Podcast appearances and mentions of Less Than Zero

**This Podcast is part of the South African Podcasters Guild and has taken a pledge to be a cool podcaster. Read the pledge here: https://www.sapg.co.za/the-south-african-podcasters-pledgeRDJ & AMH on SNL? WTF?!?! An 80s something Paulo didn't know and even though Robert Downey Junior as George Michael wasn't funny at all, it was still better than Doolittle.Paulo recommends an 80s teen time travel movie that would be the best 80s teen time travel movie - if Back to the Future 1, Back to the Future 2, Peggy Sue Got Married, Bill & Ted's Excellent Adventure or Flight of the Navigator didn't exist.You'll never guess who the richest actress from the 80s is and imagine ignoring the unknown opening act at an 80s Hall & Oates concert - only to look back from the bar and see that the lead singer is Cher.Jump To: - Robert Downey Jr. and Anthony Michael Hall on SNL (00:01:44): https://x.com/georgekyria/status/1680616447431565312?utm_source=chatgpt.com - Christiania Podcast (00:12:28): https://99percentinvisible.org/episode/598-christiania/ - My Science Project Overview (00:23:02): https://youtu.be/Vlqmk2URDFY?si=Wmi58nMtlzMq3xcM - Jamie Gertz's Wealth (00:31:19): https://www.2oceansvibe.com/2025/05/09/this-billionaire-you-forgot-from-the-80s-is-richer-than-taylor-swift-and-clooney-combined/ - Cher's Rock Band (00:33:05): https://ultimateclassicrock.com/cher-black-rose/https://youtu.be/bbtmMV_OAN0?si=VOHdIx9Pqnm-Kl3F#1980s, #pop culture, #Robert Downey Jr., #Anthony Michael Hall, #Saturday Night Live, #SNL, #Brat Pack, #Sixteen Candles, #The Breakfast Club, #Less Than Zero, #nostalgia, #Christiania, #Copenhagen, #alternative community, #drug use, #countercultural movement, #Bifrost, #flower power rock band, #Icon, #99% Invisible, #sci-fi teen movies, #Bill and Ted's Excellent Adventure, #Explorers, #The Last Starfighter, #Flight of the Navigator, #My Science Project, #female billionaires, #Oprah Winfrey, #Jamie Gertz, #Cher, #Black Rose, #entertainment industry, #cultural landscape, #humor, #addiction, #legacy of 80s stars, #comedy, #creativity, #chaos.

Full episodes here: Patreon.com/slopquest Andy welcomes everyone to the show and talks about a kid’s YouTube channel that is so stupid it makes kids non-verbal. Ryan gets an outrageous Venmo request and they try to come up with heartstring pulling Venmo scams. Then they talk Less Than Zero and eyebrow mites. Then the boys talk about airport spaghetti and meatballs from DFW 711. Then the boys diagnose American bowel movements in the Great British Dump off. O’Neill brags about his Cambodian dumps and Andy worries about the Khmer Rouge hiding in toilets with machetes. Then O’Neill is still angry at Arnold Schwarzenegger for banging his dumpy maid. Then they try to figure out the sex lives of conjoined twins and that tiny lady from TLC has a new boyfriend.

EX43: Dannie and King are here with another edition of Cinnamontography to close the Brat Pack review series with The Pick Up Artist & Less Than Zero both from 1987.

NEW FOR APRIL 15, 2025 Music from a warm, dark, damp place. Breaking The Mold - The Best Radio You Have Never Heard Vol. 506 1. Taxman - The Beatles 2. Get 'Em Out By Friday - Genesis 3. Swing To The Right - Utopia 4. China - Yellow Leader - Robert Fripp and Andy Summers 5. Big In Japan - Alphaville 6. James Connelly - Black 47 7. Dumb All Over - Frank Zappa 8. Same Old Song And Dance - Aerosmith 9. Less Than Zero (live) - Elvis Costello 10. Stealin' - Uriah Heep 11. Politician (live) - Cream 12. Into The Fire - Sarah McLachlan 13. Nowhere Girl - B-Movie 14. Brian Wilson (unplugged) - Barenaked Ladies 15. That's Not Me - Nad Sylvan 16. Sealion - Jethro Tull 17. Bonnet Of Pins - Matt Berninger 18. Another World / Chinatown / Breaking Us In Two / You Can't Get What You Want(live) - Joe Jackson 19. Try A Little Tenderness (live) - Otis Reading 20. The End (live) - The Doors The Best Radio You Have Never Heard. Bursting beyond the mold . . . Accept No Substitute. Click to leave comments on the Facebook page.

My Aim Is True is the 1977 debut album by Elvis Costello, marking the arrival of one of rock's sharpest songwriters. Blending elements of punk, new wave, and pub rock, the album delivers a raw yet sophisticated sound, filled with biting lyrics and infectious melodies. Backed by the American band Clover (before forming his own group, The Attractions), Costello crafts anthems of love, anger, and rebellion with tracks like Alison, Watching the Detectives, and Less Than Zero. With its nervy energy and literate songwriting, My Aim Is True set the stage for Costello's prolific and influential career.Listen to the album on Apple Music Listen to the album on SpotifyWhat did you think of this album? Send us a text! Support the showPatreonWebsitePolyphonic Press Discord ServerFollow us on InstagramContact: polyphonicpressmusic@gmail.comDISCLAIMER: Due to copyright restrictions, we are unable to play pieces of the songs we cover in these episodes. Playing clips of songs are unfortunately prohibitively expensive to obtain the proper licensing. We strongly encourage you to listen to the album along with us on your preferred format to enhance the listening experience.

As Gen Z slowly but surely unearths gems in film history, one of our beloved Gen X films, Less Than Zero, always seems to escape their discovery. This is because the film is not available anywhere- when it is streaming for a few months on MAX, my various text threads light up, but alas, it leaves as quickly as it comes. One of my top 10 gifts ever received was the Vinyl LP for my Birthday 5 years ago and they can pry my burned DVD of the film from my cold dead hands. It's one of my all-time favorites and I am not alone. Everyone knows that this is Robert Downy Jr.'s best performance, that fans of the Brett Easton Ellis novel hated it, that Jami Gertz' performance was widely criticized (not by me- I love it) and that Brad Pitt is famously in the movie as a random party guest, but let's look deeper into the design, the cinematography and the soundtrack. In this episode, we begin looking at the creative elements of this film that no one will discuss with me. No one. So here I am, crowd-sourcing for as much info as possible to put into one place. Kelli and I scoured what is out there and are parsing it into 2 episodes. If you are out there and worked on this film, please know I have reached out to find you and have heard back that you will not talk about the film or I haven't heard back at all and would absolutely love to. This Gorgeous Film was assembled by: Director: Marek Kanievska Starring: Robert Downey, Jr., Andrew McCarthy, Jami Gertz, James Spader DP: Edward Lachman Production Designer: Barbara Ling Costume Designer: Richard Hornung HMU: Deborah Figuly, Adam Christopher, Barbara O'Neill, Angelo Di Biase 00:00:00 1987's Less Than Zero 00:03:20 Depicting Addiction in Film and Robert Downey Jr.'s unforgettable performance. 00:05:48 Robert Downey Jr. interview clip 00:09:16 Impresario Rick Rubin and his first soundtrack- Less Than Zero 00:11:37 Class Consciousness in Production Design For more insights and interviews, check the show notes and stay tuned for a follow-up episode as we continue to uncover the mysteries of Less Than Zero. LINKS:Less Than Zero on DVDLess Than Zero on VinylLess Than Zero BookSome IG gems Looking back on the gorgeous '80s excess in Less Than Zero - Interview Magazine Bret Easton Ellis - Interview Magazine Brat by Andrew McCarthy Excerpts on Less Than Zero Brat by Andrew McCarthy The BEST way to Support is to SUBSCRIBE INSTAGRAM Get full access to Look Behind The Look's Substack from Tiffany Bartok at lookbehindthelook.substack.com/subscribe

Los Angeles Chargers sign former Dallas Cowboys RB, Ezekiel Elliot ahead of their wildcard match up against the Houston Texans. Host of the UnCommonTerry podcast, Curtis Terry joins Cofield & Company to preview UNLV Basketball taking on Boise State and detail the biggest factors that will decide the game between the two Mountain West rivals. Chicago Bears' GM Ryan Poles comments on the compatibility between Caleb Williams and offensive coordinators. BetQL's Sammy P joins Cofield & Company's Eye on Sports Gambling to talk about the betting odds for the top open coaching positions in the NFL and give his top betting picks for the wildcard round in the NFL and the Semifinal round of the College Football Playoff.

*CONTENT WARNING THIS PODCAST & FILM FEATURES TOPICS SUCH AS SUBSTANCE ABUSE, SEX CRIMES & HUMAN TRAFFICKING #AmericanPsycho Tony Farina brings us anything but Comfort & Joy this holiday season, as we take a look at the bastardised adaptation of #BrettEastonEllis' debut novel #LessThanZero. One part nihilistic examination of Beverly Hill's Generation X and one part #NancyReagan anti-drug propaganda film. Join us as we discuss #WarAndPeace, un-arousing fully clothed sex scenes & #RobertDowneyJr's prophetic performance… #PrepareForPrattle  Be sure to pick up Tony's first & second book in his (Jane) Austen Chronicles literary universe… https://www.amazon.co.uk/Welcome-Mansfield-1-Austen-Chronicles/dp/B0C4QP7RK2  Along with Vol. 1 of Comics Lit https://amzn.eu/d/dj0qM40  Here is the podcast of Ellis speaking to Less Then Zero star Andrew McCarthy on his own podcast. https://episodes.fm/753552884/episode/MTcyNTc1Nw  Listen to Tony & Heath on the network that Tony founded Comics In Motion https://tinyurl.com/z92d46nr  The same producer on this Jon Avnet also produced the film we talked about last time Sky Captain & The World Of Tomorrow https://tinyurl.com/msk7xjc4  As mentioned Roger Ebert did not like the last film we covered for #AlterNativityStories Better Off Dead https://tinyurl.com/2njyv56b  Where to find the Spider-Dan & The Secret Bores Podcast… Follow this link to find your preferred podcast catcher of choice ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠pod.link/danbores⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/secretbores⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Threads: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.threads.net/@spiderdansecretbores⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Tiktok: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.tiktok.com/@dan_bores⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/spiderdansecretbores/?hl=en⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Discord: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://discord.com/invite/CeVrdqdpjk⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ IMDB: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.imdb.com/title/tt22023774/?ref_=nv_sr_srsg_0⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Letterboxd: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://letterboxd.com/spiderdan_2006/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Like, share, comment, subscribe etc. and don't forget to use the #PrepareForPrattle when you interact with us. Please subscribe to The Pop Culture Collective newsletter to find out what myself, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Comics In Motion⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and all the other related podcasts are up to week by week ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://pccnewsletter.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ I'd like to thank my patrons on #Patreon for their continuing donations it is very much appreciated and helps PrattleWorld keep turning and if you ever find yourself in a position to help the podcast please consider it. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/spiderdanandthesecretbores⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you would like to make a one off donation head over to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://ko-fi.com/spiderdanandthesecretbores⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you want to #JoinThePrattalion and to be briefed in full on the #SecretBores head over to #PrattleWorld ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.spiderdanandthesecretbores.com/

Pump It Up because Phil & David are thrilled to welcome a dynamic duo of musical heroes to their Imperial Bedroom studio for a conversation that's truly Beyond Belief. David takes credit for introducing Elvis to his wife backstage at the Grammy Award in 2002, the same year T Bone won Album of the Year for the "O Brother, Where Art Thou?" soundtrack. Then talk turns to the recently released "King Of America and Other Realms" box set, the upcoming Christopher Guest-directed Audible Original series, "The True Story of The Coward Brothers" and its companion CD, all coming out November 21st. And there's Less Than Zero chance you won't Get Happy when The Coward Brother join this "Lunch." To learn more about building community through food and "Somebody Feed the People," visit the Philanthropy page at philrosenthalworld.com.

