Podcasts about Lightstorm Entertainment

Couch Potato Theater: True Lies (1994) Watch the video version of this Couch Potato Theater episode on the Fandom Podcast Network YouTube Channel: https://www.youtube.com/@FandomPodcastNetwork Welcome to Couch Potato Theater, where we celebrate our favorite movies on the Fandom Podcast Network! One this episode we celebrate the 30th Anniversary of Arnold Schwarzenegger's action comedy 90's masterpiece, True Lies (1994). True Lies is a 1994 American action comedy film written and directed by James Cameron, based on the 1991 French comedy film La Totale! The film stars Arnold Schwarzenegger as Harry Tasker, a U.S. government agent, who struggles to balance his double life as a spy with his family's duties. Jamie Lee Curtis, Tom Arnold, Bill Paxton, Art Malik, and Tia Carrere star in supporting roles. True Lies was the first Lightstorm Entertainment project to be distributed under Cameron's multimillion-dollar production deal with 20th Century Fox, as well as the first major production for the visual effects company Digital Domain, which was co-founded by Cameron. It was also the first film to cost $100 million. Fandom Podcast Network Contact Information - - Fandom Podcast Network YouTube Channel:  https://www.youtube.com/c/FandomPodcastNetwork - Master feed for all FPNet Audio Podcasts: http://fpnet.podbean.com/ - Couch Potato Theater Audio Podcast Master Feed: https://fpnet.podbean.com/category/couch-potato-theater - Facebook: https://www.facebook.com/Fandompodcastnetwork - Facebook: True Believers A Marvel & MCU Fandom Group: https://www.facebook.com/groups/143313841014405/ - Email: fandompodcastnetwork@gmail.com - Instagram: https://www.instagram.com/fandompodcastnetwork/ - X: @fanpodnetwork / https://twitter.com/fanpodnetwork  Host & Guest Contact Info: - Kevin Reitzel on X / Instagram / Threads / Discord & Letterboxd: @spartan_phoenix  - Kyle Wagner on X: @AKyleW / Instagram & Threads: @Akylefandom / @akyleW on Discord / @Ksport16: Letterboxd - Lacee Aderhold on X: @LaceePants / Instagram: @thelaceepants / Letterboxd: @Laceepants. #CouchPotatoTheater #FandomPodcastNetwork #FPNet #FPN #TrueLies #TrueLies1994 #TrueLies4K #TrueLiesMovie #FearIsNotAnOption #JamesCameron #ArnoldSchwarzenegger #JamieLeeCurtis #TomArnold #BillPaxton #ArtMalik #TiaCarrere #ElizaDushku #CharltonHeston #GrantHeslov #MarshallManesh #ActionComedy #90sActionMovies #LaTotale #LaTotale1991 #Jackpot1991 #KevinReitzel #KyleWagner #LaceeAderhold

Join Dom and Q as they take on the action-packed rollercoaster that is James Cameron's 1994 classic, "True Lies"! Watch their reactions to Arnold Schwarzenegger's over-the-top stunts, Jamie Lee Curtis's unforgettable dance scene, and the film's blend of high-octane action and comedy. Will they be able to handle the suspense and laughs of this iconic 90s action flick? Tune in to find out! Don't forget to LIKE, COMMENT, and SUBSCRIBE for more reactions and reviews of classic films and modern hits. Let us know in the comments what movie we should react to next!True Lies is a 1994 American action comedy film written and directed by James Cameron, based on the 1991 French comedy film La Totale![4] The film stars Arnold Schwarzenegger as Harry Tasker, a U.S. government agent, who struggles to balance his double life as a spy with his familial duties. Jamie Lee Curtis, Tom Arnold, Bill Paxton, Art Malik, and Tia Carrere star in supporting roles. True Lies was the first Lightstorm Entertainment project to be distributed under Cameron's multimillion-dollar production deal with 20th Century Fox, as well as the first major production for the visual effects company Digital Domain, which was co-founded by Cameron. It was also the first film to cost $100 million

À l'occasion de la sortie du jeu Avatar: Frontiers of Pandora, Multijoueurs s'est délocalisé à Manhattan Beach, à côté de Los Angeles, pour aller à la rencontre des équipes de Lightstorm Entertainment, le studio de production de James Cameron, et d'Ubisoft Massive, en charge du jeu vidéo tiré de l'univers de la saga à succès. Jon Landau, producteur d'Avatar, Magnus Jansen, directeur créatif chez Massive, et ceux qui ont fait le jeu nous expliquent comment on arrive à faire de l'inédit dans un univers déjà connu.

Brooks Brown is the Founder and CEO of NOR. In this episode of The Edge Podcast, we interview a creative with 18 years of experience working on some of the most iconic brands and franchises in the world, including Avatar and Star Wars. After an illustrious career at places like LucasArts and James Cameron's Lightstorm Entertainment working with AAA console and mobile game studios, Brooks has set his sights on reimagining game with a greater sense of "permanence," or as he puts it, where "death and winning matter again..." Despite pushback from legacy gamers on crypto and NFTs, Brooks believes Web3 is the key to unlocking a world of gaming he's always dreamed of--where there's real skin in the game, where anyone is truly free to play and rise up through the ranks. Similar to professional sports, but where everything is on the line. For example, an NFT that represents all your winnings, stats, and reputation lost to your competitor in a final match! We talk about what's broken in gaming today, why monetization isn't the enemy, and how NOR is designing a gaming platform to truly test the grit of its players each season, as they compete on a playing field that more closely mirrors the highest level of competition in professional sports. THIS IS NOT A RECOMMENDATION OR ENDORSEMENT TO BUY ANY TOKEN OR NFT RELATED TO ANY PLATFORMS DISCUSSED. ------

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

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

Første episode af 'The Last of Us' er lige blevet offentliggjort, og det er god timing til at kigge på året 2023 i serieland. The Last of Us er naturligvis blandt de serier, vi er mest forventningsfulde omkring, men der er MANGE serier på vej, og 2023 ligner et år med hidtil uset potentiale i streamingens verden. Vi glæder os - og vi høres på åen. Forresten... Vi er på Twitter- og Instagram-mediet: @streamaaen. Og også Facebook: www.facebook.com/streamaaen. Kontakt os gerne: streamaaen@gmail.com. Bag podcasten står Peter Vistisen, Tobias Iskov Thomsen og Anders Zimmer Hansen - alle tidligere ålbarejere. Citat fra film/serie The Last of Us (Sony Pictures Television, PlayStation Productions, Word Games, The Mighty Mint, Naughty Dog, HBO, HBO Max), Poker Face (T-Street Productions, Animal Pictures, MRC Television, Paramount Global Distribution Group, Peacock), True Lies (20th Television, Anthony Hemingway Productions, Flying Glass of Milk Productions, Lightstorm Entertainment, Wonderland Sound and Vision, Disney Platform Distribution, CBS, Paramount+, SkyShowtime), White House Plumbers (wiip, The District, Crash&Salvage, Warner Bros. Domestic Television Distribution, HBO, HBO Max)

