Marion Ravenwood, and whether the movie's sci-fi turn fundamentally misunderstands what makes Indiana Jones work. We also examine the film's historical inspirations, cinematography choices, heavy use of CGI, and how Crystal Skull reflects 1950s Atomic Age paranoia and B-movie science fiction.Is Kingdom of the Crystal Skull an underrated adventure weighed down by internet backlash — or a miscalculation that lost the soul of the franchise? Where does it rank among the Indiana Jones films, and how does it compare to Raiders of the Lost Ark, Temple of Doom, The Last Crusade, and Dial of Destiny?Whether you love it, hate it, or still argue about aliens, refrigerators, and monkeys, this episode is a full, honest reassessment of Indiana Jones 4 — no nostalgia goggles required.

Indiana Jones and the Last Crusade x Joshua 4:6-7Your daily crossover of faith and fandom! Experience daily Biblical encouragement from nerdy Christian podcasters, bloggers, and content creators. Join the Nerd of Godcast community at www.NOGSquad.com

Franchise Addicts dives into Indiana Jones and the Last Crusade — the Spielberg classic that brought Indy back to his roots, reunited him with his father, and delivered one of the most beloved adventure films ever made.In this episode, Luke, Chris, super fan Peter, and returning guest Andres break down the film scene by scene: the prologue, River Phoenix's intro, the Venice chase, the Brotherhood of the Cruciform Sword, the tank sequence, the Grail trials, and everything in between.We cover: Why Last Crusade works as a course-correction to Temple of Doom The dynamic between Harrison Ford and Sean Connery (and the improv that shaped it) Behind-the-scenes stories you haven't heard on other pods Spielberg and Lucas' debates about tone, pacing, and the Grail mythology Why this might be the funniest (and most emotional) Indy film Our rankings so far in the franchiseIf you love Indiana Jones, Spielberg deep dives, or adventure-movie filmmaking, this episode is for you.Watch the full episode, drop your favorite Last Crusade moment in the comments, and don't forget to subscribe — we're on our road to 100. Listen on Apple Podcasts Listen on Spotify Full Video Episodes + Shorts on YouTubeFollow Franchise Addicts everywhere:X: @franaddictsInstagram: FranchiseAddictsPodcastTikTok: @franchiseaddictsYouTube: https://www.youtube.com/channel/UCkQnswLyXMRujJOYCtHuagQ#IndianaJones #LastCrusade

Welcome back to Franchise Addicts!Today Luke sits down with Dominic from Talkin' TV — your #1 source for behind-the-scenes insights and bold takes on the movies and TV you love. Together, they dig into Indiana Jones and the Last Crusade for a special bonus episode filled with deep cuts, behind-the-scenes trivia, character breakdowns, and why this film still stands tall in the franchise.From Sean Connery's legendary turn as Henry Jones Sr. to Spielberg's pulpy adventure filmmaking firing on all cylinders, this episode dives into why Last Crusade remains not just a fan favorite — but a genuine masterpiece of blockbuster storytelling.If you've been following our Indy franchise coverage, this is the perfect extra chapter.If not… welcome to the ride. Grab your hat.Check out Talkin' TV:https://twitter.com/talkintvpodcastWatch & Listen to Franchise Addicts Everywhere:YouTube • Apple Podcasts • Spotifywww.youtube.com/@FranchiseAddictsLIKE, SUBSCRIBE & COMMENT — help us reach 100 subscribers!#IndianaJones #LastCrusade #FranchiseAddicts #TalkinTV #MoviePodcast #FilmDiscussion #HarrisonFord #SeanConnery #StevenSpielberg #80sMovies #AdventureMovies #MovieTok #YouTubePodcasters #FilmCommunity

Get ready for the ultimate showdown in the "1989 Movie Bracket: The Battle for #1