Rich Embury is back again with another flashback to the '70s, '80s, and '90s rock and metal scene! Rock History, and Classics from Slayer / Black ‘N Blue / Blue Oyster Cult / Keel / Cinderella / Deep Purple / Ozzy Osbourne / Alice In Chains / Led Zeppelin / Motorhead / Glenn Danzig and […]

“Dude, you know you can donate plasm…” Because of the obvious “Halloween tingle” wafting through the Bunkerpoon, we decided to finish out “the month of Halloween” with a rrrrrevisitation of the grrrrreen tinted, goth infused, Sabbath inspired doom metal druids hailing from Brooklyn, New York known as TYPE-O-NEGATIVE.    To be fair, “technically” we have already done an INSIDE THE METAL featuring TYPE-O, but that's been (approximately) 3 years and 10 days ago, and A LOT has changed since then, not only with regard to the world at large but also with the quality of this podcast as well. Having said that, we felt that discussing more TYPE-O-NEGATIVE made perfect sense, as their catalog (and our podcast) is all about “thickness and girth.”   HAPPY HALLOWEEN TO ALL!!!  It's time to put on your “platfoam shoes” and get ready to r-r-r-r-r-roll your R's while trick or treating with “Tom Johnson” during our “pre-Chronicles Chronicles” Halloween event in the Bunkerpoon Dungeon. Remember that “Summer's Eve” is not the same as “Summer Breeze”, discover the proper way to prepare “a handheld” and JOIN US via the “Interdimensional Bunkerpoon Portal” as we go (BACK) INSIDE THE METAL (AGAIN) with TYPE-O-NEGATIVE.   Visit www.metalnerdery.com/podcast for more on this episode   Help Support Metal Nerdery https://www.patreon.com/metalnerderypodcast Leave us a Voicemail to be played on a future episode: 980-666-8182   Metal Nerdery Tees and Hoodies – metalnerdery.com/merch and kindly leave us a review and/or rating on the iTunes/Apple Podcasts - Spotify or your favorite Podcast app Listen on iTunes, Spotify, Podbean, or wherever you get your Podcasts. Follow us on the Socials: Facebook - Instagram - Twitter Email: metalnerdery@gmail.com Can't be LOUD Enough Playlist on Spotify Metal Nerdery Munchies on YouTube @metalnerderypodcast Show Notes: (00:01): “Only when you let me do #buttstuff …”/ #perfecttiming / “Just a minute…”/ “Why is yours always so sticky?”/ #markthetime / ***WARNING: #listenerdiscretionisadvised *** / “It's a button and it's a tingle…”/ ***WELCOME BACK TO THE METAL NERDERY PODCAST HERE IN THE BUNKERPOON DUNGEON!!!*** / #onmicburpASMR / #HalloweenTingle / “This is a #PreChronicles Chronicles…”/ #BritnyFox / “Bass is one thing but guitar!?”/ #TomJohnson / “Somebody's got the tickles…”/ #HAARP #pollen #ragweed / “I don't know if it's period weed or not…”/ #earbook #RHTS / “Ohh noooo….”/ #bunkerpoonportal / “That is NOT the docket…”/ “It's all the same…”/ “Let's give him a second…he's gotta get it worked out…you good buddy?” / #imacowboy / “He's a tall dude…”/ “Yeah, he had a nine-inch dick…”/ “You don't lead with that!”/ #RussellsReflectionsEarbookEdition / “Does this motherfucker EVER shut up!?” / #STFU / “Sometimes there is such a thing as bad publicity…”/ #Supergroup #VH1/ “If you could have a wife that's a #pornstar who would you pick?”/ #stagenames #personalitydisorders / “If I was gonna be #DickTaintler all the time…”/ #AngryDickTaintlerPodcast / “They both gotta be topless…with their buttholes showin'…”/ #buttholehair #butthairholes / “He had a Spanish name…”   (16:45): “So he's halfway there…” / “Sounds more mobsterish…” / #RussellsReflectionsRepeated / “A week later…he was drowning in poon…”/ ***PATREON SHOUTOUTS!!!*** / #PatreonShoutouts / ***WE THANK OUR PATREONS AND IF YOU'D LIKE TO JOIN US ON THE PATREON, YOU CAN DO SO AT patreon.com/metalnerderypodcast *** / “Dude, that's about the gayest thing you've said on this show…”/ “Dude, you know you can donate plasm…”/ #plasma / “I get confused…”/ #gasmplasm or #plasmgasm / ***You can email us at metalnerdery@gmail.com or hit us up on the socials at #metalnerderypodcast OR you can give us a call and leave us a voicemail at 980-666-8182!!!*** / “What's the point?” / “What's weird about it?” / #RussellsReflectionsASMR #HorrorMovieASMR / “It's a little late for that…”/ #whatsitcalled? / “It's low budget, but it's fun…”/ “There's gotta be porn…”/ “I got a food thing to share…”/ #ZaxbysTacoReview / “They're sorta like dicks…”/ #unburdenedbywhathasbeen / “You smear it together…and then you fold and roll…”/ #foodreviewrage / “I don't want a whole #creampie of sour cream…”/ “That's why I've given up on #Chipotle…”/ #handheld / “#HalloweenDay …really?” / “Remember back in April-ish…”/ #ultrahammered #DamageInc #blackout #backscratch / “It was a gash…”/ “I wasn't babysitting you…”   (32:24): #TheDocket METAL NERDERY PODCAST PRESENTS:  TYPE-O-NEGATIVE – (BACK) INSIDE THE METAL (AGAIN) / “We did an #InsideTheMetal on #TypeONegative 3 years ago…”/ “We missed a bunch of things…” / #InsideTheMetalVolumeTwo / “This is much more #Carnivore than any of their other albums…”/ “What IS the cover on this?” / “What do you wanna hear!?” / Slow, Deep and Hard (1991) / XERO TOLERANCE / “And now, you die!” / #surfmurdermusic / “This is #HalloweenAsFuck right here…”/ “Oh I know what THAT is…”/ “It's kinda touchy racist…”/ “If they weren't lying political whores, they would be homeless…”/  The Origin of the Feces (1992) / “It was their #LiveUndead …” / ARE YOU AFRAID?/GRAVITY / “It sounds like #TheMasquerade to me…”/ “I'm just a fireball…”/ “What's the (guitar) amp on this one?” / “I can see God!” / “It was at #TheInternationalBallroom … the #WREKage benefit…”/ HEY PETE/PARANOID / “This is VERY different than what you're used to…”   (50:11): Bloody Kisses (1993) / “Let's pretend your hand's a penis…”/ “I've thought about buying one of those things…” / “When #fuckbots become readily available and affordable…would you get one?” / “It's doing what she should be doing…”/ MACHINE SCREW / “No #cokelines for that one…that's a German girl…”/ CHRISTIAN WOMAN #CorpusChristi / “I love the birds…”/ “If they didn't have keyboards, it'd be a different band…”/ “We do need to play number 5…” / KILL ALL THE WHITE PEOPLE (“Not us, but the rest of ‘em…like 98% of ‘em…”) / “That's fucking #KISS dude…that song should be called KISS!!!” / BLOOD & FIRE / “The first album was basically the end of #Carnivore and the beginning of Type-O-Negative…   (1:00:28): October Rust (1996) / BAD GROUND (“I get it…”) & UNTITLED / MY GIRLFRIEND'S GIRLFRIEND / “This organ sounds like Halloween…”/ “Maybe a second of the Neil Young cover on here…”/ “Well, so was Summer's Eve (?)…”/ “They're not cinnamon, dude…they're chocolate…”/ CINNAMON GIRL / “WTF happened to your voice?” / “I gotta tell y'all something real quick…”/ “There's gonna be a #splitter coming out of me later…”/ #ketoflu / “That was a long story to get to ‘this is pollen'…”/ “Well, we've all been going back and forth…”/ World Coming Down (1999) / “You've gotta open with SKIP IT…”/ “That's how you top Bad Ground…”/ ALL HALLOWS EVE / “I can totally do it with mucus…”/ #platfoamshoes / “I do…I look amazing.”/ “Across America, black haired tattooed chicks are dropping their panties…”/ “It's like Halloween Sabbath…”/ “You're saying they created their own #genre?” / “The 2nd time I did #LSD I was listening to this…”/ CREEPY GREEN LIGHT / “This is your favorite band and you're destroying this moment…”/ “That's Halloween all day…”/ “He does it effortlessly…”/ #rollingtheRs / The Least Worst Of (2000) / BLACK SABBATH (FROM THE SATANIC PERSPECTIVE) / “Oh it's thickness alright…girth, THAT is the sound of #TypeONegative…pure girth…”/ “I like the bubbles…”/ “They're singing in Latin now…”/ “Name that song, Billiam…” / #KillingYourselfToLive #FairiesWearBoots / “They throw in Sabbath references all day long…they opened the show with #Cornucopia…” / “When he opened for #Danzig…”/ “So when's the next #Doomsicle song?”   (1:23:11): Life Is Killing Me (2003) / “My dick took out the whole centerfold…”/ “Guys are visual…”/ LESS THAN ZERO (

Enjoy those millennia in the crystals, cucks!  

MUSICLimp Bizkit has filed suit against Universal Music Group, claiming that the company has withheld a figure that's almost hard to believe -- $200-million.Creed's Scott Stap will make his Grand Ole Opry debut in Nashville on October 23rd when he duets with Dorothy, singing his song, "If These Walls Could Talk". Maynard James Keenan of Tool and his wife Jennifer have moved their Puscifer Store to Cottonwood, Arizona from nearby Jerome and are reopening with a new name, Queen B Vinyl Cafe. The store will now feature live music and house a record store, barber shop, ramen house, coffee roaster and a wine bar that serves wine from Maynard's Caduceus Cellars. The store's grand opening is on October 23rd.Carrie Underwood apparently made $1 million every time the theme song from NBC's "Sunday Night Football" played last season. And, she said she records the whole season all at once. Sunday night belongs to Carrie Underwood! The country singer always kicks off the broadcast with her rendition of "Waiting All Day for Sunday Night," but when members of the Cowboys and - Steelers were asked to sing along, it went about as well as one might expectListening to Metal could make you more dangerous, according to a new poll of 2,000 people. Metal heads are more likely to honk at other drivers, run red lights, get into major crashes, and get DUIs than fans of other musical genres. But they're only fourth on the list of drivers likely to get road rage. R&B and Soul fans were the most prone to road rage, followed by Rap, and then EDM listeners.TVIn honor of Breast Cancer Awareness Month, St. Louis' own, Jenna Fischer revealed that she beat the disease. In an Instagram post, she said she was diagnosed last December, but after surgery, chemotherapy, and radiation, she's now cancer-free and "feeling great."MOVING ON INTO MOVIE NEWS:RIP: Longtime character actor Nicholas Pryor passed away. You may remember him from "Risky Business", "Less Than Zero", "Airplane!", "Halloween Kills", or "Beverly Hills 90210". MISC Lisa Marie Presley's posthumous memoir came out yesterday with the help of her daughter Riley Keough. It's called "From Here to the Great Unknown". In it, Lisa Marie reveals how she kept her son Benjamin's body on dry ice at her home for TWO MONTHS.  AND FINALLYWith Ann and Nancy Wilson back on the road as Heart, Liam and Noel Gallagher reuniting next year as Oasis, and Alex Van Halen publishing a book this month titled Brothers about him and his late brother Eddie, Goldmine magazine has compiled a list of "The Top 20 Sibling Acts, Ranked".The rest of the list is as follows: 1) Angus and Malcolm Young – AC/DC 2) Alex and Eddie Van Halen – Van Halen 3) The Beach Boys (Brian, Dennis and Carl Wilson).... Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams > Check out King Scott's band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows http://www.1057thepoint.com/Rizz Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

