Podcasts about Leigh Brackett

Dana and Tom with 10x club member, Robb Conlon (Founder of Westport Studios and Host of B2B Business Class), and 5x club member, Andrew Corns (Host and Creator of the Revisionist Almanac), discuss the sequel to Star Wars, The Empire Strikes Back (1980) for its 45th anniversary: directed by Irvin Kerschner, written by Leigh Brackett and Lawrence Kasdan, music by John Williams, cinematography by Peter Suschitzky, starring Mark Hamill, Harrison Ford, Carrie Fisher, Billy Dee Williams, Alec Guinness, and James Earl Jones.Plot Summary: After their triumphant but costly victory against the Empire, the Rebel Alliance struggles to evade Darth Vader's relentless pursuit. Forced into hiding on the remote ice planet Hoth, they soon find themselves under attack, prompting a desperate escape across the galaxy. Meanwhile, Luke Skywalker (Mark Hamill), guided by visions of wisdom, seeks out the reclusive Jedi Master Yoda to sharpen his abilities and prepare for the battles ahead. As Han Solo (Harrison Ford) and Princess Leia (Carrie Fischer) attempt to evade Imperial forces, they seek refuge in the seemingly safe Cloud City—only to find betrayal lurking within. When Luke abandons his training to confront Vader, he faces a chilling revelation that will shake the foundation of his destiny and alter the course of the Rebellion forever.Guests:Robb ConlonFounder of Westport Studios and Host of B2B Business ClassLinkedIn: Robb / Westport StudiosPreviously On: Alien (1979), Aliens (1986), Die Hard (1988), The Godfather (1972), John Wick (2014), The Dark Knight (2008), The Dark Knight Rises (2012), Man on Fire (2004), The Incredibles (2004), Gladiator...

On this week's World's Finest Wednesday issue of Bros, Foes, and Heroes, we dive into another classic Silver Age adventure! When Batman unexpectedly becomes heir to a mysterious castle, he and Robin find themselves unraveling a 400-year-old mystery. With missing gold, sea monsters, and Robin playing the bagpipes, this story truly has it all.. It's time to enjoy Batman: "The Lord of Batmanor" Detective Comics Issue #198 (DC Comics, 1953) Batman: "The Lord of Batmanor" Writer(s): Leigh Brackett & Edmond Hamilton Penciler: Dick Sprang Inker(s): Gene McDonald & Charles Paris Letterer: Pat Gordon Editor: Jack Schiff Learn more about your ad choices. Visit megaphone.fm/adchoices

Feuilleton " Dans la bibliothèque de l'oncle Mich' " de Michel Dufranne. Épisode 15 : Leigh Brackett, surnommée la Dame de Mars, autrice du titre "Le grand Livre de Mars", une inconnue connue d'Hollywood et de la littérature. Mars. La rouge. L'aride. L'immortelle. Mars où les empires s'entrechoquent et s'effondrent, où les héros naissent à l'ombre d'oriflammes barbares. Mars, ou la fierté d'un héritage culturel indicible et millénaire. Mars, des secrets. Du pouvoir. Mars de la mort. Du souvenir... Merci pour votre écoute Entrez sans Frapper c'est également en direct tous les jours de la semaine de 16h à 17h30 sur www.rtbf.be/lapremiere Retrouvez l'ensemble des épisodes et les émission en version intégrale (avec la musique donc) de Entrez sans Frapper sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/8521 Abonnez-vous également à la partie "Bagarre dans la discothèque" en suivant ce lien: https://audmns.com/HSfAmLDEt si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Vous pourriez également apprécier ces autres podcasts issus de notre large catalogue: Le voyage du Stradivarius Feuermann : https://audmns.com/rxPHqEENoir Jaune Rouge - Belgian Crime Story : https://feeds.audiomeans.fr/feed/6e3f3e0e-6d9e-4da7-99d5-f8c0833912c5.xmlLes Petits Papiers : https://audmns.com/tHQpfAm Des rencontres inspirantes avec des artistes de tous horizons. Galaxie BD: https://audmns.com/nyJXESu Notre podcast hebdomadaire autour du 9ème art.Nom: Van Hamme, Profession: Scénariste : https://audmns.com/ZAoAJZF Notre série à propos du créateur de XII et Thorgal. Franquin par Franquin : https://audmns.com/NjMxxMg Ecoutez la voix du créateur de Gaston (et de tant d'autres...)

Mysterious traders, technophobia, and Mennonites, oh my! Shaun Duke, Trish Matson, and Paul Weimer join forces to discuss Leigh Brackett's The Long Tomorrow (1955). Together, they tackle Brackett's legacy, her treatment of religion- and technophobia-infused dystopia, gender roles, AI, and much more. Thanks for listening. We hope you enjoy the episode! Show Notes: Don't forget to catch our live format every Friday at 7 PM Central on Twitch at AlphabetStreams! If you have a question you'd like us to answer, feel free to shoot us a message on our contact page. Our new intro and outro music comes from Holy Mole. You can support his work at patreon.com/holymole. See you later, navigator!

John and Ben sit down with Filipino sword and sorcery author, Dariel Quiogue, about his upcoming novella, "The Walls of Shira Yulun", which will be coming out soon as part of the "Double-Edge Sword & Sorcery" collection from New Edge Sword & Sorcery. As always, we hope you enjoy our conversation. You can support the campaign for the "Double-Edge Sword & Sorcery" here: https://www.backerkit.com/c/projects/brackenbooks/double-edge-sword-sorcery Works Mentioned Robert E. Howard, Conan Edgar Rice Burroughs, Barsoom Star Wars Herodouts, Histories The Odyssey of Homer Dariel Quiogue, Swords of the Four Winds Siege Weapons of the Far East Vol. 1 and 2, Stephen Turnbull (Author) , Wayne Reynolds (Illustrator) Babur the Tiger, Harold Lamb Khlit the Cossack Series, Harold Lamb How to Write Science Fiction and Fantasy by Orson Scott Card Tun Huang, Yasushi Inoue Flame and Crimson: A History of Sword-and-Sorcery, Brian Murphy David Gemmel Poul Anderson, Technic History series Leigh Brackett Tanith Lee Celia S. Friedman Julia May, Saga of Pliocene Exile Gubat Banwa, Pendragon, Star Wars D6 Legends of Zu A Thousand and One Nights The Waters of Eternity, Howard Andrew Jones Volkhavaar, Tanith Lee Hanuvar, Howard Andrew Jones Track of the Snow Leopard, Dariel Quiogue Lorelei of the Red Mist, Leigh Brackett Queen of the Martian Catacombs, Leigh Brackett

stoner noir, Inherent Vice, The Big Lebowski, Under the Silver Lake, film noir and it's characteristics, Psycho as noir, horror, giallo, slasher films, neo-noir, John Boorman, Point Blank, Roman Polanski, Chinatown, origins of stoner noir, Robert Altman, The Long Goodbye, Leigh Brackett, Altman/Brackett's subversion of the detective film, Raymond Chandler, Jim Thompson, The Late Show, Shane Black, Black's quartet of private detective films, The Last Boy Scout, True Romance, Tony Scott, Quentin Tarantino, is Tarantino stoner noir?, the characteristics of a stoner noir movie,Music by: Keith Allen Dennishttps://keithallendennis.bandcamp.com/Additional Music: Cypress Hill Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Hey Folks! In this episode we talk about Carly's swollen two face job interview and the neo noir The Long Goodbye! The Long Goodbye is a 1973 American satirical neo-noir film directed by Robert Altman and written by Leigh Brackett, based on Raymond Chandler's 1953 novel. The film stars Elliott Gould as Philip Marlowe and features Sterling Hayden, Nina Van Pallandt, Jim Bouton, Mark Rydell, and an early, uncredited appearance by Arnold Schwarzenegger. The story's setting was moved from the 1940s to 1970s Hollywood. The film has been called "a study of a moral and decent man cast adrift in a selfish, self-obsessed society where lives can be thrown away without a backward glance ... and any notions of friendship and loyalty are meaningless."[2] In 2021, the film was selected for preservation in the United States National Film Registry by the Library of Congress as "culturally, historically, or aesthetically significant"

Lets talk about 'Star Wars: Episode V - The Empire Strikes Back'Directed by Irvin Kershner, Writen by  Leigh Brackett, Lawrence Kasdan & George Lucas and Starring Mark Hamill, Harrison Ford & Carrie Fisher - After the Rebel Alliance are overpowered by the Empire, Luke Skywalker begins his Jedi training with Yoda, while his friends are pursued across the galaxy by Darth Vader and bounty hunter Boba Fett.Is it the best Star Wars movie?  Where does it rank against other sequels?  Was the reveal a surpise to you?Join the conversation on social media - @MACandGUpodcast

"Star Wars: The Empire Strikes Back," directed by Irvin Kershner and released in 1980, stands not only as one of the most iconic sequels in cinema history but also as a pivotal turning point in the expansive Star Wars saga. As we gear up for Star Wars Day 2024, a retrospective glance at this masterpiece reveals its undiminished power to captivate and provoke thought, making it an enduring treasure in the sci-fi genre.Cinematography and Visual InnovationFrom Hoth's chilling winds to Dagobah's lush swamps, each frame of "The Empire Strikes Back" is a visual feast. The opening battle on the icy planet of Hoth remains one of the most visually spectacular sequences in the Star Wars series. Cinematographer Peter Suschitzky's expertise brought a deeper, grittier tone to the film, setting it apart from its predecessor. The use of shadows and lighting intensifies the emotional gravity of each scene, making the visuals not just beautiful but narratively compelling.Storytelling and StructureIf "A New Hope" laid the foundation of this galactic adventure, "The Empire Strikes Back" expanded its scope and plunged deeper into its characters' emotional landscapes. The screenplay, refined by Leigh Brackett and Lawrence Kasdan, introduces a complex narrative with richer character development and a more layered plot. The film daringly deviates from the traditional victory arc, opting instead for a more sombre, introspective tone that reflects the characters' turmoil and growth. This bold narrative choice elevates the sequel to new heights, endowing it with a maturity and sophistication that many sequels fail to achieve.Character Development and PerformancesThe heart of "The Empire Strikes Back" lies in its profound character development, particularly that of Luke Skywalker (Mark Hamill), Han Solo (Harrison Ford), and Princess Leia (Carrie Fisher). Hamill delivers a nuanced performance as Luke grapples with his identity and destiny; Ford encapsulates Solo's roguish charm and depth, while Fisher's Leia is both a determined leader and a vulnerable human. The introduction of Yoda, masterfully voiced and puppeteered by Frank Oz, adds a philosophical layer to the story, challenging Luke and the audience with deep existential questions.The chemistry among the lead characters, especially the budding romance between Han and Leia, provides both warmth and tension, enriching the narrative and giving audiences moments of relief amidst the darker undertones of the saga.Villainous Presence: Darth VaderDarth Vader, portrayed by David Prowse with the unforgettable voice of James Earl Jones, cements his status as one of cinema's most formidable villains. "The Empire Strikes Back" gives Vader more screen time and context, delving into his complexities and setting up the familial reveal that would shock cinema audiences: "No, I am your father." This line, delivered during the climactic lightsaber duel with Luke, remains one of the most iconic moments in film history, reshaping the Star Wars narrative arc and deepening the conflict at its core.Cultural and Historical Significance=Upon its release, "The Empire Strikes Back" was met with mixed reviews; however, its reputation has only grown over time, and it is now widely regarded as the best film in the Star Wars series. It challenged the expectations of what a sequel could be and expanded the scope of George Lucas's storytelling canvas. Its influence is evident in the numerous sequels and franchises that have since sought to emulate its success in deepening character arcs and complex storytelling.Relevance to Pop CultureThe film's impact on pop culture is immeasurable, from spawning memorable lines to influencing countless works in film, television, and other media. It's a testament to the enduring appeal of the Star Wars universe, continually attracting new fans while keeping long-time enthusiasts hooked."The Empire Strikes Back" is not just a film; it's a profound cinematic experience that resonates through its pioneering special effects, compelling narrative, and deep philosophical underpinnings. As we celebrate Star Wars Day 2024, we acknowledge the timeless allure of this masterpiece. It teaches us about heroism, resilience, and the complexity of human (and non-human) emotions. This sequel not only stands the test of time but also remains a benchmark for evaluating cinematic excellence in science fiction.For any fan of cinema, Star Wars, or storytelling in general, "The Empire Strikes Back" is a seminal viewing experience, its legacy as vibrant today as it was over four decades ago. As Yoda might say, "Pass on what you have learned." Indeed, the lessons of "The Empire Strikes Back" continue to enlighten and inspire, making this celebration a tribute to the enduring power of great storytelling.Please follow the Podcast and join our community at https://linktr.ee/borntowatchpodcast If you are looking to start a podcast and want a host or get guests to pipe in remotely, look no further than Riverside.fmClick the link below https://riverside.fm/?utm_campaign=campaign_1&utm_medium=affiliate&utm_source=rewardful&via=matthew