For the past 50 years, composer John Williams has arguably been the defining sound of cinema. Although he began composing music for TV and film in the 1950s, it wouldn't be until the 1970s that he broke big, thanks to that iconic soundtrack to Stephen Spielberg's Jaws. From there he would go on to provide the music for a slew of Hollywood's biggest blockbusters, and most poignant films, as well as recognizable anthems for pop-culture mainstays like the Olympic Games and NBC Nightly News. John Williams is an American icon, and a definitive creator in film and music. So join the Great Pop Culture Debate as we attempt to name the Best John Williams Film Score. Scores discussed: Jaws, Saving Private Ryan, Close Encounters of the Third Kind, E.T. the Extra-Terrestrial, Raiders of the Lost Ark, Hook, Return of the Jedi, The Empire Strikes Back, Jurassic Park, Star Wars Episode I: The Phantom Menace, Harry Potter and the Sorcerer's Stone, Home Alone, Star Wars, Indiana Jones and the Last Crusade, Schindler's List, SupermanJoin host Eric Rezsnyak and panelists Amma Marfo, Derek Mekita, and Kate Racculia as they discuss and debate 16 of the most recognizable film scores of all time.For the warm-up to this episode, in which we discuss even more compositions from John Williams that didn't make the bracket, ⁠become a Patreon supporter of the podcast⁠ today.Episode CreditsHost: ⁠Eric Rezsnyak⁠Panelists: ⁠Amma Marfo⁠, ⁠Derek Mekita⁠, ⁠Kate Racculia⁠ Producer: ⁠Bob Erlenback⁠ Editor: John HigginsTheme Music: “Dance to My Tune” by Marc Torch#johnwilliams #film #filmscores #composer #composers #orchestralmusic #orchestral #starwars #indianajones #harrypotter #superman #jurassicpark #jaws #homealone #hook #schindlerslist #savingprivateryan #empirestrikesback #imperialmarch #returnofthejedi #phantommenaceIG: https://www.instagram.com/greatpopculturedebate/Bluesky: https://bsky.app/profile/gpcd.bsky.socialWebsite: https://www.greatpopculturedebate.com/Patreon: https://www.patreon.com/greatpopculturedebateSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

For the past 50 years, composer John Williams has arguably been the defining sound of cinema. Although he began composing music for TV and film in the 1950s, it wouldn't be until the 1970s that he broke big, thanks to that iconic soundtrack to Stephen Spielberg's Jaws. From there he would go on to provide the music for a slew of Hollywood's biggest blockbusters, and most poignant films, as well as recognizable anthems for pop-culture mainstays like the Olympic Games and NBC Nightly News. John Williams is an American icon, and a definitive creator in film and music. So join the Great Pop Culture Debate as we attempt to name the Best John Williams Film Score.  Scores discussed: Jaws, Saving Private Ryan, Close Encounters of the Third Kind, E.T. the Extra-Terrestrial, Raiders of the Lost Ark, Hook, Return of the Jedi, The Empire Strikes Back, Jurassic Park, Star Wars Episode I: The Phantom Menace, Harry Potter and the Sorcerer's Stone, Home Alone, Star Wars, Indiana Jones and the Last Crusade, Schindler's List, Superman Join host Eric Rezsnyak and panelists Amma Marfo, Derek Mekita, and Kate Racculia as they discuss and debate 16 of the most recognizable film scores of all time. Play along at home by finding the listener bracket here. Make a copy for yourself, fill it out, and see if your picks match up with ours! For the warm-up to this episode, in which we discuss even more compositions from John Williams that didn't make the bracket, become a Patreon supporter of the podcast today. Looking for more reasons to become a Patreon supporter? Check out our Top 10 Patreon Perks. Want to watch the episode instead? As of Season 12, we now have full video episodes up on YouTube. Subscribe to our channel for even more original, exclusive episodes! Sign up for our weekly newsletter! Subscribe to find out what's new in pop culture each week right in your inbox! Vote in more pop culture polls! Check out our Open Polls. Your votes determine our future debates! Then, vote in our Future Topic Polls to have a say in what episodes we tackle next. Episode Credits Host: Eric Rezsnyak Panelists: Amma Marfo, Derek Mekita, Kate Racculia Producer: Bob Erlenback Editor: John Higgins Theme Music: “Dance to My Tune” by Marc Torch #johnwilliams #film #filmscores #composer #composers #orchestralmusic #orchestral #starwars #indianajones #harrypotter #superman #jurassicpark #jaws #homealone #hook #schindlerslist #savingprivateryan #empirestrikesback #imperialmarch #returnofthejedi #phantommenace Learn more about your ad choices. Visit megaphone.fm/adchoices

Join us a we bring season 2 to a close with this close to the original Indiana Jones trilogy! Marshall said this was the best Indiana Jones movie, is he right? Does it hold up? Let's find out!

8 Hours and 20 MinutesPG-13This is the complete reading of Warren H. Carroll's 1996 book, "The Last Crusade: 1936." Antelope Hill - Promo code "peteq" for 5% off - https://antelopehillpublishing.com/FoxnSons Coffee - Promo code "peter" for 18% off - https://www.foxnsons.com/The Last CrusadeFaction: With the CrusadersKarl's SubstackKarl's MerchPete and Thomas777 'At the Movies'Support Pete on His WebsitePete's PatreonPete's SubstackPete's SubscribestarPete's GUMROADPete's VenmoPete's Buy Me a CoffeePete on FacebookPete on TwitterBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-pete-quinones-show--6071361/support.