MUSIC Limp Bizkit has filed suit against Universal Music Group, claiming that the company has withheld a figure that's almost hard to believe -- $200-million. Creed's Scott Stap will make his Grand Ole Opry debut in Nashville on October 23rd when he duets with Dorothy, singing his song, "If These Walls Could Talk". Maynard James Keenan of Tool and his wife Jennifer have moved their Puscifer Store to Cottonwood, Arizona from nearby Jerome and are reopening with a new name, Queen B Vinyl Cafe. The store will now feature live music and house a record store, barber shop, ramen house, coffee roaster and a wine bar that serves wine from Maynard's Caduceus Cellars. The store's grand opening is on October 23rd. Carrie Underwood apparently made $1 million every time the theme song from NBC's "Sunday Night Football" played last season. And, she said she records the whole season all at once. Sunday night belongs to Carrie Underwood! The country singer always kicks off the broadcast with her rendition of "Waiting All Day for Sunday Night," but when members of the Cowboys and - Steelers were asked to sing along, it went about as well as one might expect Listening to Metal could make you more dangerous, according to a new poll of 2,000 people. Metal heads are more likely to honk at other drivers, run red lights, get into major crashes, and get DUIs than fans of other musical genres. But they're only fourth on the list of drivers likely to get road rage. R&B and Soul fans were the most prone to road rage, followed by Rap, and then EDM listeners. TV In honor of Breast Cancer Awareness Month, St. Louis' own, Jenna Fischer revealed that she beat the disease. In an Instagram post, she said she was diagnosed last December, but after surgery, chemotherapy, and radiation, she's now cancer-free and "feeling great." MOVING ON INTO MOVIE NEWS: RIP: Longtime character actor Nicholas Pryor passed away. You may remember him from "Risky Business", "Less Than Zero", "Airplane!", "Halloween Kills", or "Beverly Hills 90210".  MISC  Lisa Marie Presley's posthumous memoir came out yesterday with the help of her daughter Riley Keough. It's called "From Here to the Great Unknown". In it, Lisa Marie reveals how she kept her son Benjamin's body on dry ice at her home for TWO MONTHS.   AND FINALLY With Ann and Nancy Wilson back on the road as Heart, Liam and Noel Gallagher reuniting next year as Oasis, and Alex Van Halen publishing a book this month titled Brothers about him and his late brother Eddie, Goldmine magazine has compiled a list of "The Top 20 Sibling Acts, Ranked". The rest of the list is as follows: 1) Angus and Malcolm Young – AC/DC 2) Alex and Eddie Van Halen – Van Halen 3) The Beach Boys (Brian, Dennis and Carl Wilson).... Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams > Check out King Scott's band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows http://www.1057thepoint.com/Rizz Learn more about your ad choices. Visit podcastchoices.com/adchoices

This episode is free! We're back with another solo pod! In this episode we discuss 'Burial fall', SOPHIE's posthumous album, first year university music, Alex G, Elliott Smith, emo, teenage 'back to school music', K-OS's 'Joyful Rebellion', Ratatat, 'remember when' conversations, The Dare's 'Whats Wrong With New York', James Murphy, violence in movies, David Cronenberg, Bret Easton Ellis' 'Less Than Zero' & 'Imperial Bedrooms', disgusting art, boxy cars, the 50's vision of the future, Uber Eat's shame, gaslighting yourself, 2000's hipsters, the journey of discovery, pre-algorithm YouTube rabbit holes, Chappel Roan, teenage rebellion, corduroy pants, the Charli XCX / Troye Sivan show and more! Josh McIntyre Austin Hutchings ---- COLD POD SUPPORT THIS PODCAST https://www.patreon.com/coldpod

The At The Flicks team have often been referred to as Brats (ok, just one member in particular), so when Darren suggested we review a movie called Brats, it was too good an opportunity to pass up. It is not however our origins story.  Instead, it is a documentary about the mid 80's movie brat generation, told by one of their own.  Actor turned director Andrew McCarthy (who appeared in St Elmo's Fire and Less Than Zero), felt that the term movie brats, as coined by writer David Blum, was something of a put down.  While it's certainly true that the article that coined that term was less than flattering about that unique generation of actors, for many of us at that time, a “movie brats” movie was something to seek out and savour.  For Andrew McCarthy, both the director and essentially on-screen narrator, Brats became a voyage of self-discovery as he revisited both the past and other members of the so called Brat Pack.  He chats to Emilio Estevez, Demi Moore and Ally Sheedy amongst others.  What emerges is a fascinating study of youthful American movies of the period coupled with a satisfying self-reflection story. As for the At The Flicks team, things we learnt in our discussion were: ·         The Breakfast Club and The Cotton Club are not related. ·         Why we believe Anthony Michael Hall wasn't referred to ·         Why Molly Ringwald didn't appear in the documentary ·         Why Graham and Darren hate the music video of John Parr's song Man In Motion (Jeff on the other hand loved it) ·         Which one of the participants gave the most insightful reflection on the past Oh, and the team all realised they dislike the author of the original article, who is interviewed by Andrew McCarthy later in the documentary. So, if you have an interest in 80's cinema then this is a documentary you really don't want to miss.  We all gave it a thumbs up, which means Phil wasn't in the review group! See you for the next gonzo review show or At The Flicks  Bye for now

Jack and Geraint are joined by journalist Clara Hill (@clara_ish) and general friend of the show Eve (@femsocialist) to talk about the antifascist protests the two guests have attended in recent days, and the far-right riots that necessitated them. (NOTE: Eve shows up about halfway through.)

In this episode of Shat the Movies, we tackle Less Than Zero (1987), where college freshman Clay (Andrew McCarthy) comes back to LA to find his ex, Blair (Jami Gertz), and his childhood buddy, Julian (Robert Downey Jr.), deep into cocaine addiction With Julian owing money to the ruthless dealer Rip (James Spader), Clay's mission to help them clean up reveals the wild side of '80s excess. Join us as we dig into the intense story, killer performances, and the movie's spot in the Brat Pack era, all set to an unforgettable soundtrack. Watch Live Video Recording: https://youtu.be/gsKRDYWNe4A Android: https://shatpod.com/android Apple: https://shatpod.com/apple All: https://shatpod.com/subscribe CONTACT Email: hosts@shatpod.com Website: https://shatpod.com/movies Leave a Voicemail: Web: https://shatpod.com/voicemail Leave a Voicemail: Call: (914) 719-7428 SUPPORT THE PODCAST Donate or Commission: https://shatpod.com/support Shop Merchandise: https://shatpod.com/shop Theme Song - Die Hard by Guyz Nite: https://www.facebook.com/guyznite

It's Brat Girl Summer! Well, kind of...We're in-between seasons here at Secret Handshake, so we decided to do another mini-series, this time focusing on the '80s kids from the Brat Pack. And what better way to kick this run off than with three films starring Andrew McCarthy, the guy who helmed BRATS - the Hulu/NEON documentary that runs down he and his peers' dominance of a decade's pop cinema scene. St. Elmo's Fire! Less Than Zero! Heaven Help Us! Let's fucking gooooooooo!

In this episode we flex our massive biceps and with the voice of a fallen angel in a roid filled rage scream for the blood of all the gods. We're looking at Danzig's debut album, titled Danzig. Look at least this time there isn't also a song on it called Danzig, so that's something new for one of these debut album episodes.Special guest stars include VANILLA ICE, Misfits, Glenn Danzig, Elvis Presley, Jim Morrison, Nancy Sinatra, Samhain, Halloween, Initium, Samhain III: November Coming Fire, Unholy Passion, Plan 9 Records, Metallica, The $5.98 Garage Days Re-Revisited E.P., Lars Ulrich, Rick Rubin, Cliff Burton, Def American Recording, Final Descent, Less Than Zero, Iron Man, Generation X, Kurt Cobain, Courtney Love, You and Me, Life Fades Away, Roy Orbison, Eerie Von, Robert Downey Jr, Traveling Wilburys, Sistinas, John Christ, Chuck Biscuits, Atlantic Recording Studios, Twist of Cain, Soul on Fire, Am I Demon, Possession, End of Time, Evil Thing, She Rides, Lilith, Tik Tok, Bible, Not of This World, Kingdom of Christ, alien invasion, The Hunter, Booker T and The MG's, Mother, Tipper Gore, Parents Music Resource Center, NWoBHM, New Wave of British Heavy Metal, The Crown, Game of Thrones, Dungeons and Dragons, Washington, Show No Mercy, Slayer, W.A.S.P., WASP, White House, PMRC, James Hetfield, Marvel, The Saga of Crystar, Crystal Warrior, Michael Gordon, The Crimson Ghost, MRS LOVEJOY, Shout at the Devil, Vince Neil, Motley Crue, George Orwell, 1984, John Bunyan, The Pilgram's Progress, U.S. Billboard 200, #SketchComedy #Sketch #Comedy #Sketch Comedy #Atheist #Science #History #Atheism #ConspiracyTheory #Conspiracy #Conspiracies #Sceptical #Scepticism #Mythology #Religion #Devil #Satan #Skeptic #Debunk #SatanIsMySuperhero #Podcast #funny #sketch #skit #comedy #comedyshow #comedyskits #HeavyMetal 

On this week's episode of You Are What You Read, we are joined by actor, travel writer and director, Andrew McCarthy. Andrew McCarthy is the bestselling author of Brat: An 80's Story, Just Fly Away, The Longest Way Home, and Walking with Sam, and he is an award-winning travel writer as an editor-at-large at National Geographic Traveler magazine. Best known as an actor the past four decades, Andrew has appeared in such iconic films as Pretty in Pink and Less Than Zero. Inspired by his acting career as a member of the 80's "Brat Pack", Andrew directed the all-new documentary film, BRATS, now streaming on Hulu.  Thanks to our wonderful sponsors! This episode of You Are What You Read is sponsored by BetterHelp. Visit BetterHelp.com/WHATYOUREAD today to get 10% off your first month. Get it off your chest, with BetterHelp. We'd also like to thank Book of the Month.  Head over to bookofthemonth.com and use Promo Code ADRI to get your first book for just $9.99. Thank you for listening, and thank you for reading. Learn more about your ad choices. Visit megaphone.fm/adchoices

Where does our DeLorean take us this week? 88mph gets a little serious. This week's revisit is 1987s drug addiction movie, Less Than Zero. But we do try to bring some humor at the beginning to lighten the mood. All this and more before heading Back to the Future. 88 Miles Per Hour Podcast: The Podcast that travels Back in Time to revisit the movies & music we grew up with

Less Than Zero (>0) is filled with deep dark moody vibes from Jess Van Ness mixed with sounds from across the globe. This euphoric and opiate like set will transcend a journey of the mind and feelings. Set List: Thula Thula - Tabia, G-Wash10 Into The Sun (Major League Djz Remix) - Damian Lazarus, Jem Cooke Mugham - Vusall Insun Gitano - Derun Reminisence - Bross (RO) Amrit - Danny Faber Qatsi - Gavin Rochford Winds Blow (Nacres Remix) - Marc Denuit, Miguel (BE) Frost Hollow - Cloaked Darkness (Noraj Cue Remix) - ITAI The Whomp - Double Touch Catalina (Sean Doron & Golan Zocher Edit) - Rosalia I Want to Come Home feat. Lewyn (Mass Digital Remix) - Raine, Lewyn

We're still on tour, so we're unlocking a recent V.I.P. episode for your enjoyment! Today we revisit the sordid tale of the Upper East Side's kinkiest step-siblings and the poor innocent schoolgirls that they lure into their twisted sex games. Topics discussed include Selma Blair and Sarah Michelle Gellar's iconic kiss, the astoundingly good soundtrack, the parallels to the 1988 film Dangerous Liaisons, Joshua Jackson's Less Than Zero-esque twink character, our Lana Del Rey coke spoon necklaces, Reese Witherspoon's jailbait era, Long Island Ice Tea, and the deeply unjust legal dispute between The Verve and The Rolling Stones about the britpop banger Bittersweet Symphony. West Coast! We're coming to you! We'll be in San Francisco on June 16th! Portland on June 17th! And Seattle June 18th! And yes, L.A. fuckettes we are playing two night at the Bourbon Room June 28th and June 29th! Donate to Al Otro Lado or go to gum.fm/charity and donate today. You can also consider volunteering with the organization, which offers opportunities that are both in-person and virtual. The best way to get involved is by filling out an application on their website at alotrolado.org/volunteer. Support for today's episode comes from OneSkin! Get 15% off OneSkin with the code OUTFIT at https://www.oneskin.co/ #oneskinpod Get warm weather ready with Quince! Go to Quince.com/outfit for free shipping on your order and 365-day returns. Here are the Linen Dress, Tube Top, and PJ set I'm lusting over!