It's season 2 of Bar Stool Film School and we're focusing on sequels, so naturally we decided to start with the granddaddy of them all, 1980's The Empire Strikes Back! Written by Lawrence Kasdan and Leigh Brackett. Directed by Irvin Kershner. Starring, Mark Hamill, Harrison Ford, and Carrie Fisher. The Cocktail: 2oz Rum 1oz Plantation Dark Rum .5oz Amaro 14 .5 oz Cointreau Orange Twist

The story of a modern Icarus — David Rand was a freak of nature, a glorious, winged freak, who had experienced the freedom of the sky and could no longer be tied to the ground. He That Hath Wings by Edmond Hamilton, that's next on The Lost Sci-Fi Podcast.Did you know that we are live on YouTube, Facebook and Twitter every Thursday? And every Thursday a listener is randomly selected and we narrate a story they want to hear? We will be live Thursday February 22nd at 8 PM in New York. There's a link in the description to YouTube, Facebook and Twitter so you can join us and the different times for major cities in the US and Canada.Our winner a couple of weeks ago, “customgod” chose the story you're about to hear. Edmond Hamilton was born in Youngstown Ohio in 1904 and this is his first appearance on the podcast. His career as a science fiction writer began with the publication of "The Monster God of Mamurth" in the August 1926 issue of Weird Tales Magazine.Weird Tales would publish 79 works of fiction by Hamilton from 1926 to 1948, making him one of the magazine's most prolific contributors.In 1942 Hamilton began writing for DC Comics, specializing in stories for Superman and Batman. He wrote more than a dozen novels and almost 200 short stories.On New Years Eve 1946 Hamilton married science fiction author Leigh Brackett, Ray Bradbury was his best man. Hamilton died in February 1977, his wife died a year later. From the July 1948 issue of Weird Tales Magazine our story is found on page 70, He That Hath Wings by Edmond Hamilton…Next on The Lost Sci-Fi Podcast, Groff ruled the world through Fear. Fear of his awful power ... his twisted, mad brain. For one day that brain would crack. When it did, the World would dissolve in cataclysmic Chaos. The Man Who Killed the World by Ray Cummings.Live Thursday February 22nd8 PM New York, Atlanta, Philadelphia, Montreal, Toronto7 PM Chicago, Winnipeg, Dallas, Kansas City6 PM Denver, Calgary, Salt Lake City, Albuquerque5 PM Los Angeles, San Francisco, San Diego, Seattle4 PM Anchorage3 PM Honolulu ☕ Buy Me a Coffee https://www.buymeacoffee.com/scottsV❤️ Thanks to All Our Listeners Who Bought Us a Coffee $50 Anonymous Listener$25 Stephen Kagan James Van Maanenberg Irma Stolfo Josh Jennings Leber8tr Anonymous ListenerConrad Chaffee $10Anonymous Listener$5Anonymous ListenerMerchandise - https://lostscifi.creator-spring.comYouTube - https://www.youtube.com/channel/UCgyNZ7w5w7O714NHkRv5psAFacebook - https://www.facebook.com/TheLostSciFiPodcastTwitter - https://twitter.com/lost_sci_fiSign up for our newsletter https://dashboard.mailerlite.com/forms/266431/102592606683269000/share Hosted on Acast. See acast.com/privacy for more information.

Caitlin and Charlotte discuss Leigh Brackett, the first writer of the sequel to 1977's Star Wars. Known as “The Queen of Space Opera,” Leigh Brackett worked with George Lucas to write a Star Wars sequel before it was called The Empire Strikes Back. Sadly, Brackett tragically died of cancer before completing the project and Lawrence Kasden was brought on — but several of her ideas and concepts made it to the screen. Caitlin and Charlotte discuss Brackett's life, her involvement with Star Wars, her 2nd draft, what they liked about it and what they didn't, and so much more.    Leigh Bracket's ESB Draft: https://starwarz.com/tbone/wp-content/uploads/Star-Wars-Sequel-Brackett.pdf      Gizmodo Article: https://gizmodo.com/they-mocked-her-science-fantasy-then-she-wrote-empir-489586578   Join our Patreon community and unlock bonus episodes + more!: https://www.patreon.com/skytalkers    http://skytalkers.com  http://www.twitter.com/skytalkerspod https://www.tiktok.com/@skytalkers  http://facebook.com/skytalkerspod  https://www.instagram.com/skytalkerspodcast  http://www.twitter.com/crerrity  http://www.twitter.com/caitlinplesher  hello@skytalkers.com 

Leigh Brackett (1915-1978) was an American science fiction writer and screenwriter known for her space opera stories. She wrote the first draft of Star Wars: The Empire Strikes Back, but died before the movie was finished.  For Further Reading: Leigh Brackett's Planetary Romances Tangent Online Presents: An Interview with Leigh Brackett & Edmond Hamilton Leigh Brackett: A Terrific Writer Ahead of Her Time just as She Was Ahead of Her Colleagues This month, we're talking about Women of Science Fiction. These women inspire us to imagine impossible worlds, alien creatures, and fantastical inventions, revealing our deepest fears... and hopes for the future. History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn't help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should. Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we'll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more.  Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures.  Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Lindsey Kratochwill, Adesuwa Agbonile, Carmen Borca-Carrillo, Taylor Williamson, Sara Schleede, Paloma Moreno Jimenez, and Abbey Delk. Special thanks to Shira Atkins. Original theme music composed by Miles Moran. Follow Wonder Media Network: Website Instagram Twitter See omnystudio.com/listener for privacy information.

The fey Mr. Young continues his scholarly researches in the scientific origins of our myth and legend with this tale of an agile—and avaricious—one-man Boarding Party. Boarding Party by Robert F. Young, that's next on The Lost Sci-Fi Podcast.There are a lot of reasons we choose to narrate a story. Sometimes it has everything to do with the popularity of the author. Other times we're looking to bring an author to the podcast that we've never shared before, such was the case recently with Evelyn E. Smith, Leigh Brackett and Andre Norton. And sometimes we narrate a story because one of our listeners requested it.But today you will hear a story because we think it's fun. It's as simple as that. Our fun story appeared in Amazing Stories Magazine in September 1963. You'll find it on page 23, Boarding Party by Robert F. Young…Next on The Lost Sci-Fi Podcast, Who was it that lost out in the end? Pursued, or pursuer, on this hideous little rock in space. Final Victim by Ray Bradbury and Henry Hasse.Support the Show https://www.buymeacoffee.com/scottsVMerchandise https://lostscifi.creator-spring.com/Facebook https://www.facebook.com/TheLostSciFiPodcastTwitter https://twitter.com/lost_sci_fiSign up for our newsletterhttps://dashboard.mailerlite.com/forms/266431/102592606683269000/share Hosted on Acast. See acast.com/privacy for more information.

Welcome to a new series that highlights pre-1980 films in sort of a Book club format that's available on a streaming service.For Episode 3, Paul Escarcega is joined by Drew Stewart as they review John Howard Hawk's "El Dorado (1966)".WHERE CAN WE WATCH: Amazon Prime and Paramount Plus.DIRECTED BY: Howard Hawks (Scarface ((1932), Bringing Up Baby, Rio Bravo)WRITTEN BY: Leigh Brackett (The Big Sleep, Rio Bravo, Empire Strikes Back) & Harry Brown (Ocean's Eleven, Sands of Iwo Jima, Places in the Sun)STARS: John Wayne, Robert Mitchum, James CaanEl Dorado is a 1966 American Western film directed and produced by Howard Hawks and starring John Wayne and Robert Mitchum. Written by Leigh Brackett and loosely based on the novel The Stars in Their Courses by Harry Brown, the film is about a gunfighter who comes to the aid of an old friend who is a drunken sheriff struggling to defend a rancher and his family against another rancher trying to steal their water. The supporting cast features James Caan, Charlene Holt, Paul Fix, Arthur Hunnicutt, Michele Carey, R. G. Armstrong, Ed Asner, Christopher George, Adam Roarke and Jim Davis.Cole Thornton, a gunfighter for hire, joins forces with old friend, Sheriff J.P. Hara. Together with an old Indian fighter and a gambler, they help a rancher and his family fight a rival rancher who's trying to steal their water.The film was first released in Japan on December 17, 1966 and then in the United States on June 7, 1967. The film received critical praise and was commercially successful, generating North American rentals of $5,950,000 on box-office receipts of $12 million.[4]Roger Ebert awarded the film three and a half stars, stating: "El Dorado is a tightly directed, humorous, altogether successful Western, turned out almost effortlessly, it would seem, by three old pros: John Wayne, Robert Mitchum and director Howard Hawks."[10]The film has a 96% approval rating on review compiler Rotten Tomatoes based on 25 reviews, with a weighted average of 7.7/10.[11]To Watch on YouTube:https://youtu.be/0ADyIopi_SU#aaactionpodcast #film #moviereview #moviepodcast #movie #classicmovies #movieclub #filmhistory #eldorado #western #paramountplus #amazonprime #howardhawks #johnwayne

Howard Andrew Jones and Monalisa Foster discuss the career and legacy of the Grand Dame of Space Opera, Leigh Brackett; and Tinker by Wen Spencer, Part 29. View the podcast in video form at https://www.baen.com/podcastfiles/mp3/video-baen-free-radio-hour-Leigh-Brackett-Retrospective-Tinker-Part-29.mp4 and the Baen YouTube Channel.

A fallen satellite of the Planet Venus is the lure which leads three hunted beings to the mysterious island of smiling death! The Moon That Vanished by Leigh Brackett, that's next on The Lost Sci-Fi Podcast, with at least one lost vintage sci-fi short story in every episode. The Moon That Vanished marks the debut of the woman known as "The Queen of Space Opera.” Born in Los Angeles in December 1915 Leigh Douglass Brackett wasn't just an author. Hollywood director Howard Hawks was so impressed by her novel No Good From a Corpse that he had his secretary call in "this guy Brackett" to help William Faulkner write the script for the 1946 movie The Big Sleep starring Humphrey Bogart and Lauren Bacall. She was one of the screenwriters for the 1959 John Wayne movie Rio Bravo which also starred Dean Martin and Ricky Nelson.And she wrote the first version for a little movie, “Star Wars: Episode V - The Empire Strikes Back”. She died soon thereafter and because it was an unfinished script her draft was revised and none of her ideas made it in the final script. Her Science Fiction career began in 1940 when she wrote the short story Martian Quest. She would write short stories, novels and screenplays, with time off every now and then, until her death from cancer at the age of 62.We'll find our story in the October 1948 issue of Thrilling Wonder Stories magazine, turn to page 13 for, The Moon That Vanished by Leigh Brackett…Why did I choose this story? Leigh Brackett has been on my radar for some time now and I wanted our first Brackett story to be a good one. She did write many short sci-fi stories but this one, as you know by now, is a little longer. For me The Moon That Vanished was a roller coaster ride with exotic locations and descriptive phrases far beyond most of the shorter stories we've narrated so far. I loved it and there will be more stories by Leigh Brackett on the podcast.Next on The Lost Sci-Fi Podcast, yet another story written by a woman, Like all her other plants from far-off worlds, Aunt Amy hoped the Venusian Rambler would win a prize. It hoped so too. Flowering Evil by Margaret St. Clair, That's next on The Lost Sci-Fi Podcast. Facebook https://www.facebook.com/TheLostSciFiPodcastTwitter https://twitter.com/lost_sci_fihttps://www.buymeacoffee.com/scottsVMerch - https://lostscifi.creator-spring.com/Sign up for our newsletterhttps://dashboard.mailerlite.com/forms/266431/102592606683269000/sharehttps://twitter.com/lost_sci_fi Hosted on Acast. See acast.com/privacy for more information.