Arguably the pinnacle of the Indiana Jones series of films, in this episode we revisit The Last Crusade (and one of us for the first time) as Indy tracks down his kidnapped Sean Connery and is forced to join him on his quest of the holy grail. From the golden era of film making, paying homage to the previous golden era of film making, Spielberg keeps the magic and mysticism flowing even after all these years.This Movie's Cocktail: Cup of Kings2oz Nectarine infused Charbay Vodka.5oz Lemon Juice.5oz Simple SyrupTonicHandful of fresh fruitCombine everything in a pint glass and top with tonic water. Sip as you ruminate over the fact that you've slept with the same nazi as your father.Subscribe to us on Patreon FREE! Plus additional paid tiers with get you access to the Post Show, and more! 7-day FREE trials available :)Free - Get notification of new content$3/mo - Get access to the Epilogues where we talk about current film, plus the outtakes$5/mo - Early access to episodes$5/mo Set Rounder (Limited) - Receive a deck of Nostalgia Killers Season One poker cards$15/mo Executive Producer - Have your name shouted out for each episodeNostalgiaKillers.comFeaturing:Javier MartinezChuck StarzenskiLuc Londe Hosted on Acast. See acast.com/privacy for more information.

Ask not why you seek the grail but what the grail can seek for you? Join us as we decide which one is the best and which one goes full Looney Tunes. Donate to the below causes: https://translifeline.org/donate/ https://www.pcrf.net/ https://www.newdisabledsouth.org/donate Timestamps: Corporate Hell - 0:00 Intro - 0:17 Audience Review - 2:10 First Watch - 2:46 Film Talk - 6:10 Ranking Time - 1:10:31 Follow or contact us at: the3rdonesucks.bsky.social the3rdonesucks@gmail.com https://letterboxd.com/dellismulligan https://letterboxd.com/brianglowienke Hosted by Mark Beall, Dan Ellis and Brian Glowienke. Mixed & Edited by Dan Ellis. Intro/Outro Music by Dan Ellis. The 3rd One Sucks is a Retrograde Orbit Radio production. Find more great shows like this at www.retrogradeorbitradio.com

The same choice lies before all of us as lay before characters in Indiana Jones and the Last Crusade.Thursday • 11/6/2025 •Thursday of the Twenty-first Week After Pentecost (Proper 26) This morning's Scriptures are: Psalm 71; Ezra 7:1–26; Revelation 14:1–13; Matthew 14:1–12 This morning's Canticles are: following the OT reading, Canticle 8 (“The Song of Moses,” Exodus 15, BCP, p. 85); following the Epistle reading, Canticle 19 (“The Song of the Redeemed,” Revelation 15:3–4, BCP, p. 94)

Grab your fedora and your passport—this week on Movie Mistrial, we're riding shotgun with Indiana Jones and the Last Crusade, the action-packed third chapter in the legendary adventure saga.The Last Crusade blends thrilling set pieces, witty banter, and heartfelt father-son dynamics to deliver one of the franchise's most beloved entries. Sean Connery and Harrison Ford share incredible chemistry, and Spielberg's direction keeps the action fresh and fun while grounding the story in themes of legacy and belief.While widely loved, some argue that The Last Crusade plays it a bit too safe—repeating elements from Raiders of the Lost Ark without reaching the same heights. The humor, while charming, occasionally undercuts the tension, and the religious undertones may not land equally for all viewers.Join us as we crack the code on The Last Crusade. Is it a triumphant return to form—or a nostalgic rehash riding on the charisma of its stars?Connect with us and share your thoughts:Twitter: http://tiny.cc/MistrialTwitterFacebook: http://tiny.cc/MistrialFBInstagram: http://tiny.cc/MistrialInstaVisit our website, www.moviemistrial.com, for more captivating episodes and to stay up-to-date with all things movies.

Adventure has a name...and it's name is Inside the Insider! Join Alex, Davis, and Jesse for more Last Crusade, including interviews with Harrison Ford, Sean Connery, and Steven Spielberg...from 1989! It's Inside the Insider Collection #3! To catch up to Inside the Insider, sign up on Patreon! A new bonus episode comes out every time we put out a main series episode! Or go check out SWNCBC Legends Collection 1 for free right now! www.patreon.com/SWOCBC