Dr. Natty Bandasak shares his journey from being an immigrant from Thailand to becoming a successful physical therapist and clinic owner. He discusses his early life, education, and how he discovered his passion for fitness. He talks about the challenges he faced in PT school and working in a corporate PT setting. Natty explains why he decided to start his own clinic and the strategies he used to build his caseload and provide value to his patients. He also discusses the importance of scaling the business and hiring help to continue growing and improving. Dr. Natty Bandasak shares his journey of scaling his physical therapy business and the challenges he faced along the way. He discusses the importance of training a remote front desk and leveraging and scaling his business. Natty emphasizes the significance of marketing and overcoming language barriers. He also talks about utilizing free time for marketing, expanding reach through workshops, and reaching a monthly revenue of 25K. Natty shares his experience of hiring his first PT and discovering leaks in the business. He concludes by highlighting the importance of creating systems and processes and learning patience.TakeawaysFollow your passion and pursue a career that aligns with your interests and values.Don't be afraid to take risks and make changes if you're unhappy or unfulfilled in your current situation.Provide value to your patients and focus on building trust and relationships.Continuously learn and improve your skills to provide the best possible care.Scaling a business requires strategic planning, hiring the right people, and providing exceptional customer service. Training a remote front desk can help scale a business and free up time for other tasks.Leveraging and scaling a business involves training others to perform tasks that you can do.Marketing is crucial for controlling the message and reaching the right audience.Overcoming language barriers can be achieved through practice and clear communication.Utilizing free time for marketing can help expand reach and credibility.Workshops can be an effective way to connect with the local community and attract potential clients.Reaching a monthly revenue of 25K requires hard work and dedication.Hiring the first PT can help free up time and expand the business.Discovering leaks in the business and creating systems and processes are essential for growth.Learning patience is important when managing a business and working with employees.

The 80s boasts some of the most iconic movies of all-time, but it was the soundtracks which allowed them to become immortalized and live forever.Grab your bottle of mousse, your old movie posters and three ring binders, as John and Steve discuss some of the best from the greatest decade. Movie soundtracks discussed include: Pretty In Pink, Purple Rain, Fast Times, Less Than Zero, Do The Right Thing, Breakfast Club and more!

The 80s boasts some of the most iconic movies of all-time, but it was the soundtracks which allowed them to become immortalized and live forever.Grab your bottle of mousse, your old movie posters and three ring binders, as John and Steve discuss some of the best from the greatest decade. Movie soundtracks discussed include: Pretty In Pink, Purple Rain, Fast Times, Less Than Zero, Do The Right Thing, Breakfast Club and more!

滑板片是一个永远聊不完的话题，今年开年以来有好几部滑板长片发布，找来 Johnny Tang 和袁飞一起跟大家聊聊这几部片，还有滑板长片本身。长片不是“信仰”，是真的好看。 01:28 怎么定义一部 “Full Length Video“ 09:55 Johnny 在深圳陪 Shane O'Neil 拍片时的故事 12:40 Primitive "Day Dream" 18:48 "BAKER HAS A DEATHWISH PART 2!!!" 33:36 Baker 受欢迎的原因，就像你身边的滑板哥们儿 39:07 ZERO "Less Than Zero" “拍的特别好！” 46:45 Rassvet “BLUE" 48:50 Epicly Later'd "Stefan Janoski" 50:58 国内 adidas 在做一个长片，之前去澳门，珠海 Tour KickerRadio 是 KickerClub.com 制作播出的中国第一个滑板网络电台。追溯中国滑板历史，聚焦核心滑手故事，关注滑板社群的不断扩大与成长。滑板不是为了改变世界而是为了不被这个世界所改变。微博 / Instagram / 抖音 / 小红书 @kickerclub微信公众账号 kcskate联系方式 kickerclub@qq.com

Grab your Raybans, stick on MTV and read a quick, stylish novel by a freakishly young author: it's time for Joel to break down the 80s rollercoaster that is Bret Easton Ellis' Less Than Zero. Hosted on Acast. See acast.com/privacy for more information.

Topics this week:  Ryan Decenzo's "FP" edit, Dakota Servold's "There's So Much More", Zero's "Less Than Zero", and Primitive's "Daydream" videos.  Intro/outro music by Andy and Bobb Amidon www.nomongo.com  

HELLO MY FELLOW DAWGPOUND HOW THE HELL ARE YA!!!!!! i HAD THE PLEASURE IN INTERVIEWING LESS THAN ZERO. A PUNK/METAL BAND FROM PENNSYLVANIA. ESTABLISHED IN 2021 THIS BAND HAS BEEN PLAYING IN THE PENNSYLVANIA FREQUENTLY . THEIR ALBUM ROTTEN 2022 IS A HORROR PUNK/METAL HORROR ALBUM THAT ROCKS SOCKS.https://www.facebook.com/bandlessthanzerohttps://www.facebook.com/JTP2014https://www.facebook.com/DAWGPOUND2014https://www.facebook.com/unrestrictedradiocrewproject-kraken.myspreadshop.com www.facebook.com/groups/allthingscoffee/www.facebook.com/groups/dazzlingnailswithgail https://liquiddeath.com/

Bret Easton Ellis anser sig ha blivit svartlistad av både litteraturvärlden och av Hollywood med 30 år emellan. P3 ID möter kultförfattaren som skildrar sex, knark och seriemördare. Nya avsnitt från P3 ID hittar du först i Sveriges Radio Play. Bret Easton Ellis är bara 21 år gammal när han slår igenom med romanen ”Less than zero”. Plötsligt är han hela sin generations röst, när han skildrar unga, vackra och rika ungdomar som känner absolut... ingenting. Några år senare fångar han återigen tidsandan med boken ”American psycho”, en roman som beskrivs som så våldsam att hans eget förlag inte vill ha med den att göra.P3 ID möter en författare som med böcker som "Rules of Attraction”, ”Glamourama” och ”Lunar Park”, har förfärat och charmat både läsare och kritikerkåren i snart ett halvt sekel. I en intim intervju med P3 ID:s Vendela Lundberg berättar han om åren som litteraturens it-boy, om att bli cancelled, om att åldras – och om att kallas för reaktionär och bitter.Med den nya romanen ”Skärvorna” har Ellis gjort comeback och återvänder till 80-talets Los Angeles, en lika förförisk som farlig miljö där en seriemördare sätter skräck i staden.I avsnittet medverkar också författarna Tone Schunnesson och Stefan Lindberg.Programledare och avsnittsmakare: Vendela LundbergProducent: Sally HenrikssonLjudmix: Fredrik NilssonLjudklippen i programmet är från Sveriges Radio, BBC 4, Charlie Rose on PBS, Fox News, ljudboken ”The Shards” från W.F. Howes, ljudboken ”The Secret History” från Harper Audio samt filmerna ”Less Than Zero”, ”American Psycho”, ”The informers” och ”The Canyons”.

Time, time, time, see what's become of me....Three best friends, Clay (Andrew McCarthy), Blair (Jami Gertz) and Julian (Robert Downey Jr,) reunite at Christmas break after a disastrous Thanksgiving meeting. Blair has been worried about Julian, he owes Rip (James Spader) a whole lotta money, his family has had it with him, and he's freebasing in public spaces. Clay comes home hoping to repair these relationships, but finds a Hazy Shade of Winter instead. A cautionary tale that teaches us that just because you've lived fast and died young, it doesn't mean you're leaving a good looking corpse. Juggle some Jelly Bellies and unwrap a Ferrero Rocher, it's Less Than Zero - this week on Doom Generation. Support this podcast at patreon.com/doomgeneration

On the fourth day of Pitts-mas,  Rip gave to me: Less Than Zero! Andrew McCarthy comes home from college for the holidays and in the three months he's been gone, everyone's strung out on cocaine and Robert Downey Jr. has to blow dudes to pay back James Spader. Can you find Brad? Jules couldn't. Jason did. And then Jason also apparently imagined him in another scene he wasn't in. Have you been dancing at the Pitt party for the last 4 days? V cool, now rate, review, subscribe, call, email and get on that back catalog where we go through Billy Crudup, Ray Liotta, Keith Gordon, Robert Longstreet and Radha Mitchell.

Ken from the Sounds of Christmas talks to independent artist Rehya Stevens about her new Christmas album "Santa's Takin' Over The Town". They also talk about dealing with Christmas Stress, Rehya's love for Less Than Zero and the reason Ken thinks "Last Christmas" is the "Die Hard" of Christmas songs!Get Rehya's CD from her website: https://rehyastevens.com/album/2591633/santa-s-takin-over-the-town-deluxe-edition-cdRehya's YouTube channel: https://www.youtube.com/@RehyaStevensConnect with Rehya on Facebook: https://www.facebook.com/rehya.stevens/ Listen to the Sounds of Christmas station: https://www.soundsofchristmas.com/listen-now.htmlFind the Sounds of Christmas podcast: https://linktr.ee/socmusicConnect with the Sounds of Christmas on social media: https://linktr.ee/socmusicconnectCheck out the artists that are making the upcoming season of the Sounds of Christmas station possible: https://linktr.ee/socartists

In episode 693 of the Pennsylvania Rock Show, get ready for a sonic thrill with Less Than Zero, a high-energy horror punk/metal/rock band hailing from Central Pennsylvania. Join the haunting vibes as they unleash their music that's bound to send shivers down your spine. Dive into their world of sound at Bandcamp, YouTube, Music YouTube Channel, and Pandora. Brace yourself for a wickedly good time with Less Than Zero!

In episode 693 of the Pennsylvania Rock Show, get ready for a sonic thrill with Less Than Zero, a high-energy horror punk/metal/rock band hailing from Central Pennsylvania. Join the haunting vibes as they unleash their music that’s bound to send shivers down your spine. Dive into their world of sound at Bandcamp, YouTube, Music YouTube...

Rishi Sunak was spooked, after a leak, into announcing his roll-back from Net Zero measures. This resulted in condemnation, not just from political opponents and environmental groups, but from within his own party and industry.We look at what might be behind this and ask if this is a last throw of the dice to stave off electoral disaster.Talking of disasters and Sunak he claimed yesterday that he was shocked to discover the runaway costs of HS2. Is he holding the poison chalice of a 2009 Labour vanity project that's gone too far to cancel?Lesley spoke to the Electoral Reform Society about the structure of Scottish local government. How democratic is Scottish local democracy?If you want to contribute to the consultation on Democracy Matters Phase 2 follow the link below https://www.gov.scot/publications/democracy-matters-phase-2-consultation-local-governance-review/Much has been made about the Unionist and Labour Party links of Unison's head of local government, Johanna Baxter, in the light of the union going ahead with three days of strike action after Unite and GMB called theirs off. Is too much of Scotland's politics being seen through an independence prism?The DCA in Dundee will be screening Jane McAllister's movie To See Ourselves this evening at 6pm Tickets are still available athttps://www.dca.org.uk/whats-on/event/to-see-ourselves-qandaAll the screening dates can be found on the website-  https://toseeourselves.film/see-the-filmYou can also find links here: https://linktr.ee/newlicht  ★ Support this podcast ★