Avatar: The Way of Water is a 2022 American epic science fiction film directed by James Cameron, who co-wrote the screenplay with Rick Jaffa and Amanda Silver from a story the trio wrote with Josh Friedman and Shane Salerno. Produced by Lightstorm Entertainment and TSG Entertainment and distributed by 20th Century Studios, it is the sequel to Avatar (2009) and the second installment in the Avatar film series. Cast members Sam Worthington, Zoe Saldaña, Stephen Lang, Joel David Moore, CCH Pounder, Giovanni Ribisi, Dileep Rao, and Matt Gerald reprise their roles from the original film, with Sigourney Weaver returning in an additional role. New cast members include Kate Winslet, Cliff Curtis, Edie Falco, and Jemaine Clement. In the film, Jake Sully (Worthington) and his family, under renewed threat from humans, seek refuge with the Metkayina clan of Pandora. Cameron stated in 2006 that he would like to make sequels to Avatar if it was successful, and he announced the first two sequels in 2010, following the widespread success of the first film, with the first sequel aiming for a 2014 release. However, the addition of two more sequels, for a total of five Avatar films, and the necessity to develop new technology in order to film performance capture scenes underwater, a feat never accomplished before, led to significant delays to allow the crew more time to work on the writing, preproduction, and visual effects. The filming process, which occurred simultaneously with a currently untitled third film, began in Manhattan Beach, California, on August 15, 2017. The filming location moved to Wellington, New Zealand, on September 25, 2017, and concluded in late September 2020 after three years of shooting. With an estimated budget of $350–460 million, it is one of the most expensive films ever made. Following repeated delays in the expected release schedule, Avatar: The Way of Water premiered in London on December 6, 2022 and was theatrically released in the United States on December 16, 2022 to positive reviews. Critics praised the film for its visual effects and technical achievements, but criticized the plot as thin and the runtime as lengthy. The film has grossed over $955 million worldwide, becoming the fourth-highest-grossing film of 2022. Organizations such as the National Board of Review and the American Film Institute named Avatar: The Way of Water as one of the top ten films of 2022. The film also received numerous other accolades, including nominations for Best Motion Picture – Drama and Best Director at the 80th Golden Globe Awards. --- Send in a voice message: https://anchor.fm/popcorn-junkies/message

Join us as we head to the oceans, braid up our ponytails and hold in our pee, all while watching what is arguably the blockbuster event of the year - ‘Avatar: The Way of Water'. Avatar: The Way of Water is a 2022 American epic science fiction film directed by James Cameron from a screenplay he co-wrote with Rick Jaffa and Amanda Silver, with a story the trio wrote with Josh Friedman and Shane Salerno. Produced by Lightstorm Entertainment and TSG Entertainment, and distributed by 20th Century Studios, it is the sequel to Avatar (2009) and the second film in the Avatar franchise. Cast members Sam Worthington, Zoe Saldaña, Stephen Lang, Joel David Moore, CCH Pounder, Giovanni Ribisi, Dileep Rao, and Matt Gerald reprise their roles from the original film, with Sigourney Weaver returning in a different role. New cast members include Kate Winslet, Cliff Curtis, Edie Falco, and Jemaine Clement. In the film, Jake Sully (Worthington) and his family explore the oceans of Pandora to meet the Metkayina clan. We Watched A Thing is supported by Dendy Cinemas Canberra. The best Australian cinema chain showing everything from blockbusters to arthouse and indie films. Find them at https://www.dendy.com.au/ If you like this podcast, or hate it and us and want to tell us so - You can reach us at wewatchedathing@gmail.com Or, Twitter - @WeWatchedAThing Facebook - @WeWatchedAThing Instagram - @WeWatchedAThing and on iTunes and Youtube If you really like us and think we're worth at least a dollar, why not check out our patreon at http://patreon.com/wewatchedathing. Every little bit helps, and you can get access to bonus episodes, early releases, and even tell us what movies to watch.

Robert Winfree, David Wright and Mark Radulich present their Avatar The Way of Water Review! Avatar: The Way of Water is a 2022 American epic science fiction film directed by James Cameron from a screenplay he co-wrote with Rick Jaffa and Amanda Silver, with a story the trio wrote with Josh Friedman and Shane Salerno. Produced by Lightstorm Entertainment and TSG Entertainment, and distributed by 20th Century Studios, it is the sequel to Avatar (2009) and the second film in the Avatar franchise. Cast members Sam Worthington, Zoe Saldaña, Stephen Lang, Joel David Moore, CCH Pounder, Giovanni Ribisi, Dileep Rao, and Matt Gerald reprise their roles from the original film, with Sigourney Weaver returning in a different role.[6] New cast members include Kate Winslet, Cliff Curtis, Edie Falco and Jemaine Clement. In the film, Jake Sully (Worthington) and his family explore the oceans of Pandora to meet the Metkayina clan. Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network. Mark Radulich and his wacky podcast on all the things: https://linktr.ee/markkind76 also snapchat: markkind76 FB Messenger: Mark Radulich LCSW Tiktok: @markradulich twitter: @MarkRadulich

Robert Winfree, David Wright and Mark Radulich present their Avatar The Way of Water Review! Avatar: The Way of Water is a 2022 American epic science fiction film directed by James Cameron from a screenplay he co-wrote with Rick Jaffa and Amanda Silver, with a story the trio wrote with Josh Friedman and Shane Salerno. Produced by Lightstorm Entertainment and TSG Entertainment, and distributed by 20th Century Studios, it is the sequel to Avatar (2009) and the second film in the Avatar franchise. Cast members Sam Worthington, Zoe Saldaña, Stephen Lang, Joel David Moore, CCH Pounder, Giovanni Ribisi, Dileep Rao, and Matt Gerald reprise their roles from the original film, with Sigourney Weaver returning in a different role.[6] New cast members include Kate Winslet, Cliff Curtis, Edie Falco and Jemaine Clement. In the film, Jake Sully (Worthington) and his family explore the oceans of Pandora to meet the Metkayina clan. Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network. Mark Radulich and his wacky podcast on all the things: https://linktr.ee/markkind76 also snapchat: markkind76 FB Messenger: Mark Radulich LCSW Tiktok: @markradulich twitter: @MarkRadulich

Lawrence “Larry” Kasanoff is an American filmmaker who founded Lightning Pictures in 1986, Lightstorm Entertainment with James Cameron in 1990 and Threshold Entertainment in 1993. Larry has worked on a number of Mortal Kombat productions, including the 1995 smash-hit Mortal Kombat movie, its sequel in 1997, as well as the television series Mortal Kombat: Defenders of the Realm and Mortal Kombat: Conquest. Kasanoff also served as executive producer on 2021's Mortal Kombat movie reboot, and is currently working on its sequel. — FOLLOW LAWRENCE KASANOFF — Website: https://www.larrykasanoff.com Instagram: https://www.instagram.com/larry.kasanoff

Today you'll meet Daughter of Change, Haley Jackson, Explorer, Trailblazer, Chief Storyteller, Award-winning Director, and Producer. She is one of a handful of women Explorers Club Fellows and one of the only women large-format 3D directors. Her purpose and passion lie in inspiring and engaging the public through visual storytelling.Haley is a woman on a mission. She has built her career on hard work, risk-taking, leadership, and a strong knack for building lasting client relationships. Her can-do approach has earned her a reputation as a results-getter for leading-edge clients – from James Cameron to Al Gore, Baywatch to Barbie, Titanic to the Space Shuttle.She has produced and directed dozens of complex, large, and award-winning projects, from the edges of space to deep beneath the ocean, for clients such as Lightstorm Entertainment, The Climate Reality Project, The X PRIZE Foundation, Mojave Air and Spaceport, A&E, PBS, Discovery Channel, Science Channel, The California Science Center, and WIRED.Haley has over one hundred hours working in microgravity and a zero-gravity environment. She's helped astronauts learn to maneuver in zero gravity, assisted on countless scientific experiments in microgravity, and consulted and assisted the zero-gravity portions of films. She's also produced and directed over twenty-five live broadcasts of rocket launches.She has traveled extensively in Africa, Asia, Australia, and the Americas and --including many of Tanzania's wild places, Botswana's the Kalahari Desert; Portugal's Azores; Thailand's Krabi; Ecuador's Galapagos—and filmed in over fifteen countries on expeditions with Earthship Productions, The Climate Reality Project, and others.Haley recently produced thirteen short documentary films in fourteen countries in nine weeks and she won ten Tellys for her work with 24 Hours of Reality. We discuss:The twists and turns that brought Haley to where she is today,Her love of explorationThe impact of visual storytellingLetting go and letting the magic happenWhat Haley has learned on her adventures.Links Mentioned:Haley's WebsiteHaley's InstagramHaley's LinkedInHaley's FacebookWings Over Tanzania Facebook PageFollow Us:Website:Facebook:InstagramLinkedInMarie's LinkedIn:Daughters of Change Podcast Editor:  Sarah StaceySarah's LinkedIn Profile