Join screenwriter Stuart Wright as he dives into movies that changed your life with filmmaker and film festival director Heidi Hornhacher, in this engaging episode of 3 Films That Have Impacted Everything In Your Adult Life. Explore Monty Python and the Holy Grail impact, Indiana Jones and the Last Crusade analysis, and French Kiss influence on his personal growth and cinema's transformative power. Heidi Hornhacher also discusses Pagecraft and the power of mentoring Movies That Changed Your Life   Find out about Pagecraft and the power of mentoring with screenwriting Heidi Hornhacher and the lasting impact of cinema with Stuart Wright on his movie podcast.   [1:00] What is Pagecraft? [3:28] Common mistakes Pagecraft can help make your screenplay better [5:40] What are the benefits of the two weeks residential in Italy? [7:00] What is the key to good script coverage? [9:20] How can a screenwriter get the best out of script coverage? [11:50] What is the power of mentoring and why might it be important to a screenwriter? [17:30] 3 Films That Have Impacted Everything In Your Adult Life Monty Python and the Holy Grail impact  [18:20] Heidi Hornhacher saw Monty Python and the Holy Grail when she was far too young and has lost count the number of times she has rewatched it. Indiana Jones and the Last Crusade analysis [23:30] Heidi Hornhacher shares how Indiana Jones and the Last Crusade was the first movie she waited in line at her local, Larkspur cinema, northern California, to see it. When she finally got in, there were no seats left and Heidi had to sit on the carpets in front of the front row to watch it.   French Kiss Influence   [25:40] Heidi Hornhacher talks about how French Kiss is a perfect Romcom structure. There's motif. There's transitions. It's a screenplay she teaches, but surprisingly, it's unavailable to stream anywhere. Key Take Aways:   - Discover how movies that changed your life shape personal and professional growth. - Learn about what Pagecraft can offer you - The power of a mentor to a screenwriter - What is good script coverage - Understand cinema's transformative power through Monty Python and the Holy Grail (1975), Indiana Jones and the Last Crusade (1989), French Kiss (1995)  - Full show notes and transcript:  About the Guest:   A graduate of UCLA's screenwriting program, Heidi Hornbacher has written numerous features, treatments, and TV pilots for both studios and independent producers.  For more about Pagecraft see https://www.pagecraftwriting.com/ Subscribe on Apple Podcasts, follow on Spotify or wherever you listen to your podcasts for more movies that impacted your life!  Share your favourite movies that impacted your life on X (@leytonrocks) and leave a 5-star review and tell us which 3 films impacted your adult life. Best ones get read out on the podcast. Credits:   Intro/Outro music: *Rocking The Stew* by Tokyo Dragons (⁠https://www.instagram.com/slomaxster/⁠)  Written, produced, and hosted by Stuart Wright for [Britflicks.com](⁠https://www.britflicks.com/britflicks-podcast/⁠)   Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Tales From Hollywoodland, the crew celebrates the iconic career of Sir Sean Connery — the original James Bond and one of Hollywood's most enduring legends. From Dr. No to Indiana Jones and the Last Crusade and The Untouchables, we explore Connery's unforgettable roles, his charm and toughness on screen, and his […] The post Tales From Hollywoodland: The Legendary Career of Sean Connery appeared first on The ESO Network.

In this episode of Tales From Hollywoodland, the crew celebrates the iconic career of Sir Sean Connery — the original James Bond and one of Hollywood's most enduring legends. From Dr. No to Indiana Jones and the Last Crusade and The Untouchables, we explore Connery's unforgettable roles, his charm and toughness on screen, and his lasting impact on cinema. A must-listen for movie lovers and fans of classic Hollywood. We want to hear from you! Feedback is always welcome. Please write to us at  talesfromhollywoodland@gmail.com and why not subscribe and rate the show on Apple Podcasts, Spotify, iHeartRadio, PlayerFM, Pandora, Amazon Music, Audible, and wherever fine podcasts are found.  #TalesFromHollywoodland #SeanConnery #JamesBond #ClassicHollywood #MovieLegends #FilmIcons #HollywoodHistory #TheUntouchables #IndianaJones #MoviePodcast  

This week we welcome actor and author Alex Hyde-White, "The OG Reed Richards" from the unreleased 1994 Roger Corman Fantastic 4 film! Alex talks about growing up with famous parents, his thoughts on the legacy of the '94 Fantastic 4 film, what it was like to be included in Marvel's Fantastic Four: First Steps, writing his memoir, "In the Volume”, and more. This is a must-listen for any Marvel fan! Don't miss this one!  AlexHyde-White.com PunchandRoll.com Instagram: @AlexHydeWhite Click the link below to get your copy of “In The Volume”! https://www.archwaypublishing.com/en/bookstore/bookdetails/837182-in-the-volume  #AlexHydeWhite #ReedRichards #Fantastic4 #Marvel #PopCulture #Nostalgia #CannedAirPodcast #actormemoirs #hollywoodstorytelling #behindthescenesstories #popculturediscussions #popcultureinterviews #firststeps Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textA hard-boiled police detective sets out to capture an aspiring Broadway dancer who has been terrorizing the canals of Amsterdam with his killer moves. On Episode 687 of Trick or Treat Radio we are joined by our boy Joshua Libre for his Patreon Takeover and he has selected the films Amsterdamned from director Dick Maas and Staying Alive from director Sylvester Stallone for us to discuss! We also talk about Dutch horror, the real reason disco died, and what could have been if Joe Spinell was cast as a choreographer in Staying Alive! So grab your scuba gear, strut on down the street in your finest clothes, and strap on for the world's most dangerous podcast!Stuff we talk about: Horror merchandise, Chia Pets, Pennywise, Elvira, Ghostface, Jason Universe, making the pain go away, the prolific pisser, the 13th step, national hispanic heritage, Amityville, Henry: Portrait of a Serial Killer, The Good Son, Warlock, The Forgotten, Shaun of the Dead, Rare Exports, Wendigo, Bloody Homecoming, Dead Women's Hollow, Woe, The Dunwich Horror, Stitch, Chronicles of the Dead, Trancers 2, Freaked, Alex Winter, Summer School, Mask, Cher, Boone the Bounty Hunter, Journey into Darkness, The Creeping Flesh, King Kong, Victor Wong, James Hong, Pooh-niverse, Anaconda, The Bride, Bonny and Clyde, Tremors, Remo Williams, Walking Dead, Jeffrey Dean Morgan, The Johnsons, Amsterdamned, Dick Maas, James Bond, boat chases, Police Academy 5, Dark Night of the Scarecrow, The Vanishing, Huub Stapel, The Last Crusade, Lucker the Necrophagous, Staying Alive, Sylvester Stallone, Saturday Night Fever, John Travolta, The Sandlot, Kurtwood Smith, Frank Stallone, That 70s Show, Johnny Vasolino, a bulge the size of a coconut, Pulp Fiction, Norman Wexler, Bee Gees, Flashdance, Cynthia Rhodes, Joe Spinell, Fame, Xanadu, D.C. Cab, My Bodyguard, Showgirls, Waiting for Guffman, The Producers, Disco Demolition, time capsule, Weapons, Until Dawn, Peter Stormare, Sinners, Bring Her Back, Amsterdarned, Hamsterdamned, a small serving of Giallo, War of the Worlds, Mac Sabbath, The Apple, The Last Starfighter, Patreon Takeover, Superman, Toxic Avenger, Peter Dinklage, Springtime for Tony and Amsterdamned II.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