We break down the FINAL issue of THE EMPIRE STRIKES BACK Marvel comics adaptation - BETRAYAL AT BESPIN! This comic includes the confrontation between Luke and Darth Vader, and Darth Vader's terrifying familial declaration. Meanwhile, Leia, Chewie, C-3P0, R2-D2 and Lando make their escape from Bespin. Richard and Sarah share their thoughts and find fun Easter eggs throughout. What a rousing finale to The Empire Strikes Back series of comics!   We recommend watching the video version (above) of this episode which contains the full comic as we page through it: https://youtu.be/emw96yUyfsI      Classic Marvel Star Wars Comics #44 “Duel A Dark Lord!"   Release Date: November 25, 1980 Writer: Archie Goodwin, based on the script by Leigh Brackett and Lawrence Kasdan from the story by George Lucas Artwork: Al Williamson, Carlos Garzón, & Glynis Wein Cover Art: Al Williamson & Carlos Garzón   As usual, we take our Facebook Group Comments on the cover into account as we analyze this issue. Become a part of our Facebook Group to contribute!     Support The Show   Skywalking Through Neverland T-Shirts at TeePublic! Check them out HERE.   Contact Us   Instagram: http://instagram.com/skywalkingpod   Twitter: https://twitter.com/SkywalkingPod   Facebook: https://www.facebook.com/skywalkingthroughneverland   Join us every week on YouTube for a behind-the-scenes look at our show. We also bring you to Disneyland, Red Carpet Events and Theme Park Openings.   Send emails to share@skywalkingthroughneverland.com and follow us on Facebook.

We break down the FINAL issue of THE EMPIRE STRIKES BACK Marvel comics adaptation - BETRAYAL AT BESPIN! This comic includes the confrontation between Luke and Darth Vader, and Darth Vader's terrifying familial declaration. Meanwhile, Leia, Chewie, C-3P0, R2-D2 and Lando make their escape from Bespin. Richard and Sarah share their thoughts and find fun Easter eggs throughout. What a rousing finale to The Empire Strikes Back series of comics!   We recommend watching the video version (above) of this episode which contains the full comic as we page through it: https://youtu.be/emw96yUyfsI      Classic Marvel Star Wars Comics #44 “Duel A Dark Lord!"   Release Date: November 25, 1980 Writer: Archie Goodwin, based on the script by Leigh Brackett and Lawrence Kasdan from the story by George Lucas Artwork: Al Williamson, Carlos Garzón, & Glynis Wein Cover Art: Al Williamson & Carlos Garzón   As usual, we take our Facebook Group Comments on the cover into account as we analyze this issue. Become a part of our Facebook Group to contribute!     Support The Show   Skywalking Through Neverland T-Shirts at TeePublic! Check them out HERE.   Contact Us   Instagram: http://instagram.com/skywalkingpod   Twitter: https://twitter.com/SkywalkingPod   Facebook: https://www.facebook.com/skywalkingthroughneverland   Join us every week on YouTube for a behind-the-scenes look at our show. We also bring you to Disneyland, Red Carpet Events and Theme Park Openings.   Send emails to share@skywalkingthroughneverland.com and follow us on Facebook.

We break down the fifth issue of THE EMPIRE STRIKES BACK Marvel comics adaptation - BETRAYAL AT BESPIN! This comic chronicles Han, Leia, and Chewie's time meeting Lando on Bespin, as well as Luke's failure at the Dagobah cave and his arrival on Bespin. Richard and Sarah share their thoughts and find fun Easter eggs throughout. How does Naboo factor in?   We recommend watching the video version of this episode which contains the full comic as we page through it. Sarah found some fun new software to play with, so it looks even better than before! Video: https://youtu.be/-Z-FldzqSFc      Classic Marvel Star Wars Comics #43 “Betrayal at Bespin!"   Release Date: October 28, 1980 Writer: Archie Goodwin, based on the script by Leigh Brackett and Lawrence Kasdan from the story by George Lucas Artwork: Al Williamson, Carlos Garzón, & Glynis Wein Cover Art: Al Williamson & Carlos Garzón   As usual, we take our Facebook Group Comments on the cover into account as we analyze this issue. Become a part of our Facebook Group to contribute!     Support The Show   Skywalking Through Neverland T-Shirts at TeePublic! Check them out HERE.   Contact Us   Instagram: http://instagram.com/skywalkingpod   Twitter: https://twitter.com/SkywalkingPod   Facebook: https://www.facebook.com/skywalkingthroughneverland   Join us every week on YouTube for a behind-the-scenes look at our show. We also bring you to Disneyland, Red Carpet Events and Theme Park Openings.   Send emails to share@skywalkingthroughneverland.com and follow us on Facebook.  

We break down the fifth issue of THE EMPIRE STRIKES BACK Marvel comics adaptation - BETRAYAL AT BESPIN! This comic chronicles Han, Leia, and Chewie's time meeting Lando on Bespin, as well as Luke's failure at the Dagobah cave and his arrival on Bespin. Richard and Sarah share their thoughts and find fun Easter eggs throughout. How does Naboo factor in?   We recommend watching the video version of this episode which contains the full comic as we page through it. Sarah found some fun new software to play with, so it looks even better than before! Video: https://youtu.be/-Z-FldzqSFc      Classic Marvel Star Wars Comics #43 “Betrayal at Bespin!"   Release Date: October 28, 1980 Writer: Archie Goodwin, based on the script by Leigh Brackett and Lawrence Kasdan from the story by George Lucas Artwork: Al Williamson, Carlos Garzón, & Glynis Wein Cover Art: Al Williamson & Carlos Garzón   As usual, we take our Facebook Group Comments on the cover into account as we analyze this issue. Become a part of our Facebook Group to contribute!     Support The Show   Skywalking Through Neverland T-Shirts at TeePublic! Check them out HERE.   Contact Us   Instagram: http://instagram.com/skywalkingpod   Twitter: https://twitter.com/SkywalkingPod   Facebook: https://www.facebook.com/skywalkingthroughneverland   Join us every week on YouTube for a behind-the-scenes look at our show. We also bring you to Disneyland, Red Carpet Events and Theme Park Openings.   Send emails to share@skywalkingthroughneverland.com and follow us on Facebook.  

This week's Nose got a couple other cans, ya know, and came back and switched the labels and the cans around. The Long Goodbye is a satirical neo-noir mystery feature film adaptation of Raymond Chandler's 1953 novel. It is the eighth feature directed by Robert Altman and the second-to-last screenplay by the science fiction writer Leigh Brackett (who also wrote The Empire Strikes Back and the 1946 version of The Big Sleep, among others). It stars Elliott Gould as Philip Marlowe in 1970s Los Angeles. This year is The Long Goodbye's 50th anniversary. Plus: A look at the value and the art of rewatching and rewatchability. Raquel Benedict's endorsements: Helpmeet by Naben Ruthnum Nocebo on Shudder Helder Mira's endorsements: Hawkeye: L.A. Woman by Matt Fraction, Annie Wu, and Javier Pulido Jury Duty on Freevee Documentary Now! Season 4 on Netflix Gene Seymour's endorsements: Emerald City Nights: Live at the Penthouse by Ahmad Jamal Ain't But a Few of Us: Black Music Writers Tell Their Story edited by Willard Jenkins Colin's endorsement: The Battered Bastards of Baseball on Netflix Some other stuff that happened this week, give or take: Michael Gambon, Dumbledore in the ‘Harry Potter' Films, Dies at 82 After he made his mark in London in the 1970s, he went on to play a wide range of roles, including Edward VII, Oscar Wilde and Winston Churchill. Golden Globes Adds Two New Categories: Blockbuster Movies and Stand-Up Comics Enter the Race The Definitive Guide to All Things Taylor Swift and Travis Kelce Whether you're a football fan, a Swiftie, or both, this helpful glossary will tell you everything you need to know about the budding relationship between the Kansas City Chiefs tight end and the world's biggest pop star Kelce-Swift Is a Dream Pairing for the N.F.L. The romance between the Chiefs tight end and the world's biggest pop star represents an alliance with the only cultural force in America bigger than the league itself. MAGA Goes to War Against the Swifties! Now they've picked a fight with the wrong people. Lying in Comedy Isn't Always Wrong, but Hasan Minhaj Crossed a Line The stand-up's penchant for making up stories goes beyond embellishment. When real people and real stakes are involved, a different standard applies. Comedy Central Widens Search for ‘Daily Show' Host Beyond Hasan Minhaj The Death of Netflix DVD Marks the Loss of Something Even Bigger It's the end of an era—and not just for plastic discs. ‘Stop Making Sense' Talks Up $800k Weekend, $1.4M Cume As 1984 Concert Film Draws Young Crowd The Office Reboot In The Works, Original US Showrunner Returning After years of speculation, a reboot of The Office is reportedly finally going to happen and the original US showrunner is attached to return. Inside Apple's Plan to Change the Way We Watch Sports Longtime Apple executive Eddy Cue happens to be an enormous sports fan. And with Apple entering the wild west of broadcasting live sports, he's ready to shake up the way we watch games on TV—with a little help from none other than Leo M GUESTS: Raquel Benedict: The most dangerous woman in speculative fiction and the host of the Rite Gud podcast Helder Mira: Multimedia producer at Trinity College and co-host of the So Pretentious podcast Gene Seymour: A “writer, professional spectator, pop-culture maven, and jazz geek” The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Google Podcasts, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode! Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. Join the conversation on Facebook and Twitter. Colin McEnroe, Cat Pastor, and Dylan Reyes contributed to this show, which originally aired May 19, 2023.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

The guys discuss the film adaptation of THE LONG GOODBYE, a classic hard-boiled detective fiction novel written by Raymond Chandler, that tells the story of Philip Marlowe, a private detective living in Los Angeles, who is pulled into a mystery when both his friend Terry Lennox, and his wife, turn up dead, the latter by murder and the former by suicide. Or were they? While Marlowe investigates the deaths, he's pulled deeper into the lives of the Lennox's neighbors, the famous author Roger Wade and his wife, and the police. … The film adaptation stars Elliott Gould, Nina van Pallandt, Sterling Hayden, and a brief appearance from a young Arnold Schwarzenegger. The film was released in 1973 and was directed by Robert Altman, with the screenplay written by Leigh Brackett. … Topics of discussion include the modernizing of the film's setting, the dynamic performances of Gould and Sterling, the complex plot of the book that is stripped down in the film, and the unlikely talent of striking a match. … Listen to the episode to find out how the series stacks up to the book. … (0:00) From the book… (1:30) Fast facts, recap, trivia… (10:49) A word from our sponsor… (11:14) Studio pitch & novel breakdown… (28:47) “Take off your clothes…” (30:54) Learn you something, differences from the book… … Our next episode will be on the adaptation of the Iain Reid novel, FOE, our first episode of this year's upcoming season on 2023 Oscar Bait. The film is directed by Garth Davis ("Lion") and stars Saoirse Ronan and Paul Mescal. The film's release date is set for October 6, 2023. … The episode following FOE will be on the film adaptation of David Grann's NYT bestselling nonfiction book, THE KILLERS OF THE FLOWER MOON, which is directed by Martin Scorsese and stars Leonardo DiCaprio, Robert De Niro, Lily Gladstone, Brendan Fraser, and Jesse Plemons. The film's release date is set for October 20, 2023. … If you would like to get in contact with us about anything regarding the show, feel free to shoot us an e-mail: littolens@gmail.com … Or reach out on social media: twitter.com/littolens instagram.com/littolens

Time to head back in time and revisit Classic Marvel Star Wars Comics! We break down the fourth issue of THE EMPIRE STRIKES BACK Marvel comics adaptation - BOUNTY HUNTERS. How is the artwork? What are our fond memories of this cover? And just how much does this issue feature the bounty hunters? This issue also contains Sarah's favorite love scene in all of STAR WARS - how does the comic measure up???   This episode also contains our tribute to PAUL REUBENS and some heart-felt memories.   Watch the video version with the full comic above, or listen to the audio podcast here:     Classic Marvel Star Wars Comics #42 “To Be A Jedi" Description:   Title: "The Empire Strikes Back: To Be A Jedi" Release Date: September 23, 1980 Writer: Archie Goodwin, based on the script by Leigh Brackett and Lawrence Kasdan from the story by George Lucas Artwork: Al Williamson, Carlos Garzón, & Glynis Wein Cover Art: Al Williamson & Carlos Garzón   Synopsis:   Luke meets a green (not purple) gnome after he crashed his X-wing in a Dagobah swamp. He soon learns that this is the Jedi Master he was instructed to find by Ben Kenobi. Meanwhile, Han has hidden the Millennium Falcon inside of an asteroid cave only to realize it was not a cave at all. Aboard his Star Destroyer, Darth Vader has assembled a motley crew of Bounty Hunters to find the Falcon with the distinct command - “No disintegrations!”     As usual, we take our Facebook Group Comments on the cover into account as we analyze this issue. Become a part of our Facebook Group to contribute!     Support The Show   Skywalking Through Neverland T-Shirts at TeePublic! Check them out HERE.   Contact Us   Instagram: http://instagram.com/skywalkingpod   Twitter: https://twitter.com/SkywalkingPod   Facebook: https://www.facebook.com/skywalkingthroughneverland   Join us every week on YouTube for a behind-the-scenes look at our show. We also bring you to Disneyland, Red Carpet Events and Theme Park Openings.   Send emails to share@skywalkingthroughneverland.com and follow us on Facebook.