Brooks Brown, CEO and Co-Founder of NOR, kicks off the first episode of DISRUPTORS with a presentation on the immanent experience of play and how it translates into meaningful game design for Web3. Brooks has more than 18 years of creative and strategic development in interactive content for the world's most successful brands and franchises, including Lucasfilm, Lucasarts, Lightstorm Entertainment, Universal Pictures, and James Cameron's AVATAR quadrilogy. What is the Magic Circle? Why are whales being manipulated in free-to-play games? How is NOR redefining what immersion means? Tune in to find out. Show Notes:  (00:00:00) – Introduction. (00:02:43) – What is art?  (00:07:34) – “The Magic Circle” in games.  (00:10:18) – A genealogy of video games.  (00:21:09) – The financialization impact of free-to-play.  (00:25:09) – Whale manipulation through pay-to-win.  (00:31:50) – What is crypto & NFTs?  (00:35:00) – What is NOR?  (00:40:41) – Separation of the financial metagame (PlayFi).  (00:46:48) – Reintroducing death in games.  (00:48:19) – Q&A. Resources:  Brooks' Linkedin NOR Twitter NOR Discord NOR Website Consortium 9 Website Delphi Podcast Summaries More

E9: Standing in Front of a BoyE9.2 Oopsy DaisyEmma and Chloe confront the ghosts of pretty boys past, in this episode where they look at white masculinity in the 1990s and its legacy. They explore the careers of Leonardo DiCaprio and Hugh Grant, and how their careers and reputations have survived into the present while others’ didn’t. They also consider the ‘grunge’ movement, and how claims for the dissolution of the boundaries between men and women, despite some success, also left many women behind.LinksJames Hibberd, “Vanilla Ice throwing Fourth of July concert: 'We didn't have coronavirus' in the '90s,” Entertainment Weekly, 1 July 2020, https://ew.com/music/vanilla-ice-4th-of-july-concert-coronavirus/?utm_campaign=entertainmentweekly_entertainmentweekly&utm_content=new&utm_medium=social&utm_source=twitter.com&utm_term=5efd1c86621aa70001d0241aAlan Riding, “Why 'Titanic' Conquered the World,” The New York Times, 26 April 1998, https://www.nytimes.com/1998/04/26/movies/why-titanic-conquered-the-world.htmlTatiana Siegel, “"His Brand Is Excellence": How Leonardo DiCaprio Became Hollywood's Last Movie Star,” Hollywood Reporter, 22 July 2019, https://www.hollywoodreporter.com/features/how-leonardo-dicaprio-became-hollywoods-last-movie-star-1225416Jason Rodrigues, “Hugh Grant arrested with sex worker 20 years ago,” The Guardian, 26 June 2015, https://www.theguardian.com/film/from-the-archive-blog/2015/jun/26/hugh-grant-arrest-prostitute-divine-brown-20-1995#_=_Darragh McManus, “Just 20 years on, grunge seems like ancient history,” The Guardian, 1 November 2008, https://www.theguardian.com/music/musicblog/2008/oct/31/grungeChioma Nnadi, “Why Kurt Cobain Was One of the Most Influential Style Icons of Our Times,” Vouge, 8 April 2014, https://www.vogue.com/article/kurt-cobain-legacy-of-grunge-in-fashionDouble J, “The 50 most important female artists of the 90s,” ABC Online, 16 June 2017, https://www.abc.net.au/doublej/music-reads/features/the-50-most-important-female-artists-of-the-90s/10267896Allison Yarrow, “How the ’90s Tricked Women Into Thinking They’d Gained Gender Equality,” Time, 13 June 2018, https://time.com/5310256/90s-gender-equality-progress/Evelynn McDonnell and Elisabeth Vincentelli, “Riot Grrrl United Feminism and Punk. Here’s an Essential Listening Guide,” The New York Times, 6 May 2019, https://www.nytimes.com/interactive/2019/05/03/arts/music/riot-grrrl-playlist.htmlEl Hunt, “A brief history of Riot Grrrl – the space-reclaiming 90s punk movement,” NME, 27 August 2019, https://www.nme.com/blogs/nme-blogs/brief-history-riot-grrrl-space-reclaiming-90s-punk-movement-2542166Hugh Grant on The Tonight Show with Jay Leno, 1995, NBC Studios & NBC ProductionsWayne’s World, 1992 Paramount PicturesTitanic, 1997 Paramount Pictures, 20th Century Fox and Lightstorm Entertainment

E9: Standing in Front of a BoyE9.1 My Heart Will Go OnEmma and Chloe confront the ghosts of pretty boys past, in this episode where they look at white masculinity in the 1990s and its legacy. They explore the careers of Leonardo DiCaprio and Hugh Grant, and how their careers and reputations have survived into the present while others’ didn’t. They also consider the ‘grunge’ movement, and how claims for the dissolution of the boundaries between men and women, despite some success, also left many women behind.LinksJames Hibberd, “Vanilla Ice throwing Fourth of July concert: 'We didn't have coronavirus' in the '90s,” Entertainment Weekly, 1 July 2020, https://ew.com/music/vanilla-ice-4th-of-july-concert-coronavirus/?utm_campaign=entertainmentweekly_entertainmentweekly&utm_content=new&utm_medium=social&utm_source=twitter.com&utm_term=5efd1c86621aa70001d0241aAlan Riding, “Why 'Titanic' Conquered the World,” The New York Times, 26 April 1998, https://www.nytimes.com/1998/04/26/movies/why-titanic-conquered-the-world.htmlTatiana Siegel, “"His Brand Is Excellence": How Leonardo DiCaprio Became Hollywood's Last Movie Star,” Hollywood Reporter, 22 July 2019, https://www.hollywoodreporter.com/features/how-leonardo-dicaprio-became-hollywoods-last-movie-star-1225416Jason Rodrigues, “Hugh Grant arrested with sex worker 20 years ago,” The Guardian, 26 June 2015, https://www.theguardian.com/film/from-the-archive-blog/2015/jun/26/hugh-grant-arrest-prostitute-divine-brown-20-1995#_=_Darragh McManus, “Just 20 years on, grunge seems like ancient history,” The Guardian, 1 November 2008, https://www.theguardian.com/music/musicblog/2008/oct/31/grungeChioma Nnadi, “Why Kurt Cobain Was One of the Most Influential Style Icons of Our Times,” Vouge, 8 April 2014, https://www.vogue.com/article/kurt-cobain-legacy-of-grunge-in-fashionDouble J, “The 50 most important female artists of the 90s,” ABC Online, 16 June 2017, https://www.abc.net.au/doublej/music-reads/features/the-50-most-important-female-artists-of-the-90s/10267896Allison Yarrow, “How the ’90s Tricked Women Into Thinking They’d Gained Gender Equality,” Time, 13 June 2018, https://time.com/5310256/90s-gender-equality-progress/Evelynn McDonnell and Elisabeth Vincentelli, “Riot Grrrl United Feminism and Punk. Here’s an Essential Listening Guide,” The New York Times, 6 May 2019, https://www.nytimes.com/interactive/2019/05/03/arts/music/riot-grrrl-playlist.htmlEl Hunt, “A brief history of Riot Grrrl – the space-reclaiming 90s punk movement,” NME, 27 August 2019, https://www.nme.com/blogs/nme-blogs/brief-history-riot-grrrl-space-reclaiming-90s-punk-movement-2542166Hugh Grant on The Tonight Show with Jay Leno, 1995, NBC Studios & NBC ProductionsWayne’s World, 1992 Paramount PicturesTitanic, 1997 Paramount Pictures, 20th Century Fox and Lightstorm Entertainment