We finally complete our mini-series on the 1980s movies released by Miramax Films in 1989, a year that included sex, lies, and videotape, and My Left Foot. ----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 complete our look back at the 1980s theatrical releases for Miramax Films. And, for the final time, a reminder that we are not celebrating Bob and Harvey Weinstein, but reminiscing about the movies they had no involvement in making. We cannot talk about cinema in the 1980s without talking about Miramax, and I really wanted to get it out of the way, once and for all.   As we left Part 4, Miramax was on its way to winning its first Academy Award, Billie August's Pelle the Conquerer, the Scandinavian film that would be second film in a row from Denmark that would win for Best Foreign Language Film.   In fact, the first two films Miramax would release in 1989, the Australian film Warm Night on a Slow Moving Train and the Anthony Perkins slasher film Edge of Sanity, would not arrive in theatres until the Friday after the Academy Awards ceremony that year, which was being held on the last Wednesday in March.   Warm Nights on a Slow Moving Train stars Wendy Hughes, the talented Australian actress who, sadly, is best remembered today as Lt. Commander Nella Daren, one of Captain Jean-Luc Picard's few love interests, on a 1993 episode of Star Trek: The Next Generation, as Jenny, a prostitute working a weekend train to Sydney, who is seduced by a man on the train, unaware that he plans on tricking her to kill someone for him. Colin Friels, another great Aussie actor who unfortunately is best known for playing the corrupt head of Strack Industries in Sam Raimi's Darkman, plays the unnamed man who will do anything to get what he wants.   Director Bob Ellis and his co-screenwriter Denny Lawrence came up with the idea for the film while they themselves were traveling on a weekend train to Sydney, with the idea that each client the call girl met on the train would represent some part of the Australian male.   Funding the $2.5m film was really simple… provided they cast Hughes in the lead role. Ellis and Lawrence weren't against Hughes as an actress. Any film would be lucky to have her in the lead. They just felt she she didn't have the right kind of sex appeal for this specific character.   Miramax would open the film in six theatres, including the Cineplex Beverly Center in Los Angeles and the Fashion Village 8 in Orlando, on March 31st. There were two versions of the movie prepared, one that ran 130 minutes and the other just 91. Miramax would go with the 91 minute version of the film for the American release, and most of the critics would note how clunky and confusing the film felt, although one critic for the Village Voice would have some kind words for Ms. Hughes' performance.   Whether it was because moviegoers were too busy seeing the winners of the just announced Academy Awards, including Best Picture winner Rain Man, or because this weekend was also the opening weekend of the new Major League Baseball season, or just turned off by the reviews, attendance at the theatres playing Warm Nights on a Slow Moving Train was as empty as a train dining car at three in the morning. The Beverly Center alone would account for a third of the movie's opening weekend gross of $19,268. After a second weekend at the same six theatres pocketing just $14,382, this train stalled out, never to arrive at another station.   Their other March 31st release, Edge of Sanity, is notable for two things and only two things: it would be the first film Miramax would release under their genre specialty label, Millimeter Films, which would eventually evolve into Dimension Films in the next decade, and it would be the final feature film to star Anthony Perkins before his passing in 1992.   The film is yet another retelling of the classic 1886 Robert Louis Stevenson story The Strange Case of Doctor Jekyll and Mister Hyde, with the bonus story twist that Hyde was actually Jack the Ripper. As Jekyll, Perkins looks exactly as you'd expect a mid-fifties Norman Bates to look. As Hyde, Perkins is made to look like he's a backup keyboardist for the first Nine Inch Nails tour. Head Like a Hole would have been an appropriate song for the end credits, had the song or Pretty Hate Machine been released by that time, with its lyrics about bowing down before the one you serve and getting what you deserve.   Edge of Sanity would open in Atlanta and Indianapolis on March 31st. And like so many other Miramax releases in the 1980s, they did not initially announce any grosses for the film. That is, until its fourth weekend of release, when the film's theatre count had fallen to just six, down from the previous week's previously unannounced 35, grossing just $9,832. Miramax would not release grosses for the film again, with a final total of just $102,219.   Now when I started this series, I said that none of the films Miramax released in the 1980s were made by Miramax, but this next film would become the closest they would get during the decade.   In July 1961, John Profumo was the Secretary of State for War in the conservative government of British Prime Minister Harold Macmillan, when the married Profumo began a sexual relationship with a nineteen-year-old model named Christine Keeler. The affair was very short-lived, either ending, depending on the source, in August 1961 or December 1961. Unbeknownst to Profumo, Keeler was also having an affair with Yevgeny Ivanov, a senior naval attache at the Soviet Embassy at the same time.   No one was the wiser on any of this until December 1962, when a shooting incident involving two other men Keeler had been involved with led the press to start looking into Keeler's life. While it was never proven that his affair with Keeler was responsible for any breaches of national security, John Profumo was forced to resign from his position in June 1963, and the scandal would take down most of the Torie government with him. Prime Minister Macmillan would resign due to “health reasons” in October 1963, and the Labour Party would take control of the British government when the next elections were held in October 1964.   Scandal was originally planned in the mid-1980s as a three-part, five-hour miniseries by Australian screenwriter Michael Thomas and American music producer turned movie producer Joe Boyd. The BBC would commit to finance a two-part, three-hour miniseries,  until someone at the network found an old memo from the time of the Profumo scandal that forbade them from making any productions about it. Channel 4, which had been producing quality shows and movies for several years since their start in 1982, was approached, but rejected the series on the grounds of taste.   Palace Pictures, a British production company who had already produced three films for Neil Jordan including Mona Lisa, was willing to finance the script, provided it could be whittled down to a two hour movie. Originally budgeted at 3.2m British pounds, the costs would rise as they started the casting process.  John Hurt, twice Oscar-nominated for his roles in Midnight Express and The Elephant Man, would sign on to play Stephen Ward, a British osteopath who acted as Christine Keeler's… well… pimp, for lack of a better word. Ian McKellen, a respected actor on British stages and screens but still years away from finding mainstream global success in the X-Men movies, would sign on to play John Profumo. Joanne Whaley, who had filmed the yet to be released at that time Willow with her soon to be husband Val Kilmer, would get her first starring role as Keeler, and Bridget Fonda, who was quickly making a name for herself in the film world after being featured in Aria, would play Mandy Rice-Davies, the best friend and co-worker of Keeler's.   To save money, Palace Pictures would sign thirty-year-old Scottish filmmaker Michael Caton-Jones to direct, after seeing a short film he had made called The Riveter. But even with the neophyte feature filmmaker, Palace still needed about $2.35m to be able to fully finance the film. And they knew exactly who to go to.   Stephen Woolley, the co-founder of Palace Pictures and the main producer on the film, would fly from London to New York City to personally pitch Harvey and Bob Weinstein. Woolley felt that of all the independent distributors in America, they would be the ones most attracted to the sexual and controversial nature of the story. A day later, Woolley was back on a plane to London. The Weinsteins had agreed to purchase the American distribution rights to Scandal for $2.35m.   The film would spend two months shooting in the London area through the summer of 1988. Christine Keeler had no interest in the film, and refused to meet the now Joanne Whaley-Kilmer to talk about the affair, but Mandy Rice-Davies was more than happy to Bridget Fonda about her life, although the meetings between the two women were so secret, they would not come out until Woolley eulogized Rice-Davies after her 2014 death.   Although Harvey and Bob would be given co-executive producers on the film, Miramax was not a production company on the film. This, however, did not stop Harvey from flying to London multiple times, usually when he was made aware of some sexy scene that was going to shoot the following day, and try to insinuate himself into the film's making. At one point, Woolley decided to take a weekend off from the production, and actually did put Harvey in charge. That weekend's shoot would include a skinny-dipping scene featuring the Christine Keeler character, but when Whaley-Kilmer learned Harvey was going to be there, she told the director that she could not do the nudity in the scene. Her new husband was objecting to it, she told them. Harvey, not skipping a beat, found a lookalike for the actress who would be willing to bare all as a body double, and the scene would begin shooting a few hours later. Whaley-Kilmer watched the shoot from just behind the camera, and stopped the shoot a few minutes later. She was not happy that the body double's posterior was notably larger than her own, and didn't want audiences to think she had that much junk in her trunk. The body double was paid for her day, and Whaley-Kilmer finished the rest of the scene herself.   Caton-Jones and his editing team worked on shaping the film through the fall, and would screen his first edit of the film for Palace Pictures and the Weinsteins in November 1988. And while Harvey was very happy with the cut, he still asked the production team for a different edit for American audiences, noting that most Americans had no idea who Profumo or Keeler or Rice-Davies were, and that Americans would need to understand the story more right out of the first frame. Caton-Jones didn't want to cut a single frame, but he would work with Harvey to build an American-friendly cut.   While he was in London in November 1988, he would meet with the producers of another British film that was in pre-production at the time that would become another important film to the growth of the company, but we're not quite at that part of the story yet. We'll circle around to that film soon.   One of the things Harvey was most looking forward to going in to 1989 was the expected battle with the MPAA ratings board over Scandal. Ever since he had seen the brouhaha over Angel Heart's X rating two years earlier, he had been looking for a similar battle. He thought he had it with Aria in 1988, but he knew he definitely had it now.   And he'd be right.   In early March, just a few weeks before the film's planned April 21st opening day, the MPAA slapped an X rating on Scandal. The MPAA usually does not tell filmmakers or distributors what needs to be cut, in order to avoid accusations of actual censorship, but according to Harvey, they told him exactly what needed to be cut to get an R: a two second shot during an orgy scene, where it appears two background characters are having unsimulated sex.   So what did Harvey do?   He spent weeks complaining to the press about MPAA censorship, generating millions in free publicity for the film, all the while already having a close-up shot of Joanne Whaley-Kilmer's Christine Keeler watching the orgy but not participating in it, ready to replace the objectionable shot.   A few weeks later, Miramax screened the “edited” film to the MPAA and secured the R rating, and the film would open on 94 screens, including 28 each in the New York City and Los Angeles metro regions, on April 28th.   And while the reviews for the film were mostly great, audiences were drawn to the film for the Miramax-manufactured controversy as well as the key art for the film, a picture of a potentially naked Joanne Whaley-Kilmer sitting backwards in a chair, a mimic of a very famous photo Christine Keeler herself took to promote a movie about the Profumo affair she appeared in a few years after the events. I'll have a picture of both the Scandal poster and the Christine Keeler photo on this episode's page at The80sMoviePodcast.com   Five other movies would open that weekend, including the James Belushi comedy K-9 and the Kevin Bacon drama Criminal Law, and Scandal, with $658k worth of ticket sales, would have the second best per screen average of the five new openers, just a few hundred dollars below the new Holly Hunter movie Miss Firecracker, which only opened on six screens.   In its second weekend, Scandal would expand its run to 214 playdates, and make its debut in the national top ten, coming in tenth place with $981k. That would be more than the second week of the Patrick Dempsey rom-com Loverboy, even though Loverboy was playing on 5x as many screens.   In weekend number three, Scandal would have its best overall gross and top ten placement, coming in seventh with $1.22m from 346 screens. Scandal would start to slowly fade after that, falling back out of the top ten in its sixth week, but Miramax would wisely keep the screen count under 375, because Scandal wasn't going to play well in all areas of the country. After nearly five months in theatres, Miramax would have its biggest film to date. Scandal would gross $8.8m.   The second release from Millimeter Films was The Return of the Swamp Thing. And if you needed a reason why the 1980s was not a good time for comic book movies, here you are. The Return of the Swamp Thing took most of what made the character interesting in his comic series, and most of what was good from the 1982 Wes Craven adaptation, and decided “Hey, you know what would bring the kids in? Camp! Camp unseen in a comic book adaptation since the 1960s Batman series. They loved it then, they'll love it now!”   They did not love it now.   Heather Locklear, between her stints on T.J. Hooker and Melrose Place, plays the step-daughter of Louis Jourdan's evil Dr. Arcane from the first film, who heads down to the Florida swaps to confront dear old once presumed dead stepdad. He in turns kidnaps his stepdaughter and decides to do some of his genetic experiments on her, until she is rescued by Swamp Thing, one of Dr. Arcane's former co-workers who got turned into the gooey anti-hero in the first movie.   The film co-stars Sarah Douglas from Superman 1 and 2 as Dr. Arcane's assistant, Dick Durock reprising his role as Swamp Thing from the first film, and 1980s B-movie goddess Monique Gabrielle as Miss Poinsettia.   For director Jim Wynorski, this was his sixth movie as a director, and at $3m, one of the highest budgeted movies he would ever make. He's directed 107 movies since 1984, most of them low budget direct to video movies with titles like The Bare Wench Project and Alabama Jones and the Busty Crusade, although he does have one genuine horror classic under his belt, the 1986 sci-fi tinged Chopping Maul with Kelli Maroney and Barbara Crampton.   Wynorski suggested in a late 1990s DVD commentary for the film that he didn't particularly enjoy making the film, and had a difficult time directing Louis Jourdan, to the point that outside of calling “action” and “cut,” the two didn't speak to each other by the end of the shoot.   The Return of Swamp Thing would open in 123 theatres in the United States on May 12th, including 28 in the New York City metro region, 26 in the Los Angeles area, 15 in Detroit, and a handful of theatres in Phoenix, San Francisco. And, strangely, the newspaper ads would include an actual positive quote from none other than Roger Ebert, who said on Siskel & Ebert that he enjoyed himself, and that it was good to have Swamp Thing back. Siskel would not reciprocate his balcony partner's thumb up. But Siskel was about the only person who was positive on the return of Swamp Thing, and that box office would suffer. In its first three days, the film would gross just $119,200. After a couple more dismal weeks in theatres, The Return of Swamp Thing would be pulled from distribution, with a final gross of just $275k.   