Time to head back in time and revisit Classic Marvel Star Wars Comics! We break down the fourth issue of THE EMPIRE STRIKES BACK Marvel comics adaptation - BOUNTY HUNTERS. How is the artwork? What are our fond memories of this cover? And just how much does this issue feature the bounty hunters? This issue also contains Sarah's favorite love scene in all of STAR WARS - how does the comic measure up???   This episode also contains our tribute to PAUL REUBENS and some heart-felt memories.   Watch the video version with the full comic above, or listen to the audio podcast here:     Classic Marvel Star Wars Comics #42 “To Be A Jedi" Description:   Title: "The Empire Strikes Back: To Be A Jedi" Release Date: September 23, 1980 Writer: Archie Goodwin, based on the script by Leigh Brackett and Lawrence Kasdan from the story by George Lucas Artwork: Al Williamson, Carlos Garzón, & Glynis Wein Cover Art: Al Williamson & Carlos Garzón   Synopsis:   Luke meets a green (not purple) gnome after he crashed his X-wing in a Dagobah swamp. He soon learns that this is the Jedi Master he was instructed to find by Ben Kenobi. Meanwhile, Han has hidden the Millennium Falcon inside of an asteroid cave only to realize it was not a cave at all. Aboard his Star Destroyer, Darth Vader has assembled a motley crew of Bounty Hunters to find the Falcon with the distinct command - “No disintegrations!”     As usual, we take our Facebook Group Comments on the cover into account as we analyze this issue. Become a part of our Facebook Group to contribute!     Support The Show   Skywalking Through Neverland T-Shirts at TeePublic! Check them out HERE.   Contact Us   Instagram: http://instagram.com/skywalkingpod   Twitter: https://twitter.com/SkywalkingPod   Facebook: https://www.facebook.com/skywalkingthroughneverland   Join us every week on YouTube for a behind-the-scenes look at our show. We also bring you to Disneyland, Red Carpet Events and Theme Park Openings.   Send emails to share@skywalkingthroughneverland.com and follow us on Facebook.

Time to head back in time and revisit Classic Marvel Star Wars Comics! Cris Macht of Machtails from the Cantina joins us to break down the third issue of THE EMPIRE STRIKES BACK Marvel comics adaptation. How is the artwork? What are our fond memories? And how does this issue relate with ROGUE ONE?   Classic Marvel Star Wars Comics #41 “Imperial Pursuit" Description:   Title: "The Empire Strikes Back: Imperial Pursuit" Release Date: September 2, 1980 Writer: Archie Goodwin, based on the script by Leigh Brackett and Lawrence Kasdan from the story by George Lucas Artwork: Al Williamson, Carlos Garzón, & Glynis Wein Cover Art: Al Williamson & Carlos Garzón   Synopsis:   This issue chronicles the Battle of Hoth's end, the Asteroid Chase, and Luke's escape to Dagobah.   As usual, we take our Facebook Group Comments on the cover into account as we analyze this issue. Become a part of our Facebook Group to contribute!     Support The Show   Skywalking Through Neverland T-Shirts at TeePublic! Check them out HERE.   Contact Us   Instagram: http://instagram.com/skywalkingpod   Twitter: https://twitter.com/SkywalkingPod   Facebook: https://www.facebook.com/skywalkingthroughneverland   Join us every week on YouTube for a behind-the-scenes look at our show. We also bring you to Disneyland, Red Carpet Events and Theme Park Openings.   Send emails to share@skywalkingthroughneverland.com and follow us on Facebook.

Time to head back in time and revisit Classic Marvel Star Wars Comics! Cris Macht of Machtails from the Cantina joins us to break down the third issue of THE EMPIRE STRIKES BACK Marvel comics adaptation. How is the artwork? What are our fond memories? And how does this issue relate with ROGUE ONE?   Classic Marvel Star Wars Comics #41 “Imperial Pursuit" Description:   Title: "The Empire Strikes Back: Imperial Pursuit" Release Date: September 2, 1980 Writer: Archie Goodwin, based on the script by Leigh Brackett and Lawrence Kasdan from the story by George Lucas Artwork: Al Williamson, Carlos Garzón, & Glynis Wein Cover Art: Al Williamson & Carlos Garzón   Synopsis:   This issue chronicles the Battle of Hoth's end, the Asteroid Chase, and Luke's escape to Dagobah.   As usual, we take our Facebook Group Comments on the cover into account as we analyze this issue. Become a part of our Facebook Group to contribute!     Support The Show   Skywalking Through Neverland T-Shirts at TeePublic! Check them out HERE.   Contact Us   Instagram: http://instagram.com/skywalkingpod   Twitter: https://twitter.com/SkywalkingPod   Facebook: https://www.facebook.com/skywalkingthroughneverland   Join us every week on YouTube for a behind-the-scenes look at our show. We also bring you to Disneyland, Red Carpet Events and Theme Park Openings.   Send emails to share@skywalkingthroughneverland.com and follow us on Facebook.

Phil and Colin dig into "Star Wars Sequel", the unfilmed 1978 script by science fiction legend Leigh Brackett which became STAR WARS: THE EMPIRE STRIKES BACK. We look at what made it into the finished film and what got junked, and consider whether Star Wars creator George Lucas was keeping his screenwriter in the dark! For links to everything we discuss, check out the show notes at 101sf.blogspot.com

The Hounds of Skaith

This week's Nose got a couple other cans, ya know, and came back and switched the labels and the cans around. The Long Goodbye is a satirical neo-noir mystery feature film adaptation of Raymond Chandler's 1953 novel. It is the eighth feature directed by Robert Altman and the second-to-last screenplay by the science fiction writer Leigh Brackett (who also wrote The Empire Strikes Back and the 1946 version of The Big Sleep, among others). It stars Elliott Gould as Philip Marlowe in 1970s Los Angeles. This year is The Long Goodbye's 50th anniversary. Plus: A look at the value and the art of rewatching and rewatchability. Raquel Benedict's endorsements: Helpmeet by Naben Ruthnum Nocebo on Shudder Helder Mira's endorsements: Hawkeye by Fraction and Aja Jury Duty on Freevee Documentary Now! Season 4 on Netflix Gene Seymour's endorsements: Emerald City Nights: Live at the Penthouse by Ahmad Jamal Ain't But a Few of Us: Black Music Writers Tell Their Story edited by Willard Jenkins Colin's endorsement: The Battered Bastards of Baseball on Netflix Some other stuff that happened this week, give or take: Doyle Brunson, the ‘Godfather of Poker,' has died at 89 End of a love affair: AM radio is being removed from many cars Ford, BMW, Volkswagen, Tesla and other automakers are eliminating AM radio from some new vehicles, stirring protests against the loss of a medium that has shaped American life for a century Tony Awards Broadcast Can Proceed After Striking Writers' Union Agrees The Tony Awards, a key marketing opportunity for Broadway, can go ahead in an altered form after the striking screenwriters' union said it would not picket this year's broadcast. TV Isn't About to Get Worse. It Already Is. The problems that Hollywood's writers are protesting can be seen on our screens. YouTube Bringing Unskippable 30-Second Ads To The Living Room Supreme Court Rules Against Andy Warhol in Copyright Case The question for the justices was whether the artist was free to use elements of a rock photographer's portrait of the musician Prince. ESPN Plans to Stream Flagship Channel, Eyeing Cable TV's Demise Internal project code-named ‘Flagship' lays out shift in coming years, as talks with leagues and cable partners have begun At 81, Martha Stewart lands ‘historic' Sports Illustrated Swimsuit cover “The whole aging thing is so boring," Stewart proclaimed. Meghan Markle And Prince Harry Released A Statement After Escaping A “Near Catastrophic Car Chase” With Paparazzi “This relentless pursuit, lasting over two hours, resulted in multiple near collisions involving other drivers on the road, pedestrians, and two NYPD officers." Montana becomes first US state to ban TikTok Greg Gianforte, the governor, signed legislation prohibiting mobile app stores from offering the video-sharing platform by next year Disney's Expensive ‘Star Wars' Galactic Starcruiser Hotel to Close After Less Than Two Years The immersive and pricy hotel in Florida is being sent to a galaxy far, far away. Limiting what novelists can write about won't help readers An influencer's AI clone will be your girlfriend for $1 a minute CarynAI is the first AI companion product from a new startup called Forever Voices, allowing users to chat with a digital version of the fastest growing Snapchat star Arnold Schwarzenegger Gets Candid on Career, Failures, Aging: “My Plan Is to Live Forever” The action icon — set to make his series TV debut in Netflix's ‘FUBAR' — sounds off on his ‘Terminator' and ‘Conan' futures, identity politics and why emotions are overrated: “We have to work our ass off and stop worrying about feelings.” The Dave Matthews Guide to Living and Dying The troubadour of mellow vibes has been one of the biggest acts in music for three decades. Now 56, Matthews has been singing about mortality for a long time, and he's confronting its specter in new and surprising ways. A Few Thoughts on Quentin Tarantino's Plan to Retire The director has said that his tenth film will be his last. What does this mean for his cinematic legacy? The 23 Best '90s Movies Once is enough: 18 movies you'll never want to rewatch They may be beautifully shot, brilliantly acted, thought-provoking films, but you're not going to reach for them again on movie night How to Spin Bad News, Featuring Jonathan Majors and Johnny Depp This Viral Debate Over Young Al Pacino And Robert De Niro's Hotness Has Caused Me To Rethink Everything If you're on Twitter, you may have seen it; if you're not, prepare for the most important debate of your life. GUESTS: Raquel Benedict: The most dangerous woman in speculative fiction and the host of the Rite Gud podcast Helder Mira: Multimedia producer at Trinity College and co-host of the So Pretentious podcast Gene Seymour: A “writer, professional spectator, pop-culture maven, and jazz geek” The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Google Podcasts, Stitcher, or wherever you get your podcasts. Subscribe and never miss an episode! Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. Join the conversation on Facebook and Twitter. Colin McEnroe and Cat Pastor contributed to this show.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

Seth is joined by Dr. Sue Vazakas to discuss the 2020 Retro Hugo winner (for the year 1945), Leigh Brackett’s Shadow Over Mars. Start – 21:02 Intro through “Why this book?” (along with additional background) 21:03 – 31:44 Non-Spoiler discussion 31:45 – end Spoiler discussion Take my Future of the Podcast survey! https://forms.gle/ycoyiAEv5CEjXHXE6 Sue’s links: … Continue reading "HT#76: Shadow Over Mars, by Leigh Brackett (feat. Dr. Sue Vazakas)"