E9: Standing in Front of a BoyE9.3: CassandraEmma and Chloe confront the ghosts of pretty boys past, in this episode where they look at white masculinity in the 1990s and its legacy. They explore the careers of Leonardo DiCaprio and Hugh Grant, and how their careers and reputations have survived into the present while others’ didn’t. They also consider the ‘grunge’ movement, and how claims for the dissolution of the boundaries between men and women, despite some success, also left many women behind.LinksJames Hibberd, “Vanilla Ice throwing Fourth of July concert: 'We didn't have coronavirus' in the '90s,” Entertainment Weekly, 1 July 2020, https://ew.com/music/vanilla-ice-4th-of-july-concert-coronavirus/?utm_campaign=entertainmentweekly_entertainmentweekly&utm_content=new&utm_medium=social&utm_source=twitter.com&utm_term=5efd1c86621aa70001d0241aAlan Riding, “Why 'Titanic' Conquered the World,” The New York Times, 26 April 1998, https://www.nytimes.com/1998/04/26/movies/why-titanic-conquered-the-world.htmlTatiana Siegel, “"His Brand Is Excellence": How Leonardo DiCaprio Became Hollywood's Last Movie Star,” Hollywood Reporter, 22 July 2019, https://www.hollywoodreporter.com/features/how-leonardo-dicaprio-became-hollywoods-last-movie-star-1225416Jason Rodrigues, “Hugh Grant arrested with sex worker 20 years ago,” The Guardian, 26 June 2015, https://www.theguardian.com/film/from-the-archive-blog/2015/jun/26/hugh-grant-arrest-prostitute-divine-brown-20-1995#_=_Darragh McManus, “Just 20 years on, grunge seems like ancient history,” The Guardian, 1 November 2008, https://www.theguardian.com/music/musicblog/2008/oct/31/grungeChioma Nnadi, “Why Kurt Cobain Was One of the Most Influential Style Icons of Our Times,” Vouge, 8 April 2014, https://www.vogue.com/article/kurt-cobain-legacy-of-grunge-in-fashionDouble J, “The 50 most important female artists of the 90s,” ABC Online, 16 June 2017, https://www.abc.net.au/doublej/music-reads/features/the-50-most-important-female-artists-of-the-90s/10267896Allison Yarrow, “How the ’90s Tricked Women Into Thinking They’d Gained Gender Equality,” Time, 13 June 2018, https://time.com/5310256/90s-gender-equality-progress/Evelynn McDonnell and Elisabeth Vincentelli, “Riot Grrrl United Feminism and Punk. Here’s an Essential Listening Guide,” The New York Times, 6 May 2019, https://www.nytimes.com/interactive/2019/05/03/arts/music/riot-grrrl-playlist.htmlEl Hunt, “A brief history of Riot Grrrl – the space-reclaiming 90s punk movement,” NME, 27 August 2019, https://www.nme.com/blogs/nme-blogs/brief-history-riot-grrrl-space-reclaiming-90s-punk-movement-2542166Hugh Grant on The Tonight Show with Jay Leno, 1995, NBC Studios & NBC ProductionsWayne’s World, 1992 Paramount PicturesTitanic, 1997 Paramount Pictures, 20th Century Fox and Lightstorm Entertainment

In 18 months, audiences will be transported back to Pandora for Avatar 2 — and Ben Procter is one of the people who’s preparing to take us there. This concept artist turned production designer gives insight into the sequel’s seven-year production journey, as well as some of the technology his team along with Lightstorm Entertainment and Weta Digital are using to create James Cameron’s sumptuous digital world. Ben also tells Chris about his ascent through the visual effects industry, from his early days at previz pioneer Pixel Liberation Front to The Matrix sequels, Transformers, Tron: Legacy and Ender’s Game. He reveals the organized chaos of VFX and art departments, celebrating the characters and methods that can quickly turn around and tweak incredible work. He also gives insight into how virtual production marks a return to more traditional, in-camera filmmaking processes.

The crown jewel of Animal Kingdom gets a shot at the showcase of the immortals! This week we chat about Walt Disney World's absolute best, Avatar Flight of Passage. We talk about what makes this attraction works and what makes it uniquely "Disney" and what that means to us. We also discuss operational hourly ride capacity and the three headed monster that is Walt Disney Imagineering, Weta Digital and Lightstorm Entertainment and the grand slam they hit with, in our opinion, the world's best theme park attraction. Also how many basketball courts are you hiding Mickey! It's a fun one, hope you guys love it as much as we loved making it!

We're keeping Not-So-Super January moving with the former highest-grossing box office movie of all time: James Cameron's Avatar. You know, the visually stunning movie with the giant blue cat-people and the Papyrus font logo and famous actor Sam Worthington. That movie. Join Audible and get 30 days of membership free, plus 1 audiobook and 2 Audible Originals to get you started: www.audibletrial.com/superstuff *Avatar © 2009 Twentieth Century Fox Film Corporation. Avatar® and its associated titles, logos, and characters are registered trademarks of Lightstorm Entertainment. This production is not sponsored, endorsed by or affiliated with Lightstorm Entertainment or any of its subsidiaries or affiliated companies and/or third party licensors.

Asian Jon returns for a special look back at all the comic book movies released in theatres during the year 2019. How many of these movies did Asian Jon actually see this year? How many of these movies are actually any good? Which cinematic depiction of comic book characters comes out on top? Full SPOILERS for all comic book movies that were released this year. If you haven't seen any of these movies, there will be spoilers. Music and audio from "Alita: Battle Angel" is the property of Tom Holkenborg, James Cameron, Jon Landau, 20th Century Fox, Lightstorm Entertainment, and TSG Entertainment. Music and audio from "Avengers: Endgame" and "Captain Marvel" are the property of Alan Silvestri, Pinar Toprack, Kevin Feige, and Marvel Studios. Music and audio from "Dark Phoenix" is the property of Hans Zimmer, Simon Kinberg, Hutch Parker, Laura Shuler-Donner, 20th Century Fox, The Donners' Company, TSG Entertainment, and Marvel Entertainment. Music and audio from "Dragon Ball Super: Broly" is the property of Norihito Sumitomo, Akira Toriyama, Toei Animation, and Funimation. Music and audio from "Glass (2019)" is the property of West Dylan Thordson, M. Night Shyamalan, Jason Blum, Marc Bienstock, Ashwin Rajan, Blinding Edge Pictures, and Blumhouse Productions. Music and audio from "Hellboy (2019)" is the property of Benjamin Wallfisch, Lawrence Gordon, Lloyd Levin, Mike Richardson, Philip Westgren, Carl Hampe, Matt O'Toole, Les Weldon, Yariv Lerner, Summit Entertainment, Millennium Media, Lawrence Gordon Productions, Dark Horse Entertainment, Nu Boyana, and Campbell Grobman Films. Music and audio from "Joker (2019)" is the property of Hildur Guenadottir, Todd Phillips, Bradley Cooper, Emma Tillinger Koskoff, Warner Bros. Pictures, DC Films, Joint Effort, Bron Creative, and Village Roadshow Pictures. Music and audio from "The Kitchen (2019)" is the property of Bryce Dessner, Michael De Luca, Marcus Viscidi, New Line Cinema, Bron Creative, and Michael De Luca Productions. Music and audio from "Men in Black: International" is the property of Danny Elfman, Chris Bacon, Walter F. Parkes, Laurie MacDonald, Columbia Pictures, Amblin Entertainment, Parkes + Macdonald, Tencent Pictures, and Image Nation. Music and audio from "One Piece: Stampede" is the property of Kohei Tanaka, Hiroki Koyama, Eiichiro Oda, Toei Animation, and Funimation. Music and audio from "Reign of the Supermen" is the property of Frederik Wiedmann, James Tucker, Warner Bros. Animation, and DC Entertainment. Music and audio from "Shazam!" is the property of Benjamin Wallfisch, Peter Safran, New Line Cinema, DC Films, The Safran Company, Mad Ghost Productions, and Seven Buck Productions. Music and audio from "Spider-Man: Far From Home" is the property of Michael Giacchino, Kevin Feige, Amy Pascal, Columbia Pictures, Marvel Studios, and Pascal Pictures. The intro and outro music was created by Rob Koechl and Jeremy Eckert. We thank them for their generous support of this podcast. Check out our Facebook page at www.facebook.com/batjarpodcast. Invite your friends to like our page! You can contact us at @thebatcookiejar on Twitter or you can send an e-mail to batjarpodcast@gmail.com.