Fun fact: The Return of Swamp Thing was produced by Michael E. Uslan, whose next production, another adaptation of a DC Comics character, would arrive in theatres not six weeks later and become the biggest film of the summer. In fact, Uslan has been a producer or executive producer on every Batman-related movie and television show since 1989, from Tim Burton to Christopher Nolan to Zack Snyder to Matt Reeves, and from LEGO movies to Joker. He also, because of his ownership of the movie rights to Swamp Thing, got the movie screen rights, but not the television screen rights, to John Constantine.   Miramax didn't have too much time to worry about The Return of Swamp Thing's release, as it was happening while the Brothers Weinstein were at the 1989 Cannes Film Festival. They had two primary goals at Cannes that year:   To buy American distribution rights to any movie that would increase their standing in the cinematic worldview, which they would achieve by picking up an Italian dramedy called, at the time, New Paradise Cinema, which was competing for the Palme D'Or with a Miramax pickup from Sundance back in January. Promote that very film, which did end up winning the Palme D'Or.   Ever since he was a kid, Steven Soderbergh wanted to be a filmmaker. Growing up in Baton Rouge, LA in the late 1970s, he would enroll in the LSU film animation class, even though he was only 15 and not yet a high school graduate. After graduating high school, he decided to move to Hollywood to break into the film industry, renting an above-garage room from Stephen Gyllenhaal, the filmmaker best known as the father of Jake and Maggie, but after a few freelance editing jobs, Soderbergh packed up his things and headed home to Baton Rouge.   Someone at Atco Records saw one of Soderbergh's short films, and hired him to direct a concert movie for one of their biggest bands at the time, Yes, who was enjoying a major comeback thanks to their 1983 triple platinum selling album, 90125. The concert film, called 9012Live, would premiere on MTV in late 1985, and it would be nominated for a Grammy Award for Best Long Form Music Video.   Soderbergh would use the money he earned from that project, $7,500, to make Winston, a 12 minute black and white short about sexual deception that he would, over the course of an eight day driving trip from Baton Rouge to Los Angeles, expand to a full length screen that he would call sex, lies and videotape. In later years, Soderbergh would admit that part of the story is autobiographical, but not the part you might think. Instead of the lead, Graham, an impotent but still sexually perverse late twentysomething who likes to tape women talking about their sexual fantasies for his own pleasure later, Soderbergh based the husband John, the unsophisticated lawyer who cheats on his wife with her sister, on himself, although there would be a bit of Graham that borrows from the filmmaker. Like his lead character, Soderbergh did sell off most of his possessions and hit the road to live a different life.   When he finished the script, he sent it out into the wilds of Hollywood. Morgan Mason, the son of actor James Mason and husband of Go-Go's lead singer Belinda Carlisle, would read it and sign on as an executive producer. Soderbergh had wanted to shoot the film in black and white, like he had with the Winston short that lead to the creation of this screenplay, but he and Mason had trouble getting anyone to commit to the project, even with only a projected budget of $200,000. For a hot moment, it looked like Universal might sign on to make the film, but they would eventually pass.   Robert Newmyer, who had left his job as a vice president of production and acquisitions at Columbia Pictures to start his own production company, signed on as a producer, and helped to convince Soderbergh to shoot the film in color, and cast some name actors in the leading roles. Once he acquiesced, Richard Branson's Virgin Vision agreed to put up $540k of the newly budgeted $1.2m film, while RCA/Columbia Home Video would put up the remaining $660k.   Soderbergh and his casting director, Deborah Aquila, would begin their casting search in New York, where they would meet with, amongst others, Andie MacDowell, who had already starred in two major Hollywood pictures, 1984's Greystoke: The Legend of Tarzan, Lord of the Apes, and 1985's St. Elmo's Fire, but was still considered more of a top model than an actress, and Laura San Giacomo, who had recently graduated from the Carnegie Mellon School of Drama in Pittsburgh and would be making her feature debut. Moving on to Los Angeles, Soderbergh and Aquila would cast James Spader, who had made a name for himself as a mostly bad guy in 80s teen movies like Pretty in Pink and Less Than Zero, but had never been the lead in a drama like this. At Spader's suggestion, the pair met with Peter Gallagher, who was supposed to become a star nearly a decade earlier from his starring role in Taylor Hackford's The Idolmaker, but had mostly been playing supporting roles in television shows and movies for most of the decade.   In order to keep the budget down, Soderbergh, the producers, cinematographer Walt Lloyd and the four main cast members agreed to get paid their guild minimums in exchange for a 50/50 profit participation split with RCA/Columbia once the film recouped its costs.   The production would spend a week in rehearsals in Baton Rouge, before the thirty day shoot began on August 1st, 1988. On most days, the shoot was unbearable for many, as temperatures would reach as high as 110 degrees outside, but there were a couple days lost to what cinematographer Lloyd said was “biblical rains.” But the shoot completed as scheduled, and Soderbergh got to the task of editing right away. He knew he only had about eight weeks to get a cut ready if the film was going to be submitted to the 1989 U.S. Film Festival, now better known as Sundance. He did get a temporary cut of the film ready for submission, with a not quite final sound mix, and the film was accepted to the festival. It would make its world premiere on January 25th, 1989, in Park City UT, and as soon as the first screening was completed, the bids from distributors came rolling in. Larry Estes, the head of RCA/Columbia Home Video, would field more than a dozen submissions before the end of the night, but only one distributor was ready to make a deal right then and there.   Bob Weinstein wasn't totally sold on the film, but he loved the ending, and he loved that the word “sex” not only was in the title but lead the title. He knew that title alone would sell the movie. Harvey, who was still in New York the next morning, called Estes to make an appointment to meet in 24 hours. When he and Estes met, he brought with him three poster mockups the marketing department had prepared, and told Estes he wasn't going to go back to New York until he had a contract signed, and vowed to beat any other deal offered by $100,000. Island Pictures, who had made their name releasing movies like Stop Making Sense, Kiss of the Spider-Woman, The Trip to Bountiful and She's Gotta Have It, offered $1m for the distribution rights, plus a 30% distribution fee and a guaranteed $1m prints and advertising budget. Estes called Harvey up and told him what it would take to make the deal. $1.1m for the distribution rights, which needed to paid up front, a $1m P&A budget, to be put in escrow upon the signing of the contract until the film was released, a 30% distribution fee, no cutting of the film whatsoever once Soderbergh turns in his final cut, they would need to provide financial information for the films costs and returns once a month because of the profit participation contracts, and the Weinsteins would have to hire Ira Deutchman, who had spent nearly 15 years in the independent film world, doing marketing for Cinema 5, co-founding United Artists Classics, and co-founding Cinecom Pictures before opening his own company to act as a producers rep and marketer. And the Weinsteins would not only have to do exactly what Deutchman wanted, they'd have to pay for his services too.   The contract was signed a few weeks later.   The first move Miramax would make was to get Soderbergh's final cut of the film entered into the Cannes Film Festival, where it would be accepted to compete in the main competition. Which you kind of already know what happened, because that's what I lead with. The film would win the Palme D'Or, and Spader would be awarded the festival's award for Best Actor. It was very rare at the time, and really still is, for any film to be awarded more than one prize, so winning two was really a coup for the film and for Miramax, especially when many critics attending the festival felt Spike Lee's Do the Right Thing was the better film.   In March, Miramax expected the film to make around $5-10m, which would net the company a small profit on the film. After Cannes, they were hopeful for a $15m gross.   They never expected what would happen next.   On August 4th, sex, lies, and videotape would open on four screens, at the Cinema Studio in New York City, and at the AMC Century 14, the Cineplex Beverly Center 13 and the Mann Westwood 4 in Los Angeles. Three prime theatres and the best they could do in one of the then most competitive zones in all America. Remember, it's still the Summer 1989 movie season, filled with hits like Batman, Dead Poets Society, Ghostbusters 2, Indiana Jones and the Last Crusade, Honey I Shrunk the Kids, Lethal Weapon 2, Parenthood, Turner & Hooch, and When Harry Met Sally. An independent distributor even getting one screen at the least attractive theatre in Westwood was a major get. And despite the fact that this movie wasn't really a summertime movie per se, the film would gross an incredible $156k in its first weekend from just these four theatres. Its nearly $40k per screen average would be 5x higher than the next closest film, Parenthood.   In its second weekend, the film would expand to 28 theatres, and would bring in over $600k in ticket sales, its per screen average of $21,527 nearly triple its closest competitor, Parenthood again. The company would keep spending small, as it slowly expanded the film each successive week. Forty theatres in its third week, and 101 in its fourth. The numbers held strong, and in its fifth week, Labor Day weekend, the film would have its first big expansion, playing in 347 theatres. The film would enter the top ten for the first time, despite playing in 500 to 1500 fewer theatres than the other films in the top ten. In its ninth weekend, the film would expand to its biggest screen count, 534, before slowly drawing down as the other major Oscar contenders started their theatrical runs. The film would continue to play through the Oscar season of 1989, and when it finally left theatres in May 1989, its final gross would be an astounding $24.7m.   Now, remember a few moments ago when I said that Miramax needed to provide financial statements every month for the profit participation contracts of Soderbergh, the producers, the cinematographer and the four lead actors? The film was so profitable for everyone so quickly that RCA/Columbia made its first profit participation payouts on October 17th, barely ten weeks after the film's opening.   That same week, Soderbergh also made what was at the time the largest deal with a book publisher for the writer/director's annotated version of the screenplay, which would also include his notes created during the creation of the film. That $75,000 deal would be more than he got paid to make the movie as the writer and the director and the editor, not counting the profit participation checks.   During the awards season, sex, lies, and videotape was considered to be one of the Oscars front runners for Best Picture, Best Director, Best Screenplay and at least two acting nominations. The film would be nominated for Best Picture, Best Actress and Best Supporting Actress by the Golden Globes, and it would win the Spirit Awards for Best Picture, Soderbergh for Best Director, McDowell for Best Actress, and San Giacomo for Best Supporting Actress. But when the Academy Award nominations were announced, the film would only receive one nomination, for Best Original Screenplay. The same total and category as Spike Lee's Do the Right Thing, which many people also felt had a chance for a Best Picture and Best Director nomination. Both films would lose out to Tom Shulman's screenplay for Dead Poet's Society.   The success of sex, lies, and videotape would launch Steven Soderbergh into one of the quirkiest Hollywood careers ever seen, including becoming the first and only director ever to be nominated twice for Best Director in the same year by the Motion Picture Academy, the Golden Globes and the Directors Guild of America, in 2001 for directing Erin Brockovich and Traffic. He would win the Oscar for directing Traffic.   Lost in the excitement of sex, lies, and videotape was The Little Thief, a French movie that had an unfortunate start as the screenplay François Truffaut was working on when he passed away in 1984 at the age of just 52.   Directed by Claude Miller, whose principal mentor was Truffaut, The Little Thief starred seventeen year old Charlotte Gainsbourg as Janine, a young woman in post-World War II France who commits a series of larcenies to support her dreams of becoming wealthy.   The film was a modest success in France when it opened in December 1988, but its American release date of August 25th, 1989, was set months in advance. So when it was obvious sex, lies, and videotape was going to be a bigger hit than they originally anticipated, it was too late for Miramax to pause the release of The Little Thief.   Opening at the Lincoln Plaza Cinemas in New York City, and buoyed by favorable reviews from every major critic in town, The Little Thief would see $39,931 worth of ticket sales in its first seven days, setting a new house record at the theatre for the year. In its second week, the gross would only drop $47. For the entire week. And when it opened at the Royal Theatre in West Los Angeles, its opening week gross of $30,654 would also set a new house record for the year.   The film would expand slowly but surely over the next several weeks, often in single screen playdates in major markets, but it would never play on more than twenty-four screens in any given week. And after four months in theatres, The Little Thief, the last movie created one of the greatest film writers the world had ever seen, would only gross $1.056m in the United States.   The next three releases from Miramax were all sent out under the Millimeter Films banner.   The first, a supernatural erotic drama called The Girl in a Swing, was about an English antiques dealer who travels to Copenhagen where he meets and falls in love with a mysterious German-born secretary, whom he marries, only to discover a darker side to his new bride. Rupert Frazer, who played Christian Bale's dad in Steven Spielberg's Empire of the Sun, plays the antique dealer, while Meg Tilly the mysterious new bride.   Filmed over a five week schedule in London and Copenhagen during May and June 1988, some online sources say the film first opened somewhere in California in December 1988, but I cannot find a single theatre not only in California but anywhere in the United States that played the film before its September 29th, 1989 opening date.   Roger Ebert didn't like the film, and wished Meg Tilly's “genuinely original performance” was in a better movie. Opening in 26 theatres, including six theatres each in New York City and Los Angeles, and spurred on by an intriguing key art for the film that featured a presumed naked Tilly on a swing looking seductively at the camera while a notice underneath her warns that No One Under 18 Will Be Admitted To The Theatre, The Girl in a Swing would gross $102k, good enough for 35th place nationally that week. And that's about the best it would do. The film would limp along, moving from market to market over the course of the next three months, and when its theatrical run was complete, it could only manage about $747k in ticket sales.   We'll quickly burn through the next two Millimeter Films releases, which came out a week apart from each other and didn't amount to much.   