✨ Hollywood actor Alex Hyde-White has lived a career most can only dream of; starring in iconic films like Pretty Woman and Fantastic Four, working alongside legends like Julia Roberts, Richard Gere, Steven Spielberg, and Bob Newhart.But beyond the screen, Alex has emerged as a thoughtful storyteller, sharing not just Hollywood memories but also wisdom about persistence, preparation, and personal growth.In this episode of the Grow Yourself Podcast, Alex takes us from the glitz of Hollywood to sage lessons on life, reflecting on what it means to chase opportunity, embrace resilience, and leave behind a meaningful legacy.What You'll Learn in This Episode✅What it was like to work with Julia Roberts and Richard Gere in Pretty Woman✅How Alex landed his big break at Universal and why being ready matters✅Why chasing fame can be dangerous — and how to stay grounded✅The life lesson behind his mantra: “Don't give up on yourself”✅How legacy is built through small roles, great stories, and lasting impact

The Gents travel to Earth-828 to check in on Marvel's first family and watch the 2025 superhero film The Fantastic Four: First Steps! :25 - Movies We've Seen (The Fun House, Indiana Jones and the Last Crusade, Alien: Romulus, Friendship) 17:00 - TV Shows We've Seen (Alien: Earth, Peacemaker, Miami Vice, Lost) 27:30 - The Fantastic Four: First Steps Get bonus episodes on our Patreon! Next episode: Robocop (1987)

Zo is on one of his visits to the National Gallery of Art looking at beautiful artifacts found all over the world. Where are these things found and what ordeal does one go through to collect these priceless treasures? Zo imagines that it would take people with considerable resources, knowledge and grit. He had once read about a famed archeologist who risked life and limb and journeyed to the four corners of the Earth in order to retrieve forgotten treasures in an effort to share his finds with the citizens of the world. Through these artifacts he hoped to enrich the lives of everyday people and teach them about far flung cultures and lost civilizations. There was even a rumor that this archologist nearly lost his life looking for the actual Holy Grail, and that this distinguished gentleman, Dr. Henry Jones, Sr. was saved from death by the efforts of his son, a renowned archeologist in his own right, and their mutual friends. Though Dr. Jones, Sr. named his only son after himself, his son never appreciated the moniker of "Junior" and would rather be known as "Indiana" Jones and this was their last crusade. Episode Segments00:08:04 Opening Credits for Indiana Jones and the Last Crusade starring Harrison Ford, Sean Connery and Alison Doody00:15:52 Favorite Parts of the 1989 film: Indiana Jones and the Last Crusade00:52:11 Trivia from the fantasy adventure: Indiana Jones and the Last Crusade00:58:19 Critics' Thoughts on Steven Spielberg's Indiana Jones and the Last Crusade #IndianaJonesandtheLastCrusade #HarrisonFord #SeanConnery Please leave a comment, suggestion or question on our social media: Back Look Cinema: The Podcast Links:Website: www.backlookcinema.comEmail: fanmail@backlookcinema.comYouTube: https://www.youtube.com/@backlookcinemaTwitter: https://twitter.com/backlookcinemaFacebook: https://www.facebook.com/BackLookCinemaInstagram: https://instagram.com/backlookcinemaThreads: https://www.threads.net/@backlookcinemaTikTok: https://www.tiktok.com/@backlookcinemaTwitch https://www.twitch.tv/backlookcinemaBlue Sky: https://bsky.app/profile/backlookcinema.bsky.socialMastodon: https://mstdn.party/@backlookcinemaBack Look Cinema Merch at Teespring.comBack Look Cinema Merch at Teepublic.com Again, thanks for listening.