The Legends Of S.H.I.E.L.D. Director SP, Agent Haley, Agent Lauren and Agent Michelle discuss the Agents Of S.H.I.E.L.D. season six premiere episode “Missing Pieces.” The Agents also run down the Marvel news roundup and some great listener feedback.   THIS TIME ON LEGENDS OF S.H.I.E.L.D.:   Agents Of S.H.I.E.L.D. “Missing Pieces” Marvel News Roundup Listener Feedback   The Legends Of S.H.I.E.L.D. Director SP, Agent Haley, Agent Lauren and Agent Michelle discuss the Agents Of S.H.I.E.L.D. season 6 premiere episode “Missing Pieces” as well as the weekly Marvel news. The Agents debrief you on the fact that Agents Of S.H.I.E.L.D. is BACK!!!, They try desperately to figure out the timeline, they catch-up with all the characters on and off the screen, talk about Quake’s diplomacy philosophy, and how everyone was excited for Clark Gregg’s Mad Max entrance.   AGENTS OF S.H.I.E.L.D. “MISSING PIECES” [x:xx]   AGENTS OF S.H.I.E.L.D. “MISSING PIECES”   Agents Of S.H.I.E.L.D. “Missing Pieces” aired on ABC on May 10th, 2019.   Main Cast:   Clark Gregg                                           Sarge / Phil Coulson Ming-Na Wen                                         Melinda May   Chloe Bennet                                         Daisy Johnson a.k.a. Quake   Iain De Caestecker                                 Leo Fitz   Elizabeth Henstridge                               Jemma Simmons   Henry Simmons                                     Alphonso "Mack" MacKenzie   Natalia Cordova-Buckley                         Elena "Yo-Yo" Rodriguez   Jeff Ward                                               Deke Shaw   Maximilian Osinski                                  Agent Davis   Briana Venskus                                      Agent Piper   Barry Shabaka Henley                            Marcus Benson   Christopher James Baker                                    Malachi   Karolina Wydra                                      Izel   Joel Stoffer                                            Enoch            Lucas Bryant                                          Damon   Barry Shabaka Henley                            Dr. Marcus Benson   Winston James Francis                            Juco   Matt O'Leary                                          Trok   Brooke Williams                                     Butterfly   Directed By: Clark Gregg https://www.imdb.com/name/nm0163988/?ref_=tt_ov_dr 4 directing credits starting 2008 Choke - 2008 film A Breakfast Nook - 2010 short Trust Me - 2013 film 2x Agents of Shield   Written By: Showrunner Jed Whedon https://www.imdb.com/name/nm1871590/?ref_=ttfc_fc_wr4 10 writing credits starting 2004 3x Dr. Horrible’s Sing-Along Blog 7x Dollhouse 2x Spartacus 21x Agents of Shield - Creator of series Based on the Marvel comics by Brian K. Vaughan and Adrian Alphona   Written By: Showrunner Maurissa Tancharoen https://www.imdb.com/name/nm1315990/?ref_=ttfc_fc_wr5 8 writing credits starting 2003 3x Dr. Horrible’s Sing-Along Blog 7x Dollhouse 2x Spartacus 17x Agents of Shield - Creator of series   NEWS [41:28]   MCU – MARVEL STUDIOS   James Cameron congratulates Marvel for passing Titanic at the box office https://www.instagram.com/p/BxOlnCwp72Q/?utm_source=ig_embed “To Kevin and Everybody at Marvel, An iceberg sank the real 'Titanic.' It took the 'Avengers' to sink my 'Titanic.' Everyone here at Lightstorm Entertainment salutes your amazing achievement. You’ve shown that the movie industry is not only alive and well, it’s bigger than ever!”   Marvel plans to reveal gay character https://ew.com/movies/2019/05/08/marvel-studios-plans-to-reveal-gay-character/ Filmmakers Joe and Anthony Russo said on EW Morning Live that a character will be revealed as gay in an upcoming film, and they suggested it’s a person fans already know. “There’ve been insinuations about other characters’ sexuality, but this is the first openly gay character.” -Joe Russo Last summer, Marvel Studios President Kevin Feige said two openly gay characters would be revealed: “Both ones you’ve seen and ones you haven’t seen.”   Richard Madden in talks to star in Eternals https://variety.com/2019/film/news/richard-madden-eternals-1203207844/ Madden will play Ikaris, a member of the human offshoot race known as the Eternals. Not mentioned in article, but some gossip that he is preparing to come out before accepting the role--may currently be dating Sam Smith’s ex Brandon Flynn   MOVIES – NOT FROM MARVEL STUDIOS   New Mutants pushed AGAIN to 2020 http://collider.com/the-new-mutants-release-date-2020 April 3, 2020, almost a full two years after it was originally intended to hit theaters. Delayed even further because it has a tricky time fitting in with Disney’s portfolio   FEEDBACK [48:58]   TWITTER   https://twitter.com/NilouAchtland/status/1127011983973339142 Nilou Achtland, @NilouAchtland Nilou Achtland, your Bitch Goddess Retweeted Legends S.H.I.E.L.D. @MarvelAOSFc #AgentsofSHIELD Idt you want to fight with Fitz.   The Confederacy is after them... So they are playing possum   So 1/2 cement boy woke up. Who are we running from now   whew, this is a lot of action, as usual. I forgot...   They have been spotted.   https://twitter.com/andiminga/status/1127617546746777601 andiminga‏ @andiminga Replying to @LegendsofSHIELD @AgentsofSHIELD Any theories how they will add Deke into the mix? Rewatched season final and after his scene in the base there was nothing more.   DISCORD   Snedeker Yesterday at 1:25 PM Wow, that was a good episode of Agents of shield. I was hoping to have some sort of reference to the Snap, but I didn’t catch anything about that. And are the time travel laws from Agents if shield different to that of Endgame. Are we in a different universe to that if Endgame now? Aww man just so many questions Snedeker Today at 2:29 PM Maybe this answers some questions. https://comicbook.com/marvel/2019/05/11/agents-of-shield-departed-following-marvel-cinematic-univer-ming-na-wen/   OUTRO [56:56]   Haley, Lauren, Michelle and Stargate Pioneer love to hear back from you about how you would rate the episode we just discussed, your top 5 Marvel character lists, your science of Marvel questions, who would you pick in an all-female Avenger team, or which Marvel male you would like to see shirtless. Call the voicemail line at 1-844-THE-BUS1 or 844-843-2871.                    Join Legends Of S.H.I.E.L.D. next time as the hosts discuss the season 6 second episode of Agents Of S.H.I.E.L.D “Window Of Opportunity.” You can listen in live when we record Sunday Afternoons at 6:15 PM Eastern time at Geeks.live (Also streamed live on Spreaker.com). Contact Info: Please see http://www.legendsofshield.com for all of our contact information or call our voicemail line at 1-844-THE-BUS1 or 844-843-2871   Legends Of S.H.I.E.L.D. Is a Proud Member Of The GonnaGeek Network (gonnageek.com).   This podcast was recorded on Sunday May 12th, 2019.   Standby for your S.H.I.E.L.D. debriefing ---   Audio and Video Production by Stargate Pioneer of GonnaGeek.com.

Ryan and Dave wage Crimson Jihad on your aural receptors with another *award-winning audio commentary, this time for James Cameron's romantic comedy/action classic. From the origin of Cameron's "Lightstorm Entertainment" logo to the late great Bill Paxton's onscreen ease with sleaze to the iconic striptease that puts Demi Moore's to shame, your hosts talk about whatever comes to mind as they watch in real time. So sync up by clicking "Play" on both the podcast and your DVD, and join these two meatballs as they make observations both obvious and weird. Next week, an old-fashioned review is in order for Dave's next pick - "Capote"! *no awards have been won... yet.