On this episode, we talk about the great American filmmaker Robert Altman, and what is arguably the worst movie of his six decade, thirty-five film career: his 1987 atrocity O.C. and Stiggs. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we're going to talk about one of the strangest movies to come out of the decade, not only for its material, but for who directed it.   Robert Altman's O.C. and Stiggs.   As always, before we get to the O.C. and Stiggs, we will be going a little further back in time.   Although he is not every cineaste's cup of tea, it is generally acknowledged that Robert Altman was one of the best filmmakers to ever work in cinema. But he wasn't an immediate success when he broke into the industry.   Born in Kansas City in February 1925, Robert Altman would join the US Army Air Force after graduating high school, as many a young man would do in the days of World War II. He would train to be a pilot, and he would fly more than 50 missions during the war as part of the 307th Bomb Group, operating in the Pacific Theatre. They would help liberate prisoners of war held in Japanese POW Camps from Okinawa to Manila after the victory over Japan lead to the end of World War II in that part of the world.   After the war, Altman would move to Los Angeles to break into the movies, and he would even succeed in selling a screenplay to RKO Pictures called Bodyguard, a film noir story shot in 1948 starring Lawrence Tierney and Priscilla Lane, but on the final film, he would only share a “Story by” credit with his then-writing partner, George W. George. But by 1950, he'd be back in Kansas City, where he would direct more than 65 industrial films over the course of three years, before heading back to Los Angeles with the experience he would need to take another shot.   Altman would spend a few years directing episodes of a drama series called Pulse of the City on the DuMont television network and a syndicated police drama called The Sheriff of Cochise, but he wouldn't get his first feature directing gig until 1957, when a businessman in Kansas City would hire the thirty-two year old to write and direct a movie locally. That film, The Delinquents, cost only $60k to make, and would be purchased for release by United Artists for $150k. The first film to star future Billy Jack writer/director/star Tom Laughlin, The Delinquents would gross more than a million dollars in theatres, a very good sum back in those days, but despite the success of the film, the only work Altman could get outside of television was co-directing The James Dean Story, a documentary set up at Warner Brothers to capitalize on the interest in the actor after dying in a car accident two years earlier.   Throughout the 1960s, Altman would continue to work in television, until he was finally given another chance to direct a feature film. 1967's Countdown was a lower budgeted feature at Warner Brothers featuring James Caan in an early leading role, about the space race between the Americans and Soviets, a good two years before Neil Armstrong and Buzz Aldrin landed on the moon. The shoot itself was easy, but Altman would be fired from the film shortly after filming was completed, as Jack Warner, the 75 year old head of the studio, was not very happy about the overlapping dialogue, a motif that would become a part of Altman's way of making movies. Although his name appears in the credits as the director of the film, he had no input in its assembly. His ambiguous ending was changed, and the film would be edited to be more family friendly than the director intended.   Altman would follow Countdown with 1969's That Cold Day in the Park, a psychological drama that would be both a critical and financial disappointment.   But his next film would change everything.   Before Altman was hired by Twentieth-Century Fox to direct MASH, more than a dozen major filmmakers would pass on the project. An adaptation of a little known novel by a Korean War veteran who worked as a surgeon at one of the Mobile Auxiliary Surgical Hospitals that give the story its acronymic title, MASH would literally fly under the radar from the executives at the studio, as most of the $3m film would be shot at the studio's ranch lot in Malibu, while the executives were more concerned about their bigger movies of the year in production, like their $12.5m biographical film on World War II general George S. Patton and their $25m World War II drama Tora! Tora! Tora!, one of the first movies to be a Japanese and American co-production since the end of the war.    Altman was going to make MASH his way, no matter what. When the studio refused to allow him to hire a fair amount of extras to populate the MASH camp, Altman would steal individual lines from other characters to give to background actors, in order to get the bustling atmosphere he wanted. In order to give the camp a properly dirty look, he would shoot most of the outdoor scenes with a zoom lens and a fog filter with the camera a reasonably far distance from the actors, so they could act to one another instead of the camera, giving the film a sort of documentary feel. And he would find flexibility when the moment called for it. Sally Kellerman, who was hired to play Margaret “Hot Lips” Houlihan, would work with Altman to expand and improve her character to be more than just eye candy, in large part because Altman liked what she was doing in her scenes.   This kind of flexibility infuriated the two major stars of the film, Elliott Gould and Donald Sutherland, who at one point during the shoot tried to get Altman fired for treating everyone in the cast and crew with the same level of respect and decorum regardless of their position. But unlike at Warners a couple years earlier, the success of movies like Bonnie and Clyde and Easy Rider bamboozled Hollywood studio executives, who did not understand exactly what the new generation of filmgoers wanted, and would often give filmmakers more leeway than before, in the hopes that lightning could be captured once again.   And Altman would give them exactly that.   MASH, which would also be the first major studio film to be released with The F Word spoken on screen, would not only become a critical hit, but become the third highest grossing movie released in 1970, grossing more than $80m. The movie would win the Palme D'Or at that year's Cannes Film Festival, and it would be nominated for five Academy Awards, including Best Picture, Best Director and Best Supporting Actress for Ms. Kellerman, winning only for Best Adapted Screenplay. An ironic win, since most of the dialogue was improvised on set, but the victory for screenwriter Ring Lardner Jr. would effectively destroy the once powerful Hollywood Blacklist that had been in place since the Red Scare of the 1950s.   After MASH, Altman went on one of the greatest runs any filmmaker would ever enjoy.   MASH would be released in January 1970, and Altman's follow up, Brewster McCloud, would be released in December 1970. Bud Cort, the future star of Harold and Maude, plays a recluse who lives in the fallout shelter of the Houston Astrodome, who is building a pair of wings in order to achieve his dream of flying. The film would feature a number of actors who already were featured in MASH and would continue to be featured in a number of future Altman movies, including Sally Kellerman, Michael Murphy, John Schuck and Bert Remson, but another reason to watch Brewster McCloud if you've never seen it is because it is the film debut of Shelley Duvall, one of our greatest and least appreciated actresses, who would go on to appear in six other Altman movies over the ensuing decade.   1971's McCabe and Mrs. Miller, for me, is his second best film. A Western starring Warren Beatty and Julie Christie, was a minor hit when it was first released but has seen a reevaluation over the years that found it to be named the 8th Best Western of all time by the American Film Institute, which frankly is too low for me. The film would also bring a little-known Canadian poet and musician to the world, Leonard Cohen, who wrote and performed three songs for the soundtrack. Yeah, you have Robert Altman to thank for Leonard Cohen.   1972's Images was another psychological horror film, this time co-written with English actress Susannah York, who also stars in the film as an author of children's books who starts to have wild hallucinations at her remote vacation home, after learning her husband might be cheating on her. The $800k film was one of the first to be produced by Hemdale Films, a British production company co-founded by Blow Up actor David Hemmings, but the film would be a critical and financial disappointment when it was released Christmas week. But it would get nominated for an Academy Award for Best Original Dramatic Score. It would be one of two nominations in the category for John Williams, the other being The Poseidon Adventure.   Whatever resentment Elliott Gould may have had with Altman during the shooting of MASH was gone by late 1972, when the actor agreed to star in the director's new movie, a modern adaptation of Raymond Chandler's 1953 novel The Long Goodbye. Gould would be the eighth actor to play the lead character, Phillip Marlowe, in a movie. The screenplay would be written by Leigh Brackett, who Star Wars nerds know as the first writer on The Empire Strikes Back but had also adapted Chandler's novel The Big Sleep, another Phillip Marlowe story, to the big screen back in 1946.   Howard Hawks and Peter Bogdanovich had both been approached to make the film, and it would be Bogdanovich who would recommend Altman to the President of United Artists. The final film would anger Chandler fans, who did not like Altman's approach to the material, and the $1.7m film would gross less than $1m when it was released in March 1973. But like many of Altman's movies, it was a big hit with critics, and would find favor with film fans in the years to come.   1974 would be another year where Altman would make and release two movies in the same calendar year. The first, Thieves Like Us, was a crime drama most noted as one of the few movies to not have any kind of traditional musical score. What music there is in the film is usually heard off radios seen in individual scenes. Once again, we have a number of Altman regulars in the film, including Shelley Duvall, Bert Remsen, John Schuck and Tom Skerritt, and would feature Keith Carradine, who had a small co-starring role in McCabe and Mrs. Miller, in his first major leading role. And, once again, the film would be a hit with critics but a dud with audiences. Unlike most of Altman's movies of the 1970s, Thieves Like Us has not enjoyed the same kind of reappraisal.   The second film, California Split, was released in August, just six months after Thieves Like Us. Elliott Gould once again stars in a Robert Altman movie, this time alongside George Segal. They play a pair of gamblers who ride what they think is a lucky streak from Los Angeles to Reno, Nevada, would be the only time Gould and Segal would work closely together in a movie, and watching California Split, one wishes there could have been more. The movie would be an innovator seemingly purpose-build for a Robert Altman movie, for it would be the first non-Cinerama movie to be recorded using an eight track stereo sound system. More than any movie before, Altman could control how his overlapping dialogue was placed in a theatre. But while most theatres that played the movie would only play it in mono sound, the film would still be a minor success, bringing in more than $5m in ticket sales.   1975 would bring what many consider to be the quintessential Robert Altman movie to screens.   The two hour and forty minute Nashville would feature no less than 24 different major characters, as a group of people come to Music City to be involved in a gala concert for a political outsider who is running for President on the Replacement Party ticket. The cast is one of the best ever assembled for a movie ever, including Ned Beatty, Karen Black, Ronee Blakely, Keith Carradine, Geraldine Chaplin, Robert DoQui, Shelley Duvall, Allen Garfield, Henry Gibson, Scott Glenn, Jeff Goldblum, Barbara Harris, Cristina Raines, Lily Tomlin and Keenan Wynn.   Altman would be nominated for two Academy Awards for the film, Best Picture, as its producer, and Best Director, while both Ronee Blakely and Lily Tomlin would be nominated for Best Supporting Actress. Keith Carradine would also be nominated for an Oscar, but not as an actor. He would, at the urging of Altman during the production of the film, write and perform a song called I'm Easy, which would win for Best Original Song. The $2.2m film would earn $10m in ticket sales, and would eventually become part of the fourth class of movies to be selected for preservation by the National Film Registry in 1991, the first of four Robert Altman films to be given that honor. MASH, McCabe and Mrs. Miller, and The Long Goodbye would also be selected for preservation over the years.   And we're going to stop here for a second and take a look at that list of films again.   MASH Brewster McCloud McCabe and Mrs. Miller Images The Long Goodbye Thieves Like Us California Split Nashville   Eight movies, made over a five year period, that between them earned twelve Academy Award nominations, four of which would be deemed so culturally important that they should be preserved for future generations.   And we're still only in the middle of the 1970s.   But the problem with a director like Robert Altman, like many of our greatest directors, their next film after one of their greatest successes feels like a major disappointment. And his 1976 film Buffalo Bill and the Indians, or Sitting Bull's History Lesson, and that is the complete title of the film by the way, did not meet the lofty expectations of film fans not only its director, but of its main stars. Altman would cast two legendary actors he had not yet worked with, Paul Newman and Burt Lancaster, and the combination of those two actors with this director should have been fantastic, but the results were merely okay. In fact,  Altman would, for the first time in his career, re-edit a film after its theatrical release, removing some of the Wild West show acts that he felt were maybe redundant.   His 1977 film 3 Women would bring Altman back to the limelight. The film was based on a dream he had one night while his wife was in the hospital. In the dream, he was directing his regular co-star Shelley Duvall alongside Sissy Spacek, who he had never worked with before, in a story about identity theft that took place in the deserts outside Los Angeles. He woke up in the middle of the dream, jotted down what he could remember, and went back to sleep. In the morning, he didn't have a full movie planned out, but enough of one to get Alan Ladd, Jr., the President of Twentieth-Century Fox, to put up $1.7m for a not fully formed idea. That's how much Robert Altman was trusted at the time. That, and Altman was known for never going over budget. As long as he stayed within his budget, Ladd would let Altman make whatever movie he wanted to make. That, plus Ladd was more concerned about a $10m movie he approved that was going over budget over in England, a science fiction movie directed by the guy who did American Graffiti that had no stars outside of Sir Alec Guinness.   That movie, of course, was Star Wars, which would be released four weeks after 3 Women had its premiere in New York City. While the film didn't make 1/100th the money Star Wars made, it was one of the best reviewed movies of the year. But, strangely, the film would not be seen again outside of sporadic screenings on cable until it was released on DVD by the Criterion Collection 27 years later.   I'm not going to try and explain the movie to you. Just trust me that 3 Women is from a master craftsman at the top of his game.   While on the press tour to publicize 3 Women, a reporter asked Altman what was going to be next for him. He jokingly said he was going to shoot a wedding. But then he went home, thought about it some more, and in a few weeks, had a basic idea sketched out for a movie titled A Wedding that would take place over the course of one day, as the daughter of a Southern nouveau riche family marries the son of a wealthy Chicago businessman who may or may not a major figure in The Outfit.   And while the film is quite entertaining, what's most interesting about watching this 1978 movie in 2023 is not only how many great established actors Altman got for the film, including Carol Burnett, Paul Dooley, Howard Duff, Mia Farrow, Vittorio Gassman, Lauren Hutton, and, in her 100th movie, Lillian Gish, but the number of notable actors he was able to get because he shot the film just outside Chicago. Not only will you see Dennis Christopher just before his breakthrough in Breaking Away, and not only will you see Pam Dawber just before she was cast alongside Robin Williams in Mark and Mindy, but you'll also see Dennis Franz, Laurie Metcalfe, Gary Sinese, Tim Thomerson, and George Wendt.   And because Altman was able to keep the budget at a reasonable level, less than $1.75m, the film would be slightly profitable for Twentieth Century-Fox after grossing $3.6m at the box office.   Altman's next film for Fox, 1979's Quintet, would not be as fortunate.   Altman had come up with the story for this post-apocalyptic drama as a vehicle for Walter Hill to write and direct. But Hill would instead make The Warriors, and Altman decided to make the film himself. While developing the screenplay with his co-writers Frank Barhydt and Patricia Resnick, Altman would create a board game, complete with token pieces and a full set of rules, to flesh out the storyline.   Altman would once again work with Paul Newman, who stars as a seal hunter in the early days of a new ice age who finds himself in elaborate game with a group of gamblers where losing in the game means losing your life in the process. Altman would deliberately hire an international cast to star alongside Newman, not only to help improve the film's ability to do well in foreign territories but to not have the storyline tied to any specific country. So we would have Italian actor Vittorio Gassman, Spaniard Fernando Rey, Swedish actress Bibi Andersson, French actress Brigitte Fossey, and Danish actress Nina van Pallandt.    In order to maintain the mystery of the movie, Altman would ask Fox to withhold all pre-release publicity for the film, in order to avoid any conditioning of the audience. Imagine trying to put together a compelling trailer for a movie featuring one of the most beloved actors of all time, but you're not allowed to show potential audiences what they're getting themselves into? Altman would let the studio use five shots from the film, totaling about seven seconds, for the trailer, which mostly comprised of slo-mo shots of a pair of dice bouncing around, while the names of the stars pop up from moment to moment and a narrator tries to create some sense of mystery on the soundtrack.   But audiences would not be intrigued by the mystery, and critics would tear the $6.4m budget film apart. To be fair, the shoot for the film, in the winter of 1977 outside Montreal was a tough time for all, and Altman would lose final cut on the film for going severely over-budget during production, although there seems to be very little documentation about how much the final film might have differed from what Altman would have been working on had he been able to complete the film his way.   But despite all the problems with Quintet, Fox would still back Altman's next movie, A Perfect Couple, which would be shot after Fox pulled Altman off Quintet. Can you imagine that happening today? A director working with the studio that just pulled them off their project. But that's how little ego Altman had. He just wanted to make movies. Tell stories. This simple romantic comedy starred his regular collaborator Paul Dooley as  Alex, a man who follows a band of traveling bohemian musicians because he's falling for one of the singers in the band.   Altman kept the film on its $1.9m budget, but the response from critics was mostly concern that Altman had lost his touch. Maybe it was because this was his 13th film of the decade, but there was a serious concern about the director's ability to tell a story had evaporated.   That worry would continue with his next film, Health.   A satire of the political scene in the United States at the end of the 1970s, Health would follow a health food organization holding a convention at a luxury hotel in St. Petersburg FL. As one would expect from a Robert Altman movie, there's one hell of a cast. Along with Henry Gibson, and Paul Dooley, who co-write the script with Altman and Frank Barhydt, the cast would include Lauren Bacall, Carol Burnett, James Garner and, in one of her earliest screen appearances, Alfre Woodard, as well as Dick Cavett and Dinah Shore as themselves.   But between the shooting of the film in the late winter and early spring of 1979 and the planned Christmas 1979 release, there was a change of management at Fox. Alan Ladd Jr. was out, and after Altman turned in his final cut, new studio head Norman Levy decided to pull the film off the 1979 release calendar. Altman fought to get the film released sometime during the 1980 Presidential Campaign, and was able to get Levy to give the film a platform release starting in Los Angeles and New York City in March 1980, but that date would get cancelled as well. Levy then suggested an April 1980 test run in St. Louis, which Altman was not happy with. Altman countered with test runs in Boston, Houston, Sacramento and San Francisco. The best Altman, who was in Malta shooting his next movie, could get were sneak previews of the film in those four markets, and the response cards from the audience were so bad, the studio decided to effectively put the film on the proverbial shelf.   