The Junkies welcome Alex Hyde-White for a super-powered conversation. Alex, who goes by the nickname Punch, and was the first person to play a live-action Reed Richards/Mr. Fantastic in the never-released but widely-viewed movie The Fantastic Four, completed in 1994. Shauna and Olivia ask Alex about his career, which includes appearances in iconic films like Indiana Jones and the Last Crusade, Pretty Woman, Catch Me if You Can and Nope, and television series like Newhart, Murder She Wrote, Babylon 5, Party of 5, Agents of S.H.I.E.L.D., Shameless, and Landman. Alex also has a cameo in Fantastic Four: First Steps along with his Fantastic Four 1994 co-stars. Alex, who comes from a show business family, discusses playing big parts in small movies and small parts in big movies, how those small parts lead to big parts, the roles he'd still love to play, and his work outside of acting. Alex wrote a memoir, In the Volume: My Life in Film and TV, and owns Punch Audio Studio, which specializes in audiobook narration and production. Alex, who is also an avowed Pop Culture Junkie, and his career make for fascinating, even Fantastic, listening! For all things Alex Hyde-White, visit his website: AlexHyde-White.com Find Alex on Facebook here: facebook.com/alexhydewhite You can watch the Pop Culture Junkie Podcast on YouTube! Click here: https://www.youtube.com/@popculturejunkiepod/videos We have affordable and rewarding Patreon tiers! Be the first to hear new and uncensored content, if you dare! Click here: https://www.patreon.com/popculturejunkiepodcast/posts Apple Podcast: https://podcasts.apple.com/us/podcast/pop-culture-junkie/id1536737728 Spotify: https://open.spotify.com/show/7k2pUxzNDBXNCHzFM7EL8WWebsite: www.popculturejunkie.com Facebook: PopCultureJunkiePodcast Instagram: @pop.culturejunkie Threads: @pop.culturejunkie Bluesky: @pop-culture-junkie.bsky.social Email: junkies@popculturejunkie.com Shauna on Instagram: @shaunatrinidad  Shauna on Threads: @shaunatrinidad Olivia on Instagram: @livimariez

In this episode of Boldy Go, Brandi and Dave review episode 305 of Star Trek: Strange New Worlds, Through the Lens of Time. Similarities include Prometheus. The Exorcist, and Indiana Jones and the Last Crusade.We struggle through this one, folks. Dave even gets a little angry.

8 Hours and 20 MinutesPG-13This is the complete reading of Warren H. Carroll's 1996 book, "The Last Crusade: 1936." Antelope Hill - Promo code "peteq" for 5% off - https://antelopehillpublishing.com/FoxnSons Coffee - Promo code "peter" for 18% off - https://www.foxnsons.com/The Last CrusadeFaction: With the CrusadersKarl's SubstackKarl's MerchPete and Thomas777 'At the Movies'Support Pete on His WebsitePete's PatreonPete's SubstackPete's SubscribestarPete's GUMROADPete's VenmoPete's Buy Me a CoffeePete on FacebookPete on TwitterBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-pete-quinones-show--6071361/support.

Hello, I am Randy Andrews, your host. This is yet another older episode that got lost to the void. Eric Woods and I did three of the Indiana Jones films on Soundtrack Alley and then did Crystal Skull over on CSR. This episode is still my favorite Indiana Jones movie. Indiana Jones and the Last Crusade, My show went through two iterations before I brought things back to the original title of Soundtrack Alley. Now I'm sharing this episode again. I hope you enjoy this! Eric Woods and I go into detail on the film and its background. We discuss the behind the scenes, the sets, the locations, the action and adventure and so much more. This film is really so much fun and concludes a trilogy that should have stopped and stayed unique in its film time. This episode will involve discussing some of the trivia from IMDB curated and then discussing some of the liner notes from the deluxe edition of the score of the film. Then we will discuss some of the brilliant music from the master John Williams. Eric Woods as you know is a talented podcaster who runs Cinematic Sound Radio and I am a part of his podcasting network. There are several shows associated with the network. He has been doing the podcast or a form of it for over 25 years. He's a good friend from Kitchner Ontario Canada and is a great admirer of film scores. He also has a Patreon where you can join and share in the playlist and the exclusive shows only to Patreons With the show we discuss points on the film and background on the production of the movie.      After that we go into the cues from the film, some we will do a selection of two to three cues per section and we discuss background on the different selections  Then we promote our shows  The theme for Soundtrack Alley is composed by Alexander Schiebel and you can find his work at  www.xanderscores.com Please check out my website  www.soundtrackalley.com follow the podcast through your favorite podcasting app.  Follow for more info through my social pages www.instagram.com/soundtrackalley www.x.com/soundtrackalley www.facebook.com/soundtrackalley

Get ready for a trip down memory lane as we count down the *Top 10 Movies of 1989*!