Jonathan Berube is an artist working at Lightstorm Entertainment on Avatar sequels. https://johnberube.com https://www.instagram.com/berubefilms

Today we discuss the movie that took James Cameron 20 years to make, "Alita: Battle Angel". Does the film break to trend of bad anime to live action adaptations? How distracting are Alita's big eyes? Was the movie worth the wait? How do the weapons function? To avoid SPOILERS for "Alita: Battle Angel", please skip over 49:31-1:10:44 of the episode. Music and audio from "Alita: Battle Angel" is the property of Tom Holkenborg, James Cameron, Jon Landau, 20th Century Fox, Lightstorm Entertainment, and TSG Entertainment. The intro and outro music was created by Cackles and Jeremy Eckert. We thank them for their generous support of this podcast. Check out our Facebook page at www.facebook.com/batjarpodcast. Invite your friends to like our page! You can contact us at @thebatcookiejar on Twitter or you can send an e-mail to batjarpodcast@gmail.com. 

Authors on the Air host Pam Stack welcomes two international best-selling author ALLISON BRENNAN & TAYLOR STEVENS IN CONVERSATION. About Allison: Allison Brennan believes life is too short to be bored, so she had five children and writes three books a year. A former consultant in the California State Legislature, Allison is now a New York Times and USA Today bestselling author of more than three dozen thrillers and numerous short stories. Reviewers have called her “a master of suspense” and RT Book Reviews said her books are “mesmerizing” and “complex.” She’s been nominated for multiple awards, including the Thriller, RWA’s Best Romantic Suspense (five times), and twice won the Daphne du Maurier award. She currently writes two series—the Lucy Kincaid/Sean Rogan thrillers and the Maxine Revere cold case mysteries. About Taylor Stevens: TAYLOR STEVENS is the award-winning, New York Times bestselling author of the critically acclaimed Vanessa Michael Munroe series. Published in over twenty languages and optioned for film by James Cameron’s production company, Lightstorm Entertainment, the books are international boots-on-the-ground thrillers featuring a mercenary information hunter in a non-testosterone mix of Jason Bourne and Jack Reacher. Stevens came to writing fiction late. Born into an apocalyptic cult and raised in communes across the globe, she was denied an education beyond 6th grade and spent her adolescence as child labor. Stevens now calls Dallas home. This is a copyrighted podcast owned by the Authors on the Air Global Radio Network. http://authorsontheair.com

Authors on the Air host Pam Stack welcomes two international best-selling author ALLISON BRENNAN & TAYLOR STEVENS IN CONVERSATION. About Allison:  Allison Brennan believes life is too short to be bored, so she had five children and writes three books a year. A former consultant in the California State Legislature, Allison is now a New York Times and USA Today bestselling author of more than three dozen thrillers and numerous short stories. Reviewers have called her “a master of suspense” and RT Book Reviews said her books are “mesmerizing” and “complex.” She’s been nominated for multiple awards, including the Thriller, RWA’s Best Romantic Suspense (five times), and twice won the Daphne du Maurier award. She currently writes two series—the Lucy Kincaid/Sean Rogan thrillers and the Maxine Revere cold case mysteries. About Taylor Stevens: TAYLOR STEVENS is the award-winning, New York Times bestselling author of the critically acclaimed Vanessa Michael Munroe series. Published in over twenty languages and optioned for film by James Cameron’s production company, Lightstorm Entertainment, the books are international boots-on-the-ground thrillers featuring a mercenary information hunter in a non-testosterone mix of Jason Bourne and Jack Reacher. Stevens came to writing fiction late. Born into an apocalyptic cult and raised in communes across the globe, she was denied an education beyond 6th grade and spent her adolescence as child labor. Stevens now calls Dallas home. This is a copyrighted podcast owned by the Authors on the Air Global Radio Network. http://authorsontheair.com

Now on Patreon! https://www.patreon.com/werenotafraidofthedark/Intro theme by glassdevaney: https://soundcloud.com/glassdevaney/are-you-afraid-of-the-darkOutro song by ZakBabyTV: AYAOTD Music Video: https://www.youtube.com/watch?v=SOzuKa6HurUhttps://www.instagram.com/werenotafraidofthedark/https://www.facebook.com/werenotafraidofthedark/werenotafraidofthedark@gmail.comIf you would like a sticker, send us an email or message us on social media!Episode edited by Ryan at Modulation Studios.“The Tale of the Guardian’s Curse,” Are You Afraid of the Dark? Directed by D.J. MacHale. Written by Chloe Brown. Season three, episode eight. Episode aired February 26, 1994. https://www.imdb.com/title/tt0514421/Cameron, James, dir. Terminator 2:Judgement Day (1991). Carolco Pictures, Pacific Western, Lightstorm Entertainment. https://www.imdb.com/title/tt0103064/Chip 'n Dale Rescue Rangers. Video Game. Developed and Published by Capcom. June 1990. Nintendo Entertainment System.Gottlieb, Michael, dir. Mannequin (1987). https://www.imdb.com/title/tt0093493/Jafelice, Raymond, dir. The Care Bears Adventure in Wonderland (1987). https://www.imdb.com/title/tt0092723/Karman, Janice, dir. The Chipmunk Adventure (1987). Steve White Productions, Walt Disney Television. https://www.imdb.com/title/tt0092752/Kleiser, Randal, dir. Honey I Blew Up the Kid (1992). Touchwood Pacific Partners 1, Walt Disney Pictures. Dog Eat Dog Films, Gramercy Pictures (I), Maverick Picture Company https://www.imdb.com/title/tt0104437/McTiernan, John, dir. Last Action Hero (1993). https://www.imdb.com/title/tt0107362/Miller, George, dir. A Mom for Christmas (1990). https://www.imdb.com/title/tt0100173/Moore, Michael, dir. Canadian Bacon (1995). https://www.imdb.com/title/tt0109370/Salute Your Shorts (1991-1993). Television series. Created by Steve Slavkin. Propaganda Films. https://www.imdb.com/title/tt0101190/

Now on Patreon! https://www.patreon.com/werenotafraidofthedark/Intro theme by glassdevaney: https://soundcloud.com/glassdevaney/are-you-afraid-of-the-darkOutro song by ZakBabyTV: AYAOTD Music Video: https://www.youtube.com/watch?v=SOzuKa6HurUhttps://www.instagram.com/werenotafraidofthedark/https://www.facebook.com/werenotafraidofthedark/werenotafraidofthedark@gmail.comIf you would like a sticker, send us an email or message us on social media!Episode edited by Ryan at Modulation Studios.“The Tale of the Guardian’s Curse,” Are You Afraid of the Dark? Directed by D.J. MacHale. Written by Chloe Brown. Season three, episode eight. Episode aired February 26, 1994. https://www.imdb.com/title/tt0514421/Cameron, James, dir. Terminator 2:Judgement Day (1991). Carolco Pictures, Pacific Western, Lightstorm Entertainment. https://www.imdb.com/title/tt0103064/Chip 'n Dale Rescue Rangers. Video Game. Developed and Published by Capcom. June 1990. Nintendo Entertainment System.Gottlieb, Michael, dir. Mannequin (1987). https://www.imdb.com/title/tt0093493/Jafelice, Raymond, dir. The Care Bears Adventure in Wonderland (1987). https://www.imdb.com/title/tt0092723/Karman, Janice, dir. The Chipmunk Adventure (1987). Steve White Productions, Walt Disney Television. https://www.imdb.com/title/tt0092752/Kleiser, Randal, dir. Honey I Blew Up the Kid (1992). Touchwood Pacific Partners 1, Walt Disney Pictures. Dog Eat Dog Films, Gramercy Pictures (I), Maverick Picture Company https://www.imdb.com/title/tt0104437/McTiernan, John, dir. Last Action Hero (1993). https://www.imdb.com/title/tt0107362/Miller, George, dir. A Mom for Christmas (1990). https://www.imdb.com/title/tt0100173/Moore, Michael, dir. Canadian Bacon (1995). https://www.imdb.com/title/tt0109370/Salute Your Shorts (1991-1993). Television series. Created by Steve Slavkin. Propaganda Films. https://www.imdb.com/title/tt0101190/