Animal Behavior was a rather unfunny comedy featuring some very good actors who probably signed on for a very different movie than the one that came to be. Karen Allen, Miss Marion Ravenwood herself, stars as Alex, a biologist who, like Dr. Jane Goodall, develops a “new” way to communicate with chimpanzees via sign language. Armand Assante plays a cellist who pursues the good doctor, and Holly Hunter plays the cellist's neighbor, who Alex mistakes for his wife.   Animal Behavior was filmed in 1984, and 1985, and 1987, and 1988. The initial production was directed by Jenny Bowen with the assistance of Robert Redford and The Sundance Institute, thanks to her debut film, 1981's Street Music featuring Elizabeth Daily. It's unknown why Bowen and her cinematographer husband Richard Bowen left the project, but when filming resumed again and again and again, those scenes were directed by the film's producer, Kjehl Rasmussen.   Because Bowen was not a member of the DGA at the time, she was not able to petition the guild for the use of the Alan Smithee pseudonym, a process that is automatically triggered whenever a director is let go of a project and filming continues with its producer taking the reigns as director. But she was able to get the production to use a pseudonym anyway for the director's credit, H. Anne Riley, while also giving Richard Bowen a pseudonym of his own for his work on the film, David Spellvin.   Opening on 24 screens on October 27th, Animal Behavior would come in 50th place in its opening weekend, grossing just $20,361. The New York film critics ripped the film apart, and there wouldn't be a second weekend for the film.   The following Friday, November 3rd, saw the release of The Stepfather II, a rushed together sequel to 1987's The Stepfather, which itself wasn't a big hit in theatres but found a very quick and receptive audience on cable.   Despite dying at the end of the first film, Terry O'Quinn's Jerry is somehow still alive, and institutionalized in Northern Washington state. He escapes and heads down to Los Angeles, where he assumes the identity of a recently deceased publisher, Gene Clifford, but instead passes himself off as a psychiatrist. Jerry, now Gene, begins to court his neighbor Carol, and the whole crazy story plays out again. Meg Foster plays the neighbor Carol, and Jonathan Brandis is her son.    Director Jeff Burr had made a name for himself with his 1987 horror anthology film From a Whisper to a Scream, featuring Vincent Price, Clu Gulager and Terry Kiser, and from all accounts, had a very smooth shooting process with this film. The trouble began when he turned in his cut to the producers. The producers were happy with the film, but when they sent it to Miramax, the American distributors, they were rather unhappy with the almost bloodless slasher film. They demanded reshoots, which Burr and O'Quinn refused to participate in. They brought in a new director, Doug Campbell, to handle the reshoots, which are easy to spot in the final film because they look and feel completely different from the scenes they're spliced into.   When it opened, The Stepfather II actually grossed slightly more than the first film did, earning $279k from 100 screens, compared to $260k for The Stepfather from 105 screens. But unlike the first film, which had some decent reviews when it opened, the sequel was a complete mess. To this day, it's still one of the few films to have a 0% approval rating on Rotten Tomatoes, and The Stepfather II would limp its way through theatres during the Christmas holiday season, ending its run with a $1.5m gross.   But it would be their final film of the decade that would dictate their course for at least the first part of the 1990s.   Remember when I said earlier in the episode that Harvey Weinstein meant with the producers of another British film while in London for Scandal? We're at that film now, a film you probably know.   My Left Foot.   By November 1988, actor Daniel Day-Lewis had starred in several movies including James Ivory's A Room With a View and Philip Kaufman's The Unbearable Lightness of Being. He had even been the lead in a major Hollywood studio film, Pat O'Connor's Stars and Bars, a very good film that unfortunately got caught up in the brouhaha over the exit of the studio head who greenlit the film, David Puttnam.   The film's director, Jim Sheridan, had never directed a movie before. He had become involved in stage production during his time at the University College in Dublin in the late 1960s, where he worked with future filmmaker Neil Jordan, and had spent nearly a decade after graduation doing stage work in Ireland and Canada, before settling in New York City in the early 1980s. Sheridan would go to New York University's Tisch School of the Arts, where one of his classmates was Spike Lee, and return to Ireland after graduating. He was nearly forty, married with two pre-teen daughters, and he needed to make a statement with his first film.   He would find that story in the autobiography of Irish writer and painter Christy Brown, whose spirit and creativity could not be contained by his severe cerebral palsy. Along with Irish actor and writer Shane Connaughton, Sheridan wrote a screenplay that could be a powerhouse film made on a very tight budget of less than a million dollars.   Daniel Day-Lewis was sent a copy of the script, in the hopes he would be intrigued enough to take almost no money to play a physically demanding role. He read the opening pages, which had the adult Christy Brown putting a record on a record player and dropping the needle on to the record with his left foot, and thought to himself it would be impossible to film. That intrigued him, and he signed on. But during filming in January and February of 1989, most of the scenes were shot using mirrors, as Day-Lewis couldn't do the scenes with his left foot. He could do them with his right foot, hence the mirrors.   As a method actor, Day-Lewis remained in character as Christy Brown for the entire two month shoot. From costume fittings and makeup in the morning, to getting the actor on set, to moving him around between shots, there were crew members assigned to assist the actor as if they were Christy Brown's caretakers themselves, including feeding him during breaks in shooting. A rumor debunked by the actor years later said Day-Lewis had broken two ribs during production because of how hunched down he needed to be in his crude prop wheelchair to properly play the character.   The actor had done a lot of prep work to play the role, including spending time at the Sandymount School Clinic where the young Christy Brown got his education, and much of his performance was molded on those young people.   While Miramax had acquired the American distribution rights to the film before it went into production, and those funds went into the production of the film, the film was not produced by Miramax, nor were the Weinsteins given any kind of executive producer credit, as they were able to get themselves on Scandal.   My Left Foot would make its world premiere at the Montreal World Film Festival on September 4th, 1989, followed soon thereafter by screening at the Toronto International Film Festival on September 13th and the New York Film Festival on September 23rd. Across the board, critics and audiences were in love with the movie, and with Daniel Day-Lewis's performance. Jim Sheridan would receive a special prize at the Montreal World Film Festival for his direction, and Day-Lewis would win the festival's award for Best Actor. However, as the film played the festival circuit, another name would start to pop up. Brenda Fricker, a little known Irish actress who played Christy Brown's supportive but long-suffering mother Bridget, would pile up as many positive notices and awards as Day-Lewis. Although there was no Best Supporting Actress Award at the Montreal Film Festival, the judges felt her performance was deserving of some kind of attention, so they would create a Special Mention of the Jury Award to honor her.   Now, some sources online will tell you the film made its world premiere in Dublin on February 24th, 1989, based on a passage in a biography about Daniel Day-Lewis, but that would be impossible as the film would still be in production for two more days, and wasn't fully edited or scored by then.   I'm not sure when it first opened in the United Kingdom other than sometime in early 1990, but My Left Foot would have its commercial theatre debut in America on November 10th, when opened at the Lincoln Plaza Cinemas in New York City and the Century City 14 in Los Angeles. Sheila Benson of the Los Angeles Times would, in the very opening paragraph of her review, note that one shouldn't see My Left Foot for some kind of moral uplift or spiritual merit badge, but because of your pure love of great moviemaking. Vincent Canby's review in the New York Times spends most of his words praising Day-Lewis and Sheridan for making a film that is polite and non-judgmental.    Interestingly, Miramax went with an ad campaign that completely excluded any explanation of who Christy Brown was or why the film is titled the way it is. 70% of the ad space is taken from pull quotes from many of the top critics of the day, 20% with the title of the film, and 10% with a picture of Daniel Day-Lewis, clean shaven and full tooth smile, which I don't recall happening once in the movie, next to an obviously added-in picture of one of his co-stars that is more camera-friendly than Brenda Fricker or Fiona Shaw.   Whatever reasons people went to see the film, they flocked to the two theatres playing the film that weekend. It's $20,582 per screen average would be second only to Kenneth Branagh's Henry V, which had opened two days earlier, earning slightly more than $1,000 per screen than My Left Foot.   In week two, My Left Foot would gross another $35,133 from those two theatres, and it would overtake Henry V for the highest per screen average. In week three, Thanksgiving weekend, both Henry V and My Left Foot saw a a double digit increase in grosses despite not adding any theatres, and the latter film would hold on to the highest per screen average again, although the difference would only be $302. And this would continue for weeks. In the film's sixth week of release, it would get a boost in attention by being awarded Best Film of the Year by the New York Film Critics Circle. Daniel Day-Lewis would be named Best Actor that week by both the New York critics and the Los Angeles Film Critics Association, while Fricker would win the Best Supporting Actress award from the latter group.   But even then, Miramax refused to budge on expanding the film until its seventh week of release, Christmas weekend, when My Left Foot finally moved into cities like Chicago and San Francisco. Its $135k gross that weekend was good, but it was starting to lose ground to other Oscar hopefuls like Born on the Fourth of July, Driving Miss Daisy, Enemies: A Love Story, and Glory.   And even though the film continued to rack up award win after award win, nomination after nomination, from the Golden Globes and the Writers Guild and the National Society of Film Critics and the National Board of Review, Miramax still held firm on not expanding the film into more than 100 theatres nationwide until its 16th week in theatres, February 16th, 1990, two days after the announcement of the nominees for the 62nd Annual Academy Awards. While Daniel Day-Lewis's nomination for Best Actor was virtually assured and Brenda Fricker was practically a given, the film would pick up three other nominations, including surprise nominations for Best Picture and Best Director. Jim Sheridan and co-writer Shane Connaughton would also get picked for Best Adapted Screenplay.   Miramax also picked up a nomination for Best Original Screenplay for sex, lies, and videotape, and a Best Foreign Language Film nod for the Italian movie Cinema Paradiso, which, thanks to the specific rules for that category, a film could get a nomination before actually opening in theatres in America, which Miramax would rush to do with Paradiso the week after its nomination was announced.   The 62nd Academy Awards ceremony would be best remembered today as being the first Oscar show to be hosted by Billy Crystal, and for being considerably better than the previous year's ceremony, a mess of a show best remembered as being the one with a 12 minute opening musical segment that included Rob Lowe singing Proud Mary to an actress playing Snow White and another nine minute musical segment featuring a slew of expected future Oscar winners that, to date, feature exact zero Oscar nominees, both which rank as amongst the worst things to ever happen to the Oscars awards show.   The ceremony, held on March 26th, would see My Left Foot win two awards, Best Actor and Best Supporting Actress, as well as Cinema Paradiso for Best Foreign Film. The following weekend, March 30th, would see Miramax expand My Left Foot to 510 theatres, its widest point of release, and see the film made the national top ten and earn more than a million dollars for its one and only time during its eight month run.   The film would lose steam pretty quickly after its post-win bump, but it would eek out a modest run that ended with $14.75m in ticket sales just in the United States. Not bad for a little Irish movie with no major stars that cost less than a million dollars to make.   Of course, the early 90s would see Miramax fly to unimagined heights. In all of the 80s, Miramax would release 39 movies. They would release 30 films alone in 1991. They would release the first movies from Jean-Pierre Jeunet, Quentin Tarantino and Kevin Smith. They'd release some of the best films from some of the best filmmakers in the world, including Woody Allen, Pedro Almadovar, Robert Altman, Bernardo Bertolucci, Atom Egoyan, Steven Frears, Peter Greenaway, Peter Jackson, Neil Jordan, Chen Kaige, Krzysztof Kieślowski, Lars von Trier, and Zhang Yimou. In 1993, the Mexican dramedy Like Water for Chocolate would become the highest grossing foreign language film ever released in America, and it would play in some theatres, including my theatre, the NuWilshire in Santa Monica, continuously for more than a year.   If you've listened to the whole series on the 1980s movies of Miramax Films, there are two things I hope you take away. First, I hope you discovered at least one film you hadn't heard of before and you might be interested in searching out. The second is the reminder that neither Bob nor Harvey Weinstein will profit in any way if you give any of the movies talked about in this series a chance. They sold Miramax to Disney in June 1993. They left Miramax in September 2005. Many of the contracts for the movies the company released in the 80s and 90s expired decades ago, with the rights reverting back to their original producers, none of whom made any deals with the Weinsteins once they got their rights back.   Harvey Weinstein is currently serving a 23 year prison sentence in upstate New York after being found guilty in 2020 of two sexual assaults. Once he completes that sentence, he'll be spending another 16 years in prison in California, after he was convicted of three sexual assaults that happened in Los Angeles between 2004 and 2013. And if the 71 year old makes it to 107 years old, he may have to serve time in England for two sexual assaults that happened in August 1996. That case is still working its way through the British legal system.   Bob Weinstein has kept a low profile since his brother's proclivities first became public knowledge in October 2017, although he would also be accused of sexual harassment by a show runner for the brothers' Spike TV-aired adaptation of the Stephen King novel The Mist, several days after the bombshell articles came out about his brother. However, Bob's lawyer, the powerful attorney to the stars Bert Fields, deny the allegations, and it appears nothing has occurred legally since the accusations were made.   A few weeks after the start of the MeToo movement that sparked up in the aftermath of the accusations of his brother's actions, Bob Weinstein denied having any knowledge of the nearly thirty years of documented sexual abuse at the hands of his brother, but did allow to an interviewer for The Hollywood Reporter that he had barely spoken to Harvey over the previous five years, saying he could no longer take Harvey's cheating, lying and general attitude towards everyone.   And with that, we conclude our journey with Miramax Films. While I am sure Bob and Harvey will likely pop up again in future episodes, they'll be minor characters at best, and we'll never have to focus on anything they did ever again.   Thank you for joining us. We'll talk again soon, when Episode 119 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.