Back from the Mediterranean Sea, Altman would get permission to take the film to the Montreal World Film Festival in August, and the Telluride and Venice Film Festivals in September. After good responses from film goers at those festivals, Fox would relent, and give the film a “preview” screening at the United Artists Theatre in Westwood, starting on September 12th, 1980. But the studio would give the film the most boring ad campaign possible, a very crude line drawing of an older woman's pearl bracelet-covered arm thrusted upward while holding a carrot. With no trailers in circulation at any theatre, and no television commercials on air, it would be little surprise the film didn't do a whole lot of business. You really had to know the film had been released. But its $14k opening weekend gross wasn't really all that bad. And it's second week gross of $10,500 with even less ad support was decent if unspectacular. But it would be good enough to get the film a four week playdate at the UA Westwood.   And then, nothing, until early March 1981, when a film society at Northwestern University in Evanston IL was able to screen a 16mm print for one show, while a theatre in Baltimore was able to show the film one time at the end of March. But then, nothing again for more than another year, when the film would finally get a belated official release at the Film Forum in New York City on April 7th, 1982. It would only play for a week, and as a non-profit, the Film Forum does not report film grosses, so we have no idea how well the film actually did. Since then, the movie showed once on CBS in August 1983, and has occasionally played on the Fox Movie Channel, but has never been released on VHS or DVD or Blu-Ray.   I mentioned a few moments ago that while he was dealing with all this drama concerning Health, Altman was in the Mediterranean filming a movie. I'm not going to go too much into that movie here, since I already have an episode for the future planned for it, suffice to say that a Robert Altman-directed live-action musical version of the Popeye the Sailor Man cartoon featuring songs by the incomparable Harry Nilsson should have been a smash hit, but it wasn't. It was profitable, to be certain, but not the hit everyone was expecting. We'll talk about the film in much more detail soon.   After the disappointing results for Popeye, Altman decided to stop working in Hollywood for a while and hit the Broadway stages, to direct a show called Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. While the show's run was not very long and the reviews not very good, Altman would fund a movie version himself, thanks in part to the sale of his production company, Lion's Gate, not to be confused with the current studio called Lionsgate, and would cast Karen Black, Cher and Sandy Dennis alongside newcomers Sudie Bond and Kathy Bates, as five female members of The Disciples of James Dean come together on the 20th anniversary of the actor's death to honor his life and times. As the first film released by a new independent distributor called Cinecom, I'll spend more time talking about this movie on our show about that distributor, also coming soon, suffice it to say that Altman was back. Critics were behind the film, and arthouse audiences loved it. This would be the first time Altman adapted a stage play to the screen, and it would set the tone for a number of his works throughout the rest of the decade.   Streamers was Altman's 17th film in thirteen years, and another adaptation of a stage play. One of several works by noted Broadway playwright David Rabe's time in the Army during the Vietnam War, the film followed four young soldiers waiting to be shipped to Vietnam who deal with racial tensions and their own intolerances when one soldier reveals he is gay. The film featured Matthew Modine as the Rabe stand-in, and features a rare dramatic role for comedy legend David Alan Grier. Many critics would note how much more intense the film version was compared to the stage version, as Altman's camera was able to effortlessly breeze around the set, and get up close and personal with the performers in ways that simply cannot happen on the stage. But in 1983, audiences were still not quite ready to deal with the trauma of Vietnam on film, and the film would be fairly ignored by audiences, grossing just $378k.   Which, finally, after half an hour, brings us to our featured movie.   O.C. and Stiggs.   Now, you might be asking yourself why I went into such detail about Robert Altman's career, most of it during the 1970s. Well, I wanted to establish what types of material Altman would chose for his projects, and just how different O.C. and Stiggs  was from any other project he had made to date.   O.C. and Stiggs began their lives in the July 1981 issue of National Lampoon, as written by two of the editors of the magazine, Ted Mann and Tod Carroll. The characters were fun-loving and occasionally destructive teenage pranksters, and their first appearance in the magazine would prove to be so popular with readers, the pair would appear a few more times until Matty Simmons, the publisher and owner of National Lampoon, gave over the entire October 1982 issue to Mann and Carroll for a story called “The Utterly Monstrous Mind-Roasting Summer of O.C. and Stiggs.” It's easy to find PDFs of the issues online if you look for it.   So the issue becomes one of the biggest selling issues in the history of National Lampoon, and Matty Simmons has been building the National Lampoon brand name by sponsoring a series of movies, including Animal House, co-written by Lampoon writers Doug Kenney and Chris Miller, and the soon to be released movies Class Reunion, written by Lampoon writer John Hughes… yes, that John Hughes… and Movie Madness, written by five Lampoon writers including Tod Carroll. But for some reason, Simmons was not behind the idea of turning the utterly monstrous mind-roasting adventures of O.C. and Stiggs into a movie. He would, however, allow Mann and Carroll to shop the idea around Hollywood, and wished them the best of luck.   As luck would have it, Mann and Carroll would meet Peter Newman, who had worked as Altman's production executive on Jimmy Dean, and was looking to set up his first film as a producer. And while Newman might not have had the credits, he had the connections. The first person he would take the script to his Oscar-winning director Mike Nichols, whose credits by this time included Who's Afraid of Virginia Wolff?, The Graduate, Catch-22, and Carnal Knowledge. Surprisingly, Nichols was not just interested in making the movie, but really wanted to have Eddie Murphy, who was a breakout star on Saturday Night Live but was still a month away from becoming a movie star when 48 Hours was released, play one of the leading characters. But Murphy couldn't get out of his SNL commitments, and Nichols had too many other projects, both on Broadway and in movies, to be able to commit to the film.    A few weeks later, Newman and Altman both attended a party where they would catch up after several months. Newman started to tell Altman about this new project he was setting up, and to Newman's surprise, Altman, drawn to the characters' anti-establishment outlook, expressed interest in making it. And because Altman's name still commanded respect in Hollywood, several studios would start to show their interest in making the movie with them. MGM, who was enjoying a number of successes in 1982 thanks to movies like Shoot the Moon, Diner, Victor/Victoria, Rocky III, Poltergeist, Pink Floyd - The Wall, and My Favorite Year, made a preemptive bid on the film, hoping to beat Paramount Pictures to the deal. Unknown to Altman, what interested MGM was that Sylvester Stallone of all people went nuts for the script when he read it, and mentioned to his buddies at the studio that he might be interested in making it himself.   Despite hating studio executives for doing stuff like buying a script he's attached to  then kicking him off so some Italian Stallion not known for comedy could make it himself, Altman agree to make the movie with MGM once Stallone lost interest, as the studio promised there would be no further notes about the script, that Altman could have final cut on the film, that he could shoot the film in Phoenix without studio interference, and that he could have a budget of $7m.   Since this was a Robert Altman film, the cast would be big and eclectic, filled with a number of his regular cast members, known actors who he had never worked with before, and newcomers who would go on to have success a few years down the road. Because, seriously, outside of a Robert Altman movie, where are you going to find a cast that included Jon Cryer, Jane Curtin, Paul Dooley, Dennis Hopper, Tina Louise, Martin Mull, Cynthia Nixon, Bob Uecker, Melvin van Peebles, and King Sunny Adé and His African Beats? And then imagine that movie also featuring Matthew Broderick, Jim Carrey, Robert Downey, Jr. and Laura Dern?   The story for the film would both follow the stories that appeared in the pages of National Lampoon fairly closely while also making some major changes. In the film, Oliver Cromwell “O.C.” Oglivie and Mark Stiggs are two ne'er-do-well, middle-class Phoenix, Arizona high school students who are disgusted with what they see as an omnipresent culture of vulgar and vapid suburban consumerism. They spend their days slacking off and committing pranks or outright crimes against their sworn enemies, the Schwab family, especially family head Randall Schwab, a wealthy insurance salesman who was responsible for the involuntary commitment of O.C.'s grandfather into a group home. During the film, O.C. and Stiggs will ruin the wedding of Randall Schwab's daughter Lenore, raft their way down to a Mexican fiesta, ruin a horrible dinner theatre performance directed by their high school's drama teacher being attended by the Schwabs, and turn the Schwab mansion into a homeless shelter while the family is on vacation. The film ends with O.C. and Stiggs getting into a gun fight with Randall Schwab before being rescued by Dennis Hopper and a helicopter, before discovering one of their adventures that summer has made them very wealthy themselves.   The film would begin production in Phoenix on August 22nd, 1983, with two newcomers, Daniel H. Jenkins and Neill Barry, as the titular stars of the film. And almost immediately, Altman's chaotic ways of making a movie would become a problem. Altman would make sure the entire cast and crew were all staying at the same hotel in town, across the street from a greyhound racetrack, so Altman could take off to bet on a few of the races during production downtime, and made sure the bar at the hotel was an open bar for his team while they were shooting. When shooting was done every day, the director and his cast would head to a makeshift screening room at the hotel, where they'd watch the previous day's footage, a process called “dailies” in production parlance. On most films, dailies are only attended by the director and his immediate production crew, but in Phoenix, everyone was encouraged to attend. And according to producer Peter Newman and Dan Jenkins, everyone loved the footage, although both would note that it might have been a combination of the alcohol, the pot, the cocaine and the dehydration caused by shooting all day in the excessive Arizona heat during the middle of summer that helped people enjoy the footage.    But here's the funny thing about dailies.   Unless a film is being shot in sequence, you're only seeing small fragments of scenes, often the same actors doing the same things over and over again, before the camera switches places to catch reactions or have other characters continue the scene. Sometimes, they're long takes of scenes that might be interrupted by an actor flubbing a line or an unexpected camera jitter or some other interruption that requires a restart. But everyone seemed to be having fun, especially when dailies ended and Altman would show one of his other movies like MASH or The Long Goodbye or 3 Women.   After two months of shooting, the film would wrap production, and Altman would get to work on his edit of the film. He would have it done before the end of 1983, and he would turn it in to the studio. Shortly after the new year, there would be a private screening of the film in New York City at the offices of the talent agency William Morris, one of the larger private screening rooms in the city. Altman was there, the New York-based executives at MGM were there, Peter Newman was there, several of the actors were there. And within five minutes of the start of the film, Altman realized what he was watching was not his cut of the film. As he was about to lose his stuff and start yelling at the studio executives, the projector broke. The lights would go up, and Altman would dig into the the executives. “This is your effing cut of the film and not mine!” Altman stormed out of the screening and into the cold New York winter night.   A few weeks later, that same print from New York would be screened for the big executives at the MGM lot in Los Angeles. Newman was there, and, surprisingly, Altman was there too. The film would screen for the entire running length, and Altman would sit there, watching someone else's version of the footage he had shot, scenes put in different places than they were supposed to be, music cues not of his design or consent.   At the end of the screening, the room was silent. Not one person in the room had laughed once during the entire screening. Newman and Altman left after the screening, and hit one of Altman's favorite local watering holes. As they said their goodbyes the next morning, Altman apologized to Newman. “I hope I didn't eff up your movie.”   Maybe the movie wasn't completely effed up, but MGM certainly neither knew what to do with the film or how to sell it, so it would just sit there, just like Health a few years earlier, on that proverbial shelf.   More than a year later, in an issue of Spin Magazine, a review of the latest album by King Sunny Adé would mention the film he performed in, O.C. and Stiggs, would, quote unquote, “finally” be released into theatres later that year.   That didn't happen, in large part because after WarGames in the early summer of 1983, almost every MGM release had been  either an outright bomb or an unexpected financial disappointment. The cash flow problem was so bad that the studio effectively had to sell itself to Atlanta cable mogul Ted Turner in order to save itself. Turner didn't actually want all of MGM. He only wanted the valuable MGM film library, but the owner of MGM at the time was either going to sell it all or nothing at all.   Barely two months after Ted Turner bought MGM, he had sold the famed studio lot in Culver City to Lorimar, a television production company that was looking to become a producer and distributor of motion pictures, and sold rest of the company he never wanted in the first place to the guy he bought it all from, who had a kind of seller's remorse. But that repurchase would saddle the company with massive bills, and movies like O.C. and Stiggs would have to sit and collect dust while everything was sorted out.   How long would O.C. and Stiggs be left in a void?   It would be so long that Robert Altman would have time to make not one, not two, but three other movies that would all be released before O.C. and Stiggs ever saw the light of day.   The first, Secret Honor, released in 1984, featured the great Philip Baker Hall as former President Richard Nixon. It's probably Hall's single best work as an actor, and the film would be amongst the best reviewed films of Altman's career.   In 1985, Altman would film Fool For Love, an adaptation of a play by Sam Shepard. This would be the only time in Shepard's film career where he would star as one of the characters himself had written. The film would also prove once and for all that Kim Basinger was more than just a pretty face but a real actor.   And in February 1987, Altman's film version of Beyond Therapy, a play by absurdist playwright Christopher Durant, would open in theatres. The all-star cast would include Tom Conti, Jeff Goldblum, Christopher Guest, Julie Hagerty and Glenda Jackson.   On March 5th, 1987, an article in Daily Variety would note that the “long shelved” film would have a limited theatrical release in May, despite the fact that Frank Yablans, the vice chairman of MGM, being quoted in the article that the film was unreleasable. It would further be noted that despite the film being available to international distributors for three years, not one company was willing to acquire the film for any market. The plan was to release the movie for one or two weeks in three major US markets, depending on its popularity, and then decide a future course of action from there.   But May would come and go, without a hint of the film.   Finally, on Friday, July 10th, the film would open on 18 screens, but none in any major market like Chicago, Los Angeles or New York City. I can't find a single theatre the film played in that weekend, but that week's box office figures would show an abysmal $6,273 worth of tickets were sold during that first weekend.   There would not be a second weekend of reported grosses.   But to MGM's credit, they didn't totally give up on the film.   On Thursday, August 27th, O.C. and Stiggs would open in at least one theatre. And, lucky for me, that theatre happened to be the Nickelodeon Theatre in Santa Cruz. But despite the fact that the new Robert Altman was opening in town, I could not get a single friend to see it with me. So on a Tuesday night at 8:40pm, I was the only person in all of the region to watch what I would soon discover was the worst Robert Altman movie of all time. Now, I should note that even a bad Robert Altman movie is better than many filmmakers' best movies, but O.C. and Stiggs would have ignobility of feeling very much like a Robert Altman movie, with its wandering camera and overlapping dialogue that weaves in and out of conversations while in progress and not quite over yet, yet not feeling anything like a Robert Altman movie at the same time. It didn't have that magical whimsy-ness that was the hallmark of his movies. The satire didn't have its normal bite. It had a number of Altman's regular troop of actors, but in smaller roles than they'd usually occupy, and not giving the performances one would expect of them in an Altman movie.   I don't know how well the film did at the Nick, suffice it to say the film was gone after a week.   But to MGM's credit, they still didn't give up on the film.   On October 9th, the film would open at the AMC Century City 14, one of a handful of movies that would open the newest multiplex in Los Angeles.   MGM did not report grosses, and the film was gone from the new multiplex after a week.   But to MGM's credit, they still didn't give up on the film.   The studio would give the film one more chance, opening it at the Film Forum in New York City on March 18th, 1988.   MGM did not report grosses, and the film was gone after a week. But whether that was because MGM didn't support the film with any kind of newspaper advertising in the largest market in America, or because the movie had been released on home video back in November, remains to be seen.   O.C. and Stiggs would never become anything resembling a cult film. It's been released on DVD, and if one was programming a Robert Altman retrospect at a local arthouse movie theatre, one could actually book a 35mm print of the film from the repertory cinema company Park Circus.   But don't feel bad for Altman, as he would return to cinemas with a vengeance in the 1990s, first with the 1990 biographical drama Vincent and Theo, featuring Tim Roth as the tortured genius 19th century painter that would put the actor on the map for good. Then, in 1992, he became a sensation again with his Hollywood satire The Player, featuring Tim Robbins as a murderous studio executive trying to keep the police off his trail while he navigates the pitfalls of the industry. Altman would receive his first Oscar nomination for Best Director since 1975 with The Player, his third overall, a feat he would repeat the following year with Short Cuts, based on a series of short stories by Raymond Carver. In fact, Altman would be nominated for an Academy Award seven times during his career, five times as a director and twice as a producer, although he would never win a competitive Oscar.   In March 2006, while editing his 35th film, a screen adaptation of the then-popular NPR series A Prairie Home Companion, the Academy would bestow an Honorary Oscar upon Altman. During his acceptance speech, Altman would wonder if perhaps the Academy acted prematurely in honoring him in this fashion. He revealed he had received a heart transplant in the mid-1990s, and felt that, even though he had turned 81 the month before, he could continue for another forty years.   Robert Altman would pass away from leukemia on November 20th, 2006, only eight months after receiving the biggest prize of his career.   Robert Altman had a style so unique onto himself, there's an adjective that exists to describe it. Altmanesque. Displaying traits typical of a film made by Robert Altman, typically highly naturalistic, but with a stylized perspective and often a subversive twist.   He truly was a one of a kind filmmaker, and there will likely never be anyone like him, no matter how hard Paul Thomas Anderson tries.     Thank you for joining us. We'll talk again in two weeks, when Episode 106, Mad Magazine Presents Up the Academy, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.  