Brothers Adam Dutch and Ben Durham host We’re Not Afraid of the Dark. The Tale of the Designated Driver, or The Tale of the Pinball Wizard premiered in the United States on Nickelodeon on November 14, 1992 and was directed by D.J. MacHale, written by Louise Lamarre.When the fuck was there every a reset button on a Game Boy?Super Mario Bros. speed run: https://www.youtube.com/watch?v=j8CHsUFsi1AAdam tests Ben’s knowledge of pinball machines and tries to make a bet.The Son of Man Painting: https://en.wikipedia.org/wiki/The_Son_of_ManBen brings up an analytical approach to how this episode deals with virginity.Mall jobs are discussed as both Adam and Ben worked there at some points in time.Ben gets on his 11th Twisted Tea during this episode.Some of the same sound effects that appeared in The Tale of the Dark Music appear in this episode.Adam and Ben agree that this should have been an Are You Afraid of the Dark? movie.Further things to look forward to in the series and the life of the podcast are discussed. Warning: contains a high amount of strong language, drug/alcohol references, adult jokes, and other material that may be concerning to some listeners.The series is currently available in the United States on Amazon, YouTube, and several other sites.Intro theme is by glassdevaney: https://soundcloud.com/glassdevaney/are-you-afraid-of-the-darkOutro song is by Maddtown: https://soundcloud.com/maddtown/are-you-afraid-of-the-darkProduced by Modulation Studios. Contact: modulationstudios@gmail.comFacebook page: https://www.facebook.com/werenotafraidofthedark/Works Cited:Adam Durham and Kayla Redmon. K&A TV Day, produced by Modulation Studios, podcast, https://itunes.apple.com/us/podcast/k-a-tv-day/id1288459326?mt=2Aiken, Bill, Bamberger, Andy, & Bethea, James, creators. Nick Arcade TV Series (1992-1997). Bethea/Miteff Productions, MTV Networks. http://www.imdb.com/title/tt0300828/Angel, Criss, creator. Criss Angel Mind Freak TV Series (2005-2010). Angel Productions Incorporated, TVX. http://www.imdb.com/title/tt0461622/“Are You Afraid Of The Dark? The Tale of the Pinball Wizard (TV Episode 1992)”. IMDB. Accessed October 15, 2017. http://www.imdb.com/title/tt0514437Are You Afraid of the Dark? “The Tale of the Pinball Wizard” Season 1, episode 13. Directed by D.J. MacHale. Written by Louise Lamarre. Originally aired November 14, 1992 on Nickelodeon. https://youtu.be/qW2fLRfbCysBahr, Fax & Small, Adam, creators. MADtv TV Series (1995-2016). Girl Group Co, Bahr-Small Productions, David Salzman Entertainment. http://www.imdb.com/title/tt0112056/Cameron, James, creator. Terminator 2: Judgment Day (1991). Carolco Pictures, Pacific Western, Lightstorm Entertainment. http://www.imdb.com/title/tt0103064/Cherry III, John R, dir. Ernest Scared Stupid (1991). Touchstone Pictures, Touchwood Pacific Partners 1. http://www.imdb.com/title/tt0101821/Columbus, Chris, dir. Home Alone (1990). Hughes Entertainment, Twentieth Century Fox Film Corporation. http://www.imdb.com/title/tt0099785/?ref_=fn_al_tt_1darbian, (4:56:878) Super Mario Bros. any% speedrun. Published on Oct. 6, 2016. https://www.youtube.com/watch?v=j8CHsUFsi1AEschner, Kat, “Why Is This 25-Year-Old Pinball Machine Still the Most Popular? You can even play a video-game version of this table,” Smithsonian Magazine. Published March 1, 2017. https://www.smithsonianmag.com/smart-news/why-25-year-old-pinball-machine-most-popular-180962269/Franklin, Jeff, creator. Full House (1987-1995). Jeff Franklin Productions, Lorimar Telepictures, Lorimar Television. http://www.imdb.com/title/tt0092359Glaser, Paul Michael, dir. Kazaam (1996). Interscope Communications, Polygram Filmed Entertainment, Touchstone Pictures. http://www.imdb.com/title/tt0116756/glassdevaney. Are You Afraid of the Dark? Instrumental cover. 2012. https://soundcloud.com/glassdevaney/are-you-afraid-of-the-darkKirby’s Dream Land. (HAL Laboratory, 1992). Video Game. Designed by Mashiro Sakurai.Kriegman, Mitchell, creator. Clarissa Explains it All TV Series (1991-1994). Paramount Home Entertainment. http://www.imdb.com/title/tt0138956/Lehmann, Lynn, creator. Beyond Belief: Fact or Fiction TV Series (1997-2002). Dick Clark Productions, Maybe Productions. http://www.imdb.com/title/tt0138956/MaddTown. Are You Afraid of The Dark? Hip-Hop remix. 2016. https://soundcloud.com/maddtown/are-you-afraid-of-the-darkMagritte, Rene. The Son of Man. 1964. Oil on canvas. 45.67 in x 35 in). Private collection.Math Blaster Episode I: In Search of Spot. (Blaster Learning System, 1993)McRobb, Will & Viscardi, Chris, creators. The Adventures of Pete & Pete. Wellsville Productions. ww.imdb.com/title/tt0105933/Mega Man: Dr. Wily’s Revenge. (Capcom, 1991). Video game for Game Boy. Developed by Minakuchi Engineering.Mr. Skin, https://www.mrskin.com/polly-shannon-nude-c1264/nude_scene_guideMTV Networks. Double Dare TV Series (1986-1989). MTV Networks. http://www.imdb.com/title/tt0125616/Jacobs, Michael & Young, Bob, creators. Dinosaurs (1991-1994). Jim Henson Company, Jim Henson Productions, Michael Jacobs Productions. http://www.imdb.com/title/tt0101081Judge, Mike & Kaplan, Yvette, “Beavis and Butt-head’s Island,” Beavis and Butt-Head. http://www.imdb.com/title/tt0837234/Sargent, Joseph, director. “The Bishop of Battle,” Nightmares (1983). Universal Pictures. http://www.imdb.com/title/tt0086014/Smith, Kevin. Mallrats (1995). Gramercy Pictures, Alphaville Films, View Askew Productions. http://www.imdb.com/title/tt0113749/Spielberg, Steven, dir. Raiders of the Lost Ark (1981). Paramount Pictures, Lucasfilm. http://www.imdb.com/title/tt0082971/Super Mario Kart. (Nintendo, 1992). Video game, created by Shigeru Miyamoto. “The Tale of the Pinball Wizard,” FANDOM TV Community, last modified March 1, 2017, 00:28, http://areyouafraidofthedark.wikia.com/wiki/The_Tale_of_the_Pinball_WizardTime Crisis. (Namco, 1995) video game series. Published by Namco, Bandai Namco. Wan, James & Whannell, Leigh, creators. Saw (Movie Franchise). https://en.wikipedia.org/wiki/Saw_(franchise)“Wikipedia: List of Are You Afraid of the Dark? episodes,” Wikimedia Foundation, last modified October 7, 2017, 02:23, https://en.wikipedia.org/wiki/List_of_Are_You_Afraid_of_the_Dark%3F_episodes