Jason and Matt are back with another random review. This times is Less Than Zero from 1987. --- Send in a voice message: https://podcasters.spotify.com/pod/show/matthew-ulrich/message

We are talking about author Bret Easton Ellis this week. We are discussing Less Than Zero, Rules of Attraction, and American Psycho.

00:00 - 48:20 - Black and White 48:20 - 1:08:23 - Malcolm in the Middle The Extended Clip Month of Music continues! for the second installment, we move from Manchester in the late 70s to New York in the late 90s, from new wave to hip-hop. James Toback's 1999 film Black and White is the subject at hand. we get into Toback's crime cinema and real crimes, the oddball cast of rappers and actors, the white guy listening to rap music thing, and much more. then, on a saucy Malcolm in the Middle (48:20), we talk Less Than Zero, Tommy Boy, Where Is the Friend's House?, Fatal Attraction and The Definitive Erotic Thriller Unearned Nostalgia Rant.

It's a solo Henry venture this week – get ready for an OceanGate wrap up, Elon vs Zuckerberg, and a full Choose Your Own Adventure game. All that and less, right here on Zero Credit(s).     Music: Underclocked – Underclocked Remix Eric Skiff ericskiff.com/music

Episode 184 Notes and Links to Robert Ottone's Work   *Please be aware of Content Warning for Discussion: This episode contains conversation about suicidal ideations       On Episode 184 of The Chills at Will Podcast, Pete welcomes Robert Ottone, and the two discuss, among other things, bagels and cream cheese, Seinfeld's greatness, Robert's early appetite for books of many genres and types, his writing journey, his diverse interests, writing as catharsis and writing as therapeutic, hyperbole, allegory, and real-life issues like medical racism, pregnancy, adulthood, parenting, and friendship that informed The Vile Thing We Created.      Robert P. Ottone is the author of the horror collection Her Infernal Name & Other Nightmares (an honorable mention in The Best Horror of the Year, Vol. 13) as well as the young adult dystopian-cosmic horror trilogy The Rise.    His short stories have appeared in various anthologies as well as online. He's also the publisher and owner of Spooky House Press.    Robert is also an English as a New Language teacher, as well as a teacher of English Language Arts. He can be found online at SpookyHousePress.com or on Twitter/Instagram (@RobertOttone). He delights in the creepy and views bagels solely as a cream cheese delivery device.     Buy The Vile Thing We Created   Robert Ottone's Website with This is Horror    Interview with NFReads   At about 1:35, Robert lays out his bagel routine and philosophy, as well as tales from the tipping world   At about 4:10, Pete and Robert analyze Seinfeld and its legacy and incredible outfits and hairstyles and ironies   At about 7:50, Robert fills in the readers on his YA trilogy and his feelings upon being nominated for a Bram Stoker Award   At about 10:10, Robert talks about his voracious and diverse reading, as well as his superhero loves and the beautiful connections with his father through reading    At about 13:00, Robert talks about his experience with Batman and the movies   At about 14:10, The two discuss Stephen King and his phenomenal writing and his iconic craft guide “On Writing”   At about 17:30, Robert discusses writers and writing that inspired him, including his favorite book of all-time, Less Than Zero, Elmore Leonard,    At about 20:45, Robert talks about his progression in reading and delving into journalism and music writing, including his appreciation for Alex Garland   At about 26:10, Robert shouts out the great Erika Wurth, for her partying abilities and incredible generosity and mentorship and friendship   At about 27:30, Robert muses on horror writers as good people   At about 29:05, Robert appreciates Paul Tremblay and his humility and genius and kindness, as well as the up-and-coming Todd Keisling   At about 30:55, Robert responds to Pete's questions about what it's like to live “in the muck” when writing and ideas of writing as catharsis; Robert discusses maternity and institutional racism and how this type of real-life issue is more scary than the fantastical    At about 33:30, Robert discusses the ideas of writing as catharsis, and he shares ways of mourning and grieving his beloved father's death   At about 37:15, Robert connects exorcising fears and ideas of closure through his work   At about 42:05, The two discuss psychological horror and real-life scares like racism and how creativity comes in    At about 45:45, Robert discusses body horror and the issues that come into play with pregnancy, especially for women of color    At about 47:40, Pete cites part of the book's exposition involving a scene that shows Ian and Lola feeling alienation from those who have kids   At about 49:20, Robert speaks about societal pressures and other causation for Lola and Ian    At about 53:20- “For spite”-Seinfeld reference    At about 53:30, Pete and Robert discuss Lola's horrendous pregnancy    At about 55:00, Robert gives background on Lola's giving birth and how it was “an amped-up version of what happened to a friend's partner”; he cites an interesting “cosmic” connection to childbirth    At about 58:20, Jonesy, the child, is characterized as tranquil and chill while Lola experiences depression and anger   At about 59:10, Dannah's role and her gift- a seven-pointed star, are discussed and put into historical context   At about 1:01:00, Darkness as a symbol and before/after pregnancy are discussed    At about 1:03:00, Pete wonders about hyperbole and its role in shining a light on societal and familial issues    At about 1:05:05, Robert explains his imaginings of Jonesy and how he'd fit into the real world   At about 1:11:30, Robert gives contact info/social media    You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow me on IG, where I'm @chillsatwillpodcast, or on Twitter, where I'm @chillsatwillpo1. You can watch this and other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both my YouTube Channel and my podcast while you're checking out this episode.    Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl     Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting my one-man show, my DIY podcast and my extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content!    NEW MERCH! You can browse and buy here: https://www.etsy.com/shop/ChillsatWillPodcast    This is a passion project of mine, a DIY operation, and I'd love for your help in promoting what I'm convinced is a unique and spirited look at an often-ignored art form.    The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.   Please tune in for Episode 185 with Toni Ann Johnson. A true Renaissance woman, she is the recipient of two Humanitas Prizes and a Christopher Award for her screenplays, which include Ruby Bridges, for Disney/ABC and Crown Heights, for Showtime Televisión; her acclaimed story collection is Light Skin Gone to Waste.    The episode airs May 30.

A preview of Gain of Fiction Vol. 10 where Kelby Losack and Glen cover Bret Easton Ellis' Less Than Zero. To get full access to the episode, you need to be a paid subscriber to our substack. It's worth it, though. Here's the link https://rarecandy.substack.com/p/gain-of-fiction-vol-10-less-than#details

Andrew McCarthy is a New York Times best selling author of Brat: An '80s Story, Just Fly Away, and The Longest Way Home. And his new book is, Walking with Sam: A Father, a Son, and Five Hundred Miles Across Spain. He gained fame as an actor in the 1980's appearing in such iconic films such as Pretty in Pink, St. Elmo's Fire, and Less Than Zero, as well as cult favorites Weekend At Bernie's and Mannequin. He has found a second career as a director, directing some of today's most popular television shows, including Orange Is the New Black, The Blacklist, and the second season of Awkwafina is Nora From Queens. For a dozen years, Andrew served as an editor-at-large with National Geographic Traveler magazine and was named Travel Journalist of the Year by The Society of American Travel Writers. Andrew currently stars as a series regular on the hit Fox series THE RESIDENT. LISTEN TO THIS EPISODE IF: You're a fan of Andrew McCarthy and the Brat Pack You are a parent You want to improve your relationship with your children You love travel You appreciate doing hard things and putting in the work You can learn more about Andrew: Instagram: @andrewtmccarthy https://andrewmccarthy.com

Exploring Predictive Programming In 1980s Classic 'The Lost Boys' - #We'reWatchingYouhttps://unrefinedpodcast.comIn this episode, hosts Brandon Spain and Lindsy Waters, along with Brandon's son Nathan, discuss the iconic 80's movie The Lost Boys, directed by Joel Schumacher. They talk about the film's predictive programming, symbolism and other cultural aspects, as well as other works such as the Batman movies and St. Elmo's Fire. They joke about Sam's secret fantasy for Rob Low, and mention that there is more to the movie than just vampirism. Timestamps0:00:09Exploring Predictive Programming in 'The Lost Boys' 0:04:13Discussion of Vampire Genres in the Movie 0:05:55Exploring the Mythos of Vampirism 0:10:49Summary: The Lost Boys (1987)0:13:25Analysis of Peter Pan and the Lost Boys in Relation to Michael Jackson, Jim Morrison, and Charles Manson0:20:11Exploring the Symbolism of the Movie 0:22:51Exploring the Themes of the Movie 0:25:18Exploring the Mythos of Manson, the Lost Boys, and St. Elmo's Fire0:28:58"Less Than Zero" and the Brat Pack0:31:24Discussion on Vampire Mythos in Popular Media0:33:36Exploring the Mythology of Vampires and Cryptids0:40:24Conversation on Caves, Blood, and the Bible0:44:41Exploring the Themes of 70s Music and Vampire Lore

On the latest episode of The A Show, Meelz & Justin conduct their longest "Office Hours" segment yet -- talking about imposter syndrome and going after your career goals. They also talk about Goldberg potentially signing to AEW, Mercedes Mone's most recent interview, and AEW's house show debut.Later in the show, the hosts try to find the perfect song for Sami/KO, and breakdown the biggest week in the Bloodline saga. 

ONLY FOR PATRONS: https://t.co/642yMQ9Swk Thinking about youth and death, old age and beauty, with two novels by gay men -- Bret Easton Ellis's LESS THAN ZERO and Andrew Holleran's new novel THE KINGDOM OF SAND. (I'M SO POPULAR S3.E38)