SWAMP regular Erin, cousin of Dara, joins us to end Spielberg month with a Last Crusade. Tumblr Post MentionedHenry's Letterboxd I shouted out a chocolate chip cookie recipe in this episode that I now realize is behind a paywall (boo) so I am pasting it below:IngredientsYield: 10 cookies2cups/256 grams all-purpose flour½teaspoon baking soda¾teaspoon salt½pound/227 grams unsalted butter (2 sticks), room temperature1½cups/302 grams granulated sugar¼cup/55 grams packed light or dark brown sugar1egg1½teaspoons pure vanilla extract6ounces/170 grams bittersweet chocolate (about 60 percent cacao solids), chopped into coarse pieces, bits and shardsPreparationStep 1Adjust an oven rack to the middle position. Line 2 baking sheets with aluminum foil, parchment paper or nonstick baking mats.Step 2In a small bowl, whisk the flour, baking soda and salt.Step 3In the bowl of a stand mixer fitted with a paddle, beat the butter on medium until creamy. Add the granulated and brown sugars and beat on medium until light and fluffy, 2 to 3 minutes. Add the egg, vanilla and 2 tablespoons water, and mix on low to combine. Add the flour mixture, and mix on low until combined. Add the chocolate and mix on low into the batter. (At this point, the dough can be refrigerated for several hours or overnight.)Step 4Heat the oven to 350 degrees. Form the dough into 3½-ounce (100-gram) balls (a heaping ⅓ cup each). Place 4 balls an equal distance apart on a prepared pan, and transfer to the freezer for 15 minutes before baking. After you put the first baking sheet in the oven, put the second one in the freezer.Step 5Place the chilled baking sheet in the oven and bake 10 minutes, until the cookies are puffed slightly in the center. Lift the baking sheet and let it drop down against the oven rack, so the edges of the cookies set and the inside falls back down. (This will feel wrong, but trust me.) Bang it down, if necessary, to make the center fall.Step 6After the cookies puff up again, 2 to 3 minutes later, repeat lifting and dropping the pan, every 3 minutes, to create ridges around the edge of the cookie. Bake 16 to 18 minutes total, until the cookies have spread out, and the edges are golden brown, but the centers are much lighter and not fully cooked.Step 7Transfer the baking sheet to a wire rack; let cool before removing the cookies from the pan.Step 8Repeat with remaining cookies, using the first sheet pan for the third batch of cookies.Send us a textSWAMP stuff:PatreonSocials:TikTok: @theswamppodcastInstagram: @theswamppodBluesky: @theswamppodcast.bsky.socialYouTubeDara's Letterboxd Emily's Letterboxd Our website: https://www.the-swamp-podcast.com/Email: theswamppod@gmail.com

1989 was what some might call a good year for movies. The top-grossing films could easily be mistaken for anyone's favorite 80s movies list: Batman, Lethal Weapon 2, Rain Man, Ghostbusters II. You might even consider including Tango & Cash. But only one 1989 release brought back the iconic bullwhip and fedora.Indiana Jones returned to the big screen in a blockbuster adventure full of humor, heart, and incredible stunts. Set in 1938, our hero embarks on a mission to rescue his father, a medievalist who has disappeared while searching for the Holy Grail. Following clues in Henry Sr.'s cherished notebook, Indy travels to Europe, reuniting with old allies while battling new Nazi enemies.So, dust off your fedora, crack the bullwhip, and take a leap of faith with Tim Williams and guest co-hosts, Gerry D, Nicholas Pepin, and Chad Sheppard as they discuss “Indiana Jones and the Last Crusade” on this episode of the 80s Flick Flashback Podcast!Here are some additional behind-the-scenes trivia we were unable to cover in this episode:When Henry expresses surprise that Indy can fly a plane, Indiana responds with "Fly, yes. Land, no." This references his crashing a plane in "Indiana Jones and the Temple of Doom" (1984).Henry Sr. and Jr. point out that in Latin, Jehovah starts with an I, not a J. This is accurate, especially considering that the knight who recovered the Grail did so during the First Crusade. The First Crusade ended in 1099. During the Roman Empire, J was just a variation of an I, which is why their lowercase forms, i and j, look similar. The original pronunciation was very much like an I or Y. Its use as a soft 'g' sound did not appear before the 15th century.Sources:Wikipedia, IMDB, BoxOfficeMojohttps://www.shortlist.com/news/15-things-you-probably-didnt-know-about-indiana-jones-and-the-last-crusadeSome sections were composed by ChatGPTWe'd love to hear your thoughts on our podcast! You can share your feedback with us via email or social media.Website - https://www.80sflickflashback.com/TeePublic Store - https://www.teepublic.com/user/eighties-flick-flashbackBuy Me A Coffee - https://buymeacoffee.com/80sflickfbFacebook - https://www.facebook.com/80sflickflashbackpodcastInstagram - https://www.instagram.com/80sflickflashback/TikTok - https://www.tiktok.com/@80sflickflashbackEmail - Info@80sFlickFlashback.com

Agents Scott & Cam welcome actor Vernon Dobtcheff to the show to discuss his memorable performance as Max Kalba in The Spy Who Loved Me. He also shares stories about working on Indiana Jones and the Last Crusade, The Day of the Jackal, Condorman and more!  Become a SpyHards Patron and gain access to top secret "Agents in the Field" bonus episodes, movie commentaries and more! Social media: @spyhards Purchase the latest exclusive SpyHards merch at Redbubble. View the NOC List and the Disavowed List at Letterboxd.com/spyhards Podcast artwork by Hannah Hughes. Theme music by Doug Astley.

If you thought there was no way there could be more than one issue centered mainly around Willow and Tucker...you're wrong, baby! Come talk Star Wars, Willow, Tucker, and even some Last Crusade with Alex, Davis, and Jesse on our early-access Patreon bonus show, Inside the Insider Collection 2! Includes SWOCBC: Inside the Insider, Issues #4-6 Catch up on all the ITI episodes you're missing by supporting us at www.patreon.com/SWOCBC!

To finish off the original trilogy of Indiana Junes, Angela Rak joins us! She's a friend of the show and a real life friend that we see ONLY once a year, no more, no less. Last Crusade is pretty Star Wars though, huh?? And Angela and Mike get to play a globe trotting, world spanning RPG of Josiah's devious devising. Enjoy!You can contact the show at agoodpodcast@gmail.com and find us @HowStarWarsIsIt on all platforms, but since all platforms are kind of evil now, you should probably just email us. That's the best way to get a hold of us! You can also follow Mike @WordGospel09 on Youtube and Instagram and Josiah @JosiahDotBiz on social media, but once again, just email us. And don't forget to rate and review on iTunes, or wherever you get your podcasts! And if you REALLY like the show head over to our Patreon at patreon.com/howstarwarsisit for bonus episodes, Star Wars movie commentaries, and more!

From Lucasfilm Games: the iconic Fate of Atlantis, in both its Graphic Adventure and lesser known Action Game forms, and the earlier Last Crusade adaptations. These games brought Indy's globe-trotting exploits to 8-bit, 16-bit, and DOS screens through a mix of cinematic storytelling and witty puzzles.Less so in the Action Games. But still. Hosted on Acast. See acast.com/privacy for more information.

Indiana Jones and the Last Crusade gets the Five Bucket Club treatment in this episode -   James Bond and Han Solo, together at last!  Just don't put your popcorn in any of those golden chalices please….  #indianajonesandthelastcrusade #indianajones #harrisonford #seanconnery #stevenspielberg #georgelucas

On the Overthinking It Podcast, we tackle “Indiana Jones and the Last Crusade.” Episode 883: In Latin, Cocomelon Starts with an I originally appeared on Overthinking It, the site subjecting the popular culture to a level of scrutiny it probably doesn't deserve. [Latest Posts | Podcast (iTunes Link)]

What if Indiana Jones had a dad who was a “grail scholar" but also his “eskimo brother" and he was played by James Bond and he had a funny little hat? We are so glad Steven Spielberg dared to imagine this scenario because we got Indiana Jones and The Last Crusade out of it! Chris Gethard - The self-proclaimed “Bad Boy of Blank Check Guests” - joins the crew to talk about this delightful film, considered a fulcrum point in Spielberg's career where he switches perspectives from son to father. We're talking about daddy issues. We're asking if Kazim is the Kit Fisto of this film. We're wondering if Elsa looking hottest when dressed as a Nazi is a weird psychosexual thing Spielberg is exploring. We're realizing in real time that Indiana Jones might be a terrible archeologist. Basically - you should hand in your blimp tickets and join us on a very fun ride. Listen to Gethard's Special A Father and the Sun Listen To Beautiful Anonymous Checkout That Show monthly at UCB NY LIVE and LIVE STREAMED Sign up for Check Book, the Blank Check newsletter featuring even more “real nerdy shit” to feed your  pop culture obsession. Dossier excerpts, film biz AND burger reports, and even more exclusive content you won't want to miss out on. Join our Patreon for franchise commentaries and bonus episodes. Follow us @blankcheckpod on Twitter, Instagram, Threads and Facebook!  Buy some real nerdy merch Connect with other Blankies on our Reddit or Discord For anything else, check out BlankCheckPod.com Learn more about your ad choices. Visit megaphone.fm/adchoices