Thralls of the Endless Night by Leigh Douglass Brackett audiobook. This is a classic story from the early days of science fiction pulp magazines. Leigh Brackett, a female author who stood with the best of them during the period, always has a quirky way of examining human behavior whether on earth or a distant planet. A "tribe" composed of Hans, Officers and a Captain have been marooned on a strange place, out of touch with other humans for many generations. They have to eke out a living with great difficulties in a difficult and hostile environment. Does this sound sort of familiar? There are also really neat 'Piruts' in the story who always try to get the supposed benefit of living close to the Ship. I liked it and the ending is cool too.

Black Amazon of Mars by Leigh Brackett audiobook. Carrying out the last wishes of a comrade, mercenary Eric John Stark takes on the task of returning a stolen talisman to a walled city near the Martian pole; a city that guards the mysterious Gates of Death. Now all he has to do is get past the brutal clans of Mekh and the shadowy Lord Ciaran to get to Kushat where they'll probably attempt to kill him. All while he tries to hold on to a talisman that imprints ancient memories of the Gates in his mind. That's not easy for a human raised by Mercurian aborigines. - Black Amazon of Mars is the third story to feature Brackett's hero Eric John Stark, and was later expanded into the novel People of the Talisman. It was first published in Planet Stories magazine in March of 1951.

Raymond Chandler. Leigh Brackett. Robert Altman. Elliott Gould. And it's a pretty short episode, which is funny when you consider the title.