Brothers Adam Dutch and Ben Durham host We’re Not Afraid of the Dark. The Tale of the Designated Driver, or The Tale of the Pinball Wizard premiered in the United States on Nickelodeon on November 14, 1992 and was directed by D.J. MacHale, written by Louise Lamarre.When the fuck was there every a reset button on a Game Boy?Super Mario Bros. speed run: https://www.youtube.com/watch?v=j8CHsUFsi1AAdam tests Ben’s knowledge of pinball machines and tries to make a bet.The Son of Man Painting: https://en.wikipedia.org/wiki/The_Son_of_ManBen brings up an analytical approach to how this episode deals with virginity.Mall jobs are discussed as both Adam and Ben worked there at some points in time.Ben gets on his 11th Twisted Tea during this episode.Some of the same sound effects that appeared in The Tale of the Dark Music appear in this episode.Adam and Ben agree that this should have been an Are You Afraid of the Dark? movie.Further things to look forward to in the series and the life of the podcast are discussed. Warning: contains a high amount of strong language, drug/alcohol references, adult jokes, and other material that may be concerning to some listeners.The series is currently available in the United States on Amazon, YouTube, and several other sites.Intro theme is by glassdevaney: https://soundcloud.com/glassdevaney/are-you-afraid-of-the-darkOutro song is by Maddtown: https://soundcloud.com/maddtown/are-you-afraid-of-the-darkProduced by Modulation Studios. Contact: modulationstudios@gmail.comFacebook page: https://www.facebook.com/werenotafraidofthedark/Works Cited:Adam Durham and Kayla Redmon. K&A TV Day, produced by Modulation Studios, podcast, https://itunes.apple.com/us/podcast/k-a-tv-day/id1288459326?mt=2Aiken, Bill, Bamberger, Andy, & Bethea, James, creators. Nick Arcade TV Series (1992-1997). Bethea/Miteff Productions, MTV Networks. http://www.imdb.com/title/tt0300828/Angel, Criss, creator. Criss Angel Mind Freak TV Series (2005-2010). Angel Productions Incorporated, TVX. http://www.imdb.com/title/tt0461622/“Are You Afraid Of The Dark? The Tale of the Pinball Wizard (TV Episode 1992)”. IMDB. Accessed October 15, 2017. http://www.imdb.com/title/tt0514437Are You Afraid of the Dark? “The Tale of the Pinball Wizard” Season 1, episode 13. Directed by D.J. MacHale. Written by Louise Lamarre. Originally aired November 14, 1992 on Nickelodeon. https://youtu.be/qW2fLRfbCysBahr, Fax & Small, Adam, creators. MADtv TV Series (1995-2016). Girl Group Co, Bahr-Small Productions, David Salzman Entertainment. http://www.imdb.com/title/tt0112056/Cameron, James, creator. Terminator 2: Judgment Day (1991). Carolco Pictures, Pacific Western, Lightstorm Entertainment. http://www.imdb.com/title/tt0103064/Cherry III, John R, dir. Ernest Scared Stupid (1991). Touchstone Pictures, Touchwood Pacific Partners 1. http://www.imdb.com/title/tt0101821/Columbus, Chris, dir. Home Alone (1990). Hughes Entertainment, Twentieth Century Fox Film Corporation. http://www.imdb.com/title/tt0099785/?ref_=fn_al_tt_1darbian, (4:56:878) Super Mario Bros. any% speedrun. Published on Oct. 6, 2016. https://www.youtube.com/watch?v=j8CHsUFsi1AEschner, Kat, “Why Is This 25-Year-Old Pinball Machine Still the Most Popular? You can even play a video-game version of this table,” Smithsonian Magazine. Published March 1, 2017. https://www.smithsonianmag.com/smart-news/why-25-year-old-pinball-machine-most-popular-180962269/Franklin, Jeff, creator. Full House (1987-1995). Jeff Franklin Productions, Lorimar Telepictures, Lorimar Television. http://www.imdb.com/title/tt0092359Glaser, Paul Michael, dir. Kazaam (1996). Interscope Communications, Polygram Filmed Entertainment, Touchstone Pictures. http://www.imdb.com/title/tt0116756/glassdevaney. Are You Afraid of the Dark? Instrumental cover. 2012. https://soundcloud.com/glassdevaney/are-you-afraid-of-the-darkKirby’s Dream Land. (HAL Laboratory, 1992). Video Game. Designed by Mashiro Sakurai.Kriegman, Mitchell, creator. Clarissa Explains it All TV Series (1991-1994). Paramount Home Entertainment. http://www.imdb.com/title/tt0138956/Lehmann, Lynn, creator. Beyond Belief: Fact or Fiction TV Series (1997-2002). Dick Clark Productions, Maybe Productions. http://www.imdb.com/title/tt0138956/MaddTown. Are You Afraid of The Dark? Hip-Hop remix. 2016. https://soundcloud.com/maddtown/are-you-afraid-of-the-darkMagritte, Rene. The Son of Man. 1964. Oil on canvas. 45.67 in x 35 in). Private collection.Math Blaster Episode I: In Search of Spot. (Blaster Learning System, 1993)McRobb, Will & Viscardi, Chris, creators. The Adventures of Pete & Pete. Wellsville Productions. ww.imdb.com/title/tt0105933/Mega Man: Dr. Wily’s Revenge. (Capcom, 1991). Video game for Game Boy. Developed by Minakuchi Engineering.Mr. Skin, https://www.mrskin.com/polly-shannon-nude-c1264/nude_scene_guideMTV Networks. Double Dare TV Series (1986-1989). MTV Networks. http://www.imdb.com/title/tt0125616/Jacobs, Michael & Young, Bob, creators. Dinosaurs (1991-1994). Jim Henson Company, Jim Henson Productions, Michael Jacobs Productions. http://www.imdb.com/title/tt0101081Judge, Mike & Kaplan, Yvette, “Beavis and Butt-head’s Island,” Beavis and Butt-Head. http://www.imdb.com/title/tt0837234/Sargent, Joseph, director. “The Bishop of Battle,” Nightmares (1983). Universal Pictures. http://www.imdb.com/title/tt0086014/Smith, Kevin. Mallrats (1995). Gramercy Pictures, Alphaville Films, View Askew Productions. http://www.imdb.com/title/tt0113749/Spielberg, Steven, dir. Raiders of the Lost Ark (1981). Paramount Pictures, Lucasfilm. http://www.imdb.com/title/tt0082971/Super Mario Kart. (Nintendo, 1992). Video game, created by Shigeru Miyamoto. “The Tale of the Pinball Wizard,” FANDOM TV Community, last modified March 1, 2017, 00:28, http://areyouafraidofthedark.wikia.com/wiki/The_Tale_of_the_Pinball_WizardTime Crisis. (Namco, 1995) video game series. Published by Namco, Bandai Namco. Wan, James & Whannell, Leigh, creators. Saw (Movie Franchise). https://en.wikipedia.org/wiki/Saw_(franchise)“Wikipedia: List of Are You Afraid of the Dark? episodes,” Wikimedia Foundation, last modified October 7, 2017, 02:23, https://en.wikipedia.org/wiki/List_of_Are_You_Afraid_of_the_Dark%3F_episodes

Action Movie Anatomy hosts Ben Bateman and Andrew Ghai break down 1994's True Lies! True Lies is a 1994 American action comedy film written and directed by James Cameron, starring Arnold Schwarzenegger, Jamie Lee Curtis, Tom Arnold, Art Malik, Tia Carrere, Bill Paxton, Eliza Dushku, Grant Heslov and Charlton Heston. It is a loose remake of the 1991 French comedy film La Totale!. The film follows U.S. government agent Harry Tasker, who balances his life as a spy with his familial duties. True Lies was the first Lightstorm Entertainment project to be distributed under Cameron's multi million-dollar production deal with 20th Century Fox, as well as the first major production for the visual effects company Digital Domain, which was co-founded by Cameron. Make sure to subscribe to Popcorn Talk! - http://youtube.com/popcorntalknetwork --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

IRC Wealth and 3 Female Entrepreneurs This week marked the first of a monthly series we’re running with the folks from IRC Wealth. Vice President of Business Development, Joe Schum, co-hosted the show with me. He introduced us to three highly-successful female entrepreneurs from the Atlanta area who, while accomplished in their own rights, are […] The post IRC Wealth 1 appeared first on Business RadioX ®.