Revisit Classic Marvel Star Wars Comics with Dee Tails! Dee, creature performer and actor (SOLO: A STAR WARS STORY / THE LAST JEDI / WILLOW series) joins us to break down the second issue of THE EMPIRE STRIKES BACK Marvel comics adaptation. It's "Battleground Hoth!" How do the classic comics portray this classic on-screen battle? What are our memories (if any) of reading this for the first time? Go grab issue #40 and follow along with us!!     Classic Marvel Star Wars Comics #40 “Battleground Hoth" Description:   Title: "The Empire Strikes Back: Battleground Hoth" Release Date: July 22, 1980 Writer: Archie Goodwin, based on the script by Leigh Brackett and Lawrence Kasdan from the story by George Lucas Artwork: Al Williamson, Carlos Garzón, & Glynis Wein Cover Art: Al Williamson & Carlos Garzón   Synopsis:   This issue continues the official six issue adaptation of Star Wars: Episode V - The Empire Strikes Back. It begins with Luke in recovering from his encounter with a wampa, and a near-kiss and then full kiss with Princess Leia. Then the battle begins as the Rebels spot Imperial walkers. Luke and Wedge take out an AT-AT with harpoons and tow cables, and the issue ends with Luke shot down and he falls into the path of an AT-AT.   As usual, we take our Facebook Group Comments on the cover into account as we analyze this issue. Become a part of our Facebook Group to contribute!     Support The Show   Skywalking Through Neverland T-Shirts at TeePublic! Check them out HERE.   Contact Us   Instagram: http://instagram.com/skywalkingpod   Twitter: https://twitter.com/SkywalkingPod   Facebook: https://www.facebook.com/skywalkingthroughneverland   Join us every week on YouTube for a behind-the-scenes look at our show. We also bring you to Disneyland, Red Carpet Events and Theme Park Openings.   Send emails to share@skywalkingthroughneverland.com and follow us on Facebook.   If you dug this episode, click over to iTunes | Stitcher | YouTube and leave us a review!SaveSave  

Revisit Classic Marvel Star Wars Comics with Dee Tails! Dee, creature performer and actor (SOLO: A STAR WARS STORY / THE LAST JEDI / WILLOW series) joins us to break down the second issue of THE EMPIRE STRIKES BACK Marvel comics adaptation. It's "Battleground Hoth!" How do the classic comics portray this classic on-screen battle? What are our memories (if any) of reading this for the first time? Go grab issue #40 and follow along with us!!     Classic Marvel Star Wars Comics #40 “Battleground Hoth" Description:   Title: "The Empire Strikes Back: Battleground Hoth" Release Date: July 22, 1980 Writer: Archie Goodwin, based on the script by Leigh Brackett and Lawrence Kasdan from the story by George Lucas Artwork: Al Williamson, Carlos Garzón, & Glynis Wein Cover Art: Al Williamson & Carlos Garzón   Synopsis:   This issue continues the official six issue adaptation of Star Wars: Episode V - The Empire Strikes Back. It begins with Luke in recovering from his encounter with a wampa, and a near-kiss and then full kiss with Princess Leia. Then the battle begins as the Rebels spot Imperial walkers. Luke and Wedge take out an AT-AT with harpoons and tow cables, and the issue ends with Luke shot down and he falls into the path of an AT-AT.   As usual, we take our Facebook Group Comments on the cover into account as we analyze this issue. Become a part of our Facebook Group to contribute!     Support The Show   Skywalking Through Neverland T-Shirts at TeePublic! Check them out HERE.   Contact Us   Instagram: http://instagram.com/skywalkingpod   Twitter: https://twitter.com/SkywalkingPod   Facebook: https://www.facebook.com/skywalkingthroughneverland   Join us every week on YouTube for a behind-the-scenes look at our show. We also bring you to Disneyland, Red Carpet Events and Theme Park Openings.   Send emails to share@skywalkingthroughneverland.com and follow us on Facebook.   If you dug this episode, click over to iTunes | Stitcher | YouTube and leave us a review!SaveSave  

We chat about the amazingly pulpy Enchantress of Venus, by Leigh Brackett and her life as pulp science fiction, noir and screenwriter.

In a crystalline death lay the only release for those prisoners of that Ionian hell-outpost. Yet MacVickers and the men had to escape—for to remain meant the conquering of theSolar System by the inhuman Europans.

Containing Matters concerning proper Disposal of vars. chemical Wastes. Timestamps: background, non-spoiler discussion (0:00) spoiler plot summary and discussion (16:18) Bibliography: Amazing Stories, July 1941 issue https://archive.org/details/Amazing_Stories_v15n07_1941-07_cape1736 Brackett, Leigh - "Meet the Authors", Amazing Stories, July 1941 Music: Sharplie, Gus - "Asteroid polka" (1883) https://www.loc.gov/resource/sm1883.15920.0

Time to head back in time and revisit Classic Marvel Star Wars Comics! Cris Macht of Machtails from the Cantina joins us to break down the first issue of THE EMPIRE STRIKES BACK Marvel comics adaptation. How is the artwork? What are our fond memories? And how does this issue relate with Disney+ ANDOR? Go grab issue #39 and follow along with us and this episode may be with $2500!!   Classic Marvel Star Wars Comics is on YouTube! Watch and read along with us.   Since this comic series lends itself so well to a visuals, we recommend watching on YouTube. We will continue to describe the issues as we're talking, for those of you who are visually impaired.   https://www.youtube.com/watch?v=8_lZA1G5-e8     Classic Marvel Star Wars Comics #39 “The Beginning" Description:   Title: "The Empire Strikes Back: The Beginning" Release Date: June 24, 1980 Writer: Archie Goodwin, based on the script by Leigh Brackett and Lawrence Kasdan from the story by George Lucas Artwork: Al Williamson, Carlos Garzón, & Glynis Wein Cover Art: Al Williamson & Carlos Garzón Editors: Archie Goodwin   Synopsis:       As usual, we take our Facebook Group Comments on the cover into account as we analyze this issue. Become a part of our Facebook Group to contribute!     Support The Show   Skywalking Through Neverland T-Shirts at TeePublic! Check them out HERE.   Contact Us   Instagram: http://instagram.com/skywalkingpod   Twitter: https://twitter.com/SkywalkingPod   Facebook: https://www.facebook.com/skywalkingthroughneverland   Join us every week on YouTube for a behind-the-scenes look at our show. We also bring you to Disneyland, Red Carpet Events and Theme Park Openings.   Send emails to share@skywalkingthroughneverland.com and follow us on Facebook.

Time to head back in time and revisit Classic Marvel Star Wars Comics! Cris Macht of Machtails from the Cantina joins us to break down the first issue of THE EMPIRE STRIKES BACK Marvel comics adaptation. How is the artwork? What are our fond memories? And how does this issue relate with Disney+ ANDOR? Go grab issue #39 and follow along with us and this episode may be with $2500!!   Classic Marvel Star Wars Comics is on YouTube! Watch and read along with us.   Since this comic series lends itself so well to a visuals, we recommend watching on YouTube. We will continue to describe the issues as we're talking, for those of you who are visually impaired.   https://www.youtube.com/watch?v=8_lZA1G5-e8     Classic Marvel Star Wars Comics #39 “The Beginning" Description:   Title: "The Empire Strikes Back: The Beginning" Release Date: June 24, 1980 Writer: Archie Goodwin, based on the script by Leigh Brackett and Lawrence Kasdan from the story by George Lucas Artwork: Al Williamson, Carlos Garzón, & Glynis Wein Cover Art: Al Williamson & Carlos Garzón Editors: Archie Goodwin   Synopsis:       As usual, we take our Facebook Group Comments on the cover into account as we analyze this issue. Become a part of our Facebook Group to contribute!     Support The Show   Skywalking Through Neverland T-Shirts at TeePublic! Check them out HERE.   Contact Us   Instagram: http://instagram.com/skywalkingpod   Twitter: https://twitter.com/SkywalkingPod   Facebook: https://www.facebook.com/skywalkingthroughneverland   Join us every week on YouTube for a behind-the-scenes look at our show. We also bring you to Disneyland, Red Carpet Events and Theme Park Openings.   Send emails to share@skywalkingthroughneverland.com and follow us on Facebook.

"Get Gunther," the official orders read. It was to laugh! For Click and Irish were marooned on the pirate's asteroid—their only weapons a single gun and a news-reel camera… The Monster Maker by Ray Bradbury, that's next on The Lost Sci-Fi Podcast, with at least one lost vintage sci-fi short story in every episode.The Lost Sci-Fi Podcast continues to grow with new listeners all over the world every week, thank you for listening and thank you for sharing The Lost Sci-Fi Podcast.If you find yourself addicted to these vintage sci-fi short stories there's a 50-book bundle of audiobooks on our website, lostscifi.com. Twenty-seven hours of vintage sci-fi for only $14.97. As a Lost Sci-Fi Podcast listener, you get it for only $9.88 when you use the coupon code “podcast”. Twenty-seven hours of vintage sci-fi for only $9.88 at LostSciFi.com.Ray Bradbury turned out more than 600 short stories during his celebrated career, so far, we've narrated seven of them and this is our second Ray Bradbury short story on our podcast. You'll hear Bradbury's Morgue Ship in Episode 19. All seven of the short stories written by this amazing author that we've narrated so far have one thing in common, they all take place in space.Today's story comes from the spring 1944 edition of Planet Stories magazine. The story featured on the cover is Wanderers of the Wolf-Moon by Nelson S. Bond. Two other authors are mentioned on the cover, Leigh Brackett and Robert Abernathy. Interestingly there is no mention of Ray Bradbury on the cover.A camera is one devil of a poor weapon with which to capture a pirate's fortress. Let's turn to page 39 for The Monster Maker by Ray Bradbury…Next week on The Lost Sci-Fi Podcast… You were bored—keeping the endless, dull space-lanes clear. You wanted excitement, danger, to see the weird planets of the System. You wanted—And then it happened, all the swift, blazing danger of the void—and you found yourself being blasted out of existence.That's next week on The Lost Sci-Fi Podcast, with at least one lost vintage sci-fi short story in every episode.

We are back with another episode! In this weeks shenanigans we talk drunk soap, the youth of today and the majesty of The Big Sleep! The Big Sleep is a 1946 American film noir directed by Howard Hawks, the first film version of the 1939 novel of the same name by Raymond Chandler. The film stars Humphrey Bogart as private detective Philip Marlowe and Lauren Bacall as Vivian Rutledge in a story about the "process of a criminal investigation, not its results". William Faulkner, Leigh Brackett and Jules Furthman co-wrote the screenplay. In 1997, the U.S. Library of Congress deemed the film "culturally, historically, or aesthetically significant," and added it to the National Film Registry. Parts of the unreleased 1945 cut were significantly re-scripted and shot to take advantage of the public's fascination with "Bogie and Bacall". The original version was restored and released in 1997. --- Send in a voice message: https://anchor.fm/speakeasy-noircast/message Support this podcast: https://anchor.fm/speakeasy-noircast/support

This special bonus episode of our season on the awesome movie year of 1980 features Star Wars sequel The Empire Strikes Back. Directed by Irvin Kershner from a screenplay by Leigh Brackett and Lawrence Kasdan and starring Mark Hamill, Harrison Ford, Carrie Fisher, Anthony Daniels and Frank Oz, The Empire Strikes Back was the highest-grossing movie of 1980 and helped establish Star Wars as a pop-culture force for decades to come. The post The Empire Strikes Back (1980 Bonus Episode) appeared first on Awesome Movie Year.

The Big Sleep is a 1946 American film noir directed by Howard Hawks, the first film version of the 1939 novel of the same name by Raymond Chandler. The film stars Humphrey Bogart as private detective Philip Marlowe and Lauren Bacall as Vivian Rutledge in a story about the "process of a criminal investigation, not its results". William Faulkner, Leigh Brackett and Jules Furthman co-wrote the screenplay. In 1997, the U.S. Library of Congress deemed the film "culturally, historically, or aesthetically significant," and added it to the National Film Registry. https://en.wikipedia.org/wiki/The_Big_Sleep_(1946_film)

On this episode, we talk about the 1966 film El Dorado, and American Technicolor Western film produced and directed by Howard Hawks, starring John Wayne and Robert Mitchum, and written by Leigh Brackett. film is about a gunfighter who comes to the aid of an old friend who is a drunken sheriff struggling to defend a rancher and his family against another rancher trying to steal their water. The supporting cast features James Caan, Charlene Holt, Ed Asner, Paul Fix, Arthur Hunnicutt, Michele Carey and Christopher George. Thanks to Nancy and Gordon Frye for there help!

Jump into the trash compactor with Silver and Cat as we celebrate Women's History Month! This will be a four-episode series where we'll be celebrating the women of Star Wars who have made an impact in the films, TV series, books, and so much more.On today's episode, Cat and Silver discuss the legacies of trailblazing women who paved the way for so many others, including Gloria Katz, Leigh Brackett, Deborah Chow, and Kathleen Kennedy.This episode features excerpts from Cher Martinetti's book Pop Culture Pioneers: The Women Who Transformed Fandom in Film, Television, Comics, and More. You can purchase the book here: www.runningpress.com/titles/cher-martinetti/pop-culture-pioneers/9780762498529While we can't yet ForceTime, we'd still love to connect!SOCIAL MEDIA:intothegarbagechute.cominstagram.com/intothegcpodcasttwitter.com/InGarbageChutediscord.gg/aqQ9kZvgCONTACT:intothegcpodcast@gmail.com

Meteors cause massive destruction throughout the world, and the king returns to New Eden to oversee the stability of America. Price Jacob is sent to face the princess about her betrayal. The young couple JJ and Cody arrive at the Grand Castle to make their final plans to wed on the castle grounds. However, something ominous and dangerous approaches. Lord Oreb is given an urgent warning about the earth's electromagnetic poles. Order a copy of Black Amazon of Mars by Leigh Brackett by clicking HERE.Buzzsprout - Let's get your podcast launched! Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show (http://patreon.com/